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Rovingian Council - Rovingian Council - Exploring the Universal Language of Symbols and Forms by Daniel Arrhakis (2026)
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Exploring the Universal Language of Symbols and Forms (I)
Introduction to the Rovingian Quest: The Language of Silence
Rovingian nomadic monks are known for their dedication to the quest for sacred symbols and geometries, transcending the boundaries of traditional ritualistic patterns. For these monks, the spiritual world does not express itself through alphabetic languages, whether spoken or written. Instead, they believe that spiritual communication manifests itself through a visual language composed of geometric forms and patterns that are incorporated into the very structure of Nature and the Universe.
The Language of Silence
By rejecting spoken languages, Rovingians aim to eliminate cultural and mental barriers, seeking a direct and intuitive connection with the cosmos. This connection is achieved through the study and contemplation of sacred geometries, symbols, and ritualistic patterns. Thus, they pave the way for silent communication, a truly profound visual language that allows for a dialogue with the universe without the limitations of words.
The Visual Language: While words vary and disappear over time, the ways in which the triangle or spiral maintains mathematical meaning anywhere in the universe highlight its universal and timeless value.
The Geometric Source Code of the Universe
Rovingians believe that the universe is governed by a fundamental geometric code. Understanding this code allows one to unravel the hidden order of reality. For them, studying sacred geometry is a way to reconnect with the cosmos, treating nature as a true living temple, and the universe as a symbolic book, open to interpretation.
The Living Temple: For the monks, the world does not contain temples; the world is the temple itself. Natural elements, such as a nautilus shell or a quartz crystal, are seen as sacred scriptures. For example, the quartz crystal is not just a mineral, but a geometric lesson on order, clarity, and repetition.
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Explorando a Linguagem Universal dos Símbolos e Formas (I)
1 - Introdução à Busca Rovingiana: A Linguagem do Silêncio
Os monges nómadas rovingianos são conhecidos pela sua dedicação à procura de símbolos e geometrias sagradas, ultrapassando as fronteiras dos padrões ritualísticos tradicionais. Para estes monges, o mundo espiritual não se expressa através das línguas alfabéticas, sejam elas faladas ou escritas. Em vez disso, acreditam que a comunicação espiritual se manifesta por uma linguagem visual composta por formas e padrões geométricos que estão incorporados na própria estrutura da Natureza e do Universo.
A Linguagem do Silêncio
Ao rejeitarem as línguas faladas, os rovingianos pretendem eliminar barreiras culturais e mentais, buscando uma ligação direta e intuitiva com o cosmos. Essa conexão é alcançada através do estudo e contemplação das geometrias sagradas, símbolos e padrões ritualísticos. Assim, abrem caminho para uma comunicação silenciosa, uma verdadeira linguagem visual profunda, que permite um diálogo com o universo sem as limitações das palavras.
A Linguagem Visual: Enquanto as palavras variam e desaparecem com o tempo, formas como o triângulo ou a espiral mantêm o significado matemático em qualquer parte do universo, evidenciando o seu valor universal e intemporal.
O Código-Fonte Geométrico do Universo
Os Rovingianos acreditam que o universo é regido por um código geométrico fundamental. Compreender esse código permite desvendar a ordem oculta da realidade. Para eles, estudar as geometrias sagradas é um caminho para se reconectar ao cosmos, tratando a natureza como um verdadeiro templo vivo, e o universo como um livro simbólico, aberto à interpretação.
O Templo Vivo: Para os monges, o mundo não contém templos; o mundo é o próprio templo. Elementos naturais, como uma concha de nautilus ou um cristal de quartzo, são vistos como escrituras sagradas. Por exemplo, o cristal de quartzo não é apenas um mineral, mas sim uma lição geométrica sobre ordem, clareza e repetição.
my Flickr Explore photos > www.flickr.com/photos/roderickma/albums/72157644876320979
my favorite photos > www.flickr.com/photos/roderickma/sets/72157623272274082/
my photo sets > www.flickr.com/photos/roderickma/sets
" Unable to perceive your form, I find you everywhere around me. Your presence fills my eyes with your love; my heart grows small, for you are everywhere."
Guillermo del Toro's film *The Shape of Water* concludes with an adaptation of a traditional Sufi poem, often attributed to the 11th-century Persian poet and mystic Hakim Sanai (the verses reflect the essence of universal and transcendent love, capable of taking any form, just like water).
" Incapace di percepire la tua forma, ti trovo ovunque intorno a me. La tua presenza mi riempie gli occhi col tuo amore, il mio cuore si fa piccolo, perché tu sei ovunque."
