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Epic books, prints, & more!
Epic High Resolution Malibu Sunset! Malibu Sea Cave Sunset California Socal Photography! Fine Art Landscape & Nature Photography: Light Beams & Dr. Elliot McGucken Epic Fine Art! High Res!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
My fine art photography graces my physics books!
Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction.
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
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The great thing about the beach is that it presents an entirely different universe from season to season, from day to day, from hour to hour, from second to second, with the ever changing wind, tides, clouds, and sun. A split second with tumbling surf and a sinking sun can make a vast different, resulting in entirely different photographs.
Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
2019 Women’s Empowerment Principles Forum: Organized by UN Women, UN Global Compact and UN Office of Partnerships. Annual flagship event on gender equality for the private sector, bringing together 500+ other leaders and innovators from business, government, civil society, academia and the UN. The Forum participants gain exposure to new knowledge on strategies for advancing women's empowerment in the future of work, through gender-lens investing and by addressing sexual harassment in the world of work.
speakers included:
Robert Skinner, Executive Director, UN Office of Partnerships; Phumzile Mlambo-Ngucka, United Nations Under-Secretary-General and Executive Director, UN Women; Lise Kingo, CEO and Executive Director, UN Global Compact; Ambassador Maria Marinaki, Principal Advisor on Gender and the Implementation of UNSCR 1325 on Women, Peace and Security, European Union; Isabelle Durant, Deputy Secretary General, UNCTAD; Patricia Greene, Director, Women’s Bureau, US Department of Labour; Suzanne Biegel, Founder, Catalyst at Large; Carlos André, Executive Director, Banco de Brasil DTVM; Michael Denham, CEO, Business Development Bank of Canada; Sarah Chen, Co-founder and Managing Partner, The Billion Dollar Fund for Women; Stephanie Queda Cruz, Head of Gender, Diversity and Inclusion, Inter-American Development Bank; Deborah Gibbins, Chief Operating Officer, Mary Kay; Diana Kobas Deskovic, Founder, Mamforce; Alan Joyce, CEO, Qantas; Michael Ptasznik, CFO, Nasdaq; Banu Isci Sezen, General Manager, Turkcell Academy, Turkcell; Anne Claire Berg, Diversity and Inclusion Director, Danone; Purna Sen, Executive Coordinator and Spokesperson on Sexual Harassment and Other Forms of Discrimination, UN Women; Ibukun Awosika, Chairman, First Bank of Nigeria; Valeri Chekheria, CEO, Adjara Group; Emmanuel Lulin, Senior Vice President & Chief Ethics Officer, L’Oreal; Lebo Ramafoko, CEO, Soul Institute; Katherine Bell, Editor in Chief, Barron’s
Photo: UN Women/Amanda Voisard
Everything you can imagine is real.
~ Pablo Picasso
I wasn't sure whether to put up this shot or not. But then I did, hope you all enjoy this one. This is a 3 shot HDR with a bit of other post processing =)
Explored #346 - Aug 15th, 2008 =) ...Thank u so much guys; u r the stars here... hugs n kisses for u all.. =)
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
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.
Colonel David Stirling and SAS Memorial
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NN 75298 00373
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Statue of Colonel Stirling with the names of 317 members of the SAS killed in WWII, on 32 plaques on the ground around the statue (also two with the SAS badge and six blank plaques).
There is also a memorial to the Long Range Desert Group below the statue, near the car park.
---
David Stirling
Founder
of
The Special Air Service
Regiment
1941
---
A REMEMBRANCE
OF ALL THOSE MEMBERS OF THE
SPECIAL AIR SERVICE REGIMENT
WHO HAVE DIED IN THE SERVICE OF THEIR COUNTRY
AND HAVE GIVEN THEIR LIVES TO UPHOLD THE
PRINCIPLES OF FREEDOM AND JUSTICE
---
E Y ADAMSON
W W ALLAN MM
P J ALLEN
V ANDREWS
J G APPLEYARD DSO MC & Bar
J F S ARBUCKLE
C ASHE
A G ASHLEY
J ASPIN
N F ASTELL
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F L AUSTIN
C S BAILEY
J H M BAKER
J BALERDI
J H BALL
P BANNERMAN
T J BARKER
D BARRETT
C J R BATEMAN
K BATEMAN
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J W R BENNETT
L C BENNETT
R T BENSON
J W BENTLEY
A BETTS
T N BINTLEY
R J BIRNIE
L T BISHOP
J D BLACK
J BLAKENEY
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S BOLDEN MM
S BOLLAND
C F G BOND
J S BOWEN
R CT BOXALL
L R BRADFORD
H BROOK
M J BROPHY
E E BROWN
L J BROWN
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S P BROWN
B O BRUNT
W BRYSON
H C BUCK MC
G H F BUDDEN
R C L BURY
L G CAIRNS
J A CARMICHAEL
S A S CARTER
R A CASE
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G E CASS
G CASSIDY
G C CASTELLAIN
G CATON
T F T CHAMBERS
J CHEYNE
R CHICK
J D CHISIM
R S CHURCH
J H CLARIDGE
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C M CLYNES MC
G O COGGER
W H COLLIGAN
R W COLLIS
J J CONWAY
S COOPER
L CORNTHWAITE
W J CREANEY
C CRISP
R CRISP
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J S CROSIER
A J CROUCH
J P CROWLEY
D C CURRIE
L W CURTIS
A DAVIDSON
R D DAVIES
G D DAVIS
S DAVIDSON
A T DENCH
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W H DEVINE
D G DILL
W DODDS
J F DOWLING
J DOWNEY
E DREW
A DRONGIN
P L DUDGEON MC
J A DUFFY
A DUNCAN
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F W DUNKLEY
L R EADES
D ECCCLES
R EDGE
A R EDWARDS
J H ELLIOTT
H ERLIS
A G EVENS
D C FAIRWEATHER
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J W FASSAMI FENWICK
D FERGUSON MM
T J FIELD
J S FINLAY
W O FISHWICK
M B FITZPATRICK MM
D M GALES
L GARNHAM
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P B GARSTIN MC
W O GLEN
J GLYDE
P H GODDARD
J W GOSLING
E GOTTLIEB
J C W GOVAN MM
C M GRANT
I M GRANT
R de M L GRANT-WATSON
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D GRAY
S GREAVES MM
M A GRIFFIN
S D J GRIMSDALE
E GRIMSTER
R GUARD
P M GUNN MC
J St G HUNSTON
H C GURNEY
S E GUSCOTT
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P HAAS
J HALL
W A HALL
J HAMMOND
H HARRIS
E H A HAWKES
E J HAWKINS
R HAY
H HAYDEN
G M HAYES
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T A HEAD
W H HEARN
R E HEAVENS
J B HENDERSON
S HENDERSON
J C HENSHAW
E M HERSTELL
S J HILDRETH
H HILL
J O HODGKINSON
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W C HOLLAND
J HOLMES
D C HOLT
A H P The Hon HORE-RUTHVEN
W K HOWELL
E HOWELLS
S A HUGGINS
S R HUGHES MM
J ION
R F IRELAND
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T IVISON
P H JACKSON MC
T JJAMES
J R JESSIMAN
G G JOHNSTON
R W JONES MM
J JOUGHIN
J KALKSTEIN
B KASPEROVITCH
P J KEANE
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J KEEBLES
D KEITH
S V KENDALL
D S KENNEDY
T J KENNEDY DCM
T H KENT
G C KERLEY
F C N KINGSTON
J KINNIVANE
T KITCHINGMAN
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A E KNAGGS
D LAMBIE
K B LAMONBY
A F E V S LASSEN VC MC & 2 Bars
G D LAW
W LEACH
W LEADBETTER
J LEES
D B LEIGH
J S LEWES
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D LEWIS
M LEWIS
R R LITTLEJOHN MC
D M LIVINGSTONE
L E C LLOYD
A LOCKERIDGE
R LODGE DCM
L C LONG
H LOOSEMORE
H LUTTON
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C MacFARLANE
H MALLORY MM
J J MANNION
W MARLOW
W M McALPIN
D McBRIDE
J McDONALD
R G McEACHAN
E C McGONIGAL
P McGOVERN
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J McGUIRE
D H McKAY
R A McKENDRICK
D McKERRACHER
B T McLAUGHLAN
A McLEOD
E M MAHON
W M McNINCH MM
R M E MELOT MC
G W J MILLER MM
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R MILLER
F G MOORE
A D MORRIS
T MORRIS
W MORRISON
H MULLEN
G MUNRO
D L M MURPHY
W H E NEVILL
M NIXON
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C O'DOWD MM
J OGG
J O'REILLY
L H W PACKMAN
T A PARRIS
H J PASCOE
P E PASKELL
I N PATTERSON MC
D PHILLIPS
R R PHILLIPS
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M A K PINCI
P H PINCKNEY
E POCOCK
C W PRICE
A H PUGH
F A PUTTICK
F W RAWLINSON
J W B REILLY
D B REYNOLDS
M J REYNOLDS
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J A RICCOMINI MBE MC
L G RICE
C T RICHARDS
N D RICHARDSON
W E L RICHARDSON
E ROBERTS
