View allAll Photos Tagged understanding
Shuttle358
Book :
New Order
Retro
London Records
2008
Photography . Nick Knight
Art Direction . Peter Saville
CD :
Pinkcourtesyphone
Elegant & Detached
ROOM40
RM451
Music & Design . Richard Chartier
iTunes :
New Order
Sub Vulture
Factory
FAC133
Sir GMAttenborough ...
Researchers at the Northwestern University Center of Cancer Nanotechnology Excellence are studying the ways in which cancer cells migrate from existing tumors to create new, metastatic tumors in different regions of the body. By creating micrometer scaled adhesive islands on gold surfaces, they have allowed individual metastatic cells to take on shapes, such as the star depicted above. These shapes provide cues to cancer cells, which respond in the above image by concentrating their motility machinery at the star’s tips. This assay lends itself to large scale screening of cell populations—a problem that has stymied past efforts to find a drug that targets metastatic motility.
This image is part of the Nanotechnology Image Library collection.
Credit: Bartosz Grzybowski, Ph.D., National Cancer Institute, National Institutes of Health
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CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
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The Ocean Carrier Equipment Management Association (OCEMA), Georgia Ports Authority (GPA), Jacksonville Port Authority (JAXPORT), North Carolina State Ports Authority (NC Ports), and Consolidated Chassis Management LLC (CCM) have signed an historic Memorandum of Understanding to establish a new South Atlantic Chassis Pool (“SACP 3.0”) based on a single provider pool model. The new pool will start in October 2023.
“The SACP 3.0 will refurbish and replace chassis to improve fluidity and keep pace with the tremendous container trade growth across the South Atlantic,” said Griff Lynch, Executive Director, GPA.
The pool will offer 60,000 chassis to truckers, beneficial cargo owners, ocean carriers and other port users. Under the new structure, the SACP will transition from the current multi-contributor chassis pool to a single provider utility type pool. Chassis rates will be made available to pool users through a publically available tariff. The pool will continue to be owned by a subsidiary of OCEMA and managed by CCM, but subject to forward looking operating parameters agreed with the ports.
“Chassis are a vital link in the supply chain and we are committed to ensuring our customers continue to have access to a modern and dependable chassis supply,” said JAXPORT CEO Eric Green. “The enhanced SACP 3.0 is responsive to swings in chassis demand, providing cargo customers throughout the Southeast with a reliable chassis supply to meet their evolving needs.”
The SACP 3.0 is designed to infuse the pool with new high quality chassis by placing the responsibility for procuring assets with a single provider, CCM. The single provider model takes the best qualities of both the current gray pool and proprietary models and combines them to offer a safe, reliable, cost efficient, and scalable premium service.
“The SACP 3.0 provides a single management entity that ensures a robust chassis availability in the South Atlantic region and the ability to respond nimbly to the exponential cargo volume growth our ports are experiencing,” said Brian Clark, Executive Director, NC Ports. The SACP will continue to be the largest fully interoperable chassis pool in the U.S., with over 75 locations in the states of Alabama, Florida, Georgia, North Carolina, and South Carolina.
Jeffrey Lawrence, OCEMA Executive Director said, “This joint effort by three major U.S. ports and ocean carrier partners is a great example of a public/private effort that will ensure port users, including U.S. exporters and importers, truckers, rail roads, and ocean carriers, as well as the ports themselves, will receive access to the most resilient, efficient, and environmentally sound regional chassis fleet in the U.S.”
“SACP will continue to leverage its proven technology and management expertise to drive innovative chassis provisioning options that address changing customer and market needs as well as business demand,” said Mike Wilson, CEO of CCM. “The truly collaborative effort between the ports, OCEMA and CCM has always been essential to the success of SACP and continues to be the key to taking SACP 3.0 from concept to reality.”
A filing with the Federal Maritime Commission reflecting the new pool arrangement is expected in the near future.
I know the feeling one gets when you find that place where rocks totally against all odds "click" together and defy our limited understanding of gravity/balance and the way of this world.......try it sometime. If not check out Bills stream and see what a master excels in with rocks and other interesting items, and is quite happy to show you how. Keep on ROCKIN'
My thanks to Bill Dan for permission to use his images for this mosaic.
1. video clip - bill dan balancing rocks - sausalito . . ., 2. Sweet Nature . . . ., 3. Balance - Mixed Doubles, 4. i told you dude . . . it is my turn now . . ., 5. The Bird landed on this . . ., 6. Wooooooowie . . ., 7. Packman . . . ., 8. FH000040, 9. WE the NATURE . . ., 10. Bill Dan Balancing Rocks . . ., 11. Bill Dan in Studio, 12. Smooth . . ., 13. Hey . . . We are Fits together . . ., 14. Between a Rock & a hard Place . . ., 15. dude . . . it is my turn now . . ., 16. rocks on again . . ., 17. i am the boss . . ., 18. on the chain . . ., 19. rocks on again . . ., 20. Double Up . . ., 21. Very Sweet Collaborations . . ., 22. New Visitor . . ., 23. Moonlight Serenade . . ., 24. Boulder Ballet . . ., 25. Hot Rocks . . ., 26. "Magically Eyed", 27. Couples . . . ., 28. The Sailing Rocks . . ., 29. Earth Face, 30. Absolutely Balancing Rocks . . ., 31. My Little Friend . . ., 32. balancing rocks again . . ., 33. don't touch me . . ., 34. blue moon . . ., 35. i am the real boss . . ., 36. friendly sky . . .
Created with fd's Flickr Toys.
I have been revisiting the blogs I wrote for the trip, adding detail, which I hope gives a fuller picture of the stuff we did.
Anyway, this was our first full day, on which we had our own private guide to show us round the city; the Imperial Garden, the Public Fish Market, the Commercial Area and Shibuya.
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With the red wine and and beer drunk on the rooftop bar, I slept long and deep, as did Jools, so it came as a shick to be woken at eight by Jen telling us it was time for breakfast. We have a quick shower each, the go to the restaurant at the top of the building for a choice of French toast and bacon or something Japanese. We chose French Toast as we did all three mornings, along with coffee and fruit.
Outside it was a glorious day, and felt like summer on the inside of the ceiling to floor plate glass windows. Phew, its gonna be a scorcher! And what better way to spend the day than with our very own private tour guide.
What better indeed.
We met Maki at nine, and after some introductions, it was decided to go to Tokyo Station to exchange our vouchers for rail passes, thus making the rest of the travelling on the holibob possible. It also allowed us to be shown how to use the Metro, swiping our cards and looking at the map to plan a route. Handily, all lines have letter prefixes, and each station is numbered, so we were staying near K19, and to find our way back, get to the K line and go to the end, and Bob's you Aunt's live in lover. As it were.
We walked to the subway station, passing the lines of people waiting to go into the Thunder Gate temple, and also the gangs of rickshaw drivers touting for business with their tight buns and all dressed in the same way.
I was in heaven, I have been dreaming of travelling on the Tokyo Subway, but I was doing it for real, and snapping. All.The.Time.
We had to change a few stops along the line to get onto an overground suburban line for the run into Tokyo station. I was happy enough looking at the people queuing nicely on each platform as I looked over the lines of platforms. On each platform were more vending machines, but as ever I made do with snapping the scene and the people, always interesting
We arrived at Tokyo Station, Man, it was already hot, but Maki pointed out the profusion of vending machines. Everywhere, and for 110 Yet you can buy a half litre of cool h2o.
She lead us through various parts of the station to the rail tour office, we all filled out a lengthy form, then we were given our pass which gave us unlimited train travel for two whole weeks. We take in the scene of the main concourse, and the high arched roof of the reception hall outside the tourist office. We all take shots of it.
That done and the fact the Imperial Gardens were nearby, that is where we walked to next, through a maze of modern glass skyscrapers, over half empty 6 lane roads, and to the entrance to the gardens. Once upon a time it was the residence of the Emperor, he still have a third of it or something, but the rest is a public garden, which is littered with historic buildings, defensive walls and the remains of castles and storehouses and the like.
We walk along the main road before taking the path to the main entrance, between two ornamental lakes which reflected the walls and the modern city behind. We pay to go in for us and our guide, then entrance we walk through massive wooden gates, about 18 inches thick and made form the hardest wood I have seen.
All along the path, as it climbed, and forming the base of buildings, were walls made of massive stones, interlocked together like a giant 3D jigsaw, but built using no mortar, and some of the stones must have weighed tons, and carved into irregular shapes, so tight did they fit together that no vegetation grew from between them.
Did I mention it was hot? It was hot.
But the gardens were sensational, and gave us an understanding of the different prefectures in Japan, as all were represented. Also there was green tea plants and bamboo. And on the wing I saw three different species of swallowtail butterfly, but I had left my macro in the hotel, so made do with watching them flit about.
The path wanders through the gardens, view open up, across flower beds or lakes, but it doesn't seem crowded at all. It was coming to the end of the wisteria season, and hanging from the roofs of some of the shelters were long strands of the colourful plant. Little did we know that we would see wild wisteria trees in about ten days high up in the hills.
We go further into the gardens, in time coing to a wide flat park-like area. People are having picnics already, but Maki leas us on, past the music hall, all colourfully decorated to an elevated platofrm, once again made of the same stones described before, which once was the base for the large imperial castle, all of that is long gone. But from the top, once I had huffed and puffed up the steep slop, was the roof of the Budokan music hall, once THE venue to record a live album, like Cheap Trick and MSG.
We had seen enough, probably, but we were just so hot already, and jet lagged, so we trailed behind Maki as she lead us back to the main entrance out of the Imperial Gardens.
We take a time out to have some water from a vending area before completing the tour round the gardens, before walking to Tokyo Station again, but this time getting a bus to the commercial area for a walk round the public fish market.
It was hotter.
We climb on an air conditioned bus and wait for it to depart, but it seems cool enough, of maybe we're just getting used to the heat already. We leave and are treated with views of the commercial heart of the city, or one of the commercial hearts anyway. It all looks wonderfully exotic. A couple behind me asks if we were passengers off a cruise ship that they had seen dock earlier; he was an American now living here with his Japanese partner. I say that we had just flown in, and were on this guided tour, and there were really interested about the things we were doing. He said he really liked living in Tokyo, and I'm sure its a place that never fails to amaze.
It seems all tourists in Tokyo, and a good proportion of its residents also had the same idea, as it was like Venice on a very busy day.
And it was hot.
We start off walking over the main road, then down some of the merchants proper, where through open doors we can see fish being prepared; people ran about, trucks were reversing and the number of people increased.
The sights and smells were fabulous, but the lanes were narrow and choked with people, all walking at different paces, some eating, some drinking and some walking with their family. We were trying to keep pace with Maki. Obviously most stalls and shops sold seafood of some kind, but there were fruit and vegetable stalls too. We were tempted to buy something, but it was hard to know where to start, and we puzzled over many of the items on sale, each with just signs in Japanese, of course. Most of the dried seaweed looked the same, but must be different in taste if nothing else.
I take a few shots, mainly of the crowds to be honest, it is just wonderful, but the crowds and the heat mean it isn't really enjoyable, but looking back on it now, I can say I loved it. Maki turned to head down another narrow alley, and I say out loud, "oh no, not another one" as it was all becoming too much. We were hot, and the others hungry.
After an hour of walking and looking, and it being half one, it was decided that it was lunchtime. Over the main road bordering the market was a swish sushi place, who had tables at the counter, so we could watch our food being prepared. Only I wasn't hungry, so made do with some rice and simple sushi whilst Jools and Jen had a set meal. I drank some ice cool beer.
