View allAll Photos Tagged octave
Grumman HU-16B Albatross
US Air Force
Octave Chanute Air Museum
Rantoul,IL 12/6/2014
The museum shut it's doors on the 30th December 2015 due to financial issues.
St. Mary's in Pine Bluff, Wisconsin. After Mass on the Vigil of the Octave of Christmas with Fr. Richard Hellman
"I have to say, St. Mary’s in Pine Bluff is the Catholic Disneyland of the Diocese of Madison. It is an absolutely amazing parish." -Ben Yanke
See more at: benyanke.com/2013/03/catholic-disneyland-st-marys-pine-bl...
CC BY-NC-ND 4.0
You are welcome to share the photo’s freely, as long as you honor the conditions in the Creative Commons.
In short this means:
- Noncommercial — You may not use this work for commercial purposes.
- Attribution — When you use a photograph you have to mention Phil Roussin as the creator (including a link).
- No Derivative Works — You may not alter the image.
If you are interested in using the photographs for commercial purposes, please don’t hesitate to contact the photographer at pbrphotos@me.com.
Bede Clarke is a Professor in Ceramics at University of Missouri.
art.missouri.edu/Facultywebpage/clarke.htm
EDUCATION
M.F.A., The University of Iowa, Iowa City, Iowa
B.A., Eckerd College, St.Petersburg, FL
PROFESSIONAL
University of Missouri-Columbia,Professor of Art, Department of Art
REPRESENTATION
Red Star Studios , Kansas City, MO
Signature Shop and Gallery, Atlanta, GA
SELECTEDCOLLECTIONS
Taipei County Yingko Ceramics Museum, Taipei County, Taiwan
Daum Museum, State Fair Community College, Sedalia, MO
Martin Museum of Fine Art, Baylor University, Waco, TX
Lamar Dodd Art Center, LaGrange College, LaGrange, Georgia
Chisholm Institute of Technology, Frankston Campus, Victoria, Australia
Taipei County Cultural Center, Taipei, Taiwan
Whitebird Inc, New London, NH
ASAI Architects, Kansas City, MO
K.B.R. Associates, Dearborn, MI
Colleen and Dennis Bindley, Madison, WI
Dr. and Mrs. Gerald J. Eskin, Chicago, IL
Gerald and Louis Blander, Atlanta, GA
Dr. and Mrs. Thomas Prater, Springfield, MO
Mark Landrum, Columbia, MO
William R. Hough and Company, St. Petersburg, FL
First National Bank, Columbia, MO
Racine Art Museum, Racine, WI
Icon World Ceramic Center, Kyongi Province, Korea
Bermuda National Gallery, Hamilton, Bermuda
Topeka and Shawnee County Public Library, Topeka KS
Southwestern University, Georgetown, TX
SELECTEDSOLOEXHIBITS
Sturt Australian Contemporary Craft Center, Mittagong, NSW, Australia, 2007
Red Star Studio, Kansas City, MO 2005
Alma Thomas Fine Arts Center, Southwestern University, Georgetown, TX, 2004
Target Gallery, St. John's University Art Center, Collegeville, MN, 2004
Burroughs Gallery, School of Art, East Carolina University, Greenville, NC 2003
Baylor University Department of Art, Waco, TX, 2000
Goddard Gallery, State Fair Community College, Sedalia, MO, 2000
Elliot Smith Contemporary Art, St. Louis, MO, 1999
Taipei County Cultural Center, Taipei County, Taiwan, 1998
Sherry Leedy Contemporary Art, Kansas City, MO, 1998
Douglas Dawson Gallery, Chicago, IL, 1990
SELECTEDGROUPEXHIBITS
NCECA Clay National Biennial Exhibition, Kentucky Museum of Art and Craft, Louisville, KY (2007)
Contemporary Ceramics. The Dairy Barn: Southeastern Ohio Cultural Arts Center, Athens, OH (2007)
