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Two dogs wait patiently for their owner in the back of his truck, keeping watch on the crabs in the cooler (I think).
For Our Daily Challenge - Green
Used a light table and light reflected off the ceiling. This image is made using a small section of a green glass serving plate.
Don't use this image on websites, blogs or other media without explicit permission.
© All rights reserved
The military doctrines of the early 1900s advocated a movement war where infantry would had assaulted, accompanied by modern and light field guns - hydro-pneumatic short recoil designed , which would shoot Shrapnel bullets
- named after the British Lieutenant Henry Shrapnel that invented them in 1784 - supported by the cavalry
that would had to act as screen, performing reconnaissance and taking in pursuit of the retreating enemy.
In reality, the war staled and losses due to the war of attrition grew significantly.
Many soldiers were wounded in the head by stones kicked up by the explosion, and especially by
Shrapnel balls.
In the absence of helmets, Pikelhaube could just repair a cut of saber, at first
head quarters resorted to expeditious means, the so-called skull cap, the French one was an awful steel hemisphere, worn
in direct contact with the skull beneath the kepi, the German one, designed by the military surgeon Gaede, was more anatomical.
Later in 1916 the main armies began to draw up Steel helmets, at the time of the Battle of Verdun, German troops were equipped
with the stahlhelm and the French with
Adrian helmet, before the Battle of the Somme the Brodie helmet was issued to the British army.
The British provided their model to the United States and Portugal, which also designed a helmet-like,
the Austro-Hungarians produced the Berndorfer helmet, similar to Germany, but mostly adopted directly
German helmet which replaced the strap with a model in hemp, Bulgaria adopted the helmet German in small number
most of the troops was off guard, the Turks adopted a kind of German helmet, made in Germany, without
visor, and partly the German helmet, but as in the case of Bulgaria, few soldiers were equipped to.
The Adrian helmet was taken in small quantities from Russia, Romania and Serbia, on which they put
their distinctive badges, all Belgian troops were equipped with Adrian helmet, while Italy produced under license a
simplified Adrian helmet made from only two pieces, helmet and crest.
The River Li (simplified Chinese: 漓江; pinyin: Lí Jiāng) is a river in Guangxi Province, China.
The River Li originates in the Mountains in Xing'an Сounty and flows in the general southern direction through Guilin, Yangshuo and Pingle. In Pingle the Li River merges with two other streams, and continues south as the Gui River, which falls into the Xi Jiang, the western tributary of the Pearl River, in Wuzhou.
The upper course of the River Li is connected by the ancient Lingqu Canal with the Xiang River, which flows north into the Yangtze; this in the past made the Li and Gui Rivers part of a highly important waterway connecting the Yangtze Valley with the Pearl River Delta.
The 437-kilometer course of the Li and Gui Rivers is flanked by green hills. Cormorant fishing is often associated with the Lijiang (see bird intelligence). Its unusual karst topography hillsides have often been compared to those at Halong Bay, Vietnam.
Source: Wikipedia
Interesting 50 ||| China set ||| Nature set
Sometime I wish things are just black & white...................
& a little confession...the black background is not from PS works but thanks to Middle East tourist standing 11/2 foot away...:P
This was an extremely foggy day on the coast of the Gulf of Mexico in Galveston, Texas. This is a combination of three images stitched together with Photoshop then manipulated to brighten and simplify the scene as it appeared to me that the image was less appealing without some extra help.
Digital Blending of 5xp and add a layer of topaz simplify to make this pictures. btw, just wanna do the HBM like ah Mel!! ;-)
haven’t churned out a decent sketch in a long time.
i’ve been so busy that this has been sitting in my book
for a decent couple of weeks now. mixed medias here,
quite obviously i rushed it and left it savagely beaten
around the edges. i should probably not use such thin
paper when applying water and acrylics.
not sure how i feel about it.
Dreaming of a big, spilled swamp symbolizes small satisfactions. You are always trying to please yourself, in spite of obligations and other obstacles. You have rituals that are making you happy, so you always find time for them. You usually do sports, go out, take massages, or go to the cinema. Shrek since an elf is a fictional character, he may also represent the problems that you have created on your own. Symbolism:An elf represents festivity, problems, annoying people, intellectual minds, foes and health. If you dream of a laughing elf, it indicates the laughter of your enemy.
Despite Shrek's frightening and repulsive outer appearance and incorrect identification as a monster (devil figure), he turns out to be:
The Hero: Shrek fulfills the ultimate task of breaking Fiona's curse with the true love's kiss. He also follows the hero's journey with significant character development on his Quest.
Onion: Shrek speaks about how ogres are like onions, which also reflects on the universal theme of the movie. Onions have layers, and his analogy represents that despite his repugnant appearance, like that of an onion, he is actually kind-hearted and capable of love after you peel at the layers.
Wall: Shrek talks about putting up a wall around his swamp to keep people away, but I believe it's also a figurative symbol for his need for isolation and fear of not being accepted or loved. Shrek tries to shut people out before they can do the same to him.
Shrek's Swamp
By George Gantz
Name & Symbols where Shrek's symbols linked with Nephthis
live in the swamps of the Nile's delta... like King Moses with is born in the same Delta or Swamps!!!!
Afterlife, regeneration and Green Color slopes and the regeneration of trees on decaying boles in swamps.
'Nephthys' is the Latin version of her Egyptian name `Nebthwt' (also given as Nebet-het and Nebt-het) which translates as "Lady of the Temple Enclosure" or "Mistress of the House" and she is routinely pictured with the heiroglyph for 'house' on her crown. The 'house' is neither an earthly home nor temple but linked to the heavens as she was related to air and ether.
