View allAll Photos Tagged metaphors
this flower is me today. Bloomed throughout the week - it was a great week - but so exhausting I have withered up and dried out. That said, off to soccer now and then on a plane to SF tomorrow for 48 hours of work over the weekend!
After sketching with a ballpoint pen on this morning's newspaper some fish I found at laureline's site, I noticed the headline. Really!
Thanks to laureline for her inspiration, found here: flickr.com/photos/laurelines/3270425410/
I thought this was a Mallard-American Wigeon hybrid. I have now been informed that, rather it is an intersex mallard (thanks C G Gustavsson).
Intersexes in nature are rare but not exceptional and quite a few similar ducks can be found among internet images, though many are difficult to identify as such. Many intersex Mallards bear a striking resemblance to some Mallard hybrids, especially Mallard x Black Duck hybrids, but can often be told apart by the combination of female-type bill and extensively male-like plumage. Hybrids in contrast, if they show male-like plumage, can also be expected to show a male-like bill.
Wow, who knew?
Explored, April 15, 2009. #131. Thanks, leasaunt and Jim for telling me!
This line comes from another Lupe Fiasco song called “Sunshine”. I think Lupe is one of the best lyricists in the game, lots of great material to work with.
U.S. Army Africa photo by Sgt. 1st Class Kyle Davis
U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.
The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.
“The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”
The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.
“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.
Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.
“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.
African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.
“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.
U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.
“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.
He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.
“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.
“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.
“Look at where we want to be at and design it that way,” Hogg said.
He also admonished participants to consider the second- and third-order effects of their choices in designing networks.
“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.
Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.
Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.
“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.
He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.
“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.
“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.
“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.
“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”
The main issue is not a question of technology, he said.
“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.
“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.
Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.
“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.
“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.
“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.
“So what do we do? We have to get our house in order.
“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?
“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.
Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.
“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.
Building that merged entity to support deployed forces is what he sees as the primary challenge at present.
“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”
“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.
“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.
“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”
The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.
“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.
“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.
“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.
Other participant responses to the conference were positive as well.
“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.
“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.
“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.
“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.
“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.
Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.
“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.
“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.
“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.
“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.
Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
TRIPTYCH METAPHOR LIGHT @GLOW 2019 Eindhoven
Dit lichtkunstwerk is een drieluik dat op drie opeenvolgende locaties de metaphoren HEART, LIGHT en TIME tentoonstelt.
Het resultaat is een opbouwende beleving die niet alleen verbonden is met het Mariënhage erfgoed, maar ook met de nieuwe visie van DELA voor dit complex.
De drieluik start bij de façade van de Augustijnenkerk waar, met behulp van videomapping, de transformatie van DOMUSDELA naar een plek van passie en liefde wordt gesymboliseerd.
Hierna vervolgt het publiek zijn weg naar de binnenplaats waar in levendige kleuren het tweede deel van het lichtkunstwerk ons innerlijke licht wordt vertegenwoordigd. De drie symmetrische deur- en raamcomposities symboliseren dat alles in het leven mogelijk is.
De totale beleving bereikt zijn hoogtepunt bij het DELA hoofdkantoor waar een lichtinstallatie de voortdurende verandering van tijd uitbeeldt in een abstract kleurenveld.(Helaas deel 3 gemist)
LIGHT
Het publiek vervolgt zijn reis vanaf de façade van de kerk naar de binnenplaats. Het licht door de glas-in-lood ramen verbergt een kleine kapel die zich vroeger bevond op de tweede verdieping. Deze dynamiek, tussen het oorspronkelijk doel van het gebouw en de huidige architectuur, vertegenwoordigt ons innerlijk geloof. Dat wat we bij ons dragen, komt nu naar buiten, in de vorm van licht.
OCUBO is een creatieve groep uit Portugal. Een internationale studio gespecialiseerd in video mapping en interactieve projecties. Hun artistieke installaties en shows schitteren op internationale lichtkunstfestivals, UNESCO Werelderfgoed, monumenten en andere publieke ruimten in wereldsteden als Londen, Parijs, Lissabon, Singapore en New Orleans. De nadruk ligt voor OCUBO op de communicatie met het publiek. De door hen ontwikkelde interactieve kunst maakt van passieve toeschouwers actieve deelnemers.