Clay-Wood-Fire: An International Invitational Exhibition of Contemporary Wood-Fired Clay, Chemeeketa Community College, Salem, OR (2007)
Sidney Myer Fund International Ceramics Award, Shepparton Art Gallery, Shepparton, Victoria, Australia (2006)
Ceramics Biennial Invitational, national invitational, Parkland Art Gallery, Parkland College, Champaign, IL (2006)
Legacy and Innovation in Contemporary Clay, national invitational, Dubuque Museum of Art, Dubuque, IA (2006)
Diverse Domain - Contemporary North American Ceramic Art, Taipei County Yingge Ceramics Museum, Taipei, Taiwan(2005)
The 3rd World Ceramic Biennale 2005 Korea, Ichon World Ceramic Center, Kyonggi Province, Korea (2005)
NCECA 2005 Clay National Exhibition, Baltimore County Center for Art and Visual Culture, University of Maryland, Baltimore, Maryland (2005)
The Naked Truth: 2004 International Juried Woodfire Ehbition, Cedar Rpaids Museum of Art, Cedar Raps, Iowa (2004)
Gas-Fired/Wood-Fired: Kilns, Fire and Ceramic Expression, Carroll Reece Museum, East Tennessee State University, Johnson City, Tennessee (2004)
The 2nd World Ceramic Biennale 2003 Korea International Competition, Ichon World Ceramic Center, Kyonggi Province, Korea (2003)
Cheongju International Craft Biennale 2003, Competition Exhibition Hall, Cheongju, South Korea (2003)
WORKSHOPS/LECTURES
Arrowmont School of Arts and Crafts, Gattlinburg, TN
Northwest Missouri State University, Maryville, MO
Baylor University, Waco, TX
National Taiwan College of the Arts, Taipei, Taiwan,
Taipei County Cultural Center, Taipei, Taiwan
Tainan National College of the Arts, Kuantien, Taiwan and Lecture
Washington University, St. Louis, MO, Visiting Artist Lecture
Southern Illinois University at Edwardsville, Edwardsville, IL
Kansas State University, Manhattan, KS
Fort Hays State University, Fort Hays, Kansas
Dennison University, Granville, OH, Vale Visiting Artist in Residence
University of Nebraska, Lincoln, NE
Southeast Missouri State University
University of Illinois, Champaign-Urbana
SELECTEDBIBLIOGRAPHY
Books:
Hluch, Kevin A. The Art of Contemporary American Pottery
Fairbanks, Jonathan, The Contemporary Potter
Rich, Chris. ed., The Ceramic Design Book
Davis, Don. Wheel Thrown Ceramics
Branfman, Stephen. Raku: A Practical Approach
Catalogues:
The 1st World Ceramic Biennale: 2001 Korea International Competition.
Ichon World Ceramic Center, (2001)
American Shino: The Glaze of A Thousand Faces. Babcock Galleries (2001)
The 2001 NCECA Clay National. National Council on Education for the Ceramic Arts
Different Stokes: International Woodfire Exhibition,
The University of Iowa School of Art and Art History, Iowa City IA (1999)
Ceramics Monthly International Competition. The American Ceramics Society, (1999)
The 1999 NCECA Clay National. National Council on Education for the Ceramic Arts, 1999
The Kennedy-Douglass Center for the Arts Monarch National Ceramic Competition.
The Kennedy-Douglass Center for the Arts, Florence (1999)
Bede Clarke: Wood-Fired and Stoneware Ceramics. Taipei County Cultural Center, (1998)
Reviews/Other:
"Clay Cup VIII", Ceramics Monthly, November, 2001, p. 42 - 43
"American Shino", Clay Times, Vol. 7, No. 5, September/October 2001, p. 17.
Robison, Stephen. "Bede Clarke's Investment in Teaching and Art,"
Ceramics Art and Perception, Issue 43, March 2001, pp. 36 - 38.
