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In the blue and golden hours, the Mekong River up in Laos is an ethereal place. Never so more than when the farmers are slashing and burning fields.
In April I took a two-day slow boat trip from Huay Xai on the border of Thailand to Luang Prabang in Laos. We spent the first night in a Laotian village called Pak Beng which seems to exist primarily to serve the adventurers taking the same route. It's a great place to try Water Buffalo and Laos Whiskey if this is your first time in Laos.
The people in this part of the world survive mainly by farming. They burn fields into the dense jungle sloping the Mekong.
The thick smoke obfuscates the sun and thousands of charred embers float through the air. Silence except for the occasional bird squawking from its hiding place.
You feel like you are outside of time and at the end of the world.
The following is in answer to this challenge.
It was a warm and aching day in May
When Johnny got made and they took him away.
I didn’t do nothin’ is all that he said
As they measured and followed the river of red
That ran for its life from a crack in the shed
Where Matilda was wearing a hole in her head.
Now Johnny had naught but a dusty old truck
And a brain slowed by booze and a life without luck
And a girl named Matilda who he’d happened to slay.
I didn’t do nothin’ he continued to say
To a cub of a lawyer, assigned with no pay
To Johnny, whose truck failed at getting away.
Well the cops didn’t bother with no alibis
‘Cause the bullet they pried from between Maddy’s eyes
Was a match for the gun Johnny slept with in bed
That had opened its mouth and spit out its lead
And John’s hands were looking awfully red:
I didn’t do nothin’ is all that he said.
But that pup of a lawjock was set out to win.
See, the DA had taken an interest in him
The type that would cause his whole world to expand, so
Johnny is innocent! he told all the land
As he stirred up the Dust to obfuscate his plan
And they went for a word with the evidence man.
cont. at next pic
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
6. 2018_365065,
7. 2018_365066,
9. 2018_365068 - Pointing at You?,
10. 2018_365069 - Chapel Barn,
11. 2018_365070 - On Good Form,
13. 2018_365072 - Daffs,
14. 2018_365073 - The Texture of Light,
15. 2018_365074 - After the Rain,
16. 2018_365075 - Swirls in Glass,
17. 2018_365076 - Winter Relapse,
18. 2018_365077 - Downland Walkers,
19. 2018_365078 - Downland Alpenglow,
22. 2018_365081 - Strange Clouds,
23. 2018_365082 - Into the Fires,
25. 2018_365084 - Asbach,
27. 2018_365086 - Way Through,
29. 2018_365088 - Back in the Day,
Friday afternoon - I visited the little school in Niederalteich, Germany, and was thrilled as I toured through the old monastery buildings now used as the school. The juxtaposition of youthful excitement and the ornate doorway was timeless. Two children in the architectural perfection from so long ago.
I saturated, obfuscated, cropped, straightened, slid....
I like the shadows of the children on the floor.
A trip on the first train out of Miyoshi on the Sankō Line is an almost ethereal affair, with the morning mist enveloping the Gonokawa River valley and obfuscating the view out of the windows. The train would stop at tiny halts serving dying villages, and pass a diminutive platform at Nagatani as the first glimmers of sunlight enters the overcast valley. Not a soul is in sight outside the misted-up windows, but inside the train it is warm, crowded and a little stuffy with railfans taking one last ride on the line before its abandonment.
My Japan on the Rails 2018 Album:
www.flickr.com/photos/155220918@N08/albums/72157696142757235
My International Train Picks Album:
Screenshot from Adobe Bridge, showing how I picked my two favorite crab spider images. (Sorry for you arachnophobes out there.)
When I found this spider (again? - might be the very same spider I photographed in August, as they can change body color), I was originally seduced by the color. On the bright overcast day we had, the yellow popped off the Queen Anne's lace flower like a beacon. But while photographing it, I became more and more aware of the lines and patterns formed by the umbel.
In the end, this dichotomy made for pretty weak photos overall - I didn't concentrate my efforts on doing either one or the other well. No flash, gusty wind and a thoroughly annoyed spider didn't help, but I really can't deny the part that my indecision played.
So I developed a few slightly more promising candidates in b&w, some others in color, all in camera raw. Then I used the thumbnail display function of bridge to pick those with better composition (two stars), and picked a fave each of those (three stars).
For me, this worked easily and well for black and white. The development was contrasty to start with, and it's easy to see which pics are too cluttered or obfuscate the spider too much. I ended up looking at the two-stars in larger and picked 06 over 18, as 18 just was a bit too empty in larger in comparison. (And you can see how drab 06 looks in color, it's in color 2nd to the right, bottom row).
This didn't work for the color images, though. The yellow and white are quite close contrast-wise, and none of the compositions are strong. Still, there were a few images I really liked, the greens were soft and hazy, and I rather enjoyed the large swaths of oof flowers. So here, I ended up picking mostly by enlarging the images one by one. 91 feels like a stronger composition to me (as much as it is...), but 86 easily won out for its 'dreaminess'.
Larger images of my faves in my photo stream.
OK, so I bent the rules a little. This photo is of me, not by me.
Today I went with Matt to Goodison for a stadium tour. As season ticket holders we're entitled to a free one, and it was really good.
Part of the tour, as with most of these type of tours, includes the dressing rooms which in Goodison are not particularly impressive!
What was nice was that the kit guys had already laid out all of the kit for tomorrow's game against City, so there were actual match shirts hanging rather than props for the tour.
If you happen to be seeing a swirly obfuscated image then I've not long uploaded it. The tour guide was very particular that she didn't want us to have to not take photos, but had to promise not to upload any dressing room photos onto the internet before the line up for the match is announced.
I don't think Pep will be quaking too much about Sam's master strategy, but it's only right to honour the request.
