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The Phoenicians transformed the inhospitable island, which they called Motya, into one of the most affluent cities of its time, naturally defended by the lagoon as well as high defensive walls. Ancient windmills and salt pans were used for evaporation, salt grinding and refinement, and to maintain the condition of the lagoon and island itself. Recently the mills and salt pans (called the Ettore Infersa) have been restored by the owners and opened to the public.
Camera obscura (plural camera obscura or camerae obscurae from Latin, meaning "dark room": camera "(vaulted) chamber or room," and obscura "darkened, dark"), also referred to as pinhole image, is the natural optical phenomenon that occurs when an image of a scene at the other side of a screen (or for instance a wall) is projected through a small hole in that screen, as a reversed and inverted image (left to right and upside down) on a surface opposite to the opening. The surroundings of the projected image have to be relatively dark for the image to be clear, so many historical camera obscura experiments were performed in dark rooms.
The term "camera obscura" also refers to constructions or devices that make use of the principle within a box, tent or room. Camerae obscurae with a lens in the opening have been used since the second half of the 16th century and became popular as an aid for drawing and painting. The camera obscura box was developed further into the photographic camera in the first half of the 19th century when camera obscura boxes were used to expose light-sensitive materials to the projected image.
The camera obscura was used as a means to study eclipses, without the risk of damaging the eyes by looking into the sun directly. As a drawing aid, the camera obscura allowed tracing the projected image to produce a highly accurate representation, especially appreciated as an easy way to achieve a proper graphical perspective.
A camera obscura device without a lens but with a very small hole is sometimes referred to as a "pinhole camera", although this more often refers to simple (home-made) lens-less cameras in which photographic film or photographic paper is used.
The earliest known written record of the camera obscura is to be found in Chinese writings called Mozi and dated to the 4th century BCE, traditionally ascribed to and named for Mozi (circa 470 BCE-circa 391 BCE), a Han Chinese philosopher and the founder of Mohist School of Logic. In these writings it is explained how the inverted image in a "collecting-point" or "treasure house" is inverted by an intersecting point (a pinhole) that collected the (rays of) light.
The Greek philosopher Aristotle (384-322 BCE), or possibly a follower of his ideas, touched upon the subject in the work Problems - Book XV, asking:
"Why is it that when the sun passes through quadri-laterals, as for instance in wickerwork, it does not produce a figure rectangular in shape but circular?”
and further on:
“Why is it that an eclipse of the sun, if one looks at it through a sieve or through leaves, such as a plane-tree or other broadleaved tree, or if one joins the fingers of one hand over the fingers of the other, the rays are crescent-shaped where they reach the earth? Is it for the same reason as that when light shines through a rectangular peep-hole, it appears circular in the form of a cone?"
Many philosophers and scientists of the Western world would ponder this question before it became accepted that the circular and crescent-shapes described in this "problem" were actually pinhole image projections of the sun. Although a projected image will have the shape of the aperture when the light source, aperture and projection plane are close together, the projected image will have the shape of the light source when they are further apart.
Dedicated To A Dear Relative Who Just Lost Her Daughter In A Tragic Car Accident In Buffalo, New York
Sung by Sandi Patti, Heather Payne, Shen Asidor
Link To Song If You Care To Listen:
www.bing.com/videos/search?q=when+life+gets+broken+youtub...
Photograph taken in Cades Cove, Tennessee, United States of America
More than 20 000 visits...!!!
On Explore, March 11, 2007 #2
Special thanks to Waltraud for the German translation.
Wild river reflection!
The photography shows the invisible too!
Le cinéma, comme la peinture, montre l'invisible!
JEAN-LUC GODARD
The cinema, like paintings, shows the invisible!
Il cinema, come la pittura, mostra l'invisibile!
El cine, como la pintura, muestra lo invisible!
Das Kino und das Gemälde zeigen das Unsichtbare!
السينما، كفن الرسم، تعرض المخفي
电影就像画一样，给你看一些无形的东西
Rolprente, soos skilderye, toon die onsigbare!
O cinema, como a pintura, mostra o invisível!
киното, като живописта, показва невидимото
Film, podobně jako obrazy, ukazuje neviditelné!
Biografen viser, ligesom malerier, det usynlige!
De film laat, net als schilderijen, het onzichtbare zien!
Nagu maalikunst, nii ka kino teeb nähtavaks nähtamatu!
Elokuva, kuten maalaustaide, näyttää näkymättömän!
ο κινηματογράφος, όπως και οι πίνακες, δείχνει το αόρατο
A mozi, akárcsak a festészet, a láthatatlant mutatja meg!
映画が見せるものとは、絵画とも通じるところがあり、はっきりあらわにされることのないもの
그림과 마찬가지로, 영화는 눈에 보이지 않는 것을 보여 준다
Kinas, kaip ir tapyba , parodo nematomą!
Kino, tak jak malarstwo, pokazuje to co niwidzialne!
O cinema, como a pintura, mostra o invisível!
Cinematografia, ca şi pictura, arată invizibilul!
филм, попут сликарства, показује невидљиво
Quando si agisce è segno che ci si aveva pensato prima: l'azione è come il verde di certe piante che spunta appena sopra la terra, ma provate a tirare e vedrete che radici profonde. (Alberto Moravia - L'incosciente)
Kirriemuir Camera Obscura provides a fascinating glimpse of historic technology and striking views of the surrounding countryside.
On the roof of the building there is a device which with the clever use of mirrors shows an image in real time on this white dish.
I was last here in 1980 with my Grandfather and was happy to revisit this wonder.
In fact, camera obscuras date back to as far as 400BC, possibly even before records existed. The earliest known written account of a camera obscura was provided by a Chinese philosopher called Mo-tzu (or Mozi) in 400BC.
