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Colleville sur mer
Le cimetière
Le cimetière américain de Colleville sur Mer est situé au sommet de la falaise dominant la célèbre plage d’Omaha Beach. Nul n’entre dans le cimetière de Colleville par hasard, il faut en faire la démarche volontaire. Le visiteur se prépare pour aborder attentif et recueilli un morceau des États-Unis en France. Au-delà du Bâtiment de Réception, se trouve un magnifique Mémorial en demi-cercle au centre duquel une statue de bronze représente “l’Esprit de la jeunesse américaine s’élevant des flots”. Dans le prolongement du bassin où se reflète le Mémorial s’étire l’allée centrale desservant les 10 carrés de tombes où reposent 9 387 soldats dont 4 femmes et 307 inconnus.
Les croix sont toutes orientées à l’Ouest, vers le pays natal. L’alignement parfait des tombes sur la pelouse vert émeraude merveilleusement entretenue et l’omniprésence de la mer inspirent un sentiment inoubliable de paix et de sérénité. À la croisée des allées principales disposées en forme de croix latine, la Chapelle abrite un autel de marbre noir portant l’inscription : “Je leur donne la vie éternelle et ils ne périront jamais”. Dans le Jardin du souvenir, derrière le Mémorial, les noms de 1 557 disparus dans la région sont gravés sur un mur en arc de cercle.
Ce petit havre de verdure invite au recueillement et au souvenir. Le Normandy American Cemetery est entretenu par l’American Battle Monuments Commission (ABMC), agence indépendante créée par le Congrès des États-Unis en 1923 et rattachée au pouvoir exécutif américain. L’ABMC a pour mission de conserver la mémoire des sacrifices et des exploits des Forces Militaires Américaines là où elles servirent en construisant et entretenant à l’étranger les cimetières militaires et les mémoriaux américains.
American Cemetery
The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
cimetiere_americain_1 cimetiere_americain_2
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France.
NORMANDY AMERICAN CEMETERY “Omaha Beach”
14710 Colleville sur Mer – France
Tél. : 02 31 51 62 00 – Fax : 02 31 51 62 09
Website : http : //www.abmc.gov
Shopping Stadsfeestzaal
The "Stadsfeestzaal" from Antwerp was in earlier years an event hall for different occasions. A bookfair or a Christmasfair, exhibitions, studentparties,... A big fire in 2000 destroyed the whole "Stadsfeestzaal".
It took 7 years to rebuild this spectacular location. It was reopened as a shopping mall in October 2007.
Colleville sur mer
Le cimetière
Le cimetière américain de Colleville sur Mer est situé au sommet de la falaise dominant la célèbre plage d’Omaha Beach. Nul n’entre dans le cimetière de Colleville par hasard, il faut en faire la démarche volontaire. Le visiteur se prépare pour aborder attentif et recueilli un morceau des États-Unis en France. Au-delà du Bâtiment de Réception, se trouve un magnifique Mémorial en demi-cercle au centre duquel une statue de bronze représente “l’Esprit de la jeunesse américaine s’élevant des flots”. Dans le prolongement du bassin où se reflète le Mémorial s’étire l’allée centrale desservant les 10 carrés de tombes où reposent 9 387 soldats dont 4 femmes et 307 inconnus.
Les croix sont toutes orientées à l’Ouest, vers le pays natal. L’alignement parfait des tombes sur la pelouse vert émeraude merveilleusement entretenue et l’omniprésence de la mer inspirent un sentiment inoubliable de paix et de sérénité. À la croisée des allées principales disposées en forme de croix latine, la Chapelle abrite un autel de marbre noir portant l’inscription : “Je leur donne la vie éternelle et ils ne périront jamais”. Dans le Jardin du souvenir, derrière le Mémorial, les noms de 1 557 disparus dans la région sont gravés sur un mur en arc de cercle.
