View allAll Photos Tagged cusack
Dev takes to the skies on the gravtic disk, which also supplies him with power while away from the city. He searches for the alien filth that has dared come to Skaro!
Day 310/365
Self Portrait as John Cusack.
Tonights been a rough one... had another one of those nice existentialist crises, much like the one that led me away from Architecture classes and into photography in the first place... Anyway i've had this shot in my head for a while now...and being the mood I am in, seemed the perfect night to do it.
Well, it wasn't...38*F outside in the pouring rain, with freezing wind.... I destroyed my Westcott 28" Apollo, it took a hit tonight there is no way It will recover from... I'm also more then likely going to get some kind of sickness. The First session did not produce a photo that was 365 worthy, so I changed my shirt and went back out again and reshot it.
Strobist info:
Canon 580 EX II at 1/128th Power Camera Left at 50mm
Nikon SB80 DX at 1/16th Power Camera Right and behind to light raindrops.
Camera Info:
Canon 5d Mark II w/ 70-200 2.8 L IS
ƒ2.8 | 1/100 | ISO 1600
Portrait of Australian writer and playwright Dymphna Cusack, 1947. Her novel 'Come In Spinner' was produced as a TV series in 1989. Vintage gelatin silver print, State Library of New South Wales, PX*D 250 (v.3) collection.sl.nsw.gov.au/record/nvg8xa81
B5R111 Our old yellow canoe in the foreground.
See this photo used here by Tim the Yowie Man.
See story here.
www.canberratimes.com.au/story/8805949/yowie-man-rediscov...
I have diary entries for Sat-Sun 11th-12th July 1981
At the confluence of Ginninderra Creek with Victoria, Jillian Graham Trish and Kate.
I worked here casually on weekends as a ranger for a couple of years in the 1980s
The trails and signposting was all laid out by an engineer named Rob Caldwell. He lived at the old Parkwood Homestead.
He constructed the picnic shelters from the concrete formwork used to build the Belconnen Mall Carparks.
He signposted the trails and made a small brochure to hand out with the ticket sales for the entrance fee. See below.
Along the trails are signposted Lookouts, labels for plants and trees and warning signs and handrails.
I used to take the entrance fees near the gate, describe the walks and hand out the small brochure and map you can see below.
When he hired another Ranger to mn the gate I would drive down Cusacks Crossing track, sometimes with the kids and hire out the canoes.
During the warm weather I would sell cold drinks from the beach or a canoe and on colder days I had a fire going from which I would "boil the billy" and sell cups of tea.
Exif lost in copy from EBM to the HP..
Make - Polaroid SprintScan 4000
Software - SilverFast 6.4.4r3b
The Children's Own Readers "Friends" Primer by Mary E. Pennell and Alice M. Cusack, 1936, Kansas City, Missouri. Illustrator Marguerite Davis.
English-Irish actor and model Max Irons (son of actor Jeremy Irons and actress Sinéad Cusack) attends the "Award Night" during the 14th Zurich Film Festival on October 6, 2018 in Switzerland.
Born as Maximilian Paul Diarmuid Irons on 17 October 17, 1985 in Camden, London
Film Highlights: Terminal (2018), Crooked House (2017); The Wife (2017); Bitter Harvest (2017); Tutankhamun (2016); Women in Gold (2015); The Riot Club (2014); The White Queen (2013); The Host (2013); The Runaway (2011); Red Riding Hood (2011); Dorian Gray (2009); Being Julia (2004)
To the best of my knowledge this was known as the The Cusack Stand and then Devitts (The Cusack Stand). It would appear that “The Cusack Stand” has been dropped from the name.
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This one - my first finished oil painting since january 2020... is based on a photo of the great @R J Poole www.flickr.com/photos/rjpoole/ called "Unadulterated" and featuring Ayleish Cusack & Miss McCloughlin
©2010-2016 Laura Jane Swindle, all rights reserved
Muffin channeling his inner John Cusack ... that or Judd Nelson
I realize we’re halfway through the music festival season so I should have posted this sooner but here in Chicago where I’m from, we’re gearing up for Pitchfork Music Festival to start tomorrow and in less than a month Lollapooza will also be happening. This is my third summer shooting music festivals including Pitchfork Music Festival, Lollapalooza, Hideout Block Party, and Coachella. I wish someone had told me a few things three years ago to help prepare me. I thought I’d share the love.
First, a disclaimer….you know that part in Say Anything where John Cusack/Lloyd Dobler proclaims: “I don't want to sell anything, buy anything, or process anything as a career. I don't want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed, or repair anything sold, bought, or processed. You know, as a career, I don't want to do that.” Well, I sort of loved him for that even more than when he was holding a large boombox over his head. That said, I’m going to recommend some products here not because I want to encourage materialism and consumerism but because these are the things that have worked for me. The reality is that there are a lot of products out there that are not well made or will let you down and ultimately waste your hard earned cash. As most of us are just scraping by and not making $1000 a photo, very few of us can afford to waste our money on stuff that doesn’t work or is poorly made and will cost us a great deal more overall.
Some obvious things first:
1.Unless you are meticulous and not scatter brained in the least, you will need some extras of everything. I recommend bringing extra lens caps, lens cleaning cloths, memory cards, batteries, and a couple extra pairs of ear plugs. You are going to be exposing your ears to some really massive amounts of input. I don’t find the foamy earplugs to be very helpful for me. First, it distorts the music so that it feels like you are sort of just listening under water. Second, it’s usually not enough protection when you are up against huge amps. I highly recommend: earlove.net/. They are worth the extra cost, trust me!
2.You know those pseudo benches in a lot of larger photopits where you can take a rest, especially if the stage/band you’re shooting is running behind schedule? You’re going to really want to do it but do NOT set your bag down while you’re shooting unless everything of any value is around your neck. Fans steal bags and (I hate to say it) other photographers steal bags. I know your bag is heavy and, in this case, my only recommendation is this: suck it up! I’m so sorry but no amount of temporary shoulder relief is worth thousands of dollars. Also, I recommend using these Chrome Messenger backpack bags: www.chromebagsstore.com/messenger-packs-ranchero.html Yes, it’s a bag that costs nearly $200 after taxes, shipping, etc. but the good news is that you will never have to buy another bag again. I cannot tell you how much I’ve pretty much beat the heck out of mine and there are no signs of wear and tear whatsoever. It has two nice shoulder pads, a cell phone holster, and is extremely waterproof. Basically, it’s worth the investment. Did I mention you’ll never have to buy another bag to haul all your stuff around again? That’s important.
3.Drink water, not beer. Oh wouldn’t the beer just take the edge off? Make you feel relaxed, etc.? Don’t do it!!! Take all the money you would have spent on overpriced festival beer throughout the weekend and put it aside. When you’re finally finished with all photoediting on that Sunday night or Monday morning, buy yourself a nice bottle of champagne or Belgian and drink up to celebrate surviving. Also, I highly recommend bringing your own more durable water bottle. Most music festivals have stopped giving out free water to press OR they will have one tent set up that’s destined to be far away from whatever bands you are assigned in the media area which is not very helpful. However, quite a few festivals have fountains or opportunities for free water of some sort. I also recommend supplementing your water with electrolytes. This one works quite well: www.rei.com/product/779683. Also, don’t forget your Ibuprofen/Aspirin and vitamins!
4.Sorry to be gross, but you should bring some tissue or toilet paper and a little bottle of hand sanitizer. You should not count on the porta potties to have these things in full supply, though I’ve been happily surprised the last couple of festivals I’ve gone to.
5.Have you ever sat around and wondered how China became such a national super power? It’s probably because of this: www.tigerbalm.com/. Buy yourself a jar of it and rub it into your shoulders, neck, and any other part of your body that aches every single night. Trust me, you’ll feel so much better the next day. It stings a little and there’s an after effect that goes on as it sinks into your muscle tissue that might actually hurt a bit but let it work it’s magic.
6.You need suncreen (duh!) I am so pale I’m ghostly. If I’m out in the sun for even a half hour without sunscreen, I burn. That said, I highly recommend this Kiss My Face spray SPF30 product: kissmyfacewebstore.com/detail/KMF+1800403 You can pick it up at some Whole Foods but, because it’s a natural product, it isn’t usually available commonly at most grocery or convenience stores in the US, which means you might end up having to order it online. Why I love this product is simple…it works! Also, it is a lot less greasy, you can spray it on your back (for your facial areas, spray it on your hands then rub on your face.) and you should be able to get away with spraying it on once in the morning before you leave and not having to worry about re-spraying for the rest of the day. That’s really important because the last thing you’ll be thinking about when you’re photographing beautiful Karen O doing a backbend is re-applying your sunscreen, trust me. On occasion, I have gotten minorly burned around my shoulder straps as the suncreen has rubbed off in those areas. However, I burn excessively easily so if you’re like 99% of the rest of the population, you don’t have to be worried.
7. If it’s going to be especially sunny, consider bringing a small compact umbrella to shield you while you’re waiting in the photopit or photopit line. ( I learned that one from excessively wise and experienced Robert Loerzel: www.flickr.com/photos/robertloerzel/ who graciously held one over our heads during the two hour wait for Iggy Pop when we were suffering through Amy Winehouse at Lolla 2007)
8.I recommend you start every day of the festival by having a large mocha with an extra shot of espresso and one-two bagels (depending on your metabolism.) You want a complex carbohydrate that your body is going to have to break down over time through the course of the day. Make sure to obviously give yourself enough time in the bathroom after eating before taking off to minimize porta potty usage..besides, you don’t have time to go to the bathroom…you have bands to shoot! For quick sugar intake when you’re running on low, pack a couple of energy or granola bars. Plan on eating more after you’re done and waiting for your 4,000 photos to transfer from your memory card to your hard drive. Did I mention to make sure to take your vitamins?
9.If you are traveling to this music festival, I would recommend the following portable external drive: Smartdisk 160GB FireWire Portable Hard Drive …it worked very well for me when I went to Coachella. Don’t forget to bring your battery charger!
10. As Margarita Gonzalez stated below, make sure you wear your most comfortable pair of shoes! As Paige K. Parsons below added: Remember there's a BIG difference between shoes that are comfortable to stand in for eight hours vs shoes that are comfortable to walk four miles in. Most likely you will need the latter at a festival.