Il film "La forma dell'acqua" di Guillermo del Toro
si chiude con un adattamento di una poesia tradizionale sufi, spesso attribuita al poeta e mistico persiano dell’XI secolo Hakim Sanai (i versi riflettono l’essenza dell’amore universale e trascendente, capace di assumere qualsiasi forma proprio come l’acqua).
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Sicily: sun, sea, summer. But also love, friendship, solitude, memories, nostalgia, and daydreams.
After a series of shots taken on the island of Favignana, I returned to photograph summer in the area around Taormina. Most of these are "beach photographs," presented here as a series of black-and-white images.
Allow me, at this point, a brief reflection. I imagine that anyone who loves photography wishes, sooner or later, to publish a book of their own. I am sharing this series as if it were a digital photobook—hence the substantial number of images—hoping that, one day, I might see it printed in the classic paper format.
Among the images in this collection, one in particular prompted a reflection. Sheltered from the scorching sun beneath beach umbrellas, I saw—and photographed—three women who, despite the intense heat (the summer of 2016 was recorded as the hottest ever), remained fully clothed.
Two of them were wearing a "burkini" (a neologism combining *burqa* and *bikini*), and one also wore a *hijab* (or Islamic headscarf); in all likelihood, they were Muslim women. Nearby, shaded by another umbrella, sat a third woman. She was an elderly Sicilian woman wearing a traditional dress and headscarf—both strictly black. It had been a long time since I had seen the attire of "strict mourning" in such a setting. It is a social and cultural ritual deeply rooted in the history of Southern Italy—an outfit often worn for the rest of one's life—yet one that is gradually disappearing with the new generations. Encountering these three women on the same beach struck me as a powerful point of connection. Despite belonging to different worlds, the burkini and the Sicilian mourning dress reveal an extraordinary convergence: the ritualization of the female body through clothing. Two distant cultures—yet historically intertwined by the island's ancient Arab rule—meet here in the shade of a beach, using dress as a shared social and cultural language.
Sicilia: sole, mare, estate. Ma anche amore, amicizia, solitudine, ricordi, nostalgia e sogni ad occhi aperti.
Dopo la serie di scatti realizzati sull'isola di Favignana, sono ritornato a fotografare l'estate nei dintorni di Taormina. La maggior parte sono “fotografie di spiaggia”, qui presentate in una serie di esposizioni in bianco e nero.
Mi si conceda, a questo punto, una breve considerazione. Immagino che chiunque ami la fotografia desideri, prima o poi, pubblicare un proprio volume. Condivido questa serie come fosse un libro fotografico digitale — da qui il numero non indifferente di esposizioni — con l'auspicio, prima o poi, di vederlo stampato nel classico formato cartaceo.
Tra le immagini di questa raccolta, ce n'è una che mi ha indotto a fare una riflessione. Al riparo dal sole cocente, sotto degli ombrelloni, ho visto, e fotografato, tre donne che, nonostante la forte calura (l’estate del 2016 è stata considerata la più calda in assoluto), restavano interamente vestite.
Due di loro indossavano il “burkini” (neologismo nato dall’unione di burqa e bikini), una aveva anche lo hijab (o velo islamico): due donne, con ogni probabilità, di fede islamica. Poco distante, protetta da un altro ombrellone, sedeva una terza donna. Era un'anziana siciliana che indossava un abito e un fazzoletto tradizionali, rigorosamente neri. Era da molto tempo che non mi capitava di vedere l'abito del "lutto stretto" in un contesto simile. Si tratta di un rituale sociale e culturale profondamente radicato nella storia del Sud Italia — un vestito spesso portato a vita — che tuttavia sta pian piano scomparendo con le nuove generazioni.
L'aver incontrato queste tre donne sulla stessa spiaggia mi è sembrato un potente punto di unione. Pur appartenendo a mondi diversi, il burkini e l'abito del lutto siciliano rivelano una straordinaria convergenza: la ritualizzazione del corpo femminile attraverso l'abbigliamento. Due culture distanti — ma storicamente intrecciate dalle antiche dominazioni arabe nell'isola — che qui si incontrano nell'ombra di una spiaggia, utilizzando il vestito come un linguaggio sociale e culturale condiviso.
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La Duna de Pilat es con diferencia la duna más alta de Europa. Pero la altura no lo es todo. Por el contrario, es el conjunto formado por su increíble tamaño, un ambiente fascinante y su impresionante panorama que la hace única. A esto se le añaden sus formas y colores que varían con el tiempo, la luz, la sensación de inmensidad y la libertad que proporciona.
