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The matrix is talking to us.
Sending messages through its structural and geometric repetitions.
And through the holes and errors in the grid.
A strange and cold code we cannot understand.
Preferring to this artificial poetry the heat and the physical presence of the human conversation.
La Matrice nous parle.
Envoyant des messages à travers ses implacables répétitions géométriques et structurelles.
Et à travers les failles et les erreurs dans les mailles de la grille.
Un code énigmatique et froid qui passe au-dessus de nos têtes.
Puisque nous lui préférons la chaleur et la proximité physique de la conversation humaine.
Saint-Gilles Metro station, Brussels.
Located around half-way along the main road that leads from the Mgarr harbour to the capital city of Victoria.
It is dedicated to Saint Bartholomew (San Bartilimew), the apostle who was martyred by being flayed alive.
ABOUT
Source: Xewkija .gov.mt.
First recorded in 1397, little else is known on the chapel in early times. At the beginning of the seventeenth century, Dun Salvatore Pontremoli, parish priest of the Matrice (1621-1655), became rector for the chapel and, on 24 August, he began to celebrate the feast of the saint with pomp. In 1643, Notary Paolo di Lorenzo provided money for its reconstruction.
The community in the vicinity nurtured great devotion to the apostle and his chapel; in fact, except for a short period after 1657, it is always documented in a relatively good state of repair. Originally the chapel had a very simple facade with a small parvis in front. In 1705, Felic Axiaq paid for the roofing of this parvis so that travelers to and from the harbour of Mgarr could find some shelter during storms.
Dun Guzepp Attard, who began looking after the chapel in 1933, built a new vestry and an adjoining hall for the teaching of catechism. On 13 December 1944, the running of the chapel was taken over by the Dominican sisters; they remained in charge until 12 December 1991. Between 1955 and 1956, the chapel was enlarged and the parvis incorporated in the extension. The enlarged chapel was blessed on 10 February 1957.
The feast of St Bartholomew is celebrated on 24 August.
One story relates that a long time ago, a pious hermit used to live in a hut next to the chapel counseling all those who sought his help. One wintry night, he heard a sharp knock at the door. A young excited man begged the hermit to hurry to his father's bedside for he was feeling very ill.
Fixing his eyes on the excited fellow, the hermit rebuked his ill intention. He told him that his attempted trickery in the middle of the night was of no avail. It was too late to go to his father's bedside, he had been struck by a thunderbolt. Besides, the golden chalice that he had come to steal had recently been pawned to raise money for the chapel's leaking roof. The excited fellow sped home and, true to the holy man's words, he found his father burned to death by a thunderbolt. He lived a life of penance ever after.
Photo Copyright © Kappa Vision / Jean-Paul Borg
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Thank God for weekends!
School seems to be a lot much harder than the previous years. All my courses are very theoretical and dry, lots and lots of differential equations and math derivation of formulas... ekh, I donno, can't wait for the second semester to get started with the design courses.
Anyways, sorry for the headache, wish you all a wonderful weekend.
"O Mariñeiro Viaxeiro"
Aunque ya está un poco "gastada" por el tiempo, aún puedes ver esta plantilla en la calle Vista.
English
Santiago has a modern face, and this is expressed by the new buildings and skyscrapers placed at El Golf district, part of municipality of Las Condes, west of Santiago, a place where in the recent 10 years a lot of companies put their headquarters for Chile or Latin American offices. On this picture we can see -at left- the second tallest skyscraper in South America, the Titanium tower with 192 metres of height.
Español
Santiago tiene una cara moderna, y esta es expresada por los nuevos edificios y rascacielos ubicados en el sector de El Golf, parte de la comuna de Las Condes, en el oriente de Santiago, un lugar que durante los recientes 10 años ha sido utilizado por cientos de empresas para situar sus casas matrices para Chile, y también de oficinas regionales para América Latina. En esta fotografía, a la izquierda, podemos apreciar el segundo rascacielo de América Latina, la Torre Titanium, con 192 metros de altura.
Lugar Citadino at Flickr
Picture and post by Felipe Burgos
2014
All rights reserved
Music: Right Click and select "Open link in new tab"
www.youtube.com/watch?v=WgKSCMpUbug
Stereolab - Le Coeur Et La Force
D'un même cœur
D'une même force
Nos intentions
Sont envoyées
À l'univers
Matrice cosmique
Habilitée
À recevoir
À prodiguer
Linotype Faces
Mergenthaler Linotype Company, Brooklyn, NY, USA, 1937
I-XXXIX, 1-1215
Dated with the help of the addenda (promoting "Duplex-Display" matrices, introduced 1935, and the presence of Metromedium Italic No. 2, introduced 1937, whereas Caledonia, introduced 1938, or Metrolite No.4 are NOT present.)