2005-2007
80" x48"
Colored pencil, modeling paste on wood panel
The handwritten words of Superbia/Pride/Broken on the Wheel are transcribed below:
Although it might seem so, it is not pride that has broken me upon the wheel. It is humility. I do not recognize myself within the synonyms of pride: hubris, arrogance, conceit, vanity or self-esteem. I do not live there. My abode is more humble. Perhaps pride, like beauty, is in the mind of the beholder, for I see myself broken on the cogged synonyms of humility: insignificance, inferiority, unimportance, and unworthiness. I cannot speak to what others see, but I must speak to what I know and why I know it. The sin of pride is reserved for those who would achieve full self-worth without acknowledging the benefaction of a god… and of this I am guilty. For whatever I am, I am responsible. For whoever, I have not yet erased. I am a self-determined palimpsest of indeterminate conclusion. I do not depend on the judgement of the congregation for my worth for I know I am unworthy. This then is hubris in the eyes of others for I do not acknowledge my subservience. My perceived arrogance excludes their worth. As my life achieves conclusion, I see only failure. Negativity infuses me. The self I have created hangs limp with disgust on the sin of pride. I have created nothing…I am nothing. I have reached too far and am broken by it, and still expect something but know not what that something is. I have dedicated my life to finding nothing. My spine is folded in the weight of it. Where then comes this constant wellspring of desire? Is this the simple something of it all? Is it from this drugging angry place that all significance comes? All metaphors? All strife? I am hardened by it, stiff with desire. Turgid with desire, my humility is unrepentant. I know now that that artifact which is myself is misconstructed, a multifaceted pendant twisting in artificial light. In symbiotic delusion, an endless subrogation of artifacts has flooded the plane of recognition. Neither I nor the congregation knows its depth of obfuscation. In my humility, in the guise of pride, I am shit before swine. Only desire elevates my head above suffocation. As I hang dependent from the cogged wheel viewing what is as only what it seems to be upside-down and topsy-turvy, puzzlements and conundrums, baffling contortions of gravitation where only the horizon remains constant, this cogged wheel is the spine of my insignificance.
Collection:
Crocker Art Museum
Sacramento, California
home.gamer.com.tw/creationDetail.php?sn=1853153 本次來介紹希爾維里族的魔法少女，莉亞娜，遵循著凡特里教條並充滿正義感的希爾維里—完。她會代替媽媽樹懲罰罪惡之人 (為什麼只有死靈有故事呢，這個原因請參考過去的文章) 首先來介紹魔法少女基本衣著，全身充滿寶石的服裝，高筒的手套與披肩可以掩蓋希爾跟人類不同的地方，靠近脖子的靈魂石是魔力來源，魔力如果不用種子淨化可能會黑化產生嚴重的後果。 法器：魔法少女權杖：魔法少女基礎裝備，沒有這種可愛造型就不能當魔法少女。 聚能器：Anomaly，名為異像，其來源為亞霸頓失落的寶珠(參見此任務)，雖然當時沒有成功取得，但擊敗宅坦後又另外花費稀有的血石碎片與心靈之玉打造完成，珍貴度堪比眼球權杖的法器，擁有淨化不淨狀態的力量(純潔符印)。 神秘手槍：高貴的藍色閃電手槍，價格不斐，可以射出具有魔法力量的子彈。 阿蘇拉雷霆加農砲：和平製造者製品，泛用但品質佳，充滿魔法力量適合近代動不動就要毀天滅地的魔法少女使用。 黑檀鷹堡法杖：便宜的法杖製品，由於法杖使用機會低，所以無法追求更高階的製品，例如Bitfrost等等的製品。不過莉亞娜最後在擊敗宅坦後認知他終究是希爾維里，因此脫去了這身魔法少女的cosplay，回歸應有的姿態。魔法少女實際使用篇裝備：服裝與武器 PTC；精準/韌性/狀態傷害 寶石PVC；力量/活力/狀態傷害 符文：麗莎符文 大劍：火焰符印 權杖：風之符印 聚能器：純潔符印 法杖：大地符印 手槍：戰鬥符印(備註：所有幻影都吃人物屬性，跟廢物爪牙不同) 配點連結 Trait：0/20/15/30/5支配 0：支配雖然可以增加幻影傷害跟減少光加農CD，但是次要特性不怎麼樣，捨棄。 決鬥 20：次要特性一，爆擊增加5秒活力(回春)，CD5秒，意思是整場戰鬥可以不停回耐力，搭配主要特性X.欺騙迴避可以瘋狂製造分身! 再搭配次要特性二幻影爆擊回血以及II.憤怒幻象，幻象(Phantasm)具有怒火，自成一強大的循環，不斷翻滾，敵人不斷疊流血，如果需要跳JP的地方可以改成操縱技能距離增加(900->1200)，使傳送距離加長，配合通道技能，你可以是JP之神。渾沌 15：主要是次要特性一是血量75%獲得10秒恢復(30秒CD)以及特性二恢復時獲得3秒保護(15秒CD)，主要特性是V.衰弱損耗，分身死亡時給予隨機病症，可以自由換成II.陷入瘋狂(-50%墜落傷害)。靈感 30：次要特性一，幻象(Phantasm)有報復狀態，可有可無，重點是二，幻象給予周圍盟友恢復，可以搭配3秒保護造成每15秒就持續有3秒保護的狀態，三是幻象增加15%傷害，其實也不是非常重要。主要特性有多種選擇，但主要以魅惑技能-20%CD以及延長2秒為主，再來可以選治療清除一個狀態或是聚能器強化，聚能器一旦強化，將成為非常有用的遠程殺手，如需要也可以選復活盟友時製造回饋防護罩。幻象5：點5點就讓你所有有關幻影製造的技能-20%CD，便宜又大碗。 武器技能使用光加農(大劍)：這個武器的好處在於分身攻擊速度快，容易造成流血，幻象傷害也高並造成殘廢，還有擊退，2技拿來疊強力，保命時可以把這個武器換成法杖。法杖：完全防禦型武器，不用對這個武器的傷害力有一丁點期待，但是他的超短傳送，混沌風暴(隨機BUFF，有神盾)附帶暈眩，混沌+傳送有渾沌護甲，自帶渾沌護甲技能(獲得保護)等，他本身就是一個超強防禦法器，例如COF撐過200秒時就是一個超有用的武器，但是如果在追求DPS的場合，可以換成別的比較划算。