The 'enclosure' may refer to the courtyard outside a temple as she was represented by the pylons outside of temples. Shrek's pylons are his ears.
in her role as a protective goddess; just as the pylons and wall protected the inner temple, Nephthys protected the souls of the people. She was associated with death and decay from an early period and was regularly invoked during funeral services. Professional mourners at Egyptian funerals were known as "Hawks of Nephthys" and she is one of the four goddesses (along with Isis, Selket, and Neith) whose images were found in the tomb of Tutankhamun as guardians of his canopic vessels. Historian Margaret Bunson notes:Nephthys was associated with the mortuary cult in every era and was part of the ancient worship of Min [a god of fertility and reproduction]. The desert regions were dedicated to her and she was thought to be skilled in magic (188).
In folklore, a will-o'-the-wisp, will-o'-wisp or ignis fatuus is an atmospheric ghost light seen by travelers at night, especially over bogs, swamps or ... Folk belief attributes the phenomenon to fairies or elemental spirits, explicitly in the term " hobby and now in 2020 for the kids that's Shrek... mysterious lights as omens of death or the ghosts of once living human beings. In modern science, it is generally accepted that will-o'-the-wisp phenomena (ignis fatuus) are caused by the oxidation of phosphine (PH3), diphosphane (P2H4), and methane (CH4). These compounds, produced by organic decay, can cause photon emissions. Since phosphine and diphosphane mixtures spontaneously ignite on contact with the oxygen in air, only small quantities of it would be needed to ignite the much more abundant methane to create ephemeral fires. Furthermore, phosphine produces phosphorus pentoxide as a by-product, which forms phosphoric acid upon contact with water vapor, which can explain "viscous moisture" sometimes described as accompanying ignis fatuus.The idea of the will-o'-the-wisp phenomena being caused by natural gases can be found as early as 1596, as mentioned in the book Of Ghostes and Spirites, Walking by Night, And of Straunge Noyses, Crackes, and Sundrie forewarnings, which commonly happen before the death of men: Great Slaughters, and alterations of Kingdomes, by Ludwig Lavater, in the chapter titled "That many naturall things are taken to be ghoasts":
Many times candles & small fires appeare in the night, and seeme to runne up and downe... Sometime these fires goe alone in the night season, and put such as see them, as they travel by night, in great feare. But these things, and many such lyke have their naturall causes... Natural Philosophers write, that thicke exhilations aryse out of the earth, and are kindled. Mynes full of sulphur and brimstone, if the aire enter unto it, as it lyeth in the holes and veines of the earth, will kindle on fier, and strive to get out. "Shrek lets fart in a fairy tale". Farting across the animal kingdom is wonderfully diverse, a new Tale with Shrek ... and our mammalian relatives, farts are mainly the result of digestion or regeneration.
Swamp monsters in folklore, legends, and mythology
The Will-o'-the-wisp appears in swamps, and in some areas there are legends of it being an evil spirit.
The Bunyip are a creature from Aboriginal mythology that lurk in swamps, billabongs, creeks, riverbeds, and waterholes.
The Grootslang are huge elephant-like creature with a serpent's tail which according to legend live in caves, swamps, freshwater in South Africa.
The Lernaean Hydra in Greek and Roman mythology, was the creature Heracles killed in the swamp near Lake Lerna.
The Honey Island Swamp monster in Louisiana.
Mokele-mbembe, a legendary water-dwelling creature of Congo River basin folklore that resembles a Brontosaurus.
The skunk ape is a horrible smelling large ape creature said to live in swamps.
The Lizard Man of Scape Ore Swamp.
In Beowulf, Grendel lived in a marsh near King Hrothgar's mead hall, as did Grendel's mother.
Our world seems to be mired in anxiety and fear; and civic discourse has degenerated to accusations, outright lies, and rhetoric. While we hear calls to “drain the swamp,” any common understanding of what that means, and a willing consensus required to achieve it, seems to elude us. Perhaps we are looking at the situation from too narrow a perspective. It is not just our politicians who are lost in the marsh; it is our spiritual life, too.
The English language is full of references to the soggy, wet places of the world. Have you ever gotten tangled up “in the weeds”? Or perhaps someone you know is “stuck in the mud” (or perhaps is a “stick-in-the-mud”)? Recently, we have heard calls to “drain the swamp” of Washington DC lobbyists and political insiders. These sayings all have a common origin: the idea that marshy places should be avoided, lest we become entrenched in the unpleasantness they represent. While modern environmental science is struggling to change this negative narrative about “wetlands,” there are natural contextual explanations for it. The negative imagery is quite powerful, and it holds true on a variety of levels: from natural to psychological, societal, and spiritual. Let’s unpack these different layers of meaning.
The Nature of Wetlands
Marshes, mires, and swamps—collectively referred to as “wetlands”—are essential natural features found all around the globe. They often develop wherever the land intersects major bodies of water, at the interface, as water from terrestrial sources makes its way toward the sea. Technically, marshes are characterized by grassy or shrub-like vegetation, while swamps feature trees. Mires, or bogs, are acidic and contain accumulated humus deposits known as peat.
Marshes are often difficult to access and to maneuver in (especially for us humans). The water usually moves slowly and may be brackish, or salty. Typically, oxygen levels are low, a condition to which indigenous species adapt. Reeds, for example, grow hollow stems for sucking oxygen to their root structures. Marshes do, however, provide useful water storage and filtration functions: they fill up with water in rainy periods and drain water downstream in dry periods; and they serve as a filter and a sink basin for sediments and pollutants.
Marshes can be highly productive biologically. But they can be quite unpleasant and inhospitable as well, as some of that productivity includes a variety of parasites, leeches, spiders, snakes, and even alligators. Since marsh waters move slowly, oxygen may be depleted by respiration and decomposition, particularly when pollution levels are high. Hypoxia, or oxygen deficiency, may result, causing the death of fish and invertebrates. When decomposition turns anaerobic, fetid odors are produced. This all helps explain the negative reputation held by marshes, mires, and swamps. And as a result, they have become fertile sources for our imaginative depiction of the horrors of stagnation.