Siblings in my collection:
The architectural terracotta items on display can be attributed to the restoration carried out in the first decades of the 5th century BCE of the temple of Apollo in the agora of Metaponto. Probably discovered during the excavations conducted by M. Lacava in the last quarter of the nineteenth century, the architectural elements define the decorative system of the roof that envisioned the use of matrices and the association of two separate components, cassette and sima, which allowed for more rapid installation. The simas form eaves in the shape of lion heads, with open jaws and mane with pointed or flame-shaped locks, flanked by palmettes and lotus flowers. The upper part is adorned with a decorative painted meander pattern and a molded element, also painted, with a decoration of stylized eggs.
The cassettes, although characterized by a generally uniform pattern, nevertheless show significant differences in the rendering of the meander decorating the fascia, worked in relief in three cases and painted in the fourth. The spread of similar architectural and ornamental forms and patterns, in several sites of the city and also outside the Metapontine area, suggests the existence of a artisanal milieu common to them all.
Painted terracotta
Metaponto, urban sanctuary, Temple of Apollo (buliding B)
Second quarter of the 5th century BCE
Museo Archeologico Nazionale di Napoli, Greek Collections (MANN inv. 153746)
Repair of large tissues remains a major clinical challenge. Creating perfusable vascular networks is critical for the survival of thick engineered tissues destined for implantation.
In this image human umbilical vein endothelial cells self-organize into capillary-like networks on 3-dimensional collagen matrices. The capillaries can potentially supply oxygen and nutrients deep within the engineered tissue as well as to eliminate the waste, making this vascularized scaffold more feasible for future implantation. The cells are stained for endothelial cell marker CD31 (green), actin cytoskeleton
(red) and nuclei (blue). Scale bar is 100 μm.
The image is a composite of three layers (green, red and blue).
Roman Mid-Late Republican period, Hellenistic period, ca. 2nd c. BCE
Found, in 1953, at Chiusi (see on Pleiades), loc. Marcianella, a ceramic production site
In the collection of, and photographed on display in the:
Museo Nazionale Etrusco di Chiusi
Digital collage showing two castings of the same design. The very top of the collage reproduces Benjamin Krebs Nachfolger’s product number 333, the 28pt size of the foundry’s Moderne Steinschriften typeface. Krebs first advertised its Moderne Steinschriften in 1865. That was one of the nine or more original sans serifs produced by the Krebs foundry by 1900.
Most of the collage is from the top-middle section of a fold-out broadsheet from Ferdinand Theinhardt’s foundry. It accompanied an 1885 issue of the Archiv für Buchdruckerkunst und verwandte Geschäftszweige. The text on the broadsheet reading “Ferd. Theinhardt, Schriftgiesserei” was printed from the foundry’s product number 613, the 28pt size of the typeface it sold under the simple name “Grotesque.” Ferd. Theinhardt’s Grotesque was cast from duplicate matrices of Krebs’s Moderne Steinschriften. More than 30 other foundries in Austria, Bohemia, Germany and Switzerland alone would sell sizes of Krebs’s design by the end of the nineteenth century.
You may notice that the text is looser in the second line. Justification – or what we might refer to as “spacing” today – was almost certainly the responsibility of each foundry casting a design. Matrices made for foundry-type casting machines do not contain “side-bearings” or spacing information. Krebs either cast its original version of this size with less “space” on the left and the right-hand sides of most letterforms than the Theinhardt foundry, or Theinhardt’s compositor added spacing material between many of the sorts manually. Some type designers I’ve spoken with have been shocked that spacing may not have played the same role in the nineteenth-century punchcutter’s process as it would in late-twentieth and early-twenty-first-century type design.
A foundry would have a reference font for each size for the typecasting workers to compare widths of new sorts against as they cast. I speculate that when one foundry bought duplicate matrices of a design, they only received matrices (either already justified or as unjustified “strikes”) but would have to assemble their own reference casting. When a foundry copied another firm’s products via electrotyping, it must have had sorts from the original font – the very nature of the process required this. In those cases, the copying-foundry would have already had a “reference font” it could use for spacing. That is my explanation, anyway.
Roman imperial period.
From rubbish dumps of mid 1st-3rd cs. CE date found beside the Roman city walls of Torino/Turin, ancient Augusta Taurinorum (Pleiades; PECS-Perseus; en.wikipedia).
Museo di Antichità (alias Museo Archeologico Nazionale del Piemonte), Torino, Italy
"Matrice" 2015, bronzo e legno di abete, dimensioni variabili
"Rovesciare i propri Occhi - Progetto" 1970, 16 fotografie b/n ai sali d'argento virate al selenio su carta baritata, 27.1 x 20.1 cm ciascuna
Brooklyn Factory of the Mergenthaler Linotype Company, as shown in the book Newspaper Heads, 1919.
Linotype machines were manufactured here, and assume Linotype font matrices and other products as well.
