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A Model Shop Studio production.
Model: Justine Desiree Marsing
Lloyd-Thrap-Creative-Photography
© 2013 2024 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Mao Lemieux: and the mome raths outgrabe.
René Ampère: and the mome raths did outgrabe
♥ much of muchness ♥ purrrrrrrrrrrs ♥
ɱìʂςђ pets a cat while listening
René Ampère: jinx
♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥
The recognizable profile of the Pelican Nebula soars nearly 2,000 light-years away in the high flying constellation Cygnus, the Swan. Also known as IC 5070, this interstellar cloud of gas and dust is appropriately found just off the "east coast" of the North America Nebula (NGC 7000), another surprisingly familiar looking emission nebula in Cygnus. Both Pelican and North America nebulae are part of the same large and complex star forming region, almost as nearby as the better-known Orion Nebula. From our vantage point, dark dust clouds (upper left) help define the Pelican's eye and long bill, while a bright front of ionized gas suggests the curved shape of the head and neck. This striking synthesized color view utilizes narrowband image data recording the emission of hydrogen and oxygen atoms in the cosmic cloud. The scene spans some 30 light-years at the estimated distance of the Pelican Nebula. via NASA ift.tt/2frkU7N
Gullies eroded into the wall of a meteor impact crater in Noachis Terra. This high resolution view (top left) from the Mars Global Surveyor (MGS) Mars Orbiter Camera (MOC) shows channels and associated aprons of debris that are interpreted to have formed by groundwater seepage, surface runoff, and debris flow. The lack of small craters superimposed on the channels and apron deposits indicates that these features are geologically young. It is possible that these gullies indicate that liquid water is present within the martian subsurface today. The MOC image was acquired on September 28, 1999. The scene covers an area approximately 3 kilometers (1.9 miles) wide by 6.7 km (4.1 mi) high (note, the aspect ratio is 1.5 to 1.0). Sunlight illuminates this area from the upper left. The image is located near 54.8S, 342.5W. The context image (above) shows the location of the MOC image on the south-facing wall of an impact crater approximately 20 kilometers (12 miles) in diameter. The context picture was obtained by the Viking 1 orbiter in 1980 and is illuminated from the upper left. The large mound on the floor of the crater in the context view is a sand dune field. The Mars Orbiter Camera high resolution images are taken black-and-white (grayscale); the color seen here has been synthesized from the colors of Mars observed by the MOC wide angle cameras and by the Viking Orbiters in the late 1970s. A brief description of how the color was generated: The MOC narrow angle camera only takes grayscale (black and white) pictures. To create the color versions seen here, we have taken much lower resolution red and blue images acquired by the MOC's wide angle cameras, and by the Viking Orbiter cameras in the 1970s, synthesized a green image by averaging red and blue, and created a pallete of colors that represent the range of colors on Mars. We then use a relationship that correlates color and brightness to assign a color to each gray level. This is only a crude approximation of martian color. It is likely Mars would not look like this to a human observer at Mars.
Credit: NASA/JPL/MSSS
Image Number: PIA01035
Date: September 28, 1999
why 1966?
ask amadika.
also,
insulin was synthesized in china and the pill was deemed safe for human usage.
walt disney died.
the first Star Trek episode, "The Man Trap," was broadcast on September 8. the plot concerns a creature that sucks salt from human bodies.
and a whole lotta stuff happened in vietnam and botswana, but i don't know a thing about history.
it just dawned on me when BJ asked me to put this in an african american photography group that it was also the year blacks were given the right to vote.
109 - One hundred and nine is the next consequetive number in my occaisional 'numbers' project.
It has been while since I worked on my numbers project.
It is the natural number falling between 108 and 110. It is the 29th prime that pairs in with 107.
In chemistry 109 is the atomic number of meitnerium as radioactive syntheric element that has a half live of 7.6 seconds which was first synthesized on August 29, 1982 by a German research team led by Peter Armbruster and Gottfried Münzenberg at the Institute for Heavy Ion Research.
109 happens to have another more notorious association with Germany, that of the Messerscmitt 109 which was Nazi Germany's prime fighter aircraft throughout World War 2.
Landrover produced a model 109 which is it's world famous long wheel base 4x4. Tough as boots with good availability, Landrover 109's can be found across the world. 109 is the wheelbase length in inches.
London bus route 109 runs between Croydon Library and Brixton Station.
The imaged cycle stand 109 is on Marylebone Station in London.
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Today's tip: if you like the Polaroid effect, you can add it by downloading the free app from www.poladroid.org. It's a fun tool to use from time to time
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Please feel free to follow me on Flickr by adding me as a contact www.flickr.com/relationship.gne?id=24366212@N07 so I can follow all your new uploads.
Previews are on my instagram account at www.instagram.com/charlespuckle/
I also curate a photographic magazine on Flipboard. Do drop into Charles' Photographic Scrapbook at flip.it/Fo0Ng.
Alternatively follow me on Twitter @CharlesPuckle
(c) Charles Puckle
Traveling life. #Kodak #2383 color print film, expired. Motion Picture film shot as still in camera. I love this film but developing in color can get frustrating with this film but it's fun in B&W. Stand developed as black and white in homebrew #Kalogen 1:150 for 60 minutes, water stop and fixed in Ilford Rapid 1:4. Ultra low ISO 1.6. Nikon N90s.
Kalogen was originally a replacement for Rodinal in/during/after the first world war when Rodinal was not available in the US/UK. Instead of para-aminophenol as the primary developer, it is essentially synthesized from the metol in the formula. (I'm finding it to be more active than Rodinal in comparable dilutions)
Distilled water (50°C) .................. 750 ml
Metol ....................................... 13.5 g
Sodium sulfite (anhy) ................... 180 g
Hydroquinone ............................. 53.0 g
Sodium hydroxide ........................ 35.0 g
Potassium bromide ....................... 5.0 g
Benzotriazole, 1% ........................ 80.0 ml
Distilled water to make ................. 1.0 l
Obvious A LOT of chemistry but that is because it is a concentration. Rodinal is essentially para-aminophenol, Sodium sulfite and sodium hydroxide. So this is only slightly more complex.
Weigh out the Metol and sulfite. Dissolve a pinch of the sulfite in the water before adding the Metol. Dissolve the other ingredients in the order given. A precipitate will form upon the addition of the hydroquinone which will dissolve upon the addition of the sodium hydroxide.
Transfer the solution to a 1 liter glass bottle, stopper and allow it to stand for 2 to 3 days. A small amount of impurities will precipitate out and the solution will become lighter in color. Filter the solution and transfer it to several small (2 to 4 ounce) glass bottles and label. When prepared correctly the solution will be a clear pinkish tan color. (My first batch is slightly yellow clear and there is a mild deposit on the bottom. I shake it before I use it.)
When stored in nearly full and tightly capped small bottles, the stock solution will keep for months at room temperature. Should any crystals form due to storage at low temperature, they may be redissolved by warming and shaking the bottle.
The concentrate is diluted 1:30 to 1:60 for films. For 1:60 the average development time is 5 min @ 22C. Kalogen also makes an excellent paper developer when diluted 1:12 to 1:15 producing results similar to D-72. Develop 2 to 2-1/2 min @ 22C. The formula was published by Walter C Snyder, Dignan Newsletter, August 1973, pp 13-14. (I"m citing this from / copying this from: www.photrio.com/forum/threads/kalogen-formula.103711/
I stand develop right now at 1:150 dilution for 60 minutes. I get some bromide drag in some (older) emulsions. Not sure if that IS bromide drag, or a light leak or over development from too strong a developer. Not researching that now as it doesn’t really bother me yet…
Obviously I'm having fun with it....
And, just for more fun..
.
ANDERSON, Paul Lewis, photographic expert;
b. Trenton, N.J. Oct. 8, 1880. s. Edward
Johnson and Belle (Lewis) A. ; E.E., Lehigh
U. 1901; m. Mary Lyon Green, Of E. Orange,
N.J., Aug 22, 1910. With Westinghous
Electric & Mfg; Co., Pittsburgh. Pa., 1901
engring and testing depts., Sprague Electric
Co., Watsessing. N.J. 1902-4; engring. dept.
New York Telephone co., 1904-7; a founder and mem.
Struss-Anderson Labs., mfrs. "Kalogen"
(photographic developer}, of which was originator.
Has exhibited photographs in leading cities of
America, and in Loudon, Hamburg and Budapest.
Mem. Orange Camera Club, Authors League America.
Author: Pictorial Landscape Photography, 1914:
Pictorial Photography, its Principles and
Practice, 1917: The Fine Art of Photography, 1919.
Home: 36 Washington St., East orange, N.J.
From: Who’s Who in America Vol 11 1920-1921.
Megan Martyn prepairs to dance on the stage at Black Market Goods Gallery.
Lloyd-Thrap-Creative-Photography
© 2010 2023 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
"One of the strange things about living in the world is that it is only now and then one is quite sure one is going to live forever and ever and ever. One knows it sometimes when one gets up at the tender solemn dawn-time and goes out and stands alone and throws one's head far back and looks up and up and watches the pale sky slowly changing and flushing and marvelous unknown things happening until the East almost makes one cry out and one's heart stands still at the strange unchanging majesty of the rising of the sun—which has been happening every morning for thousands and thousands and thousands of years. One knows it then for a moment or so...”
~ Frances Burnett
© 2010 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Another from the modelshopstudio™ photo shoot with Jamie and Lloyd Thrap Creative Photography — at modelshopstudio™.
© 2014 2019 Photo by Lloyd Thrap Photography for modelshopstudio™
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Please view in full screen mode.
Lloyd Thrap modelshopstudio™.
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Kündekari doors are made up of small pieces of wood, laboriously fitted together. On doors with complex angular patterns, the number of pieces may easily run into the thousands. Kündekari doors are especially resistant to warping and shrinking because the individual pieces of wood are carefully placed such that each piece has its grain running in the opposite direction to those next to it; thus kündekari doors remain straight and true for hundred years...
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The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is an historical mosque in Istanbul, is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.
It was built from 1609 to 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.
The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour. It has 6 minarets along with 8 domes and 1 main one.
Object Details: The Heart Nebula is a massive star forming region 100 to 200 light-years in diameter and lying approximately 7,500 light-years from Earth in the Perseus spiral arm of our galaxy. A combination of an emission nebula & an open star cluster; it can be found in the constellation of Cassiopeia. Spanning over twice the width of the full moon in our sky, it is powered & sculpted by the open star cluster Melotte 15 (near center). which contains stars 50 times more massive than our sun.
Catalogued as IC 1805, the common name is of course a result of pareidolia; another example of which can be found at the apex at the bottom of the heart, which when turned 90 degrees and viewed separately is known as the 'Fishhead'.
Image Details: The data for the attached image were taken by Jay Edwards on October 22 & 29, 20122 using an Orion 80mm f/6 carbon-fiber triplet apochromatic refractor (i.e. an ED80T CF) connected to a Televue 0.8X field flattener / focal reducer and an IDAS NBZ dual band filter which has narrowband passes centered on the emissions of Hydrogen-alpha (656.3 nanometers) and Oxygen III (495.9 & 500.7 nanometers) on an ASI2600MC Pro cooled astronomical camera. The 80mm was piggybacked on a vintage 1970, 8-inch, f/7, Criterion newtonian reflector and was tracked using a Losmandy G-11 mount running a Gemini 2 control system and guided using PHD2 to control a ZWO ASI290MC planetary camera / auto-guider in an 80mm f/5 Celestron 'short-tube' refractor, which itself was piggybacked on top of the 80mm apo.
The image consists of two and a half hours (150 minutes) of total integration time (not including applicable dark, flat and flat dark calibration frames) and was constructed using a stack of fifty 3 minutes sub-exposures. Although I am still working out an applicable workflow for this new camera, the data were processed using a combination of PixInsight and PaintShopPro. As presented here it has been cropped to approximately 75 percent of the original fov, resized down to 2807 x 2160 (~ one-forth it's original resolution) and the bit depth has been lowered to 8 bits per channel.
Given that this data was taken using a dual-band filter; I'm hoping to split out the H-alpha & OIII data, synthesize a third channel and recombine them to produce a 'Hubble-palette' like & / or Foraxx version(s) of this object in the future.
Wishing everyone clear, calm & dark skies; and of course a Happy Valentine's Day !!!
Body Paint Art: Kayla Mansfield.
Model: Beth.
Wall Art: Jelo
Location Black Market Goods Gallery, Albuquerque, New Mexico. USA
© 2010 2025 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
One of the first commissioned pieces for Canada’s National Museum of Man, now the Canadian Museum of History, was this large mural painting by Daphne Odjig, a self-taught artist who was born on the Wikwemikong Reserve on Manitoulin Island in Ontario, Canada, and who according to the museum notes synthesized the artistic grammars of both modernist European and Anishinabe traditions to create her own unique artistic vocabulary.
Daphne Odjig (1919-2016), The Indian in Transition (1978), acrylic on canvas, 2.5 x 8.3m (8.2 x 27.2 ft)
I just looked at it and admired it, without reading the following explanation by the museum:
The Indian in Transition takes the viewer on an historical odyssey from a time before the arrival of Europeans through the devastation and destruction of Aboriginal cultures to an expression of rejuvenation and hope. Odjig’s story unfolds with the figure on the left playing the drum, which symbolizes strong Aboriginal cultural traditions, while overhead is a protective Thunderbird. — They mean the bird, not the vehicle, I am sure... — Then, a boat arrives filled with pale-skinned people. The boat’s bow becomes a serpent, which represents a bad omen in Anishinabe mythology.
Next, Ofjig depicts Aboriginal people trapped in a vortext of political, social, economic and cultural change. Four ethereal figures rise above the fallen cross and broken drums against a symbol of beaurocratic authority. To the right, a figure struggles free, sheltering the sacred drum, under the protection of the Thunderbird and the maternal eye of Mother Earth at the upper left [sic!] of the painting. Odjig ends the story as it began, with a message of mutual understanding and hope for the future.
This photo has been privileged to be rejected Onexposure (http://1x.com/)
Esta foto ha tenido el privilegio de ser rechazada en Onexposure (http://1x.com/)
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Visit my Blog (Medieval Catalonia)
Dedicada a BenBjörn - El Brujo is Back!!
It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
The robots liked it so much last year, I've taken an extended group back to Barley (Pendleside, Lancashire) May Bank Holiday Model Engineering Show again this year.
These two enhanced Robie SR's are showing off their SP0256 "Narrator" speech chips:-
Hear them - www.flickr.com/photos/wcrpaul/41889422371/
These Robies can operate in "Autonomous" mode or by 2.4Ghz radio control. As well as ultrasound and electronic compasses they have built-in "RoboCams".
Their brains are 3 Arduino UNOs linked by I2C. The master processor UNO holds command sequences, and also reads output from the 2.4GHz RX modules, ultrasound units and compass. Slave 1 works the 7 segment display pairs (ultrasound feedback) with a 6-bit BCD data bus to each pair.
Slave 2 holds the speech dictionary (words constructed from allophone sound fragments) and drives the Mike Hawkins speech processor card.
From: AsstDIR BuBugs
Date: 2263.32.6 - PD
Encrypt: SMZX55385-K
Security: Onyx - Eyes Only
Protocol: Dark S7
To: DIR BuFleet
Cc: CINCBUG, AsstDIR BuWeaps, AsstDIR BuPers,
SCc: Maj. Nuisance, Scruffy M. 3rd Charioteers/ 777th Recon
After several delays due mainly to the need to rush prior models into combat ahead of schedule, the final Series 2 Battle Transforming Combat Beetle is ready. I present to you the Synthecycler Beetle. The first three beetles of Series 2 were designed to give Battle Beetle Batallions much more brute force firepower. While highly effective in their roles as fast attack, recon, and sabotage units, Battle Beetle groups lacked a heavy enough punch to effectively assault multiple hardened targets. The Gatling and SSM Beetles filled this roll effectively, while the Flak Beetle broadened the scope of a beetle squad's anti air capabilities.
One concern voiced early and often, was that all three of these new designs relied heavily, and often exclusively on conventional ordnance without energy weapons for backup. This meant that their ammunition stores limited their active combat time. This concern was expressed especially strongly by Maj. Nuisance who's 777th Recon often work in protracted engagements with the enemy. While ammunition limitations have not proven to be a frequent problem for Battle Beetle squads, this is admittedly because they are rarely assigned duties that take them away from their supply chains for long periods.
