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Headsets are endowed with all the technologies Denon, which ensure that you will be able to comfortably enjoy your favorite music as much as you want. Of course, special attention was given to technologies related directly with sound. The heart of any headphone drivers are (sounders). These drivers are created using known technology Acoustic Optimizer and carefully tuned Denon technicians to achieve a clear and detailed sound with impressive depth from low to very high frequencies. The two-layer aluminum body and composite materials absorb resonances and prevent their negative influence on the sound.
(I tend to like photos dark....nice shadows....)
Paris - Le Louvre
La Galerie Michel-Ange abrite des des sculptures italiennes des XVIe au XIXe siècle.
Not really being into Headfi, I got these for the laptops/Ableton 8 - the AHD2000's. Lovely sound on 'em. :)
Day 232. Stuck for inspriation today so have resorted to random electrical appliances. This is my home cinema/music amplifier, a Denon AVR 3310.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
Tombe de Vivant Denon – Cimetière du Père Lachaise – Paris.. No. 0434.
Tombe de Dominique Vivant, baron Denon, dit Vivant Denon (1747 – 1825) en bronze (hauteur 155 cm) dans le cimetière du Père Lachaise – division 10. Portrait sculpté par Pierre Cartellier (1757-1831).
"Dominique Vivant1, baron Denon, dit Vivant Denon ou Dominique-Vivant Denon, né à Chalon-sur-Saône2 le 4 janvier 1747 et mort à Paris le 27 avril 1825, est un graveur, écrivain, diplomate et administrateur français.
Devenu directeur général des musées, il s'illustre particulièrement dans l'organisation du musée du Louvre. À ce titre, il est considéré aujourd'hui comme un grand précurseur de la muséologie, de l'histoire de l'art et de l'égyptologie."
"Dominique Vivant, Baron Denon (4 January 1747 – 27 April 1825) was a French artist, writer, diplomat, author, and archaeologist. He was appointed as the first Director of the Louvre museum by Napoleon after the Egyptian campaign of 1798–1801, and is commemorated in the Denon Wing of the modern museum and in the Dominique-Vivant Denon Research Center.[1] His two-volume Voyage dans la basse et la haute Egypte ("Journey in Lower and Upper Egypt"), 1802, was the foundation of modern Egyptology."
Wikipédia
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
Michelangelo BUONARROTI, known as MICHELANGELO
Caprese 1475 - Rome 1564
Esclave Mourant - Slave Dying - and symbolizes a handsome young man, delivered to a perhaps eternal sleep.
Marble.
2.28 m
Carved 1513–15 for the tomb of Pope Julius II.
The museum has two Michelangelo slave sculptures.
The slave Mourant has been the subject of several debates. Was he dying slowly, abandoning himself to eternal sleep, or, on the contrary, was this young imbibe in deep sensual ecstasy? Does the left arm support the slightly bent head, the right hand caress the naked body and the face express intense pleasure?
In the face of this work by one of the greatest artists of all time, we were questioned and immersed in intense aesthetic pleasure.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
I've visited the Louvre many times over the past 30 years but this was my first visit since purchasing my 8mm Samyang fisheye lens. I enjoyed the creative options the new lens gave me and I think it's helped capture the vast scale of the I.M.Pei designed glass pyramid.
Click here for more photos taken at the Louvre over the years : www.flickr.com/photos/darrellg/albums/72157624005753007
From Wikipedia : "By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the Cour Carrée (Square Court) and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south.
In 1983, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon. The pyramid and its underground lobby were inaugurated on 15 October 1988 and the Louvre Pyramid was completed in 1989. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993. As of 2002, attendance had doubled since completion."
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© D.Godliman
Created for the Factions RPG Home Sweet Home LTC
After years of being a mercenary in the Galactic Underworld, Jani Pryce returns to her humble apartment on Denon.
A 16x16 diorama of an apartment in the second-most populated planet in the Galaxy.
Dining table module is inspired by the one in Andor (2022), it would make sense for many living quarters to have this module - think space IKEA.