Se denomina informalmente Microcentro a una zona de la
Ciudad de Buenos Aires caracterizada por la concentración de edificios administrativos y de oficinas, coincidente grosso modo con el área alrededor del centro histórico de la Plaza de Mayo. El Microcentro no forma parte de los 48 barrios porteños reconocidos oficialmente y por lo tanto no tiene límites establecidos; su ubicación se superpone aproximadamente con el barrio de San Nicolás y parte del de Monserrat. La zona del Microcentro al norte de Plaza de Mayo, característico centro financiero de la Argentina donde se ubican las casas matrices de los principales bancos y la Bolsa de Comercio, es llamada tradicionalmente la City
It is informally called Microcentro to an area of the City of Buenos Aires characterized by the concentration of administrative buildings and offices, coinciding roughly defined as the area around the historic center of the Plaza de Mayo. The Microcentro is not part of the 48 neighborhoods of the city officially recognized and therefore has no limits; about its location overlaps with the San Nicolas and part of Monserrat. Microcentro area north of Plaza de Mayo, distinctive financial center of Argentina where the headquarters of major banks and the stock exchange is located, is traditionally called the City
Microcentro è formalmente indicato una zona della città di Buenos Aires caratterizzato dalla concentrazione di edifici amministrativi e uffici, in coincidenza più o meno definita come la zona intorno al centro storico di Plaza de Mayo. Il Microcentro non fa parte dei 48 quartieri della città ufficialmente riconosciuta e quindi non ha limiti; circa la sua posizione si sovrappone con il San Nicolas e parte di Monserrat. Microcentro zona a nord di Plaza de Mayo, caratteristico centro finanziario di Argentina, dove si trova la sede di grandi banche e la borsa, è tradizionalmente chiamata la città
Microcentro ist formal auf eine Fläche von der Stadt Buenos Aires, gekennzeichnet durch die Konzentration von Verwaltungsgebäuden und Büros bezeichnet, zeitgleich in etwa wie die Gegend um das historische Zentrum von der Plaza de Mayo definiert. Die Microcentro ist nicht Teil der 48 Viertel der Stadt offiziell anerkannt und somit keine Grenzen gesetzt; über seine Lage überschneidet sich mit der San Nicolas und Teil Monserrat. Microcentro nördlich von Plaza de Mayo, unverwechselbaren Finanzzentrum von Argentinien, wo das Hauptquartier der großen Banken und die Börse befindet, wird traditionell als die Stadt
The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.
The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.
View of the courtyard of the museum
After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."
Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.
In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."
In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.
The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.
You have to have records.
A composition used in Week 48 - Still life - set by the Compositionally Challenged Group
PS . the plurals of Matrix are Matrices and Matrixes - Chambers Dictionary - other dictionaries are available!.
technique mixte acrylique
bombe, pochoir et sérigraphie
toile de coton sur châssis
100 x 81 cm
Plus d'infos par e-mail : chris@tian.fr
Présenté à l'exposition MATRICES - Paris, début Juin
mixed media : acrylic/vinyl painting
screenprinting, stencil & spray
cotton canvas on stretcher
100 x 81 cm - 39.4 x 31.9 inches
More infos e-mail : chris@tian.fr
According to G.W. Ovink, Genzsch & Heyse in Hamburg acquired matrices of “‘Romain Ancien’, cut by the Aubert frères and by Huchot” for Deberny in Paris. Genzsch & Heyse expanded that typeface in-house, too, cutting matching fonts in the 14, 20, 24 and 32pt sizes. Seen here in E.J. Genzsch’s 1902 catalog.
St Mary and St Walstan, Bawburgh, Norfolk
There are islands off the coast of Norwich. Here we are in typical rural Norfolk, a quiet village set in a rolling landscape of farms and sprawling fields punctuated by woods and copses, the sound of traffic on the busy A11 and A47 not so very far off. And yet, we are very close to Norwich, but floating free from it thanks, perhaps to local authority planning.
Norfolk and Suffolk have their similarities of course. Norfolk is a lot bigger, and emptier, especially towards the west. But the biggest difference between the two counties is their relationship with their county towns. Ipswich, above all else, is Suffolk distilled and amplified, the working and historic county translated into an urban setting. Industrial Ipswich was the fountainhead of the county's agricultural production, the docks an interface between Suffolk and the world. To know brash and breezy Ipswich is to know what Suffolk was and is.
But Norwich is different to Ipswich, and it is different to the rest of Norfolk. As you enter the city you pass hoardings which proudly proclaim, in George Borrow's words, that you are entering Norwich, a Fine City! It is like crossing a forcefield. Norwich is a fine city, and it is also a small city, but as Norwich is so far from any other place of near-equivalent size - Ipswich is 40 miles away, Cambridge nearly 60 - it is completely out of scale to its population. If Norwich were dropped into South or West Yorkshire, or Greater Manchester, it would disappear. Here, it assumes the importance of a Leeds or a Sheffield, cities four times as big.