11.)Also by Paige K. Parsons: www.flickr.com/photos/paigekparsons/ Know not just the distances between stages, but the time it takes to move between them with large crowds of people about. You've got to plan your schedule with plenty of tolerances for travel.
12.)Also by Paige K. Parsons: www.flickr.com/photos/paigekparsons/ Scope out *all* the stages early. Talk with the security guys and/or festival coordinators and confirm which side has access to the photopit. Often it's different from stage to stage, sometimes it's different than you were told in your media info. If you arrive on the wrong side it can take an entire song to get from one side to the other if the crowd is large.
13.If you are lucky enough to have “scored” your pass without actually knowing anything about photography because your dad’s a CEO of a company sponsoring the festival or something, do us all a favor and actually try to learn as much as you can on your own. There are photographers who would give up alot for this opportunity so take it as a serious gift. Besides, the last thing I want to hear in the pit five minute before Daft Punk take the stage is “Hey, you have the same camera as me! Can you teach me how to use mine?” And yes, that actually did happen to me at Lolla 2007.
Now, some non-obvious things…..
1.Camera gear recommendations: I can only recommend what I know and I’m a Canon vs. Nikon user..that doesn’t mean Nikon is inferior at all, though! I use the 5dMkII with the Canon IS 2.8 70-200mm lens most often during music festivals. If this lens is too expensive, consider renting one, especially if you are planning on photographing bands you may never have the opportunity to photograph again (i.e. Leonard Cohen.) I should warn that this lens is excessively heavy. I actually prepared myself after its purchase by lifting weights while jogging on the treadmill. The Canon 15mm fisheye lens is also great for smaller stages and crowd shots. Paige K. Parsons has some great fisheye crowd shots with her Nikon D700 as well. Here’s a good example: www.flickr.com/photos/paigekparsons/3620173399/ If possible, bring an extra base as backup. Nikon recommendations by NickD: www.flickr.com/photos/_nickd/ : As nikon goes i'd recommend a d300 or (if you want full-frame) d700 with a 70-200 f/2.8 vr if you can get it, and a 50 f/1.4 for smaller intimate venues.
2.We’re unfortunately in a troublesome age in terms of photographer’s rights and what that means is that you may not be given full information about what restrictions bands are giving until the day of, even if you received a press release from the festival organizers detailing these restrictions…it doesn’t matter. Artists/musicians change their minds at the last minute about photography and unfortunately festival organizers don’t consider the idea that some photogs have actually made a huge financial investment to shoot that particular band on the basis that they’d *gasp* be allowed to. (Such was the case last year when Kanye West decided on the same day of his performance he wouldn’t allow photography from the pit even though the concert was taking place in his own city and he had allowed it previously at Lolla.) In addition, some bands/musicians may limit the photopit to only Wire service photographers. However, the trend I have seen (with Pearl Jam and Radiohead specifically) is to not allow any Wire service photographers into the pits. Another thing I have seen is a band decided to only let his buddy, a barely competent photographer, to shoot and bars every other photographer. It completely sucks and it’s extremely difficult to get a good shot from the crowd. The only thing you can do to prepare yourself for this is to read all press information and check in at the media tent of the festival every single day.
3.If you absolutely have to sign a contract that takes away all your copyrights, sign and date it so that you can argue it was signed under duress. Also, give your publication the exact number of photos requested and keep the others private/friends only if you use them. If you are not assigned that band and do not have to take photos but want to, strongly consider not signing because your rights as a photographer are way more important, trust me.
4.Some festivals, particularly Lollapalooza have “caps” on their photopits. In other words, they won’t allow past a certain number (in Lolla’s case, 50) of photographers to be in the pit. What that means is, for the larger bands, make sure to keep an eye on the pit and make practical decisions about time management. It’s a lot better to be #3 in a photopit for a larger band and miss out on shooting a smaller band you can easily photograph again than to shoot the smaller band, be #51 and not get into the pit for the larger band. Also, be aware for that more aggressive bands where there is an issue with crowd control, the festival could potentially lower the amount of photographers they are going to allow in the pit. Arrive extra early if you are assigned these bands. By extra early, I mean, check in atleast 2 hours in advance. Yes, I’m serious.
5.Make a special effort to photograph bands that typically play in darker conditions. (Pretty much every band I love fits this description.) If you know this may only be the only time you’ll ever be able to shoot this band without them being behind a heavy gush of smoke playing in what looks like the pit of despair, go for it! Also, make an extra effort to photograph international bands you know won’t come around very often.
6.If you’re like me, your deadlines are pretty immediate and you have to bike home like mad and start photo-editing as soon as possible so that you’re up until 4am or 5am working on your assignment. You are bound to grow really tired doing this and be all sleepy. What usually helps me stay up is re-watching the ending of Twin Peaks: (If you can fall asleep right after watching this, you’re a much braver soul than I am!) www.youtube.com/watch?v=GZ0qHLAsS2w
7.Feel free to run like mad and shoot as many bands as your body and time will allow. If you have limited time to get across a crowded park and you are exhausted with way less adrenalin than you’d expected, it might be helpful to use a visualization technique. Usually, I picture a younger version of Hannibal Lecter in a sweaty Kings of Leon shirt running after me with a vicious look in his eyes…that often does the trick! However, with age I am realizing more and more it’s also important to listen to your body. Take rest breaks when possible and keep hydrated. Have I mentioned vitamins yet? ;)
8.Make friends! It is great to have a few people you can trust to update you when you are across the field to know how fast a photopit line is growing or if a band cancels or is running late. Texting is amazing in these cases and make sure to return the favor to your friend as well. In this age of concert photography when we are slowly losing our rights, it’s important to really stick together with the people who won’t let you down. I've been lucky to have a few good friends on my side at music festivals, like Sei Jin who texted me when he saw Tim Harrington of Les Savy Fav was cutting hair at last year's Pitchfork Music Festival.
9.Play nice! Be fair! Everyone knows of that 300 pound behemoth (usually male, sorry men!) that always cuts everyone off in line and tends to have about 42 elbows while in the photopit. Shooting a festival with strict deadlines is stressful enough without these types of people but you’re bound to run into a couple. Feel free to be extra snarky when they hit on you later. I usually find, “I don’t have a name” does the trick.
10.Be nice to your security guards! They are working long hours in the hot sun for probably about as much pay as you are. The ones that seem the strictest are also the ones most on the ball that are going to end up protecting you if the fans get crazy and out of control.
11.Have you ever been at a music festival when it started to rain? I’ll exercise the words of legendary author Douglas Adams with this one: Don’t Panic! Especially if you have a waterproof bag! It’s good to keep some heavy duty plastic bags to wrap around your camera base and the contacts with the lens when this happens. Just exercise good common sense…shoot as little as possible in these cases in the rain with some heavier duty plastic bags wrapped around your camera then put your camera back safely in your bag. This is one reason, however, that I would recommend buying camera equipments with warranties. I usually request, “I would like the kind of warranty where I could basically go fishing with my camera and as long as I can pull it out of the water and return it, it will be replaced.” That said, I treat my camera bases and lenses with huge amounts of respect and don’t do anything stupid but it’s great when you don’t have that sense of anxiety over a freak accident or storm looming over you. Also, I know there are a lot of rain gear protections out on the market…this is one thing I have yet to try so if someone has a good recommendation, feel free to put that in the comments section.
12. Don’t forget to shoot the drummer! They really like it when you remember them! ☺
Above: the drummer for Ariel Pink’s Haunted Graffiti, Aaron Sperske, at Coachella 2009.
Bob Cusack, Editor-in-Chief of The Hill, interviews Sen. Shelly Moore Capitol (R-W.Va.) during a policy briefing entitled “Digitalizing Infrastructure: Building a Smart Future” sponsored by ABB and The Hill at the Council on Foreign Relations in Washington, D.C., on Tuesday, November 14, 2017.
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A tribute to one of the classic highschool movies from the 80s...Say Anything.
With my own spin it of course. Instead of a boombox, I opted to hold up my camera. :)
From a photograph hanging inside the station waiting room, photographer unknown.
CIE / MGWR Cusack D6 4-4-0 542 stands in Castlebar station with an Up special cattle train. The fireman is up on the tender pulling coal down while the guard passes up the single line staff to Manulla Junction.
Notice the water tank seen in my 2016 shot.
Sen. Richard Burr (R-N.C.) is interviewed by Editor in Chief of The Hill Bob Cusack during a policy briefing entitled "Next Generation Cures: A Policy Discussion" sponsored by PhRMA, From Hope to Cures, and The Hill at the Newseum in Washington, D.C. on Tuesday, May 12, 2015.
Please like my Facebook page here: www.facebook.com/TAPPHOTO
Model Shannon Cusack here: www.facebook.com/Shannoncusackmodel
Please like my Facebook page here: www.facebook.com/TAPPHOTO
Model Shannon Cusack here: www.facebook.com/Shannoncusackmodel
Can you find the 7 hidden "Ninas"?
Albert Hirschfeld (June 21, 1903 in Barton, Missouri, USA – January 20, 2003 at age 99 in New York, New York, USA) was an American caricaturist best known for his black and white portraits of celebrities and Broadway stars. Hirschfeld's style was unique, and he was considered to be one of the most important figures in contemporary drawing and caricature, having influenced countless artists, illustrators, and cartoonists. His caricatures were regularly drawings of pure line in black ink, for which he used a genuine crow quill. Hirschfeld's caricatures were characterized by their fluid lines and clever incorporation of hidden "Ninas," a tribute to his daughter, in his drawings. His unique style and keen eye for personality made him a beloved figure in the world of illustration and theater, leaving a lasting legacy in American art and pop culture. LINK - en.wikipedia.org/wiki/Al_Hirschfeld
His first wife - Florence Ruth Hobby - a chorus girl - they were married in 1927; the couple separated in 1932 and divorced in 1943,
His second wife - Dorothy Clara Louise "Dolly" Haas (29 April 1910 in Hamburg, Germany - d. 16 September 1994 at age 84 in New York city, New York, USA) she was an accomplished actress in German cinema - they were married in 1943 in Baltimore, Maryland - they had a daughter "Nina" in 1945. LINK - en.wikipedia.org/wiki/Dolly_Haas
His third wife - Louise M. Kerz (1936 - ) - they were married in 1996, she was a theatre historian.
