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Alberto Giacometti (1901-1966)
Amenophis, 1954 (Albertina - Sammlung Batliner)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Ahead of the European Parliament elections in 2014, find out how the EU has provided assistance and disaster response through its humanitarian aid and civil protection department (ECHO).
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The Pilates Approach of body conditioning called the group of muscles in our center or the core, likewise called the “powerhouse”. This includes our abdominal area, lower back, hips and butts. Inning accordance with Pilates, all energy required for the exercises begin with the powerhouse, then streams external to the extremities. The physical energy is then put in from the core to collaborate one’s motions. In this method, a strong and powerful structure is built on which to rely in everyday living.
While Pilates draws from a variety of varied workout designs, bringing the concepts of yoga, Greek and Roman perfects and Zen together, there are generally particular judgment concepts that are intrinsic to the Pilates Technique of body conditioning. These concepts are the ones that bring all those suitables together under the Pilates name. These consist of focusing, concentration, control, accuracy, breathing and streaming motion. Let’s have a look at these concepts one by one.
The Pilates Technique of body conditioning, established by the famous German nationwide Joseph Pilates, normally follows thoroughly set out concepts based upon a sound philosophical and theoretical structure. It is thought about throughout the world as a type of workout, there is really much more to the Pilates Approach of body conditioning than its being a workout. It is not simply a collection of workouts however a technique, established and fine-tuned over more than eighty years of usage and observation.
Concentration
Under this concept, the Pilates Approach of body conditioning needs you to focus on exactly what you are doing, all the time. Together with this, you need to likewise focus on your whole body. As soon as you begin actually to focus and focus to your body, you will discover a motion which might have appeared basic in the beginning glace, however really rather intricate.
Control
On its the majority of fundamental, the Pilates Approach of body conditioning teaches total muscle control. Careless and haphazard motions are not consisted of in this technique. Rather, extensive concentration is needs so that you will be in control of every element of every motion. It is essential to keep in mind that this 3rd concept does not just use to the big movements of limbs, however likewise to the position of fingers, toes and head, even the degree of arching or flatness of the back, the turning in or out of the legs, and the rotation of the wrists.
Accuracy
Every motion associated with the Pilates Approach of body conditioning has a function. Therefore, every guideline is seriously essential to the success of the entire. As exactly what lots of professionals frequently state, to leave out any information is to desert the intrinsic worth of the Pilates Technique of body conditioning. The primary focus here is on doing one exact and ideal motion, which might ultimately end up being force of habit and be rollovered into daily life as economy and grace of motion.
Breathing
Complete and extensive inhalation and exhalation become part of the Pilates Approach of body conditioning. Pilates, in the very first location, saw required exhalation as the secret to complete inhalation. Breathing should be done with concentration, control and accuracy. It ought to be appropriately collaborated with motion.
Fluidity
The Pilates Approach of body conditioning is carried out fluidly. There is no fixed, separated motion for that out bodies do not naturally work that method. Grace of movement should be highlighted over speed. Eventually, Pilates motions must feel as fluid as a waltz or a long stride. As exactly what the Pilates Approach of body conditioning keeps, evenly established muscles are the trick to excellent posture, natural grace and flexibility.
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Tropical Farms Hawai'i: Macadamia Farm
"Honor your Father and Mother"
Harry and Mary Lake dedicated their lives to the principles of Love and Service for all God's children, especially Native Hawaiians. They believed that tragedy and spiritual poverty could be overcome one day at a time by strength of character, and humble belief in a benevolent God. Their generosity, work ethic, profound sense of humor, and love of family were evident in every aspect of their lives. These statues stand as a symbol of Harry and Mary's core belief that through Christ, no failure need be final. We here at Tropical Farms Are the Children, Grandchildren, and Great-Grand Children of Harry and Mary Lake. We are honored to be their legacy.
"E ho omau ka holo moana"
Let us continue the voyage
Hand Carved by Mataiasi Taufa, under the direction of Master Carver Professor Viliami Tolutau, and Tuione Tuipalotu
Made using wood from the beautiful Monkey pod trees which surround us.
I chose this image for the principle of design: unity because the image flows together and combines all the shapes into one image.
In fact two binoculars, but the general principles are the same. The smaller is an 8x21, the larger an 8x56. They both give the same field of view, the same magnification, and the same image quality. The difference is in the exit pupil, what corresponds in binoculars to camera lens aperture.
Binoculars use the pupil of your eye to change aperture according to lighting conditions. In dim light the pupil of your eye gets bigger, up to a maximum of around 7mm. That's the exit pupil of the big binocular. That means you can use the big binocular in the dimmest light, and whatever your eye can see, the binocular can magnify. Whereas the exit pupil of the little binocular is 2.6mm, suitable only for bright light.
In dim light the small one is useless, but in bright light the performance of these two binoculars is the same. The small ones are very much smaller, lighter, and cheaper, and can easily be carried around all day in a pocket. So even if you wanted the big one for occasional dim light use, it could make sense to have the small one as well just because it's so much easier to carry around. And if you have the small one, do you really want to pay all that extra money just for the occasionally useful extra low light performance the big one provides?
