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In monotheism, God is conceived of as the Supreme Being and principal object of faith.[3] The concept of God as described by most theologians includes the attributes of omniscience (infinite knowledge), omnipotence (unlimited power), omnipresence (present everywhere), divine simplicity, and as having an eternal and necessary existence. Many theologians also describe God as being omnibenevolent (perfectly good), and all loving.
God is most often held to be non-corporeal,[3] and to be without any human biological sex,[4][5] yet the concept of God actively creating the universe (as opposed to passively)[6] has caused many religions to describe God using masculine terminology, using such terms as "Him" or "Father". Furthermore, some religions (such as Judaism) attribute only a purely grammatical "gender" to God.[7]
In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. In pantheism, God is the universe itself. In atheism, God is not believed to exist, while God is deemed unknown or unknowable within the context of agnosticism. God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] Many notable philosophers have developed arguments for and against the existence of God.[8]
There are many names for God, and different names are attached to different cultural ideas about God's identity and attributes. In the ancient Egyptian era of Atenism, possibly the earliest recorded monotheistic religion, this deity was called Aten,[9] premised on being the one "true" Supreme Being and Creator of the Universe.[10] In the Hebrew Bible and Judaism, "He Who Is", "I Am that I Am", and the tetragrammaton YHWH (Hebrew: יהוה, which means: "I am who I am"; "He Who Exists") are used as names of God, while Yahweh and Jehovah are sometimes used in Christianity as vocalizations of YHWH. In the Christian doctrine of the Trinity, God, consubstantial in three persons, is called the Father, the Son, and the Holy Spirit. In Judaism, it is common to refer to God by the titular names Elohim or Adonai, the latter of which is believed by some scholars to descend from the Egyptian Aten.[11][12][13][14][15] In Islam, the name Allah, "Al-El", or "Al-Elah" ("the God") is used, while Muslims also have a multitude of titular names for God. In Hinduism, Brahman is often considered a monistic deity.[16] Other religions have names for God, for instance, Baha in the Bahá'í Faith,[17] Waheguru in Sikhism,[18] and Ahura Mazda in Zoroastrianism.[19]
The many different conceptions of God, and competing claims as to God's characteristics, aims, and actions, have led to the development of ideas of omnitheism, pandeism,[20][21] or a perennial philosophy, which postulates that there is one underlying theological truth, of which all religions express a partial understanding, and as to which "the devout in the various great world religions are in fact worshipping that one God, but through different, overlapping concepts or mental images of Him."[22]
Contents [hide]
1Etymology and usage
2General conceptions
2.1Oneness
2.2Theism, deism and pantheism
2.3Other concepts
3Non-theistic views
3.1Agnosticism and atheism
3.2Anthropomorphism
4Existence
5Specific attributes
5.1Names
5.2Gender
5.3Relationship with creation
6Depiction
6.1Zoroastrianism
6.2Islam
6.3Judaism
6.4Christianity
7Theological approaches
8Distribution of belief
9See also
9.1In specific religions
10References
11Further reading
12External links
Etymology and usage
The Mesha Stele bears the earliest known reference (840 BCE) to the Israelite God Yahweh.
Main article: God (word)
The earliest written form of the Germanic word God (always, in this usage, capitalized[23]) comes from the 6th-century Christian Codex Argenteus. The English word itself is derived from the Proto-Germanic * ǥuđan. The reconstructed Proto-Indo-European form * ǵhu-tó-m was likely based on the root * ǵhau(ə)-, which meant either "to call" or "to invoke".[24] The Germanic words for God were originally neuter—applying to both genders—but during the process of the Christianization of the Germanic peoples from their indigenous Germanic paganism, the words became a masculine syntactic form.[25]
The word 'Allah' in Arabic calligraphy
In the English language, the capitalized form of God continues to represent a distinction between monotheistic "God" and "gods" in polytheism.[26][27] The English word God and its counterparts in other languages are normally used for any and all conceptions and, in spite of significant differences between religions, the term remains an English translation common to all. The same holds for Hebrew El, but in Judaism, God is also given a proper name, the tetragrammaton YHWH, in origin possibly the name of an Edomite or Midianite deity, Yahweh. In many translations of the Bible, when the word LORD is in all capitals, it signifies that the word represents the tetragrammaton.[28]
Allāh (Arabic: الله) is the Arabic term with no plural used by Muslims and Arabic speaking Christians and Jews meaning "The God" (with a capital G), while "ʾilāh" (Arabic: إله) is the term used for a deity or a god in general.[29][30][31] God may also be given a proper name in monotheistic currents of Hinduism which emphasize the personal nature of God, with early references to his name as Krishna-Vasudeva in Bhagavata or later Vishnu and Hari.[32]
Ahura Mazda is the name for God used in Zoroastrianism. "Mazda", or rather the Avestan stem-form Mazdā-, nominative Mazdå, reflects Proto-Iranian *Mazdāh (female). It is generally taken to be the proper name of the spirit, and like its Sanskrit cognate medhā, means "intelligence" or "wisdom". Both the Avestan and Sanskrit words reflect Proto-Indo-Iranian *mazdhā-, from Proto-Indo-European mn̩sdʰeh1, literally meaning "placing (dʰeh1) one's mind (*mn̩-s)", hence "wise".[33]
Waheguru (Punjabi: vāhigurū) is a term most often used in Sikhism to refer to God. It means "Wonderful Teacher" in the Punjabi language. Vāhi (a Middle Persian borrowing) means "wonderful" and guru (Sanskrit: guru) is a term denoting "teacher". Waheguru is also described by some as an experience of ecstasy which is beyond all descriptions. The most common usage of the word "Waheguru" is in the greeting Sikhs use with each other:
Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh
Wonderful Lord's Khalsa, Victory is to the Wonderful Lord.
Baha, the "greatest" name for God in the Baha'i faith, is Arabic for "All-Glorious".