Marshes and their renewing properties are also vulnerable to degradation if the natural water cycles are disrupted, and their historically negative reputation has made them a great target for human intervention. We have been very aggressive in intentional filling and draining, damming for flood control, water withdrawals, agricultural and urban development, and pollution. According to Environmental Protection Agency (EPA) data, perhaps half of all the marshes in the United States were drained or destroyed prior to 1970. And that destruction has continued. A Fish and Wildlife Service (FWS) study reported that in the five years between 2004 and 2009, almost one percent of coastal wetlands disappeared as a result of development pressures and silviculture (human-planned forests) expansion.
Psychological Stagnation
Stagnation is defined simply as “a state of not flowing,” yet our imagination associates the word with the unpleasant “marshy” qualities of death and decay. In the natural world, the low-oxygen conditions of stagnation are unfavorable to growth and change, and they give rise to illness and death. In the psychological sense, stagnation refers to the similar condition of being emotionally or rationally stuck or stunted. Without the ability to renew ourselves by absorbing new thoughts, ideas, experiences, and emotions, our vitality and resilience stagnate.
The story of Narcissus offers a good example. Narcissus was a beautiful Greek youth who fell in love with his own reflection. He became so enamored of his image that he forgot about food and rest, and he eventually died. This story is the origin of the modern personality diagnosis of narcissism, an excessive pre-occupation with self-gratification and self-image. Some current psychological research suggests that our omnipresent digital environment and our excessive attention to social media, in particular, promote narcissistic tendencies.
Depression is another psychological condition that represents the quality of stagnation, as it involves getting “stuck” in negative thought patterns and losing the motivation and energy to reach out to others or try something new. While the causes of depression may be varied and difficult to assess, it is clear that extreme emotional distress and feelings of isolation and alienation are shared by many: depression is on the rise worldwide, as is suicide, an ultimate and tragic statement of hopelessness. As we will see below, one key to preventing psychological stagnation may be found in better understanding our spiritual condition.
Societal Entrenchment
In economics and politics, marsh-like stagnation is often referred to as entrenchment. The word entrench simply means “to put in a trench,” which is suggestive of being stuck or tightly confined. A corporate management team may become entrenched, for example, if its members stick too closely together and refuse to bring in outside people or outside ideas. Entrenchment can be deadly for a business enterprise when upstart competitors with new and better ideas come along. An individual, a group, or an entire enterprise can get “mired in the weeds” arguing about minutiae while in the midst of a crisis. Stuck in this way, they are unable to break through an impasse or develop a realistic plan forward. As the saying goes, “Nero fiddled while Rome burned.” In the broader economic sense, monopolies, cartels, price-fixing, and insider trading represent different forms of entrenchment; they are all disastrous for productivity, creativity, and healthy markets.
In the political arena, entrenchment refers to the condition in which incumbents or small, tightly controlled elite groups are able to dominate and control the political process. By cutting out other participants, eliminating dissent, and rejecting new ideas, these groups set the agenda and determine the outcomes—all in their own favor. As a result, what is lost is any sense of renewal or accountability to the citizens whom the government is presumed to serve. It is on this basis that our nation’s capital is described as a swamp, dominated by professional politicians, who have been in office a long time, and their enablers, the lobbyists who wield immense war chests of campaign funds and who trade in secrets and inside information. The entrenchment narrative has become more prevalent in recent years, as indicated by the large volume of books and articles that talk about governments behaving as oligarchies, kleptocracies, or autocracies.
The common thread in our negative image of wetlands, psychological stagnation, and societal entrenchment is this: when what is pure and fresh—whether it be water, our emotions, or our relationships with others—does not flow into each of these systems, the system ceases to thrive and grow and goes into decomposition and decay.
But its swamps and marshes will not become fresh; they are to be left for salt. (Ezekiel 47:11)
Friendly Beast: The donkey aids Shrek throughout the journey and is his constant companion through all the trials. As an animal, he shows that nature supports Shrek.
Fire/Red/Black: The dragon has dark red skin representing violent passion and fire, setting up the character to be perceived as cruel and monstrous. Dark colors such as black are used in her tower to develop this theme as well.
The writers started with a fun and cartoony premise, and then layered in one technique after another which makes the film resonate with adults.
Our Spiritual Condition
Emanuel Swedenborg devoted much of his writing to the idea of spiritual correspondences. In a spiritual sense, flowing water is living truth. When the flow of water stops, this truth becomes stagnant and spiritual life dies. Being stuck in the marsh spiritually means becoming confirmed in falsities.
Those who cannot be reformed because they are in the falsities of evil are signified by “the miry places and marshes that are not healed, but are given to salt.” (Apocalypse Explained §513:7)
“To be given to salt” signif[ies] not to receive spiritual life, but to remain in a life merely natural, which, separate from spiritual life, is defiled by falsities and evils, which are “miry places” and “marshes.” (Apocalypse Explained §342:7)
One common feature of a healthy spiritual life is the belief in and commitment to a truth that is higher than just the laws that govern the natural world. Out of one’s personal commitment to a transcendent realm (the infinite) or agent (God), many blessings can flow. These include a sense of purpose, feelings of joy and gratitude, and the willingness to improve the world and the lives of those around us with love. Without such an affirmative commitment, our understanding of life is by definition constrained to the finite realm of physical space and time. If we do not believe in and are not open to spiritual ideas and experiences, then we destroy our potential to receive any inflow of such ideas and experiences.
Meaning and purpose, as they relate to Creation as a whole or to our lives in particular, become limited and relative only to the physical parts of experience. Some thinkers take this to an extreme, framing meaning and purpose as mere illusions. Love becomes just a biological function. Improving the world is defined in purely materialistic terms. This is the condition referred to in Ezekiel, above, where one’s spirit has been given to salt.
A commitment to the idea that there is no spiritual life—that the natural world is all there is—is destructive to spiritual life. When we are confirmed in this falsity, any goodness that we might see, feel, or experience is sucked out of life. We are stuck in the marsh and cannot be spiritually reformed, cleansed, and healed.
There is nothing more delightful than a marshy, and also a urinous [stink] to those who have confirmed themselves in falsities, and have extinguished in themselves the affection for truth. (Apocalypse Explained §659:5)
Conclusion
By following the chain of correspondences, we can identify solutions to the various forms of stagnation. As we know from the natural world, fresh water must continue to flow in and through the marsh in order to keep it healthy and biologically productive. In addition, external pollutants must be limited to what the marsh can absorb.