These considerations also apply to camera lenses :-)
Original: DSC02906FBX
ECOLOGICAL HOUSE
During the designing and the construction of the villa we applied principles of ecological design to minimise the energy needs of the house and ensuring comfort in passive ways.
In this way we have constructed a house which satisfies our guests’demands and everyday needs by providing:
The incorporation of the building in its surroundings.
The thermic comfort bath in summer and in winter.
The cooling of the villa (withour air-conditioning), heating and hot water.
And finally, excellent conditios of natural of artificial lighting.
GENERAL INFORMATION
In exceptional natural surroundings, in the vibrant Cratan countryside away from the bussle of the town, Katikia Gonia awaits you. It is a place whose architecture captivates you from the very first moment.The discrete luxury in combination with all the modern conveniences of a villa, creates the environment and the prerequisites for a memorable holiday full of relaxation and peace. Cretan hospitality, as well as the discrete daily maid service will make the guest feel at home straithtaway.
DETAILS
The villa is 184sqm., built with an indoor lift. Upstairs there are three bedrooms with double and single beds, bathrooms and spacious verandas with a view of endless greenery that extends to the peaks of Lefka Ori.(White Mountains).
On the ground floor there is a spacious sitting room with satellite T.V., a fireplace and a comfortable sofa. Also Katikia Gonia has a very attractive and well-organized kitchen, combined with a cosy dining room.
All bedrooms are equipped with Coco-mat mattresses and linen sheets to provide even more comfort and relaxation for you. The ecological design of the house will provide a cool, pleasant sensation at any time of the day.
The furnishing, and the decoration on the whole, have a simple design, so that quests can really relax.
There is also wireless access to the internet throughout the house.
Outdoors, a swimming pool and a magnificent garden are waiting for you. They are designed to give you, your family and friends memorable moments of fun, contact with nature and relaxation under the warm rays of the bright sun.
Home > Esoteric Futures
The Cornerstone of Esoteric Christianity
by Rev. Carol E. Parrish-Harra, PhD, Dec 13, 1998
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The Christian community needs to ask, "What happened to the biblical reference to the Christ within, the hope of glory?" In the ancient mystical teachings we learn that the "second coming" will be a perfected consciousness of love-wisdom such as the Christ possessed. This vision for humanity is the cornerstone of esoteric Christianity.
Esoteric Christianity, with its transformational techniques, is little known to many. Some of its principles are often discovered through metaphysics, new thought, or mystical, agnostic, or other approaches. However, they are in danger of being distorted or glamorized, even over-simplified when taken out of context.
Historical creeds of all religions have some aspect deeply preserved until the aspirant is prepared or experiencing little-understood spiritual phenomena. At that point, the adage, "When the student is ready, the teacher appears, truly seems to work." Someone will reach out and, if only for a brief time, guide the one in need across troubled waters to safety.
To begin to explain Esoteric Christianity requires boldness, audacity, and tenacity. It can be endless in definition because it transforms the experiencer and the experience redefines the faith. However, as contemporary Christians find themselves needing a greater personal sense of intimacy (not dogma or doctrine) with their spiritual Source, this recognizable route to God gradually emerges, expanding our spiritual experiences.
A major challenge for many is whether esoteric, or mystical, Christianity, as some call it, involves God or Jesus. Esoteric Christians believe Master Jesus, the Christ, pointed followers to the Father, as he affirmed he "and the Father are one." The symbology of Oneness is important to esotericists as they lift their thinking to identify with Soul, rather than personality. I am the Soul affirms this new identity.
A major adjustment is to learn to live "as a soul having a human experience," rather than to relate so strongly with personality stuff. This ability to shift identity is a major effort of transformation: "Know Thyself." The concept of the mystical body of Christ focuses our soul identity to Oneness and aligns Esoteric Christianity to the kabalistic concept of Adam Kadmon, the heavenly human.
Another consideration is that each of us is one brain cell in the mind of the planetary being or in the life we share. We recognize thoughts as things and that each of us either blesses or pollutes our setting. Mindfulness is an attribute we seek to build, as we strive toward higher consciousness in the midst of daily living, believing we are to be the hearts, hands, and minds of God as we integrate with the Christ, teacher of angels and of humanity.
"New Age," having become a catch-all phrase, originally carried the meaning of seeing an expanded vision of the higher Plan. Jesus brought in the then-new Age of Pisces, perceiving his work and sharing a new perspective with his disciples, which, indeed, called them out of their old system. He challenged them to know God, the Father, in innovative ways, to move from just fulfilling the letter of the law to living by the spirit of the law.
Without negating the commandments of the Old Testament, he laid upon them the great commandment to love God and to love the neighbor as the self. Here the consciousness of the disciples had to shift to realize that mere obedience was not enough. Their master stretched them to loving hearts, loving hands.
The great commandment expands all of us beyond comfortable personality boundaries and into the energy of the soul--Lots Of Vital Energy. Then we bring our attunement Earthward from the higher dimensions into the world around us, acting upon it to bring transformative influences to daily life.