That paradigm is set to shift with the introduction of the Synthecycler Beetle. Designed using captured Tharkoldu technology, the Synthecycler Beetle is able to scavenge the battle field, recycling materials and synthesizing ammunition for it's fellow Battle Beetles. The Synthecycler Beetle is not only able to create ammunition, but can in fact salvage and synthesize fuel cells, electronic components, armor, ceramics, and even a wide variety of chemical and radiological agents to re-arm units besides other Battle Beetles.
When working with the Communication Beetle, the Synthecycler can download specs for any friendly units it comes across, assisting them with fuel, ammunition, and field repairs. All Synthecycler Beetles come with full specs for all other Battle Beetles including standard maintenance and full component replacement. It can even synthesize and apply paint jobs.
Lastly Synthecycler Beetles can salvage materials from almost anything. While it can't conjure metal out of thin air in the middle of the forest, it can tear apart structures, vehicles, and anything else it can find. Given enough resources and time one could build an entire new Battle Beetle from scratch, however the build time for such projects is prohibitive even with unlimited resources. Building another Battle Beetle from scratch takes a Synthecycler a minimum of three days under the best of conditions. While Synthecyclers can fully refuel and re-arm themselves, they only have a limited ability to self repair. Two Synthecycler Beetles working together however, could conceivably operate in the field indefinitely. The only limiting factors being time and access to resources. It is still far more efficient to build a Battle Beetle at a proper construction facility.
The Synthecycler Beelte is armed with a pair of EMP cannons. These allow it to disable enemies in tact, minimizing damage to fuel and ammo stores before the beetle tears in to it's target. The magnetic graplers, laser saws, and other equipment can make short work of a disabled target, quickly digging through the superstructure and into the crew compartment. The EMP cannons also give the Synthecycler the best chance of defending itself against more heavily armed opponents until it's fellow Battle Beetles can come to assist.
In the case of armored troop carriers, the Synthecyclers can shoot a blast of fuel into the main cabin and ignite it with one of it's laser saws, making short work of any armed resistance from inside. BuOps is playing with synthesizing sleep agents for use in missions designed around capturing enemy personnel, however this would be useless as a standard battle procedure due to the wide range of species currently embroiled in the war. The same considerations make nerve gasses and other chemical weapons a dubious prospect as well.
This represents the last of the Series 2 Battle Transforming Combat Beetles, and the first production run is ready for immediate deployment pending your approval.
Sincerely,
Leon Martinez - AsstDIR BuBugs
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This was built for the War Beasts Army of Animals build challenge.
Modavia Casting
Inspired by Moschino
Photographer Skip Staheli
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MOTIVATION
As the assigned theme is to synthesize in a outfit the flavour of the fall collection of a real designer and not to copy one of them , I tried to interiorize the inspirational allure of the latest two collection of the Maison Moschino ( fall /winter 2011/12 and spring 2012 ) aimed to translate some of their leitmotive into fashion suggestions . The result is an ensemble that winks and smiles to Moschino’s idea of the play and the disguise yet in a very glamorous contest , for a woman that like in a game likes to dress up interpreting always a different character, although never derogating to elegance and to inner harmony of lines and shapes.
'WOMEN, PERFUMES AND PRAYER': these three things, according to a famous hadith, 'were made worthy of love' to the Prophet; and this symbolism provides us with a concise doctrine of the outward reverberations of the love of the Inward.
Woman, synthesizing in her substance virgin nature, the sanctuary and spiritual company, is for man what is most lovable; in her highest aspect, she is the formal projection of merciful and infinite Inwardness in the outward; and in this regard she assumes a quasi-sacramental and liberating function.
As for 'perfumes,' they represent qualities or beauties that are formless, exactly in the same way as music; that is to say that side by side with the formal projection of Inwardness, there exists also a complementary formless projection, symbolized, not by visual or tangible qualities, but by auditory and olfactory ones; perfumes are silent music.
As for 'prayer’, the third element mentioned in the hadith, its function is precisely to lead from outward to Inward, and it both consecrates and transmutes the qualitative elements of the outward realm; from this it may be seen that the ternary comprised in the saying of Muhammad, far from being of an astonishing arbitrariness and a shocking worldliness (as is believed by those who have no idea either of Oriental symbolism in general or of the Islamic perspective in particular) provides on the contrary a doctrine which is entirely homogeneous, and which is founded, not on the moral or ascetical alternative, but on the metaphysical transparency of things.
The nature of the three elements of the ternary can be further delineated with the help of the notions -enumerated in the corresponding order- of 'beauty; 'love' and 'sanctity': it is beauty and love that reflect the Inward in the outward world, and it is sanctity, or the sacred, which establishes the bridgein both directions -between the outward and inward planes.
All that is beautiful comes from the Beauty of God; says a hadith.
Moslems readily affirm the link between beauty and love and show little inclination to dissociate these two elements which for them are but the two faces of one and the same reality; whoever says beauty, says love, and conversely, whereas for Christians mystical love is almost exclusively associated with sacrifice, except in chivalric esoterism
and its prolongations.
The hadith just quoted really contains the whole doctrine of the earthly concomitances of the love of God, in conjunction with the following hadith: 'God is beautiful, and He loves beauty'; this is the doctrine of the metaphysical transparency of phenomena. This notion of beauty or harmony, with all the subtle rhythms and symmetries which it implies, has in Islam the widest possible significance: 'to God belong the most beautiful Names; says the Quran more than once, and the virtues are called 'beautiful things'. 'Women and perfumes': spiritually speaking these are forms and qualities, that is to say, they are truths that are both dilating and fruitful, and they are also the virtues which these truths exhale and which correspond to them within us.
'Everything on earth is accursed except the remembrance of God’, said the Prophet, a saying which must be interpreted not only from the standpoint of abstraction but also from that of analogy; that is to say, the remembrance of God is not only an inwardness free from images and flavours, but also a perception of the Divine in the symbols (ayat) of the world. To put it another way: things are accursed (or perishable) in so far as they are purely outward and externalizing, but not in so far as they actualize the remembrance of God and manifest the archetypes contained in the Inward and Divine Reality.
And everything in the world that surrounds us which gives rise to a concomitance of our love of God or of our choice of the 'inward dimension; is at the same time a concomitance of the love which God shows towards us, or a message of hope from the 'Kingdom of Heaven which is within you’.
These considerations (or even simply the notion of the 'love of God’) lead us to a related question, that of the Divine Person in relation to our capacity for love: what, it may be asked, is the meaning of the masculine character attributed to God by the Scriptures, and how can man (the male) accord all his love, naturally centered on woman, on a Divine Person who seems to exclude femininity?
The answer to this is that the masculine character of God in Semitic monotheism signifies, not that the Divine Perfection could possibly exclude the feminine perfections (which is unthinkable), but simply that God is totality and not part, and this totality has its image, precisely, in the human male, whence his priority with regard to woman (a priority which in other respects is either relative or nonexistent).
It is indeed important to understand that the male is not totality in the same way that God is, and likewise that woman is not 'part' in an absolute manner, for each sex, being equally human, shares in the nature of the other.
If each of the sexes constituted a pole, God could neither be masculine nor feminine, for it would be an error of language to reduce God to one of two reciprocally complementary poles; but if, on the contrary, each sex represents a perfection, God cannot but possess the characteristics of both – active perfection, however, always having priority over passive perfection.
Whether one likes it or not, in Christianity the Blessed Virgin assumes the function of the feminine aspect of the Divinity, at least in practice, and in spite of every theological precaution; however, this observation, far from being a cause of reproach in the eyes of the writer, has on the contrary for him the most positive meanings.
In Islam it is sometimes said that man has a feminine character in relation to God; but from another point of view, the doctrine of the Divine Names implies that the Divinity possesses all conceivable qualities, and if we see in the perfect woman certain qualities which are proper to her, she cannot have them except in so far as they are a reverberation of the corresponding Divine Qualities ...
(Frithjof Schuon: Dimensions of Islam - Woman and lnteriorization)
FOV: 7" wide.
This demonstrates the use of Plaster of Paris as a base for synthesizing various phosphors. The Plaster of Paris served to hold the mixtures in place as they were being heated by a MAPP torch.
Contains:
Zinc Silicate (FL Green >UVabc)
Jackolite = CaS in salt (FL Orange >UVabc)
Bolognastonite = BaS:Cu (FL Yellow orange >UVabc)
BaO (?) (FL Blue >UVabc)
ZnS:Cu,Mn (FL Yellow green >UVabc)
Copperlite = NaCl:Cu+ (FL Orange >UVabc)
Unknowns....
Shown under UVc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
Blue = 450nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
© All Rights Reserved - Please don't use without permission.
Just one of those times when one is at the right place at the right time. It had been raining all day, when I went for a walk in the afternoon the day this was taken. I saw a heron fly up, and since I'd always wanted to get a picture of a heron I went in the direction it was flying, hoping it would stop and take a break someplace. I didn't find it, but when I came to the field where these sheep were, the sun came out and the light was just incredible. So all in all I got lucky anyway.
www.onesize.nl/projects/anything-you-synthesize Looks like my sheep there, but I don't know if it can be proven when they have been cut out of the picture like that. Maybe other Flickr users should check and see if they see anything familiar here. I certainly haven't been asked for permission.
Model: Jaclyn
Body Paint: Josh Jones.
Lloyd-Thrap-Creative-Photography
Location: Black Market Goods Gallery, Albuquerque New Mexico.USA
© 2010 2018 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
CABA - Ciudad Autonoma de Buenos Aires
Is it possible to synthesize the soul of a city through photographs of its buildings? The work of Michele Molinari heads in that direction, overlooking the Buenos Aires of historic monuments and focusing on the common dwellings that stud the skyline of the porteña city. They are boundary lines by day and by night, suburban intersections trying to spur on the vertical expansion of the city. Molinari’s interesting experiment is to go back to the same places after a period of time to crystalize the changes and witness the immanence of certain corners of the urban fabric. – Alessandro Trabucco
How emotional it is to admire Buenos Aires at dusk. The passers-by are hurrying along the sidewalks and distractedly look at the camera lens. With curious or perplexed glances. […] The essence of the obscurity is easier to enjoy in the quieter neighborhoods. […] The sense of calm even appears to reach the historic center in one of the few photos of monumental Buenos Aires included in the book. The circle closes. Every splintered scrap of the urban fabric is recomposed under the protective wing of the night. – Andrea Mauri
CABA - Ciudad Autonoma de Buenos Aires is a photobook. Photographs and essay by Michele Molinari, more essays by Andrea Mauri and Alessandro Trabucco. [essays are in English, Spanish and Italian]
CABA comes in 2 printed editions by Blurb, Pocket Edition [7x7in, 18x18cm, 132 pages, Standard Photo paper, Flexible High-Gloss Laminated cover, 106 color photos] and Deluxe Edition [8x10in, 20x25cm, 134 pages, ProLine Pearl Photo paper, Hardcover with Dust Jacket, 107 color photos], and one Digital Edition by Apple iBooks that features 107 + 7 bonus color photos.
CABA won Bronze Award at TIFA2020 Book/Documentary
Find it here: michelemolinari.info/2020/07/25/caba/
Photosynthesis. n.
The process in green plants by which carbohydrates are synthesized from carbon dioxide and water using light as an energy source.
Thanks for all the help on my geeky white flashes question on floral-photography.co.uk/ yesterday, it's still a bit of a mystery really as the vast majority viewing it so far are ok, and there are only three locations seeing the white flash, Isle of Wight, New Zealand & Sweden (once) somewhat backing up the line speed theory (the server is on the west coast USA). But it's also working properly for me now (no flashes) with Google Chrome and Safari, but not with Firefox and IE. So, i'm back to thinking maybe it has still got something to do with CSS after all?
Anyway enough of that for now…. Something floral again today, but this time its something new i created for the DOI. I took time out from web design headaches yesterday to have a play and i came up with loads of new dictionary creations, so there might be a bit of a glut of them in the coming days.
You can join in and have a play yourself in The Dictionary of Image Group on Flickr and see some of my favourite creations on The Dictionary of Image Website
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©2010 Jason Swain, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
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Links to my website, facebook and twitter can be found on my flickr profile
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Paul Cezanne (January 19, 1839 - October 22, 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cezanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cezanne "is the father of us all" cannot be easily dismissed.
Cezanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognisable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cezanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.
Paul Cezanne was a French painter, often called the father of modern art, who strove to develop an ideal synthesis of naturalistic representation, personal expression, and abstract pictorial order.
Cezanne was born in the southern French town of Aix-en-Provence, January 19, 1839, the son of a wealthy banker. His boyhood companion was Emile Zola, who later gained fame as a novelist and man of letters. As did Zola, Cezanne developed artistic interests at an early age, much to the dismay of his father. In 1862, after a number of bitter family disputes, the aspiring artist was given a small allowance and sent to study art in Paris, where Zola had already gone. From the start he was drawn to the more radical elements of the Parisian art world. He especially admired the romantic painter Eugene Delacroix and, among the younger masters, Gustave Courbet and the notorious Edouard Manet, who exhibited realist paintings that were shocking in both style and subject matter to most of their contemporaries.
Many of Cezanne's early works were painted in dark tones applied with heavy, fluid pigment, suggesting the moody, romantic expressionism of previous generations. Just as Zola pursued his interest in the realist novel, however, Cezanne also gradually developed a commitment to the representation of contemporary life, painting the world he observed without concern for thematic idealization or stylistic affectation.
The most significant influence on the work of his early maturity proved to be Camille Pissarro, an older but as yet unrecognized painter who lived with his large family in a rural area outside Paris. Pissarro not only provided the moral encouragement that the insecure Cezanne required, but he also introduced him to the new impressionist technique for rendering outdoor light.
Along with the painters Claude Monet, Auguste Renoir, and a few others, Pissarro had developed a painting style that involved working outdoors (en plein air) rapidly and on a reduced scale, employing small touches of pure color, generally without the use of preparatory sketches or linear outlines. In such a manner Pissarro and the others hoped to capture the most transient natural effects as well as their own passing emotional states as the artists stood before nature. Under Pissarro's tutelage, and within a very short time during 1872-73, Cezanne shifted from dark tones to bright hues and began to concentrate on scenes of farmland and rural villages.
Although he seemed less technically accomplished than the other impressionists, Cezanne was accepted by the group and exhibited with them in 1874 and 1877. In general the impressionists did not have much commercial success, and Cezanne's works received the harshest critical commentary. He drifted away from many of his Parisian contacts during the late 1870s and '80s and spent much of his time in his native Aix. After 1882, he did not work closely again with Pissarro. In 1886, Cezanne became embittered over what he took to be thinly disguised references to his own failures in one of Zola's novels. As a result he broke off relations with his oldest supporter. In the same year, he inherited his father's wealth and finally, at the age of 47, became financially independent, but socially he remained quite isolated.
Cezanne's goal was, in his own mind, never fully attained. He left most of his works unfinished and destroyed many others. He complained of his failure at rendering the human figure, and indeed the great figural works of his last years-such as the Large Bathers(circa 1899-1906, Museum of Art, Philadelphia) - reveal curious distortions that seem to have been dictated by the rigor of the system of color modulation he imposed on his own representations. The succeeding generation of painters, however, eventually came to be receptive to nearly all of Cezanne's idiosyncrasies. Cezanne's heirs felt that the naturalistic painting of impressionism had become formularized, and a new and original style, however difficult it might be, was needed to return a sense of sincerity and commitment to modern art.
For many years Cezanne was known only to his old impressionist colleagues and to a few younger radical postimpressionist artists, including the Dutch painter Vincent van Gogh and the French painter Paul Gauguin. In 1895, however, Ambroise Vollard, an ambitious Paris art dealer, arranged a show of Cezanne's works and over the next few years promoted them successfully. By 1904, Cezanne was featured in a major official exhibition, and by the time of his death (in Aix on October 22, 1906) he had attained the status of a legendary figure. During his last years many younger artists traveled to Aix to observe him at work and to receive any words of wisdom he might offer. Both his style and his theory remained mysterious and cryptic; he seemed to some a naive primitive, while to others he was a sophisticated master of technical procedure. The intensity of his color, coupled with the apparent rigor of his compositional organization, signaled to most that, despite the artist's own frequent despair, he had synthesized the basic expressive and representational elements of painting in a highly original manner.