K S ROBERTSON
G ROBINSON
J W R ROBSON
J K ROGERS
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A ROGERSON
N ROSENSTEIN
J M ROUSSEAU
L C RUDD
S J RYLAND
J SALTER
R J SCHERZINGER
F SENIOR
A SHARMAN
G SHAW
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J P SHORTALL
R H SHORTEN
S A SILIFANTS
T J SILLETT
J L SILLY
E G SIMMONS
J SIMPSON
A R M SINCLAIR
A G SKINNER MM
G F SLATER
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J W SMITH
A K SPARROW
A J SPOONER
E A N SQUE
T M STEPHENS
W STEWART-JOHNSON
S J STONE
D SWANSON
J M SWORD
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L TAYLOR
F E TERRY-HALL
L THOMAS
W H THOMAS
T F G THORNTON
P R THORPE MM
C F TOBIN
M E TYSON
T VAREY
J WALKER
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G W WALSHAW
K WARBURTON
G R WARD
E T WEAVER
J W WEBSTER
G WERTHEIM
A R WHATELY-SMITH
R WHITE MM
V O WHITE
E A F WIDDINGTON MC
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J J H WILKINSON
J K WILKINSON
J R B WILLIAMS
A M WILSON
H WINDER
R J WORTLEY
W P YOUNG
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Glenhead, War Memorial
War Memorial (21st Century)
Site Name Glenhead, War Memorial
Classification War Memorial (21st Century)
Alternative Name(s) Hill Of Row; David Stirling Memorial
Canmore ID 217053
Site Number NN70SE 110
NGR NN 75293 00379
Datum OSGB36 - NGR
Permalink canmore.org.uk/site/217053
The house at Coleton Fishacre was built as a country home for Rupert D'Oyly Carte and his wife, Lady Dorothy Carte, between 1923 and 1926.[1] The architect was Oswald Milne, a former assistant to Edwin Lutyens, who designed the house with the principles of the Arts and Crafts Movement in mind: simplicity of design and quality of craftsmanship
Hand typeset in Folio Extra Bold and Stempel Helvetica and letterpress printed by Typoretum onto 350gsm Colorplan Natural card stock.
Design © Taxi Studio 2013
Sketchnote of the four key design principles from Robin Williams' excellent book "The Non-Designer's Design Book". I applied these four principles to sketchnotes, layouts and the organization of content in particular.
Great American West Landscape Photography by California Fine Art Landscape Photographer Elliot McGucken! Fine Art Landscape & Nature Photography
I sign every print with dx4/dt=ic, and my physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Pretty Blonde Green Eyes Fitness Bikini Model! Beautiful Portraits & Headshots! Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Fitness Model! Pretty Woman!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
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My Epic Book Exalting the Venus Archetype: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
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Pretty Portraits & Headshots! Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Fitness Model! Pretty Woman! Sexy hot women!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
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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
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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:
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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!
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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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Surfer American Flag Bikini Girl with Black Surfboard! July Fourth USA Flag Bikini Independence Day Swimsuit Model! Pretty American Flag Swimsuit Bikini Model! Red, White, Blue USA Flag Swimsuit Model on Malibu Beach! Happy 4th of July! Stars & Stripes Forever!
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Some of my epic books, prints, & more!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
"It is just preposterous the idea that if a party comes third in the number of votes, it still has somehow the right to carry on squatting in No 10..."
Nick Clegg
I picked this dress up in the Debenhams sale a few weeks ago and this was the first chance to wear it. I'm really pleased with it and how it hangs (it is a fluid silky jersey type fabric with mesh sleeves) and also was a bargain (just £16.50 from £55!)
Getting Things Done - Basic Principles summarized.
Currently, I'm yet to practice GTD but that's a start.
Update: I *AM* practicing GTD, since the 23rd of May.
Epic 45SURF t-shirts & hoodies for your EPIC HERO'S ODYSSEY!
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Epic Malibu Sea Caves 2018 Caledar!
My book on Epic Landscape Photography!
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Photographing the Venus Archetype!
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Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
If you would like a free review copy, message me!
Epic Landscape Photography! New Book!
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And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
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The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
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Beautiful swimsuit bikini model goddess!
Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!
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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
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The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Jainism (/ˈdʒeɪnɪzəm/ or /ˈdʒaɪnɪzəm/), traditionally known as Jina Sashana or Jain dharma (Sanskrit: जैन धर्म), is an Indian religion that prescribes a path of nonviolence towards all living beings. Practitioners believe that nonviolence and self-control are the means by which they can obtain liberation from the cycle of births and deaths.
The word "Jain" is derived from the Sanskrit word Jina (meaning victor). A human being who has conquered all inner passions like attachment, desire, anger, pride, greed, etc. and therefore, possesses pure infinite knowledge (Kevala Jnana) is called Jina. Followers of the path practised and preached by Jinas are known as Jains.
Jainism is one of the oldest religions in the world. It has also been regarded as one of the most scientific of all religions. Jains trace their history through a succession of twenty-four teachers and revivers of Jain teachings known as tirthankaras with Rishabha as the first and Mahāvīra as the last of the current era.
DOCTRINE
NON-VIOLENCE (AHIMSA)
The principle of ahimsa is the most fundamental and well known aspect of Jain religious practice. The everyday implementation of ahimsa is more comprehensive than in other religions and is the hallmark for Jain identity. Non-violence is practiced first and foremost during interactions with other human beings, and Jains believe in avoiding harm to others through actions, speech and thoughts.
In addition to other humans, Jains extend the practice of nonviolence towards all living beings. As this ideal cannot be completely implemented in practice, Jains recognize a hierarchy of life, which gives more protection to humans followed by animals followed by insects followed by plants. For this reason, vegetarianism is a hallmark of Jain practice, with the majority of Jains practicing lacto-vegetarianism. If there is violence against animals during the production of dairy products, veganism is also encouraged (see Jain vegetarianism). After humans and animals, insects are the next living being offered protection in Jain practice with avoidance of intentional harm to insects emphasized. For example, insects in the home are often escorted out instead of killed. Intentional harm and the absence of compassion make an action more violent per Jainism.
After nonviolence towards humans, animals and insects, Jains make efforts not to injure plants any more than necessary. Although they admit that plants must be destroyed for the sake of food, they accept such violence only inasmuch as it is indispensable for human survival. Strict Jains, including Jain monks and nuns, do not eat root vegetables such as potatoes, onions and garlic, because tiny organisms are injured when the plant is pulled up, and also because a bulb or tuber's ability to sprout is seen as characteristic of a living being.
