View allAll Photos Tagged synthesizing
Green Man (better known as Vertuminus).
"After seven months and nine sessions, He is fully alive and laughing merrily. I am amazed and blown away by how beautiful He is. I am so happy and so proud to bear this beautiful, beautiful piece on my body.....I feel like a walking work of art! I sing the praises of Jespah's talent and amazingness. I just can't believe how it looks. Never in my wildest imaginings could I have thought it would look like this. He is so alive, you can almost hear His deep rumbling laughter and the sound of His leaves rustling in the breeze."
~Jaimie
Ink by: Jespah
© 2007 2010 2015 Photo's by Lloyd Thrap for Halo Media Group
www.flickr.com/groups/790123@N20/
© 2010 2015 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.
Which products or business processes can be expressed as a game, and thus, might be ripe for the new wave of automation?
About a year ago, I wrote about the “edge of automation” (MIT Tech Review), noting that many of the new jobs in the new economy (like Uber drivers and Mechanical Turkers) are cognition tasks just a bit beyond the realm of automation, and thus, are ever so ephemeral against the march of Moore’s Law. And since they are recently architected jobs, they are surrounded by modern digital interfaces, so much so that if your Uber driver were to be replaced by a mute body model from WestWorld, you might not even notice.
But the Toronto Deep Learning conference helped refine that edge, and suggest where we may likely find it — the edge of gamification.
Deep Learning applies particularly well to games, literally as the Deep Mind team demonstrated before the Google acquisition and through homologous problems as they have been demonstrating afterward. The training of Alpha Go was particularly prophetic: a learning algorithm can be more rapidly trained if the human trainer is replaced by another learning algorithm.
We have also seen this in our startup portfolio in the field of autonomous vehicles. You can add billions of miles of driving experience, and hone the tricky corner cases, by building a Matrix for the vehicles’ sensors, feeding the computer the same digital streams that the camera and radar and LIDAR see when navigating real roads, but synthesized from the point cloud of a simulation not dissimilar to GTA. The big auto companies are doing the same to try to catch up with the leaders.
Deep Reinforcement Learning is one of the promising subsets of machine intelligence that has delivered many of the recent gaming wins. Karpathy gives a good overview of RL and refines the type of gameplay that currently lends itself to automation: “there are many games where Policy Gradients would quite easily defeat a human, in particular, anything with frequent reward signals that requires precise play, fast reflexes, and not too much long-term planning, as these short-term correlations between rewards and actions can be easily noticed by the approach, and the execution meticulously perfected by the policy.” But that is for now; as memory structures roll into these models, the human knack for rapid abstract model building may also tip over the edge of gamification.
So what’s next?
Spiritual crises as the cause of paranormal phenomena, Paranormal phenomena seen in connection with clairvoyance, and Paranormal phenomena seen in connection with channeling).Symbols from the universal images are of a completely different character. They reproduce a much clearer, more precise and superior astral wholeness. It is from these symbols you can receive direct teachings about your spiritual development process.
When you have trained meditation and dream yoga in many years, a so-called divine being can visit you through a symbol from the universal images: Christ, Buddha, masters, teachers, angels. Note that these of course also can from the collective images – the difference is explained below:
Such a symbol is, as mentioned, a telescopying, a representing quintessence of the informationquantities, which the wholeness in a universal image contains. The divine being will in that way canalize information to you from the universal image, which, together with the whole of the universal vision, constitutes the dream-tracks and the songlines in the artwork of your life. The divine being (or other symbols from the universal images) will in that way help you to compose, to synthesize and interlock, what your inner thinker in the waking state has divided. But it is very important to understand that this nothing has to do with the channeling phenomenon, which belongs to the collective images. In order to receive help from a divine being you must be very close to enlightenment yourself. Our suffering, our painbody is, through the inner evaluating ego, which the painbody is constructed around, connected with the more dangerous dephts of the astral plane´s collective history, which also are a kind of dark, ancient inertia, which opposes any change of the ego (see my article The emotional painbody and why psychotherapy can´t heal it). That is also the reason why you, through therapy, can´t heal Man from the ground. In order to heal Man from the ground you need to go into a spiritual practice. It is only within the religions and their spiritual traditions they have knowledge and names for the more dark sides of the astral plane´s collective history. The West has very precisely called this factor the original sin. The East has called it negative karma. The concepts indicate, that the inertia projects beyond the personal history (growing up conditions, traumatic bindings, painful experiences etc.) and far down into the collective inherit-backgrounds of history (genes, environment, society-ideals, the archetypes and the primordial images of the dreams, fantasies, fairy-tales, myths, and finally: instincts inherited from the animals). It is a factor, which lies in the evolution itself, in the genes, in the collective subconcious, in the collectice history.
A mystical experience is happening when astral energies and content arrive to the consciousness, either from the collective images, or from the universal images. When energy and content arrive to the consciousness from the collective images, then this energy, and this content, will symbolize itself. This is due to, that the collective images are in a condition of vague, diffuse, astral oneness. What is coming from the collective images therefore contains a much greater width and depth than the limitary, relatively narrow and clear concepts and classes of the ordinary consciousness. The vague, wide contents and energies from the collective images are therefore growing narrower in the meeting with the consciousness. The symbol is this quintessence, this shortened, condensed form of expression of the vague, wide collective material. The other types of symbols are coming from the universal images, and therewith from reality and truth itself. All reality, which shall mirror itself in the superficial mind, will automatically symbolize itself. Again the symbol is a telescopying, a representing quintessence of the informationquantities, and the greater clarity, which are connected with reality. Symbols from the collective images reproduce a more vague, more imprecisely, but richer organic astral oneness. Symbols from the universal images reproduce a clearer, more precise and superior astral oneness. The more vague astral oneness, or the more precise astral oneness, shows itself in symbolic form in the dividing, separating structure of consciousness. This refers to the three forms of states the wholeness can be in: sleep, dream, awake. When the wholeness is sleeping, mountains are mountains and woods are woods. This is the reality of the ordinary consciousness (the Ego-consciousness). The ordinary consciousness can sleep in three ways: 1) the dark sleep, which is the Ego´s deep nightly sleep; 2) the grey sleep, which is the Ego´s nightly dreams and other dreams; 3) the light sleep, where the Ego is awake. The three forms of states the wholeness can be in, can also be described as the personal time, the collective time and the universal time. Furthermore it can be described as the personal history, the collective history and the universal history. Time and history constitute the structure under your thinking. This structure is also called the astral plane, or the astral world. It is a plane of existence postulated both by classical (particular neo-Platonic), medieval, oriental and esoteric philosophies and mystery religions. It is the world of the planetary spheres, crossed by the soul in its astral body, either through the dream state, or on the way to being born and after death, and generally said to be populated by angels, demons, spirits or other immaterial beings. The astral plane is connected with the so-called Akashic records. The Akashic records are a compendium of mystical knowledge encoded in a non-physical plane of existence: the astral plane. These records are described as containing all knowledge of human experience and the history of the cosmos. They are holding a record of all events, actions, thoughts and feelings that have ever occurred or will ever occur. Since my teenage years, I have had relationships with Beings of Light such as Jeshua, Michael, Sanat Kumara, Lady Portia, Amira, Maitreya, Sananda, the Great Crystal Master, the Dragon and many others. They instructed me in their conceptions that allowed me to prune my beliefs, to experience new knowledge. Thanks to their attention, I was progressing in my inner study. Taking advantage of their advice and encouragement, I went through the adversity I had encountered. During all this time, I carefully integrated their teachings without disclosing them, I applied them consciously in my daily life. Several times they told me, through mediums, that it was time for me to work with my fellow human beings. I would say "I, who have so many obstacles" and I would continue my studies with them. More than twenty years ago, Awakeness told me that I had the opportunity to read Akashic annals, I didn't know what it was. It took me a long time to get acquainted with the library of Nature where everything is recorded in every detail, from Creation to infinity. Today, I confess that I used this database in ignorance. Facts arose without my knowledge, I met more and more people in great difficulty, I offered them, anonymously, what I had received. One day, I was offered a book on Akashic annals. I knew the time had come to expose myself. The opportunity to concretize this new experimentation presented itself to me, through one of my friends who was experiencing an important annoyance. I said to him:"If you want I ask Akasha for teachings to give you solutions to your context". The impact of the explanation and the akashic vibration collected by Martine was immediate and spread throughout her home. His entourage was surprised by this change and asked him what had happened. She received the necessary answers to her family situation and also all the understandings that allowed her to find joy in sincere and harmonious relationships, which are still in force and spread to her household. Everyone watched and looked at the sufferings he was carrying in order to transform them. An information was transmitted to her by her husband, who had crossed the bridge of earthly life for the afterlife, which confirmed her to act on the decisions.
The Sanskrit term akasha was introduced to the language of theosophy through H. P. Blavatsky (1831–1891), who characterized it as a sort of life force; she also referred to "indestructible tablets of the astral light" recording both the past and future of human thought and action, but she did not use the term "akashic". The notion of an akashic record is attributed to Alfred Percy Sinnett, who, in his book Esoteric Buddhism (1883), wrote of a Buddhist belief in "a permanency of records in the Akasa" and "the potential capacity of man to read the same."By C. W. Leadbeater's Clairvoyance (1899) the association of the term with the idea was complete, and he identified the akashic records by name as something a clairvoyant could read. In his 1913 Man: How, Whence, and Whither?, Leadbeater claims to record the history of Atlantis and other civilizations as well as the future society of Earth in the 28th century.The Akasha is an “astral light” containing occult records, which spiritual beings can perceive by their “astral senses” and “astral bodies”. Clairvoyance, spiritual insight, prophecy and many other metaphysical and religious notions are made possible by tapping into the Akashic reacords. They are metaphorically described as a library. They can be accessed through astral projection, meditation, near-death experience, lucid dreaming, or other means. The Akashic records are the wholeness, and as mentioned: the wholeness can be in three states of spiritual awakening - sleep, dream, awake – which again can be described as the personal, collective and universal time (or history).
The reactions to experience of the entire animal kingdom, the aggregation of the thought-forms of a karmic nature (based on desire) of every human unit throughout time. Herein lies the great deception of the records. Only a trained occultist can distinguish between actual experience and those astral pictures created by imagination and keen desire. Since Wilhelm Haidinger discovered the phenomenon of the ‘brush’ which is named after him in 1844, there can be no doubt that human vision comprises an additional sense for the orientation of a so called polarised luminance. In this paper the physical conditions under which Haidinger’s Brush is to be observed in transparent or reflective media are described in detail. Furthermore it will be shown how Goethe’s work on ‘entoptic colour’, Steiner’s concept of the U-Region and modern physiological and natural science touch on a mutual ground that is to be characterised by Haidinger’s Brush appearing.Seen from a spiritual perspective, this instinctive survival strategi (the Ego) appears as a resistance, an invincible inertia: original sin, negative karma. You can´t, by therapeutic strategies, free the consciousness for its attachment to this inertia. You can therefore not dissolve or dilute or convert the original sin through therapy. Only the intervention of the Source (God, Christ, the enlightened consciousness) can basically help Man with a trancendence of the negative karma of the original sin. But in order to, that a human being should be able to receive this help from the Source (gift of grace), then this requires an eminently precise and profound preparation. And as part of this preparation serve the true spiritual practice within the religions
mortentolboll.weebly.com/paranormal-phenomena-seen-in-con...
The whole extent of circumstances which have its observation in common, distinguish it as a higher phenomenon among others, that it is the primary phenomenon of polarisation.Haidinger-Büschel als Urphänomen der Polarisationserscheinungen Albert Pröbstl.f Goethe’s Urphänomen, the ferreting out of the simplest,
archetypal concept which exhibits the characteristics of the complex whole and proceeding from the simple to the more composite. At this point, the similarity of Hegel’s method to that of Goethe is evident, except of course that the relevant complex whole is not to be understoodas a natural phenomenon but rather manifestations of Spirit, specificallyformations of consciousness. , this stream of impressions has to be surmounted, and grasped as
a whole. This holistic view is not attained by contemplation of the name or the idea of Nature, but on the contrary by contemplation of Nature itself and determination of the archetypal phenomenon, the simplest unit of a complex natural process. This insight is only the outcome of patient, attentive and delicate observation. Likewise, if a citizen of any social formation, recognizes as Absolute the guiding principle of his own activity, Hegel does not suppose that they see in that form of practice a finite manifestation of Absolute Spirit. That is an insight which becomes available only to the philosopher who looks back from the end of the journey of Spirit. Goethe and Hegel shared a common concern, not just for Truth, but for the Spiritual Community. One of the driving forces of Goethe’s science was to work out a practice and concept of science which would be accessible to participation by the entire people,something of which Hegel despaired. But there are obvious differences in the conception of the Deity as well. For Goethe, God is Nature, and insofar as he is engaged with Nature, it is the principle of his relation to Nature. Man is part of Nature, but he cannot understand his literary and social activities Pantheistically. For Hegel on the other hand, Spirit produces Nature and the human world of finite spirit, and out of them produces itself, but it is above all to human affairs that Hegel looks for his glimpse of the Deity. In the human world, Hegel gains insight into the absolute Absolute which manifests in each shape of consciousness. For Goethe we have a reified God/Nature; for Hegel we have Spirit. The crucial innovation made by Hegel is his use of the Triune structure of the concept which transcends the various dichotomies inherited from Kant whilst investing the concept with internal resources for self-mediation
A central element of Hegel’s view of the relation of man
to the Absolute, he appropriated from Goethe’s Romantic
science. Goethe’s Pantheistic conception of Urphänomen
was the single archetypal phenomena exhibiting the
essential features of some natural phenomena.
Recognition of the Urphänomen constituted a glimpse of
the Deity. Although the Urphänomen is specific to some
given complex, Goethe came to see in it a general
principle. Hegel appropriated Goethe’s idea of
Urphänomen, not unlike Herder’s Schwerpunkt, in the
Phenomenology, and transformed the archetypal norm of
a Gestalt des Bewußtseins into the Begriff of the Logic, as
an archetype of the Absolute. Expressed more generally, Goethe’s problem was this: how can we understand a complex process as a whole, as a Gestalt? Goethe rejected a
number of approaches which are characteristic of what he called ‘Newtonian’ natural science. He rejected the method of hypothesising some force or vibration or principle which controlled the complex whole from beyond the horizon of phenomena. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmeric, magnetic, and psychic phenomena and is a component in all magical operations of nature.
Hegel polemicised along the same lines in the Logic. To say that people come to the city because the
city exerts a force of attraction explains nothing. Newton’s idea of acceleration being caused by gravity simply shifts the problem from understanding a form of motion sensuously given to us, to understanding an invisible and baseless force, known only through its expression for which it is supposed to be the explanation.The Urphänomen was Goethe’s solution to the problem of how to conceive of the whole.“... the Divine, which reveals Itself in Urphänomene, physical and moral, behind which it dwells, and which proceed from It” (To Eckermann, February 13 1829, quoted in Heinemann 1934)“This spiritual breath – it is of this that I really wished to
speak and that alone is worth speaking of – is what has
necessarily given me such great delight in Your
Excellency’s exposition of the phenomena surrounding
entopic colours. What is simple and abstract, what you
strikingly call the Urphänomen, you place at the very
beginning. You then show how the intervention of further
spheres of influence and circumstances generates the
concrete phenomena, and you regulate the whole
progression so that the succession proceeds from simple
conditions to the more composite, and so that the
complex now appears in full clarity through this
decomposition. To ferret out the Urphänomen, to free it
from those further environs which are accidental to it, to
apprehend as we say abstractly – this I take to be a matter
of spiritual intelligence for nature, just as I take that
course generally to be the truly scientific knowledge in
this field” (Hegel 1984: 698).New York: akasha (akasa) Im Eastern mysticism and oeculism, the all-pervasive lile principle or all pervasive space of the cosmos. The term akasha is derived from the Sanskrit term for 'sky." The akasha is known by various other names in Western occultism and MAGIC. In Hinduism, the akasha is the substance ether, a fifth element and the subtlest of all elements. The akasha per meates everything in the universe and is the vehicle for all life and sound. In yoga, the akasha is one of three unit versal principles along with prana, the universal life force, and creative mind. These three principles are immanent in all things throughout the universe and are the sources of magical and psychic power. From the akasha comes will, an important component of magic, which enables all man ner of feats to be accomplished. In Buddhism, is not ether but space, ol which there are rwo kinds. One is space that is limited by the material, from which springs the manifestation of the elements of nature. The second is space that is unlimited, unbounded by the material and beyond description. The concept of the akasha was inaroduced to Weslern occultism in the early 20th century by hel ena p blavat sky, founder of the theosophical society. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmerie, magnetic and psychic phenomena and is a component in all magi cal operations of nature. Blavatsky compared the akasha to lhe "sidereal lighi" ol rosic rucianism, he asi ral light of iphas levi, and the odyle or odic lorce of Baron Karl von uivalent of the llebrew ruah, the Reichenbach is th in motion, or moving spirit and is identi- wind, breath, air cal with the spirit of God moving on the tace ol the waters described the akasha as incomprehensible. non-created, and undefinable. Akasha creates everything and keeps everything in bal it is the all in all.
Five arts was Goethe's method of transmuting his observation of human nature into sharable form. Drawing from his novel, Elective Affinities (Wahlverwandschaften), Goethe discerned a geheime Verwandschaft (hidden relationship) of parts that explains how one form can transform into another form whilst being part of an underlying archetypal form (Ur-phänomen). It is this organizing idea or form that guides the consideration of the parts; it is a Bild or virtual image that "emerges and re-emerges from the interaction of experience and ideas"[3] This consideration is a special type of thinking (noetic ideation or denken) carried out with a different organ of cognizance to that of the brain (mentation or sinnen), one that involves an act of creative imagination, what Goethe terms "the living imaginal beholding of Nature" (das lebendige Anschauen der Natur). Goethe's nature (natura naturans, the activity of "nature naturing" – as distinguished from natura naturata, "nature natured", the domain of naturally formed objects) is one in constant flux and flow, but nonetheless governed by law, logic and intelligence above the mind. To approach vital nature requires a different cognitive capacity (denken) and cognitive organ (Gemüt) from that used to perceive inert nature (sinnen based on the Intellect or Sinn).
Hegel goes on to speak of his philosophical appropriation of the Urphänomen: “But may I now still speak to you of the special interest that an Urphänomen, thus cast in relief, has for us philosophers, namely that we can put such a preparation – with Your Excellency’s permission – directly to
philosophical use. But if we have at last worked our
initially oyster-like Absolute – whether it be grey or
entirely black, suit yourself – through towards air and
light to the point that the Absolute has itself come to
desire this air and light, we now need to throw open the
window so as to lead the Absolute fully out into the light
of day” (Hegel 1984: 699).Leaf operculum alone all others as a blessing creativity, vitality, hope and madness and more !!! Akasha is the aura of the Earth. physically. All trace continues to exist in the akasha of the Earth, which made the Egyptians say that we can survive through supports representing us (statuettes, photos, engravings, icons) and that gives the feeling to certain peoples that being photographed traps the soul ... it's partly true but not definitively. At each new galactic hour (every 25 600 years in human years), a reset of the akasha takes place. The next is scheduled for December 21, 2012. Getting back to work can be a good thing. Pilgrims of Heaven, we are! Good day. The Astral is another name to refer to the psyche (radiation of thoughts and human emotions) and the energetic aura (electromagnetic radiation) of the Earth for me. Etheric means spiritual energy of the higher consciousness planes tand qu 'energetic' refers to terrestrial and human radiation. The Paradise are the high parts of the astral, in these circles of purity are the teachings of the Ascended Masters. There are also portals to other dimensions of life here, on Earth in the 3rd dimension we are calibrated by a heart rate, a lunar rhythm, a terrestrial electro magnetic energy and the frequencies of human thoughts and emotions. All these frequencies reduce us condense us, lower us. We live at best on the frequency of our stomach (self-enhancement individualism and competition at worst on the frequency of our gut (withdrawal on the family, devaluation of self for the benefit of the local collective, war to defend its territory against invaders, aliens, energy racism) And when one is underdeveloped socially, one is based on the root chakra, connected to the spirit of survival, leads to mistrust vis-avis humans, with the need to live outside without social constraints like solitary wild animals (sdf and marginality chosen)
modelshopstudio™ with Jelly Honey for The Zombie Dolls. — modelshopstudio™
Albuquerque, New Mexico. USA
© 2013 2018 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.
Details best viewed in Original Size.
I photographed this Zebra Longwing Butterfly at the Arthur R. Marshall Loxahatchee National Wildlife Refuge located on Boynton Beach, near Florida's Atlantic Coast. Jan Nagalski was visiting Florida on his annual birding trip from the frozen north, had heard of Loxahatchee, and wanted to see it for himself. This El-Niño-Wintered Loxahatchee was less than optimal, but then it was close to the Wakodahatchee Wetlands which were outstanding. Jan and I were at Loxahatchee mainly for the birds, but if something else worth shooting shows up, well we shoot it. So was with this Zebra Longwing.
Zebra Longwing or Zebra Heliconian is a species of butterfly belonging to the subfamily Heliconiinae of the family Nymphalidae. It was first described by Carl Linnaeus in his 1767 12th edition of Systema Naturae. The boldly striped black and white wing pattern is aposematic, warning off predators. The species is distributed across South and Central America and as far north as southern Texas and peninsular Florida; there are migrations north into other American states in the warmer months. Zebra longwing adults roost communally at night in groups of up to 60 adults for safety from predators. The adult butterflies are unusual in feeding on pollen as well as on nectar; the pollen enables them to synthesize cyanogenic glycosides that make their bodies toxic to potential predators. Caterpillars feed on various species of passionflower, evading the plants' defensive trichomes by biting them off or laying silk mats over them. The zebra longwing, Heliconius charithonia, was designated the state butterfly of Florida in 1996. However, mass spraying of naled has decimated the zebra longwing population in Miami-Dade County, Florida. There has been mass collapse of the colonies with impacts on the balance of the ecosystem. Further studies are needed to evaluate any potential for recolonization. The caterpillars are white with black spots and have numerous black spikes along their body. Adult butterflies are monomorphic of medium size with long wings. On the dorsal side, the wings are black with narrow white and yellow stripes, with a similar pattern on the ventral side, but paler and with red spots. The wingspan ranges from 72 to 100 mm.
Info above was extracted from Wikipedia.