Mosque Architecture began to follow traditional Chinese architecture. A good example is the Great Mosque of Xi'an, whose current buildings date from the Ming dynasty. Western Chinese mosques were more likely to incorporate minarets and domes while eastern Chinese mosques were more likely to look like pagodas.In time, the Muslims who were descendants of immigrants from Muslim countries began to speak local dialects and to read in Chinese Language.In Qinghai, the Salar Muslims voluntarily came under Ming dynasty rule. The Salar clan leaders each capitulated to the Ming dynasty around 1370. The chief of the four upper clans around this time was Han Pao-yuan and Ming granted him office of centurion, it was at this time the people of his four clans took Han as their surname.By the middle of the 16th century occasional Europeans who had a chance to travel in China start reporting on the existence and the way of life of the Chinese Muslims. The Portuguese smuggler Galeote Pereira, who was captured off the Fujian coast in 1549, and then spent a few years in Fujian and Guangxi, has a few pages on the Chinese Muslims ("Moors" to the Portuguese) in his report (published 1565). He felt that in both places the Muslim community was quickly assimilating into the Chinese mainstream.The Ming policy towards the Islamic religion was tolerant, while their racial policy towards ethnic minorities was of integration through forced marriage. Muslims were allowed to practice Islam, but if they were members of other ethnic groups they were required by law to intermarry, so Hui had to marry Han since they were different ethnic groups, with the Han often converting to Islam.
The other chief Han Shan-pa of the four lower Salar clans got the same office from Ming, and his clans were the ones who took Ma as their surname.
Foreign origin Muslims adopted the Chinese character which sounded the most phonetically similar to the beginning syllables of their Muslim names - Ha for Hasan, Hu for Hussain and Sa'I for Said and so on. Han who converted to Islam kept their own surnames like Kong, Zhang. Chinese surnames that are very common among Muslim families are Mo, Mai, and Mu - names adopted by the Muslims who had the surnames Muhammad, Mustafa and Masoud......In the Qing dynasty, Muslims had many mosques in the large cities, with particularly important ones in Xi'an. The architecture typically employed traditional Chinese styles, with Arabic-language inscriptions being the chief distinguishing feature. Many Muslims held government positions, including positions of importance, particularly in the army.The Qing treated Han and Hui civilians in the same legal category. Both Han and Hui were moved from the walled city in Beijing to the outside,[29] while only Bannermen could reside inside the walled city.The origin of Hui in Ürümqi is often indicated by the names of their Mosques.Painting depicting a Chinese Muslim, during the reign of the Qing dynasty.
Sufism spread throughout the Northwestern China in the early decades of the Qing dynasty (mid-17th century through early 18th century), helped by somewhat easier travel between China and the Middle East.[31] Among the Sufi orders found in China are the Kubrawiyya, Naqshbandiyya, and Qadiriyya.[32] The Naqshbandiyya spread to China via Yemen and Central Asia.[33][34] Most Islamic proselytization activity occurred within the Muslim community itself between different sects and was not directed at non-Muslims, proselytizers who sought to convert other Muslims included people like Qi Jingyi, Ma Mingxin, Ma Qixi, and Ma Laichi.[35] Some Sufi orders wear distinctive headgear, a six cornered hat can be found in China.[36][37] The most important Sufi orders (menhuan) included:
The Qadiriyya, which was established in China through Qi Jingyi (祁静一), also known as Hilal al-Din (1656–1719), student of the famous Central Asian Sufi teachers, Khoja Afaq and Koja Abd Alla. He was known among the Hui Sufis as Qi Daozu (Grand Master Qi). The shrine complex around "great tomb" (Da Gongbei) in Linxia remains the center of the Qadiriyya in China.
The Khufiyya: a Naqshbandi order, established in China by Ma Laichi (1681–1766).
The Jahriyya: another Naqshbandi menhuan, founded by Ma Mingxin (1719–1781).Chinese Hui Sufis developed a new type of organization called the menhuan, centered around a lineage of Sufi masters.The Hui Muslim scholar Liu Zhi wrote about Sufism in Chinese and translated Sufi writings from their original languages.[40][41] The Hui Muslim scholar Wang Daiyu used Confucian, Daoist, and Buddhist terminology in his Islamic writings.[42] Liu Zhi and Wang Daiyu were both Gedimu (non-Sufi) Muslims and argued that Muslims could be loyal both to the Mandate of Heaven and Allah, justifying Muslim obedience to the Qing government, since Allah was reflected by the Mandate of Haven in this world.[43] Liu Zhi and Wang Daiyu's writings became part of the Han Kitab, a Chinese Islamic text which synthesized Islam and Confucianism, using Confucian terminology to explain Islam.Liu Zhi met and talked with the Vice Minister of the Board of War regarding Islam, convincing him that Confucian principles were supported by Islam so that it should not be regarded as heretical. Liu Zhi used neo-Confucianism in his Islamic work titled as "The Philosophy of Arabia", and it was written that the book "illuminates" Confucianism, while Confucianism was at odds with Buddhism and Taoism, in a preface to the book by the non-Muslim Vice-Minister of the Board of Propriety.Jingtang Jiaoyu was a system of Islamic education developed during the Ming dynasty among the Hui, centered around Mosques. The Arabic and Persian language Thirteen Classics were part of the main curriculum.[111] In the madrassas, some Chinese Muslim literature like the Han Kitab were used for educational purposes. Liu Zhi (scholar) wrote texts to help Hui learn Arabic.Persian was the main Islamic foreign language used by Chinese Muslims, followed by Arabic.Hui Muslim Generals like Ma Fuxiang, Ma Hongkui, and Ma Bufang funded schools or sponsored students studying abroad. Imam Hu Songshan and Ma Linyi were involved in reforming Islamic education inside China.
Muslim Kuomintang officials in the Republic of China government supported the Chengda Teachers Academy, which helped usher in a new era of Islamic education in China, promoting nationalism and Chinese language among Muslims, and fully incorporating them into the main aspects of Chinese society. The Ministry of Education provided funds to the Chinese Islamic National Salvation Federation for Chinese Muslim's education. The President of the federation was General Bai Chongxi (Pai Chung-hsi) and the vice president was Tang Kesan (Tang Ko-san).40 Sino-Arabic primary schools were founded in Ningxia by its Governor Ma Hongkui.Imam Wang Jingzhai studied at Al-Azhar University in Egypt along with several other Chinese Muslim students, the first Chinese students in modern times to study in the Middle East.[120] Wang recalled his experience teaching at madrassas in the provinces of Henan (Yu), Hebei (Ji), and Shandong (Lu) which were outside of the traditional stronghold of Muslim education in northwest China, and where the living conditions were poorer and the students had a much tougher time than the northwestern students. In 1931 China sent five students to study at Al-Azhar in Egypt, among them was Muhammad Ma Jian and they were the first Chinese to study at Al-Azhar.Na Zhong, a descendant of Nasr al-Din (Yunnan) was another one of the students sent to Al-Azhar in 1931, along with Zhang Ziren, Ma Jian, and Lin Zhongming.Hui Muslims from the Central Plains (Zhongyuan) differed in their view of women's education than Hui Muslims from the northwestern provinces, with the Hui from the Central Plains provinces like Henan having a history of women's Mosques and religious schooling for women, while Hui women in northwestern provinces were kept in the house. However, in northwestern China reformers started bringing female education in the 1920s. In Linxia, Gansu, a secular school for Hui girls was founded by the Muslim warlord Ma Bufang, the school was named Shuada Suqin Wmen's Primary School after his wife Ma Suqin who was also involved in its founding. Hui Muslim refugees fled to northwest China from the central plains after the Japanese invasion of China, where they continued to practice women's education and build women's mosque communities, while women's education was not adopted by the local northwestern Hui Muslims and the two different communities continued to differ in this practice.General Ma Fuxiang donated funds to promote education for Hui Muslims and help build a class of intellectuals among the Hui and promote the Hui role in developing the nation's strength.After secondary education is completed, Chinese law then allows students who are willing to embark on religious studies under an Imam
The history of Islam in China began when four Ṣaḥābā—Sa‘d ibn Abī Waqqās (594–674), Ja'far ibn Abi Talib, and Jahsh preached in 616/17 and onwards in China after coming from Chittagong-Kamrup-Manipur route after sailing from Abyssinia in 615/16. Sa‘d ibn Abi Waqqas again headed for China for the third time in 650–51 after Caliph ‘Uthman asked him to lead an embassy to China, which the Chinese .Trade existed between pre-Islamic Arabia and China's South Coast, and flourished when Arab maritime traders converted to Islam. It reached its peak under the Mongol Yuan Dynasty.China's long and interactive relationship with the various steppe tribes and empires, through trade, war, subordination or domination paved the way for a large sustained Islamic community within China. Islamic influence came from the various steppe peoples who assimilated in Chinese culture. Muslims served as administrators, generals, and other leaders who were transferred to China from Persia and Central Asia to administer the empire under the Mongols.
Muslims in China have managed to practice their faith in China, sometimes against great odds, since the seventh century. Islam is one of the religions that is still officially recognized in China.According to the historical accounts of Chinese Muslims, Islam was first brought to China by Sa'd ibn abi Waqqas, who came to China for the third time at the head of an embassy sent by Uthman, the third Caliph, in 651, less than twenty years after the death of prophet Muhammad. The embassy was led by Sa`d ibn Abī Waqqās, the maternal uncle of the prophet himself. Emperor Gaozong, the Tang emperor who received the envoy then ordered the construction of the Memorial mosque in Canton, the first mosque in the country, in memory of the prophet.[2][3] Hui legends seem to confuse the 651 visit with the initiation of Islam as early as 616/17 by earlier visits of Sahabas.
While modern historians tend to argue that there is no evidence for Waqqās himself ever coming to China,[3] they do believe that Muslim diplomats and merchants arrived in Tang China within a few decades from the beginning of Middle Ages (Hijra).[3] The Tang Dynasty's cosmopolitan culture, with its intensive contacts with Central Asia and its significant communities of (originally non-Muslim) Central and Western Asian merchants resident in Chinese cities, which helped the introduction of Islam.Arab people are first noted in Chinese written records, under the name Ta shi in the annals of the Tang Dynasty (618-907) (Ta shi or Da shi is the Chinese rendering of Tazi—the name the Persian people used for the Arabs). Records dating from 713 speak of the arrival of a Da shi ambassador. The first major Muslim settlements in China consisted of Arab and Persian merchants.Despite conflict between the Tang and the Abbasids during the Battle of Talas in 751, relations between the two states improved soon after. In 756, a contingent probably consisting of Persians and Iraqis was sent to Kansu to help the emperor Su-Tsung in his struggle against the rebellion of An Lushan. Less than 50 years later, an alliance was concluded between the Tang and the Abbasids against Tibetan attacks in Central Asia. A mission from the Caliph Harun al-Rashid (766-809) arrived at Chang'an.It is recorded that in 758, a large Muslim settlement in Guangzhou erupted in unrest and the people fled. The community had constructed a large mosque (Huaisheng Mosque), destroyed by fire in 1314, and constructed in 1349-51; only ruins of a tower remain from the first building.Many Muslims went to China to trade, and these Muslims began to have a great economic impact and influence on the country. During the Song Dynasty (960-1279), Muslims in China dominated foreign trade and the import/export industry to the south and west.The Arabs from Bukhara were under the leadership of Prince Amir Sayyid "So-fei-er" (his Chinese name). The prince was later given an honorary title. He is reputed of being the "father" of the Muslim community in China. Prior to him Islam was named by the Tang and Song Chinese as Dashi fa ("law of the Arabs") (Tashi or Dashi is the Chinese rendering of Tazi—the name the Persian people used for the Arabs). He renamed it to Huihui Jiao ("the Religion of the Huihui").The Yuan Dynasty of China, continued to maintain excellent relationship with other nomadic tribes of Mongolia. The Mongol rulers of Yuan Dynasty elevated the status of foreigners of all religions versus the Han, Khitan, and Jurchen, and placed many foreigners such as Muslim Persians and Arabs, Turkic Christians, Jews, Tibetan Buddhist Lamas, and Buddhist Turpan Uyghurs in high-ranking posts instead of native Confucian scholars, using many Muslims in the administration of China. The territory of the Yuan was administered in 12 districts during the reign of Kublai Khan with a governor and vice-governor each. According to Iranian historian Rashidu'd-Din Fadlu'llah, of these 12 governors, 8 were Muslims; in the remaining districts, Muslims were vice-governors.At the same time the Mongols imported Central Asian Muslims to serve as administrators in China, the Mongols also sent Han Chinese and Khitans from China to serve as administrators over the Muslim population in Bukhara in Central Asia, using foreigners to curtail the power of the local peoples of both lands.The state forced massive amounts of Central Asian Muslims to move into China during Yuan period. In the fourteenth century, the total population of Muslims was 4,000,000. It was during this time that Jamal ad-Din, a Persian astronomer, presented Kublai Khan with seven Persian astronomical instruments.Also, The Muslim architect Yeheidie'erding (Amir al-Din) learned from Han architecture and helped to designed and construct the capital of the Yuan Dynasty, Dadu, otherwise known as Khanbaliq or Khanbaligh.In the mid 14th century, the Ispah Rebellion against the Mongol Yuan led by Chinese Persian Muslims broke out in South Fujian. After the rebellion was suppressed the local Han Chinese in Quanzhou turned against Semu people and great misery was brought upon Muslim population. Quanzhou itself ceased to be a leading international seaport. Genghis Khan, and the following Yuan Emperors forbade Islamic practices like Halal butchering, forcing Mongol methods of butchering animals on Muslims, and other restrictive degrees continued. Muslims had to slaughter sheep in secret.Genghis Khan directly called Muslims and Jews "slaves", and demanded that they follow the Mongol method of eating rather than the halal method. Circumcision was also forbidden. Jews were also affected, and forbidden by the Mongols to eat Kosher.Toward the end, corruption and the persecution became so severe that Muslim Generals joined Han Chinese in rebelling against the Mongols. The Ming founder Zhu Yuanzhang had Muslim Generals like Lan Yu who rebelled against the Mongols and defeated them in combat. Some Muslim communities had the name in Chinese which meant "barracks" and also mean "thanks", many Hui Muslims claim it is because that they played an important role in overthrowing the Mongols and it was named in thanks by the Han Chinese for assisting them.Dadu would last until 1368 when Zhu Yuanzhang, the founder of the Ming Dynasty and future Hongwu Emperor, made his imperial ambitions known by sending an army toward the Yuan capital.[20] The last Yuan emperor fled north to Shangdu and Zhu declared the founding of the Ming Dynasty after razing the Yuan palaces in Dadu to the ground.The city was renamed Beiping by the Ming in the same year.
Muslim influence
Science
Muslim scientists were brought to work on calendar making and astronomy. Kublai Khan brought Iranians to Beijing to construct an observatory and an institution for astronomical studies.[12] Jamal ad-Din, a Persian astronomer, presented Kublai Khan with seven Persian astronomical instruments.[13] The work of Islamic geographers also reached China during the Yuan dynasty and was later used in the Ming dynasty to draw the Western Regions in the Da Ming Hun Yi Tu, the oldest surviving world map from East Asia.
Muslim doctors and Arabic medical texts, particularly in anatomy, pharmacology, and ophthalmology, circulated in China during this time. The Chinese emperor, Kublai Khan, who suffered from alcoholism and gout, accorded high status to doctors. New seeds and formulas from the Middle East stimulated medical practice. The traditional Chinese study of herbs, drugs, and portions came in for renewed interest and publication.[12] One of the medical texts introduced from the Islamic world included Avicenna's The Canon of Medicine, much of which was translated into Chinese as the Hui Hui Yao Fang (Prescriptions of the Hui Nationality) by the Hui people in Yuan China.
The Mongols eagerly adopted new artillery and technologies. Kublai brought siege engineers, Ismail and Al al-Din, together they invented the "Muslim trebuchet" (Hui-Hui Pao), which was utilized by Kublai Khan during the Battle of Xiangyang.
Economy
The Mongols used Persian, Arab and Buddhist Uyghur administrators to act as officers of taxation and finance. Muslims headed most corporations in China in the early Yuan period but as the Chinese bought shares, most corporations acquired mixed membership, or even complete Chinese ownership.
It was during the Yuan dynasty that the port of Quanzhou flourished. Led by the Chinese Muslim tycoon Pu Shougeng they submitted to the Mongol advance.[citation needed] This was in stark contrast to the port of Guangzhou that was sacked. Quanzhou was made famous on account of the accounts of the famous travelers Ibn Battuta and Marco Polo who visited the port. Today a large number of stone inscriptions can be seen at Quanzhou, such as 300 stone inscriptions on tombs, graves and mosques.