I had another. I had a salad, which I struggled to eat with chop sticks, so the chef who had been appointed to serve us provided me with a fork.
We walked back outside, and down the busy street, me catching glimpses into the gambling halls and shops that abounded. I took shots all the time of course.
After that we walked through the commercial area to the Tokyo version of Harrods to look at their food halls. None of us are big shoppers really, and we did it as Maki made it sound like a great thing, and some of the displays were wonderful for sure. The displays even outshone anyhing that Harrods had last time I went; the food looked perfect and freshly baked food from all over the world was available, including from Britain. Once again we bought nothing, not know which queue was for which counter. Even the bentos looked like art, and local people seemed to be buying stacks.
Finally she took us to the trendy area, really, so we ccould look round the best souvenir shop in the city. We were not sure when or if we would see souvenir shops, so we did buy a few things for friends, family and ourselves. Jen bought a dressing gown kind of things, and I bought a wall hanging and some small trinkets for friends. We then said to Maki that we had enough confidence to use the metro, and as we were by Shibuya, where I wanted to snap in the evening, we would bid her farewell one hour early, and we would look for a coffee shop.
After looking in a couple, we found a place in a rooftop place, in the shade, but it was still warm, so we order ice coffee and take the weight off our feet, which after a day's travelling, maybe a seven hour forced march round Tokyo in 30 degree heat wasn't the best thing. But we had survived, but our legs and feet we making some complaints. People were coming and going all the time, all were smiling, and enjoying the very warm sunshine. Teens looked perfect in their smart clothes and make up, whilst couples had neatly wrapped packets and parcels in chic bags. And there was us, sweating like the Brits out of water we were, but no one cast us a second glance.
A couple came up looking for a table, and we offer them ours, and they are so thankful, and we all bow to each other and smile.
We took a Metro to Shibuya, and then went looking for the famous crossing, but we were an hour early, so maybe we should find something to eat. There was flashing neon lights everywhere, and it was all a bit confusing to be honest. Then Jen says there's a place to eat on the top floor of the mega camera store near us. I have no idea how she spooted that, maybe I was sidetracked by all the flashing lights and the wonderful things and people to photograph.
So we take the lift to the top floor, and are shown to a booth overlooking the street below, and shown how to use the tablet to order food and drinks. Some of it was even in English, which was nice. We order some nibbles and drinks, and pressed send. Twenty minutes later the food arrived, but no drinks, we called the waiter and sent him to fetch beers.
The food was things like chicken on sticks, and sausage; the only place we saw a sausage the whole trip.
And all was good, in fact we mellowed out and enjoyed looking out as the light faded and the neon shone brighter.
We went downstairs and I went looking for the crossing, a six-way pedestrian crossing that is iconic, I took a place looking towards the brightest lights and snapped away.
We walk to another intersection and I try to make sense of it all, all the while taking shots, of course. I look down one of the road, under a railway bridge, and I think that might be the busy intersection I was hoping to snap.
It was, and with traffic zooming across at high speed, then every 5 minutes all traffic is stopped, and all pedestrian crossings switch to green and then there are hundreds, if not thousands making their way across the roads. Tow of the crossings even went diagonally across the crossing, the mixing in the middle.
It was a scene you can only imagine, I switched to the wide angle and slowed the shutter speed down and snapped some more. There was still some light in the sky, so the shots were pretty darn perfect, even I says so myself.
Happy with my shots, and the fact our legs and feet were screaming, we made our way back to the Metro then back to the hotel and back to the rooftop bar. The shops outside the Thunder Gate were rammed with people, and we had to really force our way through, but in a nice way.
It was a heck of a day, and we had achieved so much. And found our way back with no trouble either.
We played cards on the roof, with the Sky Tree shining a mile away, looking wonderful, and so we decided that we would go there the next evening. It was a much warmer evening, so we could sit under the starless sky whilst we played Meld. That and drank beer, wine and Gin, but not from the same glass, obvs.
Cheers
Educational Classroom Poster for teaching elementary math. This one help students understand the concepts and units of Metric Lengths.
Available in letter size and now 11"x17".
“At sunrise everything is luminous but not clear. It is those we live with and love and should know who elude us. You can love completely without complete understanding.”
― Norman Maclean
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Nikonos V
Kodak Gold 100
Kodak Pakon Scan
Leica-M6 TTL 0,72 Elmarit-M 1:2.8/21 mm ASPH.
Nikon super Coolscan 5000ed.
Delta 400asa developer HC 110 1+31 (B)
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinder
A United Launch Alliance Delta IV Heavy common booster core is transported to the Horizontal Integration Facility at Cape Canaveral Air Force Station for preflight processing. The Delta IV Heavy will launch NASA's upcoming Parker Solar Probe mission. The mission will perform the closest-ever observations of a star when it travels through the Sun's atmosphere, called the corona. The probe will rely on measurements and imaging to revolutionize our understanding of the corona and the Sun-Earth connection. Liftoff atop the Delta IV Heavy rocket is scheduled to take place from Cape Canaveral's Space Launch Complex 37 in summer 2018.
Photo credit: NASA/Cory Huston
Humanity's direction shall always be towards a more loving and peaceful life...for younger generations and future generations to be born...
Portrait on London streets, a street worker looks back to me with understanding. This looks of human understanding remain so important for me.
I asked him, almost as I arrived in London, they were having a pause, "may I take a photo of you?" and he answered "Why? I am old" then I pointed to myself and said "And me? I am not still interesting, because of my age? I am older then you."
That is the look, telling me, "yes, take a photo"!
We were not so different after all and he felt also interesting.
I do remember, looking at these photos again, when Judy Carter told us "SEE the others" around you, tell them you see them.
Photo taken less then a month after my arrival in UK.
During my first photo stroll in London centre.
My set "no more a stranger" of photos of people I did not know
Old Vieux Öreg set
"since feeling is first
who pays any attention
to the syntax of things..."
E.E. (Edward Estlin) Cummings (1894-1962), U.S. poet.
"Central to Jungian psychology is the concept of "individuation," the process whereby a person discovers and evolves his Self, as opposed to his ego. The ego is a persona, a mask created and demanded by everyday social interaction, and, as such, it constitutes the center of our conscious life, our understanding of ourselves through the eyes of others. The Self, on the other hand, is our true center, our awareness of ourselves without outside interference, and it is developed by bringing the conscious and unconscious parts of our minds into harmony."
Morris Berman (b. 1914), Canadian educator, author.
Royal Navy And Royal Netherlands Navy Signing A Memorandum of Understanding. Picture:LA(Phot) Alex Knott
2SL, Vice Admiral David Steel CBE signing the Memorandumof Understanding on behalf of the Royal Navy.
2SL, Vice Admiral David Steel CBE signed the Memorandum of Understanding on behalf of the Royal Navy. Pictured is the Second Sea Lord Vice Admiral David Steel CBE and Vice Admiral Borsboom of the Royal Netherlands Navy whilst the two respective Navies sign the Memorandum of Understanding, aboard HMS Victory in HMNB Portsmouth.
Deschutes Wild and Scenic River
The Deschutes River is located in central Oregon. It provides much of the drainage on the eastern side of the Cascade Range on its way to its confluence with the Columbia River. The Deschutes was an important resource for thousands of years for Native Americans and in the 19th century for pioneers on the Oregon Trail.
The Deschutes features ruggedly beautiful scenery, outstanding whitewater boating and a renowned sport fishery for steelhead, brown trout and native rainbow trout. The upper Deschutes River is highly accessible, offers an exceptional brown trout fishery, and is close to Bend, Oregon, adjacent to the Newberry National Volcanic Monument. The middle Deschutes River has excellent hiking opportunities with spectacular geologic formations and waterfalls. The lower Deschutes River offers the greatest opportunities for whitewater rafting and is one of Oregon's premier steelhead and trout fisheries.
Designated Reach: October 28, 1988. From Wikiup Dam to the Bend Urban Growth boundary at the southwest corner of Section 13, T18S, R11E. From Odin Falls to the upper end of Lake Billy Chinook. From the Pelton Reregulating Dam to the confluence with the Columbia River.
Classification/Mileage: Scenic — 31.0 miles; Recreational — 143.4 miles; Total — 174.4 miles.
Middle Deschutes Outstandingly Remarkable Values
Botany/Ecology
The middle Deschutes River segments are in an ecological condition unusual for similar areas within the region and contain a significant portion of Estes' wormwood.
Cultural
Cultural resources on the middle Deschutes River include prehistoric and historic sites found along the corridor and traditional uses associated with the area. Evidence that rare and/or special activities took place in the river canyon areas is represented by lithic scatters or flaking stations, shell middens, rock shelters, rock features and rock art. These sites have the potential to contribute to the understanding and interpretation of the prehistory of the Deschutes River and the region and are considered to eligible for inclusion in the National Register of Historic Places.
Fisheries
Surveys have identified fishing as the number one recreation activity in the upper sections. Stories and pictures of huge catches are found in historical records of the early 1900's.
Geologic
Fifty million years of geologic history are dramatically displayed on the canyon walls of the middle Deschutes River and lower Crooked Rivers. Volcanic eruptions which occurred over thousands of years created a large basin dramatized by colorful layers of basalt, ash and sedimentary formations. The most significant contributor to the outstandingly remarkable geologic resource are the unique intra-canyon basalt formations created by recurring volcanic and hydrologic activities.
Hydrology
Water from springs and stability of flows through the steep basalt canyons has created a stream habitat and riparian zone that is extremely stable and diverse, unique in a dry semi-arid climate environment. Features, such as Odin, Big and Steelhead Falls; springs and seeps; white water rapids; water sculpted rock; and the river canyons, are very prominent and represent excellent examples of hydrologic activity within central Oregon.
Recreational
These river corridors offer a diversity of year-round, semi-primitive recreation opportunities, such as fishing, hiking, backpacking, camping, wildlife and nature observation, expert kayaking and rafting, picnicking, swimming, hunting and photography. Interpretive opportunities are exceptional and attract visitors from outside the geographical area.
Scenic
The exceptional scenic quality along the middle Deschutes River is due to the rugged natural character of the canyons, outstanding scenic vistas, limited visual intrusions and scenic diversity resulting from a variety of geologic formations, vegetation communities and dynamic river characteristics. These canyons truly represent the spectacular natural beauty created by various forces of nature.
Wildlife
The river corridor supports critical mule deer winter range habitat and nesting/hunting habitat for bald eagles, golden eagles, ospreys and other raptors. Bald eagles are known to winter along the Deschutes River downriver from Lower Bridge and also within the lower Crooked River segment. Outstanding habitat areas include high vertical cliffs, wide talus slopes, numerous caves, pristine riparian zones, and extensive grass/sage covered slopes and plateaus.
Lower Deschutes Outstandingly Remarkable Values
Botany
The variety of plant communities in the Deschutes River Canyon fall into four broad categories; the high desert uplands host big sagebrush, juniper-big sagebrush and bunchgrass types, and the riparian vegetation along the river is dominated by alders.
Cultural - Pre-History
Humans have occupied the Deschutes Canyon area for at least 10,000 years. One hundred thirty-five prehistoric sites have been recorded in the lower Deschutes River Canyon, and it is believed that many others will yet be found. Most common are habitation sites. One of these, at Macks Canyon Campground, was excavated by University of Oregon archaeologists in the late 1960s and is now listed on the National Register of Historic Places. Sherars Falls, a point of difficult passage for anadromous fishes, is an important traditional fishing station for Native Americans.