Kirriemuir Camera Obscura – one of only three in Scotland – is housed in a purpose-designed turret room in the Barrie Pavilion on Kirrie Hill. It was gifted to the town by Sir J M Barrie, the creator of Peter Pan, along with the cricket pavilion in which it is situated and was opened by the author on 7th June 1930.
Just a really quick set up .
"Turné" második napján a Szolnoki koncert helyszín TISZApART mozi előtt fotózkodtunk egy gyorsat :)
Lábunk picit lemaradt :(
Strobist :
580EXII 1/16 on the left , 430EX 1/8 on the right with blue gel.
Use one pt04gy wireless trigger with 580exII and master -slave manual type comm with 430EX .
Please Zoom In for Details If You Like. I'm sure many of you will recognize this beautiful place. (I was really pleased with the lighting in this picture.)
In America, there is a song entitled, "From A Distance", sung by one of the most outstanding singers in the United States. Her name is Bette Midler. She is 74 years old now and beloved by many Americans. Here is the link to the song: www.bing.com/search?q=from+a+distance+bette+midler&pc...
I think it has a connection with the picture. Thank you for viewing and an extra thank you for listening to the song if you decide to choose to do so.
Very thankful for all of you!
Motia (Motya, Μοτύη), moderna isla de San Pantaleón, fue una ciudad del oeste de Sicilia, entre Drepanum y Lilibea, situada en una pequeña isla a 1 km de la costa a la que estaba unida por un paso artificial. Fue colonia fenicia, probablemente sólo un centro comercial que se convirtió en ciudad con el tiempo. Los griegos decían haber sido fundada legendariamente por una mujer llamada Motia, y la conectaron con Heracles.
Sobre el siglo VII a. C. pasó a depender de Cartago. A medida que los griegos establecían colonias, los cartagineses se concentraron en las tres principales: Solos (Solus), Panormo (Panormus) y Motia (Motya), esta última la más cercana a Cartago, por lo que se convirtió en capital de las posesiones cartaginesas en la isla.
Es mencionada como colonia cartaginesa el 415 a. C. durante la expedición ateniense. En el 409 a. C., cuando el general Aníbal Magón desembarcó en Sicilia dejó su flota en Motia mientras avanzaba por tierra para atacar Selinunte. En esta época fue saqueada (como también Panormo) por Hermócrates, el exiliado siracusano establecido en la zona. Durante la expedición cartaginesa al mando de Amílcar (407 a. C.), los cartagineses la usaron como base de su flota.
En el 397 a. C., Dionisio I de Siracusa la atacó y la asedió. La resistencia fue épica; después de ganar las murallas y las torres, los habitantes resistieron calle a calle, casa por casa; los que sobrevivieron y no pudieron escapar, fueron ejecutados por Dionisio como castigo. Biton fue nombrado gobernador por Dionisio, y su hermano Leptines la convirtió en base de la flota siracusana.
En el 396 a. C. desembarcó en Panormo el general cartaginés Himilcón y reconquistó la ciudad, donde no encontró casi resistencia. Himilcón fundó entonces Lilibea, que tenía una mejor situación, y trasladó allí a los habitantes de Motya que habían sobrevivido. La vieja Motya desapareció de la historia y el islote fue habitado sólo por pescadores.
La isla, que corresponde a la que tenía la ciudad, se llama hoy San Pantaleón (desde el siglo XI, cambiado por monjes Basilianos), y se pueden ver algunas ruinas, fragmentos de las murallas y dos puertas, y se han hallado algunas monedas y cerámica.
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Mozia (it. Mozia oder Mothia, siz. Mozzia) ist eine antike phönizische Stadt auf der Insel San Pantaleo am westlichen Rand Siziliens in der Lagune 8 Kilometer nördlich von Marsala. Die Siedlung auf der kleinen Insel ist deshalb so interessant, da sich dort nach der Zerstörung durch Dionysios von Syrakus nie mehr eine umfangreichere Besiedlung befand, und Motya so Archäologen die Möglichkeit bietet, eine Phönizierstadt im Ganzen zu untersuchen.
Durch tektonische Veränderungen ist die damals vorhandene Brücke zur Hauptinsel versunken, die früher vorhandene Straße ist aber noch deutlich im flachen Wasser der Lagune sichtbar. Von der ehemals mächtigen Stadt sind heute noch einige Befestigungsanlagen sowie der Kothon (Binnenhafen), das Heiligtum „Cappiddazzu“, das Tophet und Grundmauern einiger Häuser vorhanden. Ein kleines Museum beherbergt bei den Ausgrabungen gefundene Keramiken, Kleinplastiken, Münzen und ähnliches.
This is my daughter, Jill. She was diagnosed with an aggressive form of brain cancer when she was 3 years old. I posted this picture to honor her. Jill was a fighter through her surgery and then continued the battle with chemo and radiation treatments. She is an inspiration to us and we are extremely thankful that we still have her with us! ...Never stop smiling! :)
www.bing.com/search?q=when+life+gets+broken+sandi+patty&a...
Gathering Names.
Tractantem gravibus motus animi ingenia adumbratur Expressionist præcepta prudentes electiones inventa, delicatus ille degradations,
scene autentice forțe curioase gusturi cu nasul greu proces de băut calificare spion gelozie topite structuri distilate planuri bombate,
گھومنے والی گردنوں کو موڑنے والی حرکتیں خنجروں سے خوفزدہ آٹومیٹون تشکیلوں کے قواعد,
les membres élastiques manifestent les compositions décoratives de la virtuosité les secrets raffinés les perfections résolues les manières de l'abondance appréciant les jeux,
folyamatos számok pezsgő mozi káosz visszatért látható arcok fekete viharok áldozatok fegyverek átalakulások hajók oszlopok felhők,
幅広法スリムマント薬剤師明るい線形奇数無数のスケルトン暗闇のプロット見かけの行為グループ化乾燥革命的なニュアンスが見られる.