We expand the Christian vision by fulfilling it on a one-to-one basis. Spiritual laws and the love of Christ form the foundation upon which we carry out our part of the Christ mission. Consider Mother Teresa and those left behind in her order when death came, those upon whom the mission now falls. They took it upon themselves to align with her vision and continue to fulfill it. As contemporary Christians, we are to keep the vision alive, expanding our love-wisdom until the true fruit of this world religion blossoms.
Only enlightened ones can point direction to the holy; we admire, appreciate, and listen to the saints and sages, the teachers and masters who have found the way. Their wisdom may be just what we need to advance on our own path. In the esoteric tradition is a saying, "Only a lighted flame can pass on the light." Oral traditions used to pass teachings from a wise one to a devotee, who then lived accordingly; in due time, s/he would become responsible for passing the teachings on to others.
Fears around mystical moments, hard-to-grasp experiences, or phenomena often caused the wise one, the shaman, or the astrologer to be suspect. Persecution kept those with access to such wisdom quiet, guarding what they knew. The Inquisition murdered thousands of women who were the healers and visionaries of their people. Call it magic or folk wisdom, it cost them their lives.
Because we often fear that which we do not fully comprehend and because religious fanaticism runs high, people with broader ideas often limit what they share. This self-protection keeps concepts from being distorted by those who do not realize deeper meanings which may come through meditation and inner contact.
Yet at troublesome or pain-filled moments, all of us call out to the heavens: "Why?" "Is this all there is?" We invoke divine help, and doors often open at such power-filled moments.
Ten Points of Importance
Ten points of importance come to mind as I attempt to define an infrastructure of thought that fits most esoteric Christians:
l. Life has a reason and a purpose. Esoteric teachings offer an overview of this Great Life and its purpose. This set of teachings is called cosmology.
2. All life is sacred, especially human life: Remember ye are gods. The cosmos is seeking to expand us into divine beings--a major difference to many other approaches. Self-actualization, self-worth, self-unfolding of potential--all are part of the message. It does not mean we do not err but that we are in essence divine and are to embrace the struggle of transformation.
3. Humanity is never left without dialogue with the higher worlds. From the most ancient prophets to modern, inspired ones, the will of the Creator is broadcast (my term) through the ethers to those who would hear. Perceived by listening ones, all world religions have developed out of the necessity to respond to the message and the knowledge derived from it. Each world religion donned an outer form, a manner in which it could be presented. This explanation became the cloak of its revelations.
4. Spiritual law consists of many definitive messages from the higher world to assist us to conform to our vision of the higher will of the Father-Mother, the Divine, the Source--whatever vocabulary fits the perception. The Ten Commandments, the Four Noble Truths and the Eight-fold Path, the Koran, the Popol Vuh, even the Beatitudes fit this idea, if we accept that Master Jesus as the Christ was instructing his disciples in his yoga, or yoke. These words share a common root word, yug, which means "union." Indeed, Jesus's prayer was that we would come to be one with him.
5. Each denomination, holy order, or religion develops its vocabulary, and these concepts and terms may be confusing to others. Each system abounds in mystical realities, and this veil has to be penetrated to reveal and grasp the subtler inner teachings. Esoteric symbols teem with great meaning, with profound truths awaiting discovery and insight. Great teachings contain the story of the soul and the universe, and as teaching myths and parables preserve truths uncovered by preceding teachers or wise ones, they await our readiness for their revelation.
6. Master Jesus is accepted as the historical Christ. The long-awaited Great One created such a state of alignment to the heavenly world, his vehicles--body, emotional nature, and mental equipment--were of such holiness that the Great Lord Christ, who had never incarnated, could descend into the body of Jesus to live through his prepared nature. From the baptism on, Jesus is the Christ, the Wayshower, the Elder Brother, Son of God and Son of Man, or fully human and fully divine, which is our transformational goal. We are to realize the Christ consciousness as well.
7. The message of the Christ was preparation and how-to's. Disciples were to dedicate themselves to living by guidelines appropriate to their understanding of his instructions. By doing that, he explained to the disciples, they would be visited by the Holy Spirit, the Paraclete, advocate of the Lord. They would find themselves visited by certain phenomena and gifts that would stretch them, lifting them into another level of relationship to the Holy. These gifts, like fruit on the vine, are to be harvested and revered for the bounty they bring.
8. The emphasis of the message of the Christ is to live as the Wayshower Jesus did--loving and caring, open to the mystical reality wherein we become one with the Father-Mother Creator, Giver of Life. In this mystical relationship we give birth to the Christ-Within, the hope of glory. We discover the central truth of all religions that focus on the inner nature as the fulfillment of life. The Christ-Within is the goal. We are to be obedient children as we begin our quest to come into alignment with the path of life, but we are to grow into spiritual maturity wherein the inner nature can be one with the Christ, the Higher, the Holy. The goal for the Esoteric Christian is to become Christed--whether called "enlightenment" or "salvation."