At times, Norwich can feel like a great European city, living a technicolour life in the soft, pastel setting of its rural hinterland. Its industrial past, in shoes, textiles and chocolate, was not grounded in the local countryside in the same way as the industry of Ipswich. In the 1960s the University of East Anglia came, and Norwich's nightlife is lived by people who have, in fair proportion, not grown up in Norfolk.
To set off from Norwich is to enter a countryside that feels different. It is like leaving a shore for the open sea, a sea with islands. The soft fields of Norfolk wash right up against the edge of the city, insulating villages that would have been absorbed if she had grown any larger. Just a mile or so from the edge is Bawburgh. Every island has a story, and Bawburgh's is the story of St Walstan.
St Walstan was a Prince, the son of Benedict and Blid of the royal house of East Anglia. Blid would herself become a Saint. Walstan was born in Bawburgh, or perhaps at the royal vill of Blythburgh in Suffolk. As a teenager, he followed Christ's instruction to renounce all he possessed and become a disciple. Giving up his claims to succession, he did not delay to reach northern parts, as the Nova Legenda Anglie tells us, and humbled himself to become a farmworker in central Norfolk.
After a series of adventures which revealed his saintly character, one of which involved him being rewarded with a pair of young oxen, he received news in about 1015 from an Angel. He would die and be received into heaven in three days time. With typical East Anglian stoicism, he nodded his head and left his scythe to go and find a Priest to receive the Last Rites. Unfortunately, the Priest had no water, but, magically, a spring welled up where they stood.
This was in Taverham, and when Walstan died the two oxen carried his body on a cart to be buried at Bawburgh. On the way, they stopped to rest in Costessey, where another spring sprang up. At last, they came to Bawburgh. They stopped outside the church, and a third spring appeared, the biggest. And then, the Nova Legenda Anglie tells us, Angells opened the walls in hast, and the two oxen with their burden walked into the church. Walstan's body was placed in the church, becoming a site of pilgrimage for people who sought miracles and healing. Eleven miracles have been handed down to us.
The St Walstan legend is interesting for all sorts of reasons. Compared with the West Country, survivals of local Saints' cults are very rare in East Anglia. This part of Norfolk was strongly recusant during the penal years, and it is likely that local people kept stories of Walstan in their tradition even after the practice of devotion to him became impossible. When the penal years ended, the new Catholic church at Costessey in 1841 was dedicated to Our Lady and St Walstan.
Although there is no evidence that the Saint was part of the original dedication of Bawburgh church, the foundations of which certainly predate the St Walstan legend, it bears the name today, and that is because the relics of St Walstan continued to be important right up to the Reformation. Bequests made to the shrine are recorded in late Medieval wills, and these in turn were noted by 18th century antiquarians who restored dedications to parish churches, not always very accurately, after the long puritan night.
During the late 14th century, when acts of pilgrimage were at their most significant, thousands of people must have made their way every year. On the north side of the church was the chapel that contained his bones. From this, a sunken pathway led down the steep hill to the well on the site of the third spring. Incredibly, this pathway was destroyed as recently as 1999, to be replaced by a sterile driveway that circumnavigates the farm to the north of the church.
The date of the Walstan legend is interesting, right on the eve of the Norman settlement of England. It is almost exactly contemporary with that much more famous legend, the founding of the shrine at Walsingham by Lady Richeldis. Could it be that these cults endured partly as a form of resistance by the Saxons, popular local legends in the face of Norman cultural hegemony? Or was it that the Normans themselves who ensured that these popular pieties continued, nurturing them in the place of surviving neo-pagan practices?
We can never know, but what is certain is that St Walstan's legend recommended him as a Saint of the ordinary people, a worker Saint if you will, which may explain his almost complete disappearance from popular English story after the Reformation.
Two excellent books by local author Carol Twinch have helped popularise this very East Anglian figure. And, interestingly, in the latter half of the 20th century his cult has been explored increasingly by the Anglicans, at a time when devotion to Saints seems to be going out of fashion in that Communion. There are popular pilgrimages here every year still under the auspices of the Anglican Diocese of Norwich. Perhaps it is the simplicity of Walstan's life, and the healing nature of his miracles, that lend themselves particularly to the quiet nature of modern Anglican spirituality.
You approach the church from the village street and your first sight of it is from the south-east, looking down into the churchyard. What a beautiful church it is! It must be among the loveliest of all East Anglia's 160-odd round-towered churches. The idiosyncratic stepped gables, the red roof of the nave and a little flame-like pinnacle on the cap of the tower are memorable, particularly in this dramatic setting on the steeply-pitched side of the ridge. The graveyard falls away dramatically on the northern side, and from there St Mary and St Walstan appears fortress-like.