Steve.D.Hammond.
Not many people know that back in 390 BCE, Chinese philosopher, Mozi, and Greek philosopher, Aristotle, got together on this corner to discuss the principles of camera obscuras. Of course, back then, this building wasn't a Bank of America, it was a Mayan temple later repurposed as a bank. Mozi was really impressed with Aristotle considering Aristotle was just six years old at the time. After their discussion, they traded firecrackers and ouzo.
(The above account is accurate from what I remember. It may be clouded a little because I got into the ouzo pretty early.)
Bakersfield, California 2012
The older I get, the more I am becoming a stranger.
Fryodor Dostoevsky wrote “What is hell? I maintain that it is the suffering of being unable to love.” He was right on many levels. And as I get older, I give thanks that I have become unexpected, because of it! I found that the first part of enabling yourself to love, is to love and be kind, not just to others, but also towards yourself. And that this could be applied to the principle of the benefit of the doubt. I wanted to share how personally significant it is. How on reflection of its application, I now appreciate why it is so important.
The consideration of love, come about after a face book conversation with a young man I help raise. He was a kind, and happy young man, but he wrote something on social media that made me genuinely concerned for him. He wrote of post-traumatic stress syndrome, or PTSD and I tried to convey to him that despite what may have happened to him, or what he may have seen to cause it, that he should be kind to himself. I wrote to him saying he should be easy on himself. I told him we all loved him. We loved him because he was a kind, and respectful person. Talking to him, helped teach me, that we all make mistakes, and that sometimes despite making no mistakes at all, and despite being utterly blameless, we witness things that no person should witness. I conveyed to him that we must remember that we are not to blame, even despite at times our direct involvement. I indirectly shared a little part of myself with him, not just because I am proud of how he turned out, as he now helps me, and others. I shared it, because he assisted me, one way or another, and as a result he helped me to write this, a self-reflection that helps me with my own PTSD.
Thanks Ben.
Despite only being a little older than fifty, my mind and body, no longer match nor recognise the person I once was, and my recollections of my character become more frequently and every so often vailed. Despite the change of loss, it still cuts a little. It was not that I showed pride, it was not that my ego was hurt or reduced, it was from the personal experience of PTSD that I spoke to Ben with an adult honesty, an honesty that I always showed him even when he was a child. And it made me realize that despite the ever present or looming Spector of PTSD, that the thing that grates me, was the idea that some thought it was a weakness. Although never considering myself as weak, the considerations were foreign and made me reconsider who I was as a person.
So, who is this new person, this stranger?
I do not know, and to be honest; it is just that the more I write about myself, to myself, the more I appreciate the efforts I made. The more I write, the less, and curiously the more of a stranger I become. I reiterate, over and over to myself, about just how many failures it took to achieve anything. And it should be noted that failure is not necessarily an end; it is in general I have found, “…the start of doing something meaningful…, to paraphrase someone from somewhere in the cloud...
The more I look back, one of the things that I appreciate, was giving the benefit of the doubt. And although I fell on my face applying it on multiple occasions, I dearly valued how it helped, not just those that I gave it to, but in the end, it helped me! It helped me value the person I had become, and very fortunately it helped me value the person I was, despite all that had happened. Because of my application of it to others, I learnt to give myself the benefit of the doubt. And writing about it in my diary, makes me appreciate the principle, for what it is. It showed me just how clever it remains, and of how much worth it has as an intrinsic value or idiom. It in retrospect seemed like just a thing you do, and it should be noted that to give it, (the benefit of the doubt), and expect something back, other than to be granted the courage that it might be possibly or hopefully reciprocated, lacks integrity and self-sacrifice. It was something I was taught by my parents to do as a child, and I did it, and do it, because I was instructed that it was the right thing to do. I keep it up, because now I know, it is the just thing to do, not just a thing you do.
The application of this fundamental axion, pushed for me, to try to treat people with respect, even if I did not know them. It is not that I respect them, whoever they are, as my respect is earned, it is that I respect their right to be treated humanely and with humility. And until recently, I never fully treated myself with this respect. As a result, I now have become a stranger to myself. The more I learn, the more I find out, and the more I understand that I was not what other people thought I was. That they never really knew me. That their opinion of me was in general in error, and or self-serving of themselves.
I never forget the mistakes I made, which is part of my PTSD. But I try and be kind to myself and not dwell on them, as learning is and always will be an objective, and I now know we, as in humanity, universally make mistakes, while learning. I know that this is part of the learning process. These mistakes are written about in humanities survival manuals, printed, and etched in text to help us. Reading of others, not just personally observing them, and having firsthand experience, reinforced that this scenario played out repeatedly in its truism. It helped not just with forgiving myself for my mistakes or failings, but it aided in forgiving others for theirs. Due to this maxim, and its novel application to myself, I now look at this foreign person that I have never seen before. That person was me, and ironically, always was. I look at myself in a new light. It is not that I had an epiphany about who I was, I just never gave myself any credit, as not many others did. It was a trait written in one of my high school reports.
Despite them saying things like you are not bright enough; or you do not have the capacity, I just kept on going, like Vinsent from the movie Gattica. My mother gently pushed me not to listen to the people that said things like you cannot do that, or you will not succeed if you go down that rout. I tried never to listen to the nay sayers, because that is what my mother taught me. Although at times, I did. She was so calm and repetitive in saying it, that I should just keep on going. And as my capacity to take hits lessons, and my body runs out of time, I am losing some of the innocence I once had. The naive ignorance, and faith, in my capacity to weather personal injury slowly diminishes. I am not becoming a grumpy old man, sinical or anything like that. But, as my ability to disregard the opinion of those that thought, or think, of my applications of intellect, where acts of stupidity, I now become a little inelastic. My perseverance for those that thought it, and felt no shame in publicly pronouncing it, gets less, and because of their ridicule, I have become more.