Ce petit havre de verdure invite au recueillement et au souvenir. Le Normandy American Cemetery est entretenu par l’American Battle Monuments Commission (ABMC), agence indépendante créée par le Congrès des États-Unis en 1923 et rattachée au pouvoir exécutif américain. L’ABMC a pour mission de conserver la mémoire des sacrifices et des exploits des Forces Militaires Américaines là où elles servirent en construisant et entretenant à l’étranger les cimetières militaires et les mémoriaux américains.
American Cemetery
The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
cimetiere_americain_1 cimetiere_americain_2
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France.
NORMANDY AMERICAN CEMETERY “Omaha Beach”
14710 Colleville sur Mer – France
Tél. : 02 31 51 62 00 – Fax : 02 31 51 62 09
Website : http : //www.abmc.gov
Fourth section - going through the clips. I have tried to show and reflect on the near omnipresence of music and rhythm.
I have now arrived at the most important final section in terms of editing...
Atlas
1. Greek Mythology A Titan condemned by Zeus to support the heavens upon his shoulders.
2. A satellite of Saturn.
3. A person who supports a great burden.
4. A book or bound collection of maps, sometimes with supplementary illustrations and graphic analyses.
5. A volume of tables, charts, or plates that systematically illustrates a particular subject: an anatomical atlas.
6. A large size of drawing paper, measuring 26 × 33 or 26 × 34 inches.
7. Architecture: A standing or kneeling figure of a man used as a supporting column, as for an entablature or balcony.
8. Anatomy: The top or first cervical vertebra of the neck, which supports the skull.
Watch this video on Vimeo. Video created by LEA Amet.
my 1st mandala art project
( en.wikipedia.org/wiki/Mandala )
- this mandala project is about exploring my ancestral people's collective consciousness, history, folklore's, the mystical, my soul as the anthology of that has been experienced and shared. my influence has been inspired by CG Jung's recently published " big red book"..link below;
www.artknowledgenews.com/2010-03-25-00-29-07-swiss-psychi...
- this is in constant evolution, utilizing my expression of entangled optical illusions as energy fields that are in constant motion...for nothing is static in the laws of universal physics.
** guided by my 'intuitive will' of the omnipresence universe that surrounds and flows through everything that is.
* in a given day i am dedicating about 6 hours on this project, while experimenting with about 40 versions each daily session.
my 1st mandala art project - in constant evolution, utilizing my expression of entangled optical illusions as energy fields that are in constant motion...for nothing is static in the laws of universal physics.
Colleville sur mer
Le cimetière
Le cimetière américain de Colleville sur Mer est situé au sommet de la falaise dominant la célèbre plage d’Omaha Beach. Nul n’entre dans le cimetière de Colleville par hasard, il faut en faire la démarche volontaire. Le visiteur se prépare pour aborder attentif et recueilli un morceau des États-Unis en France. Au-delà du Bâtiment de Réception, se trouve un magnifique Mémorial en demi-cercle au centre duquel une statue de bronze représente “l’Esprit de la jeunesse américaine s’élevant des flots”. Dans le prolongement du bassin où se reflète le Mémorial s’étire l’allée centrale desservant les 10 carrés de tombes où reposent 9 387 soldats dont 4 femmes et 307 inconnus.
Les croix sont toutes orientées à l’Ouest, vers le pays natal. L’alignement parfait des tombes sur la pelouse vert émeraude merveilleusement entretenue et l’omniprésence de la mer inspirent un sentiment inoubliable de paix et de sérénité. À la croisée des allées principales disposées en forme de croix latine, la Chapelle abrite un autel de marbre noir portant l’inscription : “Je leur donne la vie éternelle et ils ne périront jamais”. Dans le Jardin du souvenir, derrière le Mémorial, les noms de 1 557 disparus dans la région sont gravés sur un mur en arc de cercle.
Ce petit havre de verdure invite au recueillement et au souvenir. Le Normandy American Cemetery est entretenu par l’American Battle Monuments Commission (ABMC), agence indépendante créée par le Congrès des États-Unis en 1923 et rattachée au pouvoir exécutif américain. L’ABMC a pour mission de conserver la mémoire des sacrifices et des exploits des Forces Militaires Américaines là où elles servirent en construisant et entretenant à l’étranger les cimetières militaires et les mémoriaux américains.