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Coucher de soleil pâlot sur un petit coin d'Europe, quelque part entre la France et l'Allemagne ...
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When you are reluctant or not willing to look for other way, the communication from all side breaks down.-MITUL ;P
Listen pls The Cardigans - Communication
"Well this is an invitation
Its not a threat
If you want communication
Thats what you get
Im talking and talking
But I dont know
How to connect
And I hold a record for being patient
With your kind of hesitation
I need you, you want me
But I dont know
How to connect, so I disconnect
I disconnect."
hapless passers-by have to stop their cars and ponder what the preacher here is really trying to say.
Is this a metaphor for death? Or just for the future?
Or just a bunch of trees lining an avenue? Unlikely.
Jessica yeh
the visitors of my spa are autistic children and their parents and i want the visitors to experience
nature and the excitement of hiking the mountain because autistic children are usually too energenic, so i
want them to use that energy in a positive way in an outdoor activity, therefore they will be more calm
for the experience of the spa.
at the beginning of the hike the visitors will probably feel excited, and maybe even scared
to hike the trail. however, the experience of walking on the trail to the spa is different.
the visitors will feel tired and anxious to get to the spa. and as they draw closer and closer
that they can actually see the spa in the distance, they will feel eager and happy that they are
almost to their destination. finally, when they hiking the last hill to get to the spa they are
feeling relieved to have arrived. they walk up and see a giant concrete wall covered with ceramic and ocean colored glass tiles. they quickly
run up to the tiles and glide their fingers on the cold smooth tiles. as they walk they realize that there is a pathway and looks like a labyrinth.
nervous but still anxious they glide their fingers across the cold tiles until they turn the corner and see a warm orange light in the near distance.
they began to walk quicker towards the light, feeling no longer nervous, more curious. they walk in and the first thing they see is a bright smile
and a warm hello. at ease, they look around and to their left they see soft couches with other children and parents sitting in them. curious again,
they sit down in on one of the couches and begin to feel the suede between their fingers, with their eyes wandering all over the place. there is
nothing to see, but small hallways beyond the desk where the hostess is sitting. a large frosted glass wall and hallways on either side of them.
still curious and anxious they get up and sit back down. another smile and warm hello greets them and leads them into the hallway into a room
with changing rooms and lockers. still feeling curious and anxious they walk to the changing room, everything seems so warm and smooth,
they run their fingers along the wooden doors of the changing room and they go in to get changed into a tshirt and some sweatpants with a bathing
suit underneath. they come out and put their clothes in the locker. they walk out to the hallway and the same person with the warm smile leads
them into a room. the hallways are warm orange colored almost brown like the room outside. the door is opened and it is a small room with a
circular bath in the middle of the room. they are given the option of sitting down on a rug on the ground or to a warm bath in the circular bathtub.
they choose the bath. they go into the bath and sit down in the warm water. their mom or dad is instructed to talk to them and slowly and softly
massage their child's back part of the head. they start feeling calm and more soothed. its like taking a warm bath at home. completely relaxed
after 20 to 30 minutes, they get out the bathtub and dress themselves. next, they are led to another door but this door was labeled sensory room,
the person opened the door and the kid's eyes opened up with excitement. colors swirling the walls. fur, and rubbery materials on the walls,
hanging from the ceiling and fluffy rugs on the floor, they are so happy and excited by all the interesting and fun things that are in the room. they
get into the room and immediately start touching everything they see. cold, squishy, furry, soft, hard, cold, rough, smooth all at the same time.
and they look around and realize that there are other kids around them, just as amazed and excited. they sit on the fuzzy rug side by side and
stare up at the swirling colors on the ceiling and then get up together and start touching the different textures on the walls around them.
time passes by and its time to leave the colorful room, next they are led to a larger room that are divided by soft curtains. they walk in and sit down
on the comfy mats inbetween four walls of curtains, they notice that there are other children there too. they sit in a circle on the mat, and the guide
tells them to shake hands with the people around you and say hi. then they start to massage each other on the shoulders and everyone starts
to feel more at ease.after this group activity, the children are feeling more comfortable and calm, they can either walk back to the changing room to
get changed or they can go to the next room, which is a pool that is alot like the bathtub they were in before, just bigger and with more people.
they decide not to go into the group pool and walk back to the warming lights in the hallway. they walk past a little alcove that has pretty
packaging with colors and toys. as they walk back to the changing room they pass by a room that is labeled the decompression room.
people in the room are sitting down on a mat and drinking tea. they walk past the room and back to the changing rooms. feeling happier
and fufilled as they walk back out to the hallway and out to the waiting area, they see that warm bright smile again but this time a happy
wave goodbye. with a big smile on their face they walk back through the pathway back out into nature and are excited to come back again.