Created for the Factions RPG Home Sweet Home LTC
After years of being a mercenary in the Galactic Underworld, Jani Pryce returns to her humble apartment on Denon.
A 16x16 diorama of an apartment in the second-most populated planet in the Galaxy.
Dining table module is inspired by the one in Andor (2022), it would make sense for many living quarters to have this module - think space IKEA.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
Lorenzo BARTOLINI
Savignano, 1777 - Florence, 1850
Dircé
Marbre
H. : 0,59 m. ; L. : 1,10 m. ; Pr. : 0,47 m.
Version réduite du marbre exécuté en 1824 - 1834 pour le duc de Devonshire
Fils d'un maréchal-ferrand, selon Bénézit, il alla, après des études à l'Académie de Florence, à Paris en 1797 affiner ses compétences en tant que modélisateur en albâtre : il y étudia la peinture avec Desmarets et la sculpture dans l’atelier de François-Frédéric Lemot.
Il remporta le deuxième prix de l'Académie en 1803 avec le bas-relief Cleobis et Biton, et fut au nombre des sculpteurs qui travaillèrent aux décorations de la colonne érigée place Vendôme, en exécutant le bas-relief de la Bataille d'Austerlitz. Il fit de nombreuses petites pièces pour l'écrivain Vivant Denon et les bustes des compositeurs Méhul et Cherubini, mais son grand patron fut Napoléon, pour lequel il modela un buste colossal.
L’empereur et sa sœur Élisa Baciocchi le nommèrent en 1807 directeur de l’Académie de sculpture de Carrara, en dépit de l'opposition des artistes locaux, où il fut sculpteur officiel de la famille Bonaparte.
En 1815, après la chute de Napoléon, il retourna à Florence : il vécut quelques années difficiles à cause de sa compromission avec le régime bonapartiste, mais son talent d’artiste lui permit de faire oublier son passé politique. Vers 1818, il sculpta l’Ammostatore (celui qui fait le moût), un enfant qui écrase le raisin, basé sur Donatello et Verrocchio, avec une observation attentive de la réalité et un modelage de délicate finesse.
La fiducia in Dio
Du 1824 c’est le groupe sculpté de la Carità educatrice, conçu pour une chapelle de la Villa di Poggio Imperiale, mais aujourd'hui conservé dans le Galerie Palatine au Palazzo Pitti.
En 1830 les fils de Nicolas Demidoff, Anatolij et Pëtr, lui commandèrent un monument à la mémoire de leur père, prince de san Donato qui depuis 1871 s’élève place Demidoff à Florence ; l’œuvre se compose de cinq groupes de figures – seul celui de la Beneficenza est entièrement de main de Bartolini – et a été complétée par son élève Romano Romanelli. Bartolini ayant utilisé un marbre particulièrement prisé, le zuccherino, mais friable à l’eau, il fut nécessaire de protéger le monument par un toit.
Nommé en 1839 professeur de l’Académie des Beaux-arts de Florence, il y diffusa son style puriste, plus lié à la nature que les choix idéalisateurs néoclassiques.
Une de ses œuvres les plus connues est La fiducia in Dio (La confiance en Dieu, 1835), conservée au Museo Poldi Pezzoli de Milan qui, bien que inspirée à la Madeleine pénitente de Canova, s'écarte sensiblement de la sculpture néoclassique vers une inspiration plus naturelle. La sculpture fut commandée par Rosa Trivulzio Poldi Pezzoli - dont la famille avait déjà commandé un buste de la Marquise – veuve de son mari Giuseppe Poldi Pezzoli en 1833.
Son dernier travail important fut le monument funéraire de la princesse polonaise Sophie Zamojska, dans la basilique de Santa Croce à Florence, terminé en 1844.