Fisheries
The lower Deschutes provides extensive spawning and rearing habitat for both resident fish, such as rainbow trout, and anadromous steelhead and chinook salmon. There is also a regionally unique run of wild sockeye salmon that is sustained by the incidental passage of kokonee smolts through the turbines at the Pelton/Round Butte hydroelectric complex. Runs of anadromous fish sustain an important subsistence fishery for Native Americans.
Geologic
The Deschutes River flows through the Deschutes-Umatilla Plateau, the main part of which slopes northward from 4,000-foot levels in the mountains of Central Oregon to a 400-foot elevation along the Columbia River. The rocks are mostly Columbia River basalt, nearly 2,000 feet thick. The lava flows that make up the plateau occurred over millions of years and formed in distinct layers of various thickness.
Historic
Exploration and fur trapping by Euro-Americans began in the Deschutes Canyon in the early 19th century. Other historic activities that have been documented include use of the Oregon Trail, road and railroad construction and settlement. In the Deschutes Canyon, 38 historic sites have been documented, most of them associated with early railroad construction.
Recreation
The lower Deschutes River is central Oregon's playground, an ideal location for outdoor sports, from whitewater paddling and swimming to hiking and biking. The river provides a stable, high-volume flow, available for recreation all year long, and it has been internationally known for its excellent fishery for many years. One hundred river miles offer segments favored for relaxed, overnight camping and fishing floats, one-day whitewater adventures, and guided or non-guided fishing trips. Notable activities include following the Lower Deschutes River Back Country Byway along the river to campgrounds at Beavertail and Macks Canyon or the accessible fishing ramp at Blue Hole.
Scenic
The lower Deschutes River Canyon contains a diversity of landforms, vegetation and color. The river, having carved a canyon nearly 2,000 feet deep in many locations out of rugged Columbia River basalt flows, provides a dramatic and diverse landscape. The clear water of the river framed by the green riparian vegetative fringe creates a stark contrast to the often barren and broken reddish and brown cliffs and hillsides of the canyon. The river provides a boater with a moving platform for viewing the ever-changing scene. While transportation corridors exist (roads and railroads) and occupational and rural development have occurred in several areas, they are overshadowed by the magnitude and beauty of the river and canyon character.
Wildlife
The Deschutes River Canyon provides habitat for approximately 300 different species of wildlife. Most of these utilize riparian habitats adjacent to the river. This provides outstanding opportunities for viewing many species of wildlife including songbirds, waterfowl, mink, heron, mule deer and many reptiles, amphibians and other small and large mammals. Notable species are the bald eagle, peregrine falcon, osprey, Dalles sideboard snail and shortface lanx.
For more information stop on by the BLM’s Prineville District Office or contact:
Phone: 541-416-6700
E-mail: BLM_OR_PR_Mail@blm.gov
A series of AI-generated pictures of Cindy C. in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see the content. If I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.
my first form of liquid painting was on abstract spiritual forms in motion.
i finished that series in 1999 after a show in which no one seemed to be intrigued by the essential qualities of what our eyes show to us.
i switched over to REAL representational art.
but i kept the NOT GALLERY aspect of my work pretty strong -- using way more black, only tints and shades and full chroma colors. i painted my feelings with the colors i chose.
and "my feelings" weren't intended to be my own.
i love classical ideology.
form and beauty and also our modern understanding that the 1 percent is fetish and nazi/fascist by its nature.
so i'm not into perfection as much as the idea of things that are just obviously better or trying or engaged or activated.
arguments about perfection are weird.
why do people like to fight so much?
my eyes tend to see all things as rather ordinary and i want to show off the simple things i find, to revel in their nature and then to figure out an expression that suits the two -- the object itself and my attitudinal relationship with it. for me, more than ambiguous emotional terms, i favor HEAT and MOTION as the aspects of light that i choose to focus on.
because my life is so interlapped with photography, i am both a camera and a painter, a robot and a brain, a drone and brighter magick user.
i can't help this double nature and like prince said, you'd better know your dark side and your bright side and if they can get along and you end up bright, that is the path of the philosopher guide.
so if that's you, now is the time!
RISE up among the people.
use your intelligent power to untangle the ropes of darkness!
but i digress.
so through and along my urban and townsy journeys -- santa barbara, seattle, san francisco, santa fe, san diego, amsterdam, manhattan -- i eventually found my way to flowers.
they grow in the front yards of the people's homes wherever i walk, or in buckets at a florist shop along the street or a grocery store. the beauty of flowers is everywhere.
and flowers are a reminder that everything dies. but it can be beautiful.
and we cut flowers for their beauty.
for me, roses are wanton.
they are my third form/series of liquid paintings.
the second one, and the most explored/exploded, is the exploding rainbow dahlia.
and where roses are wanton and vain-glorious (really, i had no idea!), the dahlia is like a swiss community with its order and its architectural phenomenon.
my exposure to dahlias was limited before i arrived in san francisco. i had painted orchids, peonies, chinese rose, birds of paradise, cala lilies, california golden poppies, and tulips.
but dahlias and the rainbow seemed like they were made for each other. that those TWO THINGS were US. that we, as people were just like dahlias in the way we ordered and constructed our lives. the dahlia with its form for capturing and storing light and moisture, and the exploding rainbow with its blatant and broken spectrum of blasting color.
so i floated those dahlias in space where a million things were happening all at once. everything as one moved into a constellation. i added multiple sided die and glinty bits of ambiguous crow candy for the eye.
vanity and selfism, the star charisma of the rose's nature -- that of desire and death masked as finality -- was just another form of circustry in this new unexploited world of die and glinty, treasury bits spinning and rolling and falling through space, into space, as space. hitting and colliding, forcing loss and explosion and aiding decay.
and there was a war in these pieces which forced them into a liquidity.
that war was between the clarity of stasis and our fascination with movement.
the impressionists, aided ENTIRELY BY THE USE OF THE CAMERA, had learned that aperture values that the camera's limited technology could exploit at the time had shown new essentials.
aperture values taught the impressionists that they could DELETE things from the environment to increase the imaginative suggestibility of the viewers mind.
for example, if i have my focus on the nostrils of a racing horse and progressively blur and fade out the clarity as the horse goes away through foreshortening, the horse's nose will seem MUCH closer to the viewer and more three dimensional than it would if the receding part of the horse were in perfect detailed clarity.
people like manet realized even further, using the same deletion technique of the intelligence, that a glove could literally look MORE glove-like with just three strokes of a brush. indeed, that the SUGGESTION of a glove was infinitely more powerful and perfect to the impression of the piece than an actual glove ever could be.
so in my liquid painting, i envisioned a human circus as exploding rainbow dahlias. our vanity and self-love; our beauty and our grace; and our aging and exploding.
all with dreams of promise, jewelry in the sky, and an unending ability to NEVER grasp much of anything.
and we are constantly coming in and out of focus in our own lives, a living constellatory fascination with ourselves and others creating patterns and habits and occupations.
and that rabbit hole lasted for several years.
it started in 2010/11 as a discovery process and eventually ended up producing over 6,000 images of that world. enough to create an app that could endlessly recreate the world imagined.
and the goal was to document every conceivable color pattern that the human eye could see.
and i think it worked.
it also led to the conclusion of the PIXELWITHIN theory.
which i have elaborated over on torbakhopper's news outlet, lol. the merkaba is a beautiful thing!!
so now the rose.
sometimes slutty, sometimes regaling and proud. sometimes curvy, sometimes more than curvy or with torn edges and hot little shadows.
england had a war over roses.
just like the u.s. had a war over rubber. just kidding. it was all about democracy and partiotism.
and roses are more likely to cause trouble than dahlias.
dahlias are all about the community as a metaphor.
there is a fundamental "coming together" about dahlias.
whereas, honestly, roses are all about falling apart.
this large group of examples are all different now. just like the other forms of liquid painting, CHANGE is a part of the game.
In monotheism, God is conceived of as the Supreme Being and principal object of faith.[3] The concept of God as described by most theologians includes the attributes of omniscience (infinite knowledge), omnipotence (unlimited power), omnipresence (present everywhere), divine simplicity, and as having an eternal and necessary existence. Many theologians also describe God as being omnibenevolent (perfectly good), and all loving.
God is most often held to be non-corporeal,[3] and to be without any human biological sex,[4][5] yet the concept of God actively creating the universe (as opposed to passively)[6] has caused many religions to describe God using masculine terminology, using such terms as "Him" or "Father". Furthermore, some religions (such as Judaism) attribute only a purely grammatical "gender" to God.[7]
In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. In pantheism, God is the universe itself. In atheism, God is not believed to exist, while God is deemed unknown or unknowable within the context of agnosticism. God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] Many notable philosophers have developed arguments for and against the existence of God.[8]
There are many names for God, and different names are attached to different cultural ideas about God's identity and attributes. In the ancient Egyptian era of Atenism, possibly the earliest recorded monotheistic religion, this deity was called Aten,[9] premised on being the one "true" Supreme Being and Creator of the Universe.[10] In the Hebrew Bible and Judaism, "He Who Is", "I Am that I Am", and the tetragrammaton YHWH (Hebrew: יהוה, which means: "I am who I am"; "He Who Exists") are used as names of God, while Yahweh and Jehovah are sometimes used in Christianity as vocalizations of YHWH. In the Christian doctrine of the Trinity, God, consubstantial in three persons, is called the Father, the Son, and the Holy Spirit. In Judaism, it is common to refer to God by the titular names Elohim or Adonai, the latter of which is believed by some scholars to descend from the Egyptian Aten.[11][12][13][14][15] In Islam, the name Allah, "Al-El", or "Al-Elah" ("the God") is used, while Muslims also have a multitude of titular names for God. In Hinduism, Brahman is often considered a monistic deity.[16] Other religions have names for God, for instance, Baha in the Bahá'í Faith,[17] Waheguru in Sikhism,[18] and Ahura Mazda in Zoroastrianism.[19]
The many different conceptions of God, and competing claims as to God's characteristics, aims, and actions, have led to the development of ideas of omnitheism, pandeism,[20][21] or a perennial philosophy, which postulates that there is one underlying theological truth, of which all religions express a partial understanding, and as to which "the devout in the various great world religions are in fact worshipping that one God, but through different, overlapping concepts or mental images of Him."[22]
Contents [hide]
1Etymology and usage
2General conceptions
2.1Oneness
2.2Theism, deism and pantheism
2.3Other concepts
3Non-theistic views
3.1Agnosticism and atheism
3.2Anthropomorphism
4Existence
5Specific attributes
5.1Names
5.2Gender
5.3Relationship with creation
6Depiction
6.1Zoroastrianism
6.2Islam
6.3Judaism
6.4Christianity
7Theological approaches
8Distribution of belief
9See also
9.1In specific religions
10References
11Further reading
12External links
Etymology and usage
The Mesha Stele bears the earliest known reference (840 BCE) to the Israelite God Yahweh.