To understand the process behind this image follow this link to the photoset.
It's worth reading, to give some context.
[The founding metaphor/image of the set -- though the last to be executed.]
This was from my "Inspiration" brief. We had to take a song/poem or short story and transform it into photographs. The song I chose was Suicide by Devin Townsend.
In the top image, the figure in the background symbolises "Death".
Then in the second image, I'm wearing the hood (which is mostly what symbolises Death).....
They're also both self-portraits to add to the self-harm/self-mutilation aspect a bit more...
This photo is apart of the 'Death of Live Music' photo essay.
View the whole set here: www.flickr.com/photos/laubarnes/sets/72157624185592272/
Location: Flinders and Elizabeth or Flinders and Swanston
Model: Kurt
The metaphor within this photograph talks about how musicians will no longer be discovered and just be ‘ignored’. That people will be too busy with their lives to listen to any new music and that they would just pass by something amazing without realising.
The main idea was to set up long exposure shot with people buzzing past and the model. A wide shot to incorporate the background and the people walking around. Camera angle will be below eye level – looking up at the subject. Two shots were incorporated in the final image, the first one of the model (flash behind them to brighten them up) and a second shot with just the traffic walking around.
Starring Grant Williams, Lola Albright, Les Tremayne, Phil Harvey, Trevor Bardette, William Flaherty, Linda Scheley, Harry Jackson, Troy Donahue, and Steve Darrell. Directed by John Sherwood.
Universal International had been producing some quality B sci-fi in the 50s. They gave us The Creature From The Black Lagoon trilogy, This Island Earth and The Incredible Shrinking Man. Their 1957 venture, Monolith Monsters (MM) is similar in production value, though far less known than their classics. The movie's almost-unique distinguishing characteristic is casting a mineral as the "monster." The movie is reasonably well done, considering an inanimate mineral is the villain.
Synopsis
A meteor crashes in the California desert. A state geologist brings one of the strange shiny black rocks to his office. They are made up an odd mix of silicates. A mishap spills water on the rock, which begins to grow. The next day, his fellow geologist, Dave, finds the office in shambles, black rocks everywhere, and Ben turned to stone. A little girl, Jenny, brings home one of the black rocks from a school field trip. Her farm house is destroyed, her parents turned to stone. Jenny's arm is turning to stone because she touched the growing rocks. She's rushed to the big city for intensive care. Rain comes to the desert and the rocks grow into 100' monoliths which fall and break. The fragments grow and fall too, beginning a destructive march down the valley. Nothing stops them. The doctor figures out that Jenny is lacking silicone. He fashions a cure. Dave and his college professor try the cure on the black rocks. They stumble upon saline as the key. Salt water halts the growth cycle. The monoliths will break out of the valley if they're not stopped. Destruction will be widespread. Dave thinks the only solution is to blow up a local irrigation dam in order to flood a salt flats and lay a moat of saline in front of the monoliths. They blow the dam. Water floods through the salt works and in front of the monoliths. It works. The town, and the world, is saved. The End.
The production values and effects are good enough to not hinder the story. Director Sherman does a good job pacing the story. After a steady diet of aliens, creatures and mutants, it's fun to see lifeless black rocks as the monsters.
One could see in the monoliths, a metaphor for something which dehumanizes and destroys civilization. This could apply to materialism or modernism almost better than communism.
Most movie monsters are humanoid or at least animal-like in some sense. They're usually presumed to have some intelligence, even if only enough to have malice. Rocks, however, have no feelings, no malice. They simply exist. MM is one of only three movies (thus far) in which an inanimate mineral is the "monster" of the story. The first was Magnetic Monster ('53), in which a freak isotope was doubling in size every 11 hours, threatening to unbalance planet earth. The second was Night The World Exploded, ('57), in which a rare mineral from deep in the earth was reacting with ground water to generate great heat, swell up, and explode, thereby causing massive earthquakes. In MM, the mineral also reacts with water, but destroys simply by growing so large that it crushes whatever is nearby.