2,7 kilómetros de largo, 500 m de ancho y hasta 110 m de alto*. Estas son las espectaculares dimensiones de la formación de arena que se puede admirar durante todo el año. Incluso en invierno su visita vale la pena. Algunos pudieron verla cubierta por una fina capa de nieve. ¡Qué suerte! Hoy en día sigue evolucionando con el viento y las mareas mientras se mueve hacia el interior. El bosque de pinos marítimos es gradualmente absorbido por esta masa inimaginable e indomable de 60 millones de metros cúbicos de arena. Cada año la duna se desplaza varios metros. Los vientos del mar no tienen ningún problema para levantar y transportar la arena increíblemente fina.
Al mismo tiempo, la duna sufre la erosión en el otro lado a causa del mar. Las fuerzas de la naturaleza, por tanto, provocan un movimiento perpetuo causando el cambio en las formas de la duna y por último su desplazamiento.
Este fenómeno es difícil de creer cuando todo se ve tan tranquilo bajo el cielo azul y sin viento... Los pinos y otras plantas situados en el este de la duna no tienen forma de escapar.
La Barraca, construcción rural que forma parte del paisaje valenciano.
La Barraca es la vivienda tradicional valenciana, junto con el plato de la paella y la horchata, constituye uno de los símbolos de la ciudad de Valencia.
La Barraca es una construcción pequeña, con tejado a dos aguas, en la que vivía toda la familia.
La distribución era la siguiente; estaba dividida en 2 dormitorios entre los cuales hay un espacio dedicado a la cocina, que solo se utilizaba en invierno ya que en verano se cocinaba fuera.
Su origen se remonta a las primitivas chozas, y a lo largo de toda la península y al sur de Francia se dan construcciones similares a la barraca, con cubiertas muy pronunciadas y revestidas de elementos vegetales.
Podemos distinguir diferentes tipos; la de huertanos, en la misma huerta, la de pescadores, en la playa y en la Albufera las dos modalidades.
El clima de Valencia y la fertilidad de sus tierras permite varias cosechas al año, con un sistema de cultiva que precisa de especial atención. Este es el motivo por el cual los huertanos construyen sus barracas al pie de la huerta, con materiales que brinda la naturaleza; barro, juncos, cañas y carrizos.
Estas construcciones están rematadas con una cruz, cruz que según la tradición en el siglo XVI servía para diferenciar a los cristianos viejos de los moriscos. Sin embargo, puede que simplemente se trata de un símbolo religioso.
Cabe destacar la novela de “La Barraca” de Vicente Blasco Ibáñez.
Puedes encontrar las barracas en:
El Palmar: entre los campos y la Albufera
El Palmar: junto a uno de los canales
Catarroja: exposición-museo. Junto a la Escuela de Capataces Agrícolas
Cerca del acceso a la Ciudad de las Artes y las Ciencias
shape of the news. altered newspaper.
Außengrenzen, innen Wunden.
Form der Nachrichten.
veränderte Zeitung
Markarian's Chain is a stretch of galaxies that forms part of the Virgo Cluster. When viewed from Earth, the galaxies lie along a smoothly curved line. It was named after the Armenian astrophysicist, Benjamin Markarian, who discovered their common motion in the early 1960s. Member galaxies include M84 (NGC 4374), M86 (NGC 4406), NGC 4477, NGC 4473, NGC 4461, NGC 4458, NGC 4438 and NGC 4435. Near the center there appear the pair of interacting galaxies NGC 4438 and NGC 4435, about 50 million light-years away, known to some as Markarian's Eyes.At least seven galaxies in the chain appear to move coherently, although others appear to be superposed by chance. Six of the points on the chain can be marked by galaxies. The other two points are pairs of galaxies
-=Tech Data=-
-Equipment-
Imaging Scope: Sky-Watcher Esprit 100
Mount: Celestron CGX
Imaging Camera: ZWO ASI 1600MC-Pro
Filter: Baader UV/IR cut
Guide Camera: ZWO ASI120 Mini
Guide Scope: Starfield 60mm guide scope
Dew Control: Kendrick
Power: Pegasus Astro Pocket Power Box
- Acquisition -
2H of 5 min exposures (24)
- Software -
Acquisition / Rig Control: Sequence Generator Pro
Stacking: Astro Pixel Processor
Processing: PixInsight
Post Processing: Photoshop CC
Shot at the Camden Lake Provincial Wildlife Area near Moscow, Ontario.