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"Cyrano de Bergerac" staring - Derek Jacobi and Sinead Cusack (above left)
"Cyrano de Bergerac" is a play written by Edmond Rostand, first performed in 1897. It's a romantic drama featuring the witty and skilled Cyrano, who is secretly in love with Roxane, but his large nose makes him insecure. The story sees him helping another man, Christian, win her affection by writing love letters in Christian's name.
Sir Derek George Jacobi (born 22 October 1938) is an English actor. Known for his roles on stage and screen as well as for his work at the Royal National Theatre, he has received numerous accolades including a Tony Award, a BAFTA Award, two Laurence Olivier Awards, two Primetime Emmy Awards, two Screen Actors Guild Awards. He was given a knighthood for his services to theatre by Queen Elizabeth II in 1994. Jacobi started his professional acting career with Laurence Olivier as one of the founding members of the National Theatre. He has appeared in numerous Shakespearean stage productions including Hamlet, Much Ado About Nothing, Macbeth, Twelfth Night, The Tempest, King Lear, and Romeo and Juliet. Jacobi received the Laurence Olivier Award, for the title role in Cyrano de Bergerac in 1983 and Malvolio in Twelfth Night in 2009. He also won the Tony Award for Best Actor in a Play for his role as Benedick in Much Ado About Nothing in 1985.
Sinéad Moira Cusack (born 18 February 1948) is an Irish actress. Her first acting roles were at the Abbey Theatre in Dublin, before moving to London in 1969 to join the Royal Shakespeare Company. She has won the Critics' Circle and Evening Standard Awards for her performance in Sebastian Barry's Our Lady of Sligo. She made her Broadway debut in 1984 performing in repertory with the Royal Shakespeare Company. Starring opposite Derek Jacobi, she played Roxane in Anthony Burgess' translation of Edmond Rostand's Cyrano de Bergerac and Beatrice in William Shakespeare's Much Ado About Nothing, directed by Terry Hands. Much Ado was first produced at the Royal Shakespeare Theatre in Stratford-upon-Avon in 1982–83, then moved to London's Barbican Theatre for the 1983–1984 season where it was joined by Cyrano, before both plays transferred to New York's Gershwin Theatre from October 1984 to January 1985, for which Cusack received a Tony Award nomination for her performance as Beatrice, and costar Derek Jacobi won the award for his Benedick. The production of Cyrano de Bergerac was later filmed in 1985.
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"Much Ado About Nothing" staring - Christopher Bowen and Clare Byam-Shaw (above right)
"Much Ado About Nothing" is a comedy by William Shakespeare thought to have been written in 1598 and 1599. The play was included in the First Folio, published in 1623. The play is set in Messina and revolves around two romantic pairings that emerge when a group of soldiers arrive in the town.
Christopher Bowen (born 20 October 1959) is a British actor. Bowen was educated at the Cathedral School, Llandaff, Radley College, and Magdalene College, Cambridge University. He trained at the Old Vic Theatre School in Bristol and spent three years with the RSC in the 1980s. Other theatre credits include the title role in "Macbeth" at the Southwark Playhouse, Laertes in "Hamlet" at the Young Vic, Veit Kunz in "Franziska" at the Gate Theatre, Oberon in "A Midsummer Night's Dream" for the City of London Festival, Maecenas in "Antony and Cleopatra" at the Haymarket Theatre.
Clare Byam-Shaw was born on 5 February 1957 in Hammersmith, London, England, UK. She is an actress, known for Waters of the Moon (1983), Growing Pains (1992) and A Dorothy L. Sayers Mystery (1987). She is married to Ewan Stewart. They have two children.
Sen. Richard Burr (R-N.C.) is interviewed by Editor in Chief of The Hill Bob Cusack during a policy briefing entitled "Next Generation Cures: A Policy Discussion" sponsored by PhRMA, From Hope to Cures, and The Hill at the Newseum in Washington, D.C. on Tuesday, May 12, 2015.
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“AND THE BUILDING BECOMES MAN”: MEANING AND AESTHETICS IN RUDOLF STEINER’S GOETHEANUM
Carole M. Cusack
Introduction
Rudolf Steiner (1861-1925), founder of the Anthroposophical Society, is renowned for his work in widely varied fields including education, biodynamic agriculture, politics, banking, poetry, and drama (Hammer 2009: 209). His accomplishments in architecture are among his less well-understood cultural productions. His two greatest achievements – the buildings known as Goetheanum I and Goetheanum II (the latter built after the destruction by fire on 31 December 1922 of the former structure), in the small town of Dornach near Basel in the canton of Jura, Switzerland – have been described as “sculptural architecture,” of a kind similar in Expressionist form to works by his contemporaries Antoni Gaudi (1852-1926), Hermann Obrist (1863-1927), and the younger Hermann Finsterlin (1887-1973) (Sharp 1966). The focus of this chapter, Goetheanum II, is a giant sculpted concrete form four stories high, with sweeping lines that give the effect of a monolith. It is headquarters to the Anthroposophical movement, and contains a one-thousand seat auditorium in which religio-spiritual performances of Eurythmy (Steiner’s movement art, which he initiated in 1912) take place. Contributors to a 1960 issue of the Swiss architectural magazine
Werk featuring the building agreed that its design required “a uniform worldview and lifestyle” (quoted in Steinberg 1976: 4). This is the case: to understand both incarnations of the Goetheanum, built as “Schools for Spiritual Science,” requires an understanding of Anthroposophy and of Steiner himself. Richard A. Peterson has posited that the main “symbol-creating domains most often identified [are] art, science, and religion” (Peterson 1976: 673). Anthroposophy, as developed by Steiner, is a philosophy that integrated all three of these domains, and which formed the basis for an enthusiastic programme of cultural production. This chapter considers the meanings embedded in the aesthetic choices of Steiner in the design and construction of both Goetheanum I and Goetheanum II. Steiner thought that Western Europe needed to re-orientate its Weltanschauung
as a spiritual priority and that art was a crucial part of this regenerative process. David Brain’s argument that cultural production creates society itself is relevant here. Brain states that “[t]he social construction of cultural artefacts entails the production of practices which, in turn, enact their own status in broader social contexts by inscribing both the boundaries of cultural domains and the social status of the author in qualities of the artefact” (Brain 1994: 193). Expressionist artists, some of whom (for example the Russian Wassily Kandinsky) shared Steiner’s Theosophical background, shared his vision for the spiritual renewal of Europe. Steiner could not have been unaware of a range of significant Expressionist philosophies and artistic forms present in Europe during his lifetime, and particularly at the time he was developing Anthroposophy. As a lecturer he travelled extensively, and came into contact with many artists and writers who shared mystical ideas about art. His vision for the headquarters of Anthroposophy was grandiose, like that of many other Expressionists, though unlike most of them he had the opportunity to construct his vision himself. Goetheanum II has also been referred to as a
Gesamtkunstwerk (‘total work of art’), a term associated with Richard Wagner (1813-1883) and with architects such as Walter Gropius and Frank Lloyd Wright, who influenced the interiors as well as the exteriors of their buildings (Adams 1992: 182). Yet Steiner wanted something specific for his group; “[n]ot to build in a style born out of our spiritual world view, would mean to deny Anthroposophy in her own house” (quoted in Steinberg 1976: 82). The Goetheanum embodies Anthroposophical ideals, and Anthroposophy inhabited the entire cultural life of its adherents. For Steiner this came in the form of cosmological insights, which could best be achieved in the sculptural shapes and organic forms, derived from the natural world, of the Goetheanum (in both its first and second incarnations). This chapter first considers Rudolf Steiner’s spiritual quest, Anthroposophy, the teaching he developed, and the place of art and cultural production in his vision for a transformed humanity. The creation of seventeen buildings between 1908 and 1925 in Dornach, which in the twenty-first century is a community of approximately six thousand, was a major achievement in embodying the Anthroposophical ideal of revealing a “logic of life” deriving from Goethe’s writings on the natural sciences and esoteric Christianity, in physical forms, and transformed Dornach into something of a pilgrimage centre for Anthroposophists and spiritual seekers (Reese 1965: 146). The meaning and construction of Goetheanum I is explained, then the chapter’s focus shifts to the realised Anthroposophical theology of Goetheanum II, which was designed by Steiner in 1923 but not completed until 1928, three years after his death. This magnificent building is a magnet for tourists and architecture enthusiasts, as quite apart from its Anthroposophical significance, it is a remarkable and beautiful example of Expressionist architecture.
Rudolf Steiner and Anthroposophy
Rudolf Steiner (1861-1925) was born in Donji Kraljevec, a village in what is now Croatia but was then Hungary, in the Austrian Empire. He was educated by his father, the provincial stationmaster at Pottschach in Lower Austria, and at the local school. In his uncompleted autobiography, Steiner claimed that by the time he turned eight “the reality of the spiritual world was to me as certain as that of the physical,” and that he was able to communicate with the spirits (Davy 1975a: 12). He was heartened to discover that geometry (and mathematics more generally) was about invisible realities that had been discovered by humans. From 1879 to 1883 he studied mathematics and physics at the Technische Hochschule (Institute of Technology) in Vienna. Steiner funded his studies by working as a tutor, chiefly in philosophy, classics, and literature. During this time he met two people who would significantly affect his development; “an old peasant herb-gatherer … [who] possessed faculties of spiritual perception which allowed him to see deep into the secrets of nature and know, for example, the curative properties of herbs” and “Professor Karl Julius Schroer, the great Goethe scholar” (Davy 1975a: 14). After graduation he was employed at the Goethe Archive in Weimar, where he worked on Goethe’s scientific writings under the direction of Joseph Kürschner, who was preparing a new edition of Goethe’s works (Landau 1935: 50). In 1891 Steiner received his doctorate in philosophy from Rostock University and the next phase of his intellectual and spiritual quest began. This was concerned to relate the philosophy of Friedrich Nietzsche (1844-1900) to that of Johann Wolfgang von Goethe (1742-1832). From 1897 to 1900 Steiner resided in Berlin, where he edited the
Magazin für Literatur
, “visited Nietzsche, [and] wrote introductions to the works of Schopenhauer” (Schwarz 1983: 11). During this period
he became deeply interested in Theosophy and was a key player in the establishment of the Nietzsche Archive. In 1902 Steiner became head of the Theosophical Society in Germany. Yet, his orientation shifted in the first decade of the twentieth century as he embraced a combination of natural science and esoteric Christianity, partly through the influence of Marie von Sivers, an actress and artist of Russian extraction (Davy 1975a: 20). Von Sivers became his second wife in 1914 after the death of Anna Eunicke, whom he had married in 1899 and separated from a few years later. In 1901 von Sivers had asked Steiner “[w]ould it be possible to create a spiritual movement based on European tradition and the impetus of Christ?”
