View allAll Photos Tagged knowledge
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Ideas para "desenrollar"
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Metaphor of knowledge
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"Unwinding" ideas
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Nikon FM2 35-105mm Kodak color 200asa
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Gracias por vuestras visitas. La habeis hecho Explore
model: Philip Dupont
creative: Daniel T.
location: Cluj-Napoca
This is the last shot at that photo session.
After the outoors type, Danny had this idea ... see it LARGE
Here is what I mean by :
meta datahere
EXPLORE Aug 26, 2009 #97 :) Thank you
strobist info:
2 elevated monolights (elinchrom 1200 watt total) one on each side of the model (1/2 power and 1/4 power) into softboxes triggered with Speedlite 430EX
Two Chicago street magicians sharing some secret knowledge.
I popped 'em with my magical photonic flame thrower!
Lit 'em up like they was standin' in the sunshine!
Magicians have always fascinated me.
Their knowledge of the human mind is unparalleled.
That's their greatest tool.
They know the way people think.
Their slieght of hand skills are hard earned, meticulously practiced and passed down through generations.
There's magic on the street.
S, Mansur by Mansoor Saleem
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 not in math but in language that nature uses. 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. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of 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 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. 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.
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".
But spirituality or metaphysical dimension is relevant in my case or not is a question unsolved or perhaps I should confine myself to physical dimension of Flashes (or call it 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, Sciences, Meta-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 have 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. After seeing the difference between two (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 major work which is unmixed are pure Flashes (1) and my mixed work (2) can be termed as 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. Since I can now perceive the difference between Flashes and work based on mixing of imagination or experimentation, now I can pin point the Flash, mixed or unmixed, so my major work should not be equate with William Blake, Dali, De Chirico, Carra, Marcel Duchamp, Magrette, etc., because I am not competing in art aesthetic, or in painterly compositions, I have no experience of spirituality, so my work should not also be confuse with any oriental mystics or artists who refer to the metaphysical in some form or another.
My work from (1974-81) of installations, performances based on flashes is still unpublished, so new generation do not know about it, in South Asian 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. Please inform on email mansursalim@hotmail.com, if reader come up with something related to science of flashes, or near to it, for instance few near relevant things I found are:
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” in book: Rescue of art).
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. A year before Metric and much before Diploma in fine art, my art works (flashes, mixed and unmixed) 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 Flash-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. But at the same time I was learning the techniques of art from them. From Hayee and Baqar I learned the techniques of water color, from Farhan Ehsan I learned the techniques of drawing and calligraphy, from Amir Khan Tareen I learned the techniques of Rembrandt, from Abul Fateh I learned the techniques of ceramics, from Dr. Sajid Khan and Naseem Khan I learned the techniques of photography, from A.G. Khalid I learned the techniques of using computer and so on.
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 Avant 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 elements from my flashes (like geometry, etc) but both only absorbed post modern art-elements from my flashes (but they absorbed postmodern element from other sources 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, Berlin, 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. 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 and VASL 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.
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.
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. Sindh Governor is not using his Legend Fund; I now in time of Parkinson disease need sponsorship to continue the mission, if possible Inshallah. ...MS
Mansoor Saleem's solo show, May, 2008
Shakil Ismail Art Gallery
Ground Floor, Marine Point, Block 9, Clifton Karachi. Tel: 0321-2409949, E-mail: shakilismailartgallery@yahoo.com
Gallery is not responsible what artists express freely
All rights reserved, Josiane Farand photography
In New York's public library, I thought it fitting to reflect on what can be learned inside to be applied outside.
To celebrate the 100th anniversary of the Dada movement, a Pseudo-Symposium on 'Data Dada' was held at Stanford on April 13, 2016.
This event was hosted by cultural historian Piero Scaruffi, organizer of the Leonardo Art/Science Evening Rendezvous (LASERs). It was a stimulating evening with many kindred spirits, such as interactive artist Kal Spelletich (see my short video of his noise machines in this set), futurist composer Luciano Chessa (playing his electric saw), Jonathan Keats (presenting his Copernican Art Manifesto) and Burning Man's co-founder John Law, to name but a few. Through these talks, Piero aimed to link today's age to Dada's age, which was just what we needed.