Maize (/meɪz/ MAYZ; Zea mays subsp. mays, from Spanish: maíz after Taino: mahiz), also known as corn (North American and Australian English), is a cereal grain first domesticated by indigenous peoples in southern Mexico about 10,000 years ago. The leafy stalk of the plant produces pollen inflorescences and separate ovuliferous inflorescences called ears that yield kernels or seeds, which are fruits.
Maize has become a staple food in many parts of the world, with the total production of maize surpassing that of wheat or rice. In addition to being consumed directly by humans (often in the form of masa), maize is also used for corn ethanol, animal feed and other maize products, such as corn starch and corn syrup. The six major types of maize are dent corn, flint corn, pod corn, popcorn, flour corn, and sweet corn. Sugar-rich varieties called sweet corn are usually grown for human consumption as kernels, while field corn varieties are used for animal feed, various corn-based human food uses (including grinding into cornmeal or masa, pressing into corn oil, and fermentation and distillation into alcoholic beverages like bourbon whiskey), and as chemical feedstocks. Maize is also used in making ethanol and other biofuels.
Maize is widely cultivated throughout the world, and a greater weight of maize is produced each year than any other grain. In 2014, total world production was 1.04 billion tonnes. Maize is the most widely grown grain crop throughout the Americas, with 361 million metric tons grown in the United States alone in 2014. Genetically modified maize made up 85% of the maize planted in the United States in 2009. Subsidies in the United States help to account for its high level of cultivation of maize and its position as the largest producer in the world.
HISTORY
PRE-COLUMBIAN DEVELOPMENT
Maize is a cultigen; human intervention is required for it to propagate. Whether or not the kernels fall off the cob on their own is a key piece of evidence used in archaeology to distinguish domesticated maize from its naturally-propagating teosinte ancestor. Genetic evidence can also be used to determine when various lineages split.
Most historians believe maize was domesticated in the Tehuacán Valley of Mexico. Recent research in the early 21st century has modified this view somewhat; scholars now indicate the adjacent Balsas River Valley of south-central Mexico as the center of domestication.
An influential 2002 study by Matsuoka et al. has demonstrated that, rather than the multiple independent domestications model, all maize arose from a single domestication in southern Mexico about 9,000 years ago. The study also demonstrated that the oldest surviving maize types are those of the Mexican highlands. Later, maize spread from this region over the Americas along two major paths. This is consistent with a model based on the archaeological record suggesting that maize diversified in the highlands of Mexico before spreading to the lowlands.
Archaeologist Dolores Piperno has said:
A large corpus of data indicates that [maize] was dispersed into lower Central America by 7600 BP [5600 BC] and had moved into the inter-Andean valleys of Colombia between 7000 and 6000 BP [5000–4000 BC].
— Dolores Piperno, The Origins of Plant Cultivation and Domestication in the New World Tropics: Patterns, Process, and New Developments
Since then, even earlier dates have been published.
According to a genetic study by Embrapa, corn cultivation was introduced in South America from Mexico, in two great waves: the first, more than 6000 years ago, spread through the Andes. Evidence of cultivation in Peru has been found dating to about 6700 years ago. The second wave, about 2000 years ago, through the lowlands of South America.
The earliest maize plants grew only small, 25-millimetre-long (1 in) corn cobs, and only one per plant. In Jackson Spielvogel's view, many centuries of artificial selection (rather than the current view that maize was exploited by interplanting with teosinte) by the indigenous people of the Americas resulted in the development of maize plants capable of growing several cobs per plant, which were usually several centimetres/inches long each. The Olmec and Maya cultivated maize in numerous varieties throughout Mesoamerica; they cooked, ground and processed it through nixtamalization. It was believed that beginning about 2500 BC, the crop spread through much of the Americas. Research of the 21st century has established even earlier dates. The region developed a trade network based on surplus and varieties of maize crops.
Mapuches of south-central Chile cultivated maize along with quinoa and potatoes in pre-Hispanic times; however, potato was the staple food of most Mapuches, "specially in the southern and coastal [Mapuche] territories where maize did not reach maturity". Before the expansion of the Inca Empire maize was traded and transported as far south as 40°19' S in Melinquina, Lácar Department. In that location maize remains were found inside pottery dated to 730 ± 80 BP and 920 ± 60 BP. Probably this maize was brought across the Andes from Chile. The presence of maize in Guaitecas Archipelago (43°55' S), the southernmost outpost of pre-Hispanic agriculture, is reported by early Spanish explorers. However the Spanish may have misidentified the plant.
COLUMBIAN EXCHANGE
After the arrival of Europeans in 1492, Spanish settlers consumed maize, and explorers and traders carried it back to Europe and introduced it to other countries. Spanish settlers far preferred wheat bread to maize, cassava, or potatoes. Maize flour could not be substituted for wheat for communion bread, since in Christian belief only wheat could undergo transubstantiation and be transformed into the body of Christ. Some Spaniards worried that by eating indigenous foods, which they did not consider nutritious, they would weaken and risk turning into Indians. "In the view of Europeans, it was the food they ate, even more than the environment in which they lived, that gave Amerindians and Spaniards both their distinctive physical characteristics and their characteristic personalities." Despite these worries, Spaniards did consume maize. Archeological evidence from Florida sites indicate they cultivated it as well.
Maize spread to the rest of the world because of its ability to grow in diverse climates. It was cultivated in Spain just a few decades after Columbus's voyages and then spread to Italy, West Africa and elsewhere. Widespread cultivation most likely began in southern Spain in 1525, after which it quickly spread to the rest of the Spanish Empire including its territories in Italy (and, from there, to other Italian states). Maize had many advantages over wheat and barley; it yielded two and a half times the food energy per unit cultivated area, could be harvested in successive years from the same plot of land, and grew in wildly varying altitudes and climates, from relatively dry regions with only 250 mm (10 in) of annual rainfall to damp regions with over 5,000 mm (200 in). By the 17th century it was a common peasant food in Southwestern Europe, including Portugal, Spain, southern France, and Italy. By the 18th century, it was the chief food of the southern French and Italian peasantry, especially in the form of polenta in Italy.
Names
The word maize derives from the Spanish form of the indigenous Taíno word for the plant, mahiz. It is known by other names around the world.
The word "corn" outside the US, Canada, Australia, and New Zealand refers to any cereal crop, its meaning understood to vary geographically to refer to the local staple. In the United States, Canada, Australia, and New Zealand, corn primarily means maize; this usage started as a shortening of "Indian corn". "Indian corn" primarily means maize (the staple grain of indigenous Americans), but can refer more specifically to multicolored "flint corn" used for decoration.
In places outside the US, Canada, Australia, and New Zealand, corn often refers to maize in culinary contexts. The narrower meaning is usually indicated by some additional word, as in sweet corn, sweetcorn, corn on the cob, baby corn, the puffed confection known as popcorn and the breakfast cereal known as corn flakes.
In Southern Africa, maize is commonly called mielie (Afrikaans) or mealie (English), words derived from the Portuguese word for maize, milho.
Maize is preferred in formal, scientific, and international usage because it refers specifically to this one grain, unlike corn, which has a complex variety of meanings that vary by context and geographic region. Maize is used by agricultural bodies and research institutes such as the FAO and CSIRO. National agricultural and industry associations often include the word maize in their name even in English-speaking countries where the local, informal word is something other than maize; for example, the Maize Association of Australia, the Indian Maize Development Association, the Kenya Maize Consortium and Maize Breeders Network, the National Maize Association of Nigeria, the Zimbabwe Seed Maize Association.
STRUCTURE AND PHYSIOLOGY
The maize plant is often 3 m (10 ft) in height, though some natural strains can grow 13 m (43 ft). The stem is commonly composed of 20 internodes of 18 cm (7 in) length. The leaves arise from the nodes, alternately on opposite sides on the stalk. A leaf, which grows from each node, is generally 9 cm (3+1⁄2 in) in width and 120 cm (3 ft 11 in) in length.
Ears develop above a few of the leaves in the midsection of the plant, between the stem and leaf sheath, elongating by around 3 mm (1⁄8 in) per day, to a length of 18 cm (7 in) with 60 cm (24 in) being the maximum alleged in the subspecies. They are female inflorescences, tightly enveloped by several layers of ear leaves commonly called husks. Certain varieties of maize have been bred to produce many additional developed ears. These are the source of the "baby corn" used as a vegetable in Asian cuisine.
The apex of the stem ends in the tassel, an inflorescence of male flowers. When the tassel is mature and conditions are suitably warm and dry, anthers on the tassel dehisce and release pollen. Maize pollen is anemophilous (dispersed by wind), and because of its large settling velocity, most pollen falls within a few meters of the tassel.
Elongated stigmas, called silks, emerge from the whorl of husk leaves at the end of the ear. They are often pale yellow and 18 cm (7 in) in length, like tufts of hair in appearance. At the end of each is a carpel, which may develop into a "kernel" if fertilized by a pollen grain. The pericarp of the fruit is fused with the seed coat referred to as "caryopsis", typical of the grasses, and the entire kernel is often referred to as the "seed". The cob is close to a multiple fruit in structure, except that the individual fruits (the kernels) never fuse into a single mass. The grains are about the size of peas, and adhere in regular rows around a white, pithy substance, which forms the ear. The maximum size of kernels is reputedly 2.5 cm (1 in). An ear commonly holds 600 kernels. They are of various colors: blackish, bluish-gray, purple, green, red, white and yellow. When ground into flour, maize yields more flour with much less bran than wheat does. It lacks the protein gluten of wheat and, therefore, makes baked goods with poor rising capability. A genetic variant that accumulates more sugar and less starch in the ear is consumed as a vegetable and is called sweet corn. Young ears can be consumed raw, with the cob and silk, but as the plant matures (usually during the summer months), the cob becomes tougher and the silk dries to inedibility. By the end of the growing season, the kernels dry out and become difficult to chew without cooking them tender first in boiling water.
Planting density affects multiple aspects of maize. Modern farming techniques in developed countries usually rely on dense planting, which produces one ear per stalk. Stands of silage maize are yet denser,[citation needed] and achieve a lower percentage of ears and more plant matter.
Maize is a facultative short-day plant and flowers in a certain number of growing degree days > 10 °C (50 °F) in the environment to which it is adapted. The magnitude of the influence that long nights have on the number of days that must pass before maize flowers is genetically prescribed and regulated by the phytochrome system.
Photoperiodicity can be eccentric in tropical cultivars such that the long days characteristic of higher latitudes allow the plants to grow so tall that they do not have enough time to produce seed before being killed by frost. These attributes, however, may prove useful in using tropical maize for biofuels.
Immature maize shoots accumulate a powerful antibiotic substance, 2,4-dihydroxy-7-methoxy-1,4-benzoxazin-3-one (DIMBOA). DIMBOA is a member of a group of hydroxamic acids (also known as benzoxazinoids) that serve as a natural defense against a wide range of pests, including insects, pathogenic fungi and bacteria. DIMBOA is also found in related grasses, particularly wheat. A maize mutant (bx) lacking DIMBOA is highly susceptible to attack by aphids and fungi. DIMBOA is also responsible for the relative resistance of immature maize to the European corn borer (family Crambidae). As maize matures, DIMBOA levels and resistance to the corn borer decline.
Because of its shallow roots, maize is susceptible to droughts, intolerant of nutrient-deficient soils, and prone to be uprooted by severe winds.
While yellow maizes derive their color from lutein and zeaxanthin, in red-colored maizes, the kernel coloration is due to anthocyanins and phlobaphenes. These latter substances are synthesized in the flavonoids synthetic pathway from polymerization of flavan-4-ols by the expression of maize pericarp color1 (p1) gene which encodes an R2R3 myb-like transcriptional activator of the A1 gene encoding for the dihydroflavonol 4-reductase (reducing dihydroflavonols into flavan-4-ols) while another gene (Suppressor of Pericarp Pigmentation 1 or SPP1) acts as a suppressor. The p1 gene encodes an Myb-homologous transcriptional activator of genes required for biosynthesis of red phlobaphene pigments, while the P1-wr allele specifies colorless kernel pericarp and red cobs, and unstable factor for orange1 (Ufo1) modifies P1-wr expression to confer pigmentation in kernel pericarp, as well as vegetative tissues, which normally do not accumulate significant amounts of phlobaphene pigments. The maize P gene encodes a Myb homolog that recognizes the sequence CCT/AACC, in sharp contrast with the C/TAACGG bound by vertebrate Myb proteins.
The ear leaf is the leaf most closely associated with a particular developing ear. This leaf and above contribute 70% to 75% to 90% of grain fill. Therefore fungicide application is most important in that region in most disease environments.
ABNORMAL FLOWERS
Maize flowers may sometimes exhibit mutations that lead to the formation of female flowers in the tassel. These mutations, ts4 and Ts6, prohibit the development of the stamen while simultaneously promoting pistil development. This may cause inflorescences containing both male and female flowers, or hermaphrodite flowers.
GENETICS
Maize is an annual grass in the family Gramineae, which includes such plants as wheat, rye, barley, rice, sorghum, and sugarcane. There are two major species of the genus Zea (out of six total): Zea mays (maize) and Zea diploperennis, which is a perennial type of teosinte. The annual teosinte variety called Zea mays mexicana is the closest botanical relative to maize. It still grows in the wild as an annual in Mexico and Guatemala.
Many forms of maize are used for food, sometimes classified as various subspecies related to the amount of starch each has:
Flour corn: Zea mays var. amylacea
Popcorn: Zea mays var. everta
Dent corn : Zea mays var. indentata
Flint corn: Zea mays var. indurata
Sweet corn: Zea mays var. saccharata and Zea mays var. rugosa
Waxy corn: Zea mays var. ceratina
Amylomaize: Zea mays
Pod corn: Zea mays var. tunicata Larrañaga ex A. St. Hil.
Striped maize: Zea mays var. japonica
This system has been replaced (though not entirely displaced) over the last 60 years by multivariable classifications based on ever more data. Agronomic data were supplemented by botanical traits for a robust initial classification, then genetic, cytological, protein and DNA evidence was added. Now, the categories are forms (little used), races, racial complexes, and recently branches.
Maize is a diploid with 20 chromosomes (n=10). The combined length of the chromosomes is 1500 cM. Some of the maize chromosomes have what are known as "chromosomal knobs": highly repetitive heterochromatic domains that stain darkly. Individual knobs are polymorphic among strains of both maize and teosinte.
Barbara McClintock used these knob markers to validate her transposon theory of "jumping genes", for which she won the 1983 Nobel Prize in Physiology or Medicine. Maize is still an important model organism for genetics and developmental biology today.
The centromeres have two types of structural components, both of which are found only in the centromeres: Large arrays of CentC, a short satellite DNA; and a few of a family of retrotransposons. The B chromosome, unlike the others, contains an additional repeat which extends into neighboring areas of the chromosome. Centromeres can accidentally shrink during division and still function, although it is thought this will fail if it shrinks below a few hundred kilobase. Kinetochores contain RNA originating from centromeres. Centromere regions can become inactive, and can continue in that state if the chromosome still has another active one.
The Maize Genetics Cooperation Stock Center, funded by the USDA Agricultural Research Service and located in the Department of Crop Sciences at the University of Illinois at Urbana-Champaign, is a stock center of maize mutants. The total collection has nearly 80,000 samples. The bulk of the collection consists of several hundred named genes, plus additional gene combinations and other heritable variants. There are about 1000 chromosomal aberrations (e.g., translocations and inversions) and stocks with abnormal chromosome numbers (e.g., tetraploids). Genetic data describing the maize mutant stocks as well as myriad other data about maize genetics can be accessed at MaizeGDB, the Maize Genetics and Genomics Database.
In 2005, the US National Science Foundation (NSF), Department of Agriculture (USDA) and the Department of Energy (DOE) formed a consortium to sequence the B73 maize genome. The resulting DNA sequence data was deposited immediately into GenBank, a public repository for genome-sequence data. Sequences and genome annotations have also been made available throughout the project's lifetime at the project's official site.
Primary sequencing of the maize genome was completed in 2008. On November 20, 2009, the consortium published results of its sequencing effort in Science. The genome, 85% of which is composed of transposons, was found to contain 32,540 genes (By comparison, the human genome contains about 2.9 billion bases and 26,000 genes). Much of the maize genome has been duplicated and reshuffled by helitrons—group of rolling circle transposons.
In Z. mays and various other angiosperms the MADS-box motif is involved in floral development. Early study in several angiosperm models including Z. mays was the beginning of research into the molecular evolution of floral structure in general, as well as their role in nonflowering plants.
EVOLUTION
As with many plants and animals, Z. mays has a positive correlation between effective population size and the magnitude of selection pressure. Z. m. having an EPS of ~650,000, it clusters with others of about the same EPS, and has 79% of its amino acid sites under selection.
Recombination is a significant source of diversity in Z. mays. (Note that this finding supersedes previous studies which showed no such correlation.)
This recombination/diversity effect is seen throughout plants but is also found to not occur – or not as strongly – in regions of high gene density. This is likely the reason that domesticated Z. mays has not seen as much of an increase in diversity within areas of higher density as in regions of lower density, although there is more evidence in other plants.
Some lines of maize have undergone ancient polyploidy events, starting 11m years ago. Over that time ~72% of polyploid duplicated genes have been retained, which is higher than other plants with older polyploidy events. Thus maize may be due to lose more duplicate genes as time goes along, similar to the course followed by the genomes of other plants. If so - if gene loss has merely not occurred yet - that could explain the lack of observed positive selection and lower negative selection which are observed in otherwise similar plants, i.e. also naturally outcrossing and with similar effective population sizes.
Ploidy does not appear to influence EPS or magnitude of selection effect in maize.
BREEDING
Maize reproduces sexually each year. This randomly selects half the genes from a given plant to propagate to the next generation, meaning that desirable traits found in the crop (like high yield or good nutrition) can be lost in subsequent generations unless certain techniques are used.
Maize breeding in prehistory resulted in large plants producing large ears. Modern breeding began with individuals who selected highly productive varieties in their fields and then sold seed to other farmers. James L. Reid was one of the earliest and most successful developing Reid's Yellow Dent in the 1860s. These early efforts were based on mass selection. Later breeding efforts included ear to row selection (C. G. Hopkins c. 1896), hybrids made from selected inbred lines (G. H. Shull, 1909), and the highly successful double cross hybrids using four inbred lines (D. F. Jones c. 1918, 1922). University supported breeding programs were especially important in developing and introducing modern hybrids. By the 1930s, companies such as Pioneer devoted to production of hybrid maize had begun to influence long-term development. Internationally important seed banks such as the International Maize and Wheat Improvement Center (CIMMYT) and the US bank at the Maize Genetics Cooperation Stock Center University of Illinois at Urbana-Champaign maintain germplasm important for future crop development.
Since the 1940s the best strains of maize have been first-generation hybrids made from inbred strains that have been optimized for specific traits, such as yield, nutrition, drought, pest and disease tolerance. Both conventional cross-breeding and genetic modification have succeeded in increasing output and reducing the need for cropland, pesticides, water and fertilizer. There is conflicting evidence to support the hypothesis that maize yield potential has increased over the past few decades. This suggests that changes in yield potential are associated with leaf angle, lodging resistance, tolerance of high plant density, disease/pest tolerance, and other agronomic traits rather than increase of yield potential per individual plant.
Tropical landraces remain an important and underutilized source of resistance alleles for for disease and for herbivores. Notable discoveries of rare alleles for this purpose were made by Dao et al 2014 and Sood et al 2014.
GLOBAL PROGRAM
CIMMYT operates a conventional breeding program to provide optimized strains. The program began in the 1980s. Hybrid seeds are distributed in Africa by the Drought Tolerant Maize for Africa project.
GENETIC MODIFICATION
Genetically modified (GM) maize was one of the 26 GM crops grown commercially in 2016. The vast majority of this is Bt maize. Grown since 1997 in the United States and Canada, 92% of the US maize crop was genetically modified in 2016 and 33% of the worldwide maize crop was GM in 2016. As of 2011, Herbicide-tolerant maize varieties were grown in Argentina, Australia, Brazil, Canada, China, Colombia, El Salvador, the European Union, Honduras, Japan, Korea, Malaysia, Mexico, New Zealand, Philippines, the Russian Federation, Singapore, South Africa, Taiwan, Thailand, and the United States. Insect-resistant maize was grown in Argentina, Australia, Brazil, Canada, Chile, China, Colombia, Egypt, the European Union, Honduras, Japan, Korea, Malaysia, Mexico, New Zealand, Philippines, South Africa, Switzerland, Taiwan, the United States, and Uruguay.
In September 2000, up to $50 million worth of food products were recalled due to the presence of Starlink genetically modified corn, which had been approved only for animal consumption and had not been approved for human consumption, and was subsequently withdrawn from the market.
ORIGIN
Maize is the domesticated variant of teosinte. The two plants have dissimilar appearance, maize having a single tall stalk with multiple leaves and teosinte being a short, bushy plant. The difference between the two is largely controlled by differences in just two genes, called grassy tillers-1 (gt1, A0A317YEZ1) and teosinte branched-1 (tb1, Q93WI2).
Several theories had been proposed about the specific origin of maize in Mesoamerica:
It is a direct domestication of a Mexican annual teosinte, Zea mays ssp. parviglumis, native to the Balsas River valley in south-eastern Mexico, with up to 12% of its genetic material obtained from Zea mays ssp. mexicana through introgression.
It has been derived from hybridization between a small domesticated maize (a slightly changed form of a wild maize) and a teosinte of section Luxuriantes, either Z. luxurians or Z. diploperennis.
It has undergone two or more domestications either of a wild maize or of a teosinte. (The term "teosinte" describes all species and subspecies in the genus Zea, excluding Zea mays ssp. mays.)
It has evolved from a hybridization of Z. diploperennis by Tripsacum dactyloides.
In the late 1930s, Paul Mangelsdorf suggested that domesticated maize was the result of a hybridization event between an unknown wild maize and a species of Tripsacum, a related genus. This theory about the origin of maize has been refuted by modern genetic testing, which refutes Mangelsdorf's model and the fourth listed above.
The teosinte origin theory was proposed by the Russian botanist Nikolai Ivanovich Vavilov in 1931 and the later American Nobel Prize-winner George Beadle in 1932.: 10 It is supported experimentally and by recent studies of the plants' genomes. Teosinte and maize can cross-breed and produce fertile offspring. A number of questions remain concerning the species, among them:
how the immense diversity of the species of sect. Zea originated,
how the tiny archaeological specimens of 3500–2700 BC could have been selected from a teosinte, and
how domestication could have proceeded without leaving remains of teosinte or maize with teosintoid traits earlier than the earliest known until recently, dating from ca. 1100 BC.