Designing Dadu.The scheme of "Muslim trebuchet" (Hui-Hui Pao) used to breach the walls of Fancheng and Xiangyang.
The Muslim architect Yeheidie'erding (Amir al-Din) learned from Han architecture and designed and led the construction of the capital of the Yuan dynasty, Dadu (or known as Khanbaliq or Khanbaligh to the Turks).[16] The construction of the walls of the city began in 1264, while the imperial palace was built from 1274 onwards. The design of Dadu followed the Confucianism classic Zhouli (周禮, "rites of Zhou"), in that the rules of “9 vertical axis, 9 horizontal axis”, “palaces in the front, markets in the rear”, “left ancestral worship, right god worship” were taken into consideration. It was broad in scale, strict in planning and execution, complete in equipment.Dadu officially became the capital of the newly established the Yuan dynasty in the 1270s, though some constructions in the city were not completed until 1293. It would last until 1368 when Zhu Yuanzhang, the founder of the Ming dynasty and future Hongwu Emperor, made his imperial ambitions known by sending an army toward the Yuan capital. The last Yuan emperor fled north to Shangdu and Zhu declared the founding of the Ming after razing the Yuan palaces in Dadu to the ground,and the city was renamed to Beiping by the Ming in the same year.
Other events
Marco Polo also met Nasaruddin who was the son of the conqueror and governor of Yunnan Sayid Ajjal of Bokhara, as appointed by the Mongols.
Arabic storytellers at the time were narrating fantastical stories of China, which were incorporated into the One Thousand and One Nights (Arabian Nights), the most famous being the story of Aladdin. Other Arabian Nights tales set in China include "Tale of Qamar al-Zaman and Budur", "The Story of Prince Sayf al-Muluk", and the "The Hunchback's Tale" story cycle.In the mid 14th century, the Ispah Rebellion led by Chinese Persian Muslims broke out in South Fujian. After the rebellion was suppressed the local Han Chinese in Quanzhou turned against Semu people and great misery was brought upon the Muslim population. Quanzhou itself ceased to be a leading international seaport.
As the Yuan dynasty ended, many Mongols as well as the Muslims who came with them remained in China. Most of their descendants took Chinese names and became part of the diverse cultural world of China.During the following Ming rule (1368–1644), Muslims truly adopted Chinese culture. Most became fluent in Chinese and adopted Chinese names and the capital, Nanjing, became a center of Islamic learning. As a result, the Muslims became "outwardly indistinguishable" from the Chinese.The Ming dynasty saw the rapid decline in the Muslim population in the sea ports. This was due to the closing of all seaport trade with the outside world except for rigid government-sanctioned trade.As a result of increasing isolationism by the Ming dynasty, immigration from Muslim countries slowed down drastically however, and the Muslims in China became increasingly isolated from the rest of the Islamic world, gradually becoming more sinicized, adopting the Chinese language and Chinese dress. Muslims became fully integrated into Chinese society. One interesting example of this synthesis was the process by which Muslims changed their names.
Freedom
Muslims in Ming dynasty Beijing were given relative freedom by the Chinese, with no restrictions placed on their religious practices or freedom of worship, and being normal citizens in Beijing. In contrast to the freedom granted to Muslims, followers of Tibetan Buddhism and Catholicism suffered from restrictions and censure in Beijing. Emperors and Islam. Jinjue Mosque (literally meaning: Pure Enlightenment Mosque) in Nanjing was constructed by the decree of the Hongwu Emperor.The Hongwu Emperor ordered the building of several mosques in southern China, and wrote a 100 character praise on Islam, Allah and the prophet Muhammad. He had over 10 Muslim Generals in his military. The Emperor built mosques in Nanjing, Yunnan, Guangdong and Fujian.[17] Zhu rebuilt Jin Jue mosque in Nanjing and large numbers of Hui Muslims moved to Nanjing during his rule.He ordered that inscriptions praising Muhammd be put into Mosques.During the war fighting the Mongols, among the Ming Emperor Zhu Yuanzhang's armies was the Hui Muslim Feng Sheng.1,200 Muslims who settled in China during the Yuan dynasty were sent "back" from Gansu to Sa-ma-rh-han (Samarkhand), due to a command from the Emperor to the Governor of Gansu to do so.The Yongle Emperor called for the establishment and repair of Islamic mosques during his reign. Two mosques were built by him, one in Nanjing and the other in Xi'an and they still stand today. Repairs were encouraged and the mosques were not allowed to be converted to any other use.
Pro Muslim inscriptions were found on stelae erected by the Ming Emperors. The Fuzhou and Quanzhou mosuqes contain the following edict by the Emperor:"I hereby give you my imperial decree in order to guard your residence. Officials, civil or military, or anyone, are not to offend or insult you. Anyone who offends or insults you against my imperial order will be punished as a criminal".The Ming dynasty decreed that Manichaeism and Nestorian Christianity were illegal and heterodox, to be wiped out from China, while Islam and Judaism were legal and fit Confucian ideology.Ming Taizu's tolerant disposition for Muslims and allowing them to practice their religion led to Arab missionaries continually coming to China during the Ming dynasty, prominent ones included Mahamode and Zhanmaluding (Muhammad and Jamal Ul-din respectively).The Zhengde Emperor was fascinated by foreigners and invited many Muslims to serve as advisors, eunuchs, and envoys at his court.His court was reportedly full of Muslims, and artwork such as porcelain from his court contained Islamic inscriptions in Arabic or Persian. He was also said to wear Muslim clothing and alleged to have converted to Islam. Muslim eunuchs ran many of his state affairs.An anti pig slaughter edict led to speculation that the Zhengde emperor adopted Islam due to his use of Muslim eunuchs who commissioned the production of porcelain with Persian and Arabic inscriptions in white and blue color.Muslim eunuchs contributed money in 1496 to repairing Niujie Mosque. Central Asian women were provided to the Zhengde Emperor by a Muslim guard and Sayyid Hussein from Hami.The guard was Yu Yung and the women were Uighur.It is unknown who really was behind the anti-pig slaughter edict. The speculation of him becoming a Muslim is remembered alongside his excessive and debauched behavior along with his concubines of foreign origin.[42][43] Muslim Central Asian girls were favored by Zhengde like how Korean girls were favored by Xuande. A Uighur concubine was kept by Zhengde.[45] Foreign origin Uighur and Mongol women were favored by the Zhengde emperor. Tatar (Mongol) and Central Asian women were bedded by Zhengde.probably studied Persian and Tibetan as well.[48] Zhengde received Central Asian Muslim Semu women from his Muslim guard Yu Yong: 錦衣衛都指揮同知於永致仕。特許其子承襲。指揮同知永色目人，善陰道秘戲得幸於豹房，左右皆畏避之。又言回回女晢潤瑳粲大勝中國，上悅之。時都督昌佐亦色目人，永矯旨索佐家回女善西域舞者十二人以進，又諷請召侯伯故色目籍家婦人入內教之，內外切齒。後上欲召永女入，永以鄰人白回子女充名以入，懼事覺，乃求致仕 你兒干 你兒幹 Ni'ergan was the name of one of his Muslim concubines.When the Qing dynasty invaded the Ming dynasty in 1644, Muslim Ming loyalists led by Muslim leaders Milayin, Ding Guodong, and Ma Shouying led a revolt in 1646 against the Qing during the Milayin rebellion in order to drive the Qing out and restore the Ming Prince of Yanchang Zhu Shichuan to the throne as the emperor. The Muslim Ming loyalists were crushed by the Qing with 100,000 of them, including Milayin and Ding Guodong, killed.
In Guangzhou, the national monuments known as "The Muslim's Loyal Trio" are the tombs of Ming loyalist Muslims who were martyred while fighting in battle against the Qing in the Manchu conquest of China in Guangzhou.Muslim scholarship.The era saw Nanjing become an important center of Islamic study. From there Wang Daiyu wrote Zhengjiao zhenquan (A Commentary on the Orthodox Faith), while his successor, Liu Zhi, translated Tianfang xingli (Islamic Philosophy) Tianfang dianli (Islamic Ritual) and Tianfang zhisheng shilu (The Last Prophet of Islam). Another scholar, Hu Dengzhou started a rigorous Islamic school in Nanjing, which taught hadith, the Qur'an, and Islamic law. The school grew into a fourteen-course system, with classes in Arabic and Persian. Jingtang Jiaoyu was founded during the era of Hu Dengzhou 1522-1597.[59] Other provinces had different systems and different specializations; Lintao and Hezhou provinces had a three-tier educational system in which the youngest children learned the Arabic required for namaz and wudu, and then graduated to more advanced studies. Shandong province became a center specialized in Persian texts. As the Hui Muslim community became more diluted, Chinese scholars worked harder to translate texts into Chinese to both provide more texts for Muslims to convince the ruling Han elite that Islam was not inferior to Confucianism.The work of Islamic geographers which had reached China during the Yuan dynasty was used in the Ming dynasty to draw the Western Regions in the Da Ming Hun Yi Tu, the oldest surviving world map from East Asia. Meanwhile, further west, Arabic storytellers were narrating fantastical stories of China, which were incorporated into the One Thousand and One Nights (Arabian Nights), the most famous being the story of Aladdin. Other Arabian Nights tales set in China include "Tale of Qamar al-Zaman and Budur", "The Story of Prince Sayf al-Muluk", and "The Hunchback's Tale" story cycle.
Prominent Muslims
Although the Yuan dynasty, unlike the western khanates, never converted to Islam, the Mongol rulers of the dynasty elevated the status of foreigners of all religions from west Asia like Muslims, Jews, and Christians versus the Han, Khitan, and Jurchen, and placed many foreigners such as Muslim Persians and Arabs, Jews, Nestorian Christians, Tibetan Buddhist Lamas, and Buddhist Turpan Uyghurs from Central and West Asia in high-ranking posts instead of native Confucian scholars. The state encouraged Central Asian Muslim immigration. The Mongol emperors brought hundreds of thousands of Muslims with them from Persia to help administer the country.[citation needed] Many worked in the elite circles arriving as provincial governors. They were referred to as Semu. At the same time the Mongols imported Central Asian Muslims to serve as administrators in China, the Mongols also sent Han Chinese and Khitans from China to serve as administrators over the Muslim population in Bukhara in Central Asia, using foreigners to curtail the power of the local peoples of both lands.Philosophy. Li Nu was a merchant and scholar, and the son of Li Lu In 1376 Li Nu visited Ormuz in Persia, converted to Islam, married a Persian or an Arab girl and brought her back to Quanzhou in Fujian. One of his descendants was the Neo Confucian philosopher Li Zhi.
Military generals.Chang Yuchun is said to be the father of the famous "Kaiping spear method".Several of the commanders of Zhu Yuanzhang, the founder of the Ming dynasty, were Muslim.Lan Yu, in 1388, led a strong imperial Ming army out of the Great Wall and won a decisive victory over the Mongols in Mongolia, effectively ending the Mongol dream to re-conquer China. Lan Yu was later killed by the Emperor, along with several others, in a purge of those deemed to be a potential threat to his heir apparent.Mu Ying was one of the few capable generals who survived the massacre of Emperor Zhu Yuanzhang. He and his descendants guarded Yunnan, a province near Vietnam, until the end of the Ming dynasty. He and other Muslim Generals loyal to the Ming dynasty led Muslim troops to defeat Mongol and Muslims loyal to the Yuan dynasty during the Ming conquest of Yunnan.Other generals of the Ming dynasty include Feng Sheng, Ding Dexing and Hu Dahai.In the year 1447, a Muslim Hui general Chen You, financed the restoration of the Dong Si Mosque (literally meaning: Propagation of Brightness Mosque).
Hala Bashi, a Uyghur General from Turpan, fought for the Ming dynasty against Miao rebels during the Miao Rebellions (Ming dynasty). He led Uyghur troops to crush the rebels and settled in Changde, Hunan.Zheng He. The Ming dynasty also gave rise to who is perhaps the most famous Chinese Muslim, Zheng He,[citation needed] a mariner, explorer, diplomat, and admiral. He was born in 1371 in Yunnan province. He served as a close confidant of the Yongle Emperor (r. 1403–1424), (r.1420)Jade bed di kerajaan Cirebon dari keluarga dinasti Ming Muslim,sekarang Jade bed di simpan di TMII jakarta. the third emperor of the Ming dynasty. Between 1405 and 1433, the Ming government sponsored a series of seven naval expeditions led by Zheng He into the Indian Ocean, reaching as far away as east Africa. On his voyages, he is known to have heavily subsidized Buddhist temples; upon his returns to China, he restored or constructed temples to Mazu, the Taoist sea goddess, in Nanjing, Taicang, and Nanshan, erecting steles praising her protection.Amateur historian Gavin Menzies claims that Zheng He traveled to West Africa, North America and South America, Greenland, Antarctica and Australia and most of the rest of the world, although this idea is not taken seriously by professional historians.
Foreign policy. The Ming dynasty supported Muslim Sultanates in South East Asia like the Malacca Sultanate, protecting them from Thailand and the Portuguese, allowing them to prosper. It also supported the Muslim Champa state against Vietnam.
Ming dynasty China warned Thailand and the Majapahit against trying to conquer and attack the Malacca sultanate, placing the Malacca Sultanate under Chinese protection as a protectorate, and giving the ruler of Malacca the title of King. The Chinese strengthened several warehouses in Malacca. The Muslim Sultanate flourished due to the Chinese protection against the Thai and other powers who wanted to attack Malacca. Thailand was also a tributary to China and had to obey China's orders not to attack.In response to the Portuguese Capture of Malacca (1511), the Chinese Imperial Government imprisoned and executed multiple Portuguese envoys after torturing them in Guangzhou. Since Malacca was a tributary state to China, the Chinese responded with violent force against the Portuguese. The Malaccans had informed the Chinese of the Portuguese seizure of Malacca, to which the Chinese responded with hostility toward the Portuguese. The Malaccans told the Chinese of the deception the Portuguese used, disguising plans for conquering territory as mere trading activities, and told of all the atrocities committed by the Portuguese.Malacca was under Chinese protection and the Portuguese invasion angered the Chinese.
Due to the Malaccan Sultan lodging a complaint against the Portuguese invasion to the Chinese Emperor, the Portuguese were greeted with hostility from the Chinese when they arrived in China. The Sultan's complaint caused "a great deal of trouble" to Portuguese in China.The Chinese were very "unwelcoming" to the Portuguese.The Malaccan Sultan, based in Bintan after fleeing Malacca, sent a message to the Chinese, which combined with Portuguese banditry and violent activity in China, led the Chinese authorities to execute 23 Portuguese and torture the rest of them in jails. Tomé Pires, a Portuguese trade envoy, was among those who died in the Chinese dungeons. Much of the Portuguese embassy stayed imprisoned for life.
Ming loyalist Muslims. When the Qing dynasty invaded the Ming dynasty in 1644, Muslim Ming loyalists in Gansu led by Muslim leaders Milayin and Ding Guodong led a revolt in 1646 against the Qing during the Milayin rebellion in order to drive the Qing out and restore the Ming Prince of Yanchang Zhu Shichuan to the throne as the emperor.The Muslim Ming loyalists were supported by Hami's Sultan Sa'id Baba and his son Prince Turumtay. The Muslim Ming loyalists were joined by Tibetans and Han Chinese in the revolt.[94] After fierce fighting, and negotiations, a peace agreement was agreed on in 1649, and Milayan and Ding nominally pledged alleigance to the Qing and were given ranks as members of the Qing military.When other Ming loyalists in southern China made a resurgence and the Qing were forced to withdraw their forces from Gansu to fight them, Milayan and Ding once again took up arms and rebelled against the Qing.[96] The Muslim Ming loyalists were then crushed by the Qing with 100,000 of them, including Milayin, Ding Guodong, and Turumtay killed in battle.The Confucian Hui Muslim scholar Ma Zhu (1640-1710) served with the southern Ming loyalists against the Qing. Zhu Yu'ai, the Ming Prince Gui was accompanied by Hui refugees when he fled from Huguang to the Burmese border in Yunnan and as a mark of their defiance against the Qing and loyalty to the Ming, they changed their surname to Ming.In Guangzhou, the national monuments known as "The Muslim's Loyal Trio" are the tombs of Ming loyalist
Q-Bar in the Hotel Albuquerque, Albuquerque New Mexico. USA.