General conceptions
Main article: Conceptions of God
There is no clear consensus on the nature or even the existence of God.[34] The Abrahamic conceptions of God include the monotheistic definition of God in Judaism, the trinitarian view of Christians, and the Islamic concept of God. The dharmic religions differ in their view of the divine: views of God in Hinduism vary by region, sect, and caste, ranging from monotheistic to polytheistic. Divinity was recognized by the historical Buddha, particularly Śakra and Brahma. However, other sentient beings, including gods, can at best only play a supportive role in one's personal path to salvation. Conceptions of God in the latter developments of the Mahayana tradition give a more prominent place to notions of the divine.[citation needed]
Oneness
Main articles: Monotheism and Henotheism
The Trinity is the belief that God is composed of The Father, The Son (embodied metaphysically in the physical realm by Jesus), and The Holy Spirit.
Monotheists hold that there is only one god, and may claim that the one true god is worshiped in different religions under different names. The view that all theists actually worship the same god, whether they know it or not, is especially emphasized in Hinduism[35] and Sikhism.[36] In Christianity, the doctrine of the Trinity describes God as one God in three persons. The Trinity comprises The Father, The Son (embodied metaphysically by Jesus), and The Holy Spirit.[37] Islam's most fundamental concept is tawhid (meaning "oneness" or "uniqueness"). God is described in the Quran as: "Say: He is Allah, the One and Only; Allah, the Eternal, Absolute; He begetteth not, nor is He begotten; And there is none like unto Him."[38][39] Muslims repudiate the Christian doctrine of the Trinity and the divinity of Jesus, comparing it to polytheism. In Islam, God is beyond all comprehension or equal and does not resemble any of his creations in any way. Thus, Muslims are not iconodules, and are not expected to visualize God.[40]
Henotheism is the belief and worship of a single god while accepting the existence or possible existence of other deities.[41]
Theism, deism and pantheism
Main articles: Theism, Deism, and Pantheism
Theism generally holds that God exists realistically, objectively, and independently of human thought; that God created and sustains everything; that God is omnipotent and eternal; and that God is personal and interacting with the universe through, for example, religious experience and the prayers of humans.[42] Theism holds that God is both transcendent and immanent; thus, God is simultaneously infinite and in some way present in the affairs of the world.[43] Not all theists subscribe to all of these propositions, but each usually subscribes to some of them (see, by way of comparison, family resemblance).[42] Catholic theology holds that God is infinitely simple and is not involuntarily subject to time. Most theists hold that God is omnipotent, omniscient, and benevolent, although this belief raises questions about God's responsibility for evil and suffering in the world. Some theists ascribe to God a self-conscious or purposeful limiting of omnipotence, omniscience, or benevolence. Open Theism, by contrast, asserts that, due to the nature of time, God's omniscience does not mean the deity can predict the future. Theism is sometimes used to refer in general to any belief in a god or gods, i.e., monotheism or polytheism.[44][45]
"God blessing the seventh day", a watercolor painting depicting God, by William Blake (1757 – 1827)
Deism holds that God is wholly transcendent: God exists, but does not intervene in the world beyond what was necessary to create it.[43] In this view, God is not anthropomorphic, and neither answers prayers nor produces miracles. Common in Deism is a belief that God has no interest in humanity and may not even be aware of humanity. Pandeism and Panendeism, respectively, combine Deism with the Pantheistic or Panentheistic beliefs.[21][46][47] Pandeism is proposed to explain as to Deism why God would create a universe and then abandon it,[48] and as to Pantheism, the origin and purpose of the universe.[48][49]
Pantheism holds that God is the universe and the universe is God, whereas Panentheism holds that God contains, but is not identical to, the Universe.[50] It is also the view of the Liberal Catholic Church; Theosophy; some views of Hinduism except Vaishnavism, which believes in panentheism; Sikhism; some divisions of Neopaganism and Taoism, along with many varying denominations and individuals within denominations. Kabbalah, Jewish mysticism, paints a pantheistic/panentheistic view of God—which has wide acceptance in Hasidic Judaism, particularly from their founder The Baal Shem Tov—but only as an addition to the Jewish view of a personal god, not in the original pantheistic sense that denies or limits persona to God.[citation needed]
Other concepts
Dystheism, which is related to theodicy, is a form of theism which holds that God is either not wholly good or is fully malevolent as a consequence of the problem of evil. One such example comes from Dostoevsky's The Brothers Karamazov, in which Ivan Karamazov rejects God on the grounds that he allows children to suffer.[51]
In modern times, some more abstract concepts have been developed, such as process theology and open theism. The contemporaneous French philosopher Michel Henry has however proposed a phenomenological approach and definition of God as phenomenological essence of Life.[52]
God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] These attributes were all supported to varying degrees by the early Jewish, Christian and Muslim theologian philosophers, including Maimonides,[53] Augustine of Hippo,[53] and Al-Ghazali,[8] respectively.