You step into a wide, simple interior, white walls and bare wood setting into relief sudden flashes of colour. How much of this church was here when Walstan's body was brought here? Probably, none of it. The archway to the tower is 13th century, and the windows suggest that the rest of the building is early 14th century. Quite probably, the whole church was rebuilt as a result of the prosperity brought about by the shrine of St Walstan. On the north side of the nave there is a large archway, a filled-in opening. It is tempting to think this is the wall that the Angells had opened in hast, but it was probably the entrance to the later chapel of St Walstan, since this wall post-dates the St Walstan legend by 300 years.
The remains of the 15th century roodscreen are made up rather dramatically into an early 20th century screen with bubbly cusping and a canopy of honour above, all of it unpainted. It is difficult to know how they resisted painting it, but it suits the simplicity of the building just as it is. And there are plenty of survivals here of Bawburgh's colourful Catholic past. Most interesting of all, the collection of brasses. Bawburgh has two shroud brasses and a chalice brass. The biggest of these is above a memorial inscription to Thomas Tyard who died in 1505. It is 60cm long, and he lies with the shroud partly open, his hands crossed in an act of piety. Beneath it is the inscription plate, but it seems likely to me that the inscription and the shrouded figure do not belong together, given the differences in the quality of the two. As if to confirm this, a surviving brass rivet in the stone above the figure's head suggests the loss of another brass, presumably Tyard's.
The other shroud brass is unidentified, and quite different. It depicts a smaller figure sewn tightly into a shroud, with just the face peeking out. It is so like the figures mounted on the wall at Yoxford in Suffolk that I assume it is a figure adrift from a larger collection, perhaps representing one of the dead children of a larger figure.
Set in between them is a late 17th century brass inscription and shield to a minister of this church, Philip Tenison. It is quite fitting that it should be here, because Tenison was an antiquarian at a time when such things were looked on with grave suspicion, and Carol Twinch notes that he recorded information about the Walstan shrine here that might otherwise have been lost to us. Deprived of his living by the Puritans, he later became an Archdeacon after the Restoration, in which case the date of 1660 here is obviously wrong.
I think that all five of these brasses were reset here from elsewhere in the church by the Victorians. The chalice brass may well be in its original position. It is to the Priest William Rechers, and is right on the eve of the Reformation, 1531, so he would have been one of the last Priests to be commemorated in this fashion. As at Little Walsingham, two hands are shown holding the base of the chalice, elevating it.
In the nave, there are three further pre-Reformation brass inscriptions, at least two of which are on their original matrices, and one of which retains one of the two figures commemorated, Robert Grote, who died in 1500. His wife is missing, as is the Priest Edward Kightling, whose empty matrix shows that he was wearing priestly vestments.
This is a wonderful collection of late medieval brasses, and is extraordinary that so much has survived. Only a couple have been stolen, but it is clear an attempt has been made on the life of the smaller shroud brass. It has been broken in half, and the lower part protrudes upwards. These chancel brasses have also suffered very badly from being covered by carpets, the underlay breaking up and soaking with moisture to scour the brass. On my most recent visit, the churchwarden agreed that to would be better to remove the carpet altogether, and I do hope that this will happen.
But the most vivid memory of the past at Bawburgh is the superb collection of late medieval glass in the nave. Best of all is the wonderful St Barbara, as good as anything else in Norfolk. She stands proudly, holding her church. Across the nave is a lovely fragment of an Annunciation scene. Mary stands in front of a pot of lilies, and a scroll declares Ecce Ancilla Domini Fiat ('Behold the Handmaid of the Lord, Let it be so'). A crowned female head nearby is probably from a Coronation of the Blessed Virgin.
There are floating angels, perhaps censing or collecting the precious blood at the crucifixion, and a king who may be Christ from the same Coronation scene. There is larger, crowned, bearded king, perhaps God the Father, some fragments of St Catherine and perhaps St Gregory, and a lay figure in late medieval dress who might just be a pilgrim to the Shrine of St Walstan. Perhaps most pleasing, because it is so complete, is a set of roundels featuring the words of the Nunc Dimmitis, Simeon's prayer on seeing the infant Christ for the first time. It is rather moving to find them in the same window as the Annunciation, which features words which would be familiar to pilgrims from both the Ave Maria and the Magnificat. It is easy to imagine them sitting telling their beads at a journey's end, contemplating this glass.
At the west end of the church is a small patch of wall painting which defies easy interpretation. It is obviously at least three separate subjects, the most recent being part of an Elizabethan text, below that apparently two figures embracing, the lowest a roundel topped by indecipherable text. It is likely that there is part of a Seven Works of Mercy sequence, which was often placed on the western wall of a smaller church like this.