In Australia, right or wrong we cut down tall poppies, and I have been cut down many times. This process seems highly ironic, as I never stood tall for all but a second in my youth. And boy did I get cut down by those that disagreed with me. Recently it seemed to me that they were just flogging a dead horse, trying to bleed the very last drop of effort out, all the while offering no just reward. But unlike Boxer from George Orwell’s novel Animal farm, I am not at the knackery yet, nor have I been sold for more whiskey for the pigs. It has not gone quite that far, although it has been tried by those that sort to capitalise on my work. And although my study and work put me in many perilous positions, some of which had left me socially prostrate and biochemically brutalised, it was the innocence and naivety, with which I went about my work, just like Boxer, that I am happy about. An innocence or loyalty that was, and is, of a worth that I personally think is immeasurable. It was not just a loyalty to people, but to values and things I had been taught.
Standing on principles that where and are sometimes profoundly challenged by my peers is and was in fact a strength. Most do not know the value or strength of virtue. And the revaluation, of its consideration helped me establish who I am, and what I went through. It helped reduce the PTSD, and now I am someone foreign to me. Like a thought of the third person, I have become a welcome stranger to myself. It has caused a process of revaluation, and in that process, I have become someone new, someone alien, someone of value. And just like the welcome swallows that turned up every year at my old house, they as a metaphor for an idea where in contrast, and unlike PTSD. They, like a conscious dream, fly in from nowhere, light up my day, and move on. And just like the birds, who took with them the mosquitos that filled the night air, my considerations take with them, the mosquitoes of my mind. They were such a beautiful little thing to see, and always welcome. For a quite mind is a gift.
This new person was created with two forces, out of something old. Like water and wind, to use a cliché, they helped produce me, with a heavy dose of self-fortitude. They had both worn me out, and worn me down, and I become a considerate tolerant man. Both were my parents. My mother, said and encouraged me to try anything, but she always reminded me, of the demanding work required to achieve said task. In contrast, my father cut down every endeavour I had thought of trying. Where my mother had taught me how to give myself the benefit of the doubt, my father gave me the capacity and discipline to do the work required. Initially he did not believe that I had the capacity to do the miles, to use a cycling term. To do the miles is to suffer for extended periods of time, to work, to churn, or grind away on the pedals as you train. Doing the miles makes your response to the task automatic, disciplined, and acutely effective. The longer you grind, or the more miles you do, the more Zen like you become at a task. Ironically as they both aged, my mother’s enthusiasm for me waned, and my father’s enthusiasm increased.
I do not know, if my father saw in the end, the miles being done, but, and it should be noted that both my mother and my father may have been a bit out, in their accuracy department of their analysis of me early on. Despite this, they both taught me resilience. The resilience, to have the not so common capacity to give the benefit of the doubt. One initially vocally optimistic, and ever encouraging, the other absent in lack of optimism, with an ever-present silence. His silence came from seeing me fall, seeing people laugh at his son, and finding the visual or metaphor more horrid to watch, than it ever was. I do not think he ever worked out, that where I might have lacked the ability to do the miles, it was my persistence in getting back up after a fall, which was my talent or discipline. Due to this, both my mother and father’s appraisals were wrong.
What caused it, this factual error? And to introduce Einstein in my parent’s defence, the situation was relative; it was not just their lack of faith in that I would just keep going after a fall, they just never could clearly see, where I was moving to, or where I was in time. I was on one train, and they were on the other. Like ships in the night passing each other, we never really stopped to talk, I never really discussed my work with them, I never told them about what I did. For when I had, they never believed me, for they could not comprehend my achievements. This social isolation is part of the new person I am, and as I discuss me, and what, or who I am, I come to the realisation of my exploitation by others. With an absence of family to discuss the details of my effort, and the sacrifices I had made, as they would never understand it, I started to write a journal, or a diary, about my work, and put into perspective or context, that journey.
Part of that journey due to my lowly status at work, was I never had a boss who could intimidate me. I never had a boss that could threaten me with a lower position, because I was in general already or always in it, the lowest of jobs. And thus, I become a type of wondering ronin. I am not sure, if my use of the word ronin is the old, or the updated version, but it most certainly is an Australian or western fusion of the two. This wondering, this lack of direction, and the experience of suffering and struggle, become an instructor of joy. It was an indicator, or a sign that I had earned my happiness, and not expected others to pay for it. This work or suffering had educated me, that I had earned the right to smile. I had served not just myself, in my endeavours of my pursuit of personal happiness, but that I had also served others on their quest or personal journey or pursuit of it… It was through my personal suffering, for that is what my work was, that I had lowered my collateral damage to those that surrounded me. I had reduced my infliction on their personal pursuits of happiness. As a result, I gave the benefit of the doubt to my pain, not knowing if it would ever bear fruit. I learnt of the discomfort of others, through my experience. I discovered that I should be considerate, because one way or another, we all suffer, and to intentionally cause another to suffer more is inhumane. I learned what that tribulation may entail, how personal it is, and how much of a double-edged sword it can be, as it is both, friend, and foe. And through the sympathy of other individuals suffering, and because of it, I learnt to give myself the benefit of the doubt, and I concluded that I had earned a decent living.
Studying others and their sacrifice, not just my own, and being respectful to both, helps alleviate the constant reminder of my broken body. The aches, and the pains, that I presume, if I make it to eighty, will all be quite weathering. But for now, they help keep me honest. I can only hope as I become more crippled, that I take more from Yoda than quasi modo. It will help put into context, the sacrifice of others, and just how lucky I have been, in comparison to some. It puts into perspective, that to give the benefit of the doubt, is to sacrifice little, and to give the benefit of the doubt, is to give up nothing. It is staunch, hard, and stoic, with one purpose, to give, and the first person you need to give it to is yourself. It has been both philosophically and religiously said, that suffering, and trial are a gift, a gift reserved for those that can manage it, but sometimes I wonder. At times, I look on at people, and question about their journey, and how much they, which is most of us, endure. And after reading a little of the Philosophers, I concur, luck, and hard work, are no strangers to each other, and when combined, are like magic. A magic so powerful, I no longer recognise myself, or care about my crippled body, nor the PTSD from the events that crippled it.