The domestication of maize is of particular interest to researchers—archaeologists, geneticists, ethnobotanists, geographers, etc. The process is thought by some to have started 7,500 to 12,000 years ago. Research from the 1950s to 1970s originally focused on the hypothesis that maize domestication occurred in the highlands between the states of Oaxaca and Jalisco, because the oldest archaeological remains of maize known at the time were found there.
Connection with 'parviglumis' subspecies
Genetic studies, published in 2004 by John Doebley, identified Zea mays ssp. parviglumis, native to the Balsas River valley in Mexico's southwestern highlands, and also known as Balsas teosinte, as being the crop wild relative that is genetically most similar to modern maize. This was confirmed by further studies, which refined this hypothesis somewhat. Archaeobotanical studies, published in 2009, point to the middle part of the Balsas River valley as the likely location of early domestication; this river is not very long, so these locations are not very distant. Stone milling tools with maize residue have been found in an 8,700 year old layer of deposits in a cave not far from Iguala, Guerrero.
Doebley was part of the team that first published, in 2002, that maize had been domesticated only once, about 9,000 years ago, and then spread throughout the Americas.
A primitive corn was being grown in southern Mexico, Central America, and northern South America 7,000 years ago. Archaeological remains of early maize ears, found at Guila Naquitz Cave in the Oaxaca Valley, date back roughly 6,250 years; the oldest ears from caves near Tehuacan, Puebla, 5,450 B.P.
Maize pollen dated to 7,300 B.P. from San Andres, Tabasco, on the Caribbean coast has also been recovered.
As maize was introduced to new cultures, new uses were developed and new varieties selected to better serve in those preparations. Maize was the staple food, or a major staple – along with squash, Andean region potato, quinoa, beans, and amaranth – of most pre-Columbian North American, Mesoamerican, South American, and Caribbean cultures. The Mesoamerican civilization, in particular, was deeply interrelated with maize. Its traditions and rituals involved all aspects of maize cultivation – from the planting to the food preparation. Maize formed the Mesoamerican people's identity.
It is unknown what precipitated its domestication, because the edible portion of the wild variety is too small, and hard to obtain, to be eaten directly, as each kernel is enclosed in a very hard bivalve shell.
In 1939, George Beadle demonstrated that the kernels of teosinte are readily "popped" for human consumption, like modern popcorn. Some have argued it would have taken too many generations of selective breeding to produce large, compressed ears for efficient cultivation. However, studies of the hybrids readily made by intercrossing teosinte and modern maize suggest this objection is not well founded.
SPREADING TO THE NORTH
Around 4,500 ago, maize began to spread to the north; it was first cultivated in what is now the United States at several sites in New Mexico and Arizona, about 4,100 ago.
During the first millennium AD, maize cultivation spread more widely in the areas north. In particular, the large-scale adoption of maize agriculture and consumption in eastern North America took place about A.D. 900. Native Americans cleared large forest and grassland areas for the new crop.
In 2005, research by the USDA Forest Service suggested that the rise in maize cultivation 500 to 1,000 years ago in what is now the southeastern United States corresponded with a decline of freshwater mussels, which are very sensitive to environmental changes.
CULTIVATION
PLANTING
Because it is cold-intolerant, in the temperate zones maize must be planted in the spring. Its root system is generally shallow, so the plant is dependent on soil moisture. As a plant that uses C4 carbon fixation, maize is a considerably more water-efficient crop than plants that use C3 carbon fixation such as alfalfa and soybeans. Maize is most sensitive to drought at the time of silk emergence, when the flowers are ready for pollination. In the United States, a good harvest was traditionally predicted if the maize was "knee-high by the Fourth of July", although modern hybrids generally exceed this growth rate. Maize used for silage is harvested while the plant is green and the fruit immature. Sweet corn is harvested in the "milk stage", after pollination but before starch has formed, between late summer and early to mid-autumn. Field maize is left in the field until very late in the autumn to thoroughly dry the grain, and may, in fact, sometimes not be harvested until winter or even early spring. The importance of sufficient soil moisture is shown in many parts of Africa, where periodic drought regularly causes maize crop failure and consequent famine. Although it is grown mainly in wet, hot climates, it has been said to thrive in cold, hot, dry or wet conditions, meaning that it is an extremely versatile crop.
Maize was planted by the Native Americans in hills, in a complex system known to some as the Three Sisters. Maize provided support for beans, and the beans provided nitrogen derived from nitrogen-fixing rhizobia bacteria which live on the roots of beans and other legumes; and squashes provided ground cover to stop weeds and inhibit evaporation by providing shade over the soil. This method was replaced by single species hill planting where each hill 60–120 cm (2 ft 0 in–3 ft 11 in) apart was planted with three or four seeds, a method still used by home gardeners. A later technique was "checked maize", where hills were placed
1 m (40 in) apart in each direction, allowing cultivators to run through the field in two directions. In more arid lands, this was altered and seeds were planted in the bottom of 10–12 cm (4–4+1⁄2 in) deep furrows to collect water. Modern technique plants maize in rows which allows for cultivation while the plant is young, although the hill technique is still used in the maize fields of some Native American reservations. When maize is planted in rows, it also allows for planting of other crops between these rows to make more efficient use of land space.
In most regions today, maize grown in residential gardens is still often planted manually with a hoe, whereas maize grown commercially is no longer planted manually but rather is planted with a planter. In North America, fields are often planted in a two-crop rotation with a nitrogen-fixing crop, often alfalfa in cooler climates and soybeans in regions with longer summers. Sometimes a third crop, winter wheat, is added to the rotation.
Many of the maize varieties grown in the United States and Canada are hybrids. Often the varieties have been genetically modified to tolerate glyphosate or to provide protection against natural pests. Glyphosate is an herbicide which kills all plants except those with genetic tolerance. This genetic tolerance is very rarely found in nature.
In the midwestern United States, low-till or no-till farming techniques are usually used. In low-till, fields are covered once, maybe twice, with a tillage implement either ahead of crop planting or after the previous harvest. The fields are planted and fertilized. Weeds are controlled through the use of herbicides, and no cultivation tillage is done during the growing season. This technique reduces moisture evaporation from the soil, and thus provides more moisture for the crop. The technologies mentioned in the previous paragraph enable low-till and no-till farming. Weeds compete with the crop for moisture and nutrients, making them undesirable.
HARVESTING
Before the 20th century, all maize harvesting was by manual labour, by grazing, or by some combination of those. Whether the ears were hand-picked and the stover was grazed, or the whole plant was cut, gathered, and shocked, people and livestock did all the work. Between the 1890s and the 1970s, the technology of maize harvesting expanded greatly. Today, all such technologies, from entirely manual harvesting to entirely mechanized, are still in use to some degree, as appropriate to each farm's needs, although the thoroughly mechanized versions predominate, as they offer the lowest unit costs when scaled to large farm operations. For small farms, their unit cost can be too high, as their higher fixed cost cannot be amortized over as many units.[citation needed]
Before World War II, most maize in North America was harvested by hand. This involved a large number of workers and associated social events (husking or shucking bees). From the 1890s onward, some machinery became available to partially mechanize the processes, such as one- and two-row mechanical pickers (picking the ear, leaving the stover) and corn binders, which are reaper-binders designed specifically for maize (for example, Video on YouTube). The latter produce sheaves that can be shocked. By hand or mechanical picker, the entire ear is harvested, which then requires a separate operation of a maize sheller to remove the kernels from the ear. Whole ears of maize were often stored in corn cribs, and these whole ears are a sufficient form for some livestock feeding use. Today corn cribs with whole ears, and corn binders, are less common because most modern farms harvest the grain from the field with a combine and store it in bins. The combine with a corn head (with points and snap rolls instead of a reel) does not cut the stalk; it simply pulls the stalk down. The stalk continues downward and is crumpled into a mangled pile on the ground, where it usually is left to become organic matter for the soil. The ear of maize is too large to pass between slots in a plate as the snap rolls pull the stalk away, leaving only the ear and husk to enter the machinery. The combine separates the husk and the cob, keeping only the kernels.
When maize is a silage crop, the entire plant is usually chopped at once with a forage harvester (chopper) and ensiled in silos or polymer wrappers. Ensiling of sheaves cut by a corn binder was formerly common in some regions but has become uncommon. For storing grain in bins, the moisture of the grain must be sufficiently low to avoid spoiling. If the moisture content of the harvested grain is too high, grain dryers are used to reduce the moisture content by blowing heated air through the grain. This can require large amounts of energy in the form of combustible gases (propane or natural gas) and electricity to power the blowers.
PRODUCTION
Maize is widely cultivated throughout the world, and a greater weight of maize is produced each year than any other grain. In 2018, total world production was 1.15 billion tonnes, led by the United States with 34.2% of the total (table). China produced 22.4% of the global total.
UNITED STATES
In 2016, maize production was forecast to be over 380 million metric tons (15 billion bushels), an increase of 11% over 2014 American production. Based on conditions as of August 2016, the expected yield would be the highest ever for the United States. The area of harvested maize was forecast to be 35 million hectares (87 million acres), an increase of 7% over 2015. Maize is especially popular in Midwestern states such as Indiana, Iowa, and Illinois; in the latter, it was named the state's official grain in 2017.
STORAGE
Drying is vital to prevent or at least reduce mycotoxin contamination. Aspergillus and Fusarium spp. are the most common mycotoxin sources, but there are others. Altogether maize contaminants are so common, and this crop is so economically important, that maize mycotoxins are among the most important in agriculture in general.
USES
HUMAN FOOD
Maize and cornmeal (ground dried maize) constitute a staple food in many regions of the world. Maize is used to produce cornstarch, a common ingredient in home cooking and many industrialized food products. Maize starch can be hydrolyzed and enzymatically treated to produce syrups, particularly high fructose corn syrup, a sweetener; and also fermented and distilled to produce grain alcohol. Grain alcohol from maize is traditionally the source of Bourbon whiskey. Corn flour is used to make cornbread and other baked products.
In prehistoric times Mesoamerican women used a metate to process maize into ground cornmeal, allowing the preparation of foods that were more calorie dense than popcorn. After ceramic vessels were invented the Olmec people began to cook maize together with beans, improving the nutritional value of the staple meal. Although maize naturally contains niacin, an important nutrient, it was not bioavailable without the process of nixtamalization. The Maya used nixtamal meal to make varieties of porridges and tamales. The process was later used in the cuisine of the American South to prepare corn for grits and hominy.
Maize is a staple of Mexican cuisine. Masa (cornmeal treated with limewater) is the main ingredient for tortillas, atole and many other dishes of Central American food. It is the main ingredient of corn tortilla, tamales, pozole, atole and all the dishes based on them, like tacos, quesadillas, chilaquiles, enchiladas, tostadas and many more. In Mexico the fungus of maize, known as huitlacoche, is considered a delicacy.
Coarse maize meal is made into a thick porridge in many cultures: from the polenta of Italy, the angu of Brazil, the mămăligă of Romania, to cornmeal mush in the US (or hominy grits in the South) or the food called mieliepap in South Africa and sadza, nshima, ugali and other names in other parts of Africa. Introduced into Africa by the Portuguese in the 16th century, maize has become Africa's most important staple food crop. These are commonly eaten in the Southeastern United States, foods handed down from Native Americans, who called the dish sagamite.
Maize can also be harvested and consumed in the unripe state, when the kernels are fully grown but still soft. Unripe maize must usually be cooked to become palatable; this may be done by simply boiling or roasting the whole ears and eating the kernels right off the cob. Sweet corn, a genetic variety that is high in sugars and low in starch, is usually consumed in the unripe state. Such corn on the cob is a common dish in the United States, Canada, United Kingdom, Cyprus, some parts of South America, and the Balkans, but virtually unheard of in some European countries. Corn on the cob was hawked on the streets of early 19th-century New York City by poor, barefoot "Hot Corn Girls", who were thus the precursors of hot dog carts, churro wagons, and fruit stands seen on the streets of big cities today.
Within the United States, the usage of maize for human consumption constitutes only around 1/40th of the amount grown in the country. In the United States and Canada, maize is mostly grown to feed livestock, as forage, silage (made by fermentation of chopped green cornstalks), or grain. Maize meal is also a significant ingredient of some commercial animal food products.
NUTRITIONAL VALUE
Raw, yellow, sweet maize kernels are composed of 76% water, 19% carbohydrates, 3% protein, and 1% fat (table). In a 100-gram serving, maize kernels provide 86 calories and are a good source (10–19% of the Daily Value) of the B vitamins, thiamin, niacin (but see Pellagra warning below), pantothenic acid (B5) and folate (right table for raw, uncooked kernels, USDA Nutrient Database). In moderate amounts, they also supply dietary fiber and the essential minerals, magnesium and phosphorus whereas other nutrients are in low amounts (table).
Maize has suboptimal amounts of the essential amino acids tryptophan and lysine, which accounts for its lower status as a protein source. However, the proteins of beans and legumes complement those of maize.
FEED AND FODDER FOR LIVESTOCK
Maize is a major source of both grain feed and fodder for livestock. It is fed to the livestock in various ways. When it is used as a grain crop, the dried kernels are used as feed. They are often kept on the cob for storage in a corn crib, or they may be shelled off for storage in a grain bin. The farm that consumes the feed may produce it, purchase it on the market, or some of both. When the grain is used for feed, the rest of the plant (the corn stover) can be used later as fodder, bedding (litter), or soil amendment. When the whole maize plant (grain plus stalks and leaves) is used for fodder, it is usually chopped all at once and ensilaged, as digestibility and palatability are higher in the ensilaged form than in the dried form. Maize silage is one of the most valuable forages for ruminants. Before the advent of widespread ensilaging, it was traditional to gather the corn into shocks after harvesting, where it dried further. With or without a subsequent move to the cover of a barn, it was then stored for weeks to several months until fed to the livestock. Today ensilaging can occur not only in siloes but also in silage wrappers. However, in the tropics, maize can be harvested year-round and fed as green forage to the animals.
CHEMICALS
Starch from maize can also be made into plastics, fabrics, adhesives, and many other chemical products.
The corn steep liquor, a plentiful watery byproduct of maize wet milling process, is widely used in the biochemical industry and research as a culture medium to grow many kinds of microorganisms.
Chrysanthemin is found in purple corn and is used as a food coloring.
BIO-FUEL
"Feed maize" is being used increasingly for heating; specialized corn stoves (similar to wood stoves) are available and use either feed maize or wood pellets to generate heat. Maize cobs are also used as a biomass fuel source. Maize is relatively cheap and home-heating furnaces have been developed which use maize kernels as a fuel. They feature a large hopper that feeds the uniformly sized maize kernels (or wood pellets or cherry pits) into the fire.[citation needed]
Maize is increasingly used as a feedstock for the production of ethanol fuel. When considering where to construct an ethanol plant, one of the site selection criteria is to ensure there is locally available feedstock. Ethanol is mixed with gasoline to decrease the amount of pollutants emitted when used to fuel motor vehicles. High fuel prices in mid-2007 led to higher demand for ethanol, which in turn led to higher prices paid to farmers for maize. This led to the 2007 harvest being one of the most profitable maize crops in modern history for farmers. Because of the relationship between fuel and maize, prices paid for the crop now tend to track the price of oil.
The price of food is affected to a certain degree by the use of maize for biofuel production. The cost of transportation, production, and marketing are a large portion (80%) of the price of food in the United States. Higher energy costs affect these costs, especially transportation. The increase in food prices the consumer has been seeing is mainly due to the higher energy cost. The effect of biofuel production on other food crop prices is indirect. Use of maize for biofuel production increases the demand, and therefore price of maize. This, in turn, results in farm acreage being diverted from other food crops to maize production. This reduces the supply of the other food crops and increases their prices.
Maize is widely used in Germany as a feedstock for biogas plants. Here the maize is harvested, shredded then placed in silage clamps from which it is fed into the biogas plants. This process makes use of the whole plant rather than simply using the kernels as in the production of fuel ethanol.
A biomass gasification power plant in Strem near Güssing, Burgenland, Austria, began in 2005. Research is being done to make diesel out of the biogas by the Fischer Tropsch method.
Increasingly, ethanol is being used at low concentrations (10% or less) as an additive in gasoline (gasohol) for motor fuels to increase the octane rating, lower pollutants, and reduce petroleum use (what is nowadays also known as "biofuels" and has been generating an intense debate regarding the human beings' necessity of new sources of energy, on the one hand, and the need to maintain, in regions such as Latin America, the food habits and culture which has been the essence of civilizations such as the one originated in Mesoamerica; the entry, January 2008, of maize among the commercial agreements of NAFTA has increased this debate, considering the bad labor conditions of workers in the fields, and mainly the fact that NAFTA "opened the doors to the import of maize from the United States, where the farmers who grow it receive multimillion-dollar subsidies and other government supports. ... According to OXFAM UK, after NAFTA went into effect, the price of maize in Mexico fell 70% between 1994 and 2001. The number of farm jobs dropped as well: from 8.1 million in 1993 to 6.8 million in 2002. Many of those who found themselves without work were small-scale maize growers."). However, introduction in the northern latitudes of the US of tropical maize for biofuels, and not for human or animal consumption, may potentially alleviate this.
COMMODITY
Maize is bought and sold by investors and price speculators as a tradable commodity using corn futures contracts. These "futures" are traded on the Chicago Board of Trade (CBOT) under ticker symbol C. They are delivered every year in March, May, July, September, and December.
ORNAMENTAL AND OTHER USES
Some forms of the plant are occasionally grown for ornamental use in the garden. For this purpose, variegated and colored leaf forms as well as those with colorful ears are used.
Corncobs can be hollowed out and treated to make inexpensive smoking pipes, first manufactured in the United States in 1869.
An unusual use for maize is to create a "corn maze" (or "maize maze") as a tourist attraction. The idea of a maize maze was introduced by the American Maze Company who created a maze in Pennsylvania in 1993. Traditional mazes are most commonly grown using yew hedges, but these take several years to mature. The rapid growth of a field of maize allows a maze to be laid out using GPS at the start of a growing season and for the maize to grow tall enough to obstruct a visitor's line of sight by the start of the summer. In Canada and the US, these are popular in many farming communities.
Maize kernels can be used in place of sand in a sandboxlike enclosure for children's play.
Stigmas from female maize flowers, popularly called corn silk, are sold as herbal supplements.
Maize is used as a fish bait, called "dough balls". It is particularly popular in Europe for coarse fishing.
Additionally, feed corn is sometimes used by hunters to bait animals such as deer or wild hogs.
UNITED STATES USAGE BREAKDOWN
The breakdown of usage of the 12.1-billion-bushel (307-million-tonne) 2008 US maize crop was as follows, according to the World Agricultural Supply and Demand Estimates Report by the USDA.In the US since 2009/2010, maize feedstock use for ethanol production has somewhat exceeded direct use for livestock feed; maize use for fuel ethanol was 5,130 million bushels (130 million tonnes) in the 2013/2014 marketing year.A fraction of the maize feedstock dry matter used for ethanol production is usefully recovered as DDGS (dried distillers grains with solubles). In the 2010/2011 marketing year, about 29.1 million tonnes of DDGS were fed to US livestock and poultry. Because starch utilization in fermentation for ethanol production leaves other grain constituents more concentrated in the residue, the feed value per kg of DDGS, with regard to ruminant-metabolizable energy and protein, exceeds that of the grain. Feed value for monogastric animals, such as swine and poultry, is somewhat lower than for ruminants.
HAZARDS
PELLAGRA
When maize was first introduced into farming systems other than those used by traditional native-American peoples, it was generally welcomed with enthusiasm for its productivity. However, a widespread problem of malnutrition soon arose wherever maize was introduced as a staple food. This was a mystery, since these types of malnutrition were not normally seen among the indigenous Americans, for whom maize was the principal staple food.
It was eventually discovered that the indigenous Americans had learned to soak maize in alkali — water (the process now known as nixtamalization) — made with ashes and lime (calcium oxide) since at least 1200–1500 BC by Mesoamericans. They did this to liberate the corn hulls, but (unbeknownst to natives or colonists) it coincidentally liberates the B-vitamin niacin, the lack of which was the underlying cause of the condition known as pellagra.
Maize was introduced into the diet of non-indigenous Americans without the necessary cultural knowledge acquired over thousands of years in the Americas. In the late 19th century, pellagra reached epidemic proportions in parts of the southern US, as medical researchers debated two theories for its origin: the deficiency theory (which was eventually shown to be true) said that pellagra was due to a deficiency of some nutrient, and the germ theory said that pellagra was caused by a germ transmitted by stable flies. A third theory, promoted by the eugenicist Charles Davenport, held that people only contracted pellagra if they were susceptible to it due to certain "constitutional, inheritable" traits of the affected individual.
Once alkali processing and dietary variety were understood and applied, pellagra disappeared in the developed world. The development of high lysine maize and the promotion of a more balanced diet have also contributed to its demise. Pellagra still exists today in food-poor areas and refugee camps where people survive on donated maize.
ALLERGY
Maize contains lipid transfer protein, an indigestible protein that survives cooking. This protein has been linked to a rare and understudied allergy to maize in humans. The allergic reaction can cause skin rash, swelling or itching of mucous membranes, diarrhea, vomiting, asthma and, in severe cases, anaphylaxis. It is unclear how common this allergy is in the general population.
MYCOTOXINS
Fungicide application does not reduce fungal growth or mycotoxin dramatically, although it can be a part of a successful reduction strategy. Among the most common toxins are those produced by Aspergillus and Fusarium spp. The most common toxins are aflatoxins, fumonisins, zearalenone, and ochratoxin A. Bt maize discourages insect vectors and by so doing it dramatically reduces concentrations of fumonisins, significantly reduces aflatoxins, but only mildly reduces others.
ART
Maize has been an essential crop in the Andes since the pre-Columbian era. The Moche culture from Northern Peru made ceramics from earth, water, and fire. This pottery was a sacred substance, formed in significant shapes and used to represent important themes. Maize was represented anthropomorphically as well as naturally.