Similarly, our emotional and psychological lives need to include appropriate amounts of openness, recreation, and renewal in order for us to remain healthy. We need to balance our internal preoccupations with outward companionship, aesthetic experiences, and learning opportunities; and we need to avoid the “pollutants” of excessive stimulation, addiction, obsession, and distraction.
In society, we need to foster and support institutions that are resilient, responsive, and open to new people and new ideas. This requires that we go against our natural tendencies toward complacency and complicity and that we resist the temptations of using institutions for personal gain, as all of these behaviors pollute civic life.
To grow spiritually, we need to be open to transcendent possibilities, searching for knowledge and experiences that enrich our appreciation of spiritual truth. If we close ourselves off to spiritual ideas and to the possibility of having spiritual experiences, then our spiritual life will be deprived of sustenance and will decay.
If our spiritual life is “stuck,” then where is the foundation for a healthy psychological and emotional experience? When we focus on our own inadequacies or our personal gratifications, we undermine our opportunities to learn, to share love, and to be a full participant in our community. A healthy spiritual life is the wellspring for a healthy psychological and emotional life. It also sustains the virtues essential for a vibrant and thriving civic life: the commitment to truth and the dedication to the well-being of those we are responsible for serving.
Without a healthy civic life, we will never be able to agree on the rules and the practices that will assure that clean water flows into all our different marshes, refreshing, renewing, and rejuvenating the life that exists within them.
It all ends where it begins: with the water of truth that is the source of life.
George Gantz is a writer and philosopher at Spiral Inquiry and directs the Swedenborg Center Concord (SCC), a non-denominational educational project supported by the New Church of Concord, Massachusetts, that seeks to integrate the knowledge of science with the wisdom of religion.
Read more posts from the Spirituality in Practice series >
Here are some of those techniques:
Edgy Comedy
What's considered funny in our culture tends to change from time to time. It might be Mork and Mindy one year, Northern Exposure further down the line, and South Park a few years later. Of course, this is an over-simplification, for there are quite a number of popular comedy styles alive at any moment.
Still, there do tend to be trends, and adults are likely to be responsive to them. One trend alive today is a somewhat gross, edgy kind of comedy.
In Shrek the grossness doesn't have a sexual component, such as in American Pie, but there is a scene where Fiona sings a morning duet with a little bird in a nest. When Fiona hits an extremely high note, the bird swells up and explodes. The camera zooms in on the two little eggs left behind, then zooms out on them, now frying away, as Fiona cooks them for Shrek and Donkey.
In another scene, Fiona makes some cotton candy for Shrek by wrapping a spider's web around a stick, and then catching flies with the mess. She and Shrek both enjoy the delicacy. In yet another scene, Fiona and Shrek feast on cooked rats together.
This is very original, hip, and edgy comedy. It appeals to (at least some) adults.
Parody Humor: Spoofing Cultural References
When you spoof cultural references, especially when you do it well, you can create a kind of humor to which adults will respond.
In Shrek, Walt Disney Pictures and Disneyland bear the brunt of some clever spoofing. It was done with enough intelligence and wit that adults would appreciate it, such as:
Seeing, near the start of the film, various Disney-like animated characters depressed (and thus the opposite of their usual normal cheery selves) as they're being hauled away.
Lord Farquaad's castle, which possesses the ominous overtones of a nightmarish Disneyland, or
The weird singing toy figures which greet Shrek and Donkey at the castle wall, which spoof the singing toy figures in Disneyland's Small, Small World ride.
Non-Cliché Characters
A cliché character is one whom we've seen before, especially a character we've seen frequently. Shrek is certainly not a cliché. His personality is marked by some of the following attributes, or as I call them, Traits.
He likes himself (evident in the bathing scene under the opening credits).
He's clever. (He scares off the townspeople by convincing them he's much meaner than he is.)
He's brave (never shirking from a fight).
He's afraid of rejection, resulting in him pushing people away before they can reject him, which results in:
He's a loner (at least in the beginning), but he longs for connection with others, even as he also fights it off.
Can you think of another film or TV character with this exact set of traits? If you have a hard time remembering one, that's exactly why Shrek isn't a cliché.
Fiona also has an interesting array of traits:
She's romantic.
She's earthy. That's what I call women who eat rats.)
She's tough. She beats up Robin Hood with a few moves borrowed from The Matrix.)
She thinks she's ugly. And, like Shrek, she fears rejection.
Once again, we have a non-cliché character. Adults respond to characters who aren't clichés.
Emotional Problems We Can Relate To
Both Shrek and Fiona, for similar reasons (feeling that they're hideous), believe that no one could love them. This fear is so great in both of them, that it drives many of their actions.
Giving a character a powerful fear, a shame, or an emotional problem that adults can relate to will also help draw an adult audience -- as will that character's arc (his or her path of emotional growth) as circumstances in the plot force them to wrestle with this issue.
The Use Of Masks
A Mask is the term I use to describe ways characters can hide their fears and vulnerability.
There are at least eight different kinds of Masks that characters can hide behind. In Fiona's case, of course, her Mask is literally a visual lie: a fake body and face, created by magic.
Shrek's Mask is an attitude—the attitude that he doesn't need or want anyone in his life. (An Attitude is one of the eight types of Masks characters can hide their fears behind.) His behavior, stemming from this attitude, is the one I touched upon earlier: to push people away before they can reject him.
This is a Mask because, by watching this attitude and corresponding behavior, you might initially think that he hates others. But it simply covers up his fear that they would find him loathsome.
Using one of the eight types of Masks to create more complex characters is another technique that gives the film adult appeal.
Parallel Plot-Lines
There are about 100 techniques I'm aware of to give a feeling of emotional depth to a plot. I call these Plot Deepening Techniques.
