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me as Patchouli Knowledge from Touhouvania (Koumajou Densetsu II)
photo by Butterfly Dreams (facebook.com/ButterflyDreamsCosplay)
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Autor: Society of Gentlemen
Descripción bibliográfica: A new and complete dictionary of arts and sciences : comprehending all the branches of useful knowledge, ... Illustrated with above three hundred copper-plates, ... The whole extracted from the best authors in all languages / By a society of gentlemen. - The second edition, with many additions, and other improvements. - London : printed for W. Owen, 1763-64. - 4 v. (1064,1061-3506 p.), il.: lám. ; 8º
Notas: Grab. calc. representando a Minerva: "S. Wale invt. et delin., C. Grignion sculp."
Localización: fama.us.es/record=b2656185~S5*spi
Vea la ilustración en su contexto
This gent's speciality was a knowledge of all the places from Talwandi Sabo to Hazur Sahib (Nanded). He knew the names of these places by rote and offered a high speed rendition in either direction. Stop him mid sentence...and he would effortlessly start again from the town he halted at.
© 2010 Gurbir Singh Brar, all rights reserved.
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations in language that nature uses. If “E” stand for “energy” and “=” stand for “equal to” and “m” for “mass” and so on, than in my flashes some wood or earth texture juxtaposed with some toy or any object could be some explanation of some phenomena in language that nature is accustomed to. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist.
For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature.
Nature is full of concepts like forms, colors, textures, sound, smell, time, taste, hunger, desire, romance, death, thoughts, light, dimensions and etc. and why nature chooses these different concepts in different composition, for instance: FORM in man, why Allah has choosed to place two eyes or say two hands with certain FORM, for Allah its also easy to give sight to the whole body, Allah can give any function to any form, therefore Allah knows the reason of His composition in His creations in which certain FORM is also very important, what scientists are exploring is function of every form has secondary importance bcause, Allah can give any function to any form, but its more difficult to explore reason of form, texture, color and etc. where an artist can collaborate to understand, and in romance, pain, hunger, poverty and etc. where a philospher, psychologist can collaborate to understand, in my case, I wonder, when Allah created the first man, the FORM came first or the function or word or names ? With particular texture, color and form flower came first or its name or its symbolism or archetypal dimension came first ? here lies the importance of Flashes to explore, because they are like comunication from nature, the language of which we do not know yet. why certain composition comes in my Flashes ? I do not know, I just record or illustrate these Flashes as a psychic fossils, thus I invite the viewer to explore "the tangibility of the intangible" as recorded in cover story of Dawn Gallery, May 17, 2008.
The importance of flashes can also be realized from the ripple effect observable in art and multi-media community that somehow came in contact with my work and hijacked ideology out of these flashes for their purpose, such benefits, scientific community has not taken yet out of these flashes. From art point of view the art community produced high quality variations out of my Flashes but their work lack archetypal dimension, which is one of the aspect, useful for scientific community to explore. For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art history for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources to record. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology. For detail see at: quranicarchaeology.blogspot.com/ Please see my few recorded Flashes on address: www.flickr.com/photos/art-science-works/
Here I just want to share my personal recent refinement on my own analysis (with which you are free to agree or not), that perhaps I should confine myself to Flashes (or call it visions, images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Science or Spirituality, I do not know yet. So I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. IN DADA AND SUR-REALISM WE DO READ ABOUT DREAMS AND DRUG INFUSED RANDOM THOUGHTS, BUT NOT FLASHES, SO FAR NO WORD ABOUT FLASHES I FIND EVEN IN FREUD OR JUNGIAN PSYCHOLOGY, THEY TALK ABOUT DREAM IMPORTANCE. And in Christian art history SO FAR I've only observed mixing of dream and inspiration from Bible. No body so far I have read in dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. But after seeing the difference between Flashes and work based on MIXING of imagination or experimentation, now I can pin point the Flash, mixed or unmixed*, so please never mix me with William Blake, Sohail Tassaduq, De Chirico, Carra, Magrette, because I am not competing in sur-realism, art aesthetic, or in painterly compositions, I have no experience of spirituality, so I request please do not also confuse me with any oriental mystic artists. MY WORK FROM (1974-81) OF INSTALLATIONS, PERFORMANCES BASED ON FLASHES IS STILL UNPUBLISHED, so new writers do not know about it. IN PAKISTANI ART ALSO SO FAR, NO ARTIST HAS EVER CLAIMED FLASHES mixed or un-mixed. For future science world, un-mixed FLASHES will be more important. If you come up with something related to SCIENCE OF FLASHES, please refer it. * NOTE: After seeing the difference between two, that is: (1)Pure Flashes and (2) some of my work based on MIXING of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My unmixed are pure Flashes and to my mixed work(that is no:2) you can call it sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
And another relevant thing here is about physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore. Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. From Rudolf Arnheim's essay: Complementarity from the outside. May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything.