Non-theistic views
See also: Evolutionary origin of religions and Evolutionary psychology of religion
Non-theist views about God also vary. Some non-theists avoid the concept of God, whilst accepting that it is significant to many; other non-theists understand God as a symbol of human values and aspirations. The nineteenth-century English atheist Charles Bradlaugh declared that he refused to say "There is no God", because "the word 'God' is to me a sound conveying no clear or distinct affirmation";[54] he said more specifically that he disbelieved in the Christian god. Stephen Jay Gould proposed an approach dividing the world of philosophy into what he called "non-overlapping magisteria" (NOMA). In this view, questions of the supernatural, such as those relating to the existence and nature of God, are non-empirical and are the proper domain of theology. The methods of science should then be used to answer any empirical question about the natural world, and theology should be used to answer questions about ultimate meaning and moral value. In this view, the perceived lack of any empirical footprint from the magisterium of the supernatural onto natural events makes science the sole player in the natural world.[55]
Another view, advanced by Richard Dawkins, is that the existence of God is an empirical question, on the grounds that "a universe with a god would be a completely different kind of universe from one without, and it would be a scientific difference."[56] Carl Sagan argued that the doctrine of a Creator of the Universe was difficult to prove or disprove and that the only conceivable scientific discovery that could disprove the existence of a Creator (not necessarily a God) would be the discovery that the universe is infinitely old.[57]
Stephen Hawking and co-author Leonard Mlodinow state in their book, The Grand Design, that it is reasonable to ask who or what created the universe, but if the answer is God, then the question has merely been deflected to that of who created God. Both authors claim however, that it is possible to answer these questions purely within the realm of science, and without invoking any divine beings.[58] Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Agnosticism and atheism
Agnosticism is the view that, the truth values of certain claims – especially metaphysical and religious claims such as whether God, the divine or the supernatural exist – are unknown and perhaps unknowable.[60][61][62]
Atheism is, in a broad sense, the rejection of belief in the existence of deities, or a God.[63][64] In a narrower sense, atheism is specifically the position that there are no deities.[65]
Anthropomorphism
Main article: Anthropomorphism
Pascal Boyer argues that while there is a wide array of supernatural concepts found around the world, in general, supernatural beings tend to behave much like people. The construction of gods and spirits like persons is one of the best known traits of religion. He cites examples from Greek mythology, which is, in his opinion, more like a modern soap opera than other religious systems.[66] Bertrand du Castel and Timothy Jurgensen demonstrate through formalization that Boyer's explanatory model matches physics' epistemology in positing not directly observable entities as intermediaries.[67] Anthropologist Stewart Guthrie contends that people project human features onto non-human aspects of the world because it makes those aspects more familiar. Sigmund Freud also suggested that god concepts are projections of one's father.[68]
Likewise, Émile Durkheim was one of the earliest to suggest that gods represent an extension of human social life to include supernatural beings. In line with this reasoning, psychologist Matt Rossano contends that when humans began living in larger groups, they may have created gods as a means of enforcing morality. In small groups, morality can be enforced by social forces such as gossip or reputation. However, it is much harder to enforce morality using social forces in much larger groups. Rossano indicates that by including ever-watchful gods and spirits, humans discovered an effective strategy for restraining selfishness and building more cooperative groups.[69]
Existence
Main article: Existence of God
St. Thomas Aquinas summed up five main arguments as proofs for God's existence.
Isaac Newton saw the existence of a Creator necessary in the movement of astronomical objects.
Arguments about the existence of God typically include empirical, deductive, and inductive types. Different views include that: "God does not exist" (strong atheism); "God almost certainly does not exist" (de facto atheism); "no one knows whether God exists" (agnosticism[70]);"God exists, but this cannot be proven or disproven" (de facto theism); and that "God exists and this can be proven" (strong theism).[55]
Countless arguments have been proposed to prove the existence of God.[71] Some of the most notable arguments are the Five Ways of Aquinas, the Argument from Desire proposed by C.S. Lewis, and the Ontological Argument formulated both by St. Anselm and René Descartes.[72]
St. Anselm's approach was to define God as, "that than which nothing greater can be conceived". Famed pantheist philosopher Baruch Spinoza would later carry this idea to its extreme: "By God I understand a being absolutely infinite, i.e., a substance consisting of infinite attributes, of which each one expresses an eternal and infinite essence." For Spinoza, the whole of the natural universe is made of one substance, God, or its equivalent, Nature.[73] His proof for the existence of God was a variation of the Ontological argument.[74]
Scientist Isaac Newton saw God as the masterful creator whose existence could not be denied in the face of the grandeur of all creation.[75] Nevertheless, he rejected polymath Leibniz' thesis that God would necessarily make a perfect world which requires no intervention from the creator. In Query 31 of the Opticks, Newton simultaneously made an argument from design and for the necessity of intervention:
For while comets move in very eccentric orbs in all manner of positions, blind fate could never make all the planets move one and the same way in orbs concentric, some inconsiderable irregularities excepted which may have arisen from the mutual actions of comets and planets on one another, and which will be apt to increase, till this system wants a reformation.[76]
St. Thomas believed that the existence of God is self-evident in itself, but not to us. "Therefore I say that this proposition, "God exists", of itself is self-evident, for the predicate is the same as the subject.... Now because we do not know the essence of God, the proposition is not self-evident to us; but needs to be demonstrated by things that are more known to us, though less known in their nature—namely, by effects."[77] St. Thomas believed that the existence of God can be demonstrated. Briefly in the Summa theologiae and more extensively in the Summa contra Gentiles, he considered in great detail five arguments for the existence of God, widely known as the quinque viae (Five Ways).
For the original text of the five proofs, see quinque viae
Motion: Some things undoubtedly move, though cannot cause their own motion. Since there can be no infinite chain of causes of motion, there must be a First Mover not moved by anything else, and this is what everyone understands by God.
Causation: As in the case of motion, nothing can cause itself, and an infinite chain of causation is impossible, so there must be a First Cause, called God.
Existence of necessary and the unnecessary: Our experience includes things certainly existing but apparently unnecessary. Not everything can be unnecessary, for then once there was nothing and there would still be nothing. Therefore, we are compelled to suppose something that exists necessarily, having this necessity only from itself; in fact itself the cause for other things to exist.
Gradation: If we can notice a gradation in things in the sense that some things are more hot, good, etc., there must be a superlative that is the truest and noblest thing, and so most fully existing. This then, we call God (Note: Thomas does not ascribe actual qualities to God Himself).