Jainism has a very elaborate framework on types of life and includes life-forms that may be invisible. Per Jainism, the intent and emotions behind the violence are more important than the action itself. For example, if a person kills another living being out of carelessness and then regrets later, the karma bandhan (bondage of karma) is less versus when the person kills the same living being with anger, revenge, etc. The emotions (bhava) determine the bondage of karmas. A soldier acting in self defense is a different type of violence versus someone killing another person out of hatred or revenge.
Violence or war in self-defense may be justified, but this must only be used as a last resort after peaceful measures have been thoroughly exhausted. Mahatma Gandhi notably practiced and preached ahimsa.
NON ABSOLUTISM
The second main principle of Jainism is non-absolutism (anēkāntavāda). For Jains, non-absolutism means maintaining open-mindedness. This includes the recognition of all perspectives and a humble respect for differences in beliefs. Jainism encourages its adherents to consider the views and beliefs of their rivals and opposing parties. The principle of anekāntavāda influenced Mahatma Gandhi to adopt principles of religious tolerance and ahiṃsā.
Anekāntavāda emphasizes the principles of pluralism (multiplicity of viewpoints) and the notion that truth and reality are perceived differently from diverse points of view, no single one of which is complete.
Jains illustrate this theory through the parable of the blind men and an elephant. In this story, each blind man feels a different part of an elephant: its trunk, leg, ear, and so on. All of them claim to understand and explain the true appearance of the elephant but, due to their limited perspectives, can only partly succeed. The concept of anēkāntavāda extends to and is further explained by Syādvāda (below).
Non-possessiveness
The third main principle in Jainism is non-possessiveness (aparigraha). This is the concept of greedlessness or non-grasping and includes non-materialism. Jainism emphasizes taking no more than is truly necessary. While ownership of objects is allowed, non-attachment to possessions is taught. Followers should minimize the tendency to hoard unnecessary material possessions and limit attachment to current possessions. Further, wealth and possessions should be shared and donated whenever possible. Jainism believes that unchecked attachment to possessions can lead to direct harm to oneself and others.
Five main vows
Jainism encourages spiritual development through cultivation of personal wisdom and through reliance on self-control through vows. Jains accept different levels of compliance for strict followers and laymen. Followers of this religion undertake five major vows:
1. Ahimsa: Ahimsa means nonviolence. The first major vow taken by followers is to cause no harm to living beings. It involves minimizing intentional and unintentional harm to other living creatures by actions, speech or thoughts.
2. Satya: Satya means truth. This vow is to always speak the truth. Given that non-violence has priority, other principles yield to it whenever they conflict: in a situation where speaking truth could lead to violence, silence may be observed.
3. Asteya: Asteya means not stealing. Jains should not take anything that is not willingly offered. Attempting to extort material wealth from others or to exploit the weak is considered theft. Fair value should be given for all goods and services purchased.
4. Brahmacharya: Brahmacharya means chastity for laymen and celibacy for Jain monks and nuns. This requires the exercise of control over the senses to control indulgence in sexual activity.
5. Aparigraha: Aparigraha means non-possessiveness. This includes non-materialism and non-attachment to objects, places and people. Jain monks and nuns completely renounce property and social relations.
Monks and nuns are obligated to practice the five cardinal principles of non-violence, truthfulness, non-stealing, celibacy, and non-possessiveness very strictly, while laymen are encouraged to observe them within their current practical limitations.
Additionally, Jainism identifies four passions of the mind: Anger, pride (ego), deceitfulness, greed. It recommends conquering anger by forgiveness, pride by humility, deceitfulness by straight-forwardness and greed by contentment.
GOD
Jainism rejects the idea of a creator or destroyer god and postulates that the universe is eternal. Jainism believes every soul has the potential for salvation and to become god. In Jainism, perfect souls with body are called Arihantas (victors) and perfect souls without the body are called Siddhas (liberated souls). Tirthankara is an Arihanta who help others in achieving liberation. Jainism has been described as a transtheistic religion , as it does not teach the dependency on any supreme being for enlightenment. The Tirthankara is a guide and teacher who points the way to enlightenment, but the struggle for enlightenment is one's own.
- Arihanta (Jina)- A human being who conquers all inner passions and possesses infinite knowledge (Kevala Jnana). They are also known as Kevalins (omniscient beings). There are two kinds of Arihantas -
1. Sāmānya (Ordinary victors) - Kevalins who are concerned with their own salvation.
2. Tirthankara - Tīrthaṅkara literally means a 'ford-maker', or a founder of salvation teaching. They propagate and revitalize the Jain faith and become role-models for those seeking spiritual guidance. They reorganise the fourfold order (chaturvidha sangha) that consists of monks (śramana), nuns (śramani), male followers (srāvaka) and female followers (śravaika). Jains believe that exactly twenty-four tirthankaras are born in each half cycle of time (Jain cosmology). The last tirthankara, Mahavira and his predecessor Parsvanatha are historical figures whose existence is recorded.
Siddhas (the liberated beings), although they are formless, this is how they are depicted in Jain temples
- Siddha- Siddhas are Arihantas who attain salvation (moksha) and dwell in Siddhashila with infinite bliss, infinite perception, infinite knowledge and infinite energy.
PRACTICES
MONASTICISM
In Jainism, monasticism is encouraged and respected. Jain monks and nuns live extremely austere and ascetic lifestyles. They follow the five main vows of Jainism absolutely. Jain monks and nuns have neither a permanent home nor possessions. They do not use vehicles and always travel barefoot from one place to another, irrespective of the distance. They wander from place to place except during the months of Chaturmas. They do not use telephones or electricity. They do not prepare food and live only on what people offer them. Jain monks and nuns also usually keep a cloth for ritual mouth-covering to avoid inadvertently harming micro-organisms in the air. Most will carry a broomlike object (Rayoharan), made from dense, thick thread strands, to sweep the ground ahead of them, or before sitting down, to avoid inadvertently crushing small insects.
The monks of Jainism, whose presence is not needed for most Jain rituals, should not be confused with priests. However, some sects of Jainism often employ a pujari, who need not be a Jain, to perform special daily rituals and other priestly duties at the temple.
PRAYERS
Jains pray to these passionless gods not for any favors, material goods or rewards but rather pray to the qualities of the god with the objective of destroying their own karmas and achieving liberation. This is best understood by the term vandetadgunalabhdhaye – i.e. "we pray to the attributes of such Gods to acquire such attributes".
NAVKAR MANTRA
The Navkār mantra is the fundamental prayer of Jainism and may be recited at any time. In this mantra, Jains worship the qualities (Gunas) of the spiritually supreme in order to attain Godhood. The prayer does not name any one particular person. In Jainism, the purpose of worship or prayer is to break the barriers of worldly attachments and desires and to assist in the liberation of the soul.
FASTING
Most Jains fast throughout the year, particularly during festivals (fasting in Jainism). This takes on various forms and may be practiced based on one's ability. Some examples include: eating only one or two meals per day, drinking only water all day, not eating after sunset, not eating processed foods, eating food without sugar/oil/salt. Two purposes of fasting are to exercise self-control and to clear the mind to devote more mental energy to prayer.
MEDITATION
Jains have developed a type of meditation called samayika, a term derived from the word samaya. The goal of Samayika is to achieve a feeling of perfect calmness and to understand the unchanging truth of the self. Such meditation is based on contemplation of the universe and the reincarnation of self. Samayika is particularly important during the Paryushana religious festival. It is believed that meditation will assist in managing and balancing one's passions. Great emphasis is placed on the internal control of thoughts, as they influence behavior, actions and goals.
Jains follow six duties known as avashyakas: samyika (practising serenity), chaturvimshati (praising the tirthankara), vandan (respecting teachers and monks), pratikramana (introspection), kayotsarga (stillness), and pratyakhyana (renunciation).
PHILOSOPHY
SOUL AND KARMA
According to Jains, souls are intrinsically pure and possess the qualities of infinite knowledge, infinite perception, infinite bliss and infinite energy in their ideal state. In reality, however, these qualities are found to be obstructed due to the soul's association with a substance called karma. The ultimate goal in Jainism is to obtain moksha, which means liberation or salvation of the soul completely freeing it from karmic bondage.