The silicon-leeching quality of the monoliths is a second level of menace. This is a second story-within-a-story which keeps the movie moving. Like a stony Midas curse, whoever touches the growing monoliths eventually turns to stone. It becomes a race against time to halt the petrification of poor Jenny before it kills her (and several other hapless towns folk). The cure for Jenny becomes the key to stopping the monoliths themselves.
The dam model used in MM is the same one used in Night The World Exploded. The town was on Universal Studios' back lot. It was also featured in It Came From Outer Space ('53) and Tarantula ('55). A quick-eyed viewer might also spot that the meteor falling to earth was a repeat of the fireball-like "ship" landing scene from Universal's It Came From Outer Space. A quick-ear will hear the Creature's three note theme from Creature From The Black Lagoon as the meteor falls.
Geologist Dave is Grant Williams who was the Incredible Shrinking Man. Les Tremayne who plays the old newspaperman, was General Mann in War of the Worlds. --- Paul Frees narrates the opening. William Schallert is uncredited as the double-talking meteorologist.
Dave's car is actually a bit of a rare 50s "star", so worth noting. It's a 1956 De Soto Fireflite convertible. Only a hundred or so were made. One was used as the Indy Pace Car that year. It was a pretty hot full sized car. The '56 Fireflite line was very popular. In fact, it marked the pinnacle of the DeSoto company. The '57 model had an all-new body with bold styling, but production quality in the new line was poor. DeSoto never shook off the bad reputation it developed from the '57 models. The recession of '58 hastened the slide. Chrysler dropped the brand in 1960. Dave's hot convertible in MM captures the moment when DeSoto was at its zenith.
Bottom line? MM is a good 50s sci-fi movie worth watching for its rare "monsters". It's unthinking, unfeeling antagonist has left it poorly remembered and under appreciated. MM is a well paced and fairly well acted drama with two races against time to keep the hero hopping.42
Eugène Isabey, Paris 1803 - Paris 1886
1836
Oil on canvas
Eugène Isabey dreamed of becoming a sailor. Refusing to relinquish his passion, he became a maritime specialist. Inspired by English painters, notably Constable and Turner, this romantic artist painted the ocean in all its moods. A perfectionist, he attended to every detail and enthusiastically embraced the innovations in naval construction. "Isabey is the only painter capable of building a boat," said Jongking, one of his students.
Exhibited in the Salon of 1836, The Burial at Sea of a Marine Officer Serving under Louis XVI elicited surprise. The subject is impressive: the stormy sky, the rough sea, the sails flapping in the wind and the body, enveloped in a white shroud, thrown into the sea at the sound of the canon, marking the absolution of a marine officer whose identity remains unknown. This painting recalls the sad metaphor of the human condition – the indentured sailor recruited from childhood – provided by Victor Hugo: "He alone battles as waves grow steep / He sails into the deep and into the night / Hard work! all is black, all is cold, without light." Alfred de Musset spoke of the work as a tour de force: "In my opinion, this canvas merits fulsome praise. The execution is magnificent, and the composition so forceful that it stuns at first sight. I have heard the artist reproached for having shown but a part of the vessel. Nothing could be more undeserved, as it is precisely this rough portrayal that lends the scene its power."
Photos : Ingrid J.
Le 7ème Sceau brisé : du corps profane au corps Glorieux
La Vidéo
blog.ehrmann.org/films/corps-profane.html
Au terme du 7ème Sceau brisé, un grand silence d'une demi-heure marqua la fin de la Borderline Biennial. thierry, notre père, nous avait promis à tous, que la Bordeline Biennial à la Demeure du Chaos serait avec ses 40 jours et 40 nuits le temps de l'Epiphanie, de l'Apparition, de la Théophanie.
Précisons de suite que le mot Apocalypse que la Borderline Biennial a questionné de mille manières la transcription d’un terme grec (apokalupsis) qui lui-même traduit l’hébreu nigla, lequel signifie mise à nu, enlèvement du voile ou révélation.