Ordered tendencies of nature: A direction of actions to an end is noticed in all bodies following natural laws. Anything without awareness tends to a goal under the guidance of one who is aware. This we call God (Note that even when we guide objects, in Thomas's view, the source of all our knowledge comes from God as well).[78]
Alister McGrath, a formerly atheistic scientist and theologian who has been highly critical of Richard Dawkins' version of atheism
Some theologians, such as the scientist and theologian A.E. McGrath, argue that the existence of God is not a question that can be answered using the scientific method.[79][80] Agnostic Stephen Jay Gould argues that science and religion are not in conflict and do not overlap.[81]
Some findings in the fields of cosmology, evolutionary biology and neuroscience are interpreted by some atheists (including Lawrence M. Krauss and Sam Harris) as evidence that God is an imaginary entity only, with no basis in reality.[82][83][84] These atheists claim that a single, omniscient God who is imagined to have created the universe and is particularly attentive to the lives of humans has been imagined, embellished and promulgated in a trans-generational manner.[85] Richard Dawkins interprets such findings not only as a lack of evidence for the material existence of such a God, but as extensive evidence to the contrary.[55] However, his views are opposed by some theologians and scientists including Alister McGrath, who argues that existence of God is compatible with science.[86]
Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Specific attributes
Different religious traditions assign differing (though often similar) attributes and characteristics to God, including expansive powers and abilities, psychological characteristics, gender characteristics, and preferred nomenclature. The assignment of these attributes often differs according to the conceptions of God in the culture from which they arise. For example, attributes of God in Christianity, attributes of God in Islam, and the Thirteen Attributes of Mercy in Judaism share certain similarities arising from their common roots.
Names
Main article: Names of God
99 names of Allah, in Chinese Sini (script)
The word God is "one of the most complex and difficult in the English language." In the Judeo-Christian tradition, "the Bible has been the principal source of the conceptions of God". That the Bible "includes many different images, concepts, and ways of thinking about" God has resulted in perpetual "disagreements about how God is to be conceived and understood".[87]
Throughout the Hebrew and Christian Bibles there are many names for God. One of them is Elohim. Another one is El Shaddai, meaning "God Almighty".[88] A third notable name is El Elyon, which means "The Most High God".[89]
God is described and referred in the Quran and hadith by certain names or attributes, the most common being Al-Rahman, meaning "Most Compassionate" and Al-Rahim, meaning "Most Merciful" (See Names of God in Islam).[90]
Supreme soul
The Brahma Kumaris use the term "Supreme Soul" to refer to God. They see God as incorporeal and eternal, and regard him as a point of living light like human souls, but without a physical body, as he does not enter the cycle of birth, death and rebirth. God is seen as the perfect and constant embodiment of all virtues, powers and values and that He is the unconditionally loving Father of all souls, irrespective of their religion, gender, or culture.[91]
Vaishnavism, a tradition in Hinduism, has list of titles and names of Krishna.
Gender
Main article: Gender of God
The gender of God may be viewed as either a literal or an allegorical aspect of a deity who, in classical western philosophy, transcends bodily form.[92][93] Polytheistic religions commonly attribute to each of the gods a gender, allowing each to interact with any of the others, and perhaps with humans, sexually. In most monotheistic religions, God has no counterpart with which to relate sexually. Thus, in classical western philosophy the gender of this one-and-only deity is most likely to be an analogical statement of how humans and God address, and relate to, each other. Namely, God is seen as begetter of the world and revelation which corresponds to the active (as opposed to the receptive) role in sexual intercourse.[6]
Biblical sources usually refer to God using male words, except Genesis 1:26-27,[94][95] Psalm 123:2-3, and Luke 15:8-10 (female); Hosea 11:3-4, Deuteronomy 32:18, Isaiah 66:13, Isaiah 49:15, Isaiah 42:14, Psalm 131:2 (a mother); Deuteronomy 32:11-12 (a mother eagle); and Matthew 23:37 and Luke 13:34 (a mother hen).
Relationship with creation
See also: Creator deity, Prayer, and Worship
And Elohim Created Adam by William Blake, c.1795
Prayer plays a significant role among many believers. Muslims believe that the purpose of existence is to worship God.[96][97] He is viewed as a personal God and there are no intermediaries, such as clergy, to contact God. Prayer often also includes supplication and asking forgiveness. God is often believed to be forgiving. For example, a hadith states God would replace a sinless people with one who sinned but still asked repentance.[98] Christian theologian Alister McGrath writes that there are good reasons to suggest that a "personal god" is integral to the Christian outlook, but that one has to understand it is an analogy. "To say that God is like a person is to affirm the divine ability and willingness to relate to others. This does not imply that God is human, or located at a specific point in the universe."[99]
Adherents of different religions generally disagree as to how to best worship God and what is God's plan for mankind, if there is one. There are different approaches to reconciling the contradictory claims of monotheistic religions. One view is taken by exclusivists, who believe they are the chosen people or have exclusive access to absolute truth, generally through revelation or encounter with the Divine, which adherents of other religions do not. Another view is religious pluralism. A pluralist typically believes that his religion is the right one, but does not deny the partial truth of other religions. An example of a pluralist view in Christianity is supersessionism, i.e., the belief that one's religion is the fulfillment of previous religions. A third approach is relativistic inclusivism, where everybody is seen as equally right; an example being universalism: the doctrine that salvation is eventually available for everyone. A fourth approach is syncretism, mixing different elements from different religions. An example of syncretism is the New Age movement.
Jews and Christians believe that humans are created in the likeness of God, and are the center, crown and key to God's creation, stewards for God, supreme over everything else God had made (Gen 1:26); for this reason, humans are in Christianity called the "Children of God".[100]
Depiction
God is defined as incorporeal,[3] and invisible from direct sight, and thus cannot be portrayed in a literal visual image.
The respective principles of religions may or may not permit them to use images (which are entirely symbolic) to represent God in art or in worship .
Zoroastrianism
Ahura Mazda (depiction is on the right, with high crown) presents Ardashir I (left) with the ring of kingship. (Relief at Naqsh-e Rustam, 3rd century CE)
During the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sassanid empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback which is found in Sassanian investiture.[101]
Islam
Further information: God in Islam
Muslims believe that God (Allah) is beyond all comprehension or equal and does not resemble any of His creations in any way. Thus, Muslims are not iconodules, are not expected to visualize God.[40]
Judaism
At least some Jews do not use any image for God, since God is the unimageable Being who cannot be represented in material forms.[102] In some samples of Jewish Art, however, sometimes God, or at least His Intervention, is indicated by a Hand Of God symbol, which represents the bath Kol (literally "daughter of a voice") or Voice of God;[103] this use of the Hand Of God is carried over to Christian Art.