The relationship between the soul and karma is explained by the analogy of gold. Gold is always found mixed with impurities in its natural state. Similarly, the ideal, pure state of the soul is always mixed with the impurities of karma. Just like gold, purification of the soul may be achieved if the proper methods of refining are applied. The Jain karmic theory is used to attach responsibility to individual action and is cited to explain inequalities, sufferings and pain.
THREE GEMS
The following three gems of Jainism lay down the path to achieve liberation of the soul (moksha).
1. Right View (Samyak Darshana) - Having the right perception and seeking the truth while avoiding preconceptions that get in the way of seeing things clearly.
2, Right Knowledge (Samyak Gyana) - Having the right knowledge of Jain principles.
3. Right Conduct (Samyak Charitra) - Applying Jain principles to your life.
TATTVA
Jain metaphysics is based on seven or nine fundamentals which are known as tattva, which attempt to explain the nature of the human predicament and to provide solutions for the ultimate goal of liberation of the soul (moksha):
1. Jīva: The essence of living beings is called jiva, a substance which is different from the body that houses it. Consciousness, knowledge and perception are its fundamental attributes.
2. Ajīva: Non-living entities that consist of matter, space and time.
3. Asrava: The interaction between jīva and ajīva causes the influx of karma (a particular form of ajiva) into the soul.
4. Bandha: The karma masks the jiva and restricts it from having its true potential of perfect knowledge and perception.
5. Saṃvara: Through right conduct, it is possible to stop the influx of additional karma.
6. Nirjarā: By performing asceticism, it is possible to discard the existing karma.
7. Mokṣa: The liberated jiva which has removed its karma and is said to have the pure, intrinsic quality of perfect knowledge and perception.
Some authors add two additional categories: the meritorious (puńya) and demeritorious (pāpa) acts related to karma.
SYATVADA
Syādvāda is the doctrine extending from non-absolutism (anēkāntavāda). This recommends the expression of anekānta by prefixing the epithet Syād to every phrase or expression. The Sanskrit etymological root of the term syād is "perhaps" or "maybe", but in the context of syādvāda it means "in some ways" or "from some perspective." As reality is complex, no single proposition can express its full nature. The term syāt- should therefore be prefixed to each proposition, giving it a conditional point of view and thus removing dogmatism from the statement. There are seven conditioned propositions (saptibhaṅgī) in syādvāda as follows:
1. syād-asti—in some ways, it is;
2. syād-nāsti—in some ways, it is not;
3. syād-asti-nāsti—in some ways, it is, and it is not;
4. syād-asti-avaktavyaḥ—in some ways, it is, and it is indescribable;
5. syād-nāsti-avaktavyaḥ—in some ways, it is not, and it is indescribable;
6. syād-asti-nāsti-avaktavyaḥ—in some ways, it is, it is not, and it is indescribable;
7. syād-avaktavyaḥ—in some ways, it is indescribable.
Each of these seven propositions examines the complex and multifaceted nature of reality from a relative point of view of time, space, substance and mode. To ignore the complexity of reality is to commit the fallacy of dogmatism.
Nayavāda is the theory of partial standpoints or viewpoints. Nayavāda is a compound of two Sanskrit words: naya ("partial viewpoint") and vada ("school of thought or debate"). It is used to arrive at a certain inference from a point of view. Every object has infinite aspects, but when we describe one in practice, we speak only of relevant aspects and ignore the irrelevant. Nayavāda holds that philosophical disputes arise out of confusion of standpoints, and the standpoints we adopt are "the outcome of purposes that we may pursue"— although we may not realize it. While operating within the limits of language and perceiving the complex nature of reality, Māhavīra used the language of nayas. Naya, being a partial expression of truth, enables us to comprehend reality part by part.
Non-absolutism (anēkāntavāda) is more formally stated by observing that objects are infinite in their qualities and modes of existence, so they cannot be completely grasped in all aspects and manifestations by finite human perception. Only Kevalins (omniscient beings) can comprehend objects in all aspects and manifestations; others are only capable of partial knowledge. Accordingly, no single, specific, human view can claim to represent absolute truth.
HISTORY
ORIGINS
The origins of Jainism are obscure. Jainism is a philosophy of eternity,. According to Jain time cycle, in each half of the time cycle, twenty-four great humans rise to the level of tirthankaras and show humans the true path to salvation. Therefore, they are also called human spiritual guides. Parshvanatha, predecessor of Mahāvīra and the twenty-third tirthankara was a historical figure. He lived somewhere in the 9th–7th century BC. Followers of Pārśva are mentioned in the canonical books; and a legend in the Uttarādhyayana sūtra relates a meeting between a disciple of Pārśva and a disciple of Mahāvīra which brought about the union of the old and the new Jain teachings.
During the 5th or 6th century BC, Vardhamana Mahāvīra became one of the most influential teachers of Jainism. Jains revere him as twenty-forth tirthankara and regard him as the last of the great tīrthankaras of this era. He appears in the tradition as one who, from the beginning, had followed a religion established long ago.
UNIVERSAL HISTORY
According to Jain legends, sixty-three illustrious beings called Salakapurusas have appeared on earth. The Jain universal history is a compilation of the deeds of these illustrious persons. They comprise twenty-four tīrthaṅkaras, twelve chakravartins, nine baladevas, nine vāsudevas and nine prativāsudevas.
A chakravarti is an emperor of the world and lord of the material realm. Though he possesses worldly power, he often finds his ambitions dwarfed by the vastness of the cosmos. Jain puranas give a list of twelve chakravartins. They are golden in complexion. One of the greatest chakravartin mentioned in Jain scriptures is Bharata. Traditions say that India came to be known as Bharatavarsha in his memory.
There are nine sets of baladeva, vāsudeva and prativāsudeva. Certain Digambara texts refer to them as balabhadra, narayana and pratinarayana, respectively. The origin of this list of brothers can be traced to the Jinacaritra by Bhadrabahu (c. 3rd–4th century BCE). Baladeva are non-violent heroes, vasudeva are violent heroes and prativāsudeva can be described as villains. According to the legends, the vasudeva ultimately kill the prativasudeva. Of the nine baladeva, eight attain liberation and the last goes to heaven. The vasudeva go to hell on account of their violent exploits, even if these were intended to uphold righteousness.
ROYAL PATRONAGE
The ancient city Pithunda, capital of Kalinga (modern Odisha), is described in the Jain text Uttaradhyana Sutra as an important centre at the time of Mahāvīra, and was frequented by merchants from Champa. Rishabha, the first tirthankara, was revered and worshiped in Pithunda and is known as the Kalinga Jina. Mahapadma Nanda (c. 450–362 BCE) conquered Kalinga and took a statue of Rishabha from Pithunda to his capital in Magadha. Jainism is said to have flourished under the Nanda Empire.
The Maurya Empire came to power after the downfall of the Nanda. The first Mauryan emperor, Chandragupta Maurya (c. 322–298 BCE), became a Jain in the latter part of his life. He was a disciple of Bhadrabahu, a Jain acharya who was responsible for propagation of Jainism in South India. The Mauryan king Ashoka was converted to Buddhism and his pro-Buddhist policy subjugated the Jains of Kalinga. Ashoka's grandson Samprati (c. 224–215 BCE) is said to have converted to Jainism by a Jain monk named Suhasti. He is known to have erected many Jain temples. He ruled a place called Ujjain.
In the 1st century BCE, Emperor Kharavela of the Mahameghavahana dynasty of Kalinga conquered Magadha. He retrieved Rishabha's statue and installed it in Udaygiri, near his capital Shishupalgadh. Kharavela was responsible for the propagation of Jainism across the Indian subcontinent.
Xuanzang (629–645 CE), a Chinese traveller, notes that there were numerous Jains present in Kalinga during his time. The Udayagiri and Khandagiri Caves near Bhubaneswar, Odisha are the only surviving stone Jain monuments in Orissa.