There is much else besides. The people here were obviously very pleased at the 1660 Restoration, and immediately erected a new set of royal arms to Charles II. You can't help thinking of Philip Tenison, and how it might just be his influence that the people were pleased to see the back of puritanism. One old bench end with an inscription is marooned on the wall, curiously in the shape and location of a holy water stoup (is it covering it?) and there's a nice European roundel in the chancel, which I take to be from a series of Stations of the Cross. Otherwise all is Victorian, or the influence of Victorians. And then you spot the 17th century poorbox fashioned like a newel post, still secured in the east end of the nave. It is from the protestant days of this church, but it is still a reminder of charity, and the offerings of generations of pilgrims that made this one of Norfolk's most significant shrines, and still a beautiful and interesting church today.
The belly of Paris. We spend & loose our lifes in those tunnels, just to go to work, or to show our preformated way of lfe on pretending that we are individiuals. WtF.
Erice est une ville située au nord-ouest de la Sicile dans la province de Trapani (12 km de Trapani), sur le mont San Giuliano, à 756 m d'altitude. L'occupation du mont Éryx remonte au Néolithique et à l'Âge du bronze. Le site est une des principales cités des Élymes.
La cité est conquise par les Carthaginois au VIe ou Ve siècle. Ils élèvent une muraille cyclopéenne sur un soubassement mégalithique élyme, pour se défendre des Syracusains.
www.youtube.com/watch?v=bXFjn4szWtc&feature=related
Don"t ask me why, but this fabulous hair made me think of the Matrix movie, when Neo wakes up plugged
So i put on my new MiaSofia skin, my Paradisis Matrix catsuitand looked for a place to get plugged to XD
Cette coiffure matricielle au possible m'a juste donné envie d'aller me faire brancher :))
Sottopixels di una matrice AH-IPS del monitor TV M2352D della LG. Gli artefatti sono dovuti a bolle formatesi tra il pannello e il nastro adesivo utilizzato per contrastare l'effetto dello strato antiriflesso del monitor.
Subpixels of an AH-IPS matrix of LG's TV monitor M2352D. The artifacts are due to bubbles formed between the panel and the packing tape used to counteract the effects of the anti-glare coating.
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9 years ... (!) ... I had to wait nine years to relive the excitement of reviewing this imaginative very particular Sicilian popular feast of Fiumedinisi town (Messina): the Sicilian town celebrates it in honor of Her patron saint Virgin Mary Annunciated; Fiumedinisi celebrated it last time in 2007, fortunately I was there and I realized a small report I posted on Flickr. This is a report about the feast of August 14, 2016: it takes place in two stages along an almost straight path that joins two churches, road called precisely '' the road of float" (the same path is achieved by kneeling worshipers during the mystical procession called "of kneelings" or even understood as "travels", that this year, unlike the other editions, was made just the previous evening of this long-awaited edition, also this procession "of kneeling" I described here on Flickr). Initially the Float Feast was celebrated in Fiumedinisi on March 25, when there is the ricorrence of the religious feast of the Annunciation of the Lord, only towards the end of the nineteenth century the feast was moved to August to allow so many emigrants to took part to it. The living float of Fiumedinisi is a heavy votive machine built in wood and iron that is carried on the shoulders of about 150 men (Its curb weight is around 2.8 tons, 12 meters long and 8 meters high), three children take place on it, they personify the Eternal Father, the Archangel Gabriel and the Blessed Virgin Mary, in addition to the archpriest of Fiumedinisi, the bishop of Messina, and other devotees also they have the role of monitoring-reassure very young children who play the role of Angels. The feast of the Annunciation of the Virgin Mary, patron saint of Fiumedinisi, founded in the sixteenth century during the Spanish rule, then it consists of a first part with participants don't wear traditional clothes, which takes place starting around 11:00 am, begins from the square in front of the twelfth-century Sanctuary dedicated to the Virgin Mary Annunciated, to arrive in a little square in front of the church of St. Peter; then in the early afternoon, always along the same path, there is a second part with all devotees who wear the traditional dresses. When all have taken their places, three hammer blows kick off at the start, the very big-heavy float is carried on the shoulder of devotees, while people waving handkerchiefs as he passed; the representation finds its maximum intensity, and closes with a song dialect of great beauty and sweetness, in an atmosphere of complete silence, handed down for centuries, in the form of "dialogue" between the Blessed Virgin Mary and the Archangel Gabriel who is announcing to Mary with his sweet song about the mistery of Conception of Son of God, he is kneeling and gives Her the lily, in memory of the purity that Mary will not never lose (iconography that we find in Sacred Representations).