9. This goal permeates the life of the serious disciple with a dedication which often astonishes many. A life of self-discipline, understanding, discernment, prayer, and meditation is typical. Other practices may include: tithing, dietary disciplines, fasting, healing, dream study, intuition, silence, visualization, and service. Each one seeks to know higher will and to accommodate it within the framework of one's lifestyle.
10. Additional points of information:
* Not all esotericists are Christians, but all are aware of spiritual law.
* Groups vary from quiet and dignified to very flamboyant, but all recognize the importance of group life.
* Some believe in reincarnation, others do not, but all ponder it.
* There is a distinct interest in on-going life, other dimensions and phenomena that are confusing or uncomfortable for some--angels or devas, life-after-death, visions, and friends in spirit all hold interest.
Esoteric Christianity affirms healing of planetary life and all that this might mean. It does not see such wonders as "miracles"--just universal spiritual laws at work which are not yet comprehended. We learn to live in a mystical attunement to the Lord Christ, allowing the Plan to work itself out through us as it will.
REV. CAROL E. PARRISH-HARRA, Ph.D., is the founder of Sancta Sophia Seminary (1978) and Sparrow Hawk Village (1981), a spiritual community in the foothills of the Ozarks, near Tahlequah, Oklahoma. After a near-death experience in 1958, she began an earnest search for a new perception of spirituality. Today, she is a master teacher of teachers, international lecturer, and author of ten books. The latest of these are Adventure in Meditation--Spirituality for the 21st Century, each of three volumes earning the Athena Award for Mentoring, and The New Dictionary of Spiritual Thought, containing 1100 concepts of today's most important Western and Eastern esoteric and spiritual concepts. One review stated, "No other reference book today provides the clarity and depth of insight into the timeless wisdom teachings, going beyond intellectual understanding to touch the innermost heart and soul."
Carol ParrishRev. Carol E. Parrish-Harra, Dean
Sancta Sophia Seminary
Sparrow Hawk Village
11 Summit Ridge Drive
Tahlequah, OK 74464 USA
Website: sanctasophia.org/
E-mail: lccc@sanctasophia.org
Telephone: (918) 456-3421 or 1-800 386-7161
Fax: (918) 458-5501
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In the past editions of the Spirituality segment of the Sovryn Technica Newsletter, we’ve thus far discussed:
What I mean by “spirituality” and how it contrasts with what is conventionally known as “religion”.
The importance of documenting your spirituality and making it (and yourself) “portable” and thus censorship and catastrophe-resistant.
Why spirituality can be useful to you to survive, outlast, and outmaneuver the authoritarian-rich civilization we exist within — regardless of whether you’re a mystic, atheist, or some other type of believing practitioner.
If you haven’t read the Spirituality segment in the past three issues, I highly recommend you do for context. But now I want to discuss the foundation of spirituality; whether it be your own spirituality, a spirituality you’ve adopted, or really any form of spirituality you may encounter.
That foundation — and this is true 99% of the time (I take 1% off for the Discordians) — is axiomatic. Meaning: the foundation is some kind of axiom(s). That one thing that you consider to be completely true and self-evident that exists without question and is the basis of what of your “spiritual” belief. This can be a book, or it could be an experience that you had — you saw a god, or a mystical polar bear (believe me, I’ve heard that story) and it changed your perceptions of the universe. It could even be you; as in, you are your own god and your own axiom. Frankly, it could be a mixture of all of these things, but without some kind of axiomatic foundation, you have no cornerstone to build your mental temple upon that allows you to simultaneously encapsulate and expand your spiritual self. You need something you know to be true that you can test any future knowledge or experience upon, because knowledge, spiritual or otherwise, is merely justified true belief. With spirituality being such a personal experience, you can’t always rely on the correspondence theory of truth, so your axioms take the place of correspondence with others.
Need an example? Alright, I’ll be vulnerable and open with you.
My axiom is a book. Well, more actually, a collection of books that gets called a “book”. And no, despite what I’m sure you’ve figured already are my Jewish proclivities, it’s not the Tanakh. My axiom is the Book of Radiance, more popularly known as the Zohar. While I won’t get into a treatise on the Zohar here (I assure you, I will in the future, but it will be a multi-issue series), I share this with you to let you know where I’m coming from, what I use as the crucible and test of knowledge and experiences that I encounter, and what I build my mental temple upon.
Now, before you start saying that the Zohar is this or that, let me assure you, anything you go and read on Wikipedia or on some Christian website does not express the reality of information or nature of the existence of this true “book of books”. As someone who has read everything from The Urantia Book (fascinating stuff, by the way) to the Tao Te Ching (excrement), I have never read anything like the Zohar that is essentially an entire universe within itself (though some sci-fi — such as by Olaf Stapledon — certainly gives its best effort). And it covers much more than spirituality: ahead-of-its-time scientific knowledge, health, history, sex, advanced technology, and more. Again, I’ll tell you more about it in the future, but suffice it for now to tell you that it’s the book I hang my spiritual “hat” on.
