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the templateto this little artwork came from "TGKW ". i like his pictures and his subtle way to take it. his wonderful picture can you find here: www.flickr.com/photos/tgkw/2415253125/in/set-721576030114...
I had realized a long while ago, that in order to prosper and progress in my life, I have to become that which I seek. In order to become that woman I see in the Highest Light, I must Heal. I most notice the thoughts and actions that no longer benefit me. Acknowledge their intention to keep me safe, as well as the knowledge I have learned from those boundaries. Then I must replace those stagnant energies with ones that are more effervescent.
As apart of this process, so that I take more notice to my thoughts and actions, I’ve taken up journaling again. I mainly write about the spiritual progress that I’m making. Taking notes of the good, the bad, and the things I don’t understand. I give myself affirmations, I pray. I do my best to be totally honest about the emotions that I’m feeling and look to see if there is a perspective that I’m missing. I’ve also started to draw, color, meditate, paint, photograph, and talk out loud. It’s all a matter of making the time for myself, putting myself back in check. I know the consistency of these new actions and attitudes will help me to truly become the best possible version of me.
I won’t lie: sometimes I just don’t get it. Sometimes, I don’t want it. Sometimes all the pain, suffering, the reasons to cling to them - baffles me. Sometimes I don’t understand why this person treats me the way they do. I’m still uncovering why some things affect me in a particular way. I don’t get it yet, why I might hurt myself in that way. Sometimes the darkness covers my eyes and I forget that if I just say, “I’m doing good, those thoughts aren’t needed today.” I can choose to open my eyes and see the good that the Light has in front of me.
Through my own personal growth, I’ve come to know that there’s a reason and purpose for everything. Instead of saying, “why me?” - I now say, “what is this teaching me?” The Universe will only give me what I focus on and so I will no longer sit and sulk in my negative feelings.
I am so grateful that now I am able to recognize how different things can affect my feelings and my health. It can take some time, every so often, but I am able to notice the disruptions it makes in the relationships that I have with others. Most importantly though, it helps me see the relationship that I have with myself.
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Change is inevitable. Time can sometimes be kind. Gratitude is really, the best attitude. Patience, Awareness, and Trust make things easier. Love, Humbleness and Forgiveness are the only way to make things right. Moving in the right direction is the only way I will get to where I want to be. I must take this time that I have here in this journey that I call mine, to be the change in this universe that I want to see.
Thank you, self, for making the time to think these things through. For setting time aside to write it all down and the speak it out loud. I appreciate the wisdom that comes from the lessons and the fact that I am able to handle these things a whole lot better. I pray that I and the rest of us in this universe continue to be prosperous and shine.
me as Patchouli Knowledge from Touhouvania (Koumajou Densetsu II)
photo by Butterfly Dreams (facebook.com/ButterflyDreamsCosplay)
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 !!!!
Our Daily Challenge ... knowledge.
Books were the record of much knowledge for centuries but the Internet has had a huge impact on where we store information and how we find it. No individual could possibly know and remember everything that they will ever need to know in their lifetime but if they know how to find what they need to know using books, Internet, other people, experimentation etc. it will not be a problem.
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
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Annapurna trekking region of Nepal enjoy with magnificent view close to highest and impressive mountain range in the world. Day exploration in Pokhara and morning morning flight to Jomsom or drive to Besishisahar from Kathmandu begin of trek. High destination, Muktinath 3800m and in generally highest point of whole Annapurna is 5416m. Thorangla la is situated in Buddhist Monastery, an eternal flame, and Hindus Vishnu Tempe of Juwala Mai making it a pilgrimage site for both Hindus and Buddhists and Muktinath is on the way down from popular trekking it call Thorang la pass which is incredible view in Annapurna region. Whenever possible we will arrive at lodging mid-afternoon, which should leave plenty time for explore the local villages, enjoy the hot springs at Tatopani, continue to Ghorepani where there is forever the possibility of sunrise hike to Poon Hill for spectacular views of Dhaulagiri, Fishtail, Nilgiri and the Annapurna Himalaya range. Continue on to Birethanti finally between with the Baglung road where we will catch cab to Pokhara, next day drive or fly to Kathmandu.
region, although fairly effortless compare to some of other trek, takes you high along trails to Tengboche monastery Everest Solu Khumbu is the district south and west of Mount Everest. It is inhabited by sherpa, cultural group that has achieve fame because of the develop of its men on climbing expeditions. Khumbu is the name of the northern half of this region above Namche, includes highest mountain (Mt. Everest 8848m.) in the world. Khumbu is in part of Sagarmatha National Park. This is a short trek but very scenic trek offers really superb view of the world's highest peaks, including Mt. Everest, Mt. Lhotse, Mt. Thamserku, Mt. Amadablam and other many snowy peaks. Fly from Kathmandu to Lukla it is in the Khumbu region and trek up to Namche Bazzar, Tyangboche and into the Khumjung village, a very nice settlement of Sherpas people. This trek introduction to Everest and Sherpa culture with great mountain views, a very popular destination for first time trekkers in Nepal. Justifiably well-known world uppermost mountain (8848m.) and also for its Sherpa villages and monasteries. Few days trek from Lukla on the highland, takes you to the entry to Sagarmatha National Park and town of Namche Bazaar is entrance of Everest Trek. Environment of the towering Himalayas is a very delicate eco-system that is effortlessly put out of balance.