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With the latest storm locking the observatory I built at my home here in upstate, NY in yet another coat of snow, sleet and freezing rain yesterday, although I still I have quite a lot of data I have yet to process in any manner; I thought I'd use some of the time to process data I shot of the Pacman Nebula last October in my first attempt to use data from a dual narrowband band filter and a one-shot-color cooled astronomy camera to produce an image in an alternate palette.
As such the attached composite shows images of the Pacman Nebula created by separating out the Hydrogen-alpha wavelengths (which lie in the red end of the spectrum) from the Oxygen III wavelengths (which lie between green & blue) and using a combination of the two to synthesize a third color channel. Being a huge fan of surreal imagery I have also included a starless version.
Object Details: Cataloged as NGC 281 is an emission nebula which can be found glowing at magnitude 7.4 in the constellation of Cassiopeia. Spanning just over 1/2 degree in our sky (e.g. slightly larger than the apparent diameter of the full moon), and although visible in binoculars under a dark sky, it's a stunning object when viewed in larger instruments.
Known as 'The Pacman Nebula' due to it's resemblance to the video game character, it lies approximately 10,000 light-years from Earth in the Perseus spiral arm of our Milky Way galaxy and is about 80 light-years in diameter.
Embedded within the nebula, and providing the energy which causes the nebula itself to glow, is the young open star cluster IC 1590. The very dark areas visible within the nebula are known as 'Bok Globules' (i.e. relatively small, dense, dark clouds of dust and gas in which stars may be forming),
Image Details: The data for the attached images were taken by Jay Edwards on October 16, 22 & 29, 2022 using an Orion 80mm f/6 carbon-fiber triplet apochromatic refractor (i.e. an ED80T CF) connected to a Televue 0.8X field flattener / focal reducer and an IDAS NBZ dual band filter which has narrowband passes centered on the emissions of Hydrogen-alpha (656.3 nanometers) and Oxygen III (495.9 & 500.7 nanometers) on an ASI2600MC Pro cooled astronomical camera.
The 80mm was piggybacked on a vintage 1970, 8-inch, f/7, Criterion newtonian reflector and was tracked using a Losmandy G-11 mount running a Gemini 2 control system and guided using PHD2 to control a ZWO ASI290MC planetary camera / auto-guider in an 80mm f/5 Celestron 'short-tube' refractor, which itself was piggybacked on top of the 80mm apo.
The image consists of five hours of total integration time (not including applicable dark, flat and flat dark calibration frames) and was constructed using a stack of one-hundred 3 minutes sub-exposures. Processed using a combination of PixInsight and PaintShopPro, as presented here it has been cropped. resized down and the bit depth has been lowered to 8 bits per channel.
A higher resolution version in a more 'standard palette' (i.e. assigning H-alpha to red & O-III to both green and blue) can be found at the link attached here:
www.flickr.com/photos/homcavobservatory/52601136739/
I'm looking forward to creating this object in other palettes, as well as other objects in these types of alternate palettes.
Wishing clear, dark, and calm skies to all !
The original block of St Mary's Hospital in Norfolk Place was designed by Thomas Hopper in the classical style. It first opened its doors to patients in 1851, the last of the great voluntary hospitals to be founded. Among St Mary's founders was the surgeon Isaac Baker Brown, a controversial figure who performed numerous clitoridectomies at the London Surgical Home, his hospital for women, and who "immediately set to work to remove the clitoris whenever he had the opportunity of doing so." It was at St Mary's Hospital that C.R. Alder Wright first synthesized diamorphine in 1874.
The Clarence Memorial Wing, designed by Sir William Emerson and built with its main frontage on Praed Street, opened in 1904. It was at the hospital that Alexander Fleming discovered penicillin in 1928. Fleming's laboratory has been restored and incorporated into a museum about the discovery and his life and work.
The private Lindo wing, where there have been royal births and several celebrity births, opened in November 1937; it was financed by businessman and hospital board member Frank Charles Lindo, who made a large donation before his death in 1938.
Following the 1944 publication of a report by Sir William Goodenough advocating a minimum size for teaching hospitals, and following the formation of the National Health Service in the 1948, several local hospitals became affiliated to St Mary's Hospital. These included Paddington General Hospital, the Samaritan Hospital for Women and the Western Eye Hospital.
In the 1950s, Felix Eastcott, a consultant surgeon and deputy director of the surgical unit at St Mary's Hospital, carried out pioneering work on carotid endarterectomy designed to reduce the risk of stroke. Paddington General Hospital closed and relocated services to the Paddington basin site in November 1986 and, in common with the other London teaching hospitals who lost their independence at that time, the medical school of St Mary's Hospital merged with that of Imperial College London in 1988.
In 1987 as part of on-going rationalisation within the NHS, the hundred year old Paddington Green Children's Hospital was closed down, the listed buildings sold off and its services absorbed into St Mary's. en.wikipedia.org/wiki/St_Mary%27s_Hospital,_London
The Orion constellation is one of the most brilliant. In legend, it represents a mighty hunter brought down by his own pride.
He boasts he could slay all wild animals but he was killed by a scorpion. The constellation's most celebrated feature is the huge nebula 1,500 light years away that lies within the hunter's sword.
Amongst the hundreds of stars in the system are two super giants, Betelgeuse and Rigel, 430 and 770 light years away, respectively.
Germain, channeled by Lyssa Royal, tells us that Orions are 89% Vegan and 11% Lyran. Note that Vega is a star in the Lyra constellation of stars, whereas the Orions we are interested in are apparently from the Betelgeuse and Rigel star systems.
Of the Orions who are Vegan (89%) in nature, most are of the human type - a smaller percentage is nonhuman.
Of the Orions who are Lyran stock (11%), most are light-browned skin, and about 10% are Caucasian type with light hair. Although their bodies are water based like ours they have an oily, fatty content acting like a lubricant. Also, as we indicated earlier, the little Greys occupy a small percentage of the Orion population; their origin, Zeta Reticuli, is a neighbor of the Orion constellation.
Thus, overall, the genetic differences are quite marked.
Orions have a reputation for possessing an aggressive nature and have been involved in many destructive wars. Note that the masculine energy is associated with the evolution of beings from the star systems of Orion, which are related to Earth, whereas inhabitants of the Sirius star system, also very much involved with Earth, carry the feminine energy or polarity.
Although there is a symbiosis between consciousness and technology, the Orion races probably pushed this principle to the limit and developed advanced technology (of a type) while still war-waging. The typical scenario was the Light against the Dark; peace-loving Orions opposed by self-serving 'aggressive' Orions.
According to Light Network there are three major players in the galaxy:
the Intergalactic Confederation of different star systems throughout the galaxy
the Reptoid Federation, a conglomeration of many reptoid species
the Orion Empire, ruled by one leader
Now within the domain of the Orion Empire, three groups formed, the dominant Orion Empire, the Black League resistance (to the Empire), and the victims of both these groups.
Even though this pattern of behavior still operates it is less widespread and many individuals have been awakened since the incarnation in Orion of a great avatar.
The authoritarian trait, present on Earth, is not typical amongst ET civilizations and has been acquired from Orion.
Many Orions, including the Black League, went to Maldek and settled - this is the planet in our system that was inhabited by many of the so-called fallen angels, who were given the opportunity to reform.
As is well known, the civilization failed to turn to a more spiritual path and the planet was destroyed, leaving the asteroid belt between Mars and Jupiter.
Some sources indicate it was struck (or disturbed) by the huge planet Nibiru as it entered our system in its counter-direction to the other planets. Many of these Dark forces are on Earth at this time; hence the authoritarian nature that pervades this planet, including an enforced reliance on authority.
On the positive side, however, the Orions have contributed their mental powers for the development of smoothly running systems on Earth. They beam the yellow ray frequency to earth for the stabilization of the intuitive powers within human consciousness.
They are the source for many organizational structures of government, business and industry. Nevertheless this energy is only relevant to Earthman's frequencies, which we shall outgrow and then receive other energies from more advanced races, such as the Lyrans.
Of the genetic percentages mentioned above, the smaller group of nonhuman Vegans would cover the Greys and reptilians and accompanying varieties.
It is not uncommon for abductees to refer to small aliens (Greys) directed by a single tall alien (reptilian type, or sometimes, Nordic). The Greys tend to be servants or mercenaries for the tall reptilians.
These Greys and Dracos are known as the Rigelians (from the Rigel star) and are extremely dangerous.
The Orions, who have Vegan characteristics, have particularly striking eyes. In fact their priests, who live twice as long as the general population - about a thousand years - have bright blue eyes, which change to that color as a result of strict spiritual training, involving diet and psychic experience. The common color for the eyes is brown. Their height is usually in the 7 foot- tall category.
The duties of these priests is the education in theory and practice of all aspects of relationships for both marital and premarital subjects, including procreation rituals, in which full intimacies occur during a 24-hour stay in the priest's temples as a normal custom. Appearance remains similar from young to old with no senility. Attraction is not physical; awareness of inner-consciousness dominates.
In spite of the spiritual implications, there appears still to remain within the Orion civilizations the never-ending conflict between the Orion Empire and the Black League resistance. The Empire appears to be run mainly by the Greys working with a Federation of Draconian Reptilians, with the aim of extending their domination to other planets.
These Greys are mainly the ones who negotiate treaties and secret deals with Earth governments.
The resistance group have apparently built cities in and within the mountains. The Empire enforces controlled procreation, numbers of children, etc. and also enforces by Orion law that it is 'forbidden to remember'. The resistance group, however, are free from this mental control. The priests would seemingly be either from this category or the victim group.
Their customs are bound to rituals; imagination is not very free and children are told of the myth of Earth: of the freedom to be anything.
A civilization, particularly expressing what we understand by Orion energy - more masculine - would be the race from planet Vivinau nearer towards the the centre of the galaxy.
This is the home of the Warrior League. The Warrior League brings order to their society, and is essentially divided into,
the 'amenable' - people who would not rule and are subsequently trained to be amenable (no resistance, or anarchy, terrorists, protestors)
the 'omnipotent' - those who would rule
The interaction of this race with humans was considered by the Orions to have the purpose of bringing a similarly designed order to us claiming this is a duty on their part given by the 'Creator'.
They notice now, however, they are ineffective; their last monitors having visited Earth in 1957 with decreasing influence to the present. They accept that the Creator no longer requires their assistance - their energy - on Earth any more, and that the Creator apparently has other plans.
These warriors wonder how we will cope. They apparently operate on the principle of destroying negativity, criminals, terrorists, to bring order, not seemingly recognizing that ultimately rehabilitation is the only way, or simply not reflecting these 'negativities' into the environment from one's own mind.
This latter, is clearly the path for humans, hence the Creator's removal of this Orion influence.
Zoltec of the warrior league answers questions via channeling in the Explorer Race books. He states that the average height of this race is over 7 feet tall. They have a similar body to humans but tougher skin. They consider humans weak, physically, mentally and emotionally - they utilize the power of passion.
Their form and means of help to Earth has been through the so-called men-in-black (MIB).
Much has been written about these mysterious 'emissaries'. From the Earth person's viewpoint more negativity seems to be associated with these MIB than positive.
But they insist that they have protected us from the negative Sirians and also (ironically) from all such races as the Pleiadians, who are,
'trying to get you to imitate them... they are chaotic.'
Also the MIB influence government decisions by advocating adherence to their successful societal model and that societies which have used that form of government on Earth have survived the longest.
Note that they praise and respect the Roman Empire.
The MIB are of human size and roughly similar appearance but contain the Orion soul essence. The bodies are cloned by the little Greys who are also in the Orion system. These clones with Orion souls are the MIB.
They are sent in small space capsules to Earth; a journey taking about seven years. On arrival they are trained for a year or so in Earth customs, etc., at an Orion station. They apparently cannot stand our weak energy.
Zoltec refers to the anarchy from the Black League, which he states originally brought down Atlantis, and he likens them to our terrorists. Prior to Atlantis they were chased from the Orion planets to Maldek, a small planet in our solar system with an ordered civilization according to Zoltec, destroyed by the Black League, now a cluster of asteroids between Jupiter and Mars.
According to Zoosh a propulsion fuel was developed to accelerate them beyond light speed for their escape.
The fuel, a 'hydrogen-oxygen combinant' was unstable but extremely powerful. It was manufactured in large quantities and was sufficient to destroy the planet. Many of these destructive beings then incarnated on Earth.
When asked how they communicate with the Creator, he describes visitations of the 'All-Powerful' in the form of a female warrior of golden light with armor and sword. She is described as the ultimate female; just to be touched with her sword was 'a wonderful thing.' The above Orion warrior material is taken from the Explorer Race books.
Clearly the only way the Creator could communicate to these warriors was in a form acceptable to them - virtually in their own making. They appear to be totally blocked of feminine energy or a world in which all problems can be solved harmoniously. In spite of their psychical abilities, their experience, intelligence and technology, they are stuck.
If they knew, however, what evolution had in store for them they would misunderstand it and reject it - simply because of the necessary feminine energy.
Hence it seems they must have more limited perception in this area than humans. When Zoltec was asked about the future of Orion (and they have advanced technologies for seeing future probabilities, etc.) he replied he didn't want to know. They didn't like what they saw; reminded them of humans - weak.
As a final piece of information about the Orions of some interest was the fact that they apparently created the huge cavern under Cape Good Hope. The Shining The Light books describe the size of this as of the order of magnitude as Rhode Island.
Following one of the many Atlantis disasters, in which the surface of Earth was not habitable, the Atlanteans, who survived, sent out signals for help.
The Orions apparently immediately responded and shortly arrived in a large ship. According to the Zoosh material their technology was such that they built the cavern about 150 miles under Cape Good Hope and did this in about 16 hours - primarily for the Atlanteans.
However, their motivations weren't without self-interest. Any opportunity to preserve a connection with Earth was taken advantage of in case they needed to utilize it in the future, such as for resources.
Thus they did in fact examine the probabilities for their future which showed they did need the connection with Earth for the next 100,000 years. They thus set up equipment in one 'corner' of the cavern, and protected it with fields, even of a nature to make Atlanteans sick if they came close.
After this they left for their home planet in Orion.
PIRATE ALIENS
It is not uncommon for extraterrestrial civilizations to spawn rebellious members which are ostracized from their native planet.
We mentioned in the first chapter a digressive strain from the reptilians race called the Drakon. Here we shall concentrate on small pirate groups, in particular, from the relatively advanced civilizations of,
Orion
Sirius
the Pleiades
These comprise not more than a handful of pirates who revel in plundering planets like Earth and exploring time travel in such linear 3D highly objective realities.
Different aliens seek different resources whether it is sea water, sand, quartz, minerals or genetic material, etc.
But they have apparently learned that generally it is to their benefit to exercise cooperation with our secret government and negotiate deals with them. Over the years the government has acquired advanced technologies from ETs as a result of these negotiations.
A particularly notorious renegade cabal are the Xpotaz. In the Shining The Light books they are referred to as particularly dangerous time travelers. They no longer have a home planet.
An example is given in which the Xpotaz, which had established itself by force as go-between for other alien pirate's deals with the secret government, would warn all other rebel parties approaching Earth with a view to acquiring resources.
They would threaten them with their 'time beam weapon'; a dreaded device with which few would argue - unless they were contacted first.
Nevertheless, along came the Zetas; their first mission to Earth, seeking genetic material. This took place in the 1920s. There were nine Zeta aliens in their spacecraft, which was a product of hundreds of thousands of years of advanced technology.
Their intention was to contact Earth's governments, which would be the secret government or One World Government and negotiate a deal for the acquisition of genetic material from humans. A combination of some degree of etiquette or ethics, and cooperation for cover-ups from the public made government contact logical and wise.
The Zeta ship's approach to Earth was intercepted by the Xpotaz pirates. These Zetas were given the standard warning that unless they cooperated and conducted negotiations with the government through, and to the benefit of, the Xpotaz they would be subject to the time-beam weapon.
It had never been necessary to use it as no aliens were foolish enough to defy the Xpotaz. Nevertheless the Xpotaz were quite ready to use it to set an example to others.
Needless to say the Zetas ignored them. One must keep in mind that the Zetas had developed unsurpassed intellect. Their ships were constructed of the same material as their cloned bodies (compressed light, which was a little like plastic), and could - as they did with their bodies - bilocate: appear in two places at once.
In addition, on entering their ships, one apprehended that the interior of the craft was greater than the outside dimensions permitted. They were exceedingly advanced, but highly specialized, resulting in an inordinate failure to understand others, combined with a certain naivety and arrogance.
Thus they rejected three warnings from the Xpotaz.