The Theosophical Society had always looked to Hinduism and Buddhism, to the East, for spiritual inspiration; Madame Blavatsky’s “Masters” were Tibetan lamas, and Annie Besant, her successor, and her colleague Charles Webster Leadbeater promoted Jiddu Krishnamurti as the next World Teacher (
Maitreya in Buddhism, also known as the “Cosmic Christ”). It was Theosophy’s endorsement of Krishnamurti that caused Steiner to leave the movement, and to form the Anthroposophical Society late in 1912. The first meeting was convened on 13 February 1913. Steiner was convinced of the crucial and unrepeatable nature of the “Christ impulse,” which was introduced into the human soul through the “Mystery of Golgotha” (Steiner 1976: 63). Christ, for Steiner, was the paradigmatic Being, and a human being at that. Anthroposophy means “the wisdom of man,” and is therefore explicitly contrasted with Theosophy, “the wisdom of God.” Steiner thought that modern
spiritual knowledge should depend, not upon external revelations, but rather upon the development of human mental powers … He claimed to teach nothing he had not himself known through … methods of “spiritual scientific” research … Until his death in 1925, he worked … to develop examples of practical applications of anthroposophy in diverse fields, including education, agriculture, economics, medicine – and architecture (Adams 1992: 185).
Steiner taught that modern humans, influenced by empirical science and logical reasoning, had lost the consciousness possessed by ancient humans, in which the individual was understood to be a microcosm of the universe, and life had meaning accordingly. He advocated the gaining of “Initiation knowledge” of “Mysteries,” which involved developing the human will; and cultivating active thinking, which becomes “an organ of touch for the soul, so that we may feel ourselves thinking in the same way that we walk, grasp or touch; so that we know that we are living in a real being” (Steiner 1991; 13-14). Steiner continued to employ Theosophical concepts, including: the notions that human beings have an etheric body beyond the physical, and an astral body beyond the etheric; the existence of higher beings,
karma
and reincarnation, and the essential unity of religion and science. He placed great emphasis on the cultivation of Imagination, Inspiration, and Intuition, which are creative capacities in ordinary human life. Yet Steiner argued that, like the capacity for love, quotidian experiences of imagination, inspiration, and intuition were only “dim promptings,” a “shadow- picture[s]” of highest cognition, the attainment of which humans must strive toward (Steiner 1991: 25). Like his near contemporary G. I. Gurdjieff (1866?-1949), Steiner spoke of the radical discontinuity between subjective human states, and “objective”
love, art, and so on. Both men, following Madame Blavatsky’s lead, presented their esoteric teachings as occult science, a comprehensive system that restored to modern humans their ancient spiritual birthright, and which had the capacity to create a true self, delivering moderns from the splintered identity they customarily experienced. Both systems were cosmological in orientation, presented the physical world as alive, and engaged in processes of transformation. Steiner argued that sleep and dreams were access points to the supersensible world, where spiritual beings could be encountered, and that these beings could waken dead matter, transforming it into living nature:
[a]ll … in those hills, is expecting that one day it will be able to dream, and so with dream- consciousness to take hold of lifeless matter, and from these rocks and hills to conjure forth once more as embryos, seeds, living plants. It is indeed these beings who bring before our souls a wonderful magic of nature, a creating from out of the spirit (Steiner 1991: 77).
Anthroposophy understands all within the physical world to be evolving into higher forms, and in humans the development of spiritual senses enables the “digestion” of experiences by the soul. With this digestion, certain cosmological realisations are possible; for example, recognition of the interrelatedness of the human being with the whole of creation will lead to the person “becom[ing] a living Zodiac” or absorbing the wisdom of the dead (Steiner 1975: 37). It is crucial that humans learn that “the world [is] a book which the Hierarchies have written for us, in order that we may read in it, then only do we become Man in the full sense of the word” (Steiner 1975: 77). For Steiner, becoming “Man” fully involved the realisation that the human was a microcosm of the macrocosmic cosmos. The logical consequence of this is that the human being is the model for everything; the system that offers the key to all other systems. In 1911, Steiner wrote a poem for Marie von Sivers, which began, “Shaping the world in the self/ Seeing the self in the world/ Is the breath of the soul” (Steiner and Steiner-Von Sivers 1988: 121). The centrality of Christ in Anthroposophy follows from this teaching, and Steiner’s teaching contained many examples of this “fractal” structure in which each component is broken down into components that are smaller models of the whole. The layering of physical body, etheric body, astral body, and Ego is similar, though the underlying principle is not one of size but spiritual development (King 1987 [1986]: 360). Anthroposophists often use homeopathy, a form of holistic treatment developed by Samuel Hahnemann (1755-1843), which operates on the same principles of intensification through breaking down to minute quantities, reflecting the occult teaching of the
Emerald Tablet
of Thoth (or Hermes), “as above, so below” (Shumaker 1972: 165). Hahnemann believed that like substance should be employed to cure like ailment, and Francis King states that, “[h]ighly dynamized or potentized medicaments are possessed of qualities pertaining to non-material modes of being” (King 1987 [1986]: 64). The cosmological dimension is not neglected either; cosmic data, such as planetary events, are also factored into the process of making remedies within Anthroposophy. Steiner’s debt to his master, Goethe, is everywhere apparent; Goethe had spoken of coming to understanding through “the inner sense” and had asserted that, “every living thing is not an isolated being, but a majority” (quoted in Pehnt 1991: 9). He was notably influenced by Goethe’s notion of metamorphosis; if the archetype of a plant was located, “out of that conceptual archetypal plant one could think out countless numbers of special forms” (Steiner 1938: 3). Chapters in this
volume by Liselotte Frisk and Alex Norman treat other aspects of Steiner’s Anthroposophical teachings.
Steiner’s Teachings on Art
Due to his concentration on the human development of Imagination, Inspiration, and Intuition, Steiner accorded a prime place to artistic endeavours within his system of esoteric development. He understood that the imaginative capacity was engaged when human consciousness was clear of physical “pictorial impressions” and filled with “etherically pictorial impressions.” When these were cleared from consciousness and the person was aware of the void, “into that state of voidness pour astral impressions” (King 1987 [1986]: 37). This signalled that the inspirational capacity was engaged. When the intuitive capacity was engaged, Steiner claimed that the spiritual has been “brought to full consciousness and has been born to a new life in which he or she is a spirit being dwelling amongst other spirit beings” (King 1987 [1986]: 38). Steiner himself worked in a wide range of creative arts with notable success; he was a poet, sculptor, painter, and architect, “the creator of a new art of movement,” Eurythmy, and a dramatist (Klingborg 1975: 48). Steiner himself allied the arts very closely with true religion, saying “Anthroposophical Spiritual Science is from the beginning so placed, that it flows as one stream from a source out of which both art and religion in their origins can also flow” (Steiner 1938: 7). Steiner’s ideas on the spiritual function of art reflected a wider concern in European society just prior to the outbreak of World War I; for example, the Theosophically-inclined Russian artist Wassily Kandinsky (1866-1944), a member of the art movement
Der Blaue Reiter
(“the blue rider”) published the hugely influential
On the Spiritual in Art
(1912), which called for a return to the spiritual as the fundamental inspiration for art and the principal aim of artistic production (Fant, Klingborg and Wilkes et al 1975: 9-10). Steiner commenced writing a series of Mystery Plays in 1909 with Marie von Sivers, who as mentioned above, was an actress. The four resulting plays were pictorial scenes intended to convey spiritual truths, and were performed in theatres. The four titles were “The Portal of Initiation: A Rosicrucian Mystery” (1910), “The Soul’d Probation: A Life Tableau in Dramatic Scenes” (1911), “The Guardian of the Threshold: A Series of Soul Events in Dramatic Pictures” (1912), and “The Soul’s Awakening: A Drama of the Soul and Spirit” (1913) (Steiner 2007). Drama is an embodied art, and in Steiner’s lecture series
The Arts and Their Mission
(1923) he placed great emphasis on the fact that ancient peoples in Greece, Rome, India, and other countries were at harmony with their bodies and did not suffer from the mind- body dualism that plagues modern people. As important as the unity of the mind and body, Steiner asserted, was the “unity of spiritual life and art,” which Goethe deeply apprehended but which is no longer experienced (Steiner 1964: 15). Unsurprisingly, Steiner was critical of mimetic art, claiming that it could only reproduce things in nature, whereas true art could express “kinship with the spiritual world” (Steiner 1964: 16), and was experiential; it was not sufficient to see the colour red but it was necessary to experience “red or blue in the spiritual world” (Steiner 1991: 21). In art, as in spiritual exercises and authentic life experiences, humans were enabled to be truly themselves. Therefore Steiner paid close attention to the body, teaching on food and diet, clothing and costume, and art forms that partook of bodily experience.
The movement art of Eurythmy shared certain qualities with the Mystery Plays, in that both art forms were externalisations of “innermost laws” that were perceived through bodily actions. The first Eurythmy classes were taught in 1912, and by 1919 two courses of training had been developed and Steiner’s eurythmists had toured Europe giving public demonstrations. Marie von Sivers and Lory Smits, an early teacher of the art, contributed significantly to its development. The esoteric meaning of Eurythmy was emphasised by Steiner:
[w]e are setting the human organism in motion; we are making its limbs move. The limbs, more than any other part of the human body, are what pass over into the life of the next incarnation. They point to the future, to what comes after death. But how do we shape the limb movements we bring forth in eurythmy. In the sense realm and in the supersensory realm we study how the larynx and all the speech organs have been brought over from the previous life and shaped by the intellectual potentials of the head and the feeling potentials of the chest. We directly link what precedes birth with what follows death. In a certain sense, we take from earthly life only the physical medium, the actual human being who is the tool or instrument of eurythmy. But we allow this human being to make manifest what we study inwardly … Eurythmy shapes and moves the human organism in a way that furnishes direct external proof of our participation in the supersensory world. In having people do eurythmy, we link them directly to the supersensory world (Steiner 2006: 17).