Langtang trekking region mixture of three beautiful trek taking us straight into some of the wildest and most pretty areas of Nepal. Starting from the lovely hill town of Syabrubensi our trek winds during gorgeous rhododendron and conifer forests throughout the Langtang National Park on the way to the higher slopes. Leads up to the high alpine yak pastures, glaciers and moraines around Kyanging. Along this route you will have an chance to cross the Ganja La Pass if possible from Langtang Valley. Trail enters the rhododendron (National flower of Nepal) forest and climbs up to alpine yak pastures at Ngegang (4404m). From Ngegang we make a climb of Ganja La Pass (5122m). We start southwest, sliding past Gekye Gompa to reach Tarkeghyang otherwise we take a detour and another unique features of trekking past, the holy lakes of Gosainkund (4300 m.) cross into Helambu via Laurebina to Ghopte (3430 m) and further to Trakegyang. Northern parts of the area mostly fall within the boundaries of Langtang National park.
Peak Climbing in Nepal is great view of Himalayas and most various geological regions in asia. Climbing of peaks in Nepal is restricted under the rules of Nepal Mountaineering Association. Details information and application for climbing permits are available through Acute Trekking. First peak climbing in Nepal by Tenzing Norgey Sherpa and Sir Edmund Hilary on May 29, 1953 to Mt. Everest. Trekking Agency in Nepal necessary member from Nepal Mountaineering Association. Our agency will arrange equipment, guides, high altitude porters, food and all necessary gears for climbing in Nepal. Although for some peaks, you need to contribute additional time, exertion owing to improved elevation and complexity. Climbing peaks is next step beyond simply trekking and basic mountaineering course over snow line with ice axe, crampons, ropes etc under administration and coaching from climbing guide, who have substantial mountaineering knowledge and for your climbing in mountain.
Everest Base Camp Trek well noon its spectacular mountain peaks and the devotion and openness of its inhabitants, the Everest region is one of the most popular destination for tourists in Nepal. While numerous of the routes through the mountains are difficult, there are plenty places to rest and enjoy a meal along the way. Additionally, don't worry about receiving lost. Just ask a local the way to the next village on your route, and they will direct you. Most Sherpas under the age of fifty can at least understand basic English, and many speak it fluently.
Annapurna Base Camp Trek is the major peaks of the western portion of the great Annapurna Himalaya, Annapurna South, Fang, Annapurna, Ganagapurna, Annapurna 3 and Machhapuchhare and including Annapurna first 8091 meters are arranged almost exactly in a circle about 10 miles in diameter with a deep glacier enclosed field at the center. From this glacier basin, known as the Annapurna base camp trek (Annapurna sanctuary trek), the Modi Khola way south in a narrow ravine fully 12 thousand ft. deep. Further south, the ravine opens up into a wide and fruitful valley, the domain of the Gurungs. The center and upper portions of Modi Khola offer some of the best short routes for trekking in Nepal and the valley is situated so that these treks can be easily joint with treks into the Kali Gandaki (Kali Gandaki is name of the river in Nepal) region to the west.
Upper Mustang Trekking name Make an escapade beginning from world deepest gorge Kaligandaki valley into world's highest area of Lo-Mangthang valley that passes through an almost tree-less barren landscape, a steep stony trail up and down hill and panorama views of high Annapurna Himalaya including Nilgiri, Annapurna, Dhaulagiri and numerous other peaks. The trek passes through high peaks, passes, glaciers, and alpine valleys. The thousands years of seclusion has kept the society, lifestyle and heritage remain unaffected for centuries and to this date.
Helicopter Tour in Nepal having high mountains and wonderful landscape of countryside but is effortlessly reachable by land transport, is known as helicopter tours country. Helicopter services industry in Nepal is now well well-known with many types and categories of helicopters for the fly to different of Nepal. The pilots are very knowledgeable expert with 1000 of flying hours knowledge in Nepal. We have service for helicopter is outstanding reputations and established records for reliable emergency and rescue flight too. Here we would like to offer some of amazing helicopter tour in Himalaya country of Nepal. Further more details information about Nepal tour itinerary for helicopter tour in different part of Nepal contact us without hesitation.