Chang, Ssu-Ming. "Prairie Fire Ceramics", Ceramic Art, Vol. 27, Spring 2000,
Ge, Yi-Wen. "The Dance and Colorful Costume of the Fire", Ceramic Art, Vol. 21, Fall 1998, pp. 64-69.
Thaker, Christine. "20th Fletcher Challenge." Ceramics Monthly Magazine,7 February, 1997, pp. 59-62.
141311/SH Lockheed EC-121K. Octave Chanute Air Museum (now closed) 20th July 2012
In 2017 this aircraft received a stay of execution by the scrap-man when the Yankee Air Museum at Willow Run Airport, Belleville, Mi agreed to take it on and move the aircraft to their facility for preservation.. They are currently looking for donations
interland3.donorperfect.net/weblink/WebLink.aspx?name=yam...
An F-16 Fighting Falcon based in the Central Command area of operations conducts armed aerial patrols in Somalia in support of Operation Octave Quartz, Jan. 12, 2021. The F-16’s support to OOQ demonstrates the U.S. military's reach and power projection across vast distances to hold adversaries at risk with flexible, precise and lethal force that is capable of rapidly responding anywhere on the globe. (U.S. Air Force photo by Staff Sgt. Sean Carnes)
The Winding of the Cosmic Clock Spring
Process of Emergence of the Dynamic Universe from the Static
Octave Cone bases viewed isometrically
Red intensifies as gravity multiplies
Blue intensifies as gravity divides
Octave 2010, a five day mega festival of eight north-eastern states at Khalsa College Amritsar. Day 3
All Rights Reserved
© SANJEEV SYAL
French postcard. Théâtre Moncey, L'Assommoir (1905). Printing P. Helmlinger & Co., Nancy. Cliché N. Gervaise (Hélène Petit) and Goujet (M. Angelo). While making publicity for a 1905 staging of the play, this card and others by Helmlinger show photos from the original stage adaptation.
In 1879, two years after its publication, Emile Zola's novel L'Assommoir was adapted for the stage by William Busnach and Octave Gastineau, with the help of Zola. The premiere took place on 18 January 1879 and was a great success. Afterward, the play was often re-staged, in and outside of France.
Octave Chanute Air Museum Rantoul
Lockheed WV-2 Warning Star BuNo141311 Navy SH-14(Port side) TK-311(Starboard side)
Nick named “Willy Victor” by the USN crewmen
1956 to 1965 with U.S,Navy VW-13 (Atlantic Barrier )(BarLant - Atlantic Distant Early Warning) , Patuxent River NAS,
1962 Re-designated EC-121K
1965 Point Magu CA. PMTC-311, Pacific Missile Range (Missile Tracking Flights)
1979 Retired
1983 To Chanute AFB
1993 To Octave Chanute Air Museum
1017 To Yankees Air Museum, Ypsilant-Belleville, MI.
Italian postcard by Ed. A Traldi, Milano, no. 502. Photo: Badodi.
Charming and elegant Vera Vergani (1894-1989) was primarily an Italian stage actress, famous for her interpretations in the first stagings of Pirandello’s plays. She became one of the popular divas of the Italian cinema when she appeared in a dozen silent films between 1917 and 1921 for directors like Augusto Genina and Roberto Roberti.