(By the way, there are also Dialogue Deepening Techniques, Character Deepening Techniques [like the eight types of Masks], and Scene Deepening Techniques.)
The whole area of techniques which inject emotional and psychological depth into one's writing is vast, but we see one such Plot Deepening Technique used here, and that's parallel plot-lines.
There is the parallel of both Shrek and Fiona feeling too hideous to be lovable, but there's a third one too. The dragon, who falls in love with Donkey, uses such behaviors as shish-kabobbing people as a form of stopping them from getting too close.
Her efforts to frighten people off are very similar to the way Shrek handles the same fear.
As a general rule of thumb, Deepening Techniques work best when no more than 25% of the audience consciously notices them. Usually, to maximize their emotional effectiveness, you want them to operate a little bit outside the level of awareness of those watching the film.
All Plot Deepening Techniques contribute to making a film resonate more strongly with adults. The writers of Shrek employ many other techniques besides the one mentioned here, but my limited space here doesn't permit me to list them all.
Set-Ups And Payoffs
Sometimes a writer will introduce an object, and action, an image, or a phrase spoken by a character—the set-up—and then revisit it one or more times later in the script, usually in interesting ways (the payoff or payoffs).
It makes for sophisticated writing, which in turn makes the script appeal to adults.
Shrek utilizes many set-ups and payoffs. Here's one: When we first meet Shrek, he's in his outhouse. We learn his outhouse, like the rest of his swamp, is a place where he can be alone in total self-contentment. It's a symbol of his privacy, but here his desire for privacy is seen in a good light: as a reflection of his self-satisfaction.
Later in the film, when Shrek has experienced his worst nightmare—rejection by Fiona—and when he in turn has pushed Donkey away, he retreats into an outhouse. Now this symbol of solitude represents all his fears of getting close to others, and of literally shutting them out.
So, the outhouse is set up in the beginning, and then revisited later in an interesting payoff.
Don't worry if you didn't catch this when you saw the film, for, like Deepening techniques, set-ups and payoffs, in general, create their greatest emotional impact if they operate a little outside the conscious awareness of most people in the audience.
Summary:
The bottom line is that it's no accident that Shrek appealed as much to adults as it did to kids. The writers took a fun and amusing story which any kid would enjoy, and then artfully wove into the script a number of techniques not found in normal kids' fare.
The writing in this script is extremely tight. For me, tight means that most scenes accomplish several functions simultaneously: moving the story forward, drawing us into the characters, making us laugh or sad or both simultaneously, setting up elements which will be revisited later on, and always entertaining us with highly original lines and scenes.
If you want to reach both kids and adults and thus capture a wide demographic for your film, it wouldn't hurt to master the techniques these writers employed so artfully.
On 14th June 1986 the 14:20 Whitby to Darlington service, 2Y19, exits Sleights, formed of a Class 143 Pacer DMU.
I am creating a series of Chinese culture images, here is another image in my series.
Chinese characters on the tea pot and cups translate to a well known poem:
"When friends come over late at night, tea is served instead of wine"
A simple apartment comes to life with good composition. Simplifying the elements makes for an interesting image.
It's the end of February and I am feeling the need for strong bright color!
Processed using Topaz Clean & Topaz Simplify
At the Philadelphia Zoo
Please check out my 2014 Zoo Set.
As you simplify your life, the laws of the universe will be simpler; solitude will not be solitude, poverty will not be poverty, nor weakness weakness.
--David Henry Thoreau
Caterham Seven (S3) Roadsport (1996-on) Engine 1598cc S4
Registration Number NN 07 NAN (Newcastle on Tyne)
CATERHAM SET
www.flickr.com/photos/45676495@N05/sets/72157623638154557...
The Caterham 7 is a super-lightweight sports car s based on the Lotus Seven, a lightweight sports car sold in kit and factory-built form by Lotus Cars, from 1957 to 1972
Caterham obtained the full licence to build the Seven from Lotus, and began production in 1973, both as kits and fully built road cars.
The existing range provided by Caterham Cars comprises a choice of two chassis types (the traditional narrow-bodied 'Series 3' chassis and a wider ‘Series 5’). All road going Caterham 7’s are powered by a 2.0 Ford Duratec engine except the 170, the Caterham academy cars are powered by a 1.6 Ford Sigma engine. All models are available either factory-built or as a self-build kit . Until mid-2013 the factory had offered options around the Rover K-series engine, including the entry-level "Classic" with a 1.4-litre, capable of 0–60 in 6.5 seconds and a top speed of 110 mph (180 km/h). But with the cessation of the engine production and new EU emissions regulations, the end of the engine's production also removed the "Classic" from the company's model line-up.
As of 2015, the range was simplified and is now simply a number, reflecting the horsepower per tonne, with ‘S’ or ‘R’ packages for either street or track use. Most versions (not the 170) are available on the standard S3 or on the wider SV chassis.
Diolch am 76,497,547 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 76,497,547 amazing views, every one is greatly appreciated.
Shot 25.08.2019 at ,Curborough Sprint Coarse, Curborough, Lichfield, Staffs 143-633
This photo was taken Dec 28th, 2011 at Okangan Falls BC. That is Skaha Lake in the foreground. Shot with a Nikon D300 10-24mm lens @ 10mm (5 exposures) and processed in Photomatix Pro. It was then converted using the plug in Topaz Simplify 3.
A composition I did that I later passed through various filters like oil paint and topaz simplify.
Sadly on the second one the grainy effect on the lens that I really liked is lost.
Grumble grumble, something something not videogames
Welcome ladies to your eighth panel!
This week you girls posed in edgy & shocking shots for the cover of Mood Magazine. The winner of this week’s challenge will have their cover published.
Let’s just get right into the critiques, in alphabetical order. Starting with Aisha;
Aisha:
I REALLY love this. The look is over-all very cohesive & dark, and everything i was looking for. It’s well edited & very eye-catching. I do however have an issue with how you changed the design of the template I gave… It totally messes up it’s cohesive-ness with any of the other covers I’ve done. If you didn’t do that, this would be literal PERFECTION.