Monument funeraire à Sophie Zamojska
« Bartolini délaissa progressivement les thématiques et les prescriptions formelles du néoclassicisme, en cherchant une inspiration naturaliste dans les sculpteurs toscanes du XVe siècle, en particulier en Desiderio da Settignano. Il réussit à sensibiliser en surface, mais non pas à modifier en structure, la forme strictement volumétrique des adeptes plus directes de Canova. Il adopta des schémas de composition plus mûrs, il modula les surfaces pour obtenir des lumières plus variées, en ménageant les ombres et graduant les nuances de clair-obscur ; de cette forme plus animée, il fit émerger coins à peine arrondis, points et glissements de lumière entre des ombres plus douces. Son choix de style anticipe la tendance à remettre en valeur, après la dogmatisme formel néoclassique, un discours (toscane, bien sûr) moins théorique et plus historique. Mais si plus tard les Macchiaioli feront de cette tendance une réelle recherche figurative, Bartolini fit plus une question d'éloquence que de langage »
— C. G. Argan, L'arte moderna. 1770-1970, Sansoni, Florence 1970.
L'ensemble des modèles et des études de son atelier ont été placés dans une gypsothèque intitulée à son nom de la galerie de l'Académie des Beaux-Arts de Florence ; le Bénézit cite d'autres œuvres au musée Pitti en 1948.
Bartolini mourut en 1850 et fut enterré dans la chapelle de Saint-Luc de la basilique de la SS. Annunziata à Florence.
Ingres fit deux portraits de son ami, un à Paris en 1806 (Montauban, Musée Ingres) et un autre à Florence en 1820.
Created for the Factions RPG Home Sweet Home LTC
After years of being a mercenary in the Galactic Underworld, Jani Pryce returns to her humble apartment on Denon.
The two vignettes next to each other.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
Created for the Factions RPG Home Sweet Home LTC
After years of being a mercenary in the Galactic Underworld, Jani Pryce returns to her humble apartment on Denon.
A 16x16 diorama of an apartment exterior with a working lift. The second-most populated planet in the Galaxy would have skyscrapers similar to Coruscant.
Lift and building shape is inspired by The Standard Hotel in London.
The Denon's Stallion is resistance ace pilot Kal Verlon's personnal starfighter. It's a retrofitted ARC-135, equipped with an astromech droid socket and a class 1.5 hyperdrive system in place of the rear gunner cockpit. The droid usually operate the rear laser turret.
The Mortuary Temple of Ramesses III at Medinet Habu is an important New Kingdom period structure in the West Bank of Luxor in Egypt. Aside from its size and architectural and artistic importance, the temple is probably best known as the source of inscribed reliefs depicting the advent and defeat of the Sea Peoples during the reign of Ramesses III. The first European to describe the temple in modern literature was Vivant Denon, who visited the temple in 1799-1801.Champollion described the temple in detail in 1829. Initial excavation of the temple took place sporadically between 1859 and 1899, under the auspices of the Department of Antiquities. During these decades the main temple was cleared, and a large number of Coptic period buildings, including a substantial Coptic Church in the second court, were destroyed without notes or records being taken. The further excavation, recording and conservation of the temple has been facilitated in chief part by the Architectural and Epigraphic Surveys of University of Chicago's Oriental Institute, almost continuously since 1924.The temple, some 150 m long, is of orthodox design, and resembles closely the nearby mortuary temple of Ramesses II (the Ramesseum). The temple precinct measures approximately 210 m (690 ft). by 300 m (1,000 ft) and contains more than 7,000 m2 (75,347 sq ft) of decorated wall reliefs. Its walls are relatively well preserved and it is surrounded by a massive mudbrick enclosure, which may have been fortified. The original entrance is through a fortified gate-house, known as a migdol (a common architectural feature of Asiatic fortresses of the time). Just inside the enclosure, to the south, are chapels of Amenirdis I, Shepenupet II and Nitiqret, all of whom had the title of Divine Adoratrice of Amun. The first pylon leads into an open courtyard, lined with colossal statues of Ramesses III as Osiris on one side, and uncarved columns on the other. The second pylon leads into a peristyle hall, again featuring columns in the shape of Ramesses. This leads up a ramp that leads (through a columned portico) to the third pylon and then into the large hypostyle hall (which has lost its roof). Reliefs and actual heads of foreign captives were also found placed within the temple perhaps in an attempt to symbolise the king's control over Syria and Nubia. In Coptic times, there was a church inside the temple structure, which has since been removed. Some of the carvings in the main wall of the temple have been altered by coptic carvings. The Royal Palace was directly connected with the first courtyard of the Temple via the "Window of Appearances".