King Vanaraja (c. 720–780 CE) of the Chawda dynasty in northern Gujarat was raised by a Jain monk Silunga Suri. He supported Jainism during his rule. The king of kannauj Ama (c. 8th century CE) was converted to Jainism by Bappabhatti, a disciple of famous Jain monk Siddhasena Divakara. Bappabhatti also converted Vakpati, the friend of Ama who authored a famous prakrit epic named Gaudavaho.
TAMIL NADU
Jainism flourished in Tamil Nadu at least as early as the Sangam period. Tamil Jain tradition places their origins are much earlier. The Ramayana mentions that Rama paid homage to Jaina monks living in South India on his way to Sri Lanka.
DECLINE
Once a major religion, Jainism declined due to a number of factors, including proselytising by other religious groups, persecution, withdrawal of royal patronage, sectarian fragmentation and the absence of central leadership. Since the time of Mahavira, Jainism faced rivalry with Buddhism and the various Hindu sects. The Jains suffered isolated violent persecutions by these groups, but the main factor responsible for the decline of their religion was the success of Hindu reformist movements. Around the 7th century, Shaivism saw considerable growth at the expense of Jainism due to the efforts of the Shaivite poets like Sambandar and Appar. Around the 8th century CE, the Hindu philosophers Kumārila Bhaṭṭa and Adi Shankara tried to restore the orthodox Vedic religion.
Royal patronage has been a key factor in the growth as well as decline of Jainism. The Pallava king Mahendravarman I (600–630 CE) converted from Jainism to Shaivism under the influence of Appar. His work Mattavilasa Prahasana ridicules certain Shaiva sects and the Buddhists and also expresses contempt towards Jain ascetics. Sambandar converted the contemporary Pandya king back to Shaivism. During the 11th century Brahmana Basava, a minister to the Jain king Bijjala, succeeded in converting numerous Jains to the Lingayat Shaivite sect. The Lingayats destroyed various temples belonging to Jains and adapted them to their use. The Hoysala king Vishnuvardhana (c. 1108–1152 CE) became a follower of the Vaishnava sect under the influence of Ramanuja, after which Vaishnavism grew rapidly in the present-day Karnataka. As the Hindu sects grew, the Jains compromised by following Hindu rituals and customs and invoking Hindu deities in Jain literature.
There are several legends about the mass massacre of Jains in the ancient times. The Buddhist king Ashoka (304-232 BCE) is said to have ordered killings of 18,000 Jains or Ajivikas after someone drew a picture of Buddha bowing at the feet of Mahavira. The Shaivite king Koon Pandiyan, who briefly converted to Jainism, is said to have ordered a massacre of 8,000 Jains after his re-conversion to Shaivism. However, these legends are not found in the Jain texts, and appear to be fabricated propaganda by Buddhists and Shaivites. Such stories of destruction of one sect by another sect were common at the time, and were used as a way to prove the superiority of one sect over the other. There are stories about a Jain king of Kanchi persecuting the Buddhists in a similar way. Another such legend about Vishnuvardhana ordering the Jains to be crushed in an oil mill doesn't appear to be historically true.
The decline of Jainism continued after the Muslim conquests on the Indian subcontinent. The Muslims rulers, such as Mahmud Ghazni (1001), Mohammad Ghori (1175) and Ala-ud-din Muhammed Shah Khilji (1298) further oppressed the Jain community. They vandalised idols and destroyed temples or converted them into mosques. They also burned the Jain books and killed Jains. Some conversions were peaceful, however; Pir Mahabir Khamdayat (c. 13th century CE) is well known for his peaceful propagation of Islam. The Jains also enjoyed amicable relations with the rulers of the tributary Hindu kingdoms during this period; however, their number and influence had diminished significantly due to their rivalry with the Shaivite and the Vaisnavite sects.
For long periods of time, Jainism was widely adopted in the Indian subcontinent. The religion has been in decline since the 8th century AD due to the growth of, and oppression by other religions.
COSMOLOGY
Jain beliefs postulate that the universe was never created, nor will it ever cease to exist. It is independent and self-sufficient, and does not require any superior power to govern it. Elaborate description of the shape and function of the physical and metaphysical universe, and its constituents, is provided in the canonical Jain texts, in commentaries and in the writings of the Jain philosopher-monks. The early Jains contemplated the nature of the earth and universe and developed detailed hypotheses concerning various aspects of astronomy and cosmology.
According to the Jain texts, the universe is divided into three parts, the upper, middle, and lower worlds, called respectively urdhva loka, madhya loka, and adho loka. It is made up of six constituents: Jīva, the living entity; Pudgala, matter; Dharma tattva, the substance responsible for motion; Adharma tattva, the substance responsible for rest; Akāśa, space; and Kāla, time.
WHEEL OF TIME
According to Jainism, time is beginningless and eternal; the cosmic wheel of time, called kālachakra, rotates ceaselessly. It is divided into halves, called utsarpiṇī and avasarpiṇī. Utsarpiṇī is a period of progressive prosperity, where happiness increases, while avasarpiṇī is a period of increasing sorrow and immorality. According to Jain cosmology, currently we are in the 5th ara, Duḥṣama (read as Dukhma). As of 2015, exactly 2,539 years have elapsed and 18,461 years are still left. It is an age of sorrow and misery. The maximum age a person can live to in this ara is not more than 200 years. The average height of people in this ara is six feet tall. No liberation is possible, although people practice religion in lax and diluted form. At the end of this ara, even the Jain religion will disappear, only to appear again with the advent of 1st Tirthankara in the next cycle.
JAIN COMMUNITY
DEMOGRAPHICS
The majority of Jains currently reside in India. With 5 million followers, Jainism is relatively small compared to major world religions. Jains live throughout India, with the largest populations concentrated in the states of Maharashtra, Madhya Pradesh, Rajasthan and Gujarat. Karnataka and Tamil Nadu also have significant Jain populations. Outside India, large Jain communities can be found in the United States and Europe. Several Jain temples have been built in both of these places. Smaller Jain communities also exist in Kenya and Canada.
Jains developed a system of philosophy and ethics that had a great impact on Indian culture. They have contributed to the culture and language in the Indian states of Tamil Nadu, Karnataka, Maharashtra,
FESTIVALS
Paryushana is the most important annual event for Jains, and is usually celebrated in August or September. It lasts 8–10 days and is a time when lay people increase their level of spiritual intensity often using fasting, study and prayer/meditation to help. The five main vows are emphasized during this time. There are no set rules, and followers are encouraged to practice according to their ability and desires. The last day involves a focused prayer/meditation session known as Samvatsari Pratikramana. At the conclusion of the festival, followers request forgiveness from others for any offenses committed during the last year. Forgiveness is asked by saying "Micchami Dukkadam" to others, which means "If I have caused you offence in any way, knowingly or unknowingly, in thought, word or action, then I seek your forgiveness." The literal meaning of Paryushana is "abiding" or "coming together."
Mahāvīra Jayanti, the Janam (birth) of Mahāvīra, the last tirthankara, is usually celebrated in late March or early April based on the lunar calendar.
Diwali is a festival that marks the anniversary of attainment of Nirvana of Lord Mahavira, the last of the Jain Tirthankar of this era. It is celebrated at the same time as the Hindu festival of Diwali. Diwali is celebrated in an atmosphere of austerity, simplicity, serenity, equity, calmness, charity, philanthropy and environment-consciousness. Jain temples, homes, offices, shops are decorated with lights and diyas. The lights are symbolic of knowledge or removal of ignorance. Sweets are often distributed to each other. The new Jain year starts right after Diwali.
RITUALS
There are many Jain rituals including ones involving idol worshiping, depending on the sect. One example related to the five life events of tirthankara called the Panch Kalyanaka are rituals such as the panch kalyanaka pratishtha, panch kalyanaka puja, and snatra puja.