In the United States, maize ears along with tobacco leaves are carved into the capitals of columns in the United States Capitol building. Maize itself is sometimes used for temporary architectural detailing when the intent is to celebrate the fall season, local agricultural productivity and culture. Bundles of dried maize stalks are often displayed along with pumpkins, gourds and straw in autumnal displays outside homes and businesses. A well-known example of architectural use is the Corn Palace in Mitchell, South Dakota, which uses cobs and ears of colored maize to implement a mural design that is recycled annually. Another well-known example is the Field of Corn sculpture in Dublin, Ohio, where hundreds of concrete ears of corn stand in a grassy field.
A maize stalk with two ripe ears is depicted on the reverse of the Croatian 1 lipa coin, minted since 1993.
WIKIPEDIA
The Earth and the Moon seen between the A and F rings of Saturn, imaged by Cassini on April 13, 2017 from a distance of about 890 million miles. It was the last view of our planet that Cassini captured before the end of its mission on Sept. 15, 2017. This is a color-composite made from calibrated raw images captured in red and blue visible wavelengths; the green channel was synthesized from the red.
Read more about this at saturn.jpl.nasa.gov/news/3028/nasa-image-shows-earth-betw...
Douglas County, MN.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Steinheil 50mm lens, Tiffen 12 filter. Worked up in Pixelbender and Photoshop.
Universalmente è conosciuta come la Moschea blu. È infatti il turchese il colore dominante nel tempio. Pareti, colonne e archi sono ricoperti dalle maioliche di İznik (l'antica Nicea), decorato in toni che vanno dal blu al verde. Rischiarate dalla luce che filtra da 260 finestrelle, conferiscono alla grande sala della preghiera un'atmosfera suggestiva quanto surreale. La Moschea Blu, che risale al XVII secolo, è anche l'unica a poter vantare ben sei minareti, superata in questo solo dalla moschea della Ka'ba, alla Mecca, che ne ha sette. Tale particolarità architettonica è l'espressione delle manie di grandezza del sultano Ahmet I che, non potendo eguagliare la magnificenza della Moschea di Solimano né quella di Hagia Sophia, non trovò soluzione migliore per cercare di distinguerla dalle altre che aggiungervi due minareti supplementari.
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, but the interior lacks his creative thinking. During the rule of Ahmed I, Sultan Ahmed mosque was built between 1609 and 1616 CE. Designed by architect Sedefkar Mehmet Aga, the Sultan Ahmed Mosque is considered to be the last example of classical Ottoman architecture.[5]
Marc Zakharovich Chagall (/ʃəˈɡɑːl/ shə-GAHL;[3][nb 1] born Moishe Zakharovich Shagal;[4] 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin.[1] An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he travelled between Saint Petersburg, Paris and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk."[5] "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".[6]
Contents
1 Early life and education
1.1 Early life
1.2 Art education
1.3 Artistic inspiration
2 Art career
2.1 Russia (1906–1910)
2.2 France (1910–1914)
2.3 Russia and Soviet Belarus (1914–1922)
2.4 France (1923–1941)
2.4.1 The Bible illustrations
2.4.2 Nazi campaigns against modern art
2.4.3 Escaping occupied France
2.5 United States (1941–1948)
2.5.1 Aleko ballet (1942)
2.5.2 Coming to grips with World War II
2.5.3 Post-war years
2.6 France (1948–1985)
2.6.1 Ceiling of the Paris Opera (1963)
3 Art styles and techniques
3.1 Color
3.2 Subject matter
3.2.1 From life memories to fantasy
3.2.2 Jewish themes
Early life and education
Chagall's Parents
Marc Chagall was born Moishe Segal in a Lithuanian Jewish family in Liozna,[7] near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887.[note][8] At the time of his birth, Vitebsk's population was about 66,000, with half the population being Jewish.[5] A picturesque city of churches and synagogues, it was called "Russian Toledo", after a cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family.[9] His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire being 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
Day after day, winter and summer, at six o'clock in the morning, my father got up and went off to the synagogue. There he said his usual prayer for some dead man or other. On his return he made ready the samovar, drank some tea and went to work. Hellish work, the work of a galley-slave. Why try to hide it? How tell about it? No word will ever ease my father's lot... There was always plenty of butter and cheese on our table. Buttered bread, like an eternal symbol, was never out of my childish hands.[10]
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia. They also made furniture and various agricultural tools.[11] From the late 18th century to the First World War, the Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.[12]:14
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Vitebsk itself had been a center of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall's art can be understood as the response to a situation that has long marked the history of Russian Jews. Though they were cultural innovators who made important contributions to the broader society, Jews were considered outsiders in a frequently hostile society... Chagall himself was born of a family steeped in religious life; his parents were observant Hasidic Jews who found spiritual satisfaction in a life defined by their faith and organized by prayer.[12]:14
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.[13]
Art education
Portrait of Chagall by Yehuda (Yuri) Pen, his first art teacher in Vitebsk
In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.[10]
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.[11]
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.[11]
Artistic inspiration
Marc Chagall, 1912, Calvary (Golgotha), oil on canvas, 174.6 × 192.4 cm, Museum of Modern Art, New York. Alternative titles: Kreuzigung Bild 2 Christus gewidmet [Golgotha. Crucifixion. Dedicated to Christ]. Sold through Galerie Der Sturm (Herwarth Walden), Berlin to Bernhard Koehler (1849–1927), Berlin, 1913. Exhibited: Erster Deutscher Herbstsalon, Berlin, 1913
Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."[12]:14
Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art."[14] Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "[5]
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.[15]
Art career
Russia (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of Russia and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years.[11] By 1907, he had begun painting naturalistic self-portraits and landscapes.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin.[16] Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."[17]:30
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me."[11]:22
France (1910–1914)
Marc Chagall, 1911–12, The Drunkard (Le saoul), 1912, oil on canvas. 85 × 115 cm. Private collection
Marc Chagall, 1912, The Fiddler, an inspiration for the musical Fiddler on the Roof[18]
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire.[19]:7 Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.[20]
He therefore developed friendships with Guillaume Apollinaire and other avant-garde luminaries such as Robert Delaunay and Fernand Léger.[21] Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true."[11]:33 His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Russian folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."[11] Baal-Teshuva describes this new phase in Chagall's artistic development:
Chagall was exhilarated, intoxicated, as he strolled through the streets and along the banks of the Seine. Everything about the French capital excited him: the shops, the smell of fresh bread in the morning, the markets with their fresh fruit and vegetables, the wide boulevards, the cafés and restaurants, and above all the Eiffel Tower.
Another completely new world that opened up for him was the kaleidoscope of colours and forms in the works of French artists. Chagall enthusiastically reviewed their many different tendencies, having to rethink his position as an artist and decide what creative avenue he wanted to pursue.[11]:33
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night.[11]:44 "My homeland exists only in my soul", he once said.[20]:viii He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.[5]
Marc Chagall, 1912, Still-life (Nature morte), oil on canvas, private collection
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down.[5] The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism.[5] Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".[19]:10
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".[19]:7
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."[11]
People's Art School where the Vitebsk Museum of Modern Art was situated
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career".[5] His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.[11]:75
Bella with White Collar, 1917
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917.[22] Chagall was 30 years old and had begun to become well known.[11]:77
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. By then he was one of the Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution".[5] He was offered a notable position as a commissar of visual arts for the country[clarification needed], but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was 9 feet (2.7 m) tall by 24 feet (7.3 m) long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis.[5] The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.[11]:87
Famine spread after the war ended in 1918. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although he now had to commute to Moscow daily using crowded trains. In 1921, he worked as an art teacher in a Jewish boys' shelter in suburban Malakhovka, which housed orphaned refugees from Ukrainian pogroms.[6]:270 While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.[6]:273
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.[11]:121
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.[5]
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts.[5] In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat.[23] By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva.[11] It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
Chagall interrogates life in the light of a refined, anxious, childlike sensibility, a slightly romantic temperament ... a blend of sadness and gaiety characteristic of a grave view of life. His imagination, his temperament, no doubt forbid a Latin severity of composition.[6]:314
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook.[6]:9 He also visited nearby countries and later wrote about the impressions some of those travels left on him:
I should like to recall how advantageous my travels outside France have been for me in an artistic sense—in Holland or in Spain, Italy, Egypt, Palestine, or simply in the south of France. There, in the south, for the first time in my life, I saw that rich greenness—the like of which I had never seen in my own country. In Holland I thought I discovered that familiar and throbbing light, like the light between the late afternoon and dusk. In Italy I found that peace of the museums which the sunlight brought to life. In Spain I was happy to find the inspiration of a mystical, if sometimes cruel, past, to find the song of its sky and of its people. And in the East [Palestine] I found unexpectedly the Bible and a part of my very being.[15]:77
The Bible illustrations
"The Prophet Jeremiah" (1968)
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. He arrived there in February 1931 and ended up staying for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".[11]:133
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations".[6]:343 Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past".[6]:350 Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
I did not see the Bible, I dreamed it. Ever since early childhood, I have been captivated by the Bible. It has always seemed to me and still seems today the greatest source of poetry of all time.[6]:350
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".[6]:350
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists".[11]:135 Leymarie has described these drawings by Chagall as "monumental" and,
...full of divine inspiration, which retrace the legendary destiny and the epic history of Israel to Genesis to the Prophets, through the Patriarchs and the Heroes. Each picture becomes one with the event, informing the text with a solemn intimacy unknown since Rembrandt.[20]:ix
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
The Nazis had begun their campaign against modernist art as soon as they seized power. Expressionist, cubist, abstract, and surrealist art—anything intellectual, Jewish, foreign, socialist-inspired, or difficult to understand—was targeted, from Picasso and Matisse going back to Cézanne and van Gogh; in its place traditional German realism, accessible and open to patriotic interpretation, was extolled.[6]:374
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels.[6]:375 Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".[6]:376
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped".[6]:382 Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the French army, with British support, capitulated even more quickly than Poland had done" a year earlier. "Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world."[6]:388 Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation."[6]:389 Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaim Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman.[24]:1181 Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
Here is a beggar's alley gathering the remnants of revolutions, democracies and crushed intellects... In our ranks are enough doctors, psychologists, engineers, educationalists, poets, painters, writers, musicians, economists and public men to vitalize a whole great country.[6]:392
After prodding by their daughter Ida, who "perceived the need to act fast",[6]:388 and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union.[11]:150 Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work.[25] A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.[26]
United States (1941–1948)
Photo portrait of Chagall in 1941 by Carl Van Vechten
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.[17]:57
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street.[27] He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.[11]:155
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.[11]
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them.[11]:155 Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941.[11] Art critic Henry McBride wrote about this exhibit for the New York Sun:
Chagall is about as gypsy as they come... these pictures do more for his reputation than anything we have previously seen... His colors sparkle with poetry... his work is authentically Russian as a Volga boatman's song...[28]
He was offered a commission by choreographer Leonid Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there.[17] Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered on 8 September 1942 it was considered a "remarkable success."[11] In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The ballet also opened in New York City four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening".[11]:158 Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
has turned into a dramatized exhibition of giant paintings... It surpasses anything Chagall has done on the easel scale, and it is a breathtaking experience, of a kind one hardly expects in the theatre.[29]
Coming to grips with World War II
After Chagall returned to New York in 1943, however, current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed.[11]:159 He also learned about the Nazi concentration camps.[11] During a speech in February 1944, he described some of his feelings:
Meanwhile, the enemy jokes, saying that we are a "stupid nation." He thought that when he started slaughtering the Jews, we would all in our grief suddenly raise the greatest prophetic scream, and would be joined by the Christian humanists. But, after two thousand years of "Christianity" in the world—say whatever you like—but, with few exceptions, their hearts are silent... I see the artists in Christian nations sit still—who has heard them speak up? They are not worried about themselves, and our Jewish life doesn't concern them.[15]:89
In the same speech he credited Soviet Russia with doing the most to save the Jews:
The Jews will always be grateful to it. What other great country has saved a million and a half Jews from Hitler's hands, and shared its last piece of bread? What country abolished antisemitism? What other country devoted at least a piece of land as an autonomous region for Jews who want to live there? All this, and more, weighs heavily on the scales of history.[15]:89
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory.[17] Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."[6]:419
With Virginia Haggard McNeil
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946.[11] Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
In recent years I have felt unhappy that I couldn't be with you, my friends. My enemy forced me to take the road of exile. On that tragic road, I lost my wife, the companion of my life, the woman who was my inspiration. I want to say to my friends in France that she joins me in this greeting, she who loved France and French art so faithfully. Her last joy was the liberation of Paris... Now, when Paris is liberated, when the art of France is resurrected, the whole world too will, once and for all, be free of the satanic enemies who wanted to annihilate not just the body but also the soul—the soul, without which there is no life, no artistic creativity.[15]:101
First synthesized by the chemist Wallace Carothers and introduced in the 1939 World's Fair by DuPont, #ストッキングの日 celebrates when the first nylon stocking went on sale on May 15, 1940!
Even if you don't prefer Barack Obama, I think you can agree that his logo is brilliant. I found this image online and simply added a mat and frame.
I urge all my American Flickr friends to go vote if you haven't already (I have). If you're still undecided, before you go to the polls, please read his policy statements. If you are someone who wants Obama to win, please don't let his lead in the polls make you think it's okay to stay home and not vote. It's not. The election might still be very close, and your vote will make a difference.
In addition to admiring his intellect, eloquence and already great accomplishments, I am confident that in beginning to solve the multitudinous problems this current administration is leaving behind, Obama will gather the best minds of the nation for consultation and advice and then synthesize those views into a plan of action that will heal America and restore its place in the world as the beacon of freedom and democracy it had always been. He will close Guantanamo and declare the end of torture of prisoners. While still protecting us from harm, he will move to amend the Patriot Act to return freedoms to Americans that have been wrested away. He will responsibly turn Iraq over to the Iraqis, freeing up almost $20 billion a month, and move some more of our forces to Afghanistan to combat the resurgence there of Al-Qaeda and the Taliban, and to find Bin Laden, the mastermind of the 9/11 attacks, while still pursuing cooperation from our allies. He will prefer diplomacy to a show of force in confronting the challenges we face around the world. He will try to control the spread of "loose nukes." He will see that our troops have the protections they need and will make sure they are honored for their service by ensuring they get the care they need when they return home. He will assure our young people that in return for service to America, they can go to college for four years. He will give 95% of working Americans tax breaks and take some breaks away from those wealthy people who did not need them in the first place. He will reward American companies for creating jobs on our soil, millions and millions of them, by starting to rebuild our crumbling infrastructure and by making America the leader in green energy. He will restore respect for science and will return America to a leadership role in combating climate change. He will fight poverty by expanding access to jobs, raising the minimum wage and supporting improvements in facilities and services in rural and urban areas. He will also see that the U.S. Department of Justice will indeed return to dispensing justice, not partisan politics, and will appoint justices to the Supreme Court who would not overturn Roe v. Wade and a woman's right to choose. (Even as a senior citizen, that still matters to me.) He will start reversing the mountainous debt that this administration has built up. He will ensure that trade agreements reflect respect for workers and for the environment. He will find people to staff agencies and create or reform policies that will protect our country's wildlands, wildlife and natural resources.
All of this will not come all at once (it may take years or a decade) and will not come without sacrifice on the part of all Americans, but the healing process will begin, and we will again have an inspirational leader who will discourage selfishness and call on us to be responsible citizens of our communities and of our world. We can all play a part. It can start with your vote.
Please also take a moment today, no matter whom you vote for, to think about the Obama family, who is grieving the loss of "Toot," Barack Obama's beloved grandmother, Madelyn Dunham, who had "poured everything she had" into him but succumbed to cancer yesterday, just one day before this historic election. Thankfully he had a chance last week to bid her farewell and to assure her that what she did for him and his sister was meaningful and important.
Diploria strigosa - fossil symmetrical brain coral colony in the reef facies of the Cockburn Town Member, upper Grotto Beach Formation at the Cockburn Town Fossil Reef, western margin of San Salvador Island.
The Cockburn Town Fossil Reef is a well-preserved, well-exposed Pleistocene fossil reef. It consists of non-bedded to poorly-bedded, poorly-sorted, very coarse-grained, aragonitic fossiliferous limestones (grainstones and rubblestones), representing shallow marine deposition in reef and peri-reef facies. Cockburn Town Member reef facies rocks date to the MIS 5e sea level highstand event (early Late Pleistocene). Dated corals in the Cockburn Town Fossil Reef range in age from 114 to 127 ka.
---------------------------------------
The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
------------------------------
Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
--------------------
Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
--------------------
Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
------------------------------
San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
----------------------------
Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature list below), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
----------------------------
The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
----------------------------
Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
Lauren Pearlman - Photography by: Alex Gonzalez of VPXSPORTS.COM
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
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.
M82 (Cigar Galaxy) taken on the evening/morning of 9-10 Oct 13.
H-Alpha - 7x900s
Red/Blue - 9x600s
Green - Synthesized from Red & Blue channels.
Stacked in DeepSkyStacker & processed in PS2.
Camera: Atik 314L+
Filters: Baader H-Alpha 7nm, Red & Blue
Scope: Celestron C8 with 6.3 F/reducer.
Mount: AZ EQ6-GT goto, PhD guided with Orion SSAG through OAG.
Monasterio de Sant Pere de Rodes.
Es en el término municipal de El Port de la Selva en la provincia de Girona, Cataluña. Se ha construido en la ladera de la montaña de Verdera por debajo de las ruinas del castillo de Sant Verdera que habían proporcionado la protección para el monasterio. Ofrece una vista excepcional sobre la bahía de Llançà, al norte del Cap de Creus. Cerca del monasterio de Santa Creu de Rodes es las ruinas de una ciudad medieval, de la que su iglesia de estilo prerrománico es la única sigue dedicada a Santa Elena.
El verdadero origen del monasterio no es conocido, que ha dado lugar a la especulación y la leyenda, como su fundación por monjes que desembarcaron en la zona con los restos de Saint Peter y otros santos, para salvarlos de las hordas bárbaras que había caído en Roma. Una vez que el peligro ya había pasado el papa Bonifacio IV mandó construir una primera documentación monastery.The de la existencia del monasterio data del año 878, se la menciona como una simple celda del monasterio consagrado a Saint Peter, pero no es hasta el año 945, cuando una organización independiente monasterio benedictino fue fundado, regido por un abad. Ligado al Condado de Empúries que alcanzó su máximo esplendor entre los siglos XI y XII hasta su decadencia en el siglo 17. Su creciente importancia se refleja en su estatus como un punto de peregrinación.
En el 17mo siglo XVII que fue saqueada en varias ocasiones y en 1793 fue abandonado por la comunidad benedictina que se trasladó a Vila-sacra y finalmente se instaló en Figueres en 1809 hasta que fue dissolved.The monasterio fue declarado Monumento Nacional en 1930. En 1935 la Generalitat de Cataluña inició los trabajos de restauración en primer lugar. Los edificios están construidos en terrazas, dada su ubicación. Claustros de la forma del siglo XII la parte central del complejo. Alrededor de ellos el resto de construcciones son distribuidas. La Iglesia, consagrada en el año 1022, es el mejor exponente del estilo románico, y sin comparación con otros de su época. Se detallan las funciones plantas con tres tramos y bóveda. Estos están bordeadas por una doble columna con las capitales influido por el estilo carolingio. El apoyo de la doble columna arcos que separa las bahías. Las columnas y los pilares han sido tomadas de un edificio romano antiguo. La bahía es espléndido con grandes dimensiones, con un arco en el ábside, es seguido en las dos naves laterales. Bajo el ábside es una cripta. La Iglesia sintetiza una serie de estilos originales y carolingio, románico y romano. El monasterio es considerado uno de los mejores ejemplos de arquitectura románica en Cataluña. En la fachada occidental del monasterio es un campanario del siglo XII, de forma cuadrada, está influenciado por los lombardos en el siglo anterior. A su lado una torre defensiva, que fue probablemente comenzó en el siglo X, pero terminó más tarde, después de varias modificaciones.
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.
Model: Chelsea, Damm ™
"There is no remedy for love but to love more."
-Thoreau
Location: model shop studio, Albuquerque, NM. USA
© 2009 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.
Throughout the span of recorded human history, Pinecones have served as a symbolic representation of Human Enlightenment, the Third Eye and the Pineal Gland.
Conifer Pine Trees are one of the most ancient plant genera on the planet, having existed nearly three times longer than all flowering plant species. The Pinecone is the evolutionary precursor to the flower, and its spines spiral in a perfect Fibonacci sequence in either direction, much like the Sacred Geometry of a rose or a sunflower.
Our “Pine”al Gland, shaped like (and named after) the Pinecone, is at the geometric center of our brain and is intimately linked to our body's perception of light. The Pineal modulates our wake-sleep patterns and circadian rhythms, remains uniquely isolated from the blood-brain barrier system, and receives a higher percentage of blood flow than any other area of the body save the kidneys.
It is considered by many to be our biological Third Eye, the "Seat of the Soul," the “Epicenter of Enlightenment” -- and its sacred symbol throughout history, in cultures around the world, has been the Pinecone.The Egyptian Staff of Osiris, dating back to approximately 1224 BC, depicts two intertwining serpents rising up to meet at a pinecone. Modern scholars and philosophers have noted the staff’s symbolic parallels to the Indian “Kundalini,” a spiritual energy in the body depicted as coiled serpents rising up from the base of the spine to the Third Eye (Pineal Gland) in the moment of enlightenment. Awakened Kundalini represents the merging and alignment of the Chakras, and is said to be the one and only way to attain the “Divine Wisdom” bringing pure joy, pure knowledge and pure love.
Depictions of Hindu deities are also interwoven with both literal and symbolic representations of serpents and pinecones. In some cases, Hindu gods are carved, sculpted or drawn holding a pinecone in outstretched hand. Shiva, the most prominent god in the Hindu tradition, is consistently depicted with a head, or coiled hair, shaped in marked similarity to a pinecone and interwoven with a serpent or serpents.
In addition to spiritual consciousness and enlightenment, pinecones have also historically been used as symbols of everlasting or eternal life. Ancient Assyrian palace carvings, dating back to 713-716 BC depict four-winged God-like figures purposefully holding aloft pinecones, or in some cases, using a pinecone to pollinate their depiction of the Tree of Life -- a tribute, perhaps, to both the Pinecone’s immortality symbolism and its role as an icon of enlightenment.In yet another culture’s tribute to the Pinecone as symbolic of spiritual ascension and immortality, a statue of the Mexican god “Chicomecoatl” (“Seven Snakes”) again depicts the deity offering forth pinecones in one hand, and an evergreen tree in the other.