Industrial forms against bushline. The vertical compression pulls the storage tanks closer to the trees than it really is, which suits the truth more than the distance does. Compositionally, it’s a quiet argument between utility and intrusion. Note the gravestones behind.
Caption: New sea ice forms in a rift created when the B-46 iceberg broke off from Pine Island Glacier.
Credits: NASA/Kate Ramsayer
NASA’s Operation IceBridge on Wednesday, November 7, flew over an iceberg that is three times the size of Manhattan. This was the first time anyone has laid eyes on the giant iceberg, dubbed B-46 by the U.S. National Ice Center, that broke off from Pine Island Glacier in late October.
On October 29, the National Ice Center, which tracks icebergs for navigation purposes, estimated the surface area of B-46 at 66 square nautical miles, though satellite imagery and the IceBridge flight showed that the main iceberg is already beginning to break up.
Ice shelves, floating glacial ice areas that surround much of Antarctica, calve icebergs as part of the natural process of ice flowing out to sea. But scientists are also watching closely to see if the frequency of calving events is changing over time. In late 2016, IceBridge saw a crack beginning across the ~ approximately 22 mile-wide trunk of Pine Island Glacier. It took a year for the rift to fully form and the iceberg named B-44 to break away in September 2017. The crack that would become B-46 was first noticed in late September 2018 and the iceberg broke away about a month later. Pine Island has now calved major icebergs in 2013, 2015, 2017, and 2018. Prior to that stretch, the glacier was experiencing major calving events about every six years.
Pine Island and nearby Thwaites Glacier alone are contributing about 1 millimeter per decade to global sea level rise, as their flow of ice to the sea has accelerated in recent years, according to NASA research.
Read more: go.nasa.gov/2OyvIBT
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Dos páginas formando un corazón es un clásico repetido en fotografía, pero aunque nada original, no podía dejar de representar un libro de esta manera, por el significado que tiene, amor por las historias que se encuentran dentro
From wiki:
NGC 7822 is a young star forming complex in the constellation of Cepheus. The complex encompasses the emission region designated Sharpless 171, and the young cluster of stars named Berkeley 59
Image details:
SHO (Hubble Palette)
231, 5-min, 100-gain, SII subs
115, 5-min, 100-gain, Ha subs
165, 5-min, 100-gain, OIII subs
42.75 hours of data total.
Data calibrated with:
Darks, Flats and Bias frames
Data collected on clear nights Dec 2024, Jan, Feb 2025.
ASI2600mm Pro Camera
Esprit 100ED with reducer
446mm focal length, F4.4
Sensor cooled to -10C
Sky-Watcher EQ6-R Pro mount
Dithered every 3 frames, 2X
drizzled in PIX
All data captured in my backyard in Yukon, Oklahoma
Bortle-7 sky.
Processed with Pixinsight and Photoshop.
Europe, Netherlands, Rotterdam, Museumpark, Chabot museum, Bauhaus exposition, Form and color organ with touching color sound (slightly cut)
The 'Form and color organ with touching color sounds ' art work was designed in 1901 by Kurt Schmidt and crafted by Holger Zolkowski in 1960. The structure is wood painted with oil and distemper.
Kurt Schmiidt was a painter and a stage and set designer. He studied at Bauhaus in Dessau from 1920 to 1924. His teachers included Paul Klee, Wassiliy Kandinsky, Theo van Doesburg, László Moholy-Nagy and Johannes Itten.
About Bauhaus: "Bauhaus, the 20th century’s most influential school of art and design. Active during the years of Germany’s Weimar Republic (1919–33), the Bauhaus aimed to unite artists, architects, and craftsmen in the utopian project of designing a new world. The school promoted experimental, hands-on production; realigned hierarchies between high and low, artist and worker, teacher and student; sharpened the human senses toward both physical materials and media environments; embraced new technologies in conjunction with industry; and imagined and enacted cosmopolitan forms of communal living. The legacies of the Bauhaus are visible today, extending well beyond modernist forms and into the ways we live, teach, and learn." Source: here.