Christianity
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Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.[104]
Use of the symbolic Hand of God in the Ascension from the Drogo Sacramentary, c. 850
However, later on the Hand of God symbol is found several times in the only ancient synagogue with a large surviving decorative scheme, the Dura Europos Synagogue of the mid-3rd century, and was probably adopted into Early Christian art from Jewish art. It was common in Late Antique art in both East and West, and remained the main way of symbolizing the actions or approval of God the Father in the West until about the end of the Romanesque period. It also represents the bath Kol (literally "daughter of a voice") or voice of God,[103] just like in Jewish Art.
In situations, such as the Baptism of Christ, where a specific representation of God the Father was indicated, the Hand of God was used, with increasing freedom from the Carolingian period until the end of the Romanesque. This motif now, since the discovery of the 3rd century Dura Europos synagogue, seems to have been borrowed from Jewish art, and is found in Christian art almost from its beginnings.
The use of religious images in general continued to increase up to the end of the 7th century, to the point that in 695, upon assuming the throne, Byzantine emperor Justinian II put an image of Christ on the obverse side of his gold coins, resulting in a rift which ended the use of Byzantine coin types in the Islamic world.[105] However, the increase in religious imagery did not include depictions of God the Father. For instance, while the eighty second canon of the Council of Trullo in 692 did not specifically condemn images of The Father, it suggested that icons of Christ were preferred over Old Testament shadows and figures.[106]
The beginning of the 8th century witnessed the suppression and destruction of religious icons as the period of Byzantine iconoclasm (literally image-breaking) started. Emperor Leo III (717–741), suppressed the use of icons by imperial edict of the Byzantine Empire, presumably due to a military loss which he attributed to the undue veneration of icons.[107] The edict (which was issued without consulting the Church) forbade the veneration of religious images but did not apply to other forms of art, including the image of the emperor, or religious symbols such as the cross.[108] Theological arguments against icons then began to appear with iconoclasts arguing that icons could not represent both the divine and the human natures of Jesus at the same time. In this atmosphere, no public depictions of God the Father were even attempted and such depictions only began to appear two centuries later.
The Second Council of Nicaea in 787 effectively ended the first period of Byzantine iconoclasm and restored the honouring of icons and holy images in general.[109] However, this did not immediately translate into large scale depictions of God the Father. Even supporters of the use of icons in the 8th century, such as Saint John of Damascus, drew a distinction between images of God the Father and those of Christ.
In his treatise On the Divine Images John of Damascus wrote: "In former times, God who is without form or body, could never be depicted. But now when God is seen in the flesh conversing with men, I make an image of the God whom I see".[110] The implication here is that insofar as God the Father or the Spirit did not become man, visible and tangible, images and portrait icons can not be depicted. So what was true for the whole Trinity before Christ remains true for the Father and the Spirit but not for the Word. John of Damascus wrote:[111]
"If we attempt to make an image of the invisible God, this would be sinful indeed. It is impossible to portray one who is without body:invisible, uncircumscribed and without form."
Around 790 Charlemagne ordered a set of four books that became known as the Libri Carolini (i.e. "Charles' books") to refute what his court mistakenly understood to be the iconoclast decrees of the Byzantine Second Council of Nicaea regarding sacred images. Although not well known during the Middle Ages, these books describe the key elements of the Catholic theological position on sacred images. To the Western Church, images were just objects made by craftsmen, to be utilized for stimulating the senses of the faithful, and to be respected for the sake of the subject represented, not in themselves. The Council of Constantinople (869) (considered ecumenical by the Western Church, but not the Eastern Church) reaffirmed the decisions of the Second Council of Nicaea and helped stamp out any remaining coals of iconoclasm. Specifically, its third canon required the image of Christ to have veneration equal with that of a Gospel book:[112]
We decree that the sacred image of our Lord Jesus Christ, the liberator and Savior of all people, must be venerated with the same honor as is given the book of the holy Gospels. For as through the language of the words contained in this book all can reach salvation, so, due to the action which these images exercise by their colors, all wise and simple alike, can derive profit from them.
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but symbols of God the Father were not among them.[113] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be symbolized.
Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art.[104] Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of Man in the image of His own (thus allowing Human to transcend the other animals).
It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.[114]
By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua.[115] In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ.