權杖：權杖是個半防禦型武器，主要是2技CD 9秒的格黨以及快速製造分身與困惑，但是他在傷害製造上不算優良。手槍：一槍制伏3個敵人就是手槍的優勢，幻影槍手搭配各種魅惑技能(回饋、空空力場或渾沌風暴)可以用來快速製造困惑。聚能器：集結暴力防禦與控制的武器，三個願望一次滿足，聚能器4時間簾幕技能有非常複雜的功能，別看他只是單純一條線，那條線通時具有迅捷，殘廢，拉人，反射投射物四種功能，有人可以這樣一技4吃的嗎…。5號的幻影守衛是高傷害的AOE攻擊同時也能反射投射物，聚能器在魔法少女手中是非常變態的武器。治療技能：乙太盛宴是你唯一的選擇。意志真言：去除兩個病，可用2次。(真言類似自我暗示的魔法，暫時強化自身)各類真言咒語恢復真言：健康、活力、恢復! (補血) "Health. Vigor. Recovery."疼痛真言：疼痛、煎熬、痛!(傷害) "Agony.Torment. Pain!"分心真言：混淆、迷失、困惑!(暈眩) "Obfuscate. Disorient. Confuse."意志真言：不壞、堅定、解決! (解病) "Unbroken. Unshaken.Resolve."專注真言：石頭！不要失去專注力 (穩定) ”Stone! Don’t less concentration”回饋：強化後專門拿來彈各類遠程敵人，時間久，CD短，但是對於大型敵人如地蟲或狗王因為身高太高防護罩在底下無法反彈，但是躲在底下是有用的，因此復活放回饋是有效技能，這時可以把技能改成專注真言。啟示紋章：每10秒給一個Boon，賭博用技能，抽到恢復有機會開保護，抽到保護或神盾就賺到，抽到迅捷或活力也不錯，抽到復仇怒火強力就只能…。菁英技能：平常帶大範圍隱形，與麗莎符文搭配CD最短，極高保命效果，除非你確定很安全再帶時間扭曲，雖然這招是所有精英技效益最高的招式。結論：魔法少女是一個變化多端的職業，最適合用來對抗遠距離敵人，特別是本職業同時具有盜賊的隱形，守護的反射以及更優於死靈爪牙的幻影，是一種全方位技能，雖然不是輸出最高的攻擊手，但是在隊伍中的組成是至關緊要的。 魔法少女莉亞娜~射穿你的心~ 0.< 啾咪~ 来自http://dd.mu/19q3=h
Machine : DispeL9
Type : Old skool revamped
Function : dissipate all obfuscated
Industry : JFO
Year : 2021
Other stuff : DispeL9's 9 gun battleship. While other industries build weird goofy shit. Its innovative they say. Clients disappointed leaving poor feedback complaining to be used as guinea pigs.
90's in the flesh
SCR while they do really clean stuff. Bravo.
LSF Last Shall be First cuz you never gave props to us anyway
Goofballz
Backbone, Portland Sea Shepherd, Columbia Riverkeeper, and NW Steelhead Association met at Holladay Park and marched to the entrance of the Bonneville Power Administration, (BPA) for a brief rally to stand up for salmon and orca, stand with the Tribes in a clarion call for bold, urgent action to shut down the BPA's Extinction Machines!
Snake River salmon are only one catastrophic event away from extinction, and if those runs start to disappear, lower river runs will follow, the orca that depend on them perish, and a way of life for the Indigenous people of this region will be lost forever. Decades of science confirm that removing the lower Snake River dams is the only way to change this trajectory.
Amidst the hottest, driest spring and summer we've ever seen in the Pacific Northwest momentum is building for a comprehensive plan called the Columbia Basin Initiative, aka "Simpson Plan" nicknamed after its author Congressman Mike Simpson, (R-ID). This plan maps a way forward that restores a free-flowing lower Snake River, modernizes transportation and energy infrastructure, and invests in river-dependent communities.
Last month, 57 tribes with Affiliated Tribes of Northwest Indians (ATNI) passed a unanimous resolution to support the Simpson Plan. Two weeks ago, the 500 tribes of the National Congress of American Indians (NCAI) passed a similar resolution. Last week, a Indigenous Salmon & Orca summit invited policy makers to listen to why urgent action is needed. A new petition to Biden from the Umatilla Indian Youth Leadership Council already has nearly 15,000 signatures.
The environmental community is calling on elected leaders to rally behind the Columbia River Basin Plan without any further delay or obfuscation. The BPA has spent $17 billion dollars on salmon recovery, yet the salmon in their charge continue to approach extinction. The Simpson Plan not only removes the Lower Snake River Dams, it also finally puts protection of salmon back in the hands of the Tribes.
These are cool notebooks but there's nowhere to put a pen. I cut up an old plastic folder so that it can hook into the pouch at the back.
with Hans Joachim Irmler (Faust) / Günter Müller/ Alfred 23 Harth on for4ears
www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=868
Two CD reviews by Ken Waxman: www.jazzword.com/review/126757
Taste Tribes is one of the harsher releases from a label usually more comfortable with refined electroacoustic improv. The trio—veterans Alfred Harth (Cassiber, Otomo Yoshihide), Hans-Joachim Irmler (Faust), and improviser/electronicist Günter Müller—funnel their distinct backgrounds into a raw industrial maelstrom that’s equal parts chaos and craft.
From the opener, “Genuine Imitation,” the music lunges into abrasive textures: Harth’s squalls, Müller’s glitch-ridden electronics, and Irmler’s thick organ beds collide in storms that somehow retain precision amid the violence. “Servicing the Target” pares things down to a bleak, digital hush, where brittle gestures erupt into alien soundscapes.
The record’s strength lies in a rough-hewn synergy. Harth, often shaping the duo recordings with Irmler before reworking them alongside Müller, helps forge a balance between construction and spontaneity. Tracks like “Doubletwist” and “Eruptive Obfuscation” nod to both klang-era Krautrock and contemporary improv, binding generational threads into music that is simultaneously corrosive, playful, and unpredictable.
Taste Tribes ultimately thrives on contradiction—abrasive yet meticulously sculpted, rooted in history yet defiantly forward-looking—an audacious update of krautrock spirit for the digital age.
The two Taste Tribes releases (2008 and 2023) feature four graffiti-like figures on their covers—visual signatures representing the four members of the “tribes.”
In the field of computation – and especially in image processing – all renders follow quadrilateral, ecology dependent, standard solutions following tradeoffs (compromises) that deal with efficiency and functionality in the realms of storage, processing and transmission. However, what I am interested in is the creation of circles, pentagons, and other more organic manifolds! If this was possible, our computational machines would work entirely different; we could create modular or even syphoning relationships between text files, and as demonstrated in Chicago’s glitch artist Jon Satroms’ 2011 QTzrk installation, videos could have uneven corners, multiple timelines, and changing soundtracks.
Inspired by these ideas, I build Compress Process. This application makes it possible to navigate video inside 3D environments, where sound is triggered and pans when you navigate. Unfortunately, upon release, Wired magazine reviewed the experiment Compress Process as »a flopped video game«. Ironically, they could not imagine that in my demonstration video exists outside the confines of the traditional two-dimensional and flat interface; this other resolution – 3D – meant the video-work was re-categorized as a gaming application.
In a time when image processing technologies function as black boxes, we desperately need research, reflection and re-evaluation of these machines of obfuscation. However, institutions – schools and publications alike – appear to consider the same old settings over and over, without critically analyzing or deconstructing the programs of our newer media. As a result, there are no studies of alternative resolutions. Instead we only teach and learn to copy; simulate the behavior of the interface, replicate the information, paste the data.
A condition which reminds me of science fiction writer Philip K. Dick’s dystopian novel Pay for the Printer, in which printers print printers, a process that finally results in printers printing useless mush. If we do not approach our resolutions analytically, a next generation will likely be discombobulated by the loss of quality between subsequent copies or transcopies of data. As a result, they will turn into a partition of institutionalized programs producing monotonous junk.
Together these observations set up a pressing research agenda. To me it is important to ask how new resolutions can be created; and if every decontextualized materiality is immediately re-contextualized inside other, already existing, paradigms or interfaces? In The Interface Effect, NYU professor in new media Alexander Galloway writes that an interface is »not a thing, an interface is always an effect. It is always a process or translation« (Galloway 2013: p. 33). Does this mean that every time we deal with data we completely depend on our conditioning? Is it possible to escape the normative or habitual interpretation of our interfaces?
Another effort without the text so as not to obfuscate all the lovely Opera Speed Dial shortcuts
See: my.opera.com/community/blog/2009/10/22/hicks-halloween-ch...
I've been trying to convey the subtle colors of natural dyes and eco prints as accurately as possible, scanning is one way that I can at least remove me and the camera from the color obfuscation. The details show up beautifully (unfortunately including the weave structure) and the colors are pretty close.
Nikon F80 + Nikkor 50mm f/1.8 + Fuji Reala 100.
Flickr walk around Bristol with the fabulous -fiona-....
(I blurred the phone numbers out to obfuscate them before upload to the internet, for what I hope are obvious reasons. I think they were happy to make phone numbers available in the Clifton/Brandon Hill area, but I'm not so sure about an international access!)
The iphone is an amazing phone. I've had the 3G and I have been really happy about the build quality, the interface, the speed.
What I haven't been ok with is the way Apple locks out 3rd party app support. Not only obfuscating the database protocol, incorporating cryptographic signatures for non-DRMed mp3s but even going after websites publishing reverse engineered information on this.
And on top of that the stupid censorship of the app store, locking competing products away. Take care Apple, you make great products, but you're an ugly monopolist.
The project is developed using various pre-set text-to-image models, processing text prompt inputs. On the borderline between sensitive content and an easy slip into topics of violence, this project visualizes the depths of the subconscious of these models, excavating the influences of media and online information exchange. The quantified traces of reality and collective histories allow algorithms to generate content that recycles the past – building the spine of quasi-historical narratives – often obfuscated with prejudice and misinformation, along with the author’s personal bias. Generated outputs are presented inside a hypertext object – a tent that the audience can enter, as it were.
Photo: Florian Voggeneder
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About the Photo
Taken at sunset, at a field just outside of Woolongong. I debated whether or not to use the ND filter in this case, but ended up preferring the photo taken with the filter. The sky is a bit blown out too, but I quite like the effect that it creates. Enjoy :)
Technical
Nikon D90 | Sigma 10-20mm
30 sec | f/6.3 | ISO100 | 11.5mm
About Mysticism
Mysticism is the pursuit of communion with, identity with, or conscious awareness of an ultimate reality, divinity, spiritual truth, or God through direct experience, intuition, instinct or insight. Mysticism usually centers on a practice or practices intended to nurture those experiences or awareness. Mysticism may be dualistic, maintaining a distinction between the self and the divine, or may be nondualistic.
Religious traditions describe fundamental mystical experience. Enlightenment or Illumination are generic English terms for the phenomenon, derived from the Latin illuminatio (applied to Christian prayer in the 15th century) and adopted in English translations of Buddhist texts, but used loosely to describe the state of mystical attainment regardless of faith.
Mystic traditions form sub-currents within larger religious traditions—such as Kabbalah within Judaism, Sufism within Islam, Vedanta and Kashmir Shaivism within Hinduism, Christian mysticism (and arguably Gnosticism) within Christianity—but are often treated skeptically and sometimes held separately, by more orthodox or mainstream groups within the given religion, due to the emphasis of the mystics on direct experience and living realization over doctrine. Mysticism is sometimes taken by skeptics or mainstream adherents as mere obfuscation, though mystics suggest they are offering clarity of a different order or kind. In fact, a basic premise of nearly every mystical path, regardless of religious affiliation, is that the experiences of divine consciousness, enlightenment and union with God that are made possible via mystical paths, are available to everyone who is willing to follow the practice of a given mystical system. Within a given mystical school, or path, it is much more likely for the mystical approach to be seen as a divine science, because of the direct, replicable elevation of consciousness the mystical approach can offer to anyone, regardless of previous spiritual or religious training.
Some mystic traditions can exclude the validity of other traditions. However, mystic traditions tend to be more accepting of other mystic traditions than the non-mystical versions of their traditions. This is based on the premise that the experienced divinity is able to bring other mystics to their own tradition if necessary. Some, but not all, mystics are even open to the idea that their tradition may not be the most practical version of mystic practice.
This was the first real full-page illumination I did. Many of the themes I employed later are visible on these pages. I called it “obfuscation” because the illustration doesn’t actually illustrate or illuminate the contents of the text.
The original size image is enormous — you might want to check out the way the Uniball Micro bleeds on the Moleskine®.
Drawn May 13th and in several sessions over the next weeks in 2002.
IHB 2920 an SD20 built (as an SD24) in 1959, I believe.
After an eternity spent asking for a copy of this photograph (I'd driven hard to get us into any sort of position) my associate finally comes up trumps after a masterclass in blame-shifting, obfuscation, weasel-words and evasion.
My super-rant ahead: The common belief of how trees became petrified is a myth of science. Petrified wood, and all the formations of the US Southwest, are brimming with strong evidence of a world-wide flood that covered the earth several thousand years ago, and quickly burried these trees under mud and sediment. The cystalization process was quite quick, compared to accepted scientific timeframes. (Info for that here: earthage.org/EarthOldorYoung/scientific_evidence_for_a_worldwide_flood.htm)
There is ample evidence for this account, but that evidence is ignored, so you won't hear any of it in the media. Or if you do hear it, it's derided with all manner of logical falacies and strawman arguments to discredit, and make the other positions look weak and ill-conceived. It's no wonder that the common man doesn't give such arguments a second thought, trusting "the experts" instead.
However, giving attention to the other side of such arguments would expose the flimsy foundations of mainstream science (i.e. beliefs like: everything came from nothing, big bang, evolution, universe/earth are billions of years old, no god, we are insignificant specs of dust in an endless universe, this reality and all you see is just convenient coincidence, etc).
Mainstream science is very much a faith-based religion, albeit a well disguised one. They have woven a false belief system with just enough truth sprinkled in to keep people invested in it, as the one-and-only possible view of how the world works and our place in it. This system continues to push the mainstream narrative without question, ignoring evidence, obfuscating, leading public opinion away from questioning the version of reality they're given, and away from the overwhelming proof of there being One true Creator of all things, our significance and our purpose in His design.
Science has been built on a foundation of deceit through its heavily controlled and funded, but extremely dumbed-down egocentric legions of scientists (scientific priests) for centuries to give the public a form of stiffled scientific advancement, while keeping them ignorant, and dismissive of anything that stands to question the foundational beliefs of science. Scientists who DO question and consider exposing the problems with their "on the shoulders of giants" textbook assumptions, face ridicule in their industries and career suicide.
This is why I always say, if you care to get closer to the truth of earth's past, humanity's past, the purpose of life, and where we're going, you have to accept that truth is never given so easily. But since most of us want it to be that easy, the con artists running this world are only too happy to oblige, at your expense.
Truth has to be diligently sought out, outside of mainstream circles. media, academia and the well funded religion of science will never admit that they've been wrong. Too much is at stake, too many jobs and industries, cultures, false religions and manmade institutions would be disrupted or dissolve entirely. That won't be allowed to happen, so the chrarade will continue.
Yeshua (Jesus) said, "I am the way, and the truth, and the life. No one comes to the Father but through Me."
The road to the truth is in Him, and He reveals these things to us if we strip away the layers of nonsense we've been taught all our lives.
Crystal Forest,
Petrified Forest National Park
The very lovely Miss Darla Cooper -
bottles of medicine -
Twain's Diner, Coldwater
& Ventura,
Studio City,
California always-
open kitchen,
sunshine spilling in like syrup
everywhere, the
waitress smiling & motherly
even when
refusing our request
to smoke a cigarette indoors
for a photographic fraction
of a second,
the forever ketchup,
coffee in white cups
matching saucers,
half a BLT remaining,
candor & secrets,
unlit cigarette behind her ear,
the world rolling outside
from coast to coast and beyond,
ghosts of ol Philly and Chicago hover,
secrets, some laughter,
ancient memories,
little histories,
tabasco bottle
married to the
salt & pepper,
every table,
this far south and
this far west on
this America,
as far west as you can
get in this continent,
where it never snows
but sometimes quakes.
We step outside
for a smoke, which
lingers and vanishes.
like these April days.
home.gamer.com.tw/creationDetail.php?sn=1853153 本次來介紹希爾維里族的魔法少女，莉亞娜，遵循著凡特里教條並充滿正義感的希爾維里—完。她會代替媽媽樹懲罰罪惡之人 (為什麼只有死靈有故事呢，這個原因請參考過去的文章) 首先來介紹魔法少女基本衣著，全身充滿寶石的服裝，高筒的手套與披肩可以掩蓋希爾跟人類不同的地方，靠近脖子的靈魂石是魔力來源，魔力如果不用種子淨化可能會黑化產生嚴重的後果。 法器：魔法少女權杖：魔法少女基礎裝備，沒有這種可愛造型就不能當魔法少女。 聚能器：Anomaly，名為異像，其來源為亞霸頓失落的寶珠(參見此任務)，雖然當時沒有成功取得，但擊敗宅坦後又另外花費稀有的血石碎片與心靈之玉打造完成，珍貴度堪比眼球權杖的法器，擁有淨化不淨狀態的力量(純潔符印)。 神秘手槍：高貴的藍色閃電手槍，價格不斐，可以射出具有魔法力量的子彈。 阿蘇拉雷霆加農砲：和平製造者製品，泛用但品質佳，充滿魔法力量適合近代動不動就要毀天滅地的魔法少女使用。 黑檀鷹堡法杖：便宜的法杖製品，由於法杖使用機會低，所以無法追求更高階的製品，例如Bitfrost等等的製品。不過莉亞娜最後在擊敗宅坦後認知他終究是希爾維里，因此脫去了這身魔法少女的cosplay，回歸應有的姿態。魔法少女實際使用篇裝備：服裝與武器 PTC；精準/韌性/狀態傷害 寶石PVC；力量/活力/狀態傷害 符文：麗莎符文 大劍：火焰符印 權杖：風之符印 聚能器：純潔符印 法杖：大地符印 手槍：戰鬥符印(備註：所有幻影都吃人物屬性，跟廢物爪牙不同) 配點連結 Trait：0/20/15/30/5支配 0：支配雖然可以增加幻影傷害跟減少光加農CD，但是次要特性不怎麼樣，捨棄。 決鬥 20：次要特性一，爆擊增加5秒活力(回春)，CD5秒，意思是整場戰鬥可以不停回耐力，搭配主要特性X.欺騙迴避可以瘋狂製造分身! 再搭配次要特性二幻影爆擊回血以及II.憤怒幻象，幻象(Phantasm)具有怒火，自成一強大的循環，不斷翻滾，敵人不斷疊流血，如果需要跳JP的地方可以改成操縱技能距離增加(900->1200)，使傳送距離加長，配合通道技能，你可以是JP之神。渾沌 15：主要是次要特性一是血量75%獲得10秒恢復(30秒CD)以及特性二恢復時獲得3秒保護(15秒CD)，主要特性是V.衰弱損耗，分身死亡時給予隨機病症，可以自由換成II.陷入瘋狂(-50%墜落傷害)。靈感 30：次要特性一，幻象(Phantasm)有報復狀態，可有可無，重點是二，幻象給予周圍盟友恢復，可以搭配3秒保護造成每15秒就持續有3秒保護的狀態，三是幻象增加15%傷害，其實也不是非常重要。主要特性有多種選擇，但主要以魅惑技能-20%CD以及延長2秒為主，再來可以選治療清除一個狀態或是聚能器強化，聚能器一旦強化，將成為非常有用的遠程殺手，如需要也可以選復活盟友時製造回饋防護罩。幻象5：點5點就讓你所有有關幻影製造的技能-20%CD，便宜又大碗。 武器技能使用光加農(大劍)：這個武器的好處在於分身攻擊速度快，容易造成流血，幻象傷害也高並造成殘廢，還有擊退，2技拿來疊強力，保命時可以把這個武器換成法杖。法杖：完全防禦型武器，不用對這個武器的傷害力有一丁點期待，但是他的超短傳送，混沌風暴(隨機BUFF，有神盾)附帶暈眩，混沌+傳送有渾沌護甲，自帶渾沌護甲技能(獲得保護)等，他本身就是一個超強防禦法器，例如COF撐過200秒時就是一個超有用的武器，但是如果在追求DPS的場合，可以換成別的比較划算。權杖：權杖是個半防禦型武器，主要是2技CD 9秒的格黨以及快速製造分身與困惑，但是他在傷害製造上不算優良。手槍：一槍制伏3個敵人就是手槍的優勢，幻影槍手搭配各種魅惑技能(回饋、空空力場或渾沌風暴)可以用來快速製造困惑。聚能器：集結暴力防禦與控制的武器，三個願望一次滿足，聚能器4時間簾幕技能有非常複雜的功能，別看他只是單純一條線，那條線通時具有迅捷，殘廢，拉人，反射投射物四種功能，有人可以這樣一技4吃的嗎…。5號的幻影守衛是高傷害的AOE攻擊同時也能反射投射物，聚能器在魔法少女手中是非常變態的武器。治療技能：乙太盛宴是你唯一的選擇。意志真言：去除兩個病，可用2次。(真言類似自我暗示的魔法，暫時強化自身)各類真言咒語恢復真言：健康、活力、恢復! (補血) "Health. Vigor. Recovery."疼痛真言：疼痛、煎熬、痛!(傷害) "Agony.Torment. Pain!"分心真言：混淆、迷失、困惑!(暈眩) "Obfuscate. Disorient. Confuse."意志真言：不壞、堅定、解決! (解病) "Unbroken. Unshaken.Resolve."專注真言：石頭！不要失去專注力 (穩定) ”Stone! Don’t less concentration”回饋：強化後專門拿來彈各類遠程敵人，時間久，CD短，但是對於大型敵人如地蟲或狗王因為身高太高防護罩在底下無法反彈，但是躲在底下是有用的，因此復活放回饋是有效技能，這時可以把技能改成專注真言。啟示紋章：每10秒給一個Boon，賭博用技能，抽到恢復有機會開保護，抽到保護或神盾就賺到，抽到迅捷或活力也不錯，抽到復仇怒火強力就只能…。菁英技能：平常帶大範圍隱形，與麗莎符文搭配CD最短，極高保命效果，除非你確定很安全再帶時間扭曲，雖然這招是所有精英技效益最高的招式。結論：魔法少女是一個變化多端的職業，最適合用來對抗遠距離敵人，特別是本職業同時具有盜賊的隱形，守護的反射以及更優於死靈爪牙的幻影，是一種全方位技能，雖然不是輸出最高的攻擊手，但是在隊伍中的組成是至關緊要的。 魔法少女莉亞娜~射穿你的心~ 0.< 啾咪~ 来自http://dd.mu/19q3=h
With our charter on the narrow gauge at Banovici cancelled due to unspecified reasons and obfuscation by the management, we did persuade the guys on the ground to give us a couple of runpasts - this has been rendered with decapitation in photoshop of the photo line as I was droning it!