Bizou: www.flickr.com/photos/cherrylipgloss100/33913986268/in/ph...
This is extremely pretty & artsy! I’m so into the look you gave here. The only things I would’ve wanted is for the photo to be in a little closer because there’s wayyyy too much head room, and I also would’ve loved to see you have a slightly more bitchy expression. Still such a great photo!
Carrie: www.flickr.com/photos/147623741@N04/33876663538/in/photos...
You see, I like this look and you’ve done it REALLY well… But it just seems very under-whelming in comparison to most of the other girls. I asked for shocking, and this is fairly basic to me. You could’ve taken the E-Girl style to a much more shocking & edgy place but unfortunately you didn’t. If the theme was E-Girl, you would have KILLED IT! But, that’s not exactly what I was looking for. Also, there’s a few details like your orange brows + blonde hair, those strange clips and your poorly edited checkered shirt that also let you down.
Cleopatra: www.flickr.com/photos/157608442@N04/46820251185/in/photos...
Honestly, this week you’ve kinda left me feeling disappointed. You often do edgy photos so I was expecting you to kill it this week, but it just seems rather messy. Your outfit is cute & I love your brows, but I just wish more was going on in terms of the photo besides that you’re reading a bible. The bible is a cute touch, but you could’ve ran with it and made it even more shocking & nasty. The photo also seems much too dark, especially because you left the Mood logo in black. Lowkey expected better this week.
Gina: www.flickr.com/photos/143613184@N02/47866843961/in/datepo...
Ok, fashion girl! This outfit, this hair & brows combo, this hot makeup. I LIVE! You really turned it out this week and I’m so happy. Everything here is so good, but there’s just one thing that’s a bit much for me and that’s the different design elements going on; we have a gradient, and a red drop shadow and a plain grey font, and some bevel+emboss on only some parts… It’s just a bit inconsistent, but still over-all an absolute serve.
Kirby: www.flickr.com/photos/jkuli0/47843804121/in/photosof-9427...
I’m loving you with this red hair! The look over-all is perfect and your design is pretty good. I just feel like your face is a bit dull looking & the top of your dress seems a bit unfitting. There’s also just A LOT going on, so maybe just trying to simplify things a bit in the future could help. A good photo, just not your best.
Lisa-Sandra: www.flickr.com/photos/bratzboymax/47688673952/in/photosof...
This is really good! I’m loving you in this edgy blonde look. The pose & face are as always, a serve. However, I do wish the photo was cropped in more because like Bizou, there’s too much head room. I also wish your lip colour was either red like the font, or the font was purple like your lips because at the moment it’s just a bit too jumbled for me. Really great, though!
Although I had to unfortunately eliminate Sadie for not contacting me any further, there will still be an elimination.
The girl with best photo, and going to have her cover published is….
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1. Gina!
Congratulations on your second, FCO! Your Mugler SERVE was shocking.
The rest of the call-out:
2. Aisha
3. Bizou
4. Lisa-Sandra
5. Kirby
BOTTOM TWO
CLEOPATRA & CARRIE
This week, you two both let me down. Cleopatra, I expected a much more edgy & shocking photo from you but instead you gave me something dull & simple. Carrie, although your photo was HOT it wasn’t really at all on theme, or at least you didn’t take it to where it could be. It sucks to see either of you go, but only one can stay. The girl still in the running is…
SAFE: Cleopatra. Congratulations, your past work has been enough to keep you safe.
ELIMINATED: Carrie. I’m really sorry to see you go. You’ve done so well these past 8 weeks & I’m excited to see what you do in the future. You may exit.
Okay ladies… So because now that we’re officially down to our Top 6, that means we’re going to take things international. The six of your better get your passports ready because we’re going to…..
CHINA.
Home of one of the fashion capitals of the world, Shanghai. Full of colourful sceneries & exciting fashion.
NEW THEME HERE:
6 girls remain. Who will be eliminated next?
This was actually drops from my kitchen sink (very boring) but rather than toss the shot, played around in Photoshop and came up with this.
Several years ago, I sold my 4-bedroom house and moved to a small condo in the city. I made some hard decisions about what to keep and what to shed. Simplifying my life so drastically was exhilarating. But, like kudzu, the "stuff I think I need" has been slowly creeping back in and choking me. Time to defoliate again :)
For threesixtyfive, FGR challenge, "Uncluttered", and also The Rogue Players theme DoF
© All rights reserved, don´t use this image without my permission.Contact me at debmalya86@gmail.com
Wearing the ICG Simplified paint scheme, PS 4750 # 765445 is southbound on CN's ex IC main line in Homewood, IL.
I took this with my Blackberry.
Used Topaz DeNoise, Detail and Simplfy to create this final product. It turned out far better than I expected.
Gx1 simplify topaz
For a detailed review and for more examples, go to the blog of Mr Tyson Robichaud
tysonrobichaudphotography.wordpress.com/2014/02/20/topaz-...
One of the earliest customers for the Boeing 787; China Southern was the first out of the 3 major Chinese carriers to operate the type after taking delivery for the wide-body aircraft from mid-2013 being the smaller Boeing 787-8 of which 10 were delivered up until mid-2014. The carrier have also taken on a much larger fleet of Boeing 787-9s with 18 in service with 2 more examples on-order.
More than 10 years since China Southern introduced their first Boeing 787-8, the carrier recently issued a tender placing all 10 Boeing 787-8s for sale, which also includes 2 spare engines (these being General Electric GEnx-1B70s). Separate from the tender, China Southern are also looking to sell their Boeing 777-300ER fleet.
The carrier is in the process of right-sizing and simplifying their long-haul fleet, especially in the wake of reduced international long-haul demand. China Southern has almost whittled down their Airbus A330-200 fleet, withdrawn the eldest Airbus A330-300s whilst the vast majority remain on medium-haul regional flights. The long-haul fleet look set to mainly utilise their Airbus A350-900s and Boeing 787-9s.