In between, some works in form of small photo with ink or other media are what I called these: Today’s Miniature Works, it’s personal feeling that any other like me can also claim we never know what time can prove but thing should be recorded, this is what I am doing here. One of the experiments was a debate on miniature art, I told many, it should be saturated with current and regional issues or concepts, which I painted with brush and camera, etc. and called it Today’s Miniature Art, long before it became a trend. Indeed now it is much refined by our younger generation of artists, I hope they remember my small contribution untold to them. such miniatures along with other experiments of early 70’s I had shown to Bashir Mirza, Ali Imam, Ahmed Pervez, Jamil Naqsh, Imran Mir, Iqbal Jaffery, Naseem Ahmed Khan, Muhammad Ali Bhatti, Dr. Sajid Khan, Iqbal Durrani, Mohsin Zaidi and other artists and art collectors. But BM and Imam refused to exhibit these experiments (flashes) on ground that these experiments will become important in future, first I should make my name famous with super realistic sort of works, which they were selling easily, so I had to exhibit these experiments (flashes) at PACC, Karachi, Jan 8, 1979, about which Daily News reported: "Artist Bashir.Mirza inaugurated an exhibition of paintings by Saleem Mansoor, a 19-year old student at the PACC yesterday. Saleem has .a distinct talent in Art. He has painted old colonial houses in a remarkably sound representational style, he has to stick to this style in order to develop his aesthetic sense instead of delving into different styles".Daily News, Jan 9, 1979 This above small press coverage is evidence of my habit of delving into different styles and evidence of how brutally my Pakistani- avant gaurd works (that I did between 1974-1978 which were displayed in this 1979 exhibition) were brutally ignored by media. I invited Dr. Akbar Naqvi the only art critic I knew at that time, but he did not came, perhaps due to reason of event of Dec. 1974, when Ali Imam told me that Dr. Akbar is offering four hundred for your painting of nine hundred rupee, but I refused, after that I was never introduced to any art critic, nor Dr, Akbar wrote a word on me and not even in his book and other art historian also not included me in their books, and no comment I see in the catalogue of 2007- National exhibition, but can history ignore the influence of my Flashes recorded in an unmistakable solid resources other than these local sources ? If conceptualy analysed what Fine Art is all about ? than even two or three flashes from my 70's or early 80's (which Dr. Naqvi has seen) will have more wheight than works represented in local art books. This is not proudness on myself this is an admiration of gift from nature that I got in form of Flashes, although my depiction of Flashes is bad, because I have no proffessional art training nor I am better artist than many artists represented in local art books, on this ground Dr. Akbar Naqvi, S. Amjad Ali, Ejazul Hassan, Salwat Ali are right in not including me in their books. But I depict or record Flashes with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. When I put all these before Marjorie she replied my email with these highly rewarding words: " What you have to say is extremely important, but you have always been way ahead of your time and environment. Mansoor, it is very hard to be a pioneer, but you are in the best of company in art history. Do not despair"---Marjorie Hussain, 5. 19. 2008, 9.03.am. Marjorie perhaps discovered me in 1983 through BM and Imam as her this recording shows:
"Saleem Mansur is an extremely interesting artist: "an artist's artist' as Ali Imam used to say. Bashir Mirza who juried Mansur's thesis work at the Central Institute of Arts and Crafts in 1983, was also numbered among the artist's admirers and on that occasion was greatly excited by the audacious innovations of the young "avant-garde' artist. Mansur was even then into installations, happenings and conceptual art, ....... In spite of the success in terms of the work, Mansur returned totally to the conceptual language that few understood. Those who did, considered him the most innovative and promising artist of his generation." ---Marjorie Hussain, Art Views, page.146. Published by fomma. And according to founder of fomma: Imran Mir (who knew me scince 1975) use to say... "because of his "Garage Series" Mansur was an artist before admission at CIAC" . To some extent he is right, since then I am like a scientist trying to record or understand the phenomenae of Flashes which immenssly influenced even the senior artists and since than I am enjoying the ripple effects of my Flashes that I exhibited between 1974-80, because of these years' work, Imam and BM passed highly praised words to Marjorie in my 1983 show at Pakistan Arts Council, Karachi, which Dr. Akbar Naqvi also saw (in 1984 display at the same place), but avoided to write and said I will see your next show. despite all these I still like him and all other art critics because of their love with fine art.