In an early Venetian school Coronation of the Virgin by Giovanni d'Alemagna and Antonio Vivarini, (c. 1443) The Father is depicted using the symbol consistently used by other artists later, namely a patriarch, with benign, yet powerful countenance and with long white hair and a beard, a depiction largely derived from, and justified by, the near-physical, but still figurative, description of the Ancient of Days.[116]
. ...the Ancient of Days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burning fire. (Daniel 7:9)
Usage of two Hands of God"(relatively unusual) and the Holy Spirit as a dove in Baptism of Christ, by Verrocchio, 1472
In the Annunciation by Benvenuto di Giovanni in 1470, God the Father is portrayed in the red robe and a hat that resembles that of a Cardinal. However, even in the later part of the 15th century, the symbolic representation of the Father and the Holy Spirit as "hands and dove" continued, e.g. in Verrocchio's Baptism of Christ in 1472.[117]
God the Father with His Right Hand Raised in Blessing, with a triangular halo representing the Trinity, Girolamo dai Libri c. 1555
In Renaissance paintings of the adoration of the Trinity, God may be depicted in two ways, either with emphasis on The Father, or the three elements of the Trinity. The most usual depiction of the Trinity in Renaissance art depicts God the Father using an old man, usually with a long beard and patriarchal in appearance, sometimes with a triangular halo (as a reference to the Trinity), or with a papal crown, specially in Northern Renaissance painting. In these depictions The Father may hold a globe or book (to symbolize God's knowledge and as a reference to how knowledge is deemed divine). He is behind and above Christ on the Cross in the Throne of Mercy iconography. A dove, the symbol of the Holy Spirit may hover above. Various people from different classes of society, e.g. kings, popes or martyrs may be present in the picture. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms. They are depicted as floating in heaven with angels who carry the instruments of the Passion.[118]
Representations of God the Father and the Trinity were attacked both by Protestants and within Catholicism, by the Jansenist and Baianist movements as well as more orthodox theologians. As with other attacks on Catholic imagery, this had the effect both of reducing Church support for the less central depictions, and strengthening it for the core ones. In the Western Church, the pressure to restrain religious imagery resulted in the highly influential decrees of the final session of the Council of Trent in 1563. The Council of Trent decrees confirmed the traditional Catholic doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image.[119]
Artistic depictions of God the Father were uncontroversial in Catholic art thereafter, but less common depictions of the Trinity were condemned. In 1745 Pope Benedict XIV explicitly supported the Throne of Mercy depiction, referring to the "Ancient of Days", but in 1786 it was still necessary for Pope Pius VI to issue a papal bull condemning the decision of an Italian church council to remove all images of the Trinity from churches.[120]
The famous The Creation of Adam by Michelangelo, c.1512
God the Father is symbolized in several Genesis scenes in Michelangelo's Sistine Chapel ceiling, most famously The Creation of Adam (whose image of near touching hands of God and Adam is iconic of humanity, being a reminder that Man is created in the Image and Likeness of God (Gen 1:26)).God the Father is depicted as a powerful figure, floating in the clouds in Titian's Assumption of the Virgin in the Frari of Venice, long admired as a masterpiece of High Renaissance art.[121] The Church of the Gesù in Rome includes a number of 16th century depictions of God the Father. In some of these paintings the Trinity is still alluded to in terms of three angels, but Giovanni Battista Fiammeri also depicted God the Father as a man riding on a cloud, above the scenes.[122]
In both the Last Judgment and the Coronation of the Virgin paintings by Rubens he depicted God the Father using the image that by then had become widely accepted, a bearded patriarchal figure above the fray. In the 17th century, the two Spanish artists Velázquez (whose father-in-law Francisco Pacheco was in charge of the approval of new images for the Inquisition) and Murillo both depicted God the Father using a patriarchal figure with a white beard in a purple robe.
The Ancient of Days (1794) Watercolor etching by William Blake
While representations of God the Father were growing in Italy, Spain, Germany and the Low Countries, there was resistance elsewhere in Europe, even during the 17th century. In 1632 most members of the Star Chamber court in England (except the Archbishop of York) condemned the use of the images of the Trinity in church windows, and some considered them illegal.[123] Later in the 17th century Sir Thomas Browne wrote that he considered the representation of God the Father using an old man "a dangerous act" that might lead to Egyptian symbolism.[124] In 1847, Charles Winston was still critical of such images as a "Romish trend" (a term used to refer to Roman Catholics) that he considered best avoided in England.[125]
In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a whole range of other icons being placed on the forbidden list,[126][127] mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The Council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.
Theological approaches
Theologians and philosophers have attributed to God such characteristics as omniscience, omnipotence, omnipresence, perfect goodness, divine simplicity, and eternal and necessary existence. God has been described as incorporeal, a personal being, the source of all moral obligation, and the greatest conceivable being existent.[3] These attributes were all claimed to varying degrees by the early Jewish, Christian and Muslim scholars, including Maimonides,[53] St Augustine,[53] and Al-Ghazali.[128]
Many philosophers developed arguments for the existence of God,[8] while attempting to comprehend the precise implications of God's attributes. Reconciling some of those attributes generated important philosophical problems and debates. For example, God's omniscience may seem to imply that God knows how free agents will choose to act. If God does know this, their ostensible free will might be illusory, or foreknowledge does not imply predestination, and if God does not know it, God may not be omniscient.[129]
However, if by its essential nature, free will is not predetermined, then the effect of its will can never be perfectly predicted by anyone, regardless of intelligence and knowledge. Although knowledge of the options presented to that will, combined with perfectly infinite intelligence, could be said to provide God with omniscience if omniscience is defined as knowledge or understanding of all that is.
The last centuries of philosophy have seen vigorous questions regarding the arguments for God's existence raised by such philosophers as Immanuel Kant, David Hume and Antony Flew, although Kant held that the argument from morality was valid. The theist response has been either to contend, as does Alvin Plantinga, that faith is "properly basic", or to take, as does Richard Swinburne, the evidentialist position.[130] Some theists agree that only some of the arguments for God's existence are compelling, but argue that faith is not a product of reason, but requires risk. There would be no risk, they say, if the arguments for God's existence were as solid as the laws of logic, a position summed up by Pascal as "the heart has reasons of which reason does not know."[131] A recent theory using concepts from physics and neurophysiology proposes that God can be conceptualized within the theory of integrative level.[132]
Many religious believers allow for the existence of other, less powerful spiritual beings such as angels, saints, jinn, demons, and devas.[133][134][135][136][137]
Distribution of belief
Developed from a mid-day infra-red image obtained by a Full Spectrum modified Pentax K5 camera with SMC PENTAX (K) 135mm f2.5 lens and Hoya R72 (720nm) filter.
No. 26 in my set for Pentax Forum's Single in April 2016 challenge, using a Pentax K 135mm f2.5 lens.
Nikon Fe2
Nikkor Kogaku 24mm f2.8
Ilford HP5 400 expired - self developed
cotorreta de pit gris (Myiopsitta monachus)
La seva àrea de distribució original va des de Bolívia fins al sud de Brasil i centre d'Argentina (els psitàcids són tots originaris de les zones equatorials, tropicals i subtropicals de tot el planeta).
La seva primera detecció a la ciutat de Barcelona es remunta a dos exemplars al Parc de la Ciutadella el 1975, a causa d'una fuga accidental, i des d'aleshores la seva població s'ha anat incrementant paulatinament.
On December 8th, 2012 P4K and EPN launched the Farmers of the Future program officially in Gueriguinde. Both the Minister of Education and the Minister of Livestock participated in front of a huge crowd of 400! This program is being piloted in three schools in Libore, with the goal of changing the mindset of children about agriculture -- teaching them that it is a business not merely a way to subsist.