Eurythmy is thus explicitly cosmological and anthropological, linking the human person’s body as it manifests in this lifetime with their previous and future lives and with the universe of which the person is a microcosm. In Anthroposophical circles Eurythmy has been referred to as the speech of the soul. Steiner wrote extensively on literature, music, and painting, but for the purpose of this chapter his remarks architecture are most relevant. He stated, “[o]h soul, if you wish to leave the physical body in order to regain a relationship with the cosmos, what aspect will you take on? – this was the question. The forms of architecture were, so to speak, answers” (Steiner 1964: 23-24). From the perspective of the production of culture, “the symbolic elements of culture are shaped by the systems within which they are created, distribute, evaluated, taught, and preserved” (Peterson and Anand 2004: 311). In the case of Steiner’s buildings in Dornach, the ‘system’ is Anthroposophy. For Steiner, buildings (like all art forms) should not slavishly imitate forms witnessed in nature, but should rather exhibit organic forms like living nature, and stand in the same mirror relation to nature as the human body does to the macrocosmic universe. For Steiner, in a very real sense, buildings were alive. His application of Goethe’s notion of metamorphosis to architecture meant that, to quote Rex Raab, “the transformation of mass and shape according with a recognisable motive or theme appropriate to the task, creates ‘the appearance of consciousness’” (Raab 1975: 70). For Steiner, the building and its natural setting created “landscape,” which was creative and active, and spiritual power (for example, from the cardinal directions or the heavenly bodies) could be tapped through the strategic design of buildings (Bockemühl 1981: 42). This made environments like Dornach able to facilitate the spiritual development of those people who lived there and interacted with the architecture. In short, human creativity was intimately connected to divine creativity.
Goetheanum I at Dornach .…
During World War I, Steiner and his followers began constructing Goetheanum I on a hill in Dornach. Wolfgang Pehnt observes that, at that time, the Birs valley was open country, “half cultivated nature and half a little world of buildings” (Pehnt 1991: 7). Steiner’s architectural ambition for the Anthroposophical headquarters was initially to erect a twin-domed meeting hall, provisionally called the Johannesbau, in Munich. This was conceived as a Theosophical structure, as he had decorated the interior of the Tonhalle in Munich for the 1907 European Theosophical Congress, and there was enthusiasm for a building in which Steiner’s Mystery Plays, discussed above, could be performed in (Schwarz 1983: 14-26). Architect Carl Schmid-Curtius was engaged to realise Steiner’s design concept. But in May 1913, after Steiner broke with the Theosophical Society, his friend Dr Emil Grosheintz donated land in Dornach to be the site of the building, now to be called the ‘Goetheanum’. There was only one structure on the hill at the time, in which Steiner resided. The foundation stone, which was aligned east-west, was laid with great ceremony (in which Steiner invoked spirit guides and protectors, and noted the stone’s formation “in accordance with the cosmic picture of the human soul”) on 30 September 1913 (Schwarz 1983: 36). Nearly two hundred of Steiner’s pupils, from seventeen different countries, worked on Goetheanum I in 1913 and 1914. The building was 272 feet long, 243 feet wide, and 111 feet high, with a sixty-five thousand cubic metre interior space. It was oriented east-west, with the stage beneath the smaller of the two domes and the seating area beneath the larger. Rex Raab notes the “domes were clad in Norwegian slate, which shone silvery in the Jura landscape” (Raab 1975: 63). A major sculpture,
The Representative of Humanity
, nine metres high and sculpted of wood, by Steiner and his collaborator Edith Maryon, depicted the dark and light aspects of being (which he named for Ahriman, the Zoroastrian “Evil Spirit” and Lucifer, the Biblical angel and “Light Bearer”), stood in the Goetheanum. These figures represented the closed self and the open self, and were united by the central figure of Christ, “The Representative of the Human” (Klingborg 1975: 50). The acoustic qualities of the structure were important in that it was intended for performances. Goetheanum I was built of wood; Rom Landau says that, “Steiner used for its construction the same seven different kinds of wood which are used for the construction of a violin, and the ceiling of the main hall was as buoyant as the walls of a violin” (Landau 1935: 71). In a 1921 lecture, Rudolf Steiner repudiated the idea that Goetheanum I should be read symbolically, rather asserting that it was built according to laws that made possible the “revelation of the supersensible world in the sensible” (Steiner 1938: 9). He further claimed that the organic forms of the structure were an attempt to explore creation itself, in the manner of Goethe’s idea of metamorphosis. The macrocosmic-microcosmic principle described above was present in the first Goetheanum; at one point Steiner, describing the stair-hall, says;
I arrived, through feeling, at the development of these three semi-circular canals standing in the three directions of space at right-angles. If you go up this staircase, you have this calming sensation. It is not copied – that it certainly is not – but afterwards I remembered that the three semi-circular canals of the ear also stand in these three directions of space. When they are injured, man falls down in a faint: they are therefore closely connected to the laws of balance. It did not arise out of a naturalistic desire to copy, but from experiencing the same element by which the aural canals are arranged (Steiner 1938: 12).
This quotation makes it clear that, for Steiner, mimetic art (that which seeks to copy nature and produce “life-like” artistic products) is an inferior, or perhaps entirely
illegitimate form of art. Spiritual art, which brings people into contact with the supersensible through the sensible, is, rather, the production of artworks that embody certain laws that resonate with the embodied viewer. He does allow that the first Goetheanum featured some occult symbolism (for example there were five pointed forms that could be interpreted as pentagrams, though they could also be seen as leaves), but in general the building’s effect was intended to be emotional rather than intellectual. The building’s interior featured just one inscribed word, “Ich.” Of this, Steiner said it referred to “Faust striving towards the fully-conscious ‘I’ – towards the ‘ICH’ embodying itself in the word. The older languages had ‘I’ incorporated in the verb; in this epoch it is right that a separate word for it should appear” (Steiner 1938: 16). The interior of the Goetheanum was flooded with symbolic colours, facilitated by huge red and yellow glass windows and “luminous wall paintings” that exemplified the colour theory of Goethe (Adams 1992: 200). By the time the Goetheanum I was finished, Schmid-Curtius was no longer involved, and the team of Ernst Aisenpreis (who also worked on the Goetheanum II) and Hermann Ratzenberger, assisted by Albert von Baravalle, oversaw the final stages of construction (Schwarz 1983: 51). Goetheanum I was sited among other early buildings at Dornach, including Haus Duldeck (now the archives), the Boiler House (with its dramatic “flame” chimney), and the Glashaus, all constructed between 1913 and 1916. The latter two also featured twin domes, and all exhibited an absence of straight lines and a preponderance of curves and organic forms (Adams 1992: 187-188). On 31 December 1922, New Year’s Eve, a Eurythmy performance was held in Goetheanum I at 5 PM, and at 8 PM Steiner delivered a lecture to the audience. At the close of the evening most people left; shortly after, the building was discovered to be on fire (Anon 1923). It was not possible to save it, and Goetheanum I was destroyed after eight brief years. Anna Samweber, in her memoir of life with Steiner and his wife, describes the rescue of the sculpture, “The Representative of Humanity,” from the flames. She also notes the fear that the nearby Schreinerei, a building “with the halls and Rudolf Steiner’s studio,” might also catch alight (Samweber 1991: 30). Although it was never proven, many Anthroposophists believed that the fire was arson; that “non-Anthroposophists could not bear the beauty that was created for such a unique spiritual group” (Steinberg 1976: 57). Steiner was deeply distressed by the destruction of Goetheanum I, and his health began to decline. He decided that the second Goetheanum would be built entirely in concrete to render it more durable.
Haus Duldeck. There was considerable opposition to the erection of Goetheanum II by the local council, probably motivated by hostility to Steiner and Anthroposophy, despite the movement’s considerable contribution to the local economy (Steinberg 1976: 61-62). Conformity to the building permit resulted in a reduction of height of the west front and a widening of the horizontal wings. The vital importance of the second Goetheanum is evident in the fact that nowadays Anthroposophists call it simply “the Building” (Sharp 1963: 377). Steiner’s considerable talent as an amateur architect is richly evident in the second Goetheanum. The exterior sculptural mass has a plain east end, almost a flat wall, and develops towards the west, with the west front as the “face” of the building opening onto the landscape. It is radically different from the earlier building; some Anthroposophists regard it as a poor substitute. This is partly because Goetheanum I had been funded through donations, whereas Goetheanum II was largely funded through an insurance payout. Additionally, the concrete structure, although larger, spelled “the relinquishment of detailed work by hand, the farewell to a vast sun of invested creativity” (Pehnt 1991: 21). Steiner and his wife acknowledged the tragic loss of Goetheanum I but stressed the need for a second School of Spiritual Science to be erected swiftly, and Steiner’s design for the concrete building utilised the same notion of metamorphosis and transformation from Goethe. Sharp describes it as “a piece of living sculpture” (Sharp 1963: 378) and Hans Hasler, in his discussion of the major conservation operation undertaken between 1993-1996, emphasises the plasticity and dynamism of concrete as a building material (Hasler 1999:9-11). Hagen Biesantz notes that the ground plan retains the cruciform shape of Goetheanum I, but the double space created by the two cupolas has given way to a threefold space, which relates to Steiner’s theory of the “threefold division of the social and human physical organisms” (Biesantz 1979: 59). Only the windows provide some indication of the function of the rooms concealed within the building; for example “the three high side windows tell us that the great hall is behind them” (Pehnt 1991: 7). Writers on the Goetheanum constantly stress its organic forms, and Wolfgang Pehnt argues that the group of Anthroposophical structures in Dornach exemplify Steiner’s theory, taken from Goethe, of “architecture and architectural ensembles as societies of biological species … a biotope” (Pehnt 1991: 9). Although Steiner did not design the interior of Goetheanum II in the same detail that he did for Goetheanum I, Anthroposophical teachings inform the general scheme. The Great Hall has four long windows, which are coloured “as in the first Goetheanum … green, blue, violet and pink” (Biesantz 1979: 69). The Great Hall was actually completed by Johannes Schöpfer, a Stuttgart architect, chosen by competition in 1957. Georg Hartmann’s study of the windows notes that Goetheanum I had nine coloured glass windows, two sets of the above-mentioned four colours, and the central red window over the west entrance. He claims that, “the motives of the coloured glass windows deal with the experiences of the human being, searching for spiritual knowledge” (Hartmann 1972: 17). In Goetheanum II, the huge red window in the west wall features the human face, the four evangelists’ symbols from the New Testament (the lion, bull, eagle, and the man), and occult symbols such as the lotus, the swastika, and planetary images, such as that of Saturn. Olav Hammer notes that when writing about the significance of colour, “Steiner informs us that purple is the color of mysticism, blue calms the soul, red gives a feeling of festivity, while green is associated with the earthly domain” (Hammer 2009: 214). Anthroposophical poet.