en.wikipedia.org/wiki/Medinet_Habu_(temple)
On many a temple wall in Egypt one will see carved pictures of Ancient Egyptian Gods holding long metal rods said to have possessed incredible cosmic powers. They were called “Rods of Ptah,” named for the Egyptian Creator God, Ptah, and would, over time, eventually become known as “was” scepters.
You won’t find much scientific explanation for these Egyptian “magic” rods anywhere in traditional Egyptology. Many scholars have written off tales of their great powers as pure myth. Yet what once seemed mythical, takes on a new perspective with modern-day scientific advancement. These rods actually have roots in the advanced science of Atlantean superalloys. A science that has been lost for centuries and is slowly re-emerging.
This knowledge was handed down over 50,000 years ago to the Ancient Egyptians by the Atlantean Order of Melchizedek (the cosmic high priests to the priests) after the third and final upheaval of the advanced civilization known as Atlantis. Those who knew how such science worked shared this knowledge only with the elite few who had been highly trained and initiated into the Mystery Schools of Egypt.
Throughout the Egyptian dynasties, pharaohs and kings would oftentimes show their power by displaying such scepters at their side. Most were nothing more than symbolic props. The real Rods of Ptah, and their true owners, had the ability to transmute energy into matter—a power which only a God would seem to possess.
In the earliest of ancient times there was a “Council of Twelve” high priests from the Order of Melchizedek which possessed such rods. Many were from the healing sound Temples of Saqqara as well as the from the Temple of the Prophets at Abydos (which I have written about in a previous blogs). The Melchizedek Priesthood were recognized as Ascended Masters, Cosmic Avatars, that were dedicated to the very highest ascension and evolution of man. Their roots go back even further than Atlantis, to the source of creation and the very origins of humankind.
During the unknown years of Jesus, Jesus was initiated into the esoteric ways of this great brotherhood and became one with Melchizedek, the “Lord of Righteousness.” Jesus, having been brought up in the mystical sect of the Essenes, would then go on to model this priesthood, based on these Council of Twelve teachings with his own 12 Apostles. Many of mankind’s most ascended masters have come from the Melchizedek Priesthood. Some have had multiple reincarnated lifetimes (i.e. Lord Melchizedek became Akhenaten; Akhenaten would then became Jesus).
ATLANTEAN SUPERALLOYS
So many have asked what were the Atlantean superalloys that created such magic rods? The answer lies in the marriage of both physics and chemistry. All of nature’s alloys have a resonance pattern—like a unique frequency fingerprint. If combined with other resonant alloys through a transmutation process, it can create an atomic blending that releases a powerful reaction by-product.
For example, the electrical properties of copper, when equally combined with the magnetic properties of iron, will exhibit super hardness, super magnetism, and superconductivity properties which are required for anti-gravity propulsion and interstellar space travel. The Ancients were privy to this knowledge and they could only have learned it from a higher more advanced civilization where it had already been successfully mployed.
The reintroduction in modern times of such advanced superalloy concepts can be traced back to the secret work of Nikola Tesla with the well-known psychic, Edgar Cayce, during the years intervening the World Wars (1918-1939). Tesla had many past-life readings with Cayce to gain further insight into his work. (A pseudonym was used to protect his identity.)
Speaking through Cayce in trance, the Source provided specific references to several fusion reactions used in Atlantean metallurgy for the production of superhard metal alloys that were applied in the complex multi-stage fabrication of supersharp swords and electro-surgical scalpels, as well as in the construction of aerial vehicles that were thinner, lighter and stronger than those commonly used in industry today.