ART AND ARCHITECTURE
Jainism has contributed significantly to Indian art and architecture. Jains mainly depict tirthankara or other important people in a seated or standing meditative posture. Yakshas and yakshinis, attendant spirits who guard the tirthankara, are usually shown with them. Figures on various seals from the Indus Valley Civilisation bear similarity to Jain images, nude and in a meditative posture. The earliest known Jain image is in the Patna museum. It is approximately dated to the 3rd century BCE. Bronze images of Pārśva, can be seen in the Prince of Wales Museum, Mumbai, and in the Patna museum; these are dated to the 2nd century BCE. A sandalwood sculpture of Mahāvīra was carved during his lifetime, according to tradition. Later the practice of making images of wood was abandoned, other materials being substituted.
Remnants of ancient Jain temples and cave temples can be found all around India. Notable among these are the Jain caves at Udaigiri Hills near Bhelsa(Vidisha) in Madhya Pradesh and Ellora in Maharashtra, and the Jain temples at Dilwara near Mount Abu, Rajasthan. The Jain tower in Chittor, Rajasthan is a good example of Jain architecture. Decorated manuscripts are preserved in Jain libraries, containing diagrams from Jain cosmology. Most of the paintings and illustrations depict historical events, known as Panch Kalyanaka, from the life of the tirthankara. Rishabha, the first tirthankara, is usually depicted in either the lotus position or kayotsarga, the standing position. He is distinguished from other tirthankara by the long locks of hair falling to his shoulders. Bull images also appear in his sculptures. In paintings, incidents of his life, like his marriage and Indra's marking his forehead, are depicted. Other paintings show him presenting a pottery bowl to his followers; he is also seen painting a house, weaving, and being visited by his mother Marudevi. Each of the twenty-four tirthankara is associated with distinctive emblems, which are listed in such texts as Tiloyapannati, Kahavaali and Pravacanasaarodhara.
There are 26 caves, 200 stone beds, 60 inscriptions and over 100 sculptures in and around Madurai. It was in Madurai that Acharya Bhutapali wrote the Shatkhandagama. This is also the site where Jain ascetics of yesteryear wrote great epics and books on grammar in Tamil.
The Sittanavasal cave temple is regarded as one of the finest examples of Jain art. It is the oldest and most famous Jain centre in the region. It possesses both an early Jain cave shelter, and a medieval rock-cut temple with excellent fresco paintings of par excellence comparable to Ajantha paintings; the steep hill contains an isolated but spacious cavern. Locally, this cavern is known as Eladipattam, a name that is derived from the seven holes cut into the rock that serve as steps leading to the shelter. Within the cave there are seventeen stone beds aligned into rows, and each of these has a raised portion that could have served as a pillow-loft. The largest stone bed has a distinct Tamil- Bramhi inscription assignable to the 2nd century B.C., and some inscriptions belonging to 8th century B.C. are also found on the nearby beds. The Sittannavasal cavern continued to be the "Holy Sramana Abode" until the seventh and eighth centuries. Inscriptions over the remaining stone beds name mendicants such as Tol kunrattu Kadavulan, Tirunilan, Tiruppuranan, Tittaicharanan, Sri Purrnacandran, Thiruchatthan, Ilangowthaman, sri Ulagathithan and Nityakaran Pattakali as monks.
The 8th century Kazhugumalai temple marks the revival of Jainism in South India.
A monolithic, 18 m statue of Bahubali referred to as "Gommateshvara", built by the Ganga minister and commander Chavundaraya, is situated on a hilltop in Shravanabelagola in the Hassan district of Karnataka state. This statue was voted by Indians the first of the Times of India's list of seven wonders of India.
A large number of ayagapata, votive tablets for offerings and the worship of tirthankara, were found at Mathura.[
RECEPTION
NEGATIVE
Like all religions, Jainism is criticized and praised for some of its practices and beliefs. A holy fast to death in Jainism called sallekhana is a particular area of controversy. When a person feels that all his or her duties have been fulfilled, he or she may decide to gradually cease eating and drinking. This form of death (santhara) has been the center of controversy with some petitioning to make it illegal. Many Jains, on the other hand, see santhara as spiritual detachment requiring a great deal of spiritual accomplishment and maturity and a declaration that a person is finished with this world and has chosen to leave. Jains believe this allows one to achieve death with dignity and dispassion along with a great reduction of negative karma.
POSITIVE
Mahatma Gandhi was greatly influenced by Jainism. Jain principles that he adopted in his life were asceticism, compassion for all forms of life, the importance of vows for self-discipline, vegetarianism, fasting for self-purification, and mutual tolerance among people of different creeds.
Swami Vivekananda appreciated the role of Jainism in the development of Indian religious philosophy. In his words, he asks:
“ What could have saved Indian society from the ponderous burden of omnifarious ritualistic ceremonialism, with its animal and other sacrifices, which all but crushed the very life of it, except the Jain revolution which took its strong stand exclusively on chaste morals and philosophical truths?
WIKIPEDIA
The Hermetic philosophy says that " The lips of wisdom are closed, except to the ears of Understanding ". For millennia the esoteric circles have been marked in this teaching to disseminate their information. Teachings were passed from master to disciple, disguised in various rituals and symbols. In this way, a certain book stands out for its teachings, which form the basis of all magic, the whole universe perceptible and imperceptible to our senses: The Kybalion . Written by one who calls himself The three started , it is a compilation of the teachings that (supposedly) came from ancient Egypt, by Hermes Trismegistus, who is perhaps the first of Avatars contribute to this planet.
Transcribe the text of the book itself the presentation of Hermes:
"Among the great Masters of Ancient Egypt, there was one that they hailed as the Master of Masters. This man, if indeed he was a man, lived in Egypt in ancient times. He was known under the name of Hermes Trismegistus. He was the father of the Occult, the founder of Astrology, the discoverer of Alchemy. The details of his life were lost due to the immense amount of time, which is thousands of years, and despite many ancient countries compete among themselves the honor of having been his home. The date of his sojourn in Egypt, in his last incarnation on this planet, is not now known, but it was fixed at the early days of the oldest dynasties of Egypt, very before the time of Moses. The best authorities regard him as a contemporary of Abraham, and some Jewish traditions say clearly that Abraham acquired a portion of his mystic knowledge from Hermes himself. Having spent many years of his passing from this plane of existence ( tradition states that he lived three hundred years), the Egyptians deified Hermes, and made him one of their gods, under the name of Thoth. Years later, the people of Ancient Greece also deified by the name of Hermes, the God of Wisdom . The Egyptians revered for many centuries his memory, calling it the messenger of the Gods, and bestowing upon him, distinctively, his ancient title Trismegistus , which means three times great, great among the greats.
In the early days, there was a compilation of certain Basic Hermetic Doctrines, passed on from master to disciple, which was known under the name of The Kybalion , whose exact meaning is lost for several centuries. This teaching, however, is known by several men who were passed from lip to ear, since many centuries. These precepts have never been written or printed, so far as we know. They were simply a collection of maxims, axioms, and precepts not understandable to outsiders, but were readily understood by students and, moreover, were then explained and exemplified by the Hermetic Initiates to their Neophytes. "
A Master is not measured by the number of followers, or who speak it, but what he says and does. In the case of Hermes, all we have is the Kybalion, but this "little book" of 56 pages is of such depth and grandeur that I shudder to write about it. The book deals with the seven hermetic principles, stated in The Kybalion as initiates comment on them.
The Principles of Truth are Seven; one who knows perfectly possesses the Magic Key, with which all the doors of the Temple fly open.