Main article: God (word)
The earliest written form of the Germanic word God (always, in this usage, capitalized[23]) comes from the 6th-century Christian Codex Argenteus. The English word itself is derived from the Proto-Germanic * ǥuđan. The reconstructed Proto-Indo-European form * ǵhu-tó-m was likely based on the root * ǵhau(ə)-, which meant either "to call" or "to invoke".[24] The Germanic words for God were originally neuter—applying to both genders—but during the process of the Christianization of the Germanic peoples from their indigenous Germanic paganism, the words became a masculine syntactic form.[25]
The word 'Allah' in Arabic calligraphy
In the English language, the capitalized form of God continues to represent a distinction between monotheistic "God" and "gods" in polytheism.[26][27] The English word God and its counterparts in other languages are normally used for any and all conceptions and, in spite of significant differences between religions, the term remains an English translation common to all. The same holds for Hebrew El, but in Judaism, God is also given a proper name, the tetragrammaton YHWH, in origin possibly the name of an Edomite or Midianite deity, Yahweh. In many translations of the Bible, when the word LORD is in all capitals, it signifies that the word represents the tetragrammaton.[28]
Allāh (Arabic: الله) is the Arabic term with no plural used by Muslims and Arabic speaking Christians and Jews meaning "The God" (with a capital G), while "ʾilāh" (Arabic: إله) is the term used for a deity or a god in general.[29][30][31] God may also be given a proper name in monotheistic currents of Hinduism which emphasize the personal nature of God, with early references to his name as Krishna-Vasudeva in Bhagavata or later Vishnu and Hari.[32]
Ahura Mazda is the name for God used in Zoroastrianism. "Mazda", or rather the Avestan stem-form Mazdā-, nominative Mazdå, reflects Proto-Iranian *Mazdāh (female). It is generally taken to be the proper name of the spirit, and like its Sanskrit cognate medhā, means "intelligence" or "wisdom". Both the Avestan and Sanskrit words reflect Proto-Indo-Iranian *mazdhā-, from Proto-Indo-European mn̩sdʰeh1, literally meaning "placing (dʰeh1) one's mind (*mn̩-s)", hence "wise".[33]
Waheguru (Punjabi: vāhigurū) is a term most often used in Sikhism to refer to God. It means "Wonderful Teacher" in the Punjabi language. Vāhi (a Middle Persian borrowing) means "wonderful" and guru (Sanskrit: guru) is a term denoting "teacher". Waheguru is also described by some as an experience of ecstasy which is beyond all descriptions. The most common usage of the word "Waheguru" is in the greeting Sikhs use with each other:
Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh
Wonderful Lord's Khalsa, Victory is to the Wonderful Lord.
Baha, the "greatest" name for God in the Baha'i faith, is Arabic for "All-Glorious".
General conceptions
Main article: Conceptions of God
There is no clear consensus on the nature or even the existence of God.[34] The Abrahamic conceptions of God include the monotheistic definition of God in Judaism, the trinitarian view of Christians, and the Islamic concept of God. The dharmic religions differ in their view of the divine: views of God in Hinduism vary by region, sect, and caste, ranging from monotheistic to polytheistic. Divinity was recognized by the historical Buddha, particularly Śakra and Brahma. However, other sentient beings, including gods, can at best only play a supportive role in one's personal path to salvation. Conceptions of God in the latter developments of the Mahayana tradition give a more prominent place to notions of the divine.[citation needed]
Oneness
Main articles: Monotheism and Henotheism
The Trinity is the belief that God is composed of The Father, The Son (embodied metaphysically in the physical realm by Jesus), and The Holy Spirit.
Monotheists hold that there is only one god, and may claim that the one true god is worshiped in different religions under different names. The view that all theists actually worship the same god, whether they know it or not, is especially emphasized in Hinduism[35] and Sikhism.[36] In Christianity, the doctrine of the Trinity describes God as one God in three persons. The Trinity comprises The Father, The Son (embodied metaphysically by Jesus), and The Holy Spirit.[37] Islam's most fundamental concept is tawhid (meaning "oneness" or "uniqueness"). God is described in the Quran as: "Say: He is Allah, the One and Only; Allah, the Eternal, Absolute; He begetteth not, nor is He begotten; And there is none like unto Him."[38][39] Muslims repudiate the Christian doctrine of the Trinity and the divinity of Jesus, comparing it to polytheism. In Islam, God is beyond all comprehension or equal and does not resemble any of his creations in any way. Thus, Muslims are not iconodules, and are not expected to visualize God.[40]
Henotheism is the belief and worship of a single god while accepting the existence or possible existence of other deities.[41]
Theism, deism and pantheism
Main articles: Theism, Deism, and Pantheism
Theism generally holds that God exists realistically, objectively, and independently of human thought; that God created and sustains everything; that God is omnipotent and eternal; and that God is personal and interacting with the universe through, for example, religious experience and the prayers of humans.[42] Theism holds that God is both transcendent and immanent; thus, God is simultaneously infinite and in some way present in the affairs of the world.[43] Not all theists subscribe to all of these propositions, but each usually subscribes to some of them (see, by way of comparison, family resemblance).[42] Catholic theology holds that God is infinitely simple and is not involuntarily subject to time. Most theists hold that God is omnipotent, omniscient, and benevolent, although this belief raises questions about God's responsibility for evil and suffering in the world. Some theists ascribe to God a self-conscious or purposeful limiting of omnipotence, omniscience, or benevolence. Open Theism, by contrast, asserts that, due to the nature of time, God's omniscience does not mean the deity can predict the future. Theism is sometimes used to refer in general to any belief in a god or gods, i.e., monotheism or polytheism.[44][45]
"God blessing the seventh day", a watercolor painting depicting God, by William Blake (1757 – 1827)
Deism holds that God is wholly transcendent: God exists, but does not intervene in the world beyond what was necessary to create it.[43] In this view, God is not anthropomorphic, and neither answers prayers nor produces miracles. Common in Deism is a belief that God has no interest in humanity and may not even be aware of humanity. Pandeism and Panendeism, respectively, combine Deism with the Pantheistic or Panentheistic beliefs.[21][46][47] Pandeism is proposed to explain as to Deism why God would create a universe and then abandon it,[48] and as to Pantheism, the origin and purpose of the universe.[48][49]
Pantheism holds that God is the universe and the universe is God, whereas Panentheism holds that God contains, but is not identical to, the Universe.[50] It is also the view of the Liberal Catholic Church; Theosophy; some views of Hinduism except Vaishnavism, which believes in panentheism; Sikhism; some divisions of Neopaganism and Taoism, along with many varying denominations and individuals within denominations. Kabbalah, Jewish mysticism, paints a pantheistic/panentheistic view of God—which has wide acceptance in Hasidic Judaism, particularly from their founder The Baal Shem Tov—but only as an addition to the Jewish view of a personal god, not in the original pantheistic sense that denies or limits persona to God.[citation needed]
Other concepts
Dystheism, which is related to theodicy, is a form of theism which holds that God is either not wholly good or is fully malevolent as a consequence of the problem of evil. One such example comes from Dostoevsky's The Brothers Karamazov, in which Ivan Karamazov rejects God on the grounds that he allows children to suffer.[51]
In modern times, some more abstract concepts have been developed, such as process theology and open theism. The contemporaneous French philosopher Michel Henry has however proposed a phenomenological approach and definition of God as phenomenological essence of Life.[52]
God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent".[3] These attributes were all supported to varying degrees by the early Jewish, Christian and Muslim theologian philosophers, including Maimonides,[53] Augustine of Hippo,[53] and Al-Ghazali,[8] respectively.
Non-theistic views
See also: Evolutionary origin of religions and Evolutionary psychology of religion
Non-theist views about God also vary. Some non-theists avoid the concept of God, whilst accepting that it is significant to many; other non-theists understand God as a symbol of human values and aspirations. The nineteenth-century English atheist Charles Bradlaugh declared that he refused to say "There is no God", because "the word 'God' is to me a sound conveying no clear or distinct affirmation";[54] he said more specifically that he disbelieved in the Christian god. Stephen Jay Gould proposed an approach dividing the world of philosophy into what he called "non-overlapping magisteria" (NOMA). In this view, questions of the supernatural, such as those relating to the existence and nature of God, are non-empirical and are the proper domain of theology. The methods of science should then be used to answer any empirical question about the natural world, and theology should be used to answer questions about ultimate meaning and moral value. In this view, the perceived lack of any empirical footprint from the magisterium of the supernatural onto natural events makes science the sole player in the natural world.[55]
Another view, advanced by Richard Dawkins, is that the existence of God is an empirical question, on the grounds that "a universe with a god would be a completely different kind of universe from one without, and it would be a scientific difference."[56] Carl Sagan argued that the doctrine of a Creator of the Universe was difficult to prove or disprove and that the only conceivable scientific discovery that could disprove the existence of a Creator (not necessarily a God) would be the discovery that the universe is infinitely old.[57]
Stephen Hawking and co-author Leonard Mlodinow state in their book, The Grand Design, that it is reasonable to ask who or what created the universe, but if the answer is God, then the question has merely been deflected to that of who created God. Both authors claim however, that it is possible to answer these questions purely within the realm of science, and without invoking any divine beings.[58] Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Agnosticism and atheism
Agnosticism is the view that, the truth values of certain claims – especially metaphysical and religious claims such as whether God, the divine or the supernatural exist – are unknown and perhaps unknowable.[60][61][62]
Atheism is, in a broad sense, the rejection of belief in the existence of deities, or a God.[63][64] In a narrower sense, atheism is specifically the position that there are no deities.[65]
Anthropomorphism
Main article: Anthropomorphism
Pascal Boyer argues that while there is a wide array of supernatural concepts found around the world, in general, supernatural beings tend to behave much like people. The construction of gods and spirits like persons is one of the best known traits of religion. He cites examples from Greek mythology, which is, in his opinion, more like a modern soap opera than other religious systems.[66] Bertrand du Castel and Timothy Jurgensen demonstrate through formalization that Boyer's explanatory model matches physics' epistemology in positing not directly observable entities as intermediaries.[67] Anthropologist Stewart Guthrie contends that people project human features onto non-human aspects of the world because it makes those aspects more familiar. Sigmund Freud also suggested that god concepts are projections of one's father.[68]
Likewise, Émile Durkheim was one of the earliest to suggest that gods represent an extension of human social life to include supernatural beings. In line with this reasoning, psychologist Matt Rossano contends that when humans began living in larger groups, they may have created gods as a means of enforcing morality. In small groups, morality can be enforced by social forces such as gossip or reputation. However, it is much harder to enforce morality using social forces in much larger groups. Rossano indicates that by including ever-watchful gods and spirits, humans discovered an effective strategy for restraining selfishness and building more cooperative groups.[69]
Existence
Main article: Existence of God
St. Thomas Aquinas summed up five main arguments as proofs for God's existence.
Isaac Newton saw the existence of a Creator necessary in the movement of astronomical objects.
Arguments about the existence of God typically include empirical, deductive, and inductive types. Different views include that: "God does not exist" (strong atheism); "God almost certainly does not exist" (de facto atheism); "no one knows whether God exists" (agnosticism[70]);"God exists, but this cannot be proven or disproven" (de facto theism); and that "God exists and this can be proven" (strong theism).[55]
Countless arguments have been proposed to prove the existence of God.[71] Some of the most notable arguments are the Five Ways of Aquinas, the Argument from Desire proposed by C.S. Lewis, and the Ontological Argument formulated both by St. Anselm and René Descartes.[72]
St. Anselm's approach was to define God as, "that than which nothing greater can be conceived". Famed pantheist philosopher Baruch Spinoza would later carry this idea to its extreme: "By God I understand a being absolutely infinite, i.e., a substance consisting of infinite attributes, of which each one expresses an eternal and infinite essence." For Spinoza, the whole of the natural universe is made of one substance, God, or its equivalent, Nature.[73] His proof for the existence of God was a variation of the Ontological argument.[74]
Scientist Isaac Newton saw God as the masterful creator whose existence could not be denied in the face of the grandeur of all creation.[75] Nevertheless, he rejected polymath Leibniz' thesis that God would necessarily make a perfect world which requires no intervention from the creator. In Query 31 of the Opticks, Newton simultaneously made an argument from design and for the necessity of intervention:
For while comets move in very eccentric orbs in all manner of positions, blind fate could never make all the planets move one and the same way in orbs concentric, some inconsiderable irregularities excepted which may have arisen from the mutual actions of comets and planets on one another, and which will be apt to increase, till this system wants a reformation.[76]
St. Thomas believed that the existence of God is self-evident in itself, but not to us. "Therefore I say that this proposition, "God exists", of itself is self-evident, for the predicate is the same as the subject.... Now because we do not know the essence of God, the proposition is not self-evident to us; but needs to be demonstrated by things that are more known to us, though less known in their nature—namely, by effects."[77] St. Thomas believed that the existence of God can be demonstrated. Briefly in the Summa theologiae and more extensively in the Summa contra Gentiles, he considered in great detail five arguments for the existence of God, widely known as the quinque viae (Five Ways).