Vera Vergani was born in Milan in 1894 She was the granddaughter of puppet master Vittorio Podrecca and sister of journalist and stage write Orio Vergani. She debuted on stage in 1912 at the Benini company. Two years later she joined the Talli-Melato-Giovannini company and in 1916 she became the ‘primattrice’ (leading lady) in the company of the famous actor Ruggero Ruggeri. She was only 21 at the time. She played Ophelia in William Shakespeare’s Hamlet and had a huge success with the title role in Gabriele D’Anunzio’s 'La Figlia di Jorio' (The Daughter of Jorio). She would play that role again and again. In 1916 film producer Giovanni Xilo managed to lure the popular actress to work for his Monopol-Rome Film. He hoped to add prestige to his productions with big names of the stage. Producers had done so earlier with Lyda Borelli and Ermete Zacconi. When her stage company was at rest in the summertime, Vergani played in two films for which Augusto Genina had written the original scripts: Il presagio/The Presentiment (Augusto Genina, 1916) and La menzogna/The Lie (Augusto Genina, 1916) with Tullio Carminati and Oreste Bilancia. They were produced at the same time, using the same cast and crew, at the Cines film studio, which was rented for the occasion. As the publicity indicates, Il presagio was "the drama of a beautiful woman who seems to be born for the joy of the eyes and for love, but instead meets futile caprice and tragic passion". La menzogna is "the violent story of a woman ready to sacrifice her honour to save her husband, but justice protects the good ones and will prevail in the end". The film did not have very good reception and Vergani was accused of betraying the theatre. "It is a night without a moonbeam", one critic wrote, and Vera didn’t want to know about film anymore for several years. On stage, she was very successful again with both critics and audiences in plays by Luigi Pirandello and Gabriele D'Annunzio. In the 1910s and 1920s, she remained foremost a stage actress, appreciated not only for her beauty and elegance but also for her excellent interpretations.
In 1919, Vera Vergani returned to the screen. Giuseppe Barattolo, the producer at Caesar Film, offered her to play in three films based on famous stage plays Dora o le spie/Dora or the spies (Robert Roberti, 1919) written by Victorien Sardou, La paura d'amare/Fear of love (Robert Roberti, 1920) by Dario Niccodemi, and Giulia di Trécoeur/Lucie de Trecoeur (Camillo De Riso, Augusto Genina, 1921) by Octave Feuillet. Robert Roberti had made his career as the director of films with diva Francesca Bertini. The critics didn’t like his direction too much but were full of praise for Vera’s lively interpretation of the dramas, along with her style of performance on stage. Another film based on a play by Niccodemi followed, L'envolée/La volata/The sprint (1919). Vera is dressed in the film as a daring aviator, "flaming expression of the new" as one critic wrote, who also noted in the aviation "the clearest emergence of these times". The actress also played in the film La modella/The model (Mario Caserini, 1920) based on a comedy by Alfredo Testoni, La buona figliola/The good daughter (Mario Caserini, 1919) based on Sabatino Lopez, Fior d'amore/Flower of love (Mario Caserini, 1921) again based on Niccodemi, and Caterina (Mario Caserini, 1921) written by Henri Lavedan. Her co-star in these films was Nerio Bernardi. She often repeated on screen, of which by now she knew all the odds and outs, her previous stage performances. But after La Vittima/The Victim (Jacques Creusy, 1921), a neglectable tearjerker, she returned to the stage for good.
During the fundamental years of her stage career, Vera Vergani played for the company of Dario Niccodemi. From 1921 on, she was the company's ‘primattrice’ for nine seasons. Her regular male co-star was Luigi Cimara. Memorable from these years were her performances in the first stagings of Luigi Pirandello’s plays 'Sei personaggi in cerca d'autore'(Six Characters in Search of an Author) (1921) and 'Ciascuno a suo modo' (Each on His Own Way) (1924). After the world premiere of 'Sei personaggi in cerca d'autore', hundreds of people flooded the stage and yelled violently at the author. The public, accustomed to the conventional theatre did not accept the avant-garde text. Pirandello had to barricade himself in Vergani’s dressing room. The beautiful actress suddenly stepped forward, made a silencing gesture to the raging crowd, and declared smiling sweetly: “Prima di toccare Pirandello dovete passare sul mio cadavere.“ (Before you touch Pirandello, you will have to pass my dead body). Pirandello survived and nowadays his play is considered a classic of the Italian theatre. Vittorio Paliotti writes at the website L’Isola that Vergani's photos graced the covers of European magazines and that she received an ‘avalanche’ with love letters from all over the world. Before her performances, her dressing rooms were transformed into greenhouses. The fascinating and elegant actress retired in 1930, after a last performance at the Teatro Manzoni in Milan. She starred once more in the play which had contributed to her fortune: 'La figlia di Iorio' by Gabriele D'Annunzio. The reason for her retirement was her marriage with Leonardo Pescarolo, a naval officer from the island of Procida. They had two children: assistant director Vera Pescarolo, who would become the wife of film director Giuliano Montaldo, and film producer Leo Pescarolo. Vera Vergano returned once to the cinema. In 1965 she appeared in a small role in Il morbidone/The Dreamer (Massimo Franciosa, 1965) with Anouk Aimée. Vera Vergani died in Procida in 1989. Her granddaughter and great-grandchildren are also working in the film business: costume designer Elisabetta Montaldo, assistant director Inti Carboni and makeup designer Jana Carboni.