I was invited invited to present our ‘Pataphysical Slot Machine at this extravagant centennial, and gave a short talk in full regalia about our community-created poetic oracle -- and the peer learning network that evolved from it. People seemed to appreciate our collaborative maker art, and I expect a few of them will come view our work in our upcoming exhibits.
I also enjoyed spending time with my friends and art partners who joined us at Stanford: Dr. Skidz, Priscilla Queen of the Desert and Dr. Zboon (a.k.a. Mark ‘Spoonman’ Petrakis, who rode to Stanford with me): we had some great conversations about art, dada, politics, theater and the rise of a new humanism.
The highlight of the evening for me was meeting Kal, who demonstrated two of his noise machines, including a sling shot divining rod instrument and a robot that plays the violin when people make its light shine on a pine cone. His interactive art is really original, bringing a grunge aesthetic to a field that’s often a bit too slick. He creates magic by connecting everyday objects to do wild things with simple electronics.
Overall, it was a fun and informative evening, and I enjoyed meeting so many 'like minds', at the frontier of knowledge and imagination. Merci, les amis!
Watch the video of my talk:
(to see the whole evening, rewind to the start)
View more Data Dada photos:
www.flickr.com/photos/fabola/albums/72157667322126746
Learn more about this Data Dada event:
www.scaruffi.com/leonardo/apr2016.html
Watch my video of Kal’s noise machines:
www.flickr.com/photos/fabola/26529770116/in/album-7215766...
Learn more about Kal Spelletich’s work:
View more 'Pataphysical photos: www.flickr.com/photos/fabola/albums/72157623637793277
Learn more about Pataphysical Studios: pataphysics.us/
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|| Blog: SchamanenTraum || Set: Schamanism and Dream ||
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The weight of dreams
An essential aspect of our rootlessness is the alienation of our unconscious and the instincts that contains it. We measure our dreams at any weight. Dreams are foams, we believe nightmares we wipe off by saying to us that it was indeed just a dream.
We do not open as it were the post that sends us the unconscious. That we should bring us to the way to deal with his powers.
To understand the basics of shamanism, we need to immerse ourselves in a very different world. Peoples in shamanic cultures maintain a significant other dealing with dreams than us, they live entirely associated with their events. that we will see a few examples.
Canadian Dene Tha Indians have a different concept of knowledge than we do. For them, true knowledge can only be acquired in his own experience. This not only direct observations in this world are meant but also the beholding of the other world in dreams and visions (Watson / Goulter, 215).
Translated into our language, the phrase on the true knowledge could be: marriage can not hear its messages of his dreams, and understands it has no actual knowledge about yourself, because then you know just the tip of the iceberg.
The negative definition of a shaman got hear Rasmussen from a Netsilik-Eskimo:
I am an ordinary person and have no knowledge of my own I have never been sick and almost dream it, so I have no connection with the spirits (Rinne, 28)
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Das Gewicht der Träume
Ein wesentlicher Aspekt unserer Entwurzelung besteht in der Entfremdung von unserem unbewussten und den Instinkten, die es enthält. Wir messen unseren Träumen kein Gewicht bei. Träume seien Schäume, glauben wir, Albträume schütteln wir ab, indem wir uns sagen, es sei ja nur ein Traum gewesen.
Wir öffnen gleichsam die Post nicht, die uns das Unbewusste sendet. Damit bringen wir uns um die Möglichkeit, mit seinen Mächten umzugehen.
Um die Grundlagen des Schamanismus zu verstehen, müssen wir uns in eine ganz andere Welt eintauchen. Völker in schamanischen Kulturen pflegen einen deutlichen anderen Umgang mit Träumen als wir, sie leben ganz verbunden mit deren Geschehen. Das werden wir gleich an einigen Beispielen sehen.
Kanadische Dene Tha-Indianer haben einen anderen Begriff von Wissen als wir. Für sie kann wahre Wissen nur in eigener Erfahrung erworben werden. Damit sind nicht nur direkte Beobachtungen in dieser Welt gemeint, sondern ebenso das Erschauen der anderen Welt in Träumen und Visionen (Watson/Goulter, 215).