Kathmandu Pokhra Tour is an exclusive tour package specially designed for all level travelers. Kathmandu Pokhara tour package is effortless tour alternative for Nepal visitors. This tour package vacation the historically significant and ethnically rich capital (Kathmandu ) of Nepal and the most stunning city of world by the nature, Pokhara. Mountain museum and world peace stupa are another charming of Pokhara tour. Pokhara is the center of escapade tourism in Nepal. Package tour to Kathmandu Pokhara is design to discover highlighted areas of Kathmandu and Pokhara valley. Nepal is the country which is socially and geographically different that’s why we powerfully recommend you discover Nepal to visit once in life time. It is hard to explore all Nepal in one Nepal tours trip in this way we design this trip to show you the highlights of Nepal especially in Kathmandu and Pokhara.
Adventure trekking in the southern part of the asia continent there lays a tiny rectangular kingdom squeezed between two hugely populated countries, China to the north and India to the south, this country is Nepal a world of its own. Adventure trekking is a type of tourism, involving exploration or travel to remote, exotic and possibly hostile areas. Adventure trekking in Nepal is rapidly growing in popularity, as tourists seek different kinds of vacations. The land of contrast is presumably the exact way to define the scenery of Nepal for you will find maximum world highest peaks high high up above the clouds determined for the gods above. Straight, active and attractive learning experience adventure trekking in Nepal that engross the whole person and have real adventure. Mt. Everest, Kanchenjunga, Daulagiri, and Annapurna and many more are there for the offering for mountain-lovers, adventurers and travelers.
Trekking in Nepal - Nepal Trekking - Tea House Trekking - Lodge Trekking - Kathmandu Pokhara Tour - High Pass Trekking - Luxury Trekking in Nepal - Luxury Tour in Nepal - Helicopter Tour in Nepal - Nepal Helicopter Tour - Annapurna Trekking - Annapurna Base Camp Trek - Annapurna Sanctuary Trek - Annapurna Panirama Trekking - Ghorepani Trekking - Jomsom Muktinath Trekking - Annapurna Circuit Trekking - Annapurna Round Trekking - Tilicho Mesokanto Trekking - Tilicho Lake Mesokanto Pass Trekking - Upper Mustang Trekking - Everest Trekking - Everest Base Camp Trek - Everest Panorama Trekking - Gokyo Trekking - Gokyo Everest Trekking - Renjola Pass Trekking - Kongmala Pass Trekking - Three Pass Trekking - Jiri Everest Trekking - Langtang Trekking - Langtang Valley Trekking - Gosaikunda Trekking - Helambu Trekking - Tamang Heritage Trekking - Chisapani Nagarkot Trekking - Kathmandu Valley Cultural Trekking - Langtang Gosaikunda Helambu Trekking - Ganjala Pass Trekking - Peak Climbing in Nepal - Nepal Peak Climbing - High Pass Trekking - Nepal For All Season - Package Tour in Nepal - Island Peak Climbing - Mera Peak Climbing - Pisang Peak Climbing - Adventure Trekking - Adventures Trekking - Mustang Trekking - Upper Mustang Trek - Lower Mustang Trekking - Seasonal Package Trekking Tours in Nepal - Annapurna Trekking Region - Annapurna Base Camp Trek - Everest Trekking Region - Gokyo Trekking - Langtang Trekking Region - Tea House Trek or Lodge Trek - Three Pass Trekking or Everest High Pass Trekking
( 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”
October 4, Saraswati, is celebrated by the Balinese people bringing offerings to their holy books and scrolls in their houses, while students celebrate it at school, usually in the morning, and the office-workers in their office. The philosophy of Saraswati day is that the most important thing for human life is knowledge.
October 5, Banyu Pinaruh, The day after Saraswati Day is Banyu Pinaruh day. "Banyu" means water and "Pinaruh" mean wisdom. In other words, we must have wisdom which always flows like water and which is useful for human kind. We pray for Dewi Saraswati (manifestation of God) to give us cleverness and wisdom. The people usually take a bath in the sea or a lake or river and drink traditional medicine which is made from many various leaves which is very good for our health. The philosophy of Banyu Pinaruh day is the second most important thing for human life is good health.
October 5, Idul Adha, is a very important day for Muslims around the world, including those here in Bali. The occassion is Idul Adha, a day which celebrates Abraham’s willingness to sacrifice his son for Allah (this religion seems to get off on pain for some reason). Allah allowed Abraham to kill a goat instead, so Muslims celebrate by visiting the masjid (mosque) then eating goat satay.