The Greeks and Romans also incorporated the Pinecone into their elaborate systems of religious belief and mythology. Dionysus, later known as Bacchus to the Romans, was continually depicted ca rrying a “Thyrsus,” a fennel staff woven with ivy and leaves and topped with a pinecone. The Thyrsus, purported to drip with honey, was regularly used as a sacred instrument at religious rituals and fetes.
Romans later built an enormous bronze sculpture, the “Pigna,” in the shape of a huge pinecone three stories tall. According to a popular medieval legend, the sculpture stood on top of the Pantheon, as a lid for the round opening in the center of the building's vault. The Pigna is confirmed to have served as a large fountain overflowing with water next the Temple of Isis in Ancient Rome, however, the gigantic statue now sits directly in front of the Catholic Vatican in the “Court of the Pinecone.”Catholic religious tradition is intricately interwoven with pinecones, perhaps most prominently atop the sacred staff carried by the Pope himself. The Coat of Arms of the Holy See, found on the Vatican flag among other places, features a stacking of three crowns suspiciously similar in shape to a pinecone. The very name, “Holy See,” appears to many to be a direct reference to the Third Eye…
Pinecones also turn up as sources of “illumination” in the church, such as candleholders and lamps, seemingly symbolic of the spiritual illumination the Third Eye represents. All of these factors lead conspiracy theorists and philosophers to accuse the Catholic church of using Christianity/Catholicism as a veil to blind the public to true spiritual enlightenment: The awakening of our Pineal Gland.One theory proposes that the Pinecone was actually the fruit from the Tree of the Knowledge of Good and Evil, purported in Genesis to have been eaten by Eve at the urgings of a serpent, and leading to the eviction of mankind from the Garden of Eden. This concept proves particularly provocative given the consistent reappearance of pinecone images with serpents and snake references across cultures.
The Bible itself alludes to pinecones and the Pineal Gland on several occasions, sometimes quite specifically. Beginning in Genesis, Jacob wrestles all night with God, and is commanded to change his name to Israel. The bible then purports the following:
And Jacob called the name of the place Peniel: “For I have seen God face to face, and my life is preserved. And as he passed over Peniel the sun rose upon him.
--Genesis 32:30-31
(Literal Biblical translation of the word “Peniel” means “Face of God”)
In another interesting passage, Matthew seems to provide an uncannily similar description of the Third Eye to texts of the Yogic and Hindu spiritual traditions. This verse is also interesting because the Pineal Gland is the only part of the brain that is “single,” not possessing a left and right hemisphere.
The light of the body is the eye: if therefore your eye be single, your whole body shall be full of light.
--Matthew 6:22
Matthew’s description also appears pertinent to recent pineal experimentation conducted in amphibians. Pineal supplementation in frogs, which possess a more prominent Pineal Gland, results in a physical “lightening” of their entire skin pigmentation. The Pineal Gland in some reptiles actually still contains “rods“ and “cones“ as in our retinas, and is capable of directly perceiving light.
This final verse from Hosea, seems to more directly address the connection between spirituality and the Pinecone/Pine Tree:
O Ephraim, what more have I to do with idols?
I will answer him and care for him.
I am like a green pine tree;
your fruitfulness comes from me.
--Hosea 14:8
In addition to critical theories relating to Christianity and the Catholic Church, conspiracy theorists also point to the presence of pinecones in Freemason architecture and symbolism as another example of organized spiritual oppression. They believe the Freemasons fully understand the spiritual significance of the Third Eye, and regularly pay iconic tribute to it, while continuing to placate the masses with a doctrine of religious and cultural dogma.
Pinecones regularly appear framed in Freemason Octagons on the ceilings of Masonic Lodges, and Large Freemason sculptures on the side of the Whitehall Building in the New York Financial District goes so far as to depict two enormous intertwining snakes spiraling up to a pinecone overlooking Battery Place (which is striking similarity to the Staff of Osiris).
Psychopharmacologist Rick Strassman believes the Third Eye/Pineal Gland to be the source of the psychedelic Dimethyltryptamine (DMT) in our bodies. Strassman has hypothesized that large amounts of DMT are released in our bodies during heightened states of spiritual consciousness, such as birth, death and near-death experiences -- or perhaps during the awakening of our Kundalini in a moment of Enlightenment.
Synthesized DMT, or plants containing DMT are often used as recreational psychedelics, or in shamanic ceremonies, such as the Ayahuasca ceremony originating in South America. DMT and/or Ayahuasca users often report intensely entheogenic experiences of spiritual awakening, contact with entities of supernatural or spiritual origin, and the dilation or compression of time.
It is worth noting that among reports of thousands users experiences with Ayahuasca, the Serpent is documented as the the most commonly appearing archeatype in their spiritual/psychedelic visions.
Pinecone related similarities have also shown up in Crop Circles. Although Crop Circles are typically representative of a wide range of items and ideas, the two featured here reflect noteworthy Pinecone/Third Eye parallels…
As with many iconic symbols throughout history (the Swastika, the Christian Cross, the All-Seeing-Eye on the dollar bill), the totemic power of the Pinecone has been used by a broad spectrum of both positive and negative cultural forces throughout history to reference and allude to Spiritual Enlightenment and the Third Eye.
Modern-day organizations appear to be toting the Pinecone’s symbolic power over the masses, while simultaneously disguising its true importance -- and may even be seeking to chemically block or poison our Third Eye via Fluorinated public drinking water.
Third Eye Pinecone Talismans represent a reclamation of the emblematic power and natural beauty of the Pinecone, the Pineal Gland, and the ancient historical heritage accompanying one of Mother Nature’s most compelling organic symbols.
Third Eye Pinecone Necklaces and Talismans are made from the polished cross-section of a living pinecone, sustainably harvested in unique micro-climates, and specially cut, dried, cured and encased in protective resin. They are elegant, natural, unique, and symbolize the evolution of collective consciousness while harnessing the potent spiritual energy of the Pineal Gland and of the Third Eye.
thirdeyepinecones.com/history-symbolism
Is fluoride in your water and toothpaste preventing you from spiritual awakening?
No fewer than four people have posed this question to me in the past ten days, so let’s talk about how fluoride might affect spiritual enlightenment.
The theory, in short, is thus: The pineal gland enables a person to become spiritually awakened and exposure to fluoride causes the pineal gland to calcify. Crusty pineal gland = zero enlightenment.
I’m not a doctor or a medical professional of any kind. I’ve never dissected a human brain to observe the pineal gland, calcified or otherwise. And I’m willing to bet that neither have you. How can we know if this is true? Forget about knowing in some empirical way, because you’d have to be able to study at least a few hundred enlightened people, and look inside their brains to boot. That would be fascinating, but good luck with that. You’d have to prove that fluoride actually causes the pineal gland to calcify. Then you’d have to show a link between the pineal gland and spiritual awakening. And to make this all just a little more challenging, you’d have to devise a way to determine whether a subject was enlightened in the first place.
The addition of fluoride to drinking water and dental products is fairly recent, and isn’t practiced everywhere in the world. If this theory were true, one would expect that a) many more people became enlightened prior to the mass introduction of fluoride, with a sudden and sharp decline after b) people living in areas of the world where fluoride exposure is low would continue to have roughly the same or steady occurrence of enlightenment. And one might say that if a calcified pineal gland dulled one’s ability to awaken, it might also lessen the interest in spirituality in general. Yet, in countries such as the United States, the interest in spirituality has only increased to a fevered pitch, and we often hear reports of people awakening, read their blogs, buy their books, watch their interviews on TV or the internet.
Of course, a hundred years ago perhaps just as many people awakened, but very few became known. Now that we have the internet, the perceived prevalence of just about everything, from micro-niche sexual fetishes to spiritual enlightenment, has increased dramatically.
This, and other similar theories, are posted all about the internet. They are interesting, but their veracity can’t be known. It’s compelling to think there is something so clear, definable and actionable standing between you and the awakened state. Perhaps if you stop eating animal products, or grain or sugar…or become a breatharian and stop eating entirely, you’ll awaken. You’ll be pure enough. Or if you go away to some retreat with a spiritual master or program, where you can be away from your job and your family and your everyday life…because those things are holding you down and dulling your ability to achieve awakened clarity. Or, if you could take some DMT or sip some Amazonian tea with a shaman. There is this idea that one must either rid oneself of something or acquire something in order to wake up.
I was exposed to fluoride for a couple of decades. It did not prevent me from awakening. With that said, I stopped using toothpaste and drinking tap water a few years after awakening. Fluoride is classified as a pesticide by the FDA. In my opinion, it is not necessary to add fluoride to anything, so I chose not to expose myself to more of it than normally exists in nature. I drink professionally filtered water and I have brushed my teeth with natural and non toxic substances such as baking soda (bicarbonate) or pure olive oil soap such as savon de Marseilles. I put a teaspoon of pure Xylitol in my mouth after brushing and swish this around for five minutes (if you take up this practice, don’t swallow the Xylitol, spit it out but don’t rinse with water). Around the same time I stopped using all kinds of things that had chemicals in them, like shampoo. I started making my own hand creams, washing my face with natural ingredients like yogurt and rice flour, and removed all products from my home that had harmful chemicals, dyes or synthetic fragrances.
I don’t think this has anything to do with my pineal gland or the awakened state. It’s just healthier not to expose yourself to so many chemicals, carcinogens and irritants. So if you are concerned about the effects of fluoride, or any other pervasive substance in your environment, by all means remove it. Creating a healthy, supportive environment for the body is always a good thing. But do notice if you are falling into Magic Bullet thinking. “If I can just remove this.” or “If I can just add, acquire or achieve that.” It leads us in circles and also makes us gullible.
Notes
While I think Xylitol is great as a mouthwash since it kills S. mutans like a boss, I would never eat it. Some people chew gum with Xylitol in it, but it is very expensive and has little Xylitol in it. The most effective and economical way to use Xylitol is to just buy a tub of it and use a teaspoon after brushing. If you can manage to rinse with it after meals (carry a small container of it with you), all the better. It’s a very strange feeling to rinse your mouth with something that has the taste and texture of sugar in order to avoid cavities! But it does suppress S. mutans, and bacteria cause cavities, not sugar. Xylitol is fatal to dogs, even in fairly small quantities. Take the proper precautions if you have canine family members.
Savon de Marseilles and pure Castile soap are fantastic, natural and safe alternatives to all kinds of detergents, in the kitchen, bathroom and laundry. Make sure your bar of Marseilles soap says it’s 72% oil, or huile, and has no fragrance or dye.
Baking soda is quite abrasive, so I wouldn’t recommend using this every single day. Brushing with pure olive oil soap is the best. Use baking soda every other day or so. If you want to remove stains, you can break open a capsule of food grade activated charcoal and brush with that once a week, or month, depending on your needs.
In spite of not using any store bought dental products for a decade and not drinking fluoridated water, I’ve never had a cavity. The idea that we need these things, and that without them our teeth will crumble in our mouths, is untrue.
I don’t know which filtration system is best to remove fluoride from water. The area I live in does not fluoridate, but I still buy filtered water anyway because there are all kinds of other things in water, like chloramines, that I prefer to avoid. I believe the water is filtered first, then subjected to reverse osmosis.
Remember, you can’t remove every harmful thing from your environment. Do what you can, when you can, but don’t lose sleep over it.
This is a Hutson Brothers postcard showing the scene from Fleet Street looking east towards Ludgate Circus and Ludgate Hill with St. Paul’s Cathedral in the distance. The postcard was posted in January 1936, but the photograph is from 1930. The Star newspaper was a London evening newspaper and I can just remember the news vendors call of “Star, News and Standard”, referring to the Evening News and the Evening Standard. The Star was taken over by the Evening News in 1960. The placard on the back of the paper van refers to the death of Dr. William Sandford Whitcombe aged 65, the Harley Street specialist. On 16th April 1930 he was found at his home in Holland Road, Kensington, suffering from extensive burns from which he later died, the inquest was told that he took the drug Veronal for his insomnia and had apparently collapsed onto a gas fire receiving the burns injuries. The Doctor’s wife was represented at the inquest by a Mr. Fearnley-Whittingstall, now where have I heard that name before? Mr. Oswald, the West London Coroner, found that Dr. Whitcombe had been overcome by a dose of Veronal which had caused him to accidentally fall onto the gas fire. The drug, Veronal, was the first synthesized Barbiturate which was available commercially and was the sleeping pill of choice although prolonged use leads to an accumulation in the body and can cause an inadvertent overdose. The City of London police constable on traffic duty is wearing a white cape to aid his visibility when directing traffic, I think that the City of London police was the only force to issue white capes, but I may be wrong about that.
Meghan Duncan - Photography by: Alex Gonzalez of VPXSPORTS.COM
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
Some of my robots went on a rare outing this weekend to guest/exhibit at Barley (Pendleside) Lancashire May Bank Holiday model engineering show.
Enhanced Omnibot shows off the new grippers on his power arms. His brain is a stack of 5 UNOs - 1 master and 4 slaves which control his servos, his synthesized voice (SPO256 "Narrator" using allophones), and his front panel matrix display.
PLEASE, no multi invitations, glitters or self promotion in your comments. My photos are FREE for anyone to use, just give me credit and it would be nice if you let me know. Thanks
No pictures are allowed in the Sistine Chapel, they just appeared in the camera..... (I have to upload 3 sets)
One of the most famous places in the world, the Sistine Chapel is the site where the conclave for the election of the popes and other solemn pontifical ceremonies are held. Built between 1475 and 1481, the chapel takes its name from Pope Sixtus IV, who commissioned it.
The frescoes on the long walls illustrate parallel events in the Lives of Moses and Christ and constitute a complex of extraordinary interest executed between 1481 and 1483 by Perugino, Botticelli, Cosimo Rosselli and Domenico Ghirlandaio, with their respective groups of assistants, who included Pinturicchio, Piero di Cosimo and others; later Luca Signorelli also joined the group.
The barrel-vaulted ceiling is entirely covered by the famous frescoes which Michelangelo painted between 1508 and 1512 for Julius II. The original design was only to have represented the Apostles, but was modified at the artist's insistence to encompass an enormously complex iconographic theme which may be synthesized as the representation of mankind waiting for the coming of the Messiah. More than twenty years later, Michelangelo was summoned back by Paul III (1534-49) to paint the Last Judgement on the wall behind the altar. He worked on it from 1536 to 1541.
Basalt lava flow in the Holocene of New Mexico, USA.
This is part of the McCartys Flow, the youngest lava flow in New Mexico's Zuni-Bandera Volcanic Field. The rocks are basalt, a mafic, aphanitic, extrusive igneous rock dominated by plagioclase feldspar and pyroxene, plus sometimes noticeable olivine. Seen here is a distal part of the flow - the lava originated 37 to 38 kilometers ~southwest of this site, from a shield volcano now capped by a cinder cone. Pahoehoe and aa lavas are present
The lithology is vesicular, porphyritic, tholeiitic basalt with olivine phenocrysts. In areas proximal to the vent, plagioclase feldspar phenocrysts are present instead. Glassy basalt (tachylite) is present along flow tops.
Stratigraphy: McCartys Flow, upper Holocene, ~2.4 to 3.9 ka
Locality: roadside exposures along the northern side of westbound Interstate 40's exit 89, Cibola County, northwestern New Mexico, USA (35° 05.045’ North latitude, 107° 46.071’ West longitude)
--------------------------------------------
Mostly synthesized from info. at:
geoinfo.nmt.edu/tour/federal/monuments/el_malpais/zuni-ba...
Solar powered hula dolls dance in the sun.
© 2015 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.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
Natural Cancer KILLER – 10,000 times stronger than Chemo – Soursop!
Deep within the Amazon Rainforest grows a tree that could literally revolutionize what you, your doctor, and the rest of the world thinks about cancer treatment and chances of survival. The future has never looked more promising.
Research shows that with extracts from this miraculous tree it now may be possible to…
~Attack cancer safely and effectively with an all-natural therapy that does not cause extreme nausea, weight loss and hair loss
~Protect your immune system and avoid deadly infections
~Feel stronger and healthier throughout the course of the treatment
~Boost your energy and improve your outlook on life
The source of this information is just as stunning: It comes from one of America ‘s largest drug manufacturers, the fruit of over 20 laboratory tests conducted since the 1970′s! What those tests revealed was nothing short of mind numbing… Extracts from the tree were shown to effectively target and kill malignant cells in 12 types of cancer, including colon, breast, prostate, lung and pancreatic cancer.
The tree compounds proved to be up to 10,000 times stronger in slowing the growth of cancer cells than Adriamycin, a commonly used chemotherapeutic drug.
What’s more, unlike chemotherapy, the compound extracted from the Graviola (soursop) tree selectively hunts down and kills only cancer cells. It does not harm healthy cells.
The amazing anti-cancer properties of the Graviola tree have been extensively researched–so why haven’t you heard anything about it? If Graviola extract is as half as promising as it appears to be–why doesn’t every single oncologist at every major hospital insist on using it on all his or her patients?
The spine-chilling answer illustrates just how easily our health and for many, our very lives are controlled by money and power.
One of America ‘s biggest billion-dollar drug makers began a search for a cancer cure and their research centered on Graviola, a legendary healing tree from the Amazon Rainforest.
Various parts of the Graviola tree including the bark, leaves, roots, fruit and fruit-seeds have been used for centuries by medicine men and native Indians in South America to treat heart disease, asthma, liver problems and arthritis. Going on very little documented scientific evidence, the company poured money and resources into testing the tree’s anti-cancerous properties and were shocked by the results. Graviola proved itself to be a cancer-killing dynamo.
But that’s where the Graviola story nearly ended.
The company had one huge problem with the Graviola tree. It’s completely natural, and so, under federal law, not patentable. There’s no way to make serious profits from it.
It turns out the drug company invested nearly seven years trying to synthesize two of the Graviola tree’s most powerful anti-cancer ingredients. If they could isolate and produce man-made clones of what makes the Graviola so potent, they’d be able to patent it and make their money back. Alas, they hit a brick wall. The original simply could not be replicated. There was no way the company could protect its profits–or even make back the millions it poured into research.
As the dream of huge profits evaporated, their testing on Graviola came to a screeching halt. Even worse, the company shelved the entire project and chose not to publish the findings of its research.
Luckily, however, there was one scientist from the Graviola research team whose conscience wouldn’t let him see such atrocity committed. Risking his career, he contacted a company that’s dedicated to harvesting medical plants from the Amazon Rainforest and blew the whistle.
When researchers at the Health Sciences Institute were alerted to the news of Graviola, they began tracking the research done on the cancer-killing tree. Evidence of the astounding effectiveness of Graviola and its shocking cover-up–came in fast and furious…
…The National Cancer Institute performed the first scientific research in 1976. The results showed that Graviola’s “leaves and stems were found effective in attacking and destroying malignant cells.” Inexplicably, the results were published in an internal report and never released to the public…
…Since 1976, Graviola has proven to be an immensely potent cancer killer in 20 independent laboratory tests, yet no double-blind clinical trials–the typical benchmark mainstream doctors and journals use to judge a treatment’s value–were ever initiated…
….A study published in the Journal of Natural Products, following a recent study conducted at Catholic University of South Korea stated that one chemical in Graviola was found to selectively kill colon cancer cells at “10,000 times the potency of (the commonly used chemotherapy drug) Adriamycin…”
…The most significant part of the Catholic University of South Korea report is that Graviola was shown to selectively target the cancer cells, leaving healthy cells untouched. Unlike chemotherapy, which indiscriminately targets all actively reproducing cells (such as stomach and hair cells), causing the often devastating side effects of nausea and hair loss in cancer patients.
…A study at Purdue University recently found that leaves from the Graviola tree killed cancer cells among six human cell lines and were especially effective against prostate, pancreatic and lung cancers…
You can now purchase this amazing fruit online if you google "soursop" and "mangosteen", you will find a few suppliers of the fresh fruit shipped directly to you. Also Amazon carries the juice.
textures are my own and the lovely and talented lenabem-anna
Ink and essence on paper; 58.4 x 43.2 cm.
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
Microsoft ® Encarta ® 2006. © 1993-2005 Microsoft Corporation. All rights reserved.
(Color pencils on a federal warrant for my arrest.) (Berkeley, California) (BEST VIEWED LARGE?)
(When I was arrested for "Conspiracy to Distribute LSD" in 1985, the warrant was issued in Missouri. The unnamed person or persons it was alleged that I was conspiring to distribute LSD to or with was apparently ["..."], an old friend of mine who had become addicted to heroin. Apparently he was arrested and, after being jailed in Missouri for some LSD he apparently said I sent to him, he apparently became an informant for the DEA. ["..."] was part of the Grateful Dead inner circle. In June 1985 ["..."] called me and said he was paying a visit to the Bay Area and would like to see me. I said I would meet him at Spenger's restaurant in Berkeley. [Spenger's was quite a noisy restaurant, and because of that, a favorite place to publicly meet people because it was extremely difficult for coversations to be overheard there.] ["..."] refused to meet me at Spenger's and met me at the nearby Celia's restaurant, a quiet place. ["..."] told me at the meeting that he was in town to buy farm equipment and wanted to "turn" the money in a drug deal before he bought the equipment. I asked him what he wanted and he said "oh, $75,000 worth of anything..." I looked around and it appeared to me that all of the other people in the restaurant were feds. I said to ["..."] "lets take a walk..." I had a joint of extremely powerful weed that I had mixed with hash and soaked with hashoil, and I smoked it with him. Because at the time he had been in jail until he was released to the DEA to fly to California and set me up, ["..."] had no cannabis tolerance. Being so clean he got incredibly wasted! As we turned the corner onto University Avenue, I saw an AC Transit bus approaching. "Bye!!" I said and quickly entered the bus, leaving ["..."] standing on the corner drooling. I took the bus to downtown Berkeley and caught a taxi to my apartment, which was in a deserted part of Emeryville. Noticing that another taxi had followed the one I took, I did not go into my unlit apartment, just stood in the hallway of the building until both taxis departed. When I did go into my unlit apartment, I used a dim flashlight to see as I quickly cut and dyed my hair, removed my mustache, and changed into a suit. There were several million squares of perforated blotter paper in the apartment that I had not yet soaked with LSD. I left the apartment after propping up a copy of the U.S. Army field book "SURVIVAL, EVASION, AND ESCAPE" against the wall just inside the apartment, and, making sure I was not followed, went to a friend's house in Oakland to stay. [Several days after that I paid a psychedelic grandmother I knew to go to the apartment and remove the blotter paper. She said she nearly had a heart attack when someone outside the apartment rang the LOUD doorbell as she was walking past it...but she waited until the person left and she was able to get away...] Several days after that I passed through downtown Berkeley. There was a little old lady waiting at a taxi stand for a taxi. As I passed by a taxi pulled over and the driver said "get in". I replied "no--its OK--she was here first..." The taxi driver then said "no...really...GET IN!" As we headed down the street the driver told me he and the other taxi drivers had been searching for me. [I took a lot of taxis in those days and I always tipped VERY well.] The driver was the same one that had given me the ride to my apartment in Emeryville and he said the taxi behind us that night had been driven by his brother, whose passengers had shown him badges and told him to follow me...