American Cemetery
The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
cimetiere_americain_1 cimetiere_americain_2
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France.
NORMANDY AMERICAN CEMETERY “Omaha Beach”
14710 Colleville sur Mer – France
Tél. : 02 31 51 62 00 – Fax : 02 31 51 62 09
Website : http : //www.abmc.gov
Colleville sur mer
Le cimetière
Le cimetière américain de Colleville sur Mer est situé au sommet de la falaise dominant la célèbre plage d’Omaha Beach. Nul n’entre dans le cimetière de Colleville par hasard, il faut en faire la démarche volontaire. Le visiteur se prépare pour aborder attentif et recueilli un morceau des États-Unis en France. Au-delà du Bâtiment de Réception, se trouve un magnifique Mémorial en demi-cercle au centre duquel une statue de bronze représente “l’Esprit de la jeunesse américaine s’élevant des flots”. Dans le prolongement du bassin où se reflète le Mémorial s’étire l’allée centrale desservant les 10 carrés de tombes où reposent 9 387 soldats dont 4 femmes et 307 inconnus.
Les croix sont toutes orientées à l’Ouest, vers le pays natal. L’alignement parfait des tombes sur la pelouse vert émeraude merveilleusement entretenue et l’omniprésence de la mer inspirent un sentiment inoubliable de paix et de sérénité. À la croisée des allées principales disposées en forme de croix latine, la Chapelle abrite un autel de marbre noir portant l’inscription : “Je leur donne la vie éternelle et ils ne périront jamais”. Dans le Jardin du souvenir, derrière le Mémorial, les noms de 1 557 disparus dans la région sont gravés sur un mur en arc de cercle.
Ce petit havre de verdure invite au recueillement et au souvenir. Le Normandy American Cemetery est entretenu par l’American Battle Monuments Commission (ABMC), agence indépendante créée par le Congrès des États-Unis en 1923 et rattachée au pouvoir exécutif américain. L’ABMC a pour mission de conserver la mémoire des sacrifices et des exploits des Forces Militaires Américaines là où elles servirent en construisant et entretenant à l’étranger les cimetières militaires et les mémoriaux américains.
American Cemetery
The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
cimetiere_americain_1 cimetiere_americain_2
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France.
NORMANDY AMERICAN CEMETERY “Omaha Beach”
14710 Colleville sur Mer – France
Tél. : 02 31 51 62 00 – Fax : 02 31 51 62 09
Website : http : //www.abmc.gov
taking pictures of this was rather difficult: much too much sun. but i can say as an englishman living on the continent "better too much sun than too little" :)
I was asked by laprune to choose the theme for the land art connections group. I choose water.
here's my explanation:
You guys kinda took me by surprise, so this is a knee jerk reaction, but maybe that's not such a bad thing.
Water's omnipresence has always been a big theme for me although I wasn't always aware of the fact. I was living right on the tip of a peninsula when I started working with landart, and after a while I came to realize what a huge influence it had on me.
At that point I started to work with water intentionally. My whole approach changed. For example I exploited the explosive properties of water with my dandelion explosion.
Because water is everywhere I think that it doesn't really matter what materials you work with in June. I find the surface of a pond or a stream very inspiring, but water flows through trees and leaves as well. And to work with sand is to to work with something that was formed by water. There's no escaping it.
I just hope to provoke positive thoughts about an element that we depend on just as much as the air we breath.
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
This is not something i would typically post. It is something that was cast upon me this morn. I'm mad, sad and a bit disturbed by it, myself. I hope not to offend anyone and seek more than anything, to pay a tribute to this one lost life. Also an obvious illustration of how fragile life is. As it is fresh in my mind i would like to capture some of the thoughts banging around in my mind.