As Steiner had no formal training as an architect, Anthroposophists have been inclined to treat his achievements in the field as evidence of his extraordinary creativity and spiritual development. Within Anthroposophy it is not acceptable to speak of Steiner being influenced by other architecture of the period, although Dennis Sharp has made an excellent case for the inclusion of Steiner within the category of Expressionist architecture, a sub-field of the broader Expressionist movement in art
(Sharp 1963). Sharp argues that Steiner was influenced by the Art Nouveau style, the Belgian architect Henry van de Velde (1853-1957), and the exuberant Catalan Antoni Gaudi (1852-1926), whose own creations were inspired by his passionate though rather unorthodox Roman Catholicism. Sharp contextualises Goetheanum II with the works of Hermann Obrist (1863-1927) and Hermann Finsterlin (1887-1973) (Sharp 1963). The title of this chapter, “And the Building Becomes Man,” is a motto written over the south window of the model of Goetheanum II on display in Brodbeck House, a house that predated the second Goetheanum and which now has the Eurythmeum built as an addition to it (Turgeniev 2003: 61). It is a romantic notion, yet one that encapsulates the core of Steiner’s Anthroposophical teaching that the human being is the basic unit of the cosmos, the fractal model on which larger and smaller structures are based. Steiner’s architecture, though striking and beautiful and appreciated by architectural experts, casual tourists, and Anthroposophists alike, cannot really be understood without reference to the Anthroposophical worldview and Steiner’s “spiritual science.” Pehnt notes wryly that, “Steiner’s inspiration seems always to be productive in architects who apply his methods without feeling committed to the results achieved at the time” (Pehnt 1991: 39). Brain has argued that “the production of cultural objects can be more closely tied to the to the conditions of possibility for social action in general – not only at the level of meaning, but at the level of the capacity to conceive and enact strategic action” (Brain 1994: 218). Goetheanum II in Dornach is a structure of crucial significance for Anthroposophists the world over, and visiting it (whether to study Eurythmy or some other aspect of Steiner’s spiritual science, or simply to feel close to Steiner and the transformational philosophy of Anthroposophy) is a deeply meaningful experience. Brain continues that cultural objects such as Goetheanum II (and the practices that take place within it, including the visual arts and Euythmy) illuminate “the making of the social world that goes on in the practices through which culture producers inscribe intentions in artefacts, and social actors, generally, make sense
with
things” (Brain 1994: 218). Steiner, of all esoteric and new religious teachers of the early twentieth century, was acutely aware of the peculiar value of cultural production, an activity with which he engaged with tireless energy, and considerable (amateur and professional) skill and achievement. It is true that the majority of architects inspired by Steiner are not Anthroposophists, and have only a limited understanding of the underlying principles of Goetheanum II, being enamoured of its aesthetic qualities alone. This, however, still confirms Goetheanum II as a consummate cultural product of Anthroposophy, and one that continues to amaze and delight all those who are fortunate enough to visit Dornach.
www.academia.edu/738542/_And_the_Building_Becomes_Man_Mea...
The whole of the Gospel of St. John culminates in that event in human history which we call the “Mystery of Golgotha.” To comprehend this Mystery of Golgotha esoterically predicates also the ability to decipher the deep significance of this Gospel. If we turn our attention to what exists at the very central point of this Mystery and wish to express it in occult terms, we must contemplate the moment of the Crucifixion when the blood flowed from the wounds of the Saviour, and at the same time we must remember something which has often been said in the course of these lectures, that for one who knows the spiritual worlds, all material, substantial, physical objectivity is only the outer expression, the external manifestation of something spiritual. Now let us permit the physical event to arise before our souls: Christ-Jesus upon the Cross, the blood flowing from His wounds. What does this picture, the content of which is a physical event, express for those who are able to understand the Gospel of St. John?
This physical event — the occurrence on Golgotha — is the expression, the manifestation of a spiritual event which stands at the central point of all earthly happenings. Anyone interpreting these words according to the present materialistic world concept will not be able to make much out of them, for he will not be able to imagine that at that time something occurred in this unique Event of Golgotha which differs from some other like event, or from one perhaps physically similar. There is a very great difference between all the earthly occurrences which preceded this Event of Golgotha and those that succeed it.
If we wish to picture this in the soul in all its detail, we must say that not only has the individual human being, or for that matter any other individual creature, a physical, ether and astral body as we have described it from many aspects in the foregoing lectures, but that cosmic bodies likewise do not consist only of physical substance as they appear to the astronomer and to other physical researchers. A cosmic body has also an ether and an astral body. Our earth has its ether and astral vehicles. If our earth did not possess its own ether body, it would not be able to harbour the plants; if it did not possess its own individual astral body, it would not be able to shelter the animals. If we wish to visualize the earth's ether body, we must imagine its central point exactly at the center of the earth where the physical earth body also has its central point. This entire physical earth body is embedded in its own ether body and these two are again embedded in an astral body. If someone had observed clairvoyantly the astral body of the earth during the course of the earth's evolution, during the course of long epochs of time, he would have seen that, as a matter of fact, this astral body and ether body of the earth have not always remained the same, that they have changed. In order to represent the matter quite pictorially, let us in spirit transplant ourselves outside beyond the earth to some other star, and let us imagine a person with clairvoyant vision looking down upon the earth from this star. He would not only see the earth suspended there as a physical planet, but he would see an aura about it, he would see the earth surrounded by an aura of light, for he would be perceiving the earth's ether and astral bodies. If this clairvoyant person were to remain a long time on this distant star, long enough to have observed the pre-Christian periods of the earth pass by and the Event of Golgotha approaching, the following spectacle would have presented itself to him. Before the Event of Golgotha the aura of the earth, the astral and ether bodies offered a certain aspect of colour and form, but following a particular, definite moment of time, he would have seen the colour of the entire aura changing. What was this particular moment of time? It was the very moment when the blood flowed from the wounds of Christ-Jesus upon Golgotha. All spiritual earthly relationships, as such, changed from this moment.
It has been previously stated that what is called the Logos is the sum total of the six Elohim who, united with the sun, present the earth with their spiritual gifts, while externally the physical sunlight is falling upon the earth. Therefore the light of the sun appears to us like the outer physical body of the spirit and soul of the Elohim or of the Logos. At the moment of the Event of Golgotha, that force, that impulse which formerly could only stream down upon the earth as light began to unite with the earth itself. And because the Logos began to unite with the earth, the earth's aura became changed.
We shall now consider the Event of Golgotha from still another point of view. We have already reviewed the evolution of the human being and of the earth from various standpoints. We know that our Earth, before it became the Earth, passed through the three embodiments of Saturn, Sun and Moon. Therefore the embodiment just preceding that of our Earth was that of the ancient Moon. When a planet has attained the goal of its evolution, something happens to it similar to what happens to a human being who, in a certain incarnation, has attained his life's goal. The planet passes over into a different invisible existence, a state called a “Pralaya” and then after a time it embodies itself anew. Thus between the previous embodiment of our Earth, the Moon Evolution, and the Earth's present embodiment, there existed an intermediate state. Out of a sort of spiritual, self-animated, externally invisible existence, the Earth gleamed forth in its earliest state and out of this state developed those states which we described yesterday. At that time, in that early age when our Earth gleamed forth, it was still united with all that now belongs to our solar system. It was then so large, that it reached to the furthest planets of this solar system. All was unity, for only later individual planets became segregated. The present earth up to a certain point of time was united with our present sun and moon. Thus we see there was a time when sun, moon and earth were a single body. It was as though you were to take the present moon and sun and stir them together with the earth and thus make one large cosmic body. This was our Earth once upon a time when your astral body and your ego were floating about in a vapour-like form. Even earlier than this the sun, moon and earth were joined together. At that time the forces which are now in the sun — the spiritual and physical forces — were bound up with the earth. Then came a time when the sun separated from the earth; but not only did the physical sun with its physical light which can be seen with physical eyes depart, but with it all its spiritual and soul beings at whose head stood the Elohim, the real Spirits of Light, the denizens of the sun. What was left, was a mixture of the present moon and earth. Then for a time the earth, though separated from the sun, was still united with the moon. It was not until the Lemurian period that the moon separated from the earth, when, as a result, there arose that relationship between these three bodies, sun, moon and earth, that exists today. This relationship had to occur. The Elohim had to act from without. It was necessary for one of them to become Lord of the moon and from there reflect the powerful force of the other Elohim. We live at present upon our earth as though dwelling upon an island in cosmic space which has separated from the sun and moon. But the time will come when our earth will once more unite with the sun and again form one body with it. Then human beings will be so spiritualized that they will again be able to bear the stronger forces of the sun, able to receive them and unite them with themselves. They, together with the Elohim, will then occupy the same field of action.
You will ask, what is the force that will bring this about? Had the Event of Golgotha not occurred, the earth and the sun would never be able to reunite. For through the Event of Golgotha, which bound the force of the Elohim in the sun to the earth — in other words the force of the Logos — the impulse was given which will again eventually impel one Logos-force toward the other, and finally once more unite them — sun and earth — in one body. Since the Event of Golgotha, the earth, spiritually observed, is possessed of the force to draw the sun again into a unity with it. Therefore it can be said that through this great Event, the force of the Logos, which formerly radiated down upon the earth from without, was now taken up into its spiritual being. The question may be asked, what existed previously within the body of the earth? It was that force which streamed down upon it from the sun. But since that time, what exists there within the earth? The Logos itself which through Golgotha has become the spirit of the earth.