The time-beam device was directed at the Zeta spacecraft. The ship was transported back in time half-a-billion years at a location better described as the other side of the universe. Channel source Zoosh referred to this as a sad state of affairs. There was no hope of them finding their way home. To this day since the 1920s they are still lost and in fact are not expected even to be rescued within their lifetimes of another 200 years.
Underhand deals with the secret government were also negotiated by other pirate aliens such as ones from Orion and Sirius but the most treacherous are the Xpotaz.
According to the Shining The Light series of books the Orions contacted our secret government around 1910 and in return for a small laser device, obtained government agreement to turn a blind eye while they took over human bodies by force - this was as per the well-known 'walk-in' procedure, except that most walk-ins are benevolently arranged.
This means that the soul entering has agreement with the soul leaving.
Generally the departing soul is leaving a dying body and the exchange mechanics are quite complex. The new personality is rarely aware immediately that they have taken over a human body. They have the same memories, karma, ailments, etc. The Orion's purpose in controlling human bodies was of course negative.
Thus the government obtained laser technology from aliens. It took them about 30 years to understand and duplicate the laser, culminating in the development of a laser gun.
Regarding the Orion renegade's intention to take over (a few) human bodies, it amounted to nothing more than an attempt. The energy for humans was incompatible and the plot failed. Needless to say the government obtained their end of the deal.
Now regarding deals from the Sirians, the renegades originally from this planet were few in number, much less than Orion and Zeta Reticuli. Also remember that these pirate aliens in general are outcasts from their home planet - in particular Orion and Sirius but also even a number from the Pleiades (in the case of the Sirians though, these were probably the so-called negative Sirians).
The few negative Sirians apparently planned to set up conditions to harness the Earth's core. The government allowed them to utilize their technology involving a very small amount of the core, and in exchange the Sirian pirates gave them a medical chamber which was claimed to heal all ills.
The problem was, in using it discreetly in the underground bases, it required an antenna extending above ground level, directed at the sun. The extreme secrecy that the government required prohibited its application. As a result it was used very little.
The Zetas themselves did many deals. It is difficult to categorize them as negative or positive since as we have seen in the chapter on the extensive Zeta program there was a higher purpose.
The basic arrangement with the secret government was that the government turned a blind eye to the abductions to enable the Zetas to obtain genetic material. The Zetas were also given quartz, which is abundant on planet Earth, but scarce in Zeta Reticuli. In return, the Zetas were apparently almost naively generous.
The government would have accepted much less. Again this is an example of the Zeta's over specialization, resulting in a failure to evaluate relative importance and the nature of other beings.
The government were given a complete space drive.
The Zetas also gave the secret government a crystal technology that would give free energy. Free energy or over-unity energy means the device harnesses not mechanical and chemical energy, but energy from space, cosmic energy or sun light, etc. Every point in our space potentially contains an unlimited amount of energy and certain systems will extract this by resonance.
This Zeta system of free energy was achieved by internal reflection of the Sun's rays.
As is typical, however, the secret government did not make it available to the masses and kept it for themselves. The government gave them quartz and sand in exchange.
The government in fact utilized the device for nefarious purposes. The crystal technology could be used with the secret government time machines (see Montauk material) and genetic experiments to enable them to synthesize the DNA of the Zeta aliens.
This technique was successful, resulting in the creation of a slave race of cloned Zeta-type aliens.
A method was used to prevent 'normal souls' from entering the bodies - only degenerate beings and consciousness were attracted (note that as stated previously, 'normal souls' wouldn't enter clones anyway).
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The revelation of my identity appears to catch both of Jason’s accomplices off guard slightly. Though judging from the difference in their reactions, Oliver had clearly at least mentioned my identity to Mr. Harper prior to them parting ways. I’ll need to make a note of that for the Justice League file on the Green Arrow. Potential danger at unknowingly compromising members alternate identities.
Hardly surprising mind.
Five minutes alone with the real Oliver Queen, or the Green Arrow as some choose to refer to it as, and you very quickly get the idea that he’s a man who enjoys the sound of his own voice. The same cannot be said for those in his immediate proximity.
Dick: An alien told me a story.
Evidently Dick’s explaining the story behind the Nightwing name. Just how many people believe that Clark was the one who gave him the idea for the name remains dubious. Me? I just like the idea that Dick chose to name himself after an alien fairy tale story. Clark didn’t tell him that key piece of information at the time, and I’ve lacked any motivation to inform Dick of that situation. After all, if he knew the reality of the story behind Nightwing, he’d probably try to change it.
Roy: Wait that’s where you got Nightwing from?
Dick: Yeah….where do you think I got it from?
Roy: Ollie thought you were just trying to be edgy.
Dick: Oh? What else did Mr. Queen happen to think of us then?
Roy: Well he thought Bruce was a massive asshole.
Why am I not surprised that Oliver used those exact words to describe me?
Dick: ….I’m not inclined to disagree.
Scarlett: Wait, Ollie knows that Bruce is Batman?
Roy: Yeah, he told me it almost immediately after he got back from his ‘business’ trip to Gotham city a few years back-
Bruce: And he wonders why the Justice League keeps declining his applications.
Roy: He actually tried to join you guys?
I probably have a dime for every time he’s tried, and I’m a multi-billionaire.
Bruce: On a few occasions. You can tell how successful they were.
Barbra: As successful as Dick is at staying quiet.
Tim: Peace and quiet. How unusual.
Alfred: Master Bruce, Mr. Fox needs to speak with you.
Bruce: I’m on my way.
Evidently he’s found something in the sample of Lucifer that Jason was able to retrieve from Greene’s mansion. Good. Hopefully Lucius can develop a way to successfully synthesize more of the compound for us. If he can, that should help to even the odds between us and the League. Without the Lazarus enhanced healing factor, they’ll be just as vulnerable as us and that means they also have no margin of error against us.
I can only hope it’s easier to reverse engineer a weaponised form of the compound than it has been for Lucius to try and reverse engineer the properties of the blade Hephaestus forged me.
Bruce: Make all your preparations and get some rest. We’ll need all our energy when night comes around.
According to Talia, we’ve got at best 13 hours left before her father makes his first move. So time is against us. Thankfully, I’ve had time to prepare for every eventually.
Talia and I make our way into Lucius' workshop where we find the vial of Lucifer implanted into his workbench. Evidently he chose to perform an elemental analysis of the compound immediately, a wise decision.
Bruce: Where are we at?
Lucius: From what I can make out, we should be in business. The key components of this compound should simple enough to synthesise. I’ll need to borrow some material from the R’n’D lab in order to synthesise the nitro groups as well as a stable oxidising agent to oxidise the nitro groups into the cross linking species that binds to the Lazarus in the body.
Bruce: You’ve already tested a sample of it with some of Jason’s blood?
Lucius: No, I’ve merely run a couple of simulations using the compound’s structure and likely interactions with the main components I found in Jason’s blood following his little visit to the Batcave.
Talia: Wait, what? You took a sample of Jason’s blood whilst he was unconscious?
Bruce: I’ve known since he sent his agent after me that Ra’s would be coming for me, so I knew that I needed a way to level the playing field. With Lazarus coursing through his veins, Ra’s is all but indestructible in combat because he will almost instantaneously heal from any wound.
Talia: But if you’ve had a sample of Jason’s blood, and you’ve been studying it in the months following his attack on the cave, why did you not use whatever it is you’ve been developing against Damian?
Alfred: Because until now we’ve not been able to find a way to neutralise the stuff.
Lucius: I ran countless simulations using the known structure of Lazarus in order to try and find ways to degrade or at the very least inhibit it.
Bruce: Nothing. Every substance we trialled either degraded or Lazarus simply reduced it into a less reactive form, effectively rendering it useless.
Talia: But then you remembered the stories my father told you of the Demon’s bane.
Bruce: The supposed blood of Lucifer, the fallen angel. If Lazarus could raise you from the ground, Lucifer could drag you back down into it.
Talia: How did you find it?
Bruce: It wasn’t easy. Your father made an effort to ensure his movements weren't ever recorded in the history books, but fortunately I have the most vital piece of the puzzle about him that anyone could ask for. I was trained by him. I know his past. I know where he was. Specifically where he fought in the American Civil War.
Talia: You looked for the battle of West Point.
Bruce: The battle where Ra’s almost lost his life. Shot by a magical bullet by General James H. Wilson. A bullet he obtained from a local supporter of the Union. It was thanks to that bullet that Ra’s abandoned the American Civil War. He’d hoped that even though Lee had surrendered to Grant by this point, he could ultimately position himself and the Confederacy to overthrow the union.
Lucius: Just how old is this Ra’s Al-Ghul?
Talia: He’s about 782 year old.
Lucius: Jesus. Sounds like I need to get some of this Lazarus stuff for myself.
Alfred: Would certainly help relieve my old achey bones.
Bruce: Anyways, to thank this supporter of the Union for being responsible for the toppling of one of the Confederacy’s most feared generals, Wilson granted the man an estate of his own, wherever he desired. The man chose the spot where he first found the mysterious chemical known as Lucifer. The estate would eventually pass down the supporter’s family, culminating in it’s current owner. Jay Greene, formerly a member of the Red Hood gang that operated here in Gotham.
Alfred: But where how did the union supporter know of the chemical’s magical properties? How did he manage to fashion it into a bullet that Wilson would use to shoot Ra’s in the first place?
Bruce: I don’t know.
Lucius: And that’s usually when he delegates to me.
Talia: How long do you think it will take you to synthesise more of that…..ummmm?
Lucius: Lucius, and I can’t be certain. The structure of the compound appears simple enough to replicate on a small scale. The greater difficulty will be trying to upscale it in order to mass produce to the levels I presume you’ll want.
Bruce: If there’s anyone who can do it…
Lucius: You’ll find them and bring them here?
Alfred: I think he was going to pay you a compliment, Lucius.
Lucius: I appreciate that. But I’ll take my compliment if and when I manage to pull it off.
Bruce: You’ve always managed it in the past.
Lucius: Yeah well I’m usually not up against the clock like this. It’s be helpful if I didn’t have to work on any equipment whilst I try to get this sorted.
Bruce: Got it. You focus on this. If there’s anything we can do to help, just let us know.
Lucius: I’m going to need a lot of coffee.
Bruce: Done.
Alfred: Usually at this point you also ask for a pay raise.
Lucius: I’m not a totally unreasonable man, Alfred. Besides, I only got my last pay rise a month ago. We don’t want the board thinking that someone has a soft spot for me now do we?
Bruce: If you pull this off I’ll make you damn CEO.
Alfred: Let’s not get carried away here.
Lucius: I don’t know. I quite like where this is going.
Bruce: Lucius, we’ll focus on securing the tower and prepping our equipment. You just focus on weaponising that stuff.
Lucius: I’ll do my best, Mr. Wayne.
Bruce: That’s all I ask for.
Usually, Lucius’ best is nothing sort of incredible. I can only hope that also holds true for today.
This was my first real attempt to create a finished illustration in the "tradigital" mode - an traditional drawing/painting with a digital finishing. I painted with acrylics and watercolors over a graphite drawing on a 300gms Fabriano paper, scanned and then retouched/enchanced some details on Photoshop. This illo is a landmark for me, and it definetly synthesizes a new way of creating images for the future. The result is so more organic, fluid than the digital paintings!
Hope you enjoy the result, too.
Trump Says U.S. Investigating Whether Virus Came From Wuhan Lab
By Reuters
April 15, 2020
WASHINGTON — U.S. President Donald Trump said on Wednesday his government is trying to determine whether the coronavirus emanated from a lab in Wuhan, China, and Secretary of State Mike Pompeo said Beijing "needs to come clean" on what they know.
The source of the virus remains a mystery. General Mark Milley, chairman of the Joint Chiefs of Staff, said on Tuesday that U.S. intelligence indicates that the coronavirus likely occurred naturally, as opposed to being created in a laboratory in China, but there is no certainty either way.
Fox News reported on Wednesday that the virus originated in a Wuhan laboratory not as a bioweapon, but as part of China's effort to demonstrate that its efforts to identify and combat viruses are equal to or greater than the capabilities of the United States.
This report and others have suggested the Wuhan lab where virology experiments take place and lax safety standards there led to someone getting infected and appearing at a nearby "wet" market, where the virus began to spread.
At a White House news conference Trump was asked about the reports of the virus escaping from the Wuhan lab, and he said he was aware of them.
"We are doing a very thorough examination of this horrible situation that happened," he said.
Asked if he had raised the subject in his conversations with Chinese President Xi Jinping, Trump said: "I don't want to discuss what I talked to him about the laboratory, I just don't want to discuss, it's inappropriate right now."
Trump has sought to stress strong U.S. ties with China during the pandemic as the United States has relied on China for personal protection equipment desperately needed by American medical workers.
As far back as February, the Chinese state-backed Wuhan Institute of Virology dismissed rumors that the virus may have been artificially synthesized at one of its laboratories or perhaps escaped from such a facility.
Pompeo, in a Fox News Channel interview after Trump's news conference, said "we know this virus originated in Wuhan, China," and that the Institute of Virology is only a handful of miles away from the wet market.
This is the Hall Ambulance updated orange & blue checkerboard paint scheme. These ambulances are all Super noisy because they have 2 electronic siren speakers and 3 siren tones (including yelp, wail and synthesized mechanical style).
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
110 year old camera, 51 year old film, 16 month old home made developer.
Post Card format 3 1/4 x 5 1/2 inch negative. The picture is not important, this is a test of exposure and development of this old film from 1971. Kodak RAR 2490 rapid action film box speed about ISO 64. Shot at ISO 6 from Ansco 1912 #3A folding camera. Developed in 18 month old Kalogen developer about 1:90 dilution, stand developed for 60 minutes. Water stop, fixed with Ilford Rapid 1:4 for 4 minutes. All at about 70 degrees F.
Kalogen was originally a replacement for Rodinal in/during/after the first world war when Rodinal was not available in the US/UK. Instead of para-aminophenol as the primary developer, it is essentially synthesized from the metol in the formula. (I'm finding it to be more active than Rodinal in comparable dilutions)
Distilled water (50°C) .................. 750 ml
Metol ....................................... 13.5 g
Sodium sulfite (anhy) ................... 180 g
Hydroquinone ............................. 53.0 g
Sodium hydroxide ........................ 35.0 g
Potassium bromide ....................... 5.0 g
Benzotriazole, 1% ........................ 80.0 ml
Distilled water to make ................. 1.0 l
Obvious A LOT of chemistry but that is because it is a concentration. Rodinal is essentially para-aminophenol, Sodium sulfite and sodium hydroxide. So this is only slightly more complex.
Weigh out the Metol and sulfite. Dissolve a pinch of the sulfite in the water before adding the Metol. Dissolve the other ingredients in the order given. A precipitate will form upon the addition of the hydroquinone which will dissolve upon the addition of the sodium hydroxide.
Transfer the solution to a 1 liter glass bottle, stopper and allow it to stand for 2 to 3 days. A small amount of impurities will precipitate out and the solution will become lighter in color. Filter the solution and transfer it to several small (2 to 4 ounce) glass bottles and label. When prepared correctly the solution will be a clear pinkish tan color. (My first batch is slightly yellow clear and there is a mild deposit on the bottom. I shake it before I use it.)
After 18 months mine is still a bright straw yellow color.
When stored in nearly full and tightly capped small bottles, the stock solution will keep for months at room temperature. Should any crystals form due to storage at low temperature, they may be redissolved by warming and shaking the bottle.
Palacio de Aguirre, Cartagena (Murcia), Spain
Built: 1898–1901
Architect: Víctor Beltrí (1862-1935)
Client: Camilo Aguirre, industrialist and newspaper proprietor
This opulent residence stands as a jewel of Cartagena’s late 19th-century bourgeois expansion, marrying Neo-Baroque monumentality with eclectic ornamental sophistication.
Commissioned by Camilo Aguirre, a wealthy entrepreneur whose fortune was rooted in the region’s mining boom and media influence, the palace functioned as both a family home and an architectural assertion of modern taste, cultural literacy, and upward mobility.
About Cartagena
In 1901, Cartagena was a city of strategic and symbolic importance in Spain—a historic naval stronghold undergoing a period of intense economic and urban renewal. Situated on the southeastern coast, it had long been home to the country’s principal Mediterranean naval base and shipyards.
By the turn of the 20th century, Cartagena was also at the center of a mining and industrial boom, driven by the extraction of silver, lead, and zinc from the nearby Sierra Minera. This influx of capital gave rise to a new class of bourgeois entrepreneurs, financiers, and professionals who sought to remake the city in their image: modern, cultured, and prosperous.