It was a typical morn, for me, in most respects. We're met with a cloudy, rainy day. Actually good for us as we've had a lack of rain so far this spring. I was sitting in front of my computers with my morning cup of coffee. Being that i wasn't going to be able to get much outside work done today, i figured it a good day to go through my backlog of pics taken from the last month or so. While being "forced" to take a shot every day for my 365 Project, i find that i end up with way more than one usable shot from each session. Time constraints forbid me from posting all of them at once, also i've a kind of aversion to putting up too much of one type shot in a single place on my stream. Don't know why. Anyway i was working a couple of "birdbath" shots from the other day. I figured it would be a good place to slip a couple into the stream to sort of break up the flower shots. I had just finished processing the shot before this "in it" and was uploading it to Flickr. Moments later i was met with the consequence of another bird.
I had no idea what today's 365 shot was going to be. It clearly wasn't going to be an outside flower shot, with the prevailing rain. I figured something would present itself somewhere along the day. After uploading the birdbath shot i went checking the other sections of my Flickr world. Typically i check the views overnight and any comments made. Then i try to make every effort to visit the streams of those who have made comments on my pics. I pay particular attention to those that i beleive to have never visited and are not on my present contact list. As we all know time is such a limited thing, and the commenting process can be very consuming of time. My thinking is to respond to newer commentors first, then with time remaining, go through and review my old faithfuls and the streams of those i have recently visited but not being of contact status yet. In this process i visited a new stream this morn and was met with a post about death. It involved humans not animals. It explained of how this person and her friend encountered an accident victim and slight description of the effect of this. It was an excellent post.This post set a tone for the day for me. For moments after leaving a comment i heard this very loud thud. It shook me. I knew in a moment, without even thinking about it, what it was. A few times a year i get birds flying into my windows. Most times it is a flick or click against the window as i believe the bird realizes at the last second it's poor choice of flight path and is able to break off it's speed of flight and minimize impact against the glass. Hardly ever do i find a victim lying on the ground afterward. This leads me to believe they were able to shake it off and fly away. This very much wasn't the case this morn.
We all encounter death daily. Be it as little as an ant stepped on in the course of travels or something larger such as a rodent or some other type of wildlife meeting its end. Worst of all a fellow human being. It is inevitable. Where there is life there will be death. Some choose to put themselves in encounter with it everyday in the respects of their career path. Some choose to hide the furthest away from it that they can. I don't like it. I don't hide from it but i don't seek it out. Non-the-less it finds me. I pretty much have come to terms with its omnipresence. Every now and then it rears up and causes more than a casual thought of its role.
I've a pretty good assortment of animal life habitating about my property. Quite a few differing species of birds up to wild turkeys, pass through my yard. Rabbits, squirrels, chipmunks can all be seen scurrying about most days. Some of them become almost friends. They learn that you aren't out to kill them and tend to become somewhat more tolerant of your approach. Several of my bird friends will come as close as a foot or two away without fear. It's a harmonious and replenishing existence, at least from my point of view. Amoung the species of birds are a pair or two of mourning doves. I see them sitting in various places at various times. They've yet to become comfortable with my presence and tend to fly off if i broach their comfort zone. They seem to be a bit more skittish than most of the other birds. A few times a year i find the remains of several of my friends. Sometimes a patch of feathers on the ground from where a neighborhood cat was hunting in the night. Sometimes it's a carcass of something that got hit by a car. I hate when i befriend a bunny in my yard then find his lifeless body on the side of the road. But it happens, every year. Earler this year i had a pair of cardinals who appeared and were looking to make a nest in one of my larger shrubs. I was excited as i've never had them nest in my yard. Several days later while going out to the mailbox i see this bright red body on the side of the road. I was heartbroken. He must have flown into a car? My sadness was increased by the constant calling of its mate. This passed.
In recent years we've had quite a few hawks coming closer and closer to our neighborhood. I shall not speak of man's ever growing quest to use up every available piece of land for his own happiness. This isn't what this writing is about. But i guess i just did mention it. But it is a fact that their usual hunting grounds are being shrunk down every year and that forces them to look for food in our backyards. I almost certainly believe this to be the cause of this dove's demise. Typically when i see these guys fly off, it's a fluttery slow flight. Not high speed at all. This guy hit the window with such force it could only have been flying at top speed. My belief was it was fleeing for its life. This became a verified fact when i got up the fortitude to go look out the window. I knew i was going to find a body. There wasn't any possible way something could have survived that impact. Sure enough this fella lay lifeless upon the ground of my patio. As i searched the area wider with my eyes, i found a very large hawk sitting upon the picnic table a few feet away. He seemed about to go in and grab his repast till he saw me in the window. My original goal was to capture some shots of his majestic presence. I had never gotten this close to a hawk in the wild and knew i would obtain some killer (mind the pun) shots of him. But he must have thought the proximity was too close for comfort and flew up to a nearby tree. He waited and watched for a little bit but then decided to pass on the meal. It is about 3 hours later and i haven't seen him come back.