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9 anni…(!)… ho dovuto aspettare ben 9 anni per rivivere l’emozione di rivedere la immaginifica festa popolare e religiosa Siciliana che la cittadina di Fiumedinisi (Messina) celebra in onore della sua patrona Maria Santissima Annunziata: 9 anni infatti sono passati dall’ultima volta che Fiumedinisi celebrò questa sua festa, io c’ero e vi realizzai un piccolo report che postai qui su Flickr. Questo è un report della festa, realizzata quest’anno il 14 Agosto 2016: essa si svolge in due tempi con “una andata ed un ritorno” lungo un percorso quasi rettilineo che unisce due chiese, chiamata appunto “strada ‘a vara” (lo stesso percorso viene realizzato in ginocchio dai fedeli durante quella processione mistica chiamata “degli inginocchiati” od anche intesa come “i viaggi”, che quest’anno, a differenza delle altre edizioni, è stata realizzata proprio la sera precedente di questa tanto attesa edizione, anche questa processione “degli inginocchiati” ho descritto in un passato post qui su Flickr). Inizialmente la Festa della Vara veniva celebrata a Fiumedinisi il 25 marzo, proprio in concomitanza con la ricorrenza religiosa dell'Annunciazione del Signore, soltanto verso al fine del XIX secolo la Festa venne spostata ad agosto per consentire ai tanti emigrati di prendevi parte. La Vara di Fiumedinisi è una pesantissima macchina votiva costruita in legno e ferro che viene portata in spalla da circa 150 uomini (Il suo peso a vuoto si aggira intorno alle 2,8 tonnellate, lunga m 12 e alta m 8), su di essa prendono posto tre bambini tra i 10 e i 14 anni che impersonano il Padre Eterno, l'Arcangelo Gabriele e la Vergine Maria, oltre all'arciprete di Fiumedinisi, al vescovo di Messina, ed altri devoti che hanno anche il compito di sorvegliare-rassicurare i giovanissimi bimbi che rivestono il ruolo di Angioletti. La festività dell’Annunciazione di Maria Vergine, patrona di Fiumedinisi, istituita nel XVI secolo durante la dominazione spagnola, si compone quindi di una “andata” senza che i partecipanti indossino gli abiti tradizionali, partenza che avviene attorno alle ore 11,00, inizia dalla piazza antistante il Santuario del XII secolo dedicato alla Madonna Annunziata, per giungere nel largo posto davanti la chiesa di San Pietro; poi nel primo pomeriggio, sempre lungo lo stesso percorso vi è un “ritorno con tutti i devoti che, questa volta, indossano gli abiti tradizionali, i portatori sono completamente vestiti di bianco e scalzi, mentre Maria, l’Arcangelo Gabriele ed il Padre Eterno vestono i loro caratteristici costumi. Quando tutti hanno preso posto, ecco che tre colpi di martello danno il via alla partenza, l’enorme vara viene portata in spalla alla volta della chiesa Matrice, mentre la gente sventola fazzoletti al suo passaggio; la rappresentazione trova la sua massima intensità, e si chiude, con un canto dialettale di grande suggestione e dolcezza, in un contesto di assoluto silenzio, tramandato da secoli, in forma di “dialogo” tra la Beata Vergine Maria e l’Arcangelo Gabriele, il quale dopo aver annunciato a Maria col suo dolcissimo canto del concepimento del Figlio dell'Altissimo, inginocchiandosi le porge il giglio, in ricordo della purità che Maria non perderà (iconografia che ritroviamo nelle Sacre Rappresentazioni).
Grande edificio cinquecentesco a pianta basilicale, domina tutta la parte bassa dell'abitato e dà nome all'intero quartiere in cui si trova, detto propriamente Matrice. La facciata è preceduta da un pregevole sagrato in conci squadrati di pietra arenaria e ciottoli granitici dal tipico colore rossastro, che compongono varie ed articolate figure geometriche. La struttura possiede una facciata interamente scolpita in conci di pietra arenaria scandita in lesene binate sormontate da capitelli compositi. Lo schema risente di un'impostazione tardo-rinascimentale e manieristica ed è scandito in tre fasce verticali (preludio alle tre navate di cui si compone l'edificio) ed in due orizzontali, separate da ampia trabeazione. Pregevolissimo il disegno delle due porte laterali, sormontate ciascuna da una finestra ovoidale racchiusa in un cartiglio e alleggerita da festoni. L'interno è ampio e diviso in tre navate da dieci imponenti colonne corinzie, sormontate dal cosiddetto "dado brunelleschiano"; dalle navate si accede allo spazioso presbiterio, chiuso da due cappelle laterali sormontate da cupoletta (Cappella del SS. Sacramento, in marmi mischi, e Cappella dell'Annunciazione) e dalla grande abside centrale. Si conservano tre statue marmoree di pregevole fattura: San Sebastiano, di Rinaldo Bonanno, Santa Maria del Gesù, titolare della Parrocchia e della chiesa stessa, di incerta attribuzione, ed il gruppo dell'Annunciazione, nell'omonima cappella, di Giovanni Battista Mazzolo (1532). Due monumenti sepolcrali del Seicento si trovano nel presbiterio, l'uno in marmo bianco e piastre policrome, l'altro in granito sorretto da due leoni. Nelle navate, oltre a varie statue in cartapesta, di inizio Novecento e provenienti da laboratori di Lecce, vi sono una preziosa pala lignea, raffigurante la Madonna del Rosario, di inizio sec. XVII, ed una tela raffigurante la deposizione con le tre Marie, San Giovanni e simboli della passione, attribuita a Giuseppe Tomasi da Tortorici. La torre campanaria, crollata parzialmente nel 1806, per come recita una targa posta alla base, si compone, nei primi due ordini, degli stessi materiali della facciata, oltre che dei medesimi motivi ornamentali; l'ordine superiore, la cella campanaria propriamente detta, è invece modesta realizzazione di primo Novecento, quando la Chiesa venne riaperta al culto dopo anni di spoliazione ed abbandono.