In unserer Sprache übersetzt, könnte der Satz über das wahre Wissen heißen: Ehe man Botschaften seiner Träume nicht wahr nimmt und versteht, hat man kein eigentliches Wissen über sich selbst, denn dann kennst man nur die Spitze des Eisberges.
Die Negativ-Definition eines Schamanen bekam Rasmussen von einem Netsilik-Eskimo zu hören:
Ich bin ein ganz gewöhnlicher Mensch und habe kein Wissen aus mir selbst. Ich bin nie krank gewesen und träume beinahe nie, darum habe ich auch keine Verbindung mit den Geistern (Rinne,28)
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Source: Schamanismus und Traum, Susanne Elsensohn, Diederichs Gelbe Reihe
Kapitel: 1. DER TRAUM IM KULTURELLEN UMFELD DES SCHAMANENTUMS
Das Gewicht der Träume
It was 3 in the morning and I was out again heading over to J's place since my apartment got trashed by some asshole hitman. The instant I walk into his house a nasty smell I know well enough hits me at a time I want nothing to do with it. We spend the next 30 minutes cleaning up the mess J made of his attacker and lazily putting paper towels over the stains he left on the floorboards. I don't really remember what happened next. I just woke up in J's bed in the afternoon. I got into his living room and he's there with another thing I don't wanna see; Roger Fucking Haines. He was there to track the signal from the walkie-talkie I took off the assassin from last night. He asks for the walkie-talkie, calling me a schoolgirl again. I hand it to him while trying not rip his throat out. He takes it and wires it to his cellphone. He makes a call, and a familiar voice blares through the static of the walkie-talkie. Bane.
"Speak, brother. Where are you? It's been far too long, have you achieved your mission. Brother? Brother!!"
Haines disconnects the walkie-talkie from his cellphone, then throws the walkie-talkie hard against the wall, breaking it. He looks at his cellphone, and says "South Sewage Treatment" before just walking right out on us. The South Gotham Sewage Treatment plant. It's been abandoned for a while. I only know because I saw in the news that it's gonna get torn down a year in place for some more office buildings or something. J and I instantly suit up and head out. When we arrive it's...what you'd expect. Old, abandoned, and being a sewage treatment plant it smells like shit. There was a very noticeable lack of Bane and his crew, though yet alot of their equipment was still here. Weapons, body armor, medkits, all perfectly fine and left here, like they all picked up and ran, which is exactly what they did. They knew we were coming when Roger tracked that Walkie-Talkie. Goddammit.... It only got worse when we went deeper into the plant. We found and old room full of computers, some weapons like a missile launcher and....pictures. Pictures of me and J. Not just Bloodfall, but me as in Linda Tate and J as in Jerrick Davao. He really found us out all on his own. I look through the computers and it gets even worse. There's easy stuff like DMV records, but it got creepier as I dug deeper, because the pictures of me on the wall just weren't enough. There was stuff like info on J's fabricated childhood in folders alongside newspaper articles of bodies of gang members found in alleys with their pockets cleaned out, or how J really spent his childhood. Then there was rent notices for my apartment, but the dates were around the time I was staying with J because I was too scared to live alone. In the same file was another news article about the first sighting of me as Bloodfall. Worst part was these were just small examples. This guy had pictures and info on J from his time in fucking military, information that's not even supposed to exist anymore. Bane found us out fair and square, and who knows how many of his guys know, too? As of now this isn't even a war, now. This is an extermination, and Bane and his followers are the vermin. J and I leave the sewage treatment plant, but not before watching the Sky Slayer completely level it to ashes....
YOUR COMMENT IS THE GREATEST "AWARD" YOU COULD GIVE -- No graphics please.
THANKS IN ADVANCE FOR ANY COMMENTS!!!
Prints available for purchase on my website.
Wednesday, 13th June 2012
Knowledge
Todays challenge in ODC is Knowledge. My first thought was my camera books I have, but they are all digital and on the Kindle ... So I pulled together the books in hardback that I have - and discovered very few that are not in the loft, put away since the kids arrived and took over the space! Stacked them up and decided they needed something! I opted for the definition of knowledge as the quotes I found were not to my liking!
I converted to black and white and added a few layers of soft light ...