In late 70's some art students from KSA and CIAC came to my house and told me they have taken address from the back of my canvas at BM and Indus Galleries and developed a friendship and insisted me to take admission in their art school, I told them I am refusing my father who has managed my addmission in NCA on ground that I can not work on others' assignment, but among them Mohsin Zaidi gave me inside story and assurrance that at CIAC I will have full freedom to do my own experiments, I decided to register at CIAC in 1981 where for new audience I repeated most of my earlier works for photo and film recording the facility of which I found among new friends and all these recording I took NCA (1981) to show it there as well to check the ripple effect of my Flashes and later I exhibited at NAG, Islamabad, Al-Hamra, Lahore (1984) about which Yasin Muhammad, Salima Hashmi, Ghulam Nabi and others wrote good comments. For press coverage Click Here
It was not important for me to call my small size works as "todays miniature art", because these recording of flashes are blue print for performmance, installations, 3D animation, etc., and these are blue print for science as well as specialist of quantum physics Thomas Young says, if we isolate light particle from other particle than its duplicate takes its place and that duplicate comes from other universe or from else we do not know yet but it certainly shows we all have our duplicates including universe within universe. Beyond particle there is particle-Less field in atom to which Euorpean physicst call God-particle, this field if it is realy particle-Less perhaps is a curtain between the world and the other worlds of spirits, jins, angels, etc. visible after death only and not through telescope, space ship, microscope, etc. so flashes could be the LINK with the other worlds we have yet to understand. It looks to me all the flashes came to me in one night of 1973 or 1974 and scince then I am trying to somehow to capture them in notes or in illustration and in this effort flashes do come back one by one but still my energy and skill is not sufficient to record all those moving and still flashes, I hired one video recorder in 1981 through Sadiq of CIAC to record such Flashes but budget did not allowed to refine it or to produce more. What ever Flashes I recorded between 1974-1982 is my work that has immense ripple effects without any economical reward.
See 1981 film recording which include Flash works. If executed with high resources,most of my Flashes (done between 1973-81) illustrated in this set of CD or in other collections are works in concept on higher plane and ahead of Malaveich, Oldenberg, Raushenberg, Robert Moris, Jasper John, Christo, Jackson Pollock, Donald Judd and etc. But still their execution with my little resources inspired many resourcefull groups of qualified artists, writers, historians, archaeologists, anthropologists, journalists architects and my flashes also inspired highly intellectual people behind Lari & associates, Shisha, Shanakht, Carce, vm, green cardamom, ivsaa, Fomma, vasl, vsdku and etc. that in their works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required.
A year before Metric and much before Diploma in fine art, my art works (flashes) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my art and science works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984). Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan. "Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avnet Garde" also shows his wit." (—page 123, Ejazul Husan) "The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan).
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque also absorbed important elements from my flashes but both only absorbed postmodern art-elements from my flashes (but they absorbed postmodern element from other sources also like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc), which not much is my concerned. During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Despite their ignorance I still like IVSAA for their spirit to move forward.
Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma, VASL and VSDKU works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me If media is free or they have no lobby system, than why merit is ignored in my case, why Dawn's Gallery, The News, Jung, avoid covering my art shows. I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc. Etc. All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market Forces but I have to make (for science) what I receive in form of flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too, but not artchowk.com, I admire the support I am getting from people behind artchowk. I need Du'a to continue the mission, if possible Inshallah. ......MS
Students have given apples to their teachers on the first day of school for over a century. But exactly how the apple earned this distinction is not entirely clear.
The most common explanation is that in the 16th through 18th centuries in Denmark, Sweden and the US, poorer farming folk would pay their children's teachers with food - most notably with common and plentiful apples and potatoes. Another is that farmers gave teachers this food to supplement the teachers' low incomes; as teachers' wages went up, the amount of food went down. Eventually, students brought in that one apple out of tradition more than anything else.
Another consideration is that in the retelling of the story of Adam and Eve. Eve is said to have eaten an apple from the Tree of Knowledge. The apple is not actually mentioned in the book of Genesis; only "the fruit of the Tree of Knowledge." Regardless, the apple story stuck. Since teachers offer knowledge to their students, the apple -as the fruit of the Tree of Knowledge — makes the perfect symbol.
Some people point out that when young children learn the alphabet, each letter is associated with a word they already know: A is for Apple, B is for Ball, and so on. So the apple is a symbol of the letter A, which is also the grade that most students want. So perhaps some students came to the conclusion that if they gave their teachers an A at the beginning of the school year, the teachers might return the favour and give them an A at the end of the year.
Read more: www.cliffsnotes.com/Section/Giving-Your-Teacher-an-Apple....
( Featured on front cover of Jain Digest )
There are several pathways to attaining Nirvana. It is the union of Right Knowledge, Right Faith and Right Conduct that eventually leads to Nirvana.
The central multicolored figure represents a neuron; it is the memory bank as well as the source of transmission of full spectrum of knowledge. There are several categories of knowledge. Every human being has intrinsic faculty to harvest them. Each of the knowledge is assigned a specific color. Green-derived from scriptures, blue-subjective cognition, red- super sensory perception, orange- reading the thoughts of others and light yellow-omniscience. Black indicates ignorance or lack of knowledge, which pervades the human kind resulting in the cycles of birth and death.
The light background reflects the aura that surrounds the person having righteous knowledge. One must appropriately apply it to start the process of attaining Nirvana.
Media: Acrylic & Pastel. Size: 24”x30”
After being inspired by Flicker I have decided the only way to improve on my photography is practise, practise, practise!! Today was an attempt at self portrait – and as you know I prefer to be behind the scene rather that in front! Myself will be revealed as time passes on so, what’s for my first photo?? My fave pastime at the moment is reading photography books. So for my first shot - me engrossed!! I did not realize just how difficult taking self portrait can be in regards to focus, and how time consuming it becomes to constantly set self timer and recompose etc. A learning experience today. So for my first shot – my 44 year old hand holds a wealth of knowledge that needs to be applied to real life!
For knowledge, too is itself a power.
Sir Francis Bacon
Foto: Sr. Julio Herrero, tradutor. Outubro/2006 - Barcelona.
Foto: Mr. Julio Herrero, translator. Octuber/2006 - Barcelona.
Foto: Sr. Julio Herrero, Traductor. Outubre/2006 - Barcelona
Mosaic mural at the Cass Avenue entrance to the Detroit Public Library. The mural, River of Knowledge by Millard Sheets dates to 1963 when this addition to the library opened.
Diwali also known as Deepavali and the "festival of lights", is an ancient Hindu festival celebrated in autumn every year.[3][4] The festival spiritually signifies the victory of light over darkness, knowledge over ignorance, good over evil, and hope over despair.[5][6][7] The festival preparations and rituals typically extend over a five day period, but the main festival night of Diwali coincides with the darkest, new moon night of the Hindu Lunisolar month Kartika. In the Gregorian calendar, Diwali night falls between mid-October and mid-November.