Now i'm left with all sorts of feelings. For this poor victim. For its mate. I know it is out there cooing (actually living up to its name, mourning). When i went out to reluctantly take some photos, all the birds in the area were on a sort high alert. They all knew something had died. I could just feel it about them. They were acting quite unusual. I tried to make the shots as graceful and symbolic as possible. There was a breif break in the rain that allowed me to spend about ten minutes with the victim. Now a further problem exists for me. What do i do with the remains? Do i pick the body up and through it in the trash? Do i leave it there and allow nature to take its course? i.e. i know the hawk will be back at some point. It is raining pretty heavilily at present and i've been somewhat consumed in the writing of this so as not to give it much thought. But very soon i will be forced to face death once again.
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
Histories of change and upheaval, the omnipresence of time, the unyielding push of progression : I have come to deeply sense the enormity of being, and the essence of fleetingness, trampling on the ruins of an ex- cradle-of-civilisation.
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
Laurent-Perrier Champagnebar
uk.eurostar.com/uk/travel-to-belgium/travel-to-flanders/t...
Laurent Perrier Champagne Bar, Antwerp, Belgium
tarasdolcevita.blogspot.com/2010/11/laurent-perrier-champ...
Shopping Stadsfeestzaal, Antwerp / Belgium
The "Stadsfeestzaal" from Antwerp was in earlier years an event hall for different occasions. A bookfair or a Christmasfair, exhibitions, studentparties,... A big fire in 2000 destroyed the whole "Stadsfeestzaal".
It took 7 years to rebuild this spectacular location. It was reopened as a shopping mall in October 2007.
Park Güell is a garden complex with architectural elements situated on the hill of el Carmel in the Gràcia district of Barcelona, Catalonia, Spain. It was designed by the Catalan architect Antoni Gaudí and built in the years 1900 to 1914. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí" since 1984.
Eusebi Güell, a member of a rich and noble family from Barcelona, gave Antoni Gaudí in 1900 the contract for the construction of a "Garden City" on a derelict piece of land in the northeast of the city of Barcelona.
Gaudí took this task with both hands, because this allowed his ideas on a nature-inspired architecture shape. This also led to the growing rock pergolas, harmoniously integrated in the landscape and paths and stairs everywhere undulating, multicolored, mosaic decorations, which Gaudí the omnipresence of God wanted to express. Key parts of Park Güell, the entrance with porter's lodge and gatehouse, the fence, the porch, double staircase with Salamander (also known as Dragon) and the massive, undulating, seat. Both seat as Salamander consist of, literally, countless amounts of mosaic pieces.
The former porter's lodge, on the left side of the entrance, is now a souvenir shop. The former gatehouse on the right side of the entrance, houses the office of the park guides and is only occasionally accessible.
In the park stands the Casa Museu Gaudí, Gaudí a small museum. The park is build in a period of 14 years.
The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).
ABOUT GARUDA
In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.
In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.
Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.
Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.
Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.
With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.
IN THE MAHABHARATA
BIRTH AND DEEDS
The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.
Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.
One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.
Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food. At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.
DESCENDANTS
According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.
AS A SYMBOL
Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.
IN BUDDHISM
In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.
The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.
Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.
There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.
The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.
The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).
The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.
In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.
The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.
The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).
For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.
In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).
AS A CULTURAL AND NATIONAL SYMBOL
In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.