Generally speaking the defense works at the Golden Gate had relatively short working lives. As new naval capacities were developed, shore batteries became obsolete or were reformulated to make them both survivable and effective. Located inland from Battery Mendell, Battery Wallace started out as a late Endicott Period open air gun emplacement. It was completed in 1919 to mount two 12-inch coastal rifles on state of the art Model 1917 carriages. The guns, mounted 420 feet apart, could fire their massive projectiles up to 17 miles seaward.
Twenty-five years later, as World War II approached, the Army redesigned Battery Wallace to provide overhead cover as a defense from attack by aircraft. This casemating of the battery, completed in 1944, provided a steel reinforced concrete enclosure for the guns as well as underground rooms for munitions, equipment and storage. The earth cover for the casemating provided both camouflage and blast protection. By 1948, long-range aircraft and the prospect of missiles rendered the battery permanently obsolete after 30 years of service – a relatively long lifespan for a coastal defense work.
These photographs are from a fine spring day in 2014. Battery Wallace remains snuggly settled into the surrounding landscape, the mature vegetation carpeting its earth cover presently convincingly as a natural hill.
If there's a film that you have grain trouble with, developing it in a sharp developer may not be the best idea. But Rodinal and Pancro 400 pushed turned out well. I was not, however, about to try that with Superpan 200, rather I used the Stand Developing technique, and you know what, it worked magic!
You can read the reviews online at:
www.alexluyckx.com/blog/index.php/2018/10/15/ccrfrb-revie...
Mamiya m645 - Mamyia-Sekor C 35mm 1:3.5 N - Rollei Superpan 200 @ ASA-200
Blazinal (1+100) 60:00 @ 20C
Meter: Gossen Lunasix F
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
I can't believe it actually worked. I didn't measure time, temperature or ingredients particularly well.
Developed with caffenol
Approximately 500ml water
Approximately 27g washing soda
Approximately 8g of vitamin C powder
Approximately 20g instant coffee
100ml of Ilford Rapid Fixer + 400ml water
Water warm from the hot tap to help dissolve the ingredients, left for approximately 10 minutes to cool.
Develop - Approximately 15 minutes, 5 or 6 inversions in the first minute, and then occasional inversions at random intervals after that.
Stop - 5 or 6 changes of cold tap water, then left in cold tap water for approximately 5 minutes. Then 2 or 3 changes of cold tap water. [Actually while the film was left in the cold water I had a cup of tea.]
Fix – 3 or 4 minutes, 5 or 6 inversions in the first minute, then occasional inversions after that.
Wash – Approximately 10 changes of cold tap water, then after removing the tank lid running cold tap water for approximately 2 minutes.
During our residency at Pilchuck Glass School, we expanded on work started at the Museum of Glass and we developed a series of new works involving sound making objects, printmaking and drawing. We gave two performances during our residency, and some of our printmaking was exhibited during November 2014 at the Pilchuck Glass School Exhibition Space. Additional documentation of our performances and print process are linked below.
Our sound work with glass involves the creation of shapes that can be bowed or struck to produce fundamental pitches and harmonics so that one instrument can sound more than one pitch. Working carefully with our expert gaffers, Manny Krakowski and Netty Blair, we were able to make several variations of vessel shapes that each produced a complex spectrum of tones. We were also able to develop methods of linking two or more objects on a rocking base so that two objects could be played simultaneously by one player and variations on timbre and attack through bowing, striking, rocking were possible.
For our performances we grouped objects in terms of their tunings and timbres making tuning changes (by reshaping, or filling vessels with water) where necessary to create a specific temperament. Once we created a temperament we improvised extensively with it and developed compositions for it. Our compositions are a mix of rehearsed sections/gestures connected by improvisation. While we usually decide how to start and end, the pieces are largely determined during the performance.
In both our sound and print work we used electro-magnet/neodymium magnet setups where the magnets moved in response to changes in the polarities of our electro-magnets that were triggered by fluctuations in the EMF of the space where they were.
As sound, the clinking/tapping of the magnets against glass added a percussive, chaotic element to our compositions; something that fueled our improvisations as the magnets never behaved the same way in each performance.
For the prints, we used the same set of circuitry, vessels and magnets, but as mark making elements. We set the magnets up on inked plates and let them roll until they were covered in ink and had left marks on the plates. We then made several prints with the plates, and then placed the electro-magnet setup on the prints’ surface in the same configuration and let the neodymium magnets deposit the ink they had previously gathered. Freshly inked magnets were also added in the process. As with the sound pieces, the electro-magnet’s polarity oscillates in response to changes in EMF around them.
Our drawings incorporate variations on the shapes of the goblet and the vessel, primary glassblowing forms that suggested to us the physiology of the inner ear. The drawings functioned as non-dimensional starting points for the development of our sculptural and sound making objects.
Our time at Pilchuck was special and we are grateful to the long list of wonderful people who made our experience so memorable including Tina Aufiero, Rebecca Arday, Jim Baker, Ben Wright, our gaffers Manny Krakowski and Netty Blair, our assistants Keunae Song and Anna Masowsky, Alex Gibson in the printshop, Rebekah Birkan, who constructed the amazing frame for the goblets from found metal in the Pilchuck metal shop and Zach Lorenzetti who made music with us and assisted behind the wheel!
Video of our electro-magnetic print process: www.mayarouvelle.com/?p=775
Soundcloud of recent performances on our glass instruments: www.mayarouvelle.com/?p=752
Artist website: www.mayarouvelle.com
Designs developed in Vermiculture Furniture course at the Ohio State University. Course co-taught by Kay Bea Jones, Ann Silverman and Amy Youngs. Online syllabus: artandtech.osu.edu/vermiculture_furniture/
JWS waste processing station, Salford. June 2nd 2011.
Konica Pop on Kodak Gold 200 film (expired 4/2009), home developed in Tetenal C41 chemistry.