About a week later I was at a payphone outside of a restaurant on College Avenue in Oakland, where I had gone intending to order a whole wheat raisin bagel. As I started to make my call, a man stepped up and put a HUGE gun to my head, saying "Clandestine Laboratory Task Force! What is your name?" I had just that day gotten a new set of fake I.D. and I could not remember my new name! "uh...uh..." I stammered. The agent then said "Your name is..." and repeated a long, long list of just about every alias I had ever used! Being a federal fugitive for more than a dozen years at the time, I suddenly felt very ill. The agent looked at me and said "Do you want me to take you to a hospital? You look quite sick!" I said "No", and he placed me under arrest, then drove me to the federal building in San Francisco...
[When I was released from prison 15 months later, one of the very first things I did was go to the restaurant on College Avenue and order a whole wheat raisin bagel.])
When I was arrested, I was in possession of a very small amount of 2C-B (4-bromo-2,5-dimethoxyphenethylamine) with a handwritten note and explanatory diagram by the academic chemist who made it and gave it to me.
("2C-B is a psychedelic similar to mescaline, but in the club, it can be something else entirely: 'tucibi' is often marketed as 'pink cocaine,' and while it does sometimes contain mescaline, it also can contain a cocktail of other drugs, including ketamine, MDMA, and caffeine."
---Jane C. Hu, 1.8. 2024, The Microdose, [The newsletter of the University of California, Berkeley Center for the Science of Psychedelics], quote from "Drug use at the nightclub: 5 questions for drug epidemiologist Joseph Palamar." [2C-B was first synthesized by Sasha Shulgin in 1974.]),
I was also in possession of samples of 4 different batches of MDMA (methylenedioxymethamphetamine, or "ecstasy", which became a Schedule I controlled substance days after my arrest in June 1985).
(My entire adult life I have steadfastly refused to buy, sell, distribute, or manufacture MDMA, because I refuse to traffic in any substance whose name contains the word "methamphetamine", although it does seem possible that MDMA might sometimes be useful in psychotherapy...
["Berlin's annual Love Parade, which had begun in July 1989, saw a million people dancing in the city's Tiergarten in 1997, with this number swelling to about one and a half million by the end of the decade."
---Ben Gook, in his November 2015 essay "Dancing at the End of History: The Fall of the Berlin Wall and Ecstasy in Berlin", published by the Australian Research Council, based at the Western Universities of Australia. People taking MDMA and dancing in a group seems to sometimes cause what Simon Reynolds called "...a strange and wondrous atmosphere of collective intimacy, an electric sense of connection between complete strangers."]
["The album is like the faded ten year-old tag of a kid whose rave dreams have been crushed by a series of dead end jobs."
---Mark Fisher, in his 2014 book GHOSTS OF MY LIFE--Writings on Depression, Hauntology and Lost Futures, describing, in 2006, the album "Burial".
("...MDMA flashbacks bring London to unlife...")
("...a wounded city, populated by ecstasy casualties on day release from psychiatric units...")
("...wanting an angel to be watching over you when there's nowhere to go and all you can do is sit in McDonalds late at night, not answering your phone."
---Burial, quoted by Mark Fisher in late 2007.)])
Additionally, at the time of my arrest I was in possession of a joint of marijuana that I had mixed with freebase cocaine, a psilocybin mushroom, codeine, Valium, and traces of powders containing cocaine and heroin. Also, very pure LSD in crystalline form and a quantity of gelatin pyramids containing LSD. I was never told why I had been charged with "Conspiracy to Distribute LSD", and I was never told why the charge was later dismissed. (Perhaps the prosecutor had been wearing a tinfoil hat.) For reasons unknown to me, I was never charged with possessing any of the drugs. At the time of this 1985 arrest it was discovered that after I had been arrested in early 1972 and charged with selling a large quantity of MDA, I jumped bail and disappeared. The 1972 MDA charges were apparently dismissed because I demanded my "Right to a Speedy Trial" and it took the prosecutor too long to find the legal records of my 1972 case. I was then convicted of "Failure to Appear" in court in 1972, and sentenced to 2 years in prison.
Please click here to read my "autobiography":
thewordsofjdyf333.blogspot.com/
My telephone number is: 510-260-9695
Please note: DEPICTION IS NOT ADVOCACY!!!
("Do you know how many thousands of people all over the world committed suicide after taking LSD?"
"If you promote these activities you're criminals and murderers..."
---from a letter to the editor of OPEN EXCHANGE MAGAZINE, published in Berkeley, California in October 2009. [OPEN EXCHANGE MAGAZINE, with more than 330,000 readers per issue, has been published for more than 35 years.]
Here is the editor's reply to the above letter:
"...as for 'thousands' of people dying from acid...the facts don't bear that out..."
"According to 'The Consumers Union Report on Licit and Illicit Drugs by Edward M. Brecher and the Editors of Consumer Reports Magazine, 1972,' reviewing over 25,000 documented uses of LSD by nearly 5,000 people: 'No instance of serious, prolonged physical side effects was found either in the literature or in the answers to the questionnaires.' Furthermore, the published LSD literature 'directly records only one suicide and that in a schizophrenic patient.' One LSD death! Compare that to alcohol, which is responsible for about 25,000 roadside deaths each and every year---and it's a legal drug!")
Please note: DEPICTION IS NOT ADVOCACY!!!
Updated 20230224:
Images of this object in an alternate narrowband palette can be found at the link attached here - www.flickr.com/photos/homcavobservatory/52708453617/
With the start of the new year today and the skies in our area remaining cloudy, I thought I'd make some time to process my first 'proper' image from a recently acquired ASI2600MC Pro one-shot-color cooled astronomy camera and an applicable narrow-band filter.
Although I still have a variety of data to process, including some globular clusters I shot last summer, previously I did manage to make the time to process the 'first-light' short test exposures from this camera that can be found at the link attached here -
www.flickr.com/photos/homcavobservatory/52566000859/
Given the object's proximity in our skies at the time (in addition to being 'relatively' bright), although it only covers approximately one-sixth the available field-of-view, and thus would benefit from a longer focal-length; I decided to try the first long exposure on the Pacman Nebula (NGC 281).
Object Details: NGC 281 is an emission nebula which can be found glowing at magnitude 7.4 in the constellation of Cassiopeia. it spans 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), examples of which are shown as 2x enlargements via the insets at lower left and right.
Image Details: The data for the attached image 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. 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 a 2160 x 3840 resolution (approximately one-third the camera's field-of-view) 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 version of this object in the future.
Wishing everyone clear, calm & dark skies; and of course a Happy New Year !!!
Ego psychology is a school of psychoanalysis rooted in Sigmund Freud's structural id-ego-superego model of the mind.
An individual interacts with the external world as well as responds to internal forces. Many psychoanalysts use a theoretical construct called the ego to explain how that is done through various ego functions. Adherents of ego psychology focus on the ego's normal and pathological development, its management of libidinal and aggressive impulses, and its adaptation to reality.[1]
Contents
1History
1.1Early conceptions of the ego
1.2Freud's ego psychology
1.3Systematization
1.3.1Anna Freud
1.3.2Heinz Hartmann
1.3.3David Rapaport
1.3.4Other contributors
1.4Decline
2Contemporary
2.1Modern conflict theory
3Ego functions
4Conflict, defense and resistance analysis
5Cultural influences
6Criticisms
7See also
8References
9Further reading
History[edit]
Early conceptions of the ego[edit]
Sigmund Freud initially considered the ego to be a sense organ for perception of both external and internal stimuli. He thought of the ego as synonymous with consciousness and contrasted it with the repressed unconscious. In 1910, Freud emphasized the attention to detail when referencing psychoanalytical matters, while predicting his theory to become essential in regards to everyday tasks with the Swiss psychoanalyst, Oscar Pfister.[2] By 1911, he referenced ego instincts for the first time in Formulations on the Two Principles of Mental Functioning and contrasted them with sexual instincts: ego instincts responded to the reality principle while sexual instincts obeyed the pleasure principle. He also introduced attention and memory as ego functions.
Freud's ego psychology[edit]
Freud began to notice that not all unconscious phenomena could be attributed to the id; it appeared as if the ego had unconscious aspects as well. This posed a significant problem for his topographic theory, which he resolved in his monograph The Ego and the Id (1923).[3]
In what came to be called the structural theory, the ego was now a formal component of a three-way system that also included the id and superego. The ego was still organized around conscious perceptual capacities, yet it now had unconscious features responsible for repression and other defensive operations. Freud's ego at this stage was relatively passive and weak; he described it as the helpless rider on the id's horse, more or less obliged to go where the id wished to go.[4]
In Freud's 1926 monograph, Inhibitions, Symptoms, and Anxiety, he revised his theory of anxiety as well as delineated a more robust ego. Freud argued that instinctual drives (id), moral and value judgments (superego), and requirements of external reality all make demands upon an individual. The ego mediates among conflicting pressures and creates the best compromise. Instead of being passive and reactive to the id, the ego was now a formidable counterweight to it, responsible for regulating id impulses, as well as integrating an individual's functioning into a coherent whole. The modifications made by Freud in Inhibitions, Symptoms, and Anxiety formed the basis of a psychoanalytic psychology interested in the nature and functions of the ego. This marked the transition of psychoanalysis from being primarily an id psychology, focused on the vicissitudes of the libidinal and aggressive drives as the determinants of both normal and psychopathological functioning, to a period in which the ego was accorded equal importance and was regarded as the prime shaper and modulator of behavior.[5]
Systematization[edit]
Following Sigmund Freud, the psychoanalysts most responsible for the development of ego psychology, and its systematization as a formal school of psychoanalytic thought, were Anna Freud, Heinz Hartmann, and David Rapaport. Other important contributors included Ernst Kris, Rudolph Loewenstein, René Spitz, Margaret Mahler, Edith Jacobson, and Erik Erikson.
Anna Freud[edit]
Anna Freud focused her attention on the ego's unconscious, defensive operations and introduced many important theoretical and clinical considerations. In The Ego and the Mechanisms of Defense (1936), Anna Freud argued the ego was predisposed to supervise, regulate, and oppose the id through a variety of defenses. She described the defenses available to the ego, linked them to the stages of psychosexual development during which they originated, and identified various psychopathological compromise formations in which they were prominent. Clinically, Anna Freud emphasized that the psychoanalyst's attention should always be on the defensive functions of the ego, which could be observed in the manifest presentation of the patient's associations. The analyst needed to be attuned to the moment-by-moment process of what the patient talked about in order to identify, label, and explore defenses as they appeared. For Anna Freud, direct interpretation of repressed content was less important than understanding the ego's methods by which it kept things out of consciousness.[6] Her work provided a bridge between Freud's structural theory and ego psychology.[7]
Heinz Hartmann[edit]
Heinz Hartmann (1939/1958) believed the ego included innate capacities that facilitated an individual's ability to adapt to his or her environment. These included perception, attention, memory, concentration, motor coordination, and language. Under normal conditions, what Hartmann called an average expectable environment, these capacities developed into ego functions and had autonomy from the libidinal and aggressive drives; that is, they were not products of frustration and conflict, as Freud (1911) believed. Hartmann recognized, however, that conflicts were part of the human condition and certain ego functions may become conflicted by aggressive and libidinal impulses, as witnessed by conversion disorders (e.g., glove paralysis), speech impediments, eating disorders, and attention-deficit disorder.[5]
Through Hartmann's focus on ego functions, and how an individual adapts to his or her environment, he worked to create both a general psychology and a clinical instrument with which an analyst could evaluate an individual's functioning and formulate appropriate therapeutic interventions. Based on Hartmann's propositions, the task of the ego psychologist was to neutralize conflicted impulses and expand the conflict-free spheres of ego functions. By doing so, Hartmann believed psychoanalysis facilitated an individual's adaptation to his or her environment. Hartmann claimed, however, that his aim was to understand the mutual regulation of the ego and environment rather than to promote adjustment of the ego to the environment. Furthermore, an individual with a less-conflicted ego would be better able to actively respond to and shape, rather than passively react to, his or her environment.
Mitchell and Black (1995) wrote: "Hartmann powerfully affected the course of psychoanalysis, opening up a crucial investigation of the key processes and vicissitudes of normal development. Hartmann's contributions broadened the scope of psychoanalytic concerns, from psychopathology to general human development, from an isolated, self-contained treatment method to a sweeping intellectual discipline among other disciplines" (p. 35).
David Rapaport[edit]
David Rapaport played a prominent role in the development of ego psychology and his work likely represented its apex.[5] In Rapaport's influential monograph The Structure of Psychoanalytic Theory (1960), he organized ego psychology into an integrated, systematic, and hierarchical theory capable of generating empirically testable hypotheses. According to Rapaport, psychoanalytic theory—as expressed through the principles of ego psychology—was a biologically based general psychology that could explain the entire range of human behavior.[8] For Rapaport, this endeavor was fully consistent with Freud's attempts to do the same (e.g., Freud's studies of dreams, jokes, and the "psychopathology of everyday life".)
Other contributors[edit]
While Hartmann was the principal architect ego psychology, he collaborated closely with Ernst Kris and Rudolph Loewenstein.[9]
Subsequent psychoanalysts interested in ego psychology emphasized the importance of early-childhood experiences and socio-cultural influences on ego development. René Spitz (1965), Margaret Mahler (1968), Edith Jacobson (1964), and Erik Erikson studied infant and child behavior and their observations were integrated into ego psychology. Their observational and empirical research described and explained early attachment issues, successful and faulty ego development, and psychological development through interpersonal interactions.
Spitz identified the importance of mother-infant nonverbal emotional reciprocity; Mahler refined the traditional psychosexual developmental phases by adding the separation-individuation process; and Jacobson emphasized how libidinal and aggressive impulses unfolded within the context of early relationships and environmental factors. Finally, Erik Erikson provided a bold reformulation of Freud's biologic, epigenetic psychosexual theory through his explorations of socio-cultural influences on ego development.[10] For Erikson, an individual was pushed by his or her own biological urges and pulled by socio-cultural forces.
Decline[edit]
In the United States, ego psychology was the predominant psychoanalytic approach from the 1940s through the 1960s. Initially, this was due to the influx of European psychoanalysts, including prominent ego psychologists like Hartmann, Kris, and Loewenstein, during and after World War II. These European analysts settled throughout the United States and trained the next generation of American psychoanalysts.
By the 1970s, several challenges to the philosophical, theoretical, and clinical tenets of ego psychology emerged. The most prominent of which were: a "rebellion" led by Rapaport's protégés (George Klein, Robert Holt, Roy Schafer, and Merton Gill); object relations theory; and self psychology.
Contemporary[edit]
Modern conflict theory[edit]
Charles Brenner (1982) attempted to revive ego psychology with a concise and incisive articulation of the fundamental focus of psychoanalysis: intrapsychic conflict and the resulting compromise formations. Over time, Brenner (2002) tried to develop a more clinically based theory, what came to be called “modern conflict theory.” He distanced himself from the formal components of the structural theory and its metapsychological assumptions, and focused entirely on compromise formations.
Ego functions[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) (Learn how and when to remove this template message)
Reality testing: The ego's capacity to distinguish what is occurring in one's own mind from what is occurring in the external world. It is perhaps the single most important ego function because negotiating with the outside world requires accurately perceiving and understanding stimuli. Reality testing is often subject to temporary, mild distortion or deterioration under stressful conditions. Such impairment can result in temporary delusions and hallucination and is generally selective, clustering along specific, psychodynamic lines. Chronic deficiencies suggest either psychotic or organic interference.[11]
Impulse control: The ability to manage aggressive and/or libidinal wishes without immediate discharge through behavior or symptoms. Problems with impulse control are common; for example: road rage; sexual promiscuity; excessive drug and alcohol use; and binge eating.
Affect regulation: The ability to modulate feelings without being overwhelmed.
Judgment: The capacity to act responsibly. This process includes identifying possible courses of action, anticipating and evaluating likely consequences, and making decisions as to what is appropriate in certain circumstances.
Object relations: The capacity for mutually satisfying relationship. The individual can perceive himself and others as whole objects with three dimensional qualities.
Thought processes: The ability to have logical, coherent, and abstract thoughts. In stressful situations, thought processes can become disorganized. The presence of chronic or severe problems in conceptual thinking is frequently associated with schizophrenia and manic episodes.
Defensive functioning: A defense is an unconscious attempt to protect the individual from some powerful, identity-threatening feeling. Initial defenses develop in infancy and involve the boundary between the self and the outer world; they are considered primitive defenses and include projection, denial, and splitting. As the child grows up, more sophisticated defenses that deal with internal boundaries such as those between ego and super ego or the id develop; these defenses include repression, regression, displacement, and reaction formation. All adults have, and use, primitive defenses, but most people also have more mature ways of coping with reality and anxiety.
Synthesis: The synthetic function is the ego's capacity to organize and unify other functions within the personality. It enables the individual to think, feel, and act in a coherent manner. It includes the capacity to integrate potentially contradictory experiences, ideas, and feelings; for example, a child loves his or her mother yet also has angry feelings toward her at times. The ability to synthesize these feelings is a pivotal developmental achievement.
Reality testing involves the individual's capacity to understand and accept both physical and social reality as it is consensually defined within a given culture or cultural subgroup. In large measure, the function hinges on the individual's capacity to distinguish between her own wishes or fears (internal reality) and events that occur in the real world (external reality). The ability to make distinctions that are consensually validated determines the ego's capacity to distinguish and mediate between personal expectations, on the one hand, and social expectations or laws of nature on the other. Individuals vary considerably in how they manage this function. When the function is seriously compromised, individuals may withdraw from contact with reality for extended periods of time. This degree of withdrawal is most frequently seen in psychotic conditions. Most times, however, the function is mildly or moderately compromised for a limited period of time, with far less drastic consequences' (Berzoff, 2011).
Judgment involves the capacity to reach “reasonable” conclusions about what is and what is not “appropriate” behavior. Typically, arriving at a “reasonable” conclusion involves the following steps: (1) correlating wishes, feeling states, and memories about prior life experiences with current circumstances; (2) evaluating current circumstances in the context of social expectations and laws of nature (e.g., it is not possible to transport oneself instantly out of an embarrassing situation, no matter how much one wishes to do so); and (3) drawing realistic conclusions about the likely consequences of different possible courses of action. As the definition suggests, judgment is closely related to reality testing, and the two functions are usually evaluated in tandem (Berzoff, 2011).
Modulating and controlling impulses is based on the capacity to hold sexual and aggressive feelings in check with out acting on them until the ego has evaluated whether they meet the individual's own moral standards and are acceptable in terms of social norms. Adequate functioning in this area depends on the individual's capacity to tolerate frustration, to delay gratification, and to tolerate anxiety without immediately acting to ameliorate it. Impulse control also depends on the ability to exercise appropriate judgment in situations where the individual is strongly motivated to seek relief from psychological tension and/or to pursue some pleasurable activity (sex, power, fame, money, etc.). Problems in modulation may involve either too little or too much control over impulses (Berzoff, 2011).
Modulation of affect The ego performs this function by preventing painful or unacceptable emotional reactions from entering conscious awareness, or by managing the expression of such feelings in ways that do not disrupt either emotional equilibrium or social relationships. To adequately perform this function, the ego constantly monitors the source, intensity, and direction of feeling states, as well as the people toward whom feelings will be directed. Monitoring determines whether such states will be acknowledged or expressed and, if so, in what form. The basic principle to remember in evaluating how well the ego manages this function is that affect modulation may be problematic because of too much or too little expression. As an integral part of the monitoring process, the ego evaluates the type of expression that is most congruent with established social norms. For example, in white American culture it is assumed that individuals will contain themselves and maintain a high level of personal/vocational functioning except in extremely traumatic situations such as death of a family member, very serious illness or terrible accident. This standard is not necessarily the norm in other cultures (Berzhoff, Flanagan, & Hertz, 2011).
Object relations involves the ability to form and maintain coherent representations of others and of the self. The concept refers not only to the people one interacts with in the external world but also to significant others who are remembered and represented within the mind. Adequate functioning implies the ability to maintain a basically positive view of the other, even when one feels disappointed, frustrated, or angered by the other's behavior. Disturbances in object relations may manifest themselves through an inability to fall in love, emotional coldness, lack of interest in or withdrawal from interactions with others, intense dependency, and/or an excessive need to control relationships (Berzhoff, Flanagan, & Hertz, 2011).
Self-esteem regulation involves the capacity to maintain a steady and reasonable level of positive self-regard in the face of distressing or frustrating external events. Painful affective states, including anxiety, depression, shame, and guilt, as well as exhilarating emotions such as triumph, glee, and ecstasy may also undermine self-esteem. Generally speaking, in dominant American culture a measured expression of both pain and pleasure is expressed; excess in either direction is a cause for concern. White Western culture tends to assume that individuals will maintain a consistent and steadily level of self-esteem, regardless of external events or internally generated feeling states (Berzhoff, Flanagan, & Hertz, 2011).
Mastery when conceptualized as an ego function, mastery reflects the epigenetic view that individuals achieve more advanced levels of ego organization by mastering successive developmental challenges. Each stage of psychosexual development (oral, anal, phallic, genital) presents a particular challenge that must be adequately addressed before the individual can move on to the next higher stage. By mastering stage-specific challenges, the ego gains strength in relations to the other structures fothe mind and thereby becomes more effective in organizing and synthesizing mental processes. Freud expressed this principle in his statement, “Where id was, shall ego be.” An undeveloped capacity for mastery can be seen, for example, in infants who have not been adequately nourished, stimulated, and protected during the first year of life, in the oral stage of development. When they enter the anal stage, such infants are not well prepared to learn socially acceptable behavior or to control the pleasure they derive from defecating at will. As a result, some of them will experience delays in achieving bowel control and will have difficulty in controlling temper tantrums, while others will sink into a passive, joyless compliance with parental demands that compromises their ability to explore, learn, and become physically competent. Conversely, infants who have been well gratified and adequately stimulated during the oral stage enter the anal stage feeling relatively secure and confident. For the most part, they cooperate in curbing their anal desires, and are eager to win parental approval for doing so. In addition, they are physically active, free to learn and eager to explore. As they gain confidence in their increasingly autonomous physical and mental abilities, they also learn to follow the rules their parents establish and, in doing so, with parental approval. As they master the specific tasks related to the anal stage, they are well prepared to move on to the next stage of development and the next set of challenges. When adults have problems with mastery, they usually enact them in derivative or symbolic ways (Berzhoff, Flanagan, & Hertz, 2011).