About Schmidt: "Der 1901 im sächsischen Limbach geborenen und 1991 in Gera verstorbenen Bauhauskünstlers Kurt Schmidt lebte mit seiner Familie seit 1903 in Gera. 1919 besuchte er die Kunstgewerbeschule in Hamburg, ging ein Jahr später an das Bauhaus nach Weimar, wo er bis 1925 die entscheidenden Impulse für seine künstlerische Entwicklung erfuhr. Noch heute wird sein Name weltweit vor allem mit dem „Mechanischen Ballett“ identifiziert, das er 1923 für die Bauhaus-Festwoche kreierte. Diese "Bühnenorganisation mit einfachen Formen", wie es Kurt Schmidt wenig später präziser bezeichnete, zählt zu den revolutionären Bühnenexperimenten der 1920er Jahre. Nach seinem Weggang aus Weimar arbeitete Kurt Schmidt in den Jahren 1925 bis 1929 als Dekorationsmaler in Stuttgart, kehrte anschließend nach Gera zurück und musste sich in der Folgezeit in verschiedenen Notberufen durchschlagen. In vielen Jahren der persönlichen und künstlerischen Isolation vom Bauhaus, beschäftigte sich Kurt Schmidt erst ab 1968 wieder mit eigenen abstrakten Kompositionen. Die von 1976 bis 1988 in verschiedenen Arbeitsphasen entstandenen Glasbilder stellen einen herausragenden Komplex des Alterswerkes von Kurt Schmidt dar. Die ersten Anerkennungen für seine Bauhaus-Arbeiten erhielt er Anfang der 1960er Jahre in Westdeutschland. Ab 1975 erfährt er nach einer Ausstellung im Gothaer Museum, zumindest beim Fachpublikum im Osten Deutschlands, einen gewissen Grad an Aufmerksamkeit. 1991, noch zu Lebzeiten des Künstlers, veranstaltete die Kunstsammlung Gera eine umfangreiche Retrospektive seines Schaffens. In der Geraer Sammlung wird heute auch der Nachlass bewahrt." Source: here.
Forming part of the morning rush at the capital is B-1017 of Shenzhen Airlines, with an Air China A330 and a China Eastern 737 in the background.
sur le long de la plage, entre la neige et le sable, un trou, qui formait une grotte miniature, entouré de ce jolie frimas si fragile.
Seltaist first appeared in the form of a divine statue. She was forged by the remains of a great one and served by sharp scholars known as Eladonian’s. The remains of the great one were so peculiar it was difficult for the tribe to identify which entity they may have come from however Themia believes that Seltiast is closely related to Gheos, a former goddess of inspiration as they both represent similar ideals. When the Eladonian’s fell to devastation Commundus removed the statue, burning the holy object down to its core, and sentencing his former comrades to gruesome deaths. Years later a strange creature stumbled upon a chamber filled with dozens of corpses and the remains of Seltiast, by performing a ghastly ritual it was able reanimate her spirit however this act likely led to the creatures own demise.
Seltiast is a compassionate spirt who now looks after the suffering, and unwanted, spreading prosperity and telepathically communicating to the congregations who gather in worship of her. The face and claws of the entity resemble that of her former body, and connect to the spirit as if fused on. Just beyond her back are tentacles capable of absorbing, or deflecting attacks. Each of these tentacles carries a powerful blessing gifting her with the ability to perform miracles all while leaving behind a blue aura. Many of her believers have taken a liking to the Eladonian’s, striving to acquire heaps of information on this special race, and mimicking their best qualities. Seltaist is well aware of the Eladonian’s eventual fate, she is impelled by their memories, and continues to uphold a similar structure to the one they established. Though the goddess is unaware of any potential survivors, perhaps the remaining may continue the path they once begun or pledge themselves to the will of another entity. Alternatively their existence will serve a greater purpose
Follow link for the 1st part of this lore
mocworld.tumblr.com/post/177144134100/mocworld-the-eladon...
Who would've thought ice could have such amazing crystal structures. Ice belongs to the hexagonal crystal system, which is quite evident just looking at the 120, 60 degree angles in the crystals themselves. I zoomed in and cropped this photo of some hoar frost resting on a tree branch.
July 23, 2015 - South of Overton Nebraska
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Storms were already firing in in Gosper county, and they were moving slow... Really slow about 5-10mph to the south southeast. I had other familiar storm chasers down in the Cambridge area. They had some incredible streaming video with excellent rotation.
I wasn't feeling the best but anxious due to the storms. The feeling overtook me and I was off. Its about an hour drive to the southwest from Kearney. I was in for a treat. Storms were now forming in southern Dawson county and with the sunset, I got some incredible colors to pop!
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Segunda tentativa de Splash, creio que melhorou bastante em relação ao primeiro
Nikon D60
Lente Nikkor 70-300mm
f/5.6
1/1000
ISO 200
70mm