“We find the entity there made use of the metal known as iron, or the combinations of iron and copper –which have long since been removed from use in the present; or copper so tempered by the use of same with a little of the iron, or in its formation in such a way and manner as to be hardened to the abilities for same to be used much in the way that many of those combinations have been found in the Egyptian, the Peruvian and portions of the Chaldean lands –and more will be found in the Indo-China city yet to be uncovered.
“As indicated. In conducting experimentions, by passing a great current through certain compounds or mixtures of metals, that would produce –in smelting– a different metal. The combinations of iron, copper, and of course impregnated with the various forms, which heretofore and in the present have been unable to be used in the forms of smelting that are the experience of man today.
Q: How may we work together now to accomplish much that we did in Egypt?
A: In interesting those who use or require great quantities of iron, or the varied metals, to experiment in making lighter –and yet strengthening– the usages of such metals. Copper and brass, gold and iron –through the combinations in their crude state– may be made to be much stronger in usage, lighter in the needs for present developments, and not as expensive in the combinations.”
During ancient times, the Council of Twelve from the Order of Melchizedek knew that the transmutation processes of copper and iron caused a resonant nuclear fission reaction which created a mysterious force called “Vril” energy. They fashioned instruments (Rods of Ptah) to direct this force.
These ancient men of science discovered that when they coupled this Vril force with the power of sound and the directive power of the mind, they could unlock the divine forces of nature and gravity. This allowed them to levitate and move large objects easily. One could say the ancient priests of Saqqara invented the term, “mind over matter.” When the mind was clear, one could perform incredible feats.
While some from the Order knew how to use this directed energy for transmutation which would appear as miracles (i.e., Jesus changing water to wine or multiplying a few loaves and fishes to feed the masses), the use of highly tuned rods could tap into even greater cosmic forces.
Very few possessed these powerful Rods of Ptah. Those who did were initiated at the very highest levels of the Order of Melchizedek. As a part of the initiation process, each recipient was involved in the construction process of their own Rod. It was a sacred ceremony where their higher consciousness intent, which created a unique cosmic fingerprint, was then infused into the melding process. Their rod would be at their side throughout their life, taking on a sacred responsibility.
The Rods of Ptah were “U-shaped” at the bottom, resembling resonant tuning forks that could be struck in ways to create electromagnetic effects. At the top were the symbols of the Ankh (the symbol of life) and the Djed Pillar (a symbol for the spine of the God Osiris and rising energy). These powerful symbols could only be used by a High Priest or a Pharaoh (who had also undergone initiation, which were very few).
The Rods could only be used within the right mindset of the operator or the power could be destructive to themselves as well as others. Each initiate pledged a solemn oath to the Council of Twelve and the Melchizedek Priesthood to use these rods only for the higher good.
You will not find these instruments in museums anywhere today. The High Priests of the Ancient Mystery Schools destroyed them to keep them out of the hands of those who would abuse the power they could harness, much like the Ark of the Covenant was later secreted away for safety and protection.
Unfortunately, good does not always triumph over evil. Some priests from the Order of Melchizedek were targeted and killed for their power and knowledge, many by other temple priests (the Amun priesthood) who were an unsavory and oftentimes corrupted lot. Many from the Order fled the area or took their knowledge underground where it remained hidden for centuries. It is believed that once initiated into the Order of Melchizedek, one is initiated for all lifetimes to come. Many of those from the Melchizedek Priesthood walk among us today, still employing their spiritual knowledge and good works.
Created for the Factions RPG Home Sweet Home LTC
After years of being a mercenary in the Galactic Underworld, Jani Pryce returns to her humble apartment on Denon.
A 16x16 diorama of an apartment in the second-most populated planet in the Galaxy.
Dining table module is inspired by the one in Andor (2022), it would make sense for many living quarters to have this module - think space IKEA.