Conflict, defense and resistance analysis[edit]
According to Freud's structural theory, an individual's libidinal and aggressive impulses are continuously in conflict with his or her own conscience as well as with the limits imposed by reality. In certain circumstances, these conflicts may lead to neurotic symptoms. Thus, the goal of psychoanalytic treatment is to establish a balance between bodily needs, psychological wants, one's own conscience, and social constraints. Ego psychologists argue that the conflict is best addressed by the psychological agency that has the closest relationship to consciousness, unconsciousness, and reality: the ego.
The clinical technique most commonly associated with ego psychology is defense analysis. Through clarifying, confronting, and interpreting the typical defense mechanisms a patient uses, ego psychologists hope to help the patient gain control over these mechanisms.[12]
Cultural influences[edit]
The classical scholar E. R. Dodds used ego psychology as the framework for his influential study The Greeks and the Irrational (1951).[13]
The Sterbas relied on Hartmann's conflict-free sphere to help explain the contradictions they found in Beethoven's character in Beethoven and His Nephew (1954).[14]
Criticisms[edit]
Many[who?] authors have criticized Hartmann's conception of a conflict-free sphere of ego functioning as both incoherent and inconsistent with Freud's vision of psychoanalysis as a science of mental conflict. Freud believed that the ego itself takes shape as a result of the conflict between the id and the external world. The ego, therefore, is inherently a conflicting formation in the mind. To state, as Hartmann did, that the ego contains a conflict-free sphere may not be consistent with key propositions of Freud's structural theory.
Ego psychology, and 'Anna-Freudianism', were together seen by Kleinians as maintaining a conformist, adaptative version of psychoanalysis inconsistent with Freud's own views.[15] Hartmann claimed, however, that his aim was to understand the mutual regulation of the ego and environment rather than to promote adjustment of the ego to the environment. Furthermore, an individual with a less-conflicted ego would be better able to actively respond and shape, rather than passively react to, his or her environment.
Jacques Lacan was if anything still more opposed to ego psychology, using his concept of the Imaginary to stress the role of identifications in building up the ego in the first place.[16] Lacan saw in the "non-conflictual sphere...a down-at-heel mirage that had already been rejected as untenable by the most academic psychology of introspection'.[17] Ego psychologists responded by doubting whether Lacan's approach is ever applied to clinical work with real patients who have real illnesses, specific ego functions mediating those illnesses, and specific histories.[18]
McDowell County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter. Reprocessed with WavelengthPro.
Anglerfish specimen @ THE DEEP, ArtScience Museum Singapore
Anglerfishes are fish that are members of the teleost order Lophiiformes /ˌlɒfiːəˈfɔrmiːz/. They are bony fish named for their characteristic mode of predation, in which a fleshy growth from the fish's head (the esca or illicium) acts as a lure.
Anglerfish are also notable for extreme sexual dimorphism seen in the suborder Ceratioidei, and sexual parasitism of male anglerfish. In these species, males may be several orders of magnitude smaller than females.
Anglerfish occur worldwide. Some are pelagic, while others are benthic; some live in the deep sea (e.g., Ceratiidae) while others on the continental shelf (e.g., the frogfishes Antennariidae and the monkfish/goosefish Lophiidae). Pelagic forms are most laterally compressed, whereas the benthic forms are often extremely dorsoventrally compressed (depressed), often with large upward-pointing mouths.
Evolution
A mitochondrial genome phylogenetic study suggested the anglerfishes diversified in a short period of the early to mid Cretaceous, between 130 and 100 million years ago.
Ranging in color from dark gray to dark brown, these carnivores have huge heads that bear enormous, crescent-shaped mouths full of long, fang-like teeth angled inward for efficient prey grabbing. Their length can vary from 8.9 cm (3.5 in) to over 1 m (3 ft) with weights up to 45 kg (100 lb).
Classification
FishBase, Nelson and Pietsch list 18 families, but ITIS lists only 16. The following taxa have been arranged to show their evolutionary relationships.
- Suborder Lophioidei
- Lophiidae (Goosefishes or monkfishes)
- Suborder Antennarioidei
- Antennariidae (Frogfishes)
- Tetrabrachiidae (Four-armed frogfishes)[7]
- Brachionichthyidae (Handfishes)
- Lophichthyidae (Boschma's frogfish)[7]
- Suborder Chaunacoidei
- Chaunacidae (Sea toads)
- Suborder Ogcocephaloidei
- Ogcocephalidae (Batfishes)
- Suborder Ceratioidei
- Centrophrynidae (Prickly seadevils)
- Ceratiidae (Warty seadevils)
- Himantolophidae (Footballfishes)
- Diceratiidae (Doublespine seadevils)
- Melanocetidae (Black seadevils)
- Thaumatichthyidae (Wolf-trap seadevils)
- Oneirodidae (Dreamers)
- Caulophrynidae (Fanfin seadevils)
- Neoceratiidae (Needlebeard seadevil)
- Gigantactinidae (Whipnose seadevils)
- Linophrynidae (Leftvent seadevils)
Anatomy
"Esca" redirects here. For the grapevine disease, see Esca (grape disease).
"illicium (fish anatomy)" redirects here. For the plant genus, see illicium.
Most adult female ceratioid anglerfish have a luminescent organ called the esca at the tip of a modified dorsal ray (the illicium, or "fishing rod"). The organ has been hypothesized to serve the obvious purpose of luring prey in dark, deep-sea environments, but also serves to call males' attention to the females to facilitate mating. The source of luminescence is symbiotic bacteria that dwell in and around the esca. In some species, the bacteria recruited to the esca are incapable of luminescence independent of the anglerfish, suggesting they have developed a symbiotic relationship and the bacteria are unable to synthesize all of the chemicals necessary for luminescence. They depend on the fish to make up the difference. Electron microscopy of these bacteria in some species reveals they are Gram-negative rods that lack capsules, spores, or flagella. They have double-layered cell walls and mesosomes.
In most species, a wide mouth extends all around the anterior circumference of the head, and bands of inwardly inclined teeth line both jaws. The teeth can be depressed so as to offer no impediment to an object gliding towards the stomach, but prevent its escape from the mouth. The anglerfish is able to distend both its jaw and its stomach, since its bones are thin and flexible, to enormous size, allowing it to swallow prey up to twice as large as its entire body.
Behavior
Swimming and energy conservation
Many anglerfish species are deep-sea dwellers, which poses a challenge to ecologists who hope to study and observe the fish. Anglerfish morphology reflects the value of energy conservation for these organisms which often live in extremely prey-scarce environments.[9] Some researchers suggest this is why many ceratioids minimize their energy use by remaining lethargic and using a lie-and-wait hunting strategy.
Anglerfish are particularly well suited to conserve energy because they are able to hunt and forage while remaining lethargic, devoting just 2% of energy intake to swimming.
In one rare ROV observation of an in-situ anglerfish, researchers observed several rapid swimming and avoidance behaviors. In 74% of the video footage, the fish was observed passively drifting. Occasionally, it would also exhibit rapid burst swimming. While drifting, the fish weakly beat its pectoral fins in a behavior known as sculling. The sculling behavior observed is suggested as necessary to keep the fish in a neutral position in the water and to counteract any displacing currents. The bursts of fast swimming typically last less than five seconds. The swimming behavior in this video is similar to that seen in other in-situ footage of a ceratioid anglerfish.
Another in-situ observation of three different whipnose anglerfish showed unusual upside-down swimming behavior. Fish were observed floating upside-down completely motionless with the illicium hanging down stiffly in a slight arch in front of the fish. Notably, the illicium was hanging over small visible burrows. The observers suggested this is one effort to entice prey and is another example of low-energy opportunistic foraging and predation. When the ROV approached the fish, they exhibited burst swimming, still upside-down.
Predation
The name "anglerfish" derives from the species' characteristic method of predation. Anglerfish typically have at least one long filament sprouting from the middle of their heads, termed the illicium. The illicium is the detached and modified first three spines of the anterior dorsal fin. In most anglerfish species, the longest filament is the first. This first spine protrudes above the fish's eyes and terminates in an irregular growth of flesh (the esca), and can move in all directions. Anglerfish can wiggle the esca to make it resemble a prey animal, which lures the anglerfish's prey close enough for the anglerfish to devour them whole. The jaws reflexively shut upon contact to the tentacle.
Some deep-sea anglerfish of the bathypelagic zone emit light from their escae to attract prey. This bioluminescence is a result of symbiosis with bacteria. Although the mechanism by which they are harnessed by ceratioids is unknown, the bacteria have been speculated to enter the esca from the seawater through small pores. Once within it, they can multiply until their density is such that their collective glow is very bright.
Because anglerfish are opportunistic foragers, they show a range of preferred prey with fish at the extremes of the size spectrum, whilst showing increased selectivity for certain prey. One study examining the stomach contents of threadfin anglerfish off the Pacific coast of Central America found these fish primarily ate two categories of benthic prey: crustaceans and teleost fish. The most frequent prey were pandalid shrimp. Interestingly, 52% of the stomachs examined were empty, supporting the observations that anglerfish are low energy consumers.
Reproduction
Some anglerfish, like those of the ceratioid group (Ceratiidae, or sea devils), employ an unusual mating method. Because individuals are locally rare, encounters are also very rare. Therefore, finding a mate is problematic. When scientists first started capturing ceratioid anglerfish, they noticed that all of the specimens were female. These individuals were a few centimetres in size and almost all of them had what appeared to be parasites attached to them. It turned out that these "parasites" were highly reduced male ceratioids. This indicates the anglerfish use a polyandrous mating system.
In certain ceratioids, parabiotic reproduction is required. Free-living males and non-parasitized females in these species never have fully developed gonads. Thus, males never mature without parasitizing a female and die if they are unable to find one. At birth, male ceratioids are already equipped with extremely well-developed olfactory organs that detect scents in the water. Males of some species also develop large, highly specialized eyes that may aid in identifying mates in dark environments. The male ceratioid lives solely to find and mate with a female. They are significantly smaller than a female anglerfish, and may have trouble finding food in the deep sea. Furthermore, the growth of the alimentary canals of some males becomes stunted, preventing them from feeding. Some taxa have jaws that are never suitable or effective for prey capture. These features necessitate that the male quickly find a female anglerfish to prevent death. The sensitive olfactory organs help the male to detect the pheromones that signal the proximity of a female anglerfish.
However, the methods by which anglerfish locate mates are variable. Some species have minute eyes unfit for identifying females visually, while others have underdeveloped nostrils, making it unlikely that they effectively find females using olfaction. When a male finds a female, he bites into her skin, and releases an enzyme that digests the skin of his mouth and her body, fusing the pair down to the blood-vessel level. The male becomes dependent on the female host for survival by receiving nutrients via their shared circulatory system, and provides sperm to the female in return. After fusing, males increase in volume and become much larger relative to free-living males of the species. They live and remain reproductively functional as long as the female lives, and can take part in multiple spawnings. This extreme sexual dimorphism ensures, when the female is ready to spawn, she has a mate immediately available. Multiple males can be incorporated into a single individual female with up to eight males in some species, though some taxa appear to have a "one male per female" rule.
Parasitism is not the only method of reproduction in anglerfish. In fact, many families, including Melanocetidae, Himantolophidae, Diceratiidae, and Gigantactinidae, show no evidence of male parasitism. Females in some of these species contain large, developed ovaries and free-living males have large testes, suggesting these sexually mature individuals may spawn during a temporary sexual attachment that does not involve fusion of tissue. Males in these species also have well-toothed jaws that are far more effective in hunting than those seen in parasitic species.
Finally, some researchers suggest sexual parasitism may be an optional strategy in some species of anglerfishes. In the Oneirodidae, females have been reported in Leptacanthichthys and Bertella, which were parasitized, and others which were not, but still developed fully functional gonads. One theory suggests the males attach to females regardless of their own reproductive development if the female is not sexually mature, but when both male and female are mature, they will spawn then separate.
One explanation for the evolution of sexual parasitism is that the relatively low density of females in deep-sea environments leaves little opportunity for mate choice among anglerfish. Females remain large to accommodate fecundity, as is evidenced by their large ovaries and eggs. Males would be expected to shrink to reduce metabolic costs in resource-poor environments and would develop highly specialized female-finding abilities. If a male manages to find a female, then parasitic attachment is ultimately more likely to improve lifetime fitness relative to free living, particularly when the prospect of finding future mates is poor. An additional advantage to parasitism is that the male’s sperm can be used in multiple fertilizations, as he stays always available to the female for mating. Higher densities of male-female encounters might correlate with species that demonstrate facultative parasitism or simply use a more traditional temporary contact mating.
The spawn of the anglerfish of the genus Lophius consists of a thin sheet of transparent gelatinous material 25 cm (10 inches) wide and greater than 10 m (33 feet) long. The eggs in this sheet are in a single layer, each in its own cavity. The spawn is free in the sea. The larvae are free-swimming and have the pelvic fins elongated into filaments. Such an egg sheet is rare among fish.
Threats
Northwest European Lophius spp. are listed by the ICES as "outside safe biological limits". Additionally, anglerfish are known to occasionally rise to the surface during El Niño, leaving large groups of dead anglerfish floating on the surface.
In 2010, Greenpeace International added the American angler (Lophius americanus), the angler (Lophius piscatorius), and the black-bellied angler (Lophius budegassa) to its seafood red list, which is a list of fish commonly sold worldwide which have a very high likelihood of being sourced from unsustainable fisheries.
Human consumption
One family, the Lophiidae, is of commercial interest with fisheries found in north-western Europe, eastern North America, Africa, and East Asia. In Europe and North America, the tail meat of fish of the genus Lophius, known as monkfish or goosefish (North America), is widely used in cooking, and is often compared to lobster tail in taste and texture. In Asia, especially Korea and Japan, monkfish liver, known as ankimo is considered a delicacy.
Timeline of genera
Anglerfish appeared in some fossil record.
[Credit: en.wikipedia.org]
#Camaro The Power and Performance You’d Expect.
View more of the works on blogger and more.
Lloyd Thrap's Public Portfolio
Come "LIKE" my fanpage please =)
Per favore premere "LIKE" mio fanpage
Por favor, dale un "ME GUSTA" a mi página de fans
Si us plau fes clic al "M'AGRADA" a la meva pàgina de fans
「いいね！」/ 「LIKE」ボタンを押してね！
Bitte klick "GEFÄLLT MIR" auf meiner Fanpage
請來我臉書網頁按讚!
Lloyd-Thrap-Creative-Photography
© 2013 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.
After eating some plants with the CEO and Strategy Director of MAPS (the public benefit corp. taking MDMA through FDA clinical trials for PTSD), we were struck by the chemicals adorning our kitchen wall at work.
It reminds me of Michael Pollan, in his new book This is Your Mind on Plants: “How incredible is it that plants have evolved the precise molecular key to unlock your consciousness?”
It’s not an analog or mimic. Plants and fungi and bacteria synthesize our exact neurotransmitters, perhaps some evolutionary inheritance from signaling in the early days of federating single-cell organisms. 90 percent of human serotonin is made by the bacteria in our gut, not in our brain. Gut bacteria produce and respond to the same neurochemicals—such as GABA, serotonin, norepinephrine, dopamine, acetylcholine and melatonin—that the brain uses to regulate mood and cognition. Respect, on the kitchen wall.
Every culture on Earth has discovered and used a plant or fungus, often several, that alters consciousness. (Pollan notes one exception: the Inuit who live where nothing interesting grows)
Tim Ferriss interviewed Michael Pollan about his new book, and it’s quite good, here.
Dr. Eric Lander is a geneticist, mathematician, and one of the key architects of modern genomics. As a driving force behind the Human Genome Project, his work has revolutionized biomedical research, enabling breakthroughs in personalized medicine, disease prevention, and genetic diagnostics. His ability to synthesize biology with computational analysis has reshaped how scientists approach complex biological systems.
I photographed Lander on October 12, 2023, at the Broad Institute, a research powerhouse that he helped design. The building itself is a testament to his vision—open, interconnected, and brimming with the collaborative spirit necessary for innovation. As we moved through the space, we discussed the far-reaching impact of genomics on medicine, the ethical challenges of gene editing, and the role of science in shaping public policy.
Lander’s contributions extend beyond research. He has been a prominent science advisor to government leaders, advocating for evidence-based decision-making in public health, climate science, and technological innovation. His tenure as the first Director of the Office of Science and Technology Policy in the Biden administration reinforced his commitment to integrating rigorous science into governance.
Our conversation wandered through intricate shadows and bright beams of sunlight, much like the nature of scientific discovery—moments of clarity interspersed with deep complexity. Lander’s perspective on innovation is both pragmatic and ambitious: he sees biology as a vast, untapped frontier where computation, engineering, and fundamental research can converge to tackle humanity’s greatest challenges.
With a career spanning decades, Lander continues to influence the next generation of scientists. His work at the Broad Institute ensures that genomic research remains at the cutting edge, fostering discoveries that will redefine our understanding of health and disease. His legacy is one of relentless curiosity and an unshakable belief in the power of science to transform the world.
Description: Chandra's image shows a striking, nearly perfect ring about 150 light years in diameter surrounding a cloud of gas rich in oxygen and shock-heated to millions of degrees Celsius. The ring marks the outer limits of a shock wave produced as material ejected in the supernova explosion plows into interstellar gas. The size of the ring indicates that we see the supernova remnant as it was about 10,000 years after its progenitor star exploded. Oxygen is synthesized by nuclear reactions in the interiors of stars at least ten time as massive as the Sun. When such a star explodes, its core collapses to form either a neutron star, or if massive enough, a black hole, and the oxygen-rich material surrounding the core is propelled into interstellar space.
Creator/Photographer: Chandra X-ray Observatory
NASA's Chandra X-ray Observatory, which was launched and deployed by Space Shuttle Columbia on July 23, 1999, is the most sophisticated X-ray observatory built to date. The mirrors on Chandra are the largest, most precisely shaped and aligned, and smoothest mirrors ever constructed. Chandra is helping scientists better understand the hot, turbulent regions of space and answer fundamental questions about origin, evolution, and destiny of the Universe. The images Chandra makes are twenty-five times sharper than the best previous X-ray telescope. NASA's Marshall Space Flight Center in Huntsville, Ala., manages the Chandra program for NASA's Science Mission Directorate in Washington. The Smithsonian Astrophysical Observatory controls Chandra science and flight operations from the Chandra X-ray Center in Cambridge, Massachusetts.
Medium: Chandra telescope x-ray
Date: 2003
Persistent URL: chandra.harvard.edu/photo/2003/snr0103/
Repository: Smithsonian Astrophysical Observatory
Collection: Supernovas and Supernova Remnants Collection
Gift line: NASA/CXC/PSU/S.Park et al.
Accession number: snr0103_comp
Synthesized color image made from a single clear filter capture by Cassini on Dec. 20, 2010.
Credit: NASA/JPL-Caltech/SSI/Cassini Imaging Team/Jason Major
Southwestern Mumblings... Humbled, blessed & Grateful in the 505...
At modelshopstudio™ with Livvy Wenchy Nicholsoni and Emma Alabama Photo by: Lloyd Thrap Creative Photography.
Location: modelshopstudio™
Albuquerque, New Mexico. USA
© 2014 2023 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.
Lloyd Thrap's Public Portfolio
Model
In the Hebrew bible of the Old Testament and in the New Testament, the Holy of Holies (Kodesh Hakodashim) sits behindHoly of holies the two pillars and refers to the inner sanctuary of the Tabernacle where God was believed to be present. It is further described as an inner shrine housing the Ark of the Covenant guarded by two-winged golden cherubim, and an outer chamber (Holy Place) with a golden lampstand, table for showbread, and altar of incense. The meaning of tabernacle(Hebrew: מִשְׁכַּן, mishkan), is “a dwelling place or to take up temporary residence; especially: to inhabit a physical body.” This allegorical description above of the Holy of Holies as an inner shrine and a temporary residence to inhabit a physical body, tells us esoterically where this tabernacle is located.
It is not only a man-made building or structure, but also part of the human body, and that in science we can simply call the tabernacle our skull which holds the chalice for our brains, with the winged golden cherubim guarding our thoughts being our hippocampus or ammon’s horn; a subject I have written about many times. This is the beginning explanation of the hidden esoteric meanings behind some of these gnostic biblical stories that were meant to teach initiates to know thyself and to reach a state of true gnosis. This wonderful gnostic story is further explained by Manly P. Hall who had written about this in the Initiates of the Flame: “In the brain of man, between the wings of the kneeling cherubim, is the mercy-seat, and there man speaks with his God as the priest of the tabernacle spoke to the spirit of the Lord hovering between the wings of the Angels. Man is again the Ark, and within him are the three principles, the Father, the Son, and the Holy Spirit—the tablets of the law, the pot of manna, and the rod that budded. But as in the case of the ancient Israelites, when they became crystallized the pot of manna and the rod that budded were removed from the Ark, and all that was left were the tablets or the letters of the law. When the individual crystallizes and excludes various sidelights from his mind, he excludes the life force which was flowing to him. In shutting out strangers, he shuts out his own life, and all that he has left are the tablets of the law, the material reasons from which the spiritual life has gone.” This is obviously a story about finding gnosis; which it has long been documented by historians that almost all gnostics throughout history were persecuted, branded as heretics by the church, and often killed en mass for simply practicing an ancient art of knowledge of thyself and thyworld. What happened to this secret gnosis and teachings is represented in the biblical story of the crucifixion of Christ at Golgotha, which I will explain briefly below and have done in another article titled, Christ (Reason) Crucified (Killed) on the Cross (Logos) in Golgotha (Place of the Skull or Our Brain).
In the bible, the word for skull is called Golgotha, which is Latin for place of the skull. This is the exact location where Jesus was crucified on the cross (logos), and where the blood of Jesus fell onto Adam’s skull, restoring Adam back to life. This is another allegorical story about the secret gnosis that occurs alchemically through our brains and especially within our hippocampus; which has been proven in science controls our memories, and that I believe also pertain to past life memories as well.