Sources: Vittoro Martinelli (Le dive del silenzio) (Italian), Vittorio Paliotti (L’Isola) (Italian), Procidamia (Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
Octave Mirbeau : Le Calvaire
Préface d' Hubert Juin
Collection 10/18, n° 1175
Union Générale d'Éditions - Paris, 1986
Couverture : Illustration de Pierre Georges Jeanniot
The Eiffel Tower and sun setting on the buildings in Avenue Octave Gréard and Avenue de Suffren, taken from the balcony of my room at the Hilton Paris Eiffel hotel.
P3260369
I've uploaded a few more shots today from my recent visit to Skid Row. I know these shots aren't everyone's favorite but there's more to life than sunsets and roses. Thanks for looking!
"This is the octave day of your new birth. Today is fulfilled in you the sign of faith that was prefigured in the Old Testament by the circumcision of the flesh on the eighth day after birth. When the Lord rose from the dead, he put off the mortality of the flesh; his risen body was still the same body, but it was no longer subject to death. By his resurrection he consecrated Sunday, or the Lord’s day. Though the third after his passion, this day is the eighth after the Sabbath, and thus also the first day of the week."
– St Augustine.
My sermon for today can be read here.
Stained glass from c.1305-15 in the former abbey church of St Pierre in Chartres.
Here's a new one that is about 3' x 4', Acrylic on paper. I learned a bunch of new things with this one. It sure was a fun piece to make. Sorry about the glare at the top.
Unknown date. The handwriting at the top of the pages says:
"Dominica prima post octavas (epipsa?)"
Almost certainly referring to the Octave of epiphany in the Christian calender.
Jez & Vini
Book :
Barbara Kruger
MoMA
2007
CD :
From Brussels With Love
Les Disques Du Crépuscule
TWI007
Compiled . Michel Duval & Annik Honoré
Artwork . Jean-François Octave . Claude Stassart . Benoît Hennebert
iMusic :
Young Marble Giants
Colossal Youth
Rough Trade
RT043
For Inès With Love
A GMA Forgotten Dream ...
North American AT-6 Harvard II
US Air Force
Octave Chanute Air Museum
Rantoul,IL 12/6/2014
Ex RAF FE608
The museum shut it's doors on 30th December 2015 due to financial issues.
Early morning we went for a walk through Saint Louise Square to check out the interesting architectural gems linng the squares perimeter. We entered the square off St. Denis and this is the first feature we met. A statue eulogizing Quebec poet Octave Crémazie.
ABOUT CREMAZIE:
This statue depicting a French Canadian soldier below Crémazie's bust stands in Montreal's Saint-Louis Square with Crémazie's name across the top and the years 1827-1879 (his years of birth and death).
Underneath the soldier are Crémazie's words: Pour mon drapeau je viens ici mourir (literally: "For my flag I come here to die").
There is also a Montreal metro station named for Crémazie on the orange line, located on the boulevard likewise named in his honour.
Octave Crémazie (April 16, 1827 – January 16, 1879) was a French Canadian poet and bookseller born in Quebec City. He is recognized both during and after his lifetime for his patriotic verse and his significant role in the cultural development of Quebec.