The construction of the Palacio de Aguirre in this context signals not only the personal ambition of its patron, Camilo Aguirre, but also the aspirations of a city eager to assert its place in the modern Spanish nation—as both a military bulwark and a symbol of civic progress, blending classical heritage with contemporary style.
Listed Status
The Palacio de Aguirre is officially designated as a Bien de Interés Cultural in the category of Monumento (Monument), which is the highest level of heritage protection in Spain. This status protects both its architectural integrity and decorative elements, including its polychrome tilework, sculptural ornamentation, and historic fabric.
Additionally, the building forms part of the Museo Regional de Arte Moderno (MURAM) and has been incorporated into the city's cultural and tourism infrastructure, further reinforcing its protected status.
🎨 Style: Historicist Eclecticism meets the Aesthetic Movement
The building synthesizes a rich variety of historicist vocabularies, from Baroque and Renaissance revival to the Aesthetic and Eastlake movements then circulating through European design discourse. Its intricate surface program reveals Beltrí’s fluency with:
•Arts & Crafts and Eastlake linearity, evident in the rhythmic scrolls, plant forms, and stylized beasts
•Spanish and Italian Baroque massing (note the heavily bracketed cornices and ornamental cresting)
•Renaissance grotesque motifs, especially in the ceramic panels
Ceramic Iconography: Pleasure, Labor, and Moral Complexity
A highlight of the façade is the vibrant polychrome tile frieze, where putti harvest grapes amid thistles and symbolic flora. This program draws directly on Roman and Renaissance precedents:
•The grape harvest invokes Bacchic fertility, but here labor is emphasized—putti are not frolicking but toiling, echoing bourgeois work ethic.
•The thistle, beneath soft flesh and ripe fruit, injects emotional and symbolic tension: a reminder of the pain beneath pleasure, or the hard reality beneath surface delight.
•Elsewhere, a putto presents a green parrot perched on a ring—a scene of exotic domesticity, but also allegory: a tamed, mimicking creature symbolizing artifice, desire, and aestheticized nature.
🐉 Scrollwork Beasts and Decorative Lineage
Surrounding these scenes, ceramic panels display scroll-and-beast motifs—hybrid zoomorphic forms emerging from foliage. These derive from:
•Roman grotesque wall painting, filtered through Renaissance revival and 19th-century pattern books.
•Possibly influenced by Moorish ornamental flattening or Japoniste abstraction, part of the wider Aesthetic Movement.
These “botanicomorphic” beasts, unreal by design, assert cultivated imagination—a hallmark of both imperial Rome and modern elite culture. Their presence signals control over the fantastical, a visual assertion of taste, intellect, and privilege.
🐝 Architectural Allegory in Relief and Iron
On the tower, relief bees and stylized botanical panels add another symbolic layer. The bee—a classical emblem of industry, order, and fertility—underscores the patron’s narrative: this is a house of productive labor, refined taste, and civilizing aspiration. Even the wrought iron balcony grilles echo Eastlake wood carving in their intricate scrollwork—nature made geometric, ornament made discipline.
A mixed-use building from the outset:
✔️ Primary Use: Family Residence
The upper floors, particularly the ornate corner rooms and formal salon spaces, were undoubtedly intended as private domestic quarters for the Aguirre family.
The architectural richness—putti, allegorical tiles, wrought iron balconies, and symbolic reliefs—aligns with the bourgeois ideal of the cultivated home, a stage for displaying wealth, refinement, and cultural legitimacy.
✔️ Secondary Use: Business and Social Functions
Camilo Aguirre was more than a rentier—he was an entrepreneur, linked to the regional press, mining interests, and finance.
Like many Spanish industrialist homes of the period, it is plausible that the ground floor or a lateral wing housed offices related to:
Aguirre’s publishing ventures (possibly editorial or administrative spaces)
Business meeting rooms for investment partnerships or civic involvement
Such arrangements were typical of urban palacetes—blending domestic life and elite professional activity in one structure.
Supporting Clues from the Architecture
The arched main door and grander-than-domestic vestibule suggest semi-public or business-related access.
The vertical zoning—more decorative and symbolic elements concentrated on upper façades—often marked a distinction between public-facing lower floors and private upper floors.
️ Afterlife: From Private Palace to Public Use
By the mid-20th century, the palace had ceased to function as a private residence.
It now houses the Museo Regional de Arte Moderno de Cartagena (MURAM)—a fitting reuse that continues the building’s role as a showcase of cultural aspiration.
Final Note
The Palacio de Aguirre is not just eclectic—it is encoded. It offers a narrative façade, in which labor and luxury, sensuality and discipline, mythology and modernity are layered into its ornament. Whether or not Camilo Aguirre grasped every classical or mythic reference, he certainly intended to project cultural legitimacy, moral rectitude, and aesthetic modernity—the values of a man made in the age of industry, but longing to be remembered in the idiom of empire.
About the Architect
Víctor Beltrí (1862–1935) was a prolific and versatile architect who played a transformative role in shaping Cartagena’s architectural identity during its late 19th- and early 20th-century boom. A Catalan by birth and trained in Barcelona, Beltrí brought to Murcia a refined blend of eclectic historicism, Modernisme, and regionalist idioms, applying them across public, religious, and residential buildings.
Here are some of his most notable surviving works, nearly all in Cartagena:
️ Casa Cervantes (1900–1901)
•One of his earliest major commissions in Cartagena, built for the industrialist José María Cervantes.
•Strongly eclectic, with Neo-Baroque and Neo-Renaissance features.
•Known for its decorative stuccowork, ironwork balconies, and elegant symmetry.
🏫 Casa Llagostera (1916)
•A more Modernista work, distinguished by elaborate ceramic tile panels and stylized floral motifs.
•Famous for its ceramic depictions of Cervantine characters (Don Quixote and Sancho Panza), referencing the owner’s name.
🏨 Grand Hotel of Cartagena (1907)
•Perhaps Beltrí’s most iconic secular work.
•A true Modernista showpiece, with a curved corner façade, domed turret, lavish iron balconies, and Art Nouveau ornament.
•Its exuberant decorative program and urban prominence make it one of Cartagena’s architectural landmarks.
⛪ Iglesia de la Caridad (restoration and dome, early 20th c.)
•Beltrí contributed to the renovation of this Baroque church, particularly the dome and lateral chapels.
•The church is the spiritual heart of Cartagena, housing the patron saint Nuestra Señora de la Caridad.
🏫 Casa Clares (1905)
•Residential and commercial building with wrought iron balconies, stucco ornament, and a carefully proportioned façade.
•A good example of Beltrí’s ability to adapt ornamental richness to smaller-scale urban commissions.
️ Casino de Cartagena (remodeling, early 20th century)
•Beltrí was responsible for major interior renovations to this 19th-century social club.
•He introduced Neo-Mudejar elements, stained glass, and eclectic interiors that blend orientalist fantasy with bourgeois refinement.
🏥 Hospital de la Caridad Expansion
•Beltrí also worked on institutional architecture, contributing to the expansion of Cartagena’s medical infrastructure.
Summary of Beltrí’s Significance
Beltrí’s legacy lies in his stylistic range: from strict academic revivalism (as in the Palacio de Aguirre) to Art Nouveau experimentation, always tailored to his patrons’ ambitions. His buildings remain among the most photographed and best-preserved examples of Cartagena’s golden age architecture.
This text is a collaboration with Chat GPT
Michael Pollan is a writer, journalist, and thought leader whose work explores the intersections of food, nature, culture, and consciousness. Through his bestselling books, including The Omnivore’s Dilemma, In Defense of Food, and How to Change Your Mind, he has challenged conventional wisdom about what we eat and how we think.
I photographed Pollan on April 20, 2022, at his home and in his lush Berkeley garden. The setting was perfect—his deep connection to the natural world was evident in the verdant surroundings, a living testament to his philosophy on food and the environment. Dressed entirely in blue denim, he carried himself with a relaxed presence that mirrored the easygoing nature of our conversation.
We spoke at length about the state of modern food systems and how they have shaped human health, culture, and the environment. Pollan has long argued for a return to more traditional foodways, encouraging a diet centered around whole, minimally processed foods. His insights into the industrial food system, the politics of agriculture, and the consequences of factory farming have made his work essential reading for anyone interested in how food shapes our world. He remains a vocal advocate for sustainable farming, biodiversity, and the importance of reconnecting with the sources of our nourishment.
Beyond food, Pollan has turned his attention to the science and history of psychedelics. His work in How to Change Your Mind explores how substances like psilocybin and LSD have played a role in shaping human consciousness and how they might be used therapeutically in modern medicine. The book has helped reignite public interest and scientific research into the benefits of psychedelics for mental health treatment, particularly in addressing depression, anxiety, and PTSD. His ability to distill complex topics into compelling narratives has brought these discussions to a wider audience, fostering new conversations about mental health and neuroscience.
Pollan’s ability to synthesize complex ideas into accessible narratives has made him one of the most influential writers of our time. Whether guiding readers through the industrial food system or the science of consciousness, he challenges us to think more deeply about our choices. Thoughtful, funny, and always engaging, Pollan continues to shape public discourse with his insightful storytelling and clear, humane voice. His work stands at the crossroads of science, philosophy, and everyday life, urging readers to reconsider their relationship with food, nature, and their own minds.
Do you know anything about mathematics? Yeah, okay, but you certainly dont have a clue about six-dimensional hexagonal calculations... neither do the computer brain of this ship, which is connected with a powerful emotion-generator. The synthesized anger of the computer fiddling with ultracomplex equations produces enough power in the emotion modulator to fly this little swoosher faster than any known ship in the universe.
Completed with a little landing pad, and a tractorbeam-equipped space.. tractor, this is an alternate build of the fabulous 70702 Warp Stinger
See more pics on tumblr.
Globins are members of a structurally and ancestrally related protein family. The most famous face in the family is hemoglobin, the principal oxygen-exchange protein in the bloodstream.
Hemoglobin incorporates a central, iron-containing structure called "heme" which is synthesized and degraded by a tortuously complex series of reactions. One of heme's precursors is protoporphyrin-IX, and that's the principal pigment found in brown eggshells.
One of heme's breakdown products is biliverdin, and that's the main pigment that gives blue-green eggs -- and intermediate-stage bruises -- their color. It's the color called "robin's-egg blue" in the case of the American robin.
Eggshells that contain both protoporphyrin-IX and biliverdin are one shade or another of olive drab. You obtain those by crossing a dark-brown egg layer such as a Marans with a green egg layer such as an Araucana. Depending on the two breeds chosen, hen-to-hen variation, and the number of generations over which the cross is maintained, you (or rather your hen) can produce eggs ranging from off-khaki to dark olive drab.
If you look at the scratches on the eggs above, you'll notice that the brown layer is for the most part deposited on top of the blue-green pigment.
The complete story is a bit more complex, and it can be dragged out almost interminably, but that's the main drift in egg coloring.
Pablo Picasso
I INTRODUCTION
Pablo Picasso (1881-1973), Spanish painter, who is widely acknowledged to be the most important artist of the 20th century. A long-lived and highly prolific artist, he experimented with a wide range of styles and themes throughout his career. Among Picasso’s many contributions to the history of art, his most important include pioneering the modern art movement called cubism, inventing collage as an artistic technique, and developing assemblage (constructions of various materials) in sculpture.
Picasso was born Pablo Ruiz in Málaga, Spain. He later adopted his mother’s more distinguished maiden name—Picasso—as his own. Though Spanish by birth, Picasso lived most of his life in France.
II FORMATIVE WORK (1893-1900)
Picasso’s father, who was an art teacher, quickly recognized that his child Pablo was a prodigy. Picasso studied art first privately with his father and then at the Academy of Fine Arts in La Coruña, Spain, where his father taught. Picasso’s early drawings, such as Study of a Torso, After a Plaster Cast (1894-1895, Musée Picasso, Paris, France), demonstrate the high level of technical proficiency he had achieved by 14 years of age. In 1895 his family moved to Barcelona, Spain, after his father obtained a teaching post at that city’s Academy of Fine Arts. Picasso was admitted to advanced classes at the academy after he completed in a single day the entrance examination that applicants traditionally were given a month to finish. In 1897 Picasso left Barcelona to study at the Madrid Academy in the Spanish capital. Dissatisfied with the training, he quit and returned to Barcelona.
After Picasso visited Paris in October 1900, he moved back and forth between France and Spain until 1904, when he settled in the French capital. In Paris he encountered, and experimented with, a number of modern artistic styles. Picasso’s painting Le Moulin de la Galette (1900, Guggenheim Museum, New York City) revealed his interest in the subject matter of Parisian nightlife and in the style of French painter Henri de Toulouse-Lautrec, a style that verged on caricature. In addition to café scenes, Picasso painted landscapes, still lifes, and portraits of friends and performers.
III BLUE PERIOD (1901-1903)
From 1901 to 1903 Picasso initiated his first truly original style, which is known as the blue period. Restricting his color scheme to blue, Picasso depicted emaciated and forlorn figures whose body language and clothing bespeak the lowliness of their social status. In The Old Guitarist (1903, Art Institute of Chicago, Illinois), Picasso emphasized the guitarist’s poverty and position as a social outcast, which he reinforced by surrounding the figure with a black outline, as if to cut him off from his environment. The guitarist is compressed within the canvas (no room is left in the painting for the guitarist to raise his lowered head), suggesting his helplessness: The guitarist is trapped within the frame just as he is trapped by his poverty. Although Picasso underscored the squalor of his figures during this period, neither their clothing nor their environment conveys a specific time or place. This lack of specificity suggests that Picasso intended to make a general statement about human alienation rather than a particular statement about the lower class in Paris.
Why blue dominated Picasso’s paintings during this period remains unexplained. Possible influences include photographs with a bluish tinge popular at the time, poetry that stressed the color blue in its imagery, or the paintings of French artists such as Eugène Carrière or Claude Monet, who based many of their works around this time on variations on a single color. Another explanation is that Picasso found blue particularly appropriate for his subject matter because it is a color associated with melancholy.
IV ROSE PERIOD (1904-1905)
In 1904 Picasso’s style shifted, inaugurating the rose period, sometimes referred to as the circus period. Although Picasso still focused on social outcasts—especially circus performers—his color scheme lightened, featuring warmer, reddish hues, and the thick outlines of the blue period disappeared. Picasso maintained his interest in the theme of alienation, however. In Two Acrobats and a Dog (1905, Museum of Modern Art, New York City), he represented two young acrobats before an undefined, barren landscape. Although the acrobats are physically close, they gaze in different directions and do not interact, and the reason for their presence is not made clear. Differences in the acrobats’ height also exaggerate their disconnection from each other and from the empty landscape. The dog was a frequent presence in Picasso’s work and may have been a reference to death as dogs appear at the feet of figures in many Spanish funerary monuments.
Picasso may have felt an especially deep sympathy for circus performers. Like artists, they were paid to entertain society, but their itinerant lifestyle and status as outsiders prevented them from becoming an integral part of the social fabric. It was this situation that made the sad clown an important figure in the popular imagination: Paid to make people laugh, he must keep hidden his real existence and true feelings. Living a life of financial insecurity himself, Picasso no doubt empathized with these performers. During this period Picasso met Fernande Olivier, the first of several women who shared his life and provided inspiration for his art. Olivier’s features appear in many of the female figures in his paintings over the next several years.
V CLASSICAL PERIOD (1905) AND IBERIAN PERIOD (1906)
Experimentation and rapid style changes mark the years from late 1905 on. Picasso’s paintings from late 1905 are more emotionally detached than those of the blue or rose periods. The color scheme lightens—beiges and light browns predominate—and melancholy and alienation give way to a more reasoned approach. Picasso’s increasing interest in form is apparent in his references to classical sculpture. The figure of a seated boy in Two Youths (1905, National Gallery, Washington, D.C.), for example, recalls an ancient Greek sculpture of a boy removing a thorn from his foot.
By 1906 Picasso had become interested in sculptures from the Iberian peninsula dating from about the 6th to the 3rd century bc. Picasso must have found them of particular interest both because they are native to Spain and because they display remarkable simplification of form. The Iberian influence is immediately visible in Self-Portrait (1906, Philadelphia Museum of Art, Pennsylvania), in which Picasso reduced the image of his head to an oval and his eyes to almond shapes, thus revealing his increasing fascination with geometric simplification of form.