Before Diwali night, people clean, renovate and decorate their homes.[8] On Diwali night, Hindus dress up in new clothes or their best outfit, light up diyas (lamps and candles) inside and outside their home, participate in family puja typically to Lakshmi - the goddess of wealth and prosperity. After puja (prayers), fireworks follow,[9] then a family feast including mithai (sweets), and an exchange of gifts between family members and close friends. Diwali also marks a major shopping period in nations where it is celebrated.[10]
Diwali is an important festival for Hindus. The name of festive days as well as the rituals of Diwali vary significantly among Hindus, based on the region of India. In many parts of India,[11] the festivities start with Dhanteras, followed by Naraka Chaturdasi on second day, Diwali on the third day, Diwali Padva dedicated to wife-husband relationship on the fourth day, and festivities end with Bhau-beej dedicated to sister-brother bond on the fifth day. Dhanteras usually falls eighteen days after Dussehra.
On the same night that Hindus celebrate Diwali, Jains celebrate a festival of lights to mark the attainment of moksha by Mahavira,[12][13] and Sikhs celebrate Bandi Chhor Divas.[14]
Diwali is an official holiday in India,[15] Nepal, Sri Lanka, Myanmar, Mauritius, Guyana, Trinidad and Tobago, Suriname, Malaysia, Singapore and Fiji.
TamilNadu
Known as Deepavali(தீபாவளி) in Tamil Nadu (தீப + ஆவளி = தீபாவளி meaning series of lights[56]), it commemorates the death of Narakasura at the hands of Lord Sri Krishna. It is believed that Narakasura, a malevolent demon, tortured common people and they prayed to lord Krishna to defeat him. The people then celebrated Narakasura's defeat with sparklers, lights and firecrackers. This celebration has continued down the generations as Deepavali. In Tamil Nadu, Diwali falls on the 14th day preceding the amavasya (new moon) in the solar month of Aippasi.[citation needed] The day begins with an early morning oil bath, wearing new clothes, bursting of firecrackers, visiting Lord Ganesha, Lord Vishnu and Shiva temples. The exchange of sweets between neighbours, visiting relations, and preparing Deepavali special sweets are traditions of the day.
Typical Deepavali celebrations begin with waking up early in the morning, before sun rise, followed by an oil-bath. The bathing tradition involves extensive massaging of warm til-oil containing pepper corns and betel leaves.[citation needed] New clothes are typically worn as a part of celebrations. After the bath, a home-made medicine known as "Deepavali Lehiyam" is consumed, which is supposed to aid in soothing digestive problems that may ensue due to feasting that occurs later in the day. Sparklers, firecrackers and lights are used extensively, much like the rest of the world where Deepavali is celebrated. Though the rest of the country celebrates Diwali traditionally on an amavasya day, Tamil Nadu will celebrate it on the preceding day, Naraka Chaturdashi. In Tamil Nadu, Diwali is calculated when chaturdashi prevails during sunrise, precisely at 4am-6am. If chaturdashi prevails after 6am it is not considered. For example, if chaturdashi tithi begins at 2:30 pm the preceding day and ends at 1pm next day, the next day will be celebrated as Diwali. Contrary to the rest of the nation, diyas are not lit on the night of diwali. Lamps are lit on the night of Karthikai Deepam, in the Tamil solar month of Karthikai.[citation needed]
Had a pretty much learning process this week . Now need focus on photo editing and need more to learn .
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Get you fave doll and do a magazine cover.
Tagged By Palix, Always Vogue, and zezanprince.
This is an importat magazine because all the person in the worl need knowledge about how save our world.
And The best part. Whit BARBIE !!!
GP Images by Gianpierre Soto is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
Title: The Knowledge - 2010
Portland State Art Professor Harrell Fletcher, with assistance from Avalon Kalin
Books selected from the PSU Millar Library by members of the PSU community, digital print
This mural is part of a unique partnership between Portland Development Commission, Regional Arts & Culture Council, and PSU, called the Block by Block Art Program.
ILFORD DELTA 3200 pulled to 1600
Self develop: 8 mins in Ilford DD-X 1:4, 20 deg
Leica M2
Leica SUMMICRON Rigid 1:2/50mm
B+W medium yellow 022 filter (2X)
Straight negative scan
me as Patchouli Knowledge from Touhouvania (Koumajou Densetsu II)
photo by Catspassion
THIS PHOTO IS UNDER COPYRIGHT!