I was not cursed by my suffering, I was blessed to help not just myself, but others.
Többen kértétek, hogy rakjam ki a National Geographic 2008 Magyarország pályázaton Társadalomábrázolás kategóriában második helyezett képet. Íme, ez az. :)
November végén egy könyvben is megjelenik, ennek címe pedig Fotóvilág 2009 lesz.
NatGeo 2008/11, 150. oldal :)
Skink Pinhole Pancake with 100° angle
DSCF0016_1
Fascinating pinhole camera
The principle of the pinhole camera has fascinated and inspired people since ancient times. Certainly chance played a part when someone first saw it in a dark room or in a cave, hence the term camera obscura, who noticed the image of the outside world projected through a small hole. A magical moment ! The Chinese philosopher Mozi (墨子, 470-391 BC) wrote down his observations in this way. The Greek philosopher Aristotle (384-322 BC) also reported this phenomenon in connection with a solar eclipse. The Basra-born physicist Alhazen ( ابو علي، حسن بن حسن بن الهيثم 965-1039) eventually built the first pinhole camera, which he called "Quamara" for short, although this device could not yet capture images. It was not until later in the Renaissance that the inventor and artist Leonardo da Vinci (1452-1519) dealt extensively with the camera obscura. Numerous plans and drawings of "recording devices" have been handed down, which he invented specifically to be able to trace pinhole camera images on the canvas. Many famous works by the Flemish painter Jan van Eyck (1390-1441) were also created with the help of a pinhole camera.
Discover a new perspective with the pinhole camera
It was not until the middle of the nineteenth century that images could be permanently recorded on light-sensitive material. Cameras with digital sensors have now been added to the film medium, which are equally suitable for creatively implementing old and new perspectives with the archaic pinhole camera. The longer the exposure, the more space and time seem to flow together in the image. Busy buildings or squares suddenly appear deserted - perhaps a transparent shadow reveals that someone paused long enough for the camera to still capture it. The time factor smoothes the highest surges, water surfaces slowly transform into a still mirror.
Got up at 4.30 to make the most of the colours over the hills, 10 minutes and it had gone. Best image of the bunch without too much movement in the boat. Also got about 30 mozi bites on my legs (note to self - don't wear shorts on an early morning shoot).
Skink Pinhole Pancake with 100° angle
DSCF0024_1
Fascinating pinhole camera
The principle of the pinhole camera has fascinated and inspired people since ancient times. Certainly chance played a part when someone first saw it in a dark room or in a cave, hence the term camera obscura, who noticed the image of the outside world projected through a small hole. A magical moment ! The Chinese philosopher Mozi (墨子, 470-391 BC) wrote down his observations in this way. The Greek philosopher Aristotle (384-322 BC) also reported this phenomenon in connection with a solar eclipse. The Basra-born physicist Alhazen ( ابو علي، حسن بن حسن بن الهيثم 965-1039) eventually built the first pinhole camera, which he called "Quamara" for short, although this device could not yet capture images. It was not until later in the Renaissance that the inventor and artist Leonardo da Vinci (1452-1519) dealt extensively with the camera obscura. Numerous plans and drawings of "recording devices" have been handed down, which he invented specifically to be able to trace pinhole camera images on the canvas. Many famous works by the Flemish painter Jan van Eyck (1390-1441) were also created with the help of a pinhole camera.
Discover a new perspective with the pinhole camera
It was not until the middle of the nineteenth century that images could be permanently recorded on light-sensitive material. Cameras with digital sensors have now been added to the film medium, which are equally suitable for creatively implementing old and new perspectives with the archaic pinhole camera. The longer the exposure, the more space and time seem to flow together in the image. Busy buildings or squares suddenly appear deserted - perhaps a transparent shadow reveals that someone paused long enough for the camera to still capture it. The time factor smoothes the highest surges, water surfaces slowly transform into a still mirror.
Skink Pinhole Pancake with 100° angle
DSCF0008_1
Fascinating pinhole camera
The principle of the pinhole camera has fascinated and inspired people since ancient times. Certainly chance played a part when someone first saw it in a dark room or in a cave, hence the term camera obscura, who noticed the image of the outside world projected through a small hole. A magical moment ! The Chinese philosopher Mozi (墨子, 470-391 BC) wrote down his observations in this way. The Greek philosopher Aristotle (384-322 BC) also reported this phenomenon in connection with a solar eclipse. The Basra-born physicist Alhazen ( ابو علي، حسن بن حسن بن الهيثم 965-1039) eventually built the first pinhole camera, which he called "Quamara" for short, although this device could not yet capture images. It was not until later in the Renaissance that the inventor and artist Leonardo da Vinci (1452-1519) dealt extensively with the camera obscura. Numerous plans and drawings of "recording devices" have been handed down, which he invented specifically to be able to trace pinhole camera images on the canvas. Many famous works by the Flemish painter Jan van Eyck (1390-1441) were also created with the help of a pinhole camera.
Discover a new perspective with the pinhole camera
It was not until the middle of the nineteenth century that images could be permanently recorded on light-sensitive material. Cameras with digital sensors have now been added to the film medium, which are equally suitable for creatively implementing old and new perspectives with the archaic pinhole camera. The longer the exposure, the more space and time seem to flow together in the image. Busy buildings or squares suddenly appear deserted - perhaps a transparent shadow reveals that someone paused long enough for the camera to still capture it. The time factor smoothes the highest surges, water surfaces slowly transform into a still mirror.