The story also relates to our blood, with that of Jesus’ that fell onto Adam’s skull. The ancients and many philosophers have long DNA Brainknown that the blood is our mind, where we obtain our conscious, and also the seat of our soul. It has been said that he who controls the blood, controls the mind. It is these esoteric teachings encoded into these biblical stories that many people fail to recognize. This is confirmed by great gnostic philosophers such as Carl Jung who said, “Who has fully realized that history is not contained in thick books, but lives in our very blood?” I have written about this science before in articles such as DNA Gnosis and Our DNA Computers. Please notice this image below of a painting of Jesus crucified on the cross (logos) at Golgotha, and see if you can see the secret skull towards the bottom with the red veil; hidden and encoded within the painting. This image is related to the secret gnosis of the biblical story of Golgotha and how the blood drops on the skull, and what we can say today flows through the brain to restore someone to life, or what we can simply say makes them fully conscious and illuminated. I already stated above that Golgotha is the place of the skull. Jesus was ‘crucified’, that which is derived from the word crucifix; a cross with the corpus (Body of Christ). The modern Christian cross is a sign of warfare and which is a latter version of the original ancient true cross known as the Tau of the ancient Egyptians, Greeks and Druids which is a symbol to represent the logos. The meaning of logos is “Reason, or word of God” which then can be easily connected to what we know as gnosis. In philosophy, Heraclitus (ca. 535–475 BC) had said the Logos was “a principle of order and knowledge.” According to Aristotle, logos relates to “the speech itself, in so far as it proves or seems to prove.” One of the reasons for the confusion or misinterpretations of these biblical teachings are because they were forbidden by law, and this one bible verse written in Deuteronomy 4:16-18 stating that the Israelites are forbidden making any likeness, form, or figure of a human or beast for worship. This is when they had encoded their secret teachings of gnosis into allegories, biblical stories, and actual structures and buildings where these secrets would now be encoded. Hidden gnostic allegories that would forever be hidden in plain view into their world-wide temple plans.
gnosticwarrior.com/holy-of-holies.html
In my last article on the Tabernacle, I explained that the cherubim were the sacred guardians in the Holy of Holies, and it is Cherubim and maryhere where we find the two golden cherubim. Cherubim first appear in the Bible in the Garden of Eden, to guard the way to the Tree of life. Cherubim are mentioned throughout the Old Testament, and once in the New Testament in reference to the mercy-seat of the Ark of the Covenant and as the golden guardians of the Holy of Holies.
In Genesis 3:24, the cherubim are placed by God, after the expulsion of Adam from the garden of Eden, at the east thereof, together with the flaming sword “to keep the way of the tree of life.” In their function as guardians of Paradise. In the image to the above right, you can clearly see the shape of a skull, and the two cherubim on both the left and right that in exoteric science represents the hippocampus or ammon’s horn who guard the way to the Tree of life which would be our DNA. Brain firing 2The Garden of Eden is known as the primeval abode of man, and is the dwelling-place of God. This is further explained by by 33rd degree Alchemic philosopher, Manly P. Hall who had written in the Initiates of the Flame; “In the brain of man, between the wings of the kneeling cherubim, is the mercy-seat, and there man speaks with his God as the priest of the tabernacle spoke to the spirit of the Lord hovering between the wings of the Angels. Man is again the Ark, and within him are the three principles, the Father, the Son, and the Holy Spirit—the tablets of the law, the pot of manna, and the rod that budded.” Please notice how the image to the left shows the brain as if it is at top of a rod and has budded like a rose, flower or tree. This picture aligns perfectly with Manly P. Hall’s explanation above, and will also make more sense to you as I explain more below. The flaming sword in Genesis, and double-edged sword of the Revelation of Saint John represents the mouth and the word of God that comes from the dwelling-place of God which is in our blood and brains. The allegory of the sword connected to the word of God, rather than an actual sword used for killing people is further explained in bible passages such as Hebrews. iv. 12: ” The word of God is quick and powerful (or living and energetic), sharper than any two-edged sword.” And in Hosea vi. 5, the word of God is said to destroy all his enemies; “Therefore have I hewn them by the prophets, I have slain them by the words of my mouth; And my judgments have been as the light when it goeth forth.” There are many more bible passages, the above two are just a small sample to prove my point. The cherubim are the bearers and movers of the Divine throne as explained in the vision of Ezekiel (Ezekiel 1, with which compare Ezekiel 10). In chapter 1, the prophet designates them as “living creatures” (chayyoth); but upon hearing God’s words addressed to the “man clothed in linen” (Ezekiel 10:2) he perceives that the living creatures which he saw in the first vision were cherubim (Ezekiel 10:20); and in Ezekiel 9:3 the chariot or throne, from which the glory of God went up, is spoken of as a cherub. The man clothed in linen has another hidden meaning that related to the human blood and word of God which is further described in Revelation 19:13: “He is dressed in clothing dipped in blood, and he is called the Word of God.” The man clothed in linen is a direct reference to how human blood holds are conscious. This is the reason that within 10 seconds of blood cut off to the brain, you lose complete consciousness, and when someones begins to bleed to death, their essential life force is drained from their bodies and they lose consciousness and die. The blood is our life force and the seat of our soul. The brain is our central computer processing unites that we use to think, reason and speak to God.
Back to the description of the cherubim… The Roman-Jewish historian Josephus Flavius says: “The cherubim are winged creatures, but the form of them does not resemble that of any living creature seen by man.” All these various references that I mention above and to the cherubim indicate, their the nearness of God, or a sacred and secret spot out of the view of man, but within man. Holy of holiesThis is further explained as I mentioned above by Manly P. Hall who had written; “In the brain of man, between the wings of the kneeling cherubim, is the mercy-seat, and there man speaks with his God as the priest of the tabernacle spoke to the spirit of the Lord hovering between the wings of the Angels.” This esoteric view above by Hall describing the human body (solomon’s temple), blood, brain, and the two golden cherubim is described in the bible as acting as the chariot of the LORD in Ezekiel’s visions, the Books of Samuel, the parallel passages in the later Book of Chronicles, and passages in the early Psalms: “and he rode upon a cherub and did fly: and he was seen upon the wings of the wind”. The four living creatures that support the throne of God displayed to Ezekiel a fourfold aspect; they had each the face of a man, the face of a lion, and the face of an ox; they also had the face of an eagle. They had each four wings; they had the hands of a man under their wings. “Two wings of every one were joined one to the other, and two covered their bodies.” They were accompanied by wheels which “went upon their four sides, and they turned not when they went”; “and their whole body, and their backs, and their hands, and their wings, and their wheels were full of eyes”; and the living creatures ran and returned as the appearance of a flash of lightning.” This esoteric explanation we can witness today in modern science, with the wheels of our DNA, firing in the brain, and the memory powerhouse known as the hippocampus which I will briefly explain for you below.
And their wheels were full of eyes – DNA is often associated with spirals of energy as in “wheels (circles),” and what is known as rolling circle DNA replication and DNA supercoiling. This DNA process of unidirectional nucleic acid replication that can rapidly synthesize multiple copies of circular molecules of DNA or RNA, such as plasmids, the genomes of bacteriophages, and the circular RNA genome of viroids. Some eukaryotic viruses also replicate their DNA via a rolling circle mechanism. DNA supercoiling is important for DNA packaging within all cells, and reduces the space and allows for much more DNA to be packaged.(Wikipedia)DNA_circle This explanation of DNA I have found, perfectly matches the description in Ezekiel of the cherubim accompanied by wheels. DNA is based purely upon mathematical principles. The mathematical equations and wheels in our DNA turns it into a biological supercomputer that feeds into the winged cherubim being our hippocampus.
DNA supercoil The brain is the organ of the mind, which each portion of the brain has its own function to perform. The golden cherubim guarding the temple with the four wings would be our hippocampus which is considered the brain’s memory center. This image below shows the color of the hippocampus being somewhat of a yellow or golden color being compared to the Hippocampus kuda, also known as the common seahorse.
The ancient Greeks and Romans had attributed the seahorse with the sea god Poseidon/Neptune, and was considered a symbol of strength and power. The ancient Europeans believed that the seahorse carried the souls of the deceased into the underworld in order to give them safe passage and protection until they met their soul’s destination. These stories from the biblical explanation of the two golden cherubim, the seahorse as a symbol of strength and power, and the relation to the seahorse being the carrier of souls for safe passage and protection all relate to one another. Hippocampus and seahorse. The cherubim were at each end of the Ark of the Covenant, which contained the original stones on which God had engraven the ten commandments given to Moses and the children of Israel on Mount Horeb. Now that we know the cherubim allegorically represents our hippocampus, the original stones might also have a similar hidden esoteric meaning which I believe to also be the case in relating to a similar story being that of the philosopher’s stone. This is further explained in Hebrews VIII where it was foretold by Jeremiah: “Behold the days come, saith the Lord, when I will make a new covenant with the house of Israel and the house of Judah: not according to the covenant I made with their fathers in the day when I took them by the hand to lead them out of the land of Egypt; because they continued not in my covenant, and I regarded them not, saith the Lord. For this is the covenant that I will make with the house of Israel after those days, saith the Lord; I will put my laws into their mind, and write them in their hearts: and I will be to them a God, and they shall be to me a people: And they shall not teach every man his neighbor, and every man his brother, saying, Know the Lord: for all shall know me, from the least to the greatest.” The passage above makes it clear that saith the Lord; I will put my laws into their mind, and write them in their hearts. This is a direct reference to our minds and hearts which would further validate that this is a story about gnosis, and the alchemical science of our blood, brain and hippocampus. In Ezekiel, it is mentioned that there was an appearance of a flash of lightning which we can compare to science by comparing our brains to this description where we find the firing rates of neurons in the hippocampal regions relating to past memories. A type of internal lightening blasts that forms vibrations in our bodies for us to recognize past memories or past life recall, which an in tune human can use to tap into in order further evolve by his seventh sense, and his or her soul. Scientists are now finding out that the firing in the brain can arise from intrinsic hippocampal dynamic processing of previous inputs. In simple terms, that this firing action is a type of built-in intuitive and memory center to help animals “remember.” The image below is of a real brain with the appearance of flashes of lightning. In a previous article I explained how the Hebrew alphabet is made up of 22 letters, which was created to compose the Word of God. The word of God is called a lamp (Psalms 119:105, Proverbs 6:22), and the light by which we are to live. This we can compare to the fire. The word light is found 264 times in Scripture. When 264 is divided by 12 (divine authority) we have twenty-two, which represents light. In the gospel of John, the word light is repeated 22 times, and on 22nd time, John quotes Jesus: “I have come as a light into the world . . .” (John 12:46). The number 22 would represent the stone structures that describe the bones of the skull, of which there are twenty-two. This is where we receive the light and are illuminated, or enlightened beings. In the rear compartment of our skulls, or Holy of Holies is called “the oracle.” This is our brain which transmits our blood and DNA through our organs. Beneath this skull and brain are the aqueducts, passages, and tanks once used for the proper drainage and use of the Temple. The Temple being our bodies with the aqueducts, passages, and tanks consisting of our blood, veins and organs. The esoteric biblical explanation relates to the science above, when it was said that upon completion of the dedication of the Tabernacle, the Voice of God spoke to Moses “from between the Cherubim”. (Numbers 7:89). This symbolizes the gnosis we receive within our minds and into the firing of our brains through our hippocampus which is referred to above as the Voice of God spoke to Moses “from between the Cherubim.”
Secrets of the Pyramid Hippocampus Drawing www.macalester.edu
Moe
Moe is the founder of GnosticWarrior.com. A website dedicated to both the ancient and modern teachings of Gnosticism.
The hippocampus is divine in its on right. The place of memory (I AM).. Agreed! The pineal gland though, is the third eye, since it has every component of an actual eye. It also has tiny crystal fibers within it, which hence the thousand petal lotus or christ consciousness, also being Christ as the alchemical Crystal. Even in Genesis 32:30 Jacob called the place peniel because he seen God face to face. Also in the new testament it is stated that the greatest in the Kingdom is the smallest (like a mustard seed)…. The pineal gland is small. Jesus told Peter he will build his church on a rock, that is the pineal gland that became harden like stone (philosophers stone).. When the sandy substance around the pineal gland hardens, that is Jesus liken someone to a wise man, who built his house on a rock. When a storm comes and try to beat it to and fro it doesn;t budge. The mind has light! When the eye be single the whole body will be filled with light (photons).
Model: Chole.
Location: Burts Tiki Lounge, Downtown Albuquerque, New Mexico.
Lloyd-Thrap-Creative-Photography
© 2009 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.
First synthesized by the chemist Wallace Carothers and introduced in the 1939 World's Fair by DuPont, #ストッキングの日 celebrates when the first nylon stocking went on sale on May 15, 1940!
Born in Khiva around 780 CE, al-Khorezmi (or al-Khwarizmi meaning 'of Khwarizm', the original name of Khiva) was a great mathematician, scientist and author. He is considered the father of algebra (the word derives from the name of his book on the subject, Al-Jabr wa-al-Muqabilah, which became the standard mathematical book at European universities until the 16th century. He made an even more important contribution (hard to imagine….) in developing the concept of an algorithm. In this capacity, some consider him to be the grandfather of computer science. The word algorithm is derived from a Latin corruption of his name.
In addition to his original work, al-Khorezmi also synthesized the work of other great scholars of the era. After reviewing various numerical systems, he adopted the Hindu system (in the western world, we incorrectly call it the Arabic system) of numerals and was the first to recognize the importance of the number zero. It was through al-Khorezmi's work that this numerical system spread to the Middle East and then Europe and the rest of the world.
Beyond mathematics, al-Khorezmi made contributions to the field of geography by supervising the creation of a map of the world and to astronomy where he wrote about clocks, astrolabes and sundials.
At the time, Khiva was part of Persian Khorasan that was under the auspices of the Arab Abbasid caliphate administered from Baghdad. Al-Khorezmi moved to Baghdad early in his life and studied there at the House of Wisdom, a scientific research and teaching center.
Khiva, Uzbekistan
This photo is dedicated to good friend and scholar, O Bejeweled Land (Zendeh baad Azadi).
Explore #186 on July 26, 2010
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.
Tim Ferriss commands 90% of my podcast attention. Unlike the arbitrage media du jour, he aims for timeless nuggets of wisdom from a panoply of top performers. So, it is a great honor to have our almost 3-hour (!) long-form interview go live today, with a wide range of fun topics. Enjoy: Our Episode (we start at minute 6:19 with a deep dive on quantum computing. A wider range of fun topics starts at minute 27)
You never know how a loooong conversation like this will be received. And none of it had a second take; it was just one big stream of consciousness. Well, I was blown away by the comment stream on Twitter.
“The Tim Ferriss Show is generally the # 1 business podcast on all of iTunes, and it’s been ranked # 1 out of 300,000+ podcasts on many occasions. It is the first to pass 100,000,000 downloads, and it has been selected as “Best of” iTunes for three years running. Each episode, I deconstruct world-class performers from eclectic areas (investing, sports, business, art, etc.) to extract the tactics, tools, and routines you can use.”
SHOW NOTES [program time]
On the power of quantum mechanics and the potential for quantum computers. [09:23]
What is a quantum computer? [11:34]
How big is a quantum computer? [14:20]
An explanation of Rose’s Law. [15:10]
How useful are quantum computers now, and how much more useful can we expect them to be in the near future? [19:50]
What is quantum chemistry, and what problems does it potentially solve? [21:06]
Quantum applications for deep learning. [22:22]
Musings on quantum entanglement. [23:15]
What Steve sees for the future of business as we move from theoretical and experimental exploration in quantum physics toward its practical application. [25:37]
What existential challenges of rapid technological advancement are we most likely to face? First: bridging the accelerating rich-poor gap. [26:54]
Protecting Earth from asteroids. [28:33]
Addressing the increasing ease with which weapons of bioterrorism can be synthesized. [30:09]
How might we cope with the effects of climate change through hibernation? [32:07]
In what ways can we prevent or mitigate social unrest resulting from a widening rich-poor gap? [34:14]
If life-saving drugs are to become cheap and affordable to everyone in the future, how does Steve see the incentives for research and development adapting? [41:00]
How did Steve get through his undergrad at Stanford in two-and-a-half years? [42:28]
Why did time and budgeting become less of a concern when Steve began his master’s program? [44:45]
Why did Steve decide to get an MBA, and would he still make that decision today? [46:00]
How did Steve enter the world of investing? [48:39]
What mistakes does Steve see otherwise smart venture capitalists making often? [49:53]
What helped Steve succeed early in his career? [53:13]
The simple rule Steve began to implement around early-stage investing. [55:26]
When did Steve start to see signs pointing toward a likely dotcom crash circa 2000, and how did his investment strategy change? [56:59]
At the time, why did Steve choose nanotechnology as the next big thing? [59:16]
On machine learning, cellular automata, and the difficulties faced when trying to reverse engineer an evolved structure to understand how they work (like a teenager or a human brain). [1:02:15]
A deep dive into deep learning and neural networks — and how GPU technology once designated for video games has pushed the field forward in unexpected ways. [1:06:08]
With an education and background in electrical engineering, why did Steve get involved in product marketing at Apple and NeXT? [1:14:23]
What are the check boxes that help Steve mitigate risk when he’s weighing investment opportunities? [1:18:52]
The question that weeds out “the charlatans and the arbitrage-seeking opportunists.” [1:22:04]
The uncertainty of enormous markets. [1:23:36]
Where did the name for Hotmail originate, and how dedicated to “free” were the founders? [1:24:32]
Wildly successful companies that were initially regarded as bad ideas. [1:25:19]
Why does Steve never sell shares once he’s invested in a company? [1:26:07]
Commonalities and differences observed between Steve Jobs and Elon Musk. [1:31:18]
In what ways does Steve believe Elon Musk is the “most risk-immune person” he’s ever met? [1:36:09]
Elon’s “battle mode” of focus during crises. [1:42:26]
On Steve Jobs’ architecting of the way people communicated, and enforcing the ideal number of people in team sizes and meetings. [1:47:18]
Steve addresses recent bad press. [1:48:54]
What was Steve’s self-talk when these allegations arose? [1:52:15]
Who helped Steve throughout this time, and why was he advised to keep mum about the allegations — even in his own defense? [1:56:59]
What other particularly trying times has Steve endured? [1:59:31]
What helped Steve through the grieving process when his father passed away? [2:00:32]
How Steve prepared to become a parent, and what analytical thinkers can gain by trying to see things from the perspective of a child. [2:04:59]
What Steve would put on his billboard. [2:07:11]
How children are like scientists. [2:07:38]
Steve is so enthusiastic about model rockets that he even gave a TED Talk about them. [2:09:15]
Drones and how to eliminate the TSA. [2:10:36]
As a technology investor, how does Steve budget for regulatory or political opposition from incumbents? [2:15:01]
The current and future science of synthetic “clean” meat and why it’s important. [2:18:27]
Could this technology be adapted to produce human tissue and organs for transplants, or is 3D printing more feasible? [2:28:13]
How might the layman become more scientifically literate? [2:31:13]
How long does Steve estimate it would take for someone to familiarize themselves enough with deep learning to get involved in the field? [2:35:04]
Steve talks about the commencement speech he gave at his old high school, what it covered, and what was most strongly received. [2:36:20]
Personal strengths don’t always come from obvious places, and their combination into “talent stacks” can result in unforeseeable breakthroughs. [2:38:25]
How “every great idea is a recombination of prior ideas,” and the part technology plays in increasing possible pairings of these prior ideas. [2:40:52]
Parting thoughts and what’s next for Steve. [2:42:51]
This vibrant image features a butterfly that immediately strikes the viewer as unreal, despite its undeniable beauty. The colors, while brilliant and captivating, possess an almost artificial luminescence, giving the impression of an oversaturated illustration rather than a living creature. Its wings display intricate patterns that seem too perfect, too symmetrical, and perhaps too fantastical to exist naturally. This kitschy aesthetic, with its exaggerated vibrancy and flawless execution, hints at a digital origin, playfully disrupting our expectations of a true-to-life photograph.
Indeed, the artificial intelligence behind this AI photo has masterfully crafted an image that blurs the lines between reality and digital artistry. The "beauty" here isn't derived from the authenticity of a natural subject but from the algorithms' ability to synthesize an idealized, almost dreamlike representation of a butterfly. This deliberate unreality is part of its charm, inviting viewers to appreciate the creative potential of AI in generating visuals that are stunning precisely because they transcend the limitations of the natural world.
Não sei quem sou, que alma tenho.
Quando falo com sinceridade não sei com que sinceridade falo.
Sou variamente outro do que um eu que não sei se existe (se é esses outros)...
Sinto crenças que não tenho.
Enlevam-me ânsias que repudio.
A minha perpétua atenção sobre mim perpetuamente me ponta
traições de alma a um carácter que talvez eu não tenha,
nem ela julga que eu tenho.
Sinto-me múltiplo.
Sou como um quarto com inúmeros espelhos fantásticos
que torcem para reflexões falsas
uma única anterior realidade que não está em nenhuma e está em todas.
Como o panteísta se sente árvore (?) e até a flor,
eu sinto-me vários seres.
Sinto-me viver vidas alheias, em mim, incompletamente,
como se o meu ser participasse de todos os homens,
incompletamente de cada (?),
por uma suma de não-eus sintetizados num eu postiço."
Fernando Pessoa
I do not know who I am, I have that soul.
When I speak honestly do not know that I speak sincerely.
I am variously other than one I do not know if there is (if these others) ...
I do not have beliefs.
Enlevam urges me to repudiate.
My perpetual perpetually watching over me I tip
betrayal of the soul to a character that maybe I did not,
or she thinks I have.
I am multiple.
I'm like a room with many mirrors fantastic
that twist to false reflections
previous one reality that is not in any and is in all.
As the pantheist feels tree (?) And to the flower,
I feel many beings.
I am living the lives of others in me halfway,
as if my being partake of all men,
each incompletely (?)
by a sum of non-selves I synthesized a fake. "
Fernando Pessoa
At modelshopstudio™ & Lloyd Thrap Creative Photography
Model: Emma Alabama.
Location: modelshopstudio™
Albuquerque, New Mexico. USA
© 2013 2015 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.
Lloyd Thrap's Public Portfolio
Model