Great sixteenth-century building a basilica plan , dominates the entire lower part of the town and gives name to the neighborhood in which it is located, properly called the Matrix. The façade is preceded by a valuable churchyard in square blocks of sandstone and granite pebbles from the typical reddish color, which make various and geometric shapes. The property has a facade carved entirely of blocks of sandstone punctuated at pilasters surmounted by composite capitals . The scheme suffers from the late Renaissance and Mannerist approach and is divided into three vertical bands ( prelude to the three naves that make up the building ) and two horizontal , separated by wide entablature . Pregevolissimo the design of the two side doors , each topped by an oval window enclosed in a cartouche and lightened by festoons . The interior is large and divided into three naves, ten towering Corinthian columns , surmounted by the so-called " nut Brunelleschi " ; from the nave leads to the spacious sanctuary, enclosed by two side chapels surmounted by dome ( Chapel of SS . Sacramento, variegated marble , and the Chapel of the Annunciation ) and the large central apse . Which contains three marble statues of excellent workmanship : San Sebastian, Rinaldo Bonanno, Santa Maria del Gesù, the holder of the parish and the church itself , of uncertain origin , and the group of the Annunciation, in the chapel of GBMazzolo ( 1532 ) . Two sepulchral monuments of the seventeenth century can be found in the sanctuary , one in white marble and polychrome plates , the other in granite , supported by two lions. In the aisles , as well as various papier-mâché statues , at the beginning of the twentieth century and from laboratories in Lecce , you are a precious wooden altarpiece depicting the Madonna of the Rosary, at the beginning of sec . XVII, and a painting of the deposition with the three Marys , St. John and symbols of the Passion , attributed to Giuseppe Tomasi from Tortorici . The bell tower , partially collapsed in 1806 , as stated on a plaque at the base , consists , in the first two orders of the same materials of the façade , as well as of the same motifs ; the higher order , the belfry itself, is rather modest achievement of the early twentieth century , when the church was reopened for worship after years of
And reality will emerge in-between the pixels ..
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Outlining a Theory of General Creativity .. on a 'Pataphysical way
Entropy ≥ Memory . Creativity ²
Studies of the day
Citations / quotations - Gilles Deleuze :
"Les qualités et les étendues, les formes et les matières, les espèces et les parties ne sont pas premières ; elles sont emprisonnées dans les individus comme dans des cristaux. Et c’est le monde entier, comme dans une boule de cristal, qui se lit dans la profondeur mouvante des différences [...]. "
(Différence et répétition)
“Qualities and extents, forms and matters, species and parts are not first ; they are imprisoned in the individuals as in crystals. And it is the whole world, as in a crystal ball, which is read in the moving depth of the differences [...]. ”
(Difference and repetition)
Definitions/definitions - jef safi :
Hétéromogènes, adj., quand toutes choses multiples singulièrement identiques sont à la fois uniformément différentes.
Heteromogeneous, adj., when all things singularly identical are at ounce uniformly different.
[ fr ] (Théorie 'pataphysique de la Créativité Generale - jef safi)
Quand un Univers peut être partitionné en Phénomes à la fois homogènes (principe de mémoire) et hétérogènes (principe de créativité), alors cet Univers est dit hétéromogène. S'il existe un idiome d'échange entre ces Phénomes, et si cet idiome porte les transactions d'algorithmes 1N1, alors cet Univers hétéromogène est dit idiomogène.
[ uk / us ] ('Pataphysical theory of General Creativity - jef safi)
When a Universe can be partitioned in Phenoms at once homogeneous (principle of memory) and heterogeneous (principle of creativity), then this Universe is qualified heteromogeneous. If there is an idiom of exchange between these Phenoms, and if this idiom brings the transactions of 1N1 algorithms, then this heteromogenous Universe is also qualified idiomogeneous.
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |