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Ahmad ibn ‘Ali ibn Yusuf al-Buni (Arabic: أحمد البوني) (died 1225) was a well known Sufi and writer on the esoteric value of letters and topics relating to mathematics, sihr (sorcery) and spirituality, but very little is known about him. Al-Buni lived in Egypt and learned from many eminent Sufi masters of his time.
He wrote one of the most famous books of his era, the Shams al-Ma'arif al-Kubra (Sun of the Great Knowledge, Arabic شمس المعارف الكبرى) which is one of the most widely read medieval treatises on talismans, magic squares and occult practices