For the original text of the five proofs, see quinque viae
Motion: Some things undoubtedly move, though cannot cause their own motion. Since there can be no infinite chain of causes of motion, there must be a First Mover not moved by anything else, and this is what everyone understands by God.
Causation: As in the case of motion, nothing can cause itself, and an infinite chain of causation is impossible, so there must be a First Cause, called God.
Existence of necessary and the unnecessary: Our experience includes things certainly existing but apparently unnecessary. Not everything can be unnecessary, for then once there was nothing and there would still be nothing. Therefore, we are compelled to suppose something that exists necessarily, having this necessity only from itself; in fact itself the cause for other things to exist.
Gradation: If we can notice a gradation in things in the sense that some things are more hot, good, etc., there must be a superlative that is the truest and noblest thing, and so most fully existing. This then, we call God (Note: Thomas does not ascribe actual qualities to God Himself).
Ordered tendencies of nature: A direction of actions to an end is noticed in all bodies following natural laws. Anything without awareness tends to a goal under the guidance of one who is aware. This we call God (Note that even when we guide objects, in Thomas's view, the source of all our knowledge comes from God as well).[78]
Alister McGrath, a formerly atheistic scientist and theologian who has been highly critical of Richard Dawkins' version of atheism
Some theologians, such as the scientist and theologian A.E. McGrath, argue that the existence of God is not a question that can be answered using the scientific method.[79][80] Agnostic Stephen Jay Gould argues that science and religion are not in conflict and do not overlap.[81]
Some findings in the fields of cosmology, evolutionary biology and neuroscience are interpreted by some atheists (including Lawrence M. Krauss and Sam Harris) as evidence that God is an imaginary entity only, with no basis in reality.[82][83][84] These atheists claim that a single, omniscient God who is imagined to have created the universe and is particularly attentive to the lives of humans has been imagined, embellished and promulgated in a trans-generational manner.[85] Richard Dawkins interprets such findings not only as a lack of evidence for the material existence of such a God, but as extensive evidence to the contrary.[55] However, his views are opposed by some theologians and scientists including Alister McGrath, who argues that existence of God is compatible with science.[86]
Neuroscientist Michael Nikoletseas has proposed that questions of the existence of God are no different from questions of natural sciences. Following a biological comparative approach, he concludes that it is highly probable that God exists, and, although not visible, it is possible that we know some of his attributes.[59]
Specific attributes
Different religious traditions assign differing (though often similar) attributes and characteristics to God, including expansive powers and abilities, psychological characteristics, gender characteristics, and preferred nomenclature. The assignment of these attributes often differs according to the conceptions of God in the culture from which they arise. For example, attributes of God in Christianity, attributes of God in Islam, and the Thirteen Attributes of Mercy in Judaism share certain similarities arising from their common roots.
Names
Main article: Names of God
99 names of Allah, in Chinese Sini (script)
The word God is "one of the most complex and difficult in the English language." In the Judeo-Christian tradition, "the Bible has been the principal source of the conceptions of God". That the Bible "includes many different images, concepts, and ways of thinking about" God has resulted in perpetual "disagreements about how God is to be conceived and understood".[87]
Throughout the Hebrew and Christian Bibles there are many names for God. One of them is Elohim. Another one is El Shaddai, meaning "God Almighty".[88] A third notable name is El Elyon, which means "The Most High God".[89]
God is described and referred in the Quran and hadith by certain names or attributes, the most common being Al-Rahman, meaning "Most Compassionate" and Al-Rahim, meaning "Most Merciful" (See Names of God in Islam).[90]
Supreme soul
The Brahma Kumaris use the term "Supreme Soul" to refer to God. They see God as incorporeal and eternal, and regard him as a point of living light like human souls, but without a physical body, as he does not enter the cycle of birth, death and rebirth. God is seen as the perfect and constant embodiment of all virtues, powers and values and that He is the unconditionally loving Father of all souls, irrespective of their religion, gender, or culture.[91]
Vaishnavism, a tradition in Hinduism, has list of titles and names of Krishna.
Gender
Main article: Gender of God
The gender of God may be viewed as either a literal or an allegorical aspect of a deity who, in classical western philosophy, transcends bodily form.[92][93] Polytheistic religions commonly attribute to each of the gods a gender, allowing each to interact with any of the others, and perhaps with humans, sexually. In most monotheistic religions, God has no counterpart with which to relate sexually. Thus, in classical western philosophy the gender of this one-and-only deity is most likely to be an analogical statement of how humans and God address, and relate to, each other. Namely, God is seen as begetter of the world and revelation which corresponds to the active (as opposed to the receptive) role in sexual intercourse.[6]
Biblical sources usually refer to God using male words, except Genesis 1:26-27,[94][95] Psalm 123:2-3, and Luke 15:8-10 (female); Hosea 11:3-4, Deuteronomy 32:18, Isaiah 66:13, Isaiah 49:15, Isaiah 42:14, Psalm 131:2 (a mother); Deuteronomy 32:11-12 (a mother eagle); and Matthew 23:37 and Luke 13:34 (a mother hen).
Relationship with creation
See also: Creator deity, Prayer, and Worship
And Elohim Created Adam by William Blake, c.1795
Prayer plays a significant role among many believers. Muslims believe that the purpose of existence is to worship God.[96][97] He is viewed as a personal God and there are no intermediaries, such as clergy, to contact God. Prayer often also includes supplication and asking forgiveness. God is often believed to be forgiving. For example, a hadith states God would replace a sinless people with one who sinned but still asked repentance.[98] Christian theologian Alister McGrath writes that there are good reasons to suggest that a "personal god" is integral to the Christian outlook, but that one has to understand it is an analogy. "To say that God is like a person is to affirm the divine ability and willingness to relate to others. This does not imply that God is human, or located at a specific point in the universe."[99]
Adherents of different religions generally disagree as to how to best worship God and what is God's plan for mankind, if there is one. There are different approaches to reconciling the contradictory claims of monotheistic religions. One view is taken by exclusivists, who believe they are the chosen people or have exclusive access to absolute truth, generally through revelation or encounter with the Divine, which adherents of other religions do not. Another view is religious pluralism. A pluralist typically believes that his religion is the right one, but does not deny the partial truth of other religions. An example of a pluralist view in Christianity is supersessionism, i.e., the belief that one's religion is the fulfillment of previous religions. A third approach is relativistic inclusivism, where everybody is seen as equally right; an example being universalism: the doctrine that salvation is eventually available for everyone. A fourth approach is syncretism, mixing different elements from different religions. An example of syncretism is the New Age movement.
Jews and Christians believe that humans are created in the likeness of God, and are the center, crown and key to God's creation, stewards for God, supreme over everything else God had made (Gen 1:26); for this reason, humans are in Christianity called the "Children of God".[100]
Depiction
God is defined as incorporeal,[3] and invisible from direct sight, and thus cannot be portrayed in a literal visual image.
The respective principles of religions may or may not permit them to use images (which are entirely symbolic) to represent God in art or in worship .
Zoroastrianism
Ahura Mazda (depiction is on the right, with high crown) presents Ardashir I (left) with the ring of kingship. (Relief at Naqsh-e Rustam, 3rd century CE)
During the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sassanid empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback which is found in Sassanian investiture.[101]
Islam
Further information: God in Islam
Muslims believe that God (Allah) is beyond all comprehension or equal and does not resemble any of His creations in any way. Thus, Muslims are not iconodules, are not expected to visualize God.[40]
Judaism
At least some Jews do not use any image for God, since God is the unimageable Being who cannot be represented in material forms.[102] In some samples of Jewish Art, however, sometimes God, or at least His Intervention, is indicated by a Hand Of God symbol, which represents the bath Kol (literally "daughter of a voice") or Voice of God;[103] this use of the Hand Of God is carried over to Christian Art.
Christianity
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Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.[104]
Use of the symbolic Hand of God in the Ascension from the Drogo Sacramentary, c. 850
However, later on the Hand of God symbol is found several times in the only ancient synagogue with a large surviving decorative scheme, the Dura Europos Synagogue of the mid-3rd century, and was probably adopted into Early Christian art from Jewish art. It was common in Late Antique art in both East and West, and remained the main way of symbolizing the actions or approval of God the Father in the West until about the end of the Romanesque period. It also represents the bath Kol (literally "daughter of a voice") or voice of God,[103] just like in Jewish Art.
In situations, such as the Baptism of Christ, where a specific representation of God the Father was indicated, the Hand of God was used, with increasing freedom from the Carolingian period until the end of the Romanesque. This motif now, since the discovery of the 3rd century Dura Europos synagogue, seems to have been borrowed from Jewish art, and is found in Christian art almost from its beginnings.
The use of religious images in general continued to increase up to the end of the 7th century, to the point that in 695, upon assuming the throne, Byzantine emperor Justinian II put an image of Christ on the obverse side of his gold coins, resulting in a rift which ended the use of Byzantine coin types in the Islamic world.[105] However, the increase in religious imagery did not include depictions of God the Father. For instance, while the eighty second canon of the Council of Trullo in 692 did not specifically condemn images of The Father, it suggested that icons of Christ were preferred over Old Testament shadows and figures.[106]
The beginning of the 8th century witnessed the suppression and destruction of religious icons as the period of Byzantine iconoclasm (literally image-breaking) started. Emperor Leo III (717–741), suppressed the use of icons by imperial edict of the Byzantine Empire, presumably due to a military loss which he attributed to the undue veneration of icons.[107] The edict (which was issued without consulting the Church) forbade the veneration of religious images but did not apply to other forms of art, including the image of the emperor, or religious symbols such as the cross.[108] Theological arguments against icons then began to appear with iconoclasts arguing that icons could not represent both the divine and the human natures of Jesus at the same time. In this atmosphere, no public depictions of God the Father were even attempted and such depictions only began to appear two centuries later.
The Second Council of Nicaea in 787 effectively ended the first period of Byzantine iconoclasm and restored the honouring of icons and holy images in general.[109] However, this did not immediately translate into large scale depictions of God the Father. Even supporters of the use of icons in the 8th century, such as Saint John of Damascus, drew a distinction between images of God the Father and those of Christ.
In his treatise On the Divine Images John of Damascus wrote: "In former times, God who is without form or body, could never be depicted. But now when God is seen in the flesh conversing with men, I make an image of the God whom I see".[110] The implication here is that insofar as God the Father or the Spirit did not become man, visible and tangible, images and portrait icons can not be depicted. So what was true for the whole Trinity before Christ remains true for the Father and the Spirit but not for the Word. John of Damascus wrote:[111]
"If we attempt to make an image of the invisible God, this would be sinful indeed. It is impossible to portray one who is without body:invisible, uncircumscribed and without form."