INDIA
India primarily uses Garuda as a martial motif:
- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines
- Brigade of the Guards of the Indian Army uses Garuda as their symbol
- Elite bodyguards of the medieval Hoysala kings were called Garudas
- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses
- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh
- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda
INDONESIA
Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.
- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.
- Indonesian national airline is Garuda Indonesia.
- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent
- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.
- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.
- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.
- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".
- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.
- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.
THAILAND
- Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.
- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."
- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.
MONGOLIA
- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.
- The bird also gives its name to Hangard Aviation
- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.
- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.
- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.
SURINAME
In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.
WIKIPEDIA
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Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
Once our bare soul is exposed to the omnipresence of the ineffable, we cannot bid it cease to shatter us with its urging wonder.
-Man Is Not Alone: A Philosophy of Religion by Abraham Joshua Heschel
Mysticism’, she wrote, ‘must rest on crystal clear honesty, can only come after things have been stripped down to their naked reality.’
-Etty Hillesum: A Life Transformed by Patrick Woodhouse
UAXACTUN
Uaxactun is a little-known Mayan archaeological site, located in Petén in Guatemala, about twenty kilometers north of Tikal. An “end of the world” atmosphere.
Much of the history of Uaxactún is inseparable from that of Tikal. The reason lies in their extreme proximity. It seems that it was Uaxactún who first saw the light of day, almost four millennia ago. Then, men settled on the current site of Tikal and developed a city there. During the preclassical era (800 BC to 200 AD), the two cities coexisted peacefully. The reason for this peace was their mutual subordination to a third city-state, El Mirador, located about sixty kilometers away. This domination of El Mirador over the region held back the expansionist desires of the two neighboring cities for a long time. But, towards the end of the 1st century AD, the mighty El Mirador was brought down. The two cities of Tikal and Uaxactún were then able to give free rein to their appetite for conquest. At the same time, they embarked on important architectural work. Temples, acropolises and altars were created. Too close, the two cities ended up being bothered by the presence of a rival power in their neighborhood. In 378, the conflict ended with the definitive defeat of Uaxactún, now a vassal of Tikal.
Uaxactún is nothing like Tikal except for the omnipresence of the lush forest. Indeed, there are no astonishing pyramids here. Uaxactún is a modest site made up of six groups of structures scattered on either side of the old airstrip built at the time when the city was the subject of a major excavation program. Uaxactun has platforms decorated with large stucco masks. The best known of these platforms is a structure each side of which has a staircase flanked by sixteen masks representing lords or monsters Witz (the god of the mountain in the Mayan religion). This pyramid was an astronomical observatory: its east side faces three small temples aligned so as to be able to observe the sunrise at the solstices and equinoxes.
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
The Lord Of The Lost
Courtesy : Ram Chugani
Prof Kasturi says Sai seeks out people, who are straying away. Even when one does not adore Him and denigrate Him, He attends to them as well! He says : "You are interested in me to find out my faults"
Alright, come on, He will say! He is interested more in such people than perhaps those who adore Him. He draws and saves the lost children.
A cowherd boy, Gopala, when he plays His flute, the cows absorbed in the music quietly follow wherever it leads them. But the mischievous, impertinent, aggressive and selfish cows are indifferent to the music. They stray away to places where the grass is greener. But, the cowherd follows and lead them to the shed by nightfall.
So Swami is more interested in the aggressive, the mischievous, the wicked, the stupid, the blind and distorted. When such people say "Where is God? ...There is no God!", turning a deaf ear to His call, Swami goes to them.
The various ways Swami employs to draw people towards Him is interesting. It is indeed very interesting to narrate as well as listen to the experiences of devotees in coming under the Sai fold and even after that as well. He draws people from different parts of the world, who have not even known Him or even seen His picture in a mysterious way. This proves His omnipresence.
living.oneindia.in/yoga-spirituality/spiritual-experience...