My first attempt at a different style of presentation, quite enjoying getting my head around Photo Shop Elements.
Canon EOS REBEL T3i:f/4:1/30":18.0mm:ISO 100
Made it to Explore #303 on June 12 2012
It's the Denver skyline...I've wanted to shoot a pano here for some time. This is my first attempt. Hopefully I'll have many more! Thanks for looking.
Comments and critiques appreciated!
PS-the web compression (or my lack of sharpening knowledge) lowers the crispness of this image.
This trick that the planet is looking back at you is actually a Hubble treat: An eerie, close-up view of Jupiter, the biggest planet in our solar system. Hubble was monitoring changes in Jupiter’s immense Great Red Spot (GRS) storm on April 21, 2014, when the shadow of the Jovian moon, Ganymede, swept across the center of the storm. This gave the giant planet the uncanny appearance of having a pupil in the center of a 10,000 mile-diameter “eye.” For a moment, Jupiter “stared” back at Hubble like a one-eyed giant Cyclops.
Credit: NASA, ESA, and A. Simon (Goddard Space Flight Center)
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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Madeira Diferente -
Knowledge of some Atlantic islands, such as Madeira, existed before their formal discovery and settlement, as the islands were shown on maps as early as 1339.
Statue of João Gonçalves Zarco
In 1418, two captains under service to Prince Henry the Navigator, João Gonçalves Zarco and Tristão Vaz Teixeira, were driven off course by a storm to an island they named Porto Santo (English: holy harbour) in gratitude for divine deliverance from a shipwreck. The following year, an organised expedition, under the captaincy of Zarco, Vaz Teixeira, and Bartolomeu Perestrello, traveled to the island to claim it on behalf of the Portuguese Crown. Subsequently, the new settlers observed "a heavy black cloud suspended to the southwest." Their investigation revealed it to be the larger island they called Madeira.
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions.[1][2] It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.[3][4]
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism.[5][6] The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima).[7][8] It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge).[9][10][11] The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om".[26] It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).[27]
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song.[26][27] The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[27][28]
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons).[29] Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively.[30] The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons".[31] The syllable Om is thus implied as that which inspires the good inclinations within each person.[30][31]
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[28][32] In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self,[33] and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".[34]
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation).[35] In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant,[36] that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.[37]
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M.[39] The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra[40] and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya;[41] as knowledge-endowed body - Rig, Saman and Yajur;[42] as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche.[39][43] Brahman exists in two forms - the material form, and the immaterial formless.[44] The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.[45][46]
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).[39]
Mundaka Upanishad[edit source]
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.[47][48]
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman.[49]
It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate[50] that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4[51][52]
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).[53]
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world".[54] Thereafter it presents various explanations and theories on what it means and signifies.[55] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).[54][55]
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.[55]
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold.[54] Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[56]
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[55] These four are A + U + M + "without an element" respectively.[55]
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[54] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness).[55] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[54] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).[54][55]
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads.[57][58] The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).[59]
Epics[edit source]
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".[60]
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17, [60]
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,[61]
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis).
This is a Magic Lantern Slide showing the building which housed the Society for promoting Christian Knowledge on the corner of Northumberland Avenue and Great Scotland Yard which was completed in 1879, it was one of the new buildings in the then recently laid out Northumberland Avenue which was completed in 1876. On the left is Great Scotland Yard and on the right is the Hotel Victoria which was opened in 1887. In 1891-92 an additional floor was added, and a similar roof line built, so this photograph dates between 1887 and 1891. In the late 1950s the building became the Nigerian High Commission and renamed Nigeria House and it remains so today. In the 1970s the Commission staff played fast and loose with the local parking regulations which were being enforced by Metropolitan Police Traffic Wardens based at Cannon Row Police Station, their unpaid fines rivalled the unpaid fines issued to staff at the American Embassy.
a sadhu reading religious verses on the ghats of pushkar. turban like cloth is printed 'rama' with this saffron as symbolic hindu colour.
"chaahe geeta vanchiye, ya padhiye kuran;
tera mera pyaar hi har pustak ka gyan" _ sant kabir
[ whether you read (bhagwat) geeta or kuran,
the love between us is the knowledge of all books of the world.]