DO NOT USE WITHOUT PERMISSION!
Sharing just with FULL credit of cosplayer's and photographer's name and website link !!!!
Knowledge can be such a burden. Stressed out by knowing too much about global warming and how it threatens our planet? Distressed about the rising wealth and income inequality in our country? Partisan gridlock getting you down? Feeling burdened by too much news and not enough hope? Press the Knowledge Alarm Button and it will put you in an instant state of denial and make it all go away. (An optional attachment will connect you directly to Fox News and Rush Limbaugh.) You'll be happier and less stressed.
Hidden in one of the little alcoves or nook and crannies of his place south of Laguna, Earl's secret to wisdom and knowledge is at ready reference. Earl hates to carry ipods around on his person, but he has a dashboard of his Jaguar embedded with almost everything electronic. "I like to relax in this spot," he told TYME Magazine, "and pick old paperbacks, usually the Penguin brands, and read until I drift off or until the dogs nudge me, letting me know it's time to retire for the evening."
Title: Petit Larousse, o los ciegos y el brontosaurio (Petit Larousse, or The Blind Men and the Brontosaurus)
Date: 2018
Medium: digital collage
This is a collaborative work by Yamandú Cuevas, Julia Cuevas, Marta Villa, Mariana Fossatti, Mauricio Planel and Marcia Albuquerque. The work traveled online between Rio de Janeiro (Brazil), Playa Verde and Solymar (Uruguay). Was made using analogue and digital techniques.
As collagists, we work with preexisting material extracted from diverse sources, like encyclopedias, dictionaries, popular magazines and illustrated reference works. It is a fascinating material to work with, but specially interesting for this exhibition, because it allows us to play with the traditional senses about what knowledge is and how it is represented, modifying the classic narratives that have been used to transmit it, in different times and contexts.
Our main source of images was a Larousse dictionary in Spanish, from 1985. Like every dictionary, it follows an alphabetical order, but such order is at the same time a disorder. When turning the pages we see countries, machines, animals, plants, symbols and maps mixed in a fascinating chaos. It's like a great collage.
This work is also a reference to the parable of the blind men and the elephant. Different parts of the body of a brontosaurus (instead of an elephant) appear in each collage: the head, the trunk and the tail. In the same way that the blind men do, we perceive different parts of an unknown animal. Then it is necessary to share our individual perceptions in order to reach an agreement about what that animal is. And like the blind men in the parable, we tried, although will never be possible a single interpretation.
This work was created for the Wikimania 2018 "What is Knowledge?" Art Exhibition, curated by Siko Bouterse and Johnson.
I grew up with the knowledge that until THEY were over, the temperatures would still be unstable and UNPREDICTABLE! And this year, they definetily did their reputation justice!
So, 2 more days eh?
And, you can bring out in the garden all the frost susceptible plants and also annuals.
In late spring, the ICE SAINTS is the name for a number of Catholic saints , whose name days fall within the period from 11 to 15 May. According to the meteorology people they are the last days in the yearin which frost still may occur. A sloppy interpretation of this folk wisdom has led to the misconception that a late spring with increased risk of frost would be.
Amongst the Ice Saints are considered:
Mamertus ( May 11 )
Pancras ( May 12 )
Servatius of Maastricht ( May 13 )
Boniface of Tarsus ( May 14 )
Sophia of Rome ( May 15 )
We came back from the Continent, I saw these in the garden, amongst the undergrowth, they were tiny and frail. View On proper Black
The little bells were tingelinging away in the cold wind, knowing they do not last very long... brought them in, they were ready for their close-up, lol!
Have a proper exhibit HERE now at this NEW prestigious Gallery in Zurich, : www.redboxgallery.ch
Giving my flowers SOUL? My Soul Flowers on youtube and Studio Flowers 2011
Why not take a few minutes, click on the links, sit back and relax, enjoy the beauty, you'll feel replenished?
THANX for ALL your comments and visits, so appreciated.
Have a wonderful day, filled with love and beauty, M, (*_*)
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