(The Kybalion)
These are the Principle of Mentalism, Correspondence, Vibration, Polarity, Rhythm, Cause and Effect and Gender. Take the first transcribed the book:
I. The Principle of Mentalism
THE ALL is MIND, the Universe is Mental
(The Kybalion)
This Principle explains that everything is mental , that THE ALL is Spirit , is unknowable and indefinable in itself, but may be considered as a living mind infinite and universal . Also teaches that all the phenomenal world or universe is simply a Mental Creation of THE ALL, subject to the Laws of Created Things, and that the universe as a whole in its parts or units, has its existence in the Mind of THE ALL, in which Mind we live and move and have our being. This Principle, by establishing the Mental Nature of the Universe, it explains the mental and psychic phenomena that occupy much of public attention, and that without such an explanation would be unintelligible and defy scientific examination.
This Principle explains the true nature of force, Energy and Matter, how and why they are all subordinate to the Mastery of Mind. An old Hermetic Masters wrote, long ago: "He who understands the truth of the Mental Nature of the Universe is well advanced on the Path to Mastery.
_____________________
We see here a correspondence with one of the basic principles of quantum physics, the coherent superposition . But what is it?
When an electron (or any other particle) is observed, it presents with well-defined physical properties: it is located at a precise point in space at a given time, and their attributes can be measured (within certain limits set by the principle Heisenberg's uncertainty). Before the measurement is made, however, these properties and attributes do not exist. What exists is only the probability that the electron present such and such characteristics as well as other characteristics that are opposite. That is, the electron can either be at point x and at y or at the point z, and so on for each of your attributes (speed, angular momentum, spin, etc.).. Before we measure the electrons, all these attributes are interwoven, and it is this intermingling that produces waves of probability. Physicists call this the wave function or coherent superposition , because in this state, the odds of the electron overlap each other. During the act of measuring the entanglement vanishes and, among all possible sets of attributes to the electron, only one becomes "real." This time the superposition of waves vanishes is called the collapse of the wave function . While the electron is not measured, it has no specific characteristics. It is the measure that creates the characteristics of the electron, and thus in a sense, it is my observation that creates the electron. In other words, the reality I perceive is created by my perception. ( source )
A particle, something we think is solid, there is overlap in what we call, sparking a wave of possible locations, all at the same time. And when you look, it is now possible in only one of the positions. That is, things only become constants when you look at them. When it did not look like a wave, when we look at is as a particle.
The overlap means that a particle can be in two or more places at once.
It's a very bizarre concept, but it is a cornerstone of quantum physics. This finding made the renowned physicist Stephen Hawking asked: The distinction (between the real and imaginary) is only in our minds?
Article in The Quantum Revolution and High Energy Physics , Roberto Claudio, we see that in reality, science can not prove that a subatomic particle exists to detect it before, not knowing where it will come, but to say that there is a probability it exists and to appear at a particular location. Four hypotheses try to explain this "measurement problem":
The Copenhagen interpretation says that this probability is all we can and what there is to know, is something totally random to know where the particle appears (the theory advocated by Niels Bohr and Werner Eisenberg),
The hidden variable theory says that quantum events do not are purely random, but that particles arise in a particular place for reasons that we have yet to discover hidden (advocated by Einstein, David Bohm and others),
The Many Worlds Hypothesis states that when a particle appears in one location, all other probabilities of occurrences happen in other universes entirely different. This hypothesis, although fantastic, was developed a very sophisticated mathematical style (proposed by Everett, Wheeler and Graham);
The connection Matter / Mind says it's possible that the very mind of the observer in the act of measurement, influence the manifestation of the event; the mind would be the factor that would interfere with the onset of the appearance and location of subatomic particles or even create (backed up by Eugene Paul Wigner, Jack Sarfatti, and Walker Muses).
Einstein, who favored the second theory, on the first screamed, " God does not play dice with the universe! ". The unpredictability of quantum was too much for him to accept, although Bohr and others, using their own theories of Einstein, explain all your objections. The dispute between the first two theories meant to prove that quantum mechanics was unpredictable or determined, and the last two betrayed that if the first were true, my mind would be able to choose my destiny, of all existing probabilities ( free will). So far science has been proving (successfully) the first theory.
Everything we call real is made of things that can not be considered real
(Niels Bohr)
In the movie What the bleep do we know we see the physicist Amit Goswami explain: " The world has many potential forms of reality, to choose from. But as an object can have two states at once? Instead of thinking about things like possibilities, we have the habit of thinking that things around us are objects that already exist without my input, without my choice. You need to ban this form of thinking, has to recognize that even the material world around us - chairs , tables, rooms, rugs - are nothing but possible movements of consciousness, all the time and I am choosing these movements moments to express my current experience.
It's something we need to understand that radical, but it is very difficult, because we think the world exists independent of my experience. Not so, and quantum physics is clear. The very Eisenberg , after the discovery of quantum physics, said that atoms are not objects, are trends. Instead of thinking about objects, you should think in possibilities.
Everything possible is subconsciously " .
But speaking of particles does little to explain the consequences of quantum physics, so let's find a more easy-going, I found an article of Scientifc American: get a playing card with a perfectly sharp edge and try to balance it over the edge on a table. According to classical physics, the letter will remain, in principle, balanced forever. However, according to quantum physics (Schrödinger's wave function), the card will fall in a few seconds, even if you do your best to balance it - and both fall for the two sides , right and left. When it puts into practice this experiment with an actual card, it is concluded that classical physics is wrong: even if the letter falls. But what we see is that it falls to the right or left, seemingly at random, and never to the right and left at the same time as the Schrodinger equation would have us believe. This contradiction goes to the very heart of one of the most original and enduring mysteries of quantum mechanics.
Many Worlds
In the mid-50, U.S. Hugh Everett III, then a student at Princeton University, decided to review the collapse postulate in his doctoral thesis. He took the idea to the quantum limit, with the following question: "What would happen if the time evolution of the entire universe is always unitary?" In this scenario, the wave function evolves in a deterministic way, leaving no room for the mysterious collapse of non-unitary or God playing dice. In this case, our quantum card would really be in two places at once. Moreover, a person who was looking at the card would enter a superposition of two different mental states, each one seeing the results. If you bet money on the hunch that the letter would fall face up, a superposition would smile and frown, because the bet to win and lose simultaneously. Everett's brilliant insight that the observers in such a deterministic (but schizophrenic) quantum world could perceive the plain old reality with which we are familiar. More importantly, they perceive an apparent randomness, obeying the correct probability rules. The view became known as the Everett many-worlds interpretation of quantum mechanics, because each component of which is a superposition observer recognizes or perceives its own world . When removing the collapse postulate, this viewpoint simplifies the underlying theory. But the price one pays for this simplicity is the conclusion that these parallel perceptions of reality are equally real.
Everett's work was ignored for nearly two decades. Many physicists were confident that would appear to show a fundamental theory that the world was, after all, classic in some sense, no weirdness like "a body being in two places at once." But a whole series of new experiments would put an end to that expectation. The experiment of "delayed choice", proposed by Max Tegmark and John Archibald Wheeler, showing another feature of the quantum world that defies classical description: not only one photon can be in two places at once, but the experimenter can choose after the event, if the photon was in two places or just one. In short, the verdict of experience is: the weirdness of the quantum world is real, like it or not.
Even in the movie What the bleep ... , see Jeffrey Satinover talking about it: "Now you can see in many U.S. laboratories by objects that are large enough to be seen with the naked eye and are in two places simultaneously. You can even take a picture of it! I suppose if you showed this picture, people would say ' Great, I can see the colored light, a little there, a bit ... here is a picture of two dots, which is too much? I see two things. " No, It's one thing in two places at once. I think people do not impress, because I think they do not believe. Not to say that I am a liar, or that scientists are confused. I think it's not so mysterious you can understand how amazing it is.'ve all seen Star Trek and the teleportation, then ask, ' But who cares, what does that mean? " But we have to stop and think about what that really means. It's the same object and it is in two places at once! "
Returning to the Article of Scientific American , we see that the work of Everett left a crucial question: if the real world is so bizarre macroscopic superpositions, why do not we perceive them? The answer came in 1970 through an article by Heinz Dieter Zeh of the University of Heidelberg, Germany. He showed that the Schrödinger equation gives rise to the effect of decoherence . Our letter overthrow quantum is always receiving the impact of busybody photons and air molecules, which can prove whether the letter fell to the right or left, thereby destroying the superposition and making it unobservable.