Crémazie has been called "the father of French Canadian poetry”.
Read more about Cremazie here: www.biographi.ca/en/bio/cremazie_octave_10E.html
ABOUT SAINT-LOUIS SQUARE:
The land where Saint-Louis Square sits was once intended for the city's reservoir. When it was acquired in 1848, it seemed the most logical use for the burgeoning city. However, by the time the city was ready to build, the population had grown so much that the amount of area allotted was no longer suitable for a reservoir large enough to serve the masses.
Instead, in 1879, the acreage was transformed into a beautiful park. The square was named for two of the city's most prominent businessmen, brothers Emmanuel and Jean-Baptiste Saint-Louis.
The area around Square St-Louis quickly became THE place to live. Shortly after the park was built, magnificent houses began to spring up around it. These were the homes of the upper-middle-class French Canadians who could afford to build grand domiciles with a view of the square.
Through the years, its ornate nineteenth century houses have also been favored by Montreal's artistic set, including writers, poets, musicians, actors, film makers, and visual artists.
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
French postcard. Théâtre Moncey, L'Assommoir (24 February to 3 March 1905). P. Helmlinger & Co., Nancy. Cliché N. Coupeau (Gil Naza) has turned into an alcoholic madman. While making publicity for a 1905 staging of the play, this card and others by Helmlinger show photos from the original stage adaptation.
In 1879, two years after its publication, Emile Zola's novel L'Assommoir was adapted for the stage by William Busnach and Octave Gastineau, with the help of Zola. The premiere took place on 18 January 1879 and was a great success. Afterward, the play was often re-staged, in and outside of France.
Bass clarinets are an octave lower than soprano clarinets, but some models have additional keys for an extended brass range. Bass clarinets evolved during the eighteenth century from large basset horns and more directly from the bassoon-shaped chalumeau. Today, bass clarinets follow the straight form in Bb, which Adolphe Sax developed around 1836. Ever since, the bass clarinet has been in frequent use.
_______________________________________________________________
Bass Clarinet in C, Nicolsa Papalini, Chiaravalle, ca. 1810
Olive wood, 5 brass keys. The main body and “neck” are assembled of two flat, cut-out sections. Papalini was the inventor and maker of this unusual and short-lived type.
The Crosby Brown Collection of Musical Instruments, 1889 89.4.2545
_______________________________________________________________
Clariofon in E-flat, attributed to George Catlin, Hartford, Conn., ca. 1820
Fruitwood, 5 brass keys. A bass clarinet in bassoon shape, invented by G. Catlin.
Purchase, Clara Mertens Bequest, in memory of André Mertens, 1994 1994.365.1
The "CREATED" universe of matter is the result of concentration of Mind upon the idea of form and then the generation of power by diverting low potential into centripetal vortices in order to hold the idea of Mind into the appearance of form until form disappears through mental decentration.
The universe of matter is a registration of the energy expended by Mind in the effort of thinking. The exact energy of the action of thinking is registered in the electro-positive charging systems and the reaction of the action is registered in the electro-negative discharging systems. The charging systems are electrically dominated, centripetally, closing, contracting systems. The low potential speed-time dimension of energy of the highest octave is gradually accumulated into the high potential power-time dimension of the fifth octave. When these two opposing dimensions equalize in the tenth octave of the cycle is completed and begins.
The Octave of Easter, known as Low Sunday, Quasimodo Sunday, has also come to be known in more recent times as "Divine Mercy Sunday." It was through St. John Paul II that the Octave of Easter received this new title in the Church's calendar. Drawing inspiration from the diary of Sister Faustina, the Octave of Easter has received a renewed emphasis on the mercy of God.