Around 790 Charlemagne ordered a set of four books that became known as the Libri Carolini (i.e. "Charles' books") to refute what his court mistakenly understood to be the iconoclast decrees of the Byzantine Second Council of Nicaea regarding sacred images. Although not well known during the Middle Ages, these books describe the key elements of the Catholic theological position on sacred images. To the Western Church, images were just objects made by craftsmen, to be utilized for stimulating the senses of the faithful, and to be respected for the sake of the subject represented, not in themselves. The Council of Constantinople (869) (considered ecumenical by the Western Church, but not the Eastern Church) reaffirmed the decisions of the Second Council of Nicaea and helped stamp out any remaining coals of iconoclasm. Specifically, its third canon required the image of Christ to have veneration equal with that of a Gospel book:[112]
We decree that the sacred image of our Lord Jesus Christ, the liberator and Savior of all people, must be venerated with the same honor as is given the book of the holy Gospels. For as through the language of the words contained in this book all can reach salvation, so, due to the action which these images exercise by their colors, all wise and simple alike, can derive profit from them.
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but symbols of God the Father were not among them.[113] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be symbolized.
Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art.[104] Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of Man in the image of His own (thus allowing Human to transcend the other animals).
It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.[114]
By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua.[115] In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ.
In an early Venetian school Coronation of the Virgin by Giovanni d'Alemagna and Antonio Vivarini, (c. 1443) The Father is depicted using the symbol consistently used by other artists later, namely a patriarch, with benign, yet powerful countenance and with long white hair and a beard, a depiction largely derived from, and justified by, the near-physical, but still figurative, description of the Ancient of Days.[116]
. ...the Ancient of Days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burning fire. (Daniel 7:9)
Usage of two Hands of God"(relatively unusual) and the Holy Spirit as a dove in Baptism of Christ, by Verrocchio, 1472
In the Annunciation by Benvenuto di Giovanni in 1470, God the Father is portrayed in the red robe and a hat that resembles that of a Cardinal. However, even in the later part of the 15th century, the symbolic representation of the Father and the Holy Spirit as "hands and dove" continued, e.g. in Verrocchio's Baptism of Christ in 1472.[117]
God the Father with His Right Hand Raised in Blessing, with a triangular halo representing the Trinity, Girolamo dai Libri c. 1555
In Renaissance paintings of the adoration of the Trinity, God may be depicted in two ways, either with emphasis on The Father, or the three elements of the Trinity. The most usual depiction of the Trinity in Renaissance art depicts God the Father using an old man, usually with a long beard and patriarchal in appearance, sometimes with a triangular halo (as a reference to the Trinity), or with a papal crown, specially in Northern Renaissance painting. In these depictions The Father may hold a globe or book (to symbolize God's knowledge and as a reference to how knowledge is deemed divine). He is behind and above Christ on the Cross in the Throne of Mercy iconography. A dove, the symbol of the Holy Spirit may hover above. Various people from different classes of society, e.g. kings, popes or martyrs may be present in the picture. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms. They are depicted as floating in heaven with angels who carry the instruments of the Passion.[118]
Representations of God the Father and the Trinity were attacked both by Protestants and within Catholicism, by the Jansenist and Baianist movements as well as more orthodox theologians. As with other attacks on Catholic imagery, this had the effect both of reducing Church support for the less central depictions, and strengthening it for the core ones. In the Western Church, the pressure to restrain religious imagery resulted in the highly influential decrees of the final session of the Council of Trent in 1563. The Council of Trent decrees confirmed the traditional Catholic doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image.[119]
Artistic depictions of God the Father were uncontroversial in Catholic art thereafter, but less common depictions of the Trinity were condemned. In 1745 Pope Benedict XIV explicitly supported the Throne of Mercy depiction, referring to the "Ancient of Days", but in 1786 it was still necessary for Pope Pius VI to issue a papal bull condemning the decision of an Italian church council to remove all images of the Trinity from churches.[120]
The famous The Creation of Adam by Michelangelo, c.1512
God the Father is symbolized in several Genesis scenes in Michelangelo's Sistine Chapel ceiling, most famously The Creation of Adam (whose image of near touching hands of God and Adam is iconic of humanity, being a reminder that Man is created in the Image and Likeness of God (Gen 1:26)).God the Father is depicted as a powerful figure, floating in the clouds in Titian's Assumption of the Virgin in the Frari of Venice, long admired as a masterpiece of High Renaissance art.[121] The Church of the Gesù in Rome includes a number of 16th century depictions of God the Father. In some of these paintings the Trinity is still alluded to in terms of three angels, but Giovanni Battista Fiammeri also depicted God the Father as a man riding on a cloud, above the scenes.[122]
In both the Last Judgment and the Coronation of the Virgin paintings by Rubens he depicted God the Father using the image that by then had become widely accepted, a bearded patriarchal figure above the fray. In the 17th century, the two Spanish artists Velázquez (whose father-in-law Francisco Pacheco was in charge of the approval of new images for the Inquisition) and Murillo both depicted God the Father using a patriarchal figure with a white beard in a purple robe.
The Ancient of Days (1794) Watercolor etching by William Blake
While representations of God the Father were growing in Italy, Spain, Germany and the Low Countries, there was resistance elsewhere in Europe, even during the 17th century. In 1632 most members of the Star Chamber court in England (except the Archbishop of York) condemned the use of the images of the Trinity in church windows, and some considered them illegal.[123] Later in the 17th century Sir Thomas Browne wrote that he considered the representation of God the Father using an old man "a dangerous act" that might lead to Egyptian symbolism.[124] In 1847, Charles Winston was still critical of such images as a "Romish trend" (a term used to refer to Roman Catholics) that he considered best avoided in England.[125]
In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a whole range of other icons being placed on the forbidden list,[126][127] mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The Council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.
Theological approaches
Theologians and philosophers have attributed to God such characteristics as omniscience, omnipotence, omnipresence, perfect goodness, divine simplicity, and eternal and necessary existence. God has been described as incorporeal, a personal being, the source of all moral obligation, and the greatest conceivable being existent.[3] These attributes were all claimed to varying degrees by the early Jewish, Christian and Muslim scholars, including Maimonides,[53] St Augustine,[53] and Al-Ghazali.[128]
Many philosophers developed arguments for the existence of God,[8] while attempting to comprehend the precise implications of God's attributes. Reconciling some of those attributes generated important philosophical problems and debates. For example, God's omniscience may seem to imply that God knows how free agents will choose to act. If God does know this, their ostensible free will might be illusory, or foreknowledge does not imply predestination, and if God does not know it, God may not be omniscient.[129]
However, if by its essential nature, free will is not predetermined, then the effect of its will can never be perfectly predicted by anyone, regardless of intelligence and knowledge. Although knowledge of the options presented to that will, combined with perfectly infinite intelligence, could be said to provide God with omniscience if omniscience is defined as knowledge or understanding of all that is.
The last centuries of philosophy have seen vigorous questions regarding the arguments for God's existence raised by such philosophers as Immanuel Kant, David Hume and Antony Flew, although Kant held that the argument from morality was valid. The theist response has been either to contend, as does Alvin Plantinga, that faith is "properly basic", or to take, as does Richard Swinburne, the evidentialist position.[130] Some theists agree that only some of the arguments for God's existence are compelling, but argue that faith is not a product of reason, but requires risk. There would be no risk, they say, if the arguments for God's existence were as solid as the laws of logic, a position summed up by Pascal as "the heart has reasons of which reason does not know."[131] A recent theory using concepts from physics and neurophysiology proposes that God can be conceptualized within the theory of integrative level.[132]
Many religious believers allow for the existence of other, less powerful spiritual beings such as angels, saints, jinn, demons, and devas.[133][134][135][136][137]
You know even though I was doin' the Davy Crockett for a couple of days that I never forgot my love for the close-up.
Any excuse to stop and have a couple in Madison Wisconsin is good enough for me...
and it was on the way home sort of.
I was knocking back a cold one and Erin walked in and sat down at the bar.
She's a beautiful woman and that always perks me up.
Then she sat down close to me and as a guy and a photographer and a people watcher I couldn't help but to study her just a little bit.
She seemed like she was in a good mood... but nervous too maybe... and she was wearing this very pretty dress.
My first impression was that she was going on a date.
A first date maybe.
You can figure out the rest I'm sure.
That new Nikon D700 worked its magic and Erin and I struck up a conversation.
She was a very nice woman with a great energy about her.
Something radiant really.
We talked about a whole bunch of things there.
Erin said she'd lost a lot of weight in the past.
We talked about love and life and big changes as far as both go and what they do to a person.
Erin's no stranger to all of that.
She's walked a path that usually only souls much older than her can talk about.
Something inside her was just shining though and as backlit as she was I just hadda start poppin' off the frames.
Erin was actually celebrating a very significant anniversary that day.
It was so nice to meet you and get to know a little bit about you Erin.
I hope the rest of your evening was spectacular and things are going well for you.
And if anyone asks...
you never saw me there!
All the best to you girl.
We are all on the same journey.
A series of AI-generated pictures of a jet fighter cockpit (many did not produce good results, I'm sharing them anyway).
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.
2Ti 2:15 Study to shew thyself approved unto God, a workman that needeth not to be ashamed, rightly dividing the word of truth.
www.sermonaudio.com/gallery_details.asp?image=gr-11807231...
The Approved Workers of God
II Timothy 2:15
“Spoudason seaton dokimon parasthsai tw qew,
Be eager yourself approved to present to God,
ergathn anepaiscunton, orqotomounta ton logon ths alhqeiaV.”
a worker unashamed, cutting straight the word of truth.
“Study to show thyself approved unto God, a workman that needed not to be ashamed, rightly dividing the word of truth.” KJV
Though King James Version KJV will be used as reference, I’d rather choose to mention and use as cross-reference the New King James Version NKJV and the most important is to introduce the importance of using the original text in Greek which is the Majority Text.
There should be a proper way of studying and teaching the Scripture as the word of God. I’m going to show the “teacher of the word of God” the importance of using the original text and the significance of Paul’s writings why he chose that specific word.
I have chosen to use this text as my introduction for this is very important to us to have the biblical understanding of why Paul is trying to tell Timothy the importance of correct, right, true and biblical teaching for the time will come some workers will depart from the “truth”.
There is big difference between the history of the past as the reformers fought in the history of “true Christian Religion” and in our present time with respect to “the wiles of the devil” to twist, to contaminate, to manipulate, to divert from the truth as the word of God to make the people of God be misdirected from “truth” so that others will remain totally depraved under the influence of Satan.
There are things which in some respect that some doctrines are not really so important and so serious, as if, it is of none important that the effect is unrealized, it is being neglected and the final results is compromising!
Some topics to be tackled which is consider as the “last few centuries(y) before the coming of the Lord Jesus Christ” doctrines of the devil are: In Christology- “Christ could be tempted”, “Carnal Christian”, “Christian Rock Music”, White Lies”, Speaking in Tongues”, Evangelistic Entertainment”, Ecumenical Gospel”.
Therefore, there is importance for us, as true followers of Christ to fight back, to refute, and to be an apologetics with these kind of false teachings.
There are 4-points that we have to consider in studying this text, I Timothy 2:15 according to its context:
1.We have to be in a hurry in studying the Scripture.
2.We have to make sure to present ourselves really approved to God.