NOTE: Though I consider the Zohar to be “axiomatic”, I’m not inferring that what you consider axiomatic is somehow wrong if it happens to be something else. I’m not even saying the Discordians are wrong for essentially being “anti-axiom” (an oversimplification, certainly). I don’t have to disprove what you consider to be axiomatic. The very nature of an axiom is that it is self-evident, which means that a false axiom will disprove itself. Just keep your mind open to your axiom falling apart before your eyes. I always do.
You don’t have to “hang your hat” on the Zohar, but the fact remains that in your spiritual exploration and growth, you will need something (again, even if its just belief in yourself and the feedback your six senses — yes six, at least — give you). Without an axiom you may think that your beliefs are just more adaptable, but the truth is actually the opposite: even the most adaptable creature needs a wall at its back, or a firm footing, or just a parachute to successfully engage the greatest threats and challenges presented by the objective universe at any given moment. That’s just Survival 101.
sovryntech.medium.com/the-cornerstone-of-all-spirituality...
The Cornerstone, the last brick of the Prophets ﷺ
Narrated Abu Huraira:
Allah's Apostle said, "My similitude in comparison with the other prophets before me, is that of a man who has built a house nicely and beautifully, except for a place of one brick in a corner. The people go about it and wonder at its beauty, but say: 'Would that this brick be put in its place!' So I am that brick, and I am the last of the Prophets." Qaala Rasul Allah (saw)
Matthew 21:42-45 EASY:-
“Jesus said to them, ‘I am sure that you have read this in the Bible: “The builders refused to use a certain stone. They thought that it had no value. But now that stone has become the most important stone at the corner of the building. The Lord God did this. And we can see that he did something great.” I tell you this. Because you do not believe in me, God will take his kingdom away from you. He will give it to people who show that they obey him. When a person falls on to that stone, it will break his body into pieces. When that stone falls on top of someone, it will destroy him completely.’ The leaders of the priests and the Pharisees heard what Jesus said in his stories. They knew that he was speaking against them.”
Psalms 118:25-26 EASY:-
“Lord, save us now! Lord, make us do very well! The man that comes in the name of the Lord will be blessed. We bless you from the house of the Lord.”
Luke 13:35 EASY:-
“So listen! Your great house will now become like a wilderness with nobody in it. I tell you this. You will not see me [Jesus Christ] again until the day when you say, “Great is the man who comes with the authority of the Lord God.” ’”
Quran 1:1:-
بِسۡمِ ٱللَّهِ ٱلرَّحۡمَـٰنِ ٱلرَّحِیمِ
In the name of God, the Lord of Mercy, the Giver of Mercy!
Quran 2:89:-
وَلَمَّا جَاۤءَهُمۡ كِتَـٰبࣱ مِّنۡ عِندِ ٱللَّهِ مُصَدِّقࣱ لِّمَا مَعَهُمۡ وَكَانُوا۟ مِن قَبۡلُ یَسۡتَفۡتِحُونَ عَلَى ٱلَّذِینَ كَفَرُوا۟ فَلَمَّا جَاۤءَهُم مَّا عَرَفُوا۟ كَفَرُوا۟ بِهِۦۚ فَلَعۡنَةُ ٱللَّهِ عَلَى ٱلۡكَـٰفِرِینَ
And when there came to them (the Jews), a Book (this Quran) from Allah confirming what is with them [the Taurat (Torah) and the Injeel (Gospel)], although aforetime they had invoked Allah (for coming of Muhammad Peace be upon him) in order to gain victory over those who disbelieved, then when there came to them that which they had recognised, they disbelieved in it. So let the Curse of Allah be on the disbelievers
[Muhsin Khan and Taqi-ud-Den Al-Hilali Translation]
Al-Qur'an al-Kareem
islamcenter.quora.com/The-Cornerstone-the-last-brick-of-t...
Hebrew translation:
93. וְכָאן כָּתוּב וַיַּרְא יַעֲקֹב, שֶׁעַד עַכְשָׁו לֹא הִתְבַּשֵּׂר. מִנַּיִן הָיָה יוֹדֵעַ? אֶלָּא וַיַּרְא יַעֲקֹב, שֶׁרָאָה אֶת כָּל דַּיָּרֵי הָאָרֶץ שֶׁהוֹלְכִים לְמִצְרַיִם וּמְבִיאִים תְּבוּאָה. זֶהוּ שֶׁכָּתוּב וַיַּרְא יַעֲקֹב.
94. רַבִּי יִצְחָק אָמַר, בֹּא רְאֵה, דָּוִד הַמֶּלֶךְ זָכָה לְהִתְחַבֵּר עִם הָאָבוֹת, וְיָרַשׁ אֶת מְקוֹמוֹ בְתוֹכָם. זֶהוּ שֶׁכָּתוּב אֶבֶן מָאֲסוּ הַבּוֹנִים הָיְתָה לְרֹאשׁ פִּנָּה.