Colleville sur mer
Le cimetière
Le cimetière américain de Colleville sur Mer est situé au sommet de la falaise dominant la célèbre plage d’Omaha Beach. Nul n’entre dans le cimetière de Colleville par hasard, il faut en faire la démarche volontaire. Le visiteur se prépare pour aborder attentif et recueilli un morceau des États-Unis en France. Au-delà du Bâtiment de Réception, se trouve un magnifique Mémorial en demi-cercle au centre duquel une statue de bronze représente “l’Esprit de la jeunesse américaine s’élevant des flots”. Dans le prolongement du bassin où se reflète le Mémorial s’étire l’allée centrale desservant les 10 carrés de tombes où reposent 9 387 soldats dont 4 femmes et 307 inconnus.
Les croix sont toutes orientées à l’Ouest, vers le pays natal. L’alignement parfait des tombes sur la pelouse vert émeraude merveilleusement entretenue et l’omniprésence de la mer inspirent un sentiment inoubliable de paix et de sérénité. À la croisée des allées principales disposées en forme de croix latine, la Chapelle abrite un autel de marbre noir portant l’inscription : “Je leur donne la vie éternelle et ils ne périront jamais”. Dans le Jardin du souvenir, derrière le Mémorial, les noms de 1 557 disparus dans la région sont gravés sur un mur en arc de cercle.
Ce petit havre de verdure invite au recueillement et au souvenir. Le Normandy American Cemetery est entretenu par l’American Battle Monuments Commission (ABMC), agence indépendante créée par le Congrès des États-Unis en 1923 et rattachée au pouvoir exécutif américain. L’ABMC a pour mission de conserver la mémoire des sacrifices et des exploits des Forces Militaires Américaines là où elles servirent en construisant et entretenant à l’étranger les cimetières militaires et les mémoriaux américains.
American Cemetery
The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
cimetiere_americain_1 cimetiere_americain_2
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France.
NORMANDY AMERICAN CEMETERY “Omaha Beach”
14710 Colleville sur Mer – France
Tél. : 02 31 51 62 00 – Fax : 02 31 51 62 09
Website : http : //www.abmc.gov
UAXACTUN
Uaxactun is a little-known Mayan archaeological site, located in Petén in Guatemala, about twenty kilometers north of Tikal. An “end of the world” atmosphere.
Much of the history of Uaxactún is inseparable from that of Tikal. The reason lies in their extreme proximity. It seems that it was Uaxactún who first saw the light of day, almost four millennia ago. Then, men settled on the current site of Tikal and developed a city there. During the preclassical era (800 BC to 200 AD), the two cities coexisted peacefully. The reason for this peace was their mutual subordination to a third city-state, El Mirador, located about sixty kilometers away. This domination of El Mirador over the region held back the expansionist desires of the two neighboring cities for a long time. But, towards the end of the 1st century AD, the mighty El Mirador was brought down. The two cities of Tikal and Uaxactún were then able to give free rein to their appetite for conquest. At the same time, they embarked on important architectural work. Temples, acropolises and altars were created. Too close, the two cities ended up being bothered by the presence of a rival power in their neighborhood. In 378, the conflict ended with the definitive defeat of Uaxactún, now a vassal of Tikal.
Uaxactún is nothing like Tikal except for the omnipresence of the lush forest. Indeed, there are no astonishing pyramids here. Uaxactún is a modest site made up of six groups of structures scattered on either side of the old airstrip built at the time when the city was the subject of a major excavation program. Uaxactun has platforms decorated with large stucco masks. The best known of these platforms is a structure each side of which has a staircase flanked by sixteen masks representing lords or monsters Witz (the god of the mountain in the Mayan religion). This pyramid was an astronomical observatory: its east side faces three small temples aligned so as to be able to observe the sunrise at the solstices and equinoxes.
Castelo de São Jorge, Lisbon, Portugal.
Before arriving in Portugal, I had never made the mental connection that Portugal's colonial relationship with Brazil would entail the omnipresence of guaraná in Lisbon. Best surprise ever.
The pallu or fold of the sarees of these Rajasthani ladies showcases the omnipresence of art in the lives of all Rajasthani people. While the women converse among themselves, a little boy plays with a paper toy on his mother?s lap. The depth of detail on this painting is made even more prominent in the black and white theme the artist has employed.
www.kzphotoworks.wordpress.com | St. John, USVI
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I spend a lot of today reading my Intro to Communications book. I've got a quiz that I need to take soon so I wanted to make sure I studied. I missed class today since I'm on vacation, which stinks. I feel like I've missed some valuable information but a big "thank you" goes out to my classmate Rebecca for sending me the notes!