3.We have to be ready and not ashamed of being a fighter of the “truth”.
4.and finally, we have to make sure that our study of the Scripture is truly in the right way and how.
The first word used in kjv is “Study” but the original word used is spoudason, aor active imperative second person singular of the word spoudazw, spoudadzo means, to hasten, to hurry, to bent upon, make haste. (to exert one’s self, endeavor, give diligence.) Paul is trying to tell Timothy to hurry up and make himself ready for “in the last days, perilous times shall come, for men shall be lovers of their own selves, covetous, boasters, proud, blasphemers, disobedient to parents, unthankful, unholy, without natural affection, trucebreakers, false accusers, incontinent, fierce, despisers of those that are good, traitors, heady, highminded, lovers of pleasures more than lovers of God; having a form of godliness, but denying the power thereof” 2 Timothy 3:1-5a, “ever learning, and never able to come to the knowledge of the truth” v.7. Because of these things enumerated by Paul, he said in v.7 “ever learning” means always learning but never, I repeat, never “able to come to the knowledge of the truth” but instead which is the opposite of the truth, which is pseudos-falsehood, resulting in false doctrines and teachings that makes the man compromising in his attitude with respect to truth. We have to be in a hurry (in our attitude) to study the Scripture for that time is already here, especially our time now, the 21’st century wherein lots of compromising teachings are spreading in the Christian community. “Go back to the Scripture!” “But, beloved remember ye the words which were spoken before of the apostles and of our Lord Jesus Christ…” Jude 17
Second word, which is dokimon, from the word dokimos, dokimos, proved, tried; approved after examination and trial as in Rom. 16:10 “Salute Apelles approved in Christ” and “Blessed is the man that endureth temptation: for when he is tried (dokimos), he shall receive the crown of life, which the Lord hath promised to them that love him.” James 1:12; by implications, “acceptable” as in Rom. 14:18. We have to be strong in our Christian graces, even to endure hardships and commit ourselves to remain faithful as of a “soldier”. “Thou therefore endure hardness, as a good soldier of Jesus Christ.” V. 3. We have to endure hardness, endure afflictions, suffer trouble but still remain a good soldier, still worthy to be a soldier of Christ. A champion of the cause of Christ.!!
To be approved unto God, we have to consider ourselves as the leader and commander of the people of God, as the shepherd of the flock of God thru Christ as the Chief Shepherd, the Commander-in-Chief, the Captain of our Salvation, whom the soldiers are willing to suffer and die for in this battles, fighting against sin, the world and Satan.
“Present ourselves approved unto God”
dokimon parasthsai tw qew. The language of Paul to Timothy as a teacher to student relationship signifies the importance of being ready to give himself even his life as a soldier to his commander, no matter what kind of affliction he has to encounter, we must be ready to die and serve for it.
To fight and ready to die in service to our Lord Jesus Christ!
ergathn anepaiscunton, a worker needed not to be ashamed, “According to my earnest expectation and my hope, that in nothing I shall be ashamed, but that with all boldness, as always, so now also Christ shall be magnified in my body, whether it be by life, or by death.” Philippians 1:20
The most important of all, which gives the idea of how we have to make ourselves as a real soldier, a shepherd of the flock, ministering the Church that was bought with a price of the blood of Christ and was given towards the Elders or Bishop (episkopos) I Timothy 3:1, is “apt to teach”, didaktikos, which is able to teach.
“Take heed therefore unto yourselves, and to all the flock, over the which the Holy Ghost hath made you overseers (episkopous), to feed (poimainein) the church of God, which he hath purchased with his own blood. 29For I know this, that after my departing shall grievous wolves enter in among you, not sparing the flock.” Acts 20:28
orqotomounta ton logon ths alhqeiaV.
orthotomounta ton logon teis aleitheias.
Cutting straight the word of truth.
In kjv “rightly dividing the word of truth”
Orthotomounta is the most significant and important word of study for us to understand what Paul meant in this text:
orqotomounta, orqotomew, orthotomeow, to cut straight: to proceed by straight paths, hold a straight course or to do right. To set forth truthfully, without perversion or distortion as in Hebrew 12:13; teach correctly. Compound word orqoV, straight and the verb tomew, to cut.
What does it meant by “rightly dividing the word of truth” in kjv or “cutting straight the word of truth”?
I prefer to use as the correct rendering of the word “cutting straight”.
This is the illustration, if you were given a 4” x 8” piece of paper, how are going to cut it in half? There are several ways of cutting the paper: first, fold it in half and then ripped it in half, but the edges are rough. Second, cut it with scissors though the edges are clean and not rough, it is crooked. Thirdly, by using a blade as cutter and a ruler or by using a “paper cutter” which the results is, straight and clean.
Now, what Paul meant to cut straight the word of truth, is there should be a right way of studying and teaching the scripture which is the word of God, the word of truth. It should be approved and tried like the way the reformers did long time ago.
How can we do that? Some wrong teachings are the results of “twisting the truth” to make it seems right but actually is wrong, perverting the truth which comes the results of our attitude between the truth and the “falsehood” is “compromising”, instead of “cutting straight the word of truth”. The attitude of “compromising” between the truth and falsehood is the most neglected topic of arguments among the brethren in Christ, especially those who are really involve in the ministry whether an Elder, Bishop, or a Pastor that “shepherds” the flock of God.
It is either “black or white” and there is no such thing as “gray”!
It is either God or Satan and there is no in-between!
It is either good or evil, to be righteous or sinful and to be biblical or not.
I’m presenting the “cutting straight the word word of truth”, which is the original word in Greek, “orthotomounta” as the way I’ve known in right way of studying the scripture, which is the Bible as the word of God.
There is a great purpose of God of why he had chosen the language of Hebrew of the Old Testament and the language of Greek in the New Testament. To be precise, specific and direct in meaning according to its context is the very important thing to observe in this study of the word, according to its purpose and the meaning of it according to God.
Oh well, I’m going to repeatedly say the word “orthotomounta” in our study to show you what Paul meant in this text.
In getting to know some applications to have proper understanding of this text, we must continue the reading of the scripture according to its context.
It will be short, direct and concise in its nature of presentation and pray that the Holy Spirit will guide us and direct us to the truth according to the grace of God.
1.Avoid wicked, stupid or profane language and fruitless discussion. “Vain babblings” came from a compound word in Greek, kenoV, kenos, a primary word means – empty and the word fonh, phonei, noise, sound or voice, which kenofonia, kenophonia, means – “empty word” empty sounding, fruitless discussion. This will only lead to increase wickedness, impiety or ungodliness. It will profit them nothing but “unfruitfulness”. Verse 16. Also in verse 22, such as foolish and stupid questions that will only lead to a fight.
2.We have to be “instant in season” II Tim 4:2, to be at hand and ready to defend the word of truth instantly, because if we will be idle for a time, it will lead to be spreading into the Church wrong teaching like a cancer. The following verse 17, Paul use the word gaggraina, gangraina, where the English word gangrene came from, it is a cancerous disease by which any part of the body suffering from inflammation becomes so corrupted that, the evil continually spreads, attacks other parts of the flesh until it reaches the bone structure. This will results in spreading the wrong teaching like a gangrene until it reaches the main structure of the ekleisia, which is the church, the mystical body of Christ, to topple down the people of God. This will lead to some who separates themselves from the wrong teaching, some churches will experience “splits” and some sheeps will be gone astray! Like Philetus and Hymenaeus teaching that the resurrection is past already to overthrow the faith of some. Verse 18
3.The right attitude after performing “orthotomounta” as servant of the Lord, verse 22, is “not strive” kjv, from the word macomai, machomai, those who fight in hand-to-hand combat, so we don’t entertain foolish questions that will only lead to a fight. But we have to be gentle, able to teach, patient, in meekness, giving good instructions to those who oppose us. Verse 24 and 25.
4.The purpose as we impart the truth in gentle and humble manner is to rely in the sovereignty of God by the intervention of the work of Holy Spirit that these people will turn to repentance, to the knowledge of the truth, to recover them from “the snare of the devil” who are still in captive or became captive, trapped, seduced by the arts of Satan or maybe still totally depraved according to their own will. Verse 25 and 26. Note: I mentioned the words “or maybe still totally depraved” for two reasons: One, there are some people who are totally depraved and works under the influence of Satan coming into the church “in sheep’s clothing”. And second, in verse 26, the Greek word, kai ananhywsin en thV tou diabolou pagidoV, and the word ananeipsowsin, which is first aorist active subjunctive of the verb ananhfw, ananeifow, means to return to soberness, to be sober again. Since it is in the active voice and subjunctive mood, there is a connotation that these brethren might be recovered again to their consciousness that they have to repent of their wrong teachings. This will be our biblical and right attitude with other believers in defending the word and presenting the “orthotomounta”, cutting straight the word of truth.
Facebook pages -- Understanding your Facebook page
facebook.daveshirley.net/facebook-pages-understanding-you...
Download Our Free Facebook Cheat Sheet here
facebook.daveshirley.net/fbcheatsheet
What is the purpose of a Facebook page? For one of the purposes of a Facebook page is to give you the ability to reach customers where they are in their location from around the world.
One of the cool things about Facebook, is it people all over the world visit it. They visit Facebook to connect with their friends and even family members as well as other things that they enjoy and have interest in. These things may include businesses and organizations just like yours.
Your Facebook page, if designed correctly, can help you tremendously in marketing your business or cause. Your Facebook page is a place for customers can in turn learn about you, your products, and even your business services. your customers will learn on your page about the things you from old, they will do so in your news feeds, and the constantly updating list of your unique stories that you post on Facebook.
One of the best things about your page is the fact that it is free to you, it is easy for you to set up, and your Facebook page helps people to find you on facebook.
Facebook pages, built for businesses and mobile users
According to online resources, well over a billion people visit Facebook pages each and every month. And according to several articles online more and more individuals are visiting Facebook pages on their smartphones weather Android or Apple each and every day. For you to use your facebook it is never been more important to you or for your business, for it to be readily accessible on mobile devices.
Facebook pages, well simply put they work great on mobile devices. Your page on Facebook will make it easier for you to daily communicate with your customers. On your Facebook page youTo help your customers and help them make purchases, and even keep them coming back for more.
If you're into apps, then you will enjoy the Facebook pages manager app! This app is free and available on both Android and Apple products. With this app you can manage your Facebook page or pages very quickly and respond to your customers request no matter where you are.
Facebook pages, drives customers to take action
What is it about Facebook page? That makes it easy for customers eagerly learn more about you and your business? well and give them up to date information about how they can start using your products and/or services. Your unique page will always be loaded with all the up-to-date features available on Facebook which will enable you to accomplish all your unique business goals, no matter what business line or niche market you are interested in.
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Dave Shirley
Find me on Facebook at www.facebook.com/dave.shirley.522
ABOUT ME:
a) I've got double digit peripheral vision.
b) My skin has been compared to that of a baby dolphin.
c) I'm in a music act called Adult Film Stars.
d) My power is beyond your understanding.
e) I've got one foot in the grave and one on a banana pill.
f) I really enjoy trees.
g) I'm a co-founder of PRO SMOKERS TOUR.
h) I'm good at nuetralizing bad situations. It's a gift.
i) I can {F} but I can't {L}....so I've been told.
j) it's a gift.
k) I would love to lay Juliette Lewis and Drew Barrymore.
l) When I was a teenager I jacked off a lot.
m) I didn't have sex for one year and a half once.
n) I gotta love kissing a woman for me to perform sexually.
o) I regret not having sex with Vanessa.
p) I've sold marijuana occasionally if I really "needed" the money.
q) I still love all my ex-girlfriends.
r) For the most part I delivered a baby once.
s) I was born in Heidelberg, Germany.
t) The first time I performed cunnilingus I was 17. LOVED IT!!
u) Rockn a live show is pretty cool too.
v) I know I'm the one to do what needs to be done.
w) I was invited to a Bukkake Party 3 years ago. I didn't go.
x) Women seem to like me a lot. I like them too.
y) Lately I've found slightly chubby chicks really fn hot.
z) I'm that guy who said, "just put ur {D} in the wind".