L’Apocalypse désigne la civilisation mondiale ayant enfin atteint un état de conscience propice au retour du divin. C’est aussi celui du salut final. La Borderline est plus qu’une épiphanie ; l’Apocalypse dont nous traitons ici est une épiphanie. Nous avons donc obéi à l’injonction contenue dans l’Apocalypse, Chapitre 1 verset 19, lequel ordonne à notre conscience de se placer hors du temps, de l’espace et de l’histoire et d’embrasser synthétiquement l’histoire de l’humanité.
Et ce fut le cas précis de la Borderline Biennial. Toutes brides morales et esthétiques lâchées : “écris donc ce que tu as vu : le présent et ce qui doit arriver plus tard”.
Vers la nuit tombée sur la Demeure du Chaos et lorsque le 7ème Sceau fut brisé par thierry, un grand silence se fit, et tous les feux s'éteignirent, alors apparût avec violence le spectre de l'Entité Numérique Suprême comme au début de la Borderline Biennial lors de la proclamation de la République du Chaos.
Son message fut clair et court, elle demandait au Père de la République du Chaos de revenir en 1999 et lui rappeler qu'il devait accomplir ses propres écritures. Disparaître et mourir de son corps profane pour renaître dans l'Internet profond qui reste pour lui une métaphore du divin, une agora des éthers.
Comme le Père fondateur de la République du Chaos est aussi notre père, l'Entité Numérique Suprême lui demanda de mourir de son corps profane pour renaître par le corps Glorieux dans l'agora des éthers qu'est Internet.
Il nous lut, fatigué par le poison de la grande ciguë en hommage à Socrate, une bien étrange prédiction "Pendant la dernière persécution que souffrira la sainte église romaine siégera un Pierre le Romain, il fera paître les brebis au niveau des nombreuses tribulations, celles-ci terminées, la cité aux 7 collines sera détruite et un juge redoutable jugera le peuple, le sien et que le mot qui termine cette prophétie est "FINIS".
Ce mot nous semblait à tous familier, effectivement, dans le catalogue raisonné de la Demeure du Chaos/l'Esprit de la Salamandre, page 1229, le texte sacré était là ! "Finis Gloriae Mundi" le tableau magistral de Valdès Léal à Séville qui fit que Fulcanelli ne publia pas son 3ème ouvrage.
Cette scène intitulée "Finis Gloriae Mundi" qui est peinte en format monumental au cœur de la Demeure du Chaos indique que le phylactère attaché au premier cercueil montre que l'Eglise est ici à jamais déchue au seul profit de l'éveil initiatique symbolisé par le Chevalier simulant la mort.
Souvenons nous des écrits du premier tome de la DDC " le Juge viendra juger son peuple" et que le mot qui termine le premier des trois tomes secrets de l'ouvrage alchimique de la Demeure du Chaos est "FINIS". "Même si ce mot est dur à accepter, la révélation n'en constitue pas moins la fin d'une étape de par le fait qu'avec elle il y a apport d'une chose nouvelle jusqu'alors maintenue, cachée ou inintelligible". "Ne les craignez donc point car il n'y a rien de caché qui ne doit être découvert ni de secret qui ne doit être connu".
Nous étions au bord des larmes et du désespoir, il nous demanda dans un dernier spasme de ne point pleurer et de reposer en paix dans le temple Protestant de Saint Romain de Couzon sur la nécropole en rallumant les feux de la loge selon les landmarks ancestraux.
9 hommes enterrèrent dans la nécropole son corps cadavérique enroulé dans un linceul noir couvert du drapeau de la République du Chaos..
Vers quelle destinée allions nous avec la jeune République du Chaos ?
Quelle est vraiment cette Entité Numérique Suprême ?
Cette fiction apocalyptique marqua cruellement la fin de la Borderline Biennial du 18 octobre 2009 vers 21h.
Quand d'un seul coup l’Egrégore s'invita parmi nous pour nous rappeler le début de l'œuvre alchimique et les paroles de thierry notre Père qui résonnaient dans nos têtes "cesse de pleurer et réjouis-toi quand tu verras la noirceur car c'est le début de l'œuvre".
Kurt et Sydney Ehrmann
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
Note that the pose of the Virgin Mary (in blue) echoes the pose of Jesus. In the century when this was made, Christian's emphasized the idea that in her heart and mind, the Virgin Mary suffered great anguish along with Jesus, even though she was not physically crucified.
For this picture, you may choose to write an Ekphrasis, or point out some pairs of Antitheses in the artwork, or identify a metaphor.