As truly as your soul and spirit dwell within your physical body, do also the soul and spirit of the earth dwell within the body of the earth — that earthly body which consists of stones, plants and animals and upon which you tread. This soul and spirit, this earth spirit is the Christ. Christ is the spirit of the earth. When the Christ spoke to His most trusted disciples on an occasion which can be numbered among the most intimate of such occasions, what did He say to them? With what mystery had He occasion to entrust them? He was able to say to them: “It is as though you can gaze into your own soul from your physical body. Your soul is within. It is the same when you observe the whole earth-sphere. That spirit which for a time now stands here before you in the flesh is also the spirit of the earth and will always continue as such.” He had occasion to point to the earth as to His real body and ask: “When you behold the cornfield and then eat the bread that nourishes you, what in reality is this bread which you are eating? You are eating My body. And when you drink of the plant sap, it is like the blood in your own body; it is the blood of the earth — My Blood!” — These were the very words that Christ- Jesus spoke to His most intimate disciples and we must take them very literally. Then when He called them together and expounded to them symbolically what we shall call the Christian Initiation, He uttered those extraordinary words which we find in the 18th verse of the 13th Chapter of the Gospel of St. John, where He announced that one among them would betray Him:
“He who eats My bread treads me under foot.”
These words must be taken literally. Men eat the bread of the earth and tread upon the earth with their feet. If the earth is the body of the Earth-Spirit, that is, of the Christ, then men tread with their feet the earth's body, the body whose bread they eat. An immense deepening of the idea of the Last Supper as presented in the Gospel of St. John is granted us, when we learn about the Christ, the Earth-Spirit, and about the bread which is taken from the body of the earth. Christ points to the earth and says: “This is My body!” Just as the muscular human flesh belongs to the human soul, so does bread belong to the body of the earth, that is to the body of the Christ. And the sap that flows through the plants, which pulsates through the vine stalk, is like the blood pulsating through the human body. Pointing to this, the Christ says: “This is my blood!” That this truthful explanation of the Last Supper can cause some of the sanctity to be lost which has always been associated with it can only be imagined by someone possessing no understanding of it or who has neither desire nor capacity for such an understanding. But anyone who wishes to understand will acknowledge that this does not cause it to lose in holiness, but that through it the whole of the earth-planet becomes sanctified. What powerful feelings can be engendered in our souls, if we can behold in the Last Supper the greatest mystery of the earth, the connection between the Event of Golgotha and the entire evolution of the earth; if we can learn to feel that in the Last Supper the flowing of the blood from the wounds of the Saviour had not only a human, but a cosmic significance, that is, it gave to the earth the force to carry forward its evolution.
Anyone who understands the profound meaning of the Gospel of St. John will feel not only united through his physical body with the physical body of the earth, but as a psycho-spiritual being will feel united with the psycho-spiritual being of the earth which is the Christ Himself, and then he will feel how the Christ, as the Spirit of the Earth, flows through his body. When we have this experience, we are able to ask: what illuminated the writer of the Gospel of St. John at that moment when he was able to behold the profound mysteries which have to do with Christ-Jesus? He beheld the forces, the impulses which are present in Christ-Jesus, and he perceived how these impulses must be active in mankind, if only mankind will receive them.
In order to understand this quite clearly, we must once more bring before our souls the way in which human evolution actually takes place. The human being consists of physical, ether and astral bodies and an ego. How does this evolution occur? By the ego gradually working through the other three members, purifying and strengthening them. The ego is called upon gradually to purify the astral body, to cleanse it and to raise it to a higher level. When the entire astral body has been purified and strengthened by the special forces of the ego, it becomes Manas or Spirit-Self. When the ether or life-body has been thoroughly worked over and strengthened by the force of the ego, it becomes Budhi, or Life-Spirit. When the physical body has been fully overcome and conquered by the ego, it becomes Atman or Spirit-Man. Then will the human being have reached the goal which above all lies in store for him. That, however, will be attained only in the far distant future. Moreover, we wish it to be quite clear that the ego acts in full consciousness in what has just been described; namely, that the human being consisting of the four members — physical, ether and astral bodies and ego — works by means of the ego upon the other three members, transforming them into Spirit-Self, Life-Spirit and Spirit-Man. For the most part this is not yet the case with present humanity which, as a matter of fact, is just beginning, fully conscious, to work a little of Manas into its astral body. The human being is doing this now. Through the help of higher beings he has already, although unconsciously, worked upon his three lower members during this Earth evolution. In ancient times he unconsciously worked over the astral body, and this then became permeated by the Sentient Soul. The ego unconsciously worked into the ether body and this unconsciously re-formed ether body is what you will find described in regular sequence in my book Theosophy as the Intellectual Soul, and that part of the physical body, unconsciously worked upon by the ego, you will find described there as the Consciousness Soul. The Consciousness Soul only came into being toward the end of the Atlantean period when the ether body — previously outside the physical body in the head region — gradually drew wholly within it. Through this the human being learned to utter the word “I.” Thus variously-membered, he gradually passed over into the post-Atlantean period. It is the task of our age to work Manas or Spirit-Self by degrees into what had previously been received unconsciously. The human being must, as it were, develop Manas within himself by means of all the forces he has acquired by virtue of possessing a physical, an ether and an astral body, a sentient, an intellectual and a consciousness soul; by means of all the forces which these various members can give him, he must develop Manas and also, although in a very small degree, the germ of a Life-Spirit or Budhi. Therefore our post-Atlantean age has the important task of helping the human being to develop consciously these higher members of his being (Manas or Spirit-Self, Budhi or Life-Spirit and Atman or Spirit-Man) in the distant future when he will at last have reached his goal. He must from now on, by degrees, develop within himself the force to evolve his higher members out of his lower.
Let us now ask: what has been the condition of the human being that has kept him from already developing these higher members, and what will be the difference in the future? How will the humanity of the future differ from that of the present?
When at last the whole of the higher man has been developed, the entire astral body will be so completely purified that it will simultaneously become Manas or Spirit-Self; the ether body so thoroughly purged that it will simultaneously become Life-Spirit or Budhi, and the physical body will be so greatly metamorphosed that it will, at the same time, be as actually a Spirit-Man, Atman, as it is now a physical body. The greatest force will be needed to conquer this lowest body, hence the conquest and transformation of the physical means the greatest victory for the human being. When mankind has fully perfected the physical body, this physical man will then become Spirit-Man or Atman. All this is at present only in germ within the human being, but a time will come when it will live in him in its fulness. And by lifting his gaze to the Christ Personality, to the Christ Impulse, by energizing and strengthening himself through this Christ Impulse, he draws into himself the force that can accomplish this transformation.
Since humanity of the present has not yet perfected this metamorphosis, what is the result? Spiritual Science makes this very clear. Because this katharsis of the astral body has not yet been accomplished, that is, the astral body has not yet transformed itself into Spirit-Self, selfishness or egotism is possible. Because the ether body has not yet been strengthened by the ego, lying and error are possible; and because the physical body has not yet been fortified by the ego, sickness and death are possible. In a once fully developed Spirit-Self, there will be no more selfishness; no sickness and death, but just health and salvation in the fully developed Spirit-Man, that is, in the fully evolved physical body. What does it mean for the human being to take the Christ into himself? It means that he has learned to understand the forces that are in the Christ, which if taken into himself make it possible for him to become master even of his physical body.
Imagine for example that someone could receive the Christ Impulse fully into himself, that it could completely pass over upon him. The Christ Himself might stand directly in the presence of this person and the Christ Impulse be transmitted to him. What does that signify? If the person were blind, he would yet be able to see by means of the direct influence of this Christ Impulse, for the final goal of evolution is the conquest of the forces of sickness and death. When the writer of the Gospel of St. John speaks of the healing of the man born blind, he is then speaking out of the depths of the Mysteries, he is demonstrating, by means of an example, that the force of the Christ is a healing force when it appears in full power. It may be asked: Where is this force? It is in the body of the Christ, in the earth! But this earth must, in truth, be fully permeated by the being of the Christ Spirit or of the Logos. Let us see if the writer of the Gospel recounts the story with this meaning. How does he relate it?
Standing there is the blind man. The Christ takes some earth, insalivates it and lays it upon the blind man's eyes. He lays His body, the earth, permeated with His spirit upon the blind man. In this description, the writer of the Gospel indicates a mystery which he very well understands. Now laying aside all prejudice, let us talk a little more in detail of this sign — one of the greatest performed by the Christ — in order that we may learn to know more exactly the nature of such a thing and not be disturbed because our very clever contemporaries will consider what has just been said to be sheer madness or folly! There are, however, in the world great and mighty mysteries which mankind is not yet entitled to know. Human beings of the present day, even though they may be sufficiently developed, are not yet strong enough to go through the great Mysteries. They can know of them, they can understand them when they are able to experience them spiritually; but our present humanity, so deeply immersed in matter, is not yet capable of converting them into their physical expression.
All life is, in fact, made up of antitheses and extremes. Life and death are just such extremes. For the thought and feelings of the occultist, there is something very extraordinary in seeing, for example, a corpse and a living human being side by side. When we have a living, waking human being before us, we know that a soul and spirit dwell within him. But as far as consciousness is concerned, this soul and spirit are, as it were, cut off from any connection with the spiritual world; they cannot look into it. If we have a corpse before us, we have the feeling that the spirit and soul which once belonged to it are passing over into the spiritual worlds where consciousness, or the light of those worlds is flashing up within them. Thus the corpse becomes a symbol of what is taking place in the spiritual world. But in the physical world also, there are reflections of what is happening in the spiritual world, but they are of an extraordinary character. When a human being descends again into physical birth, his bodily part must be reconstructed; material substance must, so to say, rush together in order that a body be created for him. For the clairvoyant, this rushing together of physical substance represents the death of consciousness in the spirit world. There it dies — here it becomes alive. In the rushing together of substance to form a physical human body can be seen, in a certain sense, the dying of a spiritual consciousness; while on the other hand, at the moment of decomposition or of the burning of the physical body, when the parts disintegrate and dissolve, the opposite actually becomes manifest in the spiritual world, that is, the awakening of a spiritual consciousness occurs. Physical dissolution is spiritual birth. Therefore all processes of decay and dissolution mean something more than just decay and dissolution to the occultist. A churchyard, spiritually observed, where physical bodies are in the process of dissolution, is the scene of remarkable processes, the continuous flashing up and glistening of spiritual birth; (I am now speaking of what is taking place spiritually in the churchyard itself apart from the human beings there).