Currently, China Southern operates 28 Boeing 787s, which includes 10 Boeing 787-8s and 18 Boeing 787-9s. China Southern have 2 Boeing 787-9s on-order.
Two Zero Charlie Six is one of 18 Boeing 787-9s operated by China Southern, delivered new to the carrier on lease from CSA Leasing on 21st August 2019 and she is powered by 2 General Electric GEnx-1B74/75 engines.
Boeing 787-9 Dreamliner B-20C6 on final approach into Runway 27R at London Heathrow (LHR) on CZ303 from Guangzhou-Baiyun (CAN).
Fog rolling around Jordan Harbour middle of the afternoon, on a hot muggy day! Drop it all and dash for the camera.
©2012 Susan Ogden-All Rights Reserved Images Thruthelookingglass
The week after Spring Break is killer. The kids come back, but their brains and behavior are still somewhere between Disney World and home. It is the time of year that they are finally used to you, and you are familiar enough that they think you are their mother....they try and pull some fast ones. You just have to laugh...or you will cry!
Ironically the adults in the classroom are focusing on the last day of school and patience with the behaviors at this point is at a pretty low level....a Margarita Bar at free play time would be most welcome for us! Somehow that is overlooked and/or frowned upon by the powers that be....when really, it could only help at this point!
I for one, am hoping for a weekend of Simplicity..........but i have an uneasy feeling....an ill wind is coming. i feel it, but can’t quite tell what it will bring...........it does not feel good. my 6th sense is telling me to lay low. Breathe.........simplify...............just be.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: 'Roma - Una bellissima passeggiata nel Foro Romano, ricostruito in 3D.': Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer, 'The Roman Forum: A Reconstruction and Architectural Guide', Cambridge University Press (2015 [Forthcoming]), pp. 1-474; 60 b/w illus. 247 colour illus. Foto: Cambridge University Press (05|2015).
"...Thus, while millions of casual tourists visit the site [of the Roman Forum] each year, most carry away only vague ideas of how the shattered ruins before them actually appeared in antiquity; and relevant literature in English usually provides little more." (...) "Since our new, restored model of the Forum is three dimensional, we were able to document the site in a realistic manner." (...) "With these digital materials and our texts, we anticipate that future visitors to the Forum will find the site more comprehensible – and, we hope, far more rewarding – than has ever previously been the case."
-- Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer [2012-13] in: PREFACE, xv & xviii, Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer, 'The Roman Forum: A Reconstruction and Architectural Guide', Cambridge University Press (2015 [Forthcoming]), pp. 1-474; 60 b/w illus. 247 colour illus.
The Roman Forum was in many ways the heart of the Roman Empire. Today, the Forum exists in a fragmentary state, having been destroyed and plundered by barbarians, aristocrats, citizens and priests over the past two millennia. Enough remains, however, for archaeologists to reconstruct its spectacular buildings and monuments. This richly illustrated volume provides an architectural history of the central section of the Roman Forum during the Empire (31 BCE–476 CE), from the Temple of Julius Caesar to the monuments on the slope of the Capitoline hill. Bringing together state-of-the-art technology in architectural illustration and the expertise of a prominent Roman archaeologist, this book offers a unique reconstruction of the Forum, providing architectural history, a summary of each building's excavation and research, scaled digital plans, elevations, and reconstructed aerial images that not only shed light on the Forum's history but vividly bring it to life. With this book, scholars, students, architects and artists will be able to visualize for the first time since antiquity the character, design and appearance of the famous heart of ancient Rome.
- With over 300 illustrations, the majority of them in color, this is the most complete and visually striking treatment of the Forum to date.
- Authored by an expert team of illustrator and Roman archaeologist.
- The reconstructions of every monument in the Forum constitute the handsomest, most complete, most attractive series of Forum images ever done.
Table of Contents
Part I. Architecture in the Roman Forum during the Empire: A Brief History:
1. The Augustan Reconstruction
2. From the Tiberius to Phocas (14–608 CE)
Part II. The Monuments:
3. The Temple of Antoninus and Faustina
4. The Temple of Caesar (Aedes divi Iuli)
5. The Basilica Aemilia
6. The Curia
7. The Arch of Septimius Severus
8. The West Rostra
9. The Temple of Concord
10. The Temple of Vespasian
11. The Tabularium
12. Portico of the Dei Consentes
13. The Temple of Saturn
14. The Basilica Julia
15. The Arch of Tiberius
16. The Schola Xanthi
17. The Diocletianic Honorary Columns
18. The Temple of Castor and Pollux
19. The Parthian Arch of Augustus
20. The Temple of Vesta
Part III. Conclusions.
Look Inside
- Index (PDF = 159 KB)
- Marketing Excerpt (PDF = 16615 KB)
- Copyright Information Page (PDF = 136 KB)
- Front Matter (PDF = 30244 KB)
- Table of Contents (PDF = 144 KB)
Authors
Gilbert J. Gorski, University of Notre Dame, Indiana -
Gilbert J. Gorski is a licensed architect and the project designer for numerous buildings including the World Headquarters for the McDonald's Corporation in Oak Brook, IL, and the Oceanarium, a major addition to the John G. Shedd Aquarium in Chicago. In 1987 he was designated the Burnham Fellow by the Chicago Architectural Club and was awarded an associate fellowship to the American Academy in Rome. Since 1989 Gorski has headed his own firm specializing in design and illustration. His drawings and paintings have been included in numerous publications and exhibits on architecture and illustration. He was twice awarded the Hugh Ferriss Memorial Prize, the nation's highest singular honor in architectural illustration, by the American Society of Architectural Illustrators. He is also the recipient of an Institute Honor for Collaborative Achievement, awarded by the American Institute of Architects. He presently is an associate professor at the University of Notre Dame and holds the James A. and Louise F. Nolen Chair in Architecture.