Representatives from Malawi, Mozambique, Tanzania, Zambia and Zanzibar gathered in Dar es Salaam for 3 days to pilot the use of the GPE/UNGEI Guidance for developing gender-responsive education sector plans.
Credit: GPE/Chantal Rigaud
Fame is the tint that Scholars leave
Upon their Setting Names —
The Iris not of Occident
That disappears as comes —
Emily Dickinson, F968A, J866
Okay, she almost certainly means rainbow, here, but she used iris to mean the flower, elsewhere. And I need the photo for a folding menu item.
The Norway‐funded Nansen Programme has supported developing countries in fisheries research and management for more than 40 years. Fisheries and environmental surveys with the research vessel Dr. Fridtjof Nansen have been an important and integral part of the program throughout its lifetime. A new phase of this programme, the EAF‐ Nansen Programme, is about to start with a new research vessel, also named Dr. Fridtjof Nansen available from May 2017. This new phase is intended to further strengthen the knowledge base and the overall institutional capacity for the implementation of the EAF in developing countries with additional effort on the impact of climate variability and change, pollution and other anthropogenic stressors. The three pillars of the new programme are science, fisheries management (EAF) and capacity development.
FRom 14 to 17 February 2017 a meeting was held at the FAO HQ in Rome with the follwoing objectives:
•Bring together resource persons from partner institutions and set up research teams for the implementation of the science component of the EAF‐Nansen Programme;
•Review and complete participation in the themes;
•For each theme, develop research projects to be carried out collaboratively to form the basis of the research and survey work by the new R/V Dr. Fridtjof Nansen.
Photo credit must be given: © Deborah Catena. Copyright © Deborah Catena
Developed at home with caffenol. Recipe from www.flickr.com/photos/danpv/
My first posting to caffenol related groups!
PUERTO VALLARTA/MEXICO, 18APR12 -Jorge Becerra, Senior Partner and Managing Director, Head of Latin American Financial Services and Transformation Practices, Southern Cone Offices, Boston Consulting Group, Chile captured during the session 'Developing Smarter Cities'
Copyright World Economic Forum (www.weforum.org)/Photo by Josef Kandoll Wepplo
Developing flowering shoot of Thismia rodwayi (fairy laterns). Plants growing in a soil sample held in a plastic box.
Thismia rodwayi is a peculiar, chlorophyll devoid plant. Vegatatively reduced, this leafless plant exists solely as white, root-like rhizomes which bear small red flowers in early summer. It gains nutrition through association with soil fungi.
This species occurs in New Zealand, New South Wales, Victoria and Tasmania. It is listed as rare within Tasmania (pdf listing).
The continued growth and initiation of flower development of these plants raises questions on how Thismia rodwayii gains nutrition.
Many of the mycoheterotrophs studied have been shown to gain nutrition from fungi that are associated with tree or shrub species (a number of chlorophyll devoid orchids are strongly associated with 1 or 2 tree or shrub species). The presence of Thimsia in Tasmania is often tied to a number of shrub species. Does this plant parasitise their mycorrhizal associations or is it feeding from the saprophytic fungi that thrive in these habitats?
Im using about 10g NaOH/l at room temperature.
Quirks:
- DONT use this Rösle Metal tweezers that i love to cook with. It has sharp ripples, while this is perfect for picking somethin in a hot pan it scratches the Photofilm wich leads to broken traces while etching....
- only develop until no more of this brown sludge comes off the PCB else you will erase everything
- throw the PCB in a huge can with water to immediately stop developing
Developing this piece on paper. Added a second black layer giving me the option to use a different colour backdrop and therefore softening the whole image. Bit more work to do yet.
The back story on these dolls and this series can be found here:
www.flickr.com/photos/a_perhaps_hand/6874041602/in/photos...
Holga 120CFN
60mm macro len
Natural light, ? second (s)
Lucky SDH 100; developed in Caffenol C-M for 15 mins.
Develop: PHNK (1+2) 26C_3 min
Planfilm: Svema FN -64_expired 12,1992 , dev_11,2013
Zeiss Ikon Donata 9x12 , Tessar 1:4,5/135 ( 1928 )
Camera: Pentax645+75mm F2.8
Film: Fuji provia 100F
develop: Naniwa Color Kit-N
scanner: Epson GT-X970 (without color revise)
photograph condition: bright（+1）
develop conditiion: twice time as standard
(twice time as naga film standard developing time)
This past summer term, my friends and I took a black and white film photography elective at school. We learned everything from proper exposure, lighting techniques, to developing film ourselves and enlarging our negatives in the dark room. For Patrick and I, a lot of the initial work was review but I think we still learned a lot :) we also had a really great professor who was one of the most congenial, inspirational and down-to-earth professors I've had so far. For most of our friends it was their first time working with film and I think a lot of them really enjoyed it. I know a few still want to shoot more film! I think it's really great how film photography is still relevant in our generation, and that Patrick and I were able to share with our friends how much we love film photography. Unfortunately, our school will probably be shutting down our darkroom within the next term or so... I feel that the systematic approach that comes with following the processes of using film instead of digital really changes how you see composition and form, and I feel that it is really integral to learn these things as an architect... I just hope our school realizes that too before they shut our darkroom down!
During this term, we were given various assignments to shoot. Assignment 1 was just to get familiar with shooting film, so the only required shot was one at a slow speed using a tripod.
This is also my last roll of film I shot with the Bronica. Patrick received it last year from a friend on Rangefinder Forum; the conditions were that he would keep is as long as it was being used. We'd only used it a few times this summer so we passed it on to our friends Nik and Melissa :) they hadn't tried medium format before, and I know that it's slowly becoming my favourite format to shoot so I hope they enjoy it too! It's a beautiful camera, I'm sure they'll get much more use out of it than we did!
Bronica RF 645_Fuji Neopan Acros 100
Developing Film in Coffee
2012.12.02 photoed in New Taipei City, Taiwan
咖啡顯影
2012年12月2日於新北市拍的
Caffenol 30mins
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