95. רַבִּי יֵיסָא וְרַבִּי חִזְקִיָּה הָיוּ הוֹלְכִים מִקַּפּוֹטְקִיָּא לְלוֹד, וְהָיָה עִמָּהֶם יְהוּדִי אֶחָד שֶׁמַּחֲזִיק נוֹד שֶׁל יַיִן. בְּעוֹדָם הוֹלְכִים, אָמַר רַבִּי יֵיסָא לְרַבִּי חִזְקִיָּה, פְּתַח פִּיךָ וֶאֱמֹר דָּבָר אֶחָד מֵאוֹתָם הַדְּבָרִים הַמְעֻלִּים שֶׁל הַתּוֹרָה שֶׁאַתָּה אוֹמֵר כָּל יוֹם לִפְנֵי הַמָּאוֹר הַקָּדוֹשׁ.
.
Zohar Miketz
Genesis 42:1
“וַיַּרְא יַעֲקֹב כִּי יֶשׁ שֶׁבֶר בְּמִצְרָיִם וַיֹּאמֶר יַעֲקֹב לְבָנָיו לָמָּה תִּתְרָאוּ.”
“Now Jacob saw that there was grain in Egypt, and Jacob said to his sons, “Why are you staring at one another?”
#93
It is written “Now Jacob saw that there was grain in Egypt” and the Zohar asks how did Jacob sees that when he didn’t have the Shechna with him after losing Joseph. The explanation is that Jacob knew that when he saw the other people of the land go to Egypt for food. It wasn’t with the support of the Holy Spirit that he temporarily lost.
#94
Rabbi Yitzchak says that King David had merits to connect to the patriarchs and have a place among them.
Psalms 118:22
“אֶבֶן מָאֲסוּ הַבּוֹנִים הָיְתָה לְרֹאשׁ פִּנָּה.”
“The stone which the builders rejected Has become the chief cornerstone.”
#95
Rabbi Yessa and Rabbi Chizkiya were walking from Kaputkia to Lod and with them a jew carrying a vessel of wine. Rabbi Yessa asked Rabbi Chizkia to share one of the beautiful studies that he had with Rabbi Shimon.
Continued in the next DZ
Lesson;
“The stone which the builders rejected Has become the chief cornerstone.”
The Zohar references ‘The Stone’ as the ‘Drinking Stone’ that the world was founded on. See Daily Zohar # 3209 – Vayetze – The stone of the house of God.
The stone is the aspect of Malchut that doesn’t have a light of its own. It’s also the aspect of David, the humble king of Israel. He connected to the Patriarchs that represent the three-column, Right for Chessed, Left for Gevurah and center for Tiferet. He gave us the tools to connect and draw the Light of the three columns to Malchut. These tools are the Psalms that we include in all our prayers.
In the future, the children of Israel that are ignored and disrespected like a simple stone would be the ‘Chief cornerstone’ for the whole world because the Light would shine from Israel to all directions of the world.
I chose this picture for my Principles of Design for pattern because pattern is keeping design in a certain format. and this is a good example of it.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
The Principles on the Accountability of the and the Relationship between the Three Branches of Government, an important document in its own right, it is also significant as the product of collaboration between Commonwealth civil societies and the intergovernmental level.
2010/08/07.RD5142. Well know for their traction engines, the Kentish firm of Aveling & Porter also built a few railway locomotives following traction engine principles.
This is one of them, a 2-2-0 (geared) WT which was built in 1926 for Associated Portland Cement whose Blue Circle cement product led to the locomotive's name. It was in action at Horsted Keynes on the Bluebell Railway over the Gala Weekend in early August, 2010, operating a brake van shuttle over a short section of relaid track on the one time Ardingly and Haywards Heath line.
Saturday, 7th August, 2010. Copyright © Ron Fisher.
History of the Vienna Philharmonic
The orchestra of the Vienna Philharmonic was founded on March 28, 1842. It was founded by the German composer Otto Nicolai, whose creations include the opera "The Merry Wives of Windsor". Nearly a century later, the club was dissolved in December 1938 during the Nazi period by the law on the "transfer and incorporation of clubs, organizations and associations" for the time being and the assets fell to the State Theater and the Stage Academy of the City of Vienna. This was, however, a few days later at the urging of the conductor and musicologist Dr. Heinz Drewes largely reversed. Dr. Drewes was the leader of the "entire German musical life" and so he used his influence on the Reich propaganda minister Goebbels. Ultimately, Goebbels decreed in June 1939 that the Vienna Philharmonic as an association should retain their most extensive independence on the condition that the club is subject to his supervision and that the articles of association regarding the National Socialist principles is changed. Thus, the club's assets were released again.
In 1939, the idea of the New Year's Concert, at which time only the music of Johann Strauss was played, was born. This concert series of the New Year's Concert has become one of the cultural highlights of the year and is always broadcast live on television. The magnificent pictures from Vienna are accompanied, among other things, by fantastic flowers and dance performances by the Wiener Ballett. With the end of the Second World War, the Vienna Philharmonic Orchestra once again became completely independent and the orchestra played two major concert evenings right after the liberation of Vienna in April 1945. A special focus is still the position of the conductor at the Vienna Philharmonic. Because until 1933, the orchestra was directed by a single conductor every season. From 1933 there were only guest conductors. Great merits in the early years had especially the conductors Arturo Toscanini from 1933 to 1937 and intermittently from 1933 to 1954 Wilhelm Furtwängler. Herbert von Karajan, Karl Böhm, Paul Hindemith and Daniel Barenboim are among the famous guest conductors. Also as a guest conductor conducted from 1966, the later honorary member Leonard Bernstein repeatedly the orchestra. One of Leonard Bernstein's most outstanding works in collaboration with the Vienna Philharmonic is, for example, the adaptation of the works of Gustav Mahler, who himself had directed the orchestra from 1898 to 1901 for three years as a subscription conductor to the Vienna Philharmonic.