For the remainder of the day, my mom and I went shopping at Mongoose Junction in Cruz Bay. I got bracelets from Bamboo for Mikey, Josh, and myself. They're really cool. They symbolize the omnipotence, omnipresence, and immortality of God. I also got a sterling silver mermaid ring from Freebird. It's pretty neat.
A double-page spread / editorial for tech. I drew "inspiration" (in terms of style etc.) from NYLON magazine. The article was on the omnipresence of narcissists
Lloyd Hamrol described his design as a "tribute to the car culture. It is meant as a parody of the omnipresence of cars and our addiction to their necessity. The piece captures a moment in a bumper to bumper procession of car symbols as they cycle on the loop of an endless highway. It seems hopeless, but the possibility of escape is offered as the lead car begins a leap toward the Grand Street overpass. Will it make it? The question will never be answered--the hope always remains."
Photo taken from said Grand Street overpass.
7 Days of Shooting, Week #22: In the Street -- Shoot Anything Saturday
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
I never saw a discontented tree.They grip the ground as though they liked it,
and though fast rooted they travel about as far as we do.
John Muir (1838 - 1914)
The median vacuum semiotics : Idiom H
Whatever it is blankolored, black, white or void, this blank is also known as blank_H when larger than high. Of course, H symbolizes here the Horizontality of the dominant orientation, i.e. the Horizontality inherited by all images supported on such extravagant blankspace.
The role of the orientation is not only artistic or stylistic. Let's observe how images are connoted when they are framed horizontally. Of course, it is impossible to be exhaustive making an inventory of all determinations and interpretations of horizontality in all horizontal images. But it is always possible to observe in most of images, how horizontality introduces different enhancements of these two other omnipresent dimensions : the space and the time.
Due to its omnipresence, the orientation enhances the image interpretation. Consciously or not, horizontality is perceived at first as the space of spread movements, where space is invested in expansion and time in duration and/or speeds.
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H E L P _ 1 0 0 % _ B L AN K _ S P A C E _ F L I C K E R S _ !
I beg your pardon again, but have you found my whity_1x1 somewhere Please ? I've lost it awkwardly sucked near my high-speed net modem .. yes ! It can be recognized : one pix copied from my buddy-icon is on its back side, a 100% black one.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
This was for sale today on eBay.
The Triple Tau
The compound character known as the triple tau is one of the Royal Arch’s emblems. A triple tau is literally “three Tau’s,” the tau being the nineteenth letter in the Greek Alphabet. The triple tau of Royal Arch Masonry consists of 3 Ts linked in the centre joined at their base.
This mystical character can be signified in a few different ways.
First, the names Hiram of Tyre and Hiram Abif appear in the Phoenican language with the same letters “H” and “T” as they do in English. Therefore, the Triple Tau takes on the interpretation of the initial letters in Hiram Abif’s name.
Second, it signifies also T. H., Templum Hierosolym, the Temple of Jerusalem, and when used as the Royal Arch symbol, some jurisdictions teach that the wearer acknowledges himself a servant of God.
Third, Christians in Greek or Roman influence anciently used a tau cross. The basis of a triple tau in early church history would mean the trinity of father, son, and holy spirit. A belief in the triune nature of godhead is common to many faiths and religions.
A triangle is a simple shape in geometry that has taken on great spiritual significance and symbolism. The equilateral triangle was revered by ancient nations as containing the greatest and most abstruse mysteries, and as a symbol of God, denoting a triad of intelligence, a triad of deity, a triune God. The equilateral triangle shows equality with its three angles of the same degrees. In one way, it best represents deity by its equality or perfection in design and proportion.
The triangle is a symbol of divine union, and an emblem of the mysterious triune, equally representing the attributes of deity, and his triune essence: omnipotence (all powerful), omnipresence (eternal) and omniscience (all knowing).