CONTACTS:
www.facebook.com/danieldayzuko
www.facebook.com/ProSmokersAssociation
September 13, 2009 | Lined up the grass in the background for an unbroken expanse of creamy green bokeh. I threw on a bit of my couch texture and borealnz's ttv layer
HBW!
Leipziger Buchmesse 2016 / Leipzig Book Fair 2016
2016-03-19 (Saturday)
2016_040
2016#248
Lightning-Farron (Laura) 632675 as Maleficent from Maleficent (Disney)
Thank you for any group invites which I'd be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.
A cathedral without a bishop: St. Stephan in Vienna
In order to fully fulfill the function of a capital in its medieval understanding, Vienna lacked a decisive factor: Vienna was indeed a major city, but not the seat of a bishopric, but was subordinate to the Prince-Bishop of Passau in ecclesiastical matters. St. Stephen, the most important church in the city, had only the rank of a parish church.
Therefore, the first attempts to found a diocese in Vienna date back to the time of the Babenbergs. Also the under Ottokar II Přemysl after the fire of 1258 begun generous new building of the Saint Stephen's church in the late Romanesque style pursued this goal.
The Habsburgs' representational aspirations also focused on St. Stephen after they had taken control of Austria. Albrecht I began in 1304 with the construction of a new choir. The highlight, however, was reached under Duke Rudolf IV. This ambitious Habsburg wanted to turn Vienna into an important royal residence and St. Stephen as the "Capella regia Austriaca" into the court church of the Austrian sovereign princes, the sacral center of the country.
The background for this lay in the competition with the dynasty of Luxembourg: Emperor Charles IV was just about to expand his residence Prague to a metropolis of European importance. One of his measures was the elevation of Prague to the Archbishopric of 1344, which prompted the great expansion of St. Vitus' Cathedral on Prague's Hradcany.
Rudolf's plan to make St. Stephen the seat of a bishop failed because of the resistance of Passau, because the bishop rightly feared a reduction of his diocese. Nevertheless, Rudolf found a way to give St. Stephan a special rank. In 1359 he obtained the papal confirmation for the founding of a collegiate, an association of 24 dressed in cardinal red robes priests, which was headed by a provost in a bishop-like costume. By subordinating the collegiate directly to the Pope, it was beyond the Passau influence. Thanks to complicated ecclesiastical chess moves he finally succeeded in 1365 to transfer his foundation to St. Stephen, which increased the importance of the church.
This was also reflected in the structural design of the church. In 1359 Rudolf IV began with a large-scale expansion, which was to bear all the symbols of a ruling church: a princely gallery above the west portal was framed by two-storey Duke's chapels, in which the relic treasure was kept. A princely tomb was erected as the tomb of the rulers of the country and finally four towers were planned, which was actually a building prerogative of a bishop's church. By integrating parts of the late Romanesque predecessor building (the main portal and the westwork called "Giant Gate") into his concept, Rudolf gave his building program historical depth.
With the death of Rudolf, the interest of the Habsburgs in St. Stephen palpably came to an end, and the citizens of Vienna took the initiative for the further expansion of the church. Only with Frederick III., who saw his example in Rudolf IV, did a Habsburg take part in the expansion of the church. Friedrich ordered the beginning of the work on the north tower. However, his high tomb in the Apostle Choir of the Dome, which is another notable example of the dynastic program of the Habsburgs in the late Middle Ages, is particularly reminiscent of this Habsburg.
Frederick III. finally managed to bring the prestige matter of his ancestor Rudolf to a successful end: 1469 Frederick III succeeded in to bring about the Pope to elevate Vienna to a diocese. Although the Viennese diocese initially had only a minimal extension - it was smaller than the current urban area - but the Habsburgs had imposed their own will: The Cathedral of St. Stephen had finally a bishop.
Eine Kathedrale ohne Bischof: St. Stephan in Wien
Um im mittelalterlichen Verständnis die Funktion einer Hauptstadt vollends zu erfüllen, fehlte Wien eine entscheidende Sache: Wien war zwar eine bedeutende Großstadt, aber nicht Sitz eines Bistums, sondern unterstand in kirchlichen Belangen dem Fürstbischof von Passau. St. Stephan, die wichtigste Kirche der Stadt, hatte nur den Rang einer Pfarrkirche.
Daher datieren die ersten Versuche einer Bistumsgründung in Wien bereits in die Zeit der Babenberger. Auch der unter Ottokar II. Přemysl nach dem Brand von 1258 begonnene großzügige Neubau der Stephanskirche im spätromanischen Stil verfolgte dieses Ziel.
Auf St. Stephan konzentrierten sich auch die Repräsentationsbestrebungen der Habsburger, nachdem sie die Herrschaft in Österreich übernommen hatten. Albrecht I. begann bereits 1304 mit dem Bau eines neuen Chores. Der Höhepunkt wurde jedoch unter Herzog Rudolf IV. erreicht. Dieser ehrgeizige Habsburger wollte Wien zu einer bedeutenden Residenzstadt und St. Stephan als “Capella regia Austriaca”, als Hofkirche der österreichischen Landesfürsten, zum sakralen Zentrum des Landes machen.
Der Hintergrund dafür lag in der Konkurrenz mit der Dynastie der Luxemburger: Kaiser Karl IV. war gerade dabei, seine Residenz Prag zu einer Metropole europäischer Geltung auszubauen. Eine seiner Maßnahmen war die Erhebung Prags zum Erzbistum 1344, was den Anstoß gab für den großartigen Ausbau des Veitsdomes am Prager Hradschin.
Rudolfs Plan, St. Stephan zum Sitz eines Bischofs zu machen, scheiterte zwar am Widerstand Passaus, denn der Bischof fürchtete zu Recht eine Verkleinerung seiner Diözese. Dennoch fand Rudolf einen Weg, St. Stephan einen besonderen Rang zu verleihen. 1359 erwirkte er die päpstliche Bestätigung für die Gründung eines Kollegiatstiftes, einer Vereinigung von 24 in kardinalsrote Gewänder gekleideten Priestern, denen ein Probst in bischofsähnlicher Tracht vorstand. Indem er das Kollegiat direkt dem Papst unterstellte, war es dem Passauer Einfluss entzogen. Dank komplizierter kirchenrechtlicher Schachzüge gelang es ihm schließlich 1365 seine Stiftung auf St. Stephan zu übertragen, was die Bedeutung des Gotteshauses erhöhte.
Dies schlug sich auch in der baulichen Gestalt der Kirche nieder. 1359 begann Rudolf IV. mit einem groß angelegten Ausbau, der alle Symbole einer Herrscherkirche tragen sollte: Eine Fürstenempore über dem Westportal wurde von doppelstöckigen Herzogskapellen eingerahmt, in denen der Reliquienschatz verwahrt wurde. Eine Fürstengruft als Grablege der Herrscher des Landes wurde angelegt und schließlich waren vier Türme geplant, was eigentlich ein bauliches Vorrecht einer Bischofskirche war. Indem Rudolf Teile des spätromanischen Vorgängerbaues (das als “Riesentor” bezeichnete Hauptportal und das Westwerk) in sein Konzept integrieren ließ, gab er seinem Bauprogramm historische Tiefe.
Mit dem Tod Rudolfs erlosch das Interesse der Habsburger an St. Stephan spürbar, die Wiener Bürgerschaft übernahm die Initiative für den weiteren Ausbau der Kirche. Erst mit Friedrich III., der in Rudolf IV. sein Vorbild sah, beteiligte sich wieder ein Habsburger am Ausbau der Kirche. Friedrich veranlasste den Beginn der Arbeiten am Nordturm. An diesen Habsburger erinnert vor allem jedoch sein Hochgrab im Apostelchor des Domes, ein weiteres bemerkenswertes Beispiel für das dynastische Programm der Habsburger im Spätmittelalter.
Friedrich III. gelang es schließlich auch, die Prestigeangelegenheit seines Ahnen Rudolf zu einem erfolgreichen Ende zu bringen: 1469 erreichte Friedrich III. beim Papst die Erhebung Wiens zum Bistum. Die Wiener Diözese hatte zwar zunächst nur eine minimale Ausdehung – sie war kleiner als das heutige Stadtgebiet – aber die Habsburger hatten ihren Willen durchgesetzt: Der Dom zu St. Stephan hatte endlich einen Bischof.
Martin Mutschlechner
www.habsburger.net/de/kapitel/eine-kathedrale-ohne-bischo...
Understanding the buildings of London through drawing…
my instinctive way to understand a building is to draw it as I am observing it. I think it is part of my architectural background of design sketching that I draw to think…. rather than observing first and drawing second. Anyway here are a few scribbles of some iconic buildings of London.
If I haven't said before I am having a few days in London after BCN and so one might think that this is a bit of trip prep.
BTW I am loving seeing Alissa Duke's trip prep on her blog (she is also going to London as well as BCN) www.alissaduke.com/
However…this sketching is actually work - how cool is that… I have an exciting illustration project that I am working on at the moment and this is preparation for that. Ok…back to work.
Happy Monday everyone… oh! it is cold today in Sydney!
This tiny ball provides evidence that the universe will expand forever. Measuring slightly over one tenth of a millimeter, the ball moves toward a smooth plate in response to energy fluctuations in the vacuum of empty space. The attraction is known as the Casimir Effect, named for its discoverer, who, 55 years ago, was trying to understand why fluids like mayonnaise move so slowly. Today, evidence indicates that most of the energy density in the universe is in an unknown form dubbed dark energy. The form and genesis of dark energy is almost completely unknown, but postulated as related to vacuum fluctuations similar to the Casimir Effect but generated somehow by space itself. This vast and mysterious dark energy appears to gravitationally repel all matter and hence will likely cause the universe to expand forever. Understanding vacuum energy is on the forefront of research not only to better understand our universe but also for stopping micro-mechanical machine parts from sticking together. via NASA
Martin Creed
Work No. 2630 UNDERSTANDING, 2016
Red Neon, Steel
Approx dims: 21 3/5 x 50 x 2 1/8 ft / 658.6 x 1524 x 66 cm. Base 25 x 25 feet at top / 33 x 33 feet at bottom
Presented by Public Art Fund, May 4 – October 23, 2016 at Pier 6, Brooklyn Bridge Park
Courtesy the artist, Gavin Brown’s enterprise New York/Rome, and Hauser & Wirth
Photo: Jason Wyche, Courtesy Public Art Fund, NY
© Martin Creed 2016
Marziya Shakir my granddaughter bonded with beggars at a very young age ...
Understanding pain misery on this stage ..where man battled his fate in a cage ..
She learnt from this book of life every page ..her introduction to street photography..by a camera sage .
I made Marziya see observe the poor beggars and sooon she knew most of them on the way from her home to her playschool and back ..
She gave money to them that she saved specially for them.
The camera was her textbook of life ..
Today Marziya is 12 year old ..much wiser and more compassionate .