October 8, Pagerwesi, Four days after Saraswati Day, on Buda (or Wednesday), Kliwon, Wuku Sinta, is Pagerwesi day. "Pager" meaning fence and "Wesi" meaning iron. On this day, Balinese pray to Sang Hyang Pramesti Guru (manifestation of God). All Balinese have offerings to their Sanggah (temple in their home) and at all of their temples. This is the second biggest holiday after Galungan day for the Balinese. The philosophy of this celebration is that they must keep knowledge, health, food, cloth and gold high in their lives to keep the universe in balance.
October 8, Purnama Kapat, Purnama, or full moon in Bali is always a special day for ceremonies and festivities. Hundreds of temples all over the island celebrate their anniversary on a specific full moon each year. Since full moon is also considered as an auspicious day, hundreds of ceremonies are held in all corner of the island on this sacred day.
October 18, Tumpek Landep, Taking place on the Saturday of Landep in the second week of the Pakuwon, Tumpek Landep is a day of offerings to the weapons of war in Bali. These include guns or other weapons and in particular, the sacred kris.Taking place on the Saturday of Landep in the second week of the Pakuwon, Tumpek Landep is a day of offerings to the weapons of war in Bali. These include guns or other weapons and in particular, the sacred kris.Taking place on the Saturday of Landep in the second week of the Pakuwon, Tumpek Landep is a day of offerings to the weapons of war in Bali. These include guns or other weapons and in particular, the sacred kris.
October 22, Budha Cemeng Ukir, is the day of Sang Hyang Manik Galih who descended as Sang Hyang Ongkara Mreta to the physical world, the Balinese Hindus pray to Dewa Sang Hyang Sri Nini for prosperity and protection with special offerings. The intended cleansing of the mind starts with a special ceremony called metirtha gocara which is performed with a canang offering and wangi-wangian, sweet smelling incense and flowers at the sangga of the family temple and the plankiran (wall temple) of the bedroom.
October 23, Tilem Kapat, On this day extra offerings are made around the family compound, as well as some offerings placed on the ground at the entrance to the house compound. The towering 'sesajen' offerings are also often taken to the village temple. Depending on the time of year, many temples then hold various forms of entertainment for the village - dancing, wayang puppet performances, arja plays - to coincide with the special prayers for Tilem.
October 28, Anggara Kasih Kulantir, is a reocccuring, auspicious cleansing day for the mind of the individual family members and for the physical world and all creatures that inhabit it. At Anggara Kliwon the Balinese Hindus meditate and pray to Dewa Ludra for support to cleanse one's mind and the physical world in which one is reincarnated. Afterwards a special ceremony called metirtha gocara is held which is performed with a canang offering and wangi-wangian, sweet smelling incense and flowers at the sangga of the family temple and the plankiran (wall temple) of the bedroom.
Foto: Sr. Julio Herrero, tradutor. Outubro/2006 - Barcelona.
Foto: Mr. Julio Herrero, translator. Octuber/2006 - Barcelona.
Foto: Sr. Julio Herrero, Traductor. Outubre/2006 - Barcelona
SAMPHIRE archaeologist Andrew Roberts sharing knowledge at Girvan with Harbour Master Roddy Leach during community engagement in 2015.
Image by Abby Mynett, Wessex Archaeology.
To find out more about this project follow this link
The expositor
or, Many mysteries unravelled. Delineated in a series of letters, between a friend and his correspondent, comprising the learned pig, invisible lady and acoustic temple, philosophical swan, penetrating spy glasses, optical and magnetic, and various other curiosities on similar principles: also, a few of the most wonderful feats as performed by the art of legerdemain, with some reflections on ventriloquism
48/365
This was a collaboration I did with my friend Jack. Check out his flickr HERE
February 17, 2011
© Austin Sullivan 2011
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.
Had a pretty much learning process this week . Now need focus on photo editing and need more to learn .
Thanks Flickr for take my photo as one of interesting photo .
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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
Knowledge Corridor work at Milepost 44 shows completed track work in this section of the Knowledge Corridor.
The Knowledge Corridor - Restore Vermonter Project will restore Amtrak's intercity passenger train service to its original route by relocating the Vermonter from the New England Central Railroad back to its former route on the Pan Am Southern Railroad. The Pan Am Southern route provides a shorter and more direct route for the Vermonter between Springfield and East Northfield, and improves access to densely populated areas along the Connecticut River. The Pan Am Southern route would include station stops at the former Amtrak station at Northampton and the new intermodal station at Greenfield. The routing of Amtrak service in Vermont and south of Springfield would remain unchanged.
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 !!!!
The Thirty-Second Session Session of WIPO's Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore (IGC) took place in Geneva, Switzerland from November 28 to December 2, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.