Vienna Philharmonic coins
Appropriately to the Vienna Philharmonic, the Austrian Mint, which mints all coins in Austria, has been issuing a bullion every year since 1989, which after the orchestra precisely is called the Vienna Philharmonic. At first, the coins were pure gold. Since 2008 there is also an annual silver version. Their value does not correspond to the nominal value, but the Vienna Philharmonic is a bullion coin whose value depends on the current precious metal value. The motif of the Vienna Philharmonic is always the same. The front of the Vienna Philharmonic Münze designed by Thomas Pesendorfer shows some of the classical orchestral instruments such as bassoon, horn, harp and four violins, as well as a cello in the middle. The reverse shows the organ, which is located in the Golden Hall of the Wiener Musikverein. Only the respective year is changed. The coin is now available in four sizes. As a special coinage, a 1000-ounce coin, the so-called "Big Phil", was released in 2004 on the occasion of the 15th anniversary, and another coin in 2009 for the 20th anniversary. Both are traded as collectors' items because of the limited edition and are therefore more expensive than the actual precious metal value.
Geschichte der Wiener Philharmoniker
Das Orchester der Wiener Philharmoniker wurde am 28. März 1842 gegründet. Ins Leben gerufen hatte es der deutsche Komponist Otto Nicolai, aus dessen Feder unter anderem die Oper "Die lustigen Weiber von Windsor" stammt. Knapp ein Jahrhundert später wurde der Verein im Dezember 1938 in der NS-Zeit durch das Gesetz zur "Überleitung und Eingliederung von Vereinen, Organisationen und Verbänden" vorerst aufgelöst und das Vermögen fiel dem Staatstheater und der Bühnenakademie der Stadt Wien zu. Dies wurde jedoch wenige Tage später auf Drängen des Dirigenten und Musikwissenschaftlers Dr. Heinz Drewes größtenteils wieder rückgängig gemacht. Dr. Drewes war der Leiter des "gesamten deutschen Musiklebens" und so nutzte er seinen Einfluss auf den Reichspropagandaminister Goebbels. Letztlich verfügte Goebbels im Juni 1939, dass die Wiener Philharmoniker als Verein ihre weitestgehende Selbständigkeit behalten sollten unter der Bedingung, dass der Verein seiner Aufsicht unterstellt wird dass die Vereinssatzung hinsichtlich der nationalsozialistischen Grundsätze geändert wird. Damit wurde auch das Vereinsvermögen wieder frei gegeben.
Im Jahr 1939 entstand zugleich die Idee des Neujahrskonzerts, bei dem damals ausschließlich die Musik von Johann Strauss gespielt wurde. Diese Konzertreihe des Neujahrskonzerts ist inzwischen einer der kulturellen Höhepunkte des Jahres und wird immer live im Fernsehen übertragen. Die prächtigen Bilder aus Wien werden unter anderem untermalt durch phantastische Blumen und Tanzeinlagen des Wiener Balletts. Mit dem Ende des Zweiten Weltkriegs wurde der Verein der Wiener Philharmoniker wieder komplett unabhängig und das Orchester spielte gleich nach der Befreiung von Wien im April 1945 zwei große Konzertabende. Ein ganz besonderer Augenmerk gilt noch der Stelle des Dirigenten bei den Wiener Philharmonikern. Denn bis zum Jahr 1933 wurde das Orchester jede Saison von einem einzigen Dirigenten geleitet. Ab 1933 gab es nur noch Gastdirigenten. Große Verdienste hatten in den Anfangsjahren vor allem die Dirigenten Arturo Toscanini von 1933 bis 1937 und mit Unterbrechungen von 1933 bis 1954 Wilhelm Furtwängler. Zu den berühmten Gastdirigenten zählen unter anderem Herbert von Karajan, Karl Böhm, Paul Hindemith oder Daniel Barenboim. Ebenfalls als Gastdirigent leitete ab 1966 das spätere Ehrenmitglied Leonard Bernstein mehrfach das Orchester. Zu den herausragendsten Werken von Leonard Bernstein in Zusammenarbeit mit den Wiener Philharmonikern zählt beispielsweise die Bearbeitung der Werke von Gustav Mahler, der von 1898 bis 1901 selbst drei Jahre lang als Abonnementdirigent der Wiener Philharmoniker das Orchester geleitet hatte.