VI AFRICAN PERIOD (1907)
Picasso’s predilection for experimentation and for drawing inspiration from outside the accepted artistic sources led to his most radical and revolutionary painting yet in 1907: Les Demoiselles d'Avignon (1907, Museum of Modern Art). The painting’s theme—the female nude—could not be more traditional, but Picasso’s treatment of it is revolutionary. Picasso took even greater liberties here with human anatomy than in his 1906 Self-Portrait . The figures on the left in the painting look flat, as if they have no skeletal or muscular structure. Faces seen from the front have noses in profile. The eyes are asymmetrical and radically simplified. Contour lines are incomplete. Color juxtapositions—between blue and orange, for instance—are intentionally strident and unharmonious. The representation of space is fragmented and discontinuous.
While the left side of the canvas is largely Iberian-influenced, the right side is inspired by African masks, especially in its striped patterns and oval forms. Such borrowings, which led to great simplification, distortion, and visual incongruities, were considered extremely daring in 1907. The head of the figure at the bottom right, for example, turns in an anatomically impossible way. These discrepancies proved so shocking that even Picasso’s fellow painters reacted negatively to Les Demoiselles d'Avignon. French painter Henri Matisse allegedly told Picasso that he was trying to ridicule the modern movement.
VII CUBISM (1908-1917)
For many scholars, Les Demoiselles d'Avignon—with its fragmented planes, flattened figures, and borrowings from African masks—marks the beginning of the new visual language, known as cubism. Other scholars believe that French painter Paul Cézanne provided the primary catalyst for this change in style. Cézanne’s work of the 1890s and early 1900s was noted both for its simplification and flattening of form and for the introduction of what art historians call passage, the interpenetration of one physical object by another. For example, in Mont Sainte-Victoire (1902-1906, Metropolitan Museum of Art, New York City), Cézanne left the outer edge of the mountain open, allowing the blue area of the sky and the gray area of the mountain to merge. This innovation—air and rock interpenetrating—was a crucial precedent for Picasso’s invention of cubism. First, it defied the laws of our physical experience, and second, it indicated that artists were viewing paintings as having a logic of their own that functioned independently of, or even contrary to, the logic of everyday experience.
Scholars generally divide the cubist innovations of Picasso and French painter Georges Braque into two stages. In the first stage, analytical cubism, the artists fragmented three-dimensional shapes into multiple geometric planes. In the second stage, synthetic cubism, they reversed the process, putting abstract planes together to represent human figures, still lifes, and other recognizable shapes.
A Analytical Cubism (1908-1912)
Profoundly influenced by Cézanne's later work, Picasso and Braque initiated a series of landscape paintings in 1908. These paintings approximated Cézanne’s both in their color scheme (dark greens and light browns) and in their drastic simplification of nature to geometric shapes. Upon seeing these paintings, French critic Louis Vauxelles coined the term cubism. In Picasso’s Houses on the Hill, Horta de Ebro (1909, Museum of Modern Art), he gave architectural structures a three-dimensional, cubic quality, but he abandoned conventional three-dimensional perspective: Instead of being depicted one behind the other, buildings appear one on top of the other. Moreover, he simplified every aspect of the painting according to a vocabulary of cubic shapes—not just the houses but the sky as well. By neutralizing differences between earth and sky, Picasso made the canvas appear more unified, but he also introduced ambiguity by not differentiating solid from void. In addition, Picasso often used inconsistent light sources. In some parts of a painting, light appears to come from the left; in other parts, it comes from the right, the top, or even the bottom. Spatial planes intersect in ways that leave the spectator guessing whether angles are concave or convex. Delight in confusing the viewer is a regular feature of cubism.
By 1910, it had become evident that cubism no longer had any cubes and that the illusion of three-dimensional space, or volume, was gone. Picasso seemed to have dismantled the very idea of solid form, not only by fragmenting the human figure and other shapes, but also by using Cézanne’s concept of passage to merge figure and environment, solid and void, background and foreground. In this way he created a visually consistent painting, yet the consistency does not conform to the physical consistency of the natural world as we experience it. Picasso’s decision to limit his color scheme to dark browns and grays also suggests that his paintings have initiated a radical departure from nature, rather than attempted to copy it.
The year 1912 marks another major development in the cubist language: the invention of collage. In Still Life with Chair Caning (1912, Musée Picasso), Picasso attached a piece of oilcloth (that depicts woven caning) to his work. With this action Picasso not only violated the integrity of the medium—oil painting on canvas—but also included a material that had no previous connection with high art. Art could now be created, Picasso seems to imply, with scissors and glue as well as with paint and canvas. By including pieces of cloth, newspaper, wallpaper, advertising, and other materials in his work, Picasso opened the door for any object or material, however ordinary, to be included in (or even replace) a work of art. This innovation had important consequences for later 20th-century art. Another innovation was including the letters JOU in the painting, possibly referring to the beginning of the word journal (French for “newspaper”) or to the French word jouer, meaning “to play,” as Picasso is playing with forms. These combinations reveal that cubism includes both visual and verbal references, and merges high art with popular culture.
B Synthetic Cubism (1912-1917)
By inventing collage and by introducing elements from the real world in his canvases, Picasso avoided taking cubism to the level of complete abstraction and remained in the domain of tangible objects. Collage also initiated the synthetic phase of cubism. Whereas analytical cubism fragmented figures into geometric planes, synthetic cubism synthesized (combined) near-abstract shapes to create representational forms, such as a human figure or still life. Synthetic cubism also tended toward multiplicity. In Guitar, Sheet Music, and Wine Glass (1912, McNay Art Museum, San Antonio, Texas), for instance, Picasso combined a drawing of a glass, several spots of color, sheet music, newspaper, a wallpaper pattern, and a cloth that has a wood–grain pattern. Synthetic cubism may also combine different textures, such as wood grain, sand, and printed matter. Sometimes Picasso applied these textures as collage, by gluing textured papers on the canvas. In other cases the artist painted an area to look like wood or wallpaper, fooling the spectator by means of visual puns.
VIII CONSTRUCTION AND AFTER (1912-1920)
In 1912 Picasso instigated another important innovation: construction, or assemblage, in sculpture. Before this innovation, sculpture, at least in the West, was primarily created in one of two ways: by carving a block of stone or wood or by modeling—shaping a form in clay and casting that form in a more durable material, such as bronze. In Guitar (1912, Museum of Modern Art), Picasso used a new additive process. He cut various shapes out of sheet metal and wire, and then reassembled those materials into a cubist construction. In other constructions, Picasso used wood, cardboard, string, and other everyday objects, not only inventing a new technique for sculpture but also expanding the definition of art by blurring the distinction between artistic and nonartistic materials.
From World War I (1914-1918) onward, Picasso moved from style to style. In 1915, for instance, Picasso painted the highly abstract Harlequin (Museum of Modern Art) and drew the highly realistic portrait of Ambroise Vollard (Metropolitan Museum of Art). During and after the war he also worked on stage design and costume design for the Ballets Russes, a modern Russian ballet company launched by the impresario Sergey Diaghilev. Inspired by his direct experience of the theater, Picasso also produced representations of performers, such as French clowns called Pierrot and Harlequin, and scenes of ballerinas.
Picasso separated from Olivier in 1912, after meeting Eva Gouel. Gouel died in 1915, and in 1918 Picasso married Olga Koklova, one of the dancers in Diaghilev’s company. Picasso created a number of portraits of her, and their son, Paulo, appears in works such as Paulo as Harlequin (1924, Musée Picasso).
IX CLASSICAL PERIOD (1920-1925)
After World War I, a strain of conservatism spread through a number of art forms. A motto popular among traditionalists was “the return to order.” For Picasso the years 1920 to 1925 were marked by close attention to three-dimensional form and to classical themes: bathers, centaurs (mythical creatures half-man and half horse), and women in classical drapery. He depicted many of these figures as massive, dense, and weighty, an effect intensified by strong contrasts of light and dark. But even as he moved toward greater realism, Picasso continued to play games with the viewer. In the classical and carefully composed The Pipes of Pan (1923, Musée Picasso), for example, he painted an area of the architectural framework in the foreground (which should be grayish) with the same color as the sea in the background, revealing again his pleasure in ambiguity.
X CUBISM AND SURREALISM (1925-1936)
From 1925 to 1936 Picasso again worked in a number of styles. He composed some paintings of tightly structured geometric shapes, limiting his color scheme to primary colors (red, blue, yellow), as in The Studio (1928, Museum of Modern Art). In other paintings, such as Nude in an Armchair (1929, Musée Picasso), he depicted contorted female figures whose open mouths and menacing teeth reveal a more emotional, less reasoned attitude. Picasso’s marriage broke up during this time, and some of the menacing female figures in his art of this period may represent Koklova.
The same diversity is visible in Picasso’s sculpture during this period. Bather (Metamorphosis II) (1928, Musée Picasso) represents the human body as a massive spherical shape with protruding limbs, whereas Wire Construction (1928, Musée Picasso) depicts it as a rigid, geometric configuration of thin wires. Picasso also experimented with welding in sculpture of this period and explored a variety of themes, including the female head, the sleeping woman, and the Crucifixion. The model for many of his sleeping women was Marie Thérèse Walter, a new love who had entered his life. Their daughter, Maia, was born in 1935.
In the early 1930s Picasso had increasing contact with the members of the surrealist movement (see Surrealism) and became fascinated with the classical myth of the Minotaur. This creature, which has the head of a man and the body of a bull, appears in a study by Picasso for the cover of the surrealist journal Minotaure (1933, Museum of Modern Art). Here Picasso affixed a classical drawing of a Minotaur to a collage of abstracted forms and debris. The Minotaur has numerous incarnations in Picasso’s work, both as an aggressor and a victim, as a violent character and a friendly one. It may represent the artist himself and frequently appears in the context of a bullfight, a typically Spanish scene close to Picasso’s heart.
XI GUERNICA (1937)
In 1937 the Spanish government commissioned Picasso to create a mural for Spain’s pavilion at an international exposition in Paris. Unsure about the subject, Picasso procrastinated. But he set to work almost immediately after hearing that the Spanish town of Guernica had been bombed by Nazi warplanes in support of Spanish general Francisco Franco’s plot to overthrow the Spanish republic. Guernica (1937, Prado, Madrid) was Picasso's response to, and condemnation of, that event. He executed the painting in black and white—in keeping with the seriousness of the subject—and transfigured the event according to his fascination with the bullfight theme.
At the extreme left is a bull, which symbolizes brutality and darkness, according to Picasso. At the center, a horse wounded by a spear most likely represents the Spanish people. At the center on top, an exploding light bulb possibly refers to air warfare or to evil coming from above (and putting out the light of reason). Corpses and dying figures fill the foreground: a woman with a dead child at the left, a dead warrior with a broken sword (from which a flower sprouts) at the center, a weeping woman and a figure falling through a burning building at the right. The distortion of these figures expresses the inhumanity of the event. To suggest the screaming of the horse and of the mother with the dead child, Picasso transformed their tongues into daggers. In the upper center, a tormented female figure holds an oil lamp that sheds light upon the scene, possibly symbolizing the light of truth revealing the brutality of the event to the outside world. In 1936 Picasso met Dora Maar, an artist who photographed Guernica as he painted it. She soon became his companion and the subject of his paintings, although he remained involved with Walter.
XII WORLD WAR II (1939-1945)
Picasso, unlike many artists, stayed in Paris during the German occupation of World War II. Some of his paintings from this time reveal the anxiety of the war years, as does the menacing Still Life with Steer's Skull (1942, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany). Other works, such as his sculpture Head of a Bull (1943, Musée Picasso), are more playful and whimsical. In this sculpture Picasso combined a bicycle seat and handlebars to represent the bull’s head. Upon receiving news of the Nazi death camps, Picasso also painted, although he did not finish, an homage to the victims of the Holocaust (mass murder of European Jews during the war). In this painting, called The Charnel House (1945, Museum of Modern Art), he restricted the color scheme to black and white (as in Guernica) and depicted an accumulation of distorted, mangled bodies. During the war Picasso joined the Communist Party, and after the war he attended several peace conferences.
XIII LATE WORK (1945-1973)
Picasso remained a prolific artist until late in his life, although this later period has not received universal acclaim from historians or critics. He made variations on motifs that had fascinated him throughout his career, such as the bullfight and the painter and his model, the latter a theme that celebrated creativity. And he continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates, and jugs, and he thereby blurred an existing distinction between fine art and craft.
Picasso’s emotional life became more complicated after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.
Another new direction in Picasso’s work came from variations on well-known works by older artists that he recast in his own style. Among these works are Women on the Banks of the Seine, after Courbet (1950, Kunstmuseum, Basel, Switzerland) and Le Déjeuner sur l’Herbe after Manet (1960, Musée Picasso). What makes these works particularly significant is that they run counter to a basic premise of modern art, Picasso’s included: namely, originality. Although many modern painters were influenced by earlier artists, they rarely made such direct and obvious references to each other’s work because they deemed such references unoriginal. In the postmodern period, which began in the 1970s, artists and critics began to question the modernist directive to be original. In acts of deliberate defiance, many postmodern artists have appropriated (taken for their own use) well-known images from their predecessors or contemporaries. Seen against this context, Picasso’s later variations on paintings by earlier masters hardly seem out of place; on the contrary, they anticipate a key aspect of art in the 1980s.
One of Picasso’s late works, Head of a Woman (1967), was a gift to the city of Chicago. This sculpture of welded steel, 15 m (50 ft) tall, stands in front of Chicago’s Civic Center. Although its semiabstract form proved controversial at first, the sculpture soon became a city landmark.
Because of his many innovations, Picasso is widely considered to be the most influential artist of the 20th century. The cubist movement, which he and Braque inspired, had a number of followers. Its innovations gave rise to a host of other 20th-century art movements, including futurism in Italy, suprematism and constructivism in Russia, de Stijl in the Netherlands, and vorticism in England. Cubism also influenced German expressionism, dada, and other movements as well as early work of the surrealists (see Surrealism) and abstract expressionists (see Abstract Expressionism). In addition, collage and construction became key aspects of 20th-century art.
Contributed By:
Claude Cernuschi
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Oil on canvas; 52 x 82 cm.
A native of Reggio Calabria, Boccioni studied art through the Scuola Libera del Nudo at the Accademia di Belle Arti in Rome, beginning in 1901. He also studied design with a sign painter in Rome. Together with his friend Gino Severini, he became a student of Giacomo Balla, a divisionist painter. In 1906, Boccioni studied Impressionist and Post-Impressionist styles in Paris. During the late 1906 and early 1907, he shortly took drawing classes at the Accademia di Belle Arti in Venice. In 1901, Boccioni first visited the Famiglia Artistica, a society for artists in Milan. After moving there in 1907, he became acquainted with fellow Futurists, including the famous poet Filippo Tommaso Marinetti. The two artists would later join with others in writing manifestos on Futurism.
Boccioni became the main theorist of the artistic movement. He also decided to be a sculptor after he visited various studios in Paris, in 1912, among which those of Braque, Archipenko, Brancusi, Raymond Duchamp-Villon and, probably, Medardo Rosso. While in 1912 he exhibited some paintings together with other Italian futurists at the Bernheim-Jeun, in 1913 he returned to show his sculptures at the Gallerie La Boetie: all related to the elaboration of what Boccioni had seen in Paris, they in their turn probably influenced the cubist sculptors, especially Duchamp-Villon.
In 1914, he published Pittura e scultura futuriste (dinamismo plastico) explaining the aesthetics of the group: “While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.” He exhibited in London, together with the group, in 1912 (Sackville Gallery) and 1914 (Doré Gallery): the two exhibitions made a deep impression on a number of young English artists, in particular C.R.W. Nevinson, who joined the movement: others aligned themselves instead to its British equivalent, Vorticism, led by Wyndham Lewis.
Mobilized in the declaration of war, Boccioni was assigned to an artillery regiment at Sorte, near Verona. On 16 August 1916, Boccioni was thrown from his horse during a cavalry training exercise and was trampled. He died the following day, age thirty-three.
Ambrotype on black plastic 13х18 cm. Collodion on basis self-synthesized nitrocellulose and zinc salts.
Photosynthesis is a process used by plants and other organisms to convert light energy, normally from the sun, into chemical energy that can be used to fuel the organisms' activities. Carbohydrates, such as sugars, are synthesized from carbon dioxide and water.
Model: Joan Yazze Gallegos.
Location: Albuquerque's West Mesa.
© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group
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