In a beautiful homily delivered on this day by St. Augustine of Hippo, he declared to the newly baptized, "You have been buried with Christ by baptism into death in order that, as Christ has risen from the dead, you also may walk in newness of life." For it was traditionally on this day that the Church received her newly baptized catechumens with maternal delight. Holy Mother Church rejoiced over her new children, all of which is made possible by the mercy of God in calling us to Himself while we were yet sinners.
St. Faustina recorded these words from our Lord Himself: "I desire that the Feast of Mercy be a refuge and shelter for all souls, and especially for poor sinners. On that day the very depths of My tender mercy are open. I pour out a whole ocean of graces upon those souls who approach the fount of My mercy." May we turn with trust to the Divine Mercy of Almighty God and seek Him in all things.
inthewave_figure20
1. The formless zero universe is divided into four pairs of cubes and four pairs of spheres which are concentrically placed within each other. These four pairs of cube-spheres constitute one tonal octave of the universal harp. These tonal octaves are eight in number but appear to be nine for the first half of the ninth octave is the last of the first ( see diagram no. 6 below)
2. 0 - 1 - 2 - 3 - 4 - 0 - 4 - 3 - 2 - 1 - 0
The eight tones of amplified gravity which accumulate in each octave wave
3. The explosion of accumulated gravity occurs when the orange-yellow and green-yellow of the color spectrum collide and become "short circuited" by their union with white.
Two groups of words of same meaning
1. Gravitation - Generoactivity - Induction - Electric Potential - Compression - Light - The "pinch" effect - Concentrate - Growth - Life - Appear
2. Radiation - Radioactivity - Conductivity - Explosion - Expansion - Darkness - Short circuit - Decentrate - Decay - Death - Disappear
Radioactivity multiplies SPEED by losing power.
Generoactivity multiplies POWER by losing speed.
Katydid Glider model; Octave Chanute's Katydid Glider diorama in display case; First flown on the shores of Lake Michigan at Miller Beach, Indiana in June 1896. The sans and plants in diorama are from the actual site at MIller Beach; On loan from Chanute's grandson, Octave Chanute, III
----Image from the SDASM Curatorial Collection. This item is currently on display in the Museum Rotunda. Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.
L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.
C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.
Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.
En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.
Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …
The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.
The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.
It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.
Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.
Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.
Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.
inthewave_figure17
Dimension objectivity, change and time are created by a nine octave series of radar mirrors which record, project and reflect every action from anywhere in this universe to every other where.
Water compresses to become fire - Fire expands to become water - The Fusion Point is at Wave Amplitude.
The Durutti Column
CD :
Various Artists
From Brussels With Love
Les Disques Du Crépuscule
TWI007
Design by Jean - François Octave, Claude Stassart & Benoît Hennebert
Compiled by Michel Duval & Annik Honoré
iTunes :
The Brussels Monsters
Terror
Factory
FAC80
Use Hearing Protection
GMAnneken Pis ...
In 2017 it is 100 years ago that TOUR DE FRANCE winner OCTAVE LAPIZE was killed in action during the Great War of 1914-1918.
Octave Lapize (1887-1917) was a French professional road racing cyclist and track cyclist.
Most famous for winning the 1910 Tour de France and a bronze medal at the 1908 Summer Olympics in the men's 100 kilometres, He was a three-time winner of one-day classics, Paris–Roubaix and Paris–Brussels.
Lapize is noted for looking at some Tour officials on the climb of the Col du Tourmalet in the 1910 Tour de France and yelling, "Vous êtes des assassins! Oui, des assassins!' ("You are murderers! Yes, murderers!"). The stage in question, Luchon - Bayonne, was 326 kilometers in length, featured 7 brutal climbs, a.o. Peyresourde, Aspin, Tourmalet and Aubisque and was raced on unsealed roads with single-gear bicycles. This was indeed the Tour's first time in the high mountains with two stages in the Pyrenees.
The First World War ended the cycling career of the former Tour winner. As a fighter pilot in the French army, Octave Lapize was shot down near Flirey, Meurthe-et-Moselle on 14 July 1917. Severely injured, he died in a hospital in Toul.