Let us imagine for example that a person were to give himself up physically to a certain training — naturally no one would recommend this, for the present physical body could not possibly endure it — to a schooling in which he would train his body to breathe in putrified air for a certain prescribed length of time with the conscious intent of taking in the spiritual processes which have just been described. If he does this in the proper way, then in his following incarnations — it cannot be done in one — he can be incarnated with that force which offers restorative and health-giving impulses. Breathing putrid air belongs to a schooling which gradually gives strength to the spittle, when mixed with the ordinary earth, to become the healing substance which the Christ rubbed upon the eyes of the blind man. This mystery through which a person consumes, eats or inhales death, by which he acquires the power to heal, is the mystery to which the writer of the Gospel refers when he describes such signs as the healing of the man born blind. Instead of declaring without cessation that such and such a thing should be interpreted to mean thus and so, it would be much better were people to learn that such a thing as is described in the healing of the blind man is literally true, that it exists, and that it is possible to have respect for such a personality as the writer of the Gospel and be able to say: “There was such a person who was thoroughly initiated into this mystery about which we must try to acquire an understanding.”
It was, moreover, necessary to call attention beforehand to the fact that we are here in an anthroposophical group in which many prejudices have been eliminated, thus making it possible to speak of such real mysteries as the insalivation of the earth's soil for healing purposes, and to say that such an incident has a literal significance.
However, let us now try to comprehend how, by knowing these facts, we unite with the idea that occupies us today namely, that the Christ is the Spirit of the earth and that the earth is His Body. We have seen the Christ spiritualizing the etheric element in one instance and have seen Him giving up something of Himself in order to perform the miracle we arc considering. Now let us consider something else. Besides what has been said today, let us take what the Christ Himself said: “The most profound mystery of My being is the I AM, and the true and eternal might of the I AM or of the Ego which has the force to permeate other bodies must flow into human beings. It dwells within the Earth Spirit.” Let us hold this clearly in mind and take very earnestly, quite seriously, the fact that, because the Christ wishes to bestow the true ego upon every human soul, He will awaken the God in it and gradually enkindle the Spirit of the Lord and King in everyone. What does this signify? We have here nothing more nor less than the fact that the Christ brings to expression, in the highest sense, the idea of Karma, the karmic law. For when anyone fully understands the idea of Karma, he will understand it in this Christian sense. It means that no man should set himself up as a judge of the inner soul of another human being. Unless the idea of Karma has been understood in this way, it has not been grasped in its deepest significance. When one man judges another, the one is always placing the other under the compulsion of his own ego. However, if a person really believes in the “I AM” in the Christian sense, he will not judge. He will say: “I know that Karma is the great adjuster. Whatever you may have done, I do not judge it!”
Let us suppose that a transgressor is brought before a person who really understands the Christ-Word. What will be his attitude toward the transgressor? Let us suppose that all those who would like to be Christians were to accuse him of a terrible sin. The real Christian would say to them: “Whether what you maintain has been done by him or not, makes no difference, the I AM must be respected; it must be left to Karma, to the great law which is the law of the Christ-Spirit Himself. Karma is fulfilled in the course of earthly evolution. We can leave it to this earthly evolution to determine what punishment Karma shall inflict upon a human being.” He would perhaps turn to the earth and say to the accusers: — “Pay heed to yourselves, it is the duty of the earth to inflict the punishment. Let us inscribe it then upon the earth where it has, moreover, been registered as Karma.”
Jesus went up to the Mount of Olives.
And early in the morning He came again into the temple and all the people came unto Him and He sat down and taught them.
And the scribes and Pharisees brought unto Him a woman taken in adultery; and they placed her in their midst.
They said unto Him, Master, this woman was taken in adultery in the very act. Now Moses in the law commanded us that such should be stoned; but what sayest Thou?
This they said, tempting Him, that they might accuse Him. But Jesus stooped down and with His finger wrote on the ground.
So when they continued asking Him, He lifted Himself up and said unto them, He that is without sin among you, let him first cast a stone at her.
And again He stooped down and wrote on the ground.
But when they heard this, being convicted by their own conscience, they went out one by one, beginning at the eldest even unto the last: and Jesus was left alone, and the woman standing in the midst.
When Jesus had lifted
For anyone who hasn't seen the trailer, or hasn't even heard of this instant-classic, click here.
For my show this weekend, I discovered that I had a 5"x5" gap in my Futurama layout. After having seen a lot of trailers for this movie, I decided to build the hot tub for that spot. :)
It's a little hard to tell here, but there is a yellow light-brick turned on at the bottom of the tub.
I make no claims as to whether this will be a good or bad movie. I find the concept hilarious, and the fact that John Cusack is in it is a definite plus, but don't hate me if it's bad. :)
"The Children’s Own Readers - Book One" by Mary E. Penell and Alice M. Cusack, 1929, illustrated by Marguerite Davis.
Vintage Illustration from "The Children's Own Readers: Book Two" by Pennell and Cusack. Illustrated by Blanche Fisher Laite
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IMG_9336_37 stitch
Also see #roundAustraliawithSpelio
On a local walk with some visiting ACE FOLK...
Gravel pit across in NSW we visited once in 1969 or so... and on li-Los after a float down from Uriarra Crossing
See the search for an historic panorama in a painting by a surveyeor in 1835, or so..
In the mid-1830s, government surveyor Robert Hoddle trudged around much of our region mapping property boundaries. Hoddle also fancied himself as an artist and painted several scenes of his surroundings, especially along watercourses.
However, as Hoddle often exercised a healthy dose of artistic license in his trademark watercolours, some of the landscapes depicted in his art are more recognisable than others.
One painting that has puzzled landscape architects and art aficionados for decades is his dramatic watercolour of the Ginninderra Creek titled, Ginninderry [i.e. Ginninderra] Plains, New South Wales.
www.canberratimes.com.au/story/6390402/solving-a-long-run...
How does physical activity help your mind?
Immediate results - If you take a short, brisk walk you may feel more refreshed and relaxed. You may also find this benefit will help motivate you to walk more often and for longer.
Improved wellbeing - Being active can help ease anxiety and depression, especially when done in natural environments like parks and gardens. You may find yourself feeling happier, more confident, and sleeping better.
More opportunities to socialise - Being physically active is a great way to connect with others and build a sense of community. As you participate in more activities and exercise you might find yourself socialising more often with friends and family or perhaps joining an exercise class or sports team.
see www.heartfoundation.org.au/Heart-health-education/Physica...
At Ginninderry West Belconnen Canberra ACT
Where to Now for the Bushfire Inquiries?
The catastrophic bushfires of 2019/20 in eastern Australia are likely to be repeated with greater severity, as south-east Australia becomes hotter and drier, and dynamic fire propagation becomes more frequent. The various Bushfire Inquiries will, no doubt, recommend changes to fire-fighting, fuel reduction and building practices which have, in the past, been based on common steady-state forest fire behaviour. When bushfires become powerful enough to generate their own weather systems, however, little can be done to stop them.
The best solution is improved planning practice and bushfire design standards which take account of the latest bushfire behaviour research to locate new residential developments away from possibly indefensible locations, using a precautionary approach. As our cities grow, new suburbs on the urban fringe are increasingly built in areas where fire is an existential threat, as people optimistically choose to live near the bush, unaware of the increasing likelihood of extreme fires.
An example is the Ginninderry-Parkwood Development on the ACT/Yass shire boundary, between the Murrumbidgee River and Ginninderra Creek. This area has steep slopes to its north-west, an ideal site for dynamic bushfire propagation, resulting in wide-ranging ember attack driven by the north-westerly prevailing winds. This has been demonstrated by extreme bushfire behaviour expert, Professor Jason Sharples, and colleagues who, using modelling theory, found ember loads were 13-115 times higher in the Ginninderry area when compared with those for a known 2015 fire on the Mornington Peninsula where 32 houses were damaged all as a result of embers. In a geographic setting similar to Ginninderry, 100 structures were damaged in the Tathra fire of 2018. Ember attack or spotting is the main means of fire propagation in these cases.
The Ginninderry development complies with all current planning and bushfire regulations but these are likely to be inadequate for the bushfires of the future. If so, residents and firefighters may be unnecessarily endangered and the government might be held responsible, since the hazard was known when development was approved. Furthermore, where buffer zones are inadequate, demand by residents for more severe control burning on the steep slopes to protect housing from fires, or backburning in the event of a fire, would compromise the biodiversity values of the gorges of the Murrumbidgee and Ginninderra Creek and the associated fire-sensitive Black Cypress Pine forest, as well as threatened species like the Pale Pomaderris.
In cases like this, there is a conflict between revenue from land sales, the demand for housing blocks, and fire and environmental requirements. Consideration should be given to the extreme risks associated with dynamic fires near potential residential areas before rezoning occurs. Another significant consideration is the possibility that insurance companies will refuse to cover such areas or will make it too expensive to do so. In this situation, the burden will fall on the community as a whole, not on those who have benefited from the development.
from Ginninderra Falls Association
Newsletter: MEDIA RELEASE – 21 June 2020
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“The Children’s Own Readers, Book Two” by Mary Pennell and Alice Cusack who copyrighted in 1929. Illustrated by Marguerite Davis and Blanche Fisher Laite. Published by Ginn and Company.
The Children's Own Readers "Friends" Primer by Mary E. Pennell and Alice M. Cusack, 1936, Kansas City, Missouri. Illustrator Marguerite Davis.
The Children's Own Readers "Friends" Primer by Mary E. Pennell and Alice M. Cusack, 1936, Kansas City, Missouri. Illustrator Marguerite Davis.
mit John Cusack, Alice Eve, Luke Evans u.a.
Als ein Serienmörder schreckliche Morde begeht, die von Edgar Allan Poes Werken inspiriert sind, schließt sich ein junger Detektiv aus Baltimore mit Poe zusammen, um ihn daran zu hindern, seine Geschichten Wirklichkeit werden zu lassen.
When a madman begins committing horrific murders inspired by Edgar Allan Poe's works, a young Baltimore detective joins forces with Poe to stop him from making his stories a reality.
Für "Smile on Saturday" Thema "Portray a Movie" (18.04.2020)
"The Raven - Prophet des Teufels" - "The Raven"
Wish you all a "Happy smile on Saturday" and stay safe.
Editor in Chief of The Hill Bob Cusack, Representatives Brad Sherman (D-Calif.), Rob Woodall (R-Ga.), Denny Heck (D-Wash), and The Hill's Kevin Cirilli are seen during a panel entitled "The New Financial Services Landscape: A Policy Discussion" sponsored by The Hill and CUNA at the Credit Union House in Washington, D.C., on Wednesday, September 17, 2014.