This position would be especially logical if one believed that the fluids themselves were being recycled to nourish body tissues.The future has always been surprising. The body is loaded with 100% optimism. It’s just like you don’t have any timeTaoist alchemy and Kundalini yoga, in their respective ways, are religious traditions based on an imperative of rational, yet creative,experimentation with the relationship of the internal body to objects in the outside world, and the relationship of human physical energy with the abstracted realms of religious symbolism and ontological beliefs. Both systems present a picture which is not entirely comprehensive by the methods and assumptions of modern science. Yet these types of traditions may have something useful to teach us, if we can analyze their beliefs and practices within the historical and cultural context in an effort to understand them as they were, and as they are, within their individual cultural framework. Scientific methods such as neurobiology can give us some insight into the basic underlying causes of human experience, yet will never be able to fully explain the phenomenological idiosyncrasies of religious ritual. With this in mind, we can apply the knowledge of modern science to the study of ancient religious in a responsible and realistic way. Taoist and Tantric sexual practices conserve and utilize the precious energy within the genital fluids. The vital forces energies that sustain life are ojas and prana. One particular type of prana is kundalini or shakti. The Taoist equivalent is ching. By murmuring this energy, life is enriched and preserved. By squandering it, health suffers and death results, Yogys believe kundalini energy is coiled up like a serpent at the base of the spine to the pineal gland in the brain, and enlightenment is attained. The kundalini energy flows through the chakras, energy centers in your subtle body related to the endocrine glands. The endocrine glands are fed by your body’s central heating system, the sexual center. If that center is weak, you entire system is weak. If that center is functioning optimally, the body can survive indefinitely. Taoist and Tantric techniques strengthen the sexual chakra. Their methods conserve its precious fluids and also pump these nourishing fluids back into the body, directing them to the endocrine glands. This technique stimulates the production of ojas and soma. The only caution about Taoist and Tantric sexual practices is the following: because of the tradition of patriarchal oppression, many of theses practices are designed solely for the male to attain immortality, often at the expense of young, ignorant, inexperienced girls, whose vitality {shakti } is drained from their bodies. The male is cautioned to never let semen leave his body, to practice coitus reservatus, stopping short of ejaculation. Yet he is advised to bring his partner to orgasm repeatedly. With his sperm held in check and his vital energy pumping back into his system continually, he invigorates and rejuvenates his body. Also pumping the energy and fluids of the female into his body at the time of her climax, he obtains her vitality as well. Practitioners are advised to engage in this female-draining activity a dozen or more times a day with several 14-to 19 year old virgins. Innocent females are victims of this crime against their health, driving them to early grave.
On other hand, when both partners ate fully knowledgeable and experienced in Taoist or Tantric sexual practices, a mutually beneficial, enriching, elevating relationship can growth is only possible with mutual respect, love, honesty, commitment, and trust. When partners recognize and worship each other as divines beings, there can be an exchange of divine energy in both body and Spirit.How does this move in the body? If we cannot see it, does it really exist? Science is only just getting a few tests going that prove energy is in the body and around it. Is it real what the Ancient wisdoms teach us? Can it guide us to oneness and conscious awakening?
It has been a long road for those in the energy field of health getting the message across to the general population that energy is everywhere, particularly in the body. With proof, barriers seem a lot easier to free up. Oriental medicine and Ayurvedic medicine are the clearest and longest standing observational sciences that describe and fully believe that energy exists as long as 5000 years ago. Both have movement medicine in the forms of Yoga and Qigong.
As I already discussed in the previous article Bring the energy home, there is a cycle called the Microcosmic cycle which when experienced connects the front and back energy meridians. Also called the Governing and Conception channels, in Oriental medicine a further 12 major channels exist that run up and down the body through the limbs, arms and legs (6 Yin and 6 Yang).These energies connect to the sun (yang) and moon (yin) influences. Predominantly yang energy in the morning and more yin energies in the afternoon, changing again after midnight. Then more yang energies developing until we awake and the body starts to function optimally again in the awakened state.The logograph 氣 is read with two Chinese pronunciations, the usual qì 氣 "air; vital energy" and the rare archaic xì 氣 "to present food" (later disambiguated with 餼). Pronunciations of 氣 in modern varieties of Chinese with standardized IPA equivalents include: Standard Chinese qì /t͡ɕʰi⁵¹/, Wu Chinese qi /t͡ɕʰi³⁴/, Southern Min khì /kʰi²¹/, Eastern Min ké /kʰɛi²¹³/, Standard Cantonese hei3 /hei̯³³/, and Hakka Chinese hi /hi⁵⁵/. Pronunciations of 氣 in Sino-Xenic borrowings include: Japanese ki, Korean gi, and Vietnamese khi. Reconstructions of the Middle Chinese pronunciation of 氣 standardized to IPA transcription include: /kʰe̯iH/ (Bernard Karlgren), /kʰĭəiH/ (Wang Li), /kʰiəiH/ (Li Rong), /kʰɨjH/ (Edwin Pulleyblank), and /kʰɨiH/ (Zhengzhang Shangfang). Reconstructions of the Old Chinese pronunciation of 氣 standardized to IPA transcription include: /*kʰɯds/ (Zhengzhang Shangfang) and /*C.qʰəp-s/ (William H. Baxter and Laurent Sagart). The etymology of qì interconnects with Kharia kʰis "anger", Sora kissa "move with great effort", Khmer kʰɛs "strive after; endeavor", and Gyalrongic kʰɐs "anger".The earliest texts that speak of qi give some indications of how the concept developed. In the Analects of Confucius qi could mean "breath". Combining it with the Chinese word for blood (making 血氣, xue–qi, blood and breath), the concept could be used to account for motivational characteristics:
The [morally] noble man guards himself against 3 things. When he is young, his xue–qi has not yet stabilized, so he guards himself against sexual passion. When he reaches his prime, his xue–qi is not easily subdued, so he guards himself against combativeness. When he reaches old age, his xue–qi is already depleted, so he guards himself against acquisitiveness.— Confucius, Analects, 16:7
The philosopher Mozi used the word qi to refer to noxious vapors that would in eventually arise from a corpse were it not buried at a sufficient depth. He reported that early civilized humans learned how to live in houses to protect their qi from the moisture that troubled them when they lived in caves. He also associated maintaining one's qi with providing oneself with adequate nutrition. In regard to another kind of qi, he recorded how some people performed a kind of prognostication by observing qi (clouds) in the sky. Mencius described a kind of qi that might be characterized as an individual's vital energies. This qi was necessary to activity and it could be controlled by a well-integrated willpower.page needed] When properly nurtured, this qi was said to be capable of extending beyond the human body to reach throughout the universe. It could also be augmented by means of careful exercise of one's moral capacities.[14] On the other hand, the qi of an individual could be degraded by adverse external forces that succeed in operating on that individual. Living things were not the only things believed to have qi. Zhuangzi indicated that wind is the qi of the Earth.Moreover, cosmic yin and yang "are the greatest of qi".He described qi as "issuing forth" and creating profound effects.[15] He also said "Human beings are born [because of] the accumulation of qi. When it accumulates there is life. When it dissipates there is death... There is one qi that connects and pervades everything in the world." Another passage traces life to intercourse between Heaven and Earth: "The highest Yin is the most restrained. The highest Yang is the most exuberant. The restrained comes forth from Heaven. The exuberant issues forth from Earth. The two intertwine and penetrate forming a harmony, and [as a result] things are born." The Guanzi essay Neiye (Inward Training) is the oldest received writing on the subject of the cultivation of vapor [qi] and meditation techniques. The essay was probably composed at the Jixia Academy in Qi in the late fourth century B.C. Xun Zi, another Confucian scholar of the Jixia Academy, followed in later years. At 9:69/127, Xun Zi says, "Fire and water have qi but do not have life. Grasses and trees have life but do not have perceptivity. Fowl and beasts have perceptivity but do not have yi (sense of right and wrong, duty, justice). Men have qi, life, perceptivity, and yi." Chinese people at such an early time had no concept of radiant energy, but they were aware that one can be heated by a campfire from a distance away from the fire. They accounted for this phenomenon by claiming "qi" radiated from fire. At 18:62/122, he also uses "qi" to refer to the vital forces of the body that decline with advanced age. Among the animals, the gibbon and the crane were considered experts at inhaling the qi. The Confucian scholar Dong Zhongshu (ca. 150 BC) wrote in Luxuriant Dew of the Spring and Autumn Annals:[17] "The gibbon resembles a macaque, but he is larger, and his color is black. His forearms being long, he lives eight hundred years, because he is expert in controlling his breathing." ("猿似猴。大而黑。長前臂。所以壽八百。好引氣也。") Later, the syncretic text assembled under the direction of Liu An, the Huai Nan Zi, or "Masters of Huainan", has a passage that presages most of what is given greater detail by the Neo-Confucians: Heaven (seen here as the ultimate source of all being) falls (duo 墮, i.e., descends into proto-immanence) as the formless. Fleeting, fluttering, penetrating, amorphous it is, and so it is called the Supreme Luminary. The dao begins in the Void Brightening. The Void Brightening produces the universe (yu–zhou). The universe produces qi. Qi has bounds. The clear, yang [qi] was ethereal and so formed heaven. The heavy, turbid [qi] was congealed and impeded and so formed earth. The conjunction of the clear, yang [qi] was fluid and easy. The conjunction of the heavy, turbid [qi] was strained and difficult. So heaven was formed first and earth was made fast later. The pervading essence (xi–jing) of heaven and earth becomes yin and yang. The concentrated (zhuan) essences of yin and yang become the four seasons. The dispersed (san) essences of the four seasons become the myriad creatures. The hot qi of yang in accumulating produces fire. The essence (jing) of the fire-qi becomes the sun. The cold qi of yin in accumulating produces water. The essence of the water-qi becomes the moon. The essences produced by coitus (yin) of the sun and moon become the stars and celestial markpoints (chen, planets).— Huai-nan-zi, 3:1a/19 Characters In Yoga they talk of Ida and Pingala channels and a central channel called Sushumna with very many Nadis connecting our energy back to our Chakras. This Kundalini shakti energy moving systematically when ready to the top most Chakra Sahasara and then connects to the Supreme shiva and universe.
This energy is also affected by our emotions, the food we eat, and how we move this energy i.e. with Qigong and Yoga and how well we relax. Learning these skills help develop and refine this energy and maintain a storage where we can then start to develop longevity and preserve our inherited energy from our family.We are also affected energetically by our environment, particularly magnetic waves, microwaves sonic waves, radio waves, TV signals, mobile phones and so on. The long term effect has not been fully understood, our body’s energy is at the mercy of these frequencies unless we learn energy techniques to take control of these movements and redirect the flow. Managing our bodies and its needs sometimes can feel overwhelming but with the correct help and attitude we can soon feel the benefits of repeated Qi flow and awakened consciousness.
Yoga also uses movement to connect ourselves to the universe. We can learn so much from these practices about our bodies and how to get into a flow that benefits mind, body, and spirit. My experience when studying Kundalini Yoga was a very powerful one. Kundalini is known as the mother Yoga and when followed by its principles and ancient wisdom, allows for natural movement of the Kundalini. This is a simple but effective Yoga, often postures being held and breath sequences and Bhandas used to help move energy. Meditations and Mantras with Mudras further help reconnect the spirit and open us to the universal oneness. Both Qigong and Yoga have deep understanding of our energetic connections and make use of techniques and principles that guide us safely back to our spiritual home and beyond. Having studied and experienced both of these models extensively, I feel privileged to have great teachers and the opportunity to pass onto others these great energy healersIn Hindu philosophy including yoga, Indian medicine, and martial arts, Prana (प्राण, prāṇa; the Sanskrit word for "life force" or "vital principle")[1] comprises all cosmic energy, permeating the Universe on all levels. Prana is often referred to as the "life force" or "life energy".[not verified in body] It also includes energies present in inanimate objects.[not verified in body] In the Hindu literature, prana is sometimes described as originating from the Sun and connecting the elements of the Universe. This life energy has been vividly invoked and described in the ancient Vedas and Upanishads.[not verified in body. In living beings, this universal energy is considered responsible for all bodily functions through five types of prana, collectively known as the five vāyus. Ayurveda, tantra and Tibetan medicine all describe praṇā vāyu as the basic vāyu from which all the other vāyus arise. Indologist Georg Feuerstein explains, "The Chinese call it chi, the Polynesians mana, the Amerindians orenda, and the ancient Germans od. It is an all-pervasive 'organic' The ancient concept of prana is described in many early Hindu texts, including Upanishads and Vedas. One of the earliest references to prana is from the 3,000-year-old Chandogya Upanishad, but many other Upanishads also make use of the concept, including the Katha, Mundaka and Prasna Upanishads. The concept is elaborated upon in great detail in the practices and literature of haṭha yoga, tantra,and Ayurveda. Prana is typically divided into multiple constituent parts, in particular when concerned with the human body. While not all early sources agree on the names or number of these subdivisions, the most common list from the Mahabharata, the Upanishads, Ayurvedic and Yogic sources includes five, often divided into further subcategories.This list includes: Prana (inward moving energy), apana (outward moving energy), vyana (circulation of energy), udana (energy of the head and throat), and samana (digestion and assimilation).[citation needed] Early mention of specific pranas often emphasized prāṇa, apāna and vyāna as "the three breaths". This can be seen in the proto-yogic traditions of the Vratyas among others.[6]:104 Texts like the Vaikānasasmārta utilized the five pranas as an internalization of the five sacrificial fires of a panchagni homa ceremony.[6]:111–112 Vāyus
Poren Huang (Chinese: 黃柏仁, born 1970), a Taiwanese sculptor, was born in Taichung, located in central Taiwan. His grandfather and parents engaged in wood carving business.During the 1970s, Poren Huang's father, Mingde Huang, had a successful wood carving industry and huge export volume. As a major wood carving factory in Taiwan,the factory employed more than 100 craftsmen to produce wood handicrafts during peak seasons. Mingde Huang expected his son Poren Huang to inherit the family business, but Poren Huang preferred artistic creation to wood handicraft production, resulting in years of differences between the father and son. In 2005, Poren Huang fully expressed his ideas through his series of works, The Dog's Notes. Although he and his father held different viewpoints, he highly values family interaction. He focused on mending his family relationship before pursuing his personal ambition, and some of his works in The Dog's Notes strongly convey enlightenment and morality.After World War II, with the recovery of the global economy, prosperity and focus on human rights, the hard work of the previous generation is often reciprocated with the disregard, self-centeredness, mockery and impiety of the next generation. In The Dog's Notes, Poren Huang added the quality of loyalty and kindness to purify the human heart and create positive influence.Using the dog as a creative starting point, each piece of work is suggestive of the "human". About 10% to 90% of the works borrow from the dog to explore various human behaviors. Modern people generally feel kindly toward dogs because of their ability to soothe. Therefore, Poren Huang uses the dog as his creative theme to convey positive traits such as self-confidence, courage, loyalty or innocence, and to provoke in people deeper thoughts as they come in contact with his work. Many people are first attracted by the amusing forms; however, after a period of contact and interaction with the pieces, they seem to sense the deeper significance and remain inspired by positive ideas and thoughts. There are primarily two types of animals that appear in The Dog's Notes, the dog and the panda. They share a common characteristic of being humanized. These animals do not appear completely animal-like under Poren Huang's sculpting, but instead, they appear to have the scent of a human. That is why viewers tend to stand in front of the artwork and stare for quite a long time, unwittingly; perhaps it is because they did not get an affirmative answer as to whether the artwork is human or animal? When the dog and the panda enter the human's environment, they naturally learn to cohabitate with humans. They lose the wild nature of being wild animals, and become more humanized. People are the same way. Poren Huang wishes that humans can be more inspired by the dogs, and to learn the positive characters found in dogs, such as innocence, loyalty, kindness, bravery, and being passionate. Much like the Chinese proverb, "The son does not despise the mother for being ugly, and the dog does not blame the owner for being poor"; the dog will not despite the owner, and will not leave the owner, instead he will spend the rest of his life by his owner's side. Humans, on the other hand are different. They might look down on others or alienate others. They might even become disrespectful toward parents. The selfishness of humans causes wars and unrest in the world. Therefore, Poren Huang is not just creating artworks of animals, but instead, he is making his sculptures more humanized, so that the viewers can naturally reflect and be inspired. In addition, Poren Huang's humanized works of art also have a little bit of the "Oriental Literati" essence. Although these artworks will have various emotions, but they are never too intense, and are never over the top. Just like Ang Lee, Xi Jinping, Yo-Yo Ma, Jeremy Lin, as well as other generally well-known Chinese, whose personalities are perhaps the same way, which is gentle and refined, and with the modesty of a gentleman. Much like the Eastern literai who are well read of poetry and literature, their emotions are not easily shown; they are more restrained, and are full of character and depth.
en.wikipedia.org/wiki/Poren_Huang
Francois Gachon is an advertising agent of the By Chance agency and a watercolourist graduated from the school of applied arts, he painted this subtle body that I have inlaid in the photo. Poren Huang considered this collage to be very artistic.The wallpaper is a painting by Paul Gauguin named Delightful Land... Te nave nave nave nave fenua, 1892