James E. Packer, Northwestern University, Illinois -
James E. Packer is Emeritus Professor of Classics at Northwestern University. He is the author of the three-volume The Forum of Trajan in Rome (1997); of numerous articles in journals, including the American Journal of Archaeology, the Journal of Roman Archaeology, the Bullettino della Commissione Archeologica Comunale di Roma, the Maryland Historian, Natural History, Croniche Pompeiane, Technology and Culture, Curator, Inland Architect, Archeo, and Archaeology; and of articles in collections, including the Lexicon Topographicum Urbis Romae (1993–2000). He is the recipient of many grants, including those from the Samuel H. Kress Foundation, the Getty Grant Program, the National Endowment for the Humanities, and the Andrew W. Mellon Foundation. He has excavated at Pompeii, in the Forum of Trajan (Rome), and in the Theater of Pompey (Rome). 'The Forum of Trajan' exhibition at the opening of the new Getty Museum in Los Angeles (1997) was based on Packer's work.
FOTO | TEXT | FONTE | SOURCE:
- Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer, 'The Roman Forum: A Reconstruction and Architectural Guide', Cambridge University Press (2015 [Forthcoming]), pp. 1-474; 60 b/w illus. 247 colour illus.
www.cambridge.org/je/academic/subjects/archaeology/classi...
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s.v.,
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano”, LA REPUBBLICA (15|04|2015). The Forum of Trajan, comments by prof. James E. Packer | FACEBOOK (15|04|2015).
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“…Imperial Rome appears to be a golden, semi-mythical city filled with splendid monuments whose ruins still regularly attract hordes of annual visitors. Yet these tourists see only battered walls,fragmentary pavements, broken columns and piles of marble fragments mutely recalling past grandeur but giving little reliable information on the layout and visual or propagandistic effects of the originally elaborately decorated buildings. (…) Consequently, most visitors to Roman sites still rely either on simplified guide books or on ‘local’ professional guides who may or may not give their audience accurate (if limited and strictly verbal) information about the sites visited.”
Prof. James E. Packer, Digitalizing Roman Imperial architecture in the early 21st century: purposes, data, failures and prospects. JRAS 61 (2006), pg. 309 & 312 [of pages 309-320].
…His [Prof. Packer’s] interest in the monument [of the Forum of Trajan] was sparked in 1972,[1] while he was preparing to guide some Northwestern University [Illinois, USA] alumni on a tour of Rome, little had been published about the forum, he found. This did not surprise him. He had just finished his dissertation of the archaeological records of Ostia, the ancient port of Rome, and “it was extraordinary how much little had been done on Ostia,” [2] he says. “So it was not surprising that the same situation existed in Rome.” In fact, all of the Imperial Forums were “kind of forgotten” – collapsed, buried and hard to get into, he says.’ In a sense, Dr. Packer’s had been preparing for much of his life to play a role in the uncovering a key part of Roman history. “Ever since I was a child, I have been fascinated by Roman buildings,” he says. “I wanted to have something to do with them, but for a long time I wasn’t sure what.” As a boy, he made three-dimensional models of such buildings as the Forum of Pompeii, the Pantheon at Ostia, and the Round Temple of Baalbek in Lebanon. Growing up in Williamsburg, Virginia he was impressed by the town’s architecture. “My mother said, ‘if you like neo-classical architecture, wait until you see the real thing.’” Certainly the Forum of Trajan bore her out.’[2] & [4].
Notes: 1,2,3, & 4 in, see: ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Prof. James. E. Packer, (ed. it.), Il Foro di Traiano a Roma. Breve studio dei monumenti (Roma 2001). “[Prof. Packer] Passeggiata virtuale nel Foro Romano [e Traiano],” LA STAMPA (02|01|1998), p. 17.
wp.me/pPRv6-2Ut & www.flickr.com/photos/imperial_fora_of_rome/5189852726/
— ROME ARCHAEOLOGY & RESTAURO ARCHITETTURA: THE ROMAN FORUM – Prof. James E. Packer & Prof. Arch. Gilbert J. Gorski, “The Roman Forum: A Reconstruction and Architectural Guide,” Cambridge University Press (forthcoming [2014]), Pp. 550. Foto: Prof. James E. Packer, scholars and students visiting the Forum of Trajan in Oct. 2013.
— ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Prof. James E. Packer, Il Foro di Traiano. Breve studio dei monumenti | Prof. Packer, una lezione affascinante in inglese sul Foro di Traiano Roma (10|2013). [ENGLISH] VIDEO YOUTUBE [1:00:13].
— ROMA ARCHEOLOGIA & RESTAURO ARCHITETTURA: Prof. James Packer,”Digitizing Imperial Rome: A computerized Approach to the Architectural History of the Roman Imperial Forum.” James Packer, Professor Emeritus Northwestern University (2010).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: PROF. ANDREA CARANDINI, “IMAGO URBIS – Lazio , Roma e Suburbio,” LA SAPIENZA UNIVERSITA` DI ROMA | Arcus S.p.a | SSBAR (2015). Review of “ATLANTE DI ROMA ANTICA, Vol. I & II (2013),” by: T. P. Wiseman & J. E. Packer (2013).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Roma – I Fori Imperiali (1995-2008). The Forum of Trajan. Excavations & Related Studies (1998-2008). Prof. James. E. Packer, (ed. it.), Il Foro di Traiano a Roma. Breve studio dei monumenti (Roma 2001). [04|2008].
www.flickr.com/photos/imperial_fora_of_rome/2517676103/
— ROMA ARCHEOLOGIA e RESTUARO ARCHITETTURA: James E. Packer, Report from Rome: The Imperial Fora, a Retrospective [Relazione da Roma: I Fori Imperiali, una Retrospettiva]. AJA 101, April 1997, [PDF] 307-330. *
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Note: A very special thank you to both Prof. James E. Packer and Prof. Arch. Kevin Sarring, they were kind enough to meet with me here in Washington DC in late October 2009, prof. Packer more then generously shared with me the outline of his preliminary work for the current book: ‘The Roman Forum: A Reconstruction and Architectural Guide (2015); M. G. Conde [05|2015]
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I used Genevieve's Mandala Templates to set up the pencil guides for this mandala. More info available on my blog: rainbowelephant.com