Wiener Philharmoniker Münzen
Passend zu den Wiener Philharmonikern gibt die Münze Österreich, die alle Münzen in Österreich prägt, seit dem Jahr 1989 jedes Jahr eine Anlagemünze heraus, die nach dem Orchester eben der Wiener Philharmoniker genannt wird. Zunächst waren die Münzen aus reinem Gold. Seit 2008 gibt es auch eine jährliche Silberversion. Ihr Wert entspricht nicht dem reinen Nennwert, sondern der Wiener Philharmoniker ist eine Bullionmünze, deren Wert sich nach dem aktuellen Edelmetallwert richtet. Das Motiv des Wiener Philharmoniker ist immer gleich. Die Vorderseite der von Thomas Pesendorfer gestalteten Wiener Philharmoniker Münze zeigt einige der klassischen Orchesterinstrumente wie Fagott, Horn, Harfe und dazu vier Geigen sowie in der Mitte ein Cello. Die Rückseite zeigt die Orgel, die sich im Goldenen Saal vom Wiener Musikverein befindet. Geändert wird nur das jeweilige Prägejahr. Die Münze gibt es inzwischen in vier Größen zu kaufen. Als Sonderprägungen erschien 2004 zum 15-jährigen Jubiläum eine 1000-Unzen-Münze, der sogenannte "Big Phil", und 2009 zum 20-jährigen Jubiläum eine weitere Münze. Beide werden wegen der limitierten Auflage als Sammlerobjekte gehandelt und sind daher teurer als der eigentliche Edelmetallwert.
www.geschichte-oesterreich.com/musik/wiener_philharmonike...
'The Principles and Practice of Mine Ventilation', by D. Penman, 2nd edition, 1947, Charles Griffin & Co., Ltd., London. Brown hardback book with lettering on spine.
West Lothian Museums. http://www.westlothian.gov.uk/tourism/museumsgalleries/ums/information
If you would like more information about this object, please contact: museums@westlothian.gov.uk, quoting WLDCM1995.096.004.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
Jesus takes up his cross and begins his journey
Parliament Square
Philip Jackson, Mahatma Gandhi, 2015
Jackson took inspiration from a 1931 photograph of Gandhi standing outside Downing Street, where he had come to argue the case for Indian self-governance. Befitting Gandhi’s radically egalitarian vision, the sculpture stands on a modest plinth, humbly approachable by passerby. As Gandhi himself recognized, his dedication to non-violence and the pursuit of truth resonate powerfully with Jesus’ teachings in the Gospels. Jesus was, Gandhi wrote, ‘the highest example of One who wished to give everything, asking nothing in return, and not caring what creed might happen to be professed by the recipient…I believe that He belongs not solely to Christianity, but to the entire world; to all races and people.’ Much as Jesus stood before Pilate, Jackson’s Gandhi looks toward the Houses of Parliament with gentle but steadfast resolve. Both were imprisoned and killed for the principles they espoused. Are we willing to take up the cross for our beliefs?
© Mazur/catholicnews.org.uk
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Top left is a conception balance with the thought of corporation(like McDonald) is everywhere and taking over nature.Top right is a display of harmony the color blend of the sky leading to bright sun and the darken trees bring a good look of harmony. Upper left middle is a demonstration of movement it was a 30 shot burst and me doing a one handed handstand really fast.Upper right middle is a display of Rhythm its a old picture of my dance crew in Arizona and its repetition of the girls holding down the guys in a row. Middle photo was my input on Unity as a dancer its a connection to make a dance and me and my best friend were one to make the dance and i feel that's how it demonstrates Unity.Bottom left middle is illustration of Emphasis everything is the same color but the distortion of the graffiti on the wall draws the viewers eyes(no I did not do the graffiti) . Bottom right shows the principle of variety , as everyone was admiring the beautiful cloudy sunset i took the chance to get a shot of multiple people and a shot of variety. Lastly the Bottom photo is my input on contrast I found a beautiful purple flower and bloomed out the contrast than lowered the saturation of the surrounding to make it pop even more.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Objective 3: Elements and Principles of Design
The principles of design demonstrated (describe the use):
Emphasis: the brightness of the graffiti makes you focus on the graffiti.
Conrast: The “Help” is brighter than the rest of the photo which makes the eye focus on the help.
The elements of design demonstrated (describe the use):
Colour: The background is black and white, making it an edgier and more scary looking background, while the “help” is bright bringing the whole image together.
Line: The lines in the word “help” in the photo lead the eye to interesting areas in the photo. They also direct the viewers’ attention to the main point in the photo.
Light: The very soft lighting creates a slight shadow of the person on the wall.
Texture: The wall near the person has a rougher texture creating an edgier image whereas where the orange part of the wall it is a smoother texture.
Objective 4: Lighting
Type of lighting and why:
A soft natural outdoor lighting that is focused on one side (side lighting) which creates a soft shadow of the person on the wall.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
Corrections/adjustments made AND/OR techniques applied:
Contrast made the image darker.
Used Black and white and brought back some of the image.
Objective 6: Critique
Analyse your photograph for strengths and areas for improvement (consider elements and principles of design, lighting, exposure, overall feel, etc.)
Strengths: The picture was colourful and had different effects to it.
Growths: I didn’t have a main focal point to the picture.