That is, the world is always contributing to remain in the illusion that things are "normal", ie, that the letter will fall to only one side up, more or less as agents of the Matrix ensure that human remain in ignorance (as at the end of the episode haunted house in the Animatrix ). Any resemblance to the Buddhist theory of Maya is not a coincidence.
It is as if the environment play the role of observer, collapsing the wave function (a simple molecule of air is enough). For all practical purposes, this tiny interaction changes the superposition to a classical situation in the twinkling of an eye. But as a photon can play the role of "observer"? It requires a "conscience", a "trial" to interfere with reality? Then the photon is also part of consciousness?! And here we go back to Buddhism, where everything, absolutely everything is alive and has consciousness .
The general notions about human understanding (...) illustrated by the discoveries of atomic physics are far from being something entirely unknown, unheard, again. These notions have a history in our own culture, enjoying a more prominent and central position in Hindu or Buddhist thought. What we face is just an illustration of an encouragement and a refinement of old wisdom.
(Robert Oppenheimer, father of the atomic bomb)
The religion of the future will be a cosmic religion, based on experience, which refuses dogmatism. If there is any religion that could cope with scientific needs, it would be Buddhism.
(Albert Einstein)
The theory of decoherence explains why do not routinely see quantum superpositions in the world around. Not because quantum mechanics intrinsically stops working for objects larger than a certain size magic. In fact, it is virtually impossible to macroscopic objects like cats and playing cards, isolated from a distance that prevents non-coherence. Microscopic objects, by contrast, are more easily separable from its environment and thus retain their quantum behavior.
If we seek a parallel to the lesson of atomic theory, we must turn to those kinds of epistemological problems with which we faced in the past, thinkers like Buddha and Lao Tzu, in his attempt to harmonize our position as spectators and actors in the great drama of existence.
(Niels Bohr, father of quantum mechanics)
Reference: 100 years of quantum mysteries ; Experience "Schrödinger cat" ; Samba crazy physicist , Amit Goswami interview the Roda Viva program
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.
Brücke/Bridge, 2005 (Kohle und Kreide auf Jute/Charcoal and chalk on jute)
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.
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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He's a true Rastafarian. He calls a community where his fellow brothers and sisters live his home, the money he makes from selling sugar cane goes back to the family. He works six days a week and adheres to the Sabbath, his diet consists of fish and vegetables only. Principles guide him, he's a true Rastafarian.
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All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
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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
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
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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:
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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!
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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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Trinity.
Second attempt at stand development of C-41. This is a roll of Kodak Portra 400 vc. Stand development for 45 minutes in standard C-41 developer diluted to 1+9. Inverted a couple of times at the 30 minute mark. Bleached, fixed, and stabilised as normal.
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
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Everyone is always asking me for this! Here ya go! :)
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Enjoy my physics!! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
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What is GARC racing? Where did it come from?
We have no idea.
But we have many, many credible leads and a few dodgy legends. The leads are dutifully recorded, competently researched, reliably attested; the legends, not much more than the drunken ravings of a space-mad miner of suspect principles. The first category has been exhaustively covered by professorial stuffed shirts and saltine cracker dry documentaries and are frankly, more boring than zoning commission’s minutes.
So the History Channel has teamed up with the Speed Channel to confuse the legitimate information and certifiable facts of those shows with needless dramatizations, heavily slanted reporting and emotionally manipulative voiceovers to bring you: the Legends!
Tonight’s episode, The Ducks of Haphazzard! By now, everyone knows GARC racing started in the Counties of the Asteroid Belt with rednecks and rockbillies souping up their mine carts and jalopies. And we could spend two hours talking about the economics of mining and free trade and competition and turnover and how speed equals turn around and turn around equals blah, blah, droolity, drool, blah…
But instead we found some colorful rock jockeys who use their 2069 Dodge Charger GARC racer, nicknamed the Generally, to run their Uncle Jephthy’s famous Marshine!
Meet Boo and Luck Duck, innocent orphans and absurdly dangerous racers taken in by their criminally irresponsible uncle and suckered by him as part of his Lilliputian criminal empire which includes their totally, smokin’ cousin who we actually introduced just for ratings and their grade-school drop-out mechanic buddy who keeps the Generally up and running, despite the two modern-day Robin Hood’s tendency of nearly wrecking it on every, single run. The Duck boys, it would seem, never met an asteroid they didn’t trade paint with.
We cannot talk about these scofflaw delinquents without mentioning the heroes of law and order vigilantly trying to take them down. Sheriff Rockett P. Coal-train, beacon of brilliance, shining like a binary system of justice in a dark world and his 2079 Dodge Monaco Patrol ship are out safeguarding the starways, blackroads and space-goattracks of Haphazzard county. Diligently chasing down those good ol’ boys and making the constantly shifting, slim space between the crushing granite gargantuans of the Belt safe again for decent, law-abiding road racers like you, me and Vin Turbine.
Lumière du soir avec rose, rose grimpante, petit pêcher, Tayberries, mûres sans épines, glycine, aikiba, sauge, raifort et rhubarbe - tous poussant sous un immense chêne.
Nikon D810 & 14-24mm F2.8 Wide Angle Nikkor Zoom!
My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
Epic High Resolution Malibu Sunset! Malibu Sea Cave Sunset California Socal Photography! Fine Art Landscape & Nature Photography: Light Beams & Dr. Elliot McGucken Epic Fine Art! High Res!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
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The great thing about the beach is that it presents an entirely different universe from season to season, from day to day, from hour to hour, from second to second, with the ever changing wind, tides, clouds, and sun. A split second with tumbling surf and a sinking sun can make a vast different, resulting in entirely different photographs.
Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
2019 Women’s Empowerment Principles Forum: Organized by UN Women, UN Global Compact and UN Office of Partnerships. Annual flagship event on gender equality for the private sector, bringing together 500+ other leaders and innovators from business, government, civil society, academia and the UN. The Forum participants gain exposure to new knowledge on strategies for advancing women's empowerment in the future of work, through gender-lens investing and by addressing sexual harassment in the world of work.
speakers included:
Robert Skinner, Executive Director, UN Office of Partnerships; Phumzile Mlambo-Ngucka, United Nations Under-Secretary-General and Executive Director, UN Women; Lise Kingo, CEO and Executive Director, UN Global Compact; Ambassador Maria Marinaki, Principal Advisor on Gender and the Implementation of UNSCR 1325 on Women, Peace and Security, European Union; Isabelle Durant, Deputy Secretary General, UNCTAD; Patricia Greene, Director, Women’s Bureau, US Department of Labour; Suzanne Biegel, Founder, Catalyst at Large; Carlos André, Executive Director, Banco de Brasil DTVM; Michael Denham, CEO, Business Development Bank of Canada; Sarah Chen, Co-founder and Managing Partner, The Billion Dollar Fund for Women; Stephanie Queda Cruz, Head of Gender, Diversity and Inclusion, Inter-American Development Bank; Deborah Gibbins, Chief Operating Officer, Mary Kay; Diana Kobas Deskovic, Founder, Mamforce; Alan Joyce, CEO, Qantas; Michael Ptasznik, CFO, Nasdaq; Banu Isci Sezen, General Manager, Turkcell Academy, Turkcell; Anne Claire Berg, Diversity and Inclusion Director, Danone; Purna Sen, Executive Coordinator and Spokesperson on Sexual Harassment and Other Forms of Discrimination, UN Women; Ibukun Awosika, Chairman, First Bank of Nigeria; Valeri Chekheria, CEO, Adjara Group; Emmanuel Lulin, Senior Vice President & Chief Ethics Officer, L’Oreal; Lebo Ramafoko, CEO, Soul Institute; Katherine Bell, Editor in Chief, Barron’s
Photo: UN Women/Amanda Voisard