Was going to report on this anyway but now Northern Ireland is in the news. And ... www.bbc.co.uk/news/business-55609315
No satisfaction in saying "I told you so" - for any of the 16.8 million of us who did. We were always going to be in trouble even without the double-whammy that is Covid..
Re. Covid, though ... and as for the meat producers and everone else who wants to jump the vaccination queue ... now we see the rats fighting in their cages.
Only at a slight tangent, here is some Dystopian prescience for you from 41 years ago ... www.youtube.com/watch?v=S3Ecs07in7U and okay so the rats were mice. Even so ...
Re. the obfuscation of the two contemporary issues. Say no more. Yours sincerely, Disgusted of Dyserth.
Olympus OM1 + Expired Ilford Delta Professional 100 + Home Development.
13mins intermittent agitation in spiral developing tank with Ilfotec DD-X (1+4)
Thanks also to Tony Browne for very kindly loaning me the OM1 on this trip, taken last September. It's his fault that I now have one of my own.
My super-rant ahead: The common belief of how trees became petrified is a myth of science. Petrified wood, and all the formations of the US Southwest, are brimming with strong evidence of a world-wide flood that covered the earth several thousand years ago, and quickly burried these trees under mud and sediment. The cystalization process was quite quick, compared to accepted scientific timeframes. (Info for that here: earthage.org/EarthOldorYoung/scientific_evidence_for_a_worldwide_flood.htm)
There is ample evidence for this account, but that evidence is ignored, so you won't hear any of it in the media. Or if you do hear it, it's derided with all manner of logical falacies and strawman arguments to discredit, and make the other positions look weak and ill-conceived. It's no wonder that the common man doesn't give such arguments a second thought, trusting "the experts" instead.
However, giving attention to the other side of such arguments would expose the flimsy foundations of mainstream science (i.e. beliefs like: everything came from nothing, big bang, evolution, universe/earth are billions of years old, no god, we are insignificant specs of dust in an endless universe, this reality and all you see is just convenient coincidence, etc).
Mainstream science is very much a faith-based religion, albeit a well disguised one. They have woven a false belief system with just enough truth sprinkled in to keep people invested in it, as the one-and-only possible view of how the world works and our place in it. This system continues to push the mainstream narrative without question, ignoring evidence, obfuscating, leading public opinion away from questioning the version of reality they're given, and away from the overwhelming proof of there being One true Creator of all things, our significance and our purpose in His design.
Science has been built on a foundation of deceit through its heavily controlled and funded, but extremely dumbed-down egocentric legions of scientists (scientific priests) for centuries to give the public a form of stiffled scientific advancement, while keeping them ignorant, and dismissive of anything that stands to question the foundational beliefs of science. Scientists who DO question and consider exposing the problems with their "on the shoulders of giants" textbook assumptions, face ridicule in their industries and career suicide.
This is why I always say, if you care to get closer to the truth of earth's past, humanity's past, the purpose of life, and where we're going, you have to accept that truth is never given so easily. But since most of us want it to be that easy, the con artists running this world are only too happy to oblige, at your expense.
Truth has to be diligently sought out, outside of mainstream circles. media, academia and the well funded religion of science will never admit that they've been wrong. Too much is at stake, too many jobs and industries, cultures, false religions and manmade institutions would be disrupted or dissolve entirely. That won't be allowed to happen, so the chrarade will continue.
Yeshua (Jesus) said, "I am the way, and the truth, and the life. No one comes to the Father but through Me."
The road to the truth is in Him, and He reveals these things to us if we strip away the layers of nonsense we've been taught all our lives.
Crystal Forest,
Petrified Forest National Park
A little spider-man lurking among the body of a much larger spider-dude. Spiders, you see, play a particularly odd game of hide-and-seek in which one partcipant always dies. In later rounds of the game, it becomes acceptable to use the corpse as a means of obfuscating your presence and thus winning the game. For the big money. Spiders love big money.
(Apologies to all that I haven't gotten around to your streams. Perhaps I'm playing a weird game of hide-and-seek? Come find me! Errr, or not. I'm just crazybusy, lots of deadlines, all mounting an attack on me at one single moment.)
Pirates vs. Music Librarians - you decide!!
Bound for Obfuscation
Change, it is a comin’ fast (Heave away, RDA).
Gotta sound hip or my job won’t last
And we’re bound for Obfuscation.
Heave away, RDA.
Talk in buzzwords til break of day
And we’re bound for Obfuscation.
FRBR is the one for me (Heave away, RDA).
Metadata will set you free
And we’re bound for Harmonization.
Heave away, RDA.
Pile on the acronyms til break of day
And we’re bound for Obfuscation.
Student research on the World Wide Web (Heave away, RDA)
Kinda makes ya wish you’d stayed in bed
And we’re bound for Google‐i‐zation.
Heave away, RDA.
Jargon rules at break of day
And we’re bound for Obfuscation.
Stacked area chart showing the number and type (obfuscated) of alerts from $DAYJOB submitted to PagerDuty. The data was imported into Graphite from the PagerDuty Incidents API using a custom script.
ONE - 1400 block of RVC
1.5 - highlighter mark indicating?
TWO - clubhouse parking lot highlighted
THREE - circle and highlighted area, possibly crossed out as GZ equivocated during the interview
FOUR - circle with possible highlighted area within circle
FIVE - faint circle at the T intersection
I've made this illustration to make the geography more clear. The audio that goes with this map is currently on you tube here:
www.youtube.com/watch?v=OAwukvlNc2U&feature=relmfu&am...
And is also available as a streaming audio clip at the GZlegal site.
GZ drew a crude map himself, hears around the 20:00 mark in the youtube video but later the investigator returns to the interview with this printed out map and GZ marks it as they continue the interview.
At 26:18 in the youtube video, the discussion begins with both looking at the map and making these notations, not all of which are visible in this facsimile.
The TOP line seems to be the movements of TM.
The bottom line is GZ's car.
At 27:50 GZ draws the line where he claims TM passes the clubhouse while GZ is in the clubhouse parking lot, and GZ is still waiting to get connected to a dispatcher.
At 28:17 GZ claims TM "looked into my vehicle" but did not (yet) circle it. This seems like it actually happened at position 3, if you listen to the recorded call to dispatch, but GZ is unclear where this is happening in his interview with Singleton and leaves it suggesting that he was still in the clubhouse parking lot.
At 28 32 GZ tells the interviewer how he allegedly drove from the clubhouse TWO to the mark he then makes at THREE.
At 28:59 he changes his story and makes the mark at FOUR. This is where in my opinion he is obfuscating the manner in which the two moved from near the clubhouse to near the T.
At 28:50 he starts his tale about TM doubling back and circling his vehicle. IMO this is an outright fabrication and completely false. When he's giving the investigators his version during the walk thru of this same doubling back and circling action, he includes the detail about TM having "his hand in his waistband" and recalls saying it to the dispatcher. But when played the audio later, he repeatedly claims he was parked "by the clubhouse" when this happened.
Starting at 30:00 he begins his tale about wanting to find a street sign, which is an unlikely story but he never backs off of this story, and his motives are impossible to prove in court. But the audio strongly suggests otherwise, since he is heard telling dispatch "shit, he's running" and then three seconds after exits his car to seemingly run after the teen in hot pursuit. And then he's asked if he is following, and he says "yes." Is he running to find a street sign? This is how he describes the move from FOUR to the TEE (FIVE) in his videotaped walk thru "re-enactment." Is this a credible person or someone who wants to leave some things out of the story?
Although the more reprehensible act he's seemingly lying about is the hot pursuit, the lie he's clearly and demonstratively caught in is the earlier action of how the two moved from the clubhouse area to the T area. He's caught in this lie, confronted by all the investigators and repeatedly given the opportunity to change his lies into the truth, but refuses. Even though it is announced by a recording at the connection of his "311" non emergency call, GZ has behaved as though the call was not recorded. When finally confronted with the actual call he's certain the "circling" and "hand in waistband" actions are what's happened "by the clubhouse."
He also said in the walk thru "re-enactment" that he was directed by dispatch to move to where he could see the teen again and that this is why he left the clubhouse parking lot. No such directive exists on the tape unless it is implied or inferred, but nonetheless GZ is establishing that he recalls that he MOVED his car WHILE TALKING to dispatch. It's an important admission even though he's likely mischaracterized it in multiple ways.
Partial solar eclipse over hills in Marin county.
I was taking photos in another area when a passing hiker asked me, "Did you catch any of it?" When I asked what he meant, he reminded me that there was a solar eclipse that morning. He said it was just visible through the clouds. I thanked him and headed back down the trail. Was the eclipse still happening? How quickly could I find a spot and try to capture it? Somehow, I got a usable shot.
It wasn't this dark, the image is underexposed so we can see the shape of the eclipse.
With spring slowly arriving here in Wisconsin, the narrow window of time in which I can do outdoor photography during the week is ever so slowly widening. Luckily there are no leaves on the trees yet, which really will put a damper on things.
On this day I was lucky to have "crappy" weather, my camera gear in my car, and a rising sense of guilt for not having shot any new pictures for too long. So just before going home I turned off the road and went back to the well of Lion's Den. It's not a new scene by any means, but these bluffs are very visually interesting. In the fog they look very fantastic. Not "fantastic" as in "good", but "fantastic" as being "fantasy-like" or "unreal".
I'd have to check, but I think this may be the first LF shot done with a dutch angle. The subject matter and obfuscation of the horizon by the fog makes it seem believable. It's like an exaggerated or heightened reality. (Okay, scratch that. There's the cemetary shot which is dutched. And probably others too. To be perfectly frank, I didn't even bother to check the first time, which is really careless considering one could reasonably check and then write the comment, but why not write the comment first, check for dutch angles, and then revise the comment later, even though nobody knows any time has passed between comment revisions. That makes sense.)
The wind was blasting off the lake and it was very cold. I was wearing my cold-amplifying jacket and a shrunken knit cap from my car. This resulted in only one exposure being taken before I wussed out and packed 'er in. That and the light was almost gone by the time I finished. I also almost got attacked by a guy's dog. He just rushed up to me and sniffed around a bit before being called back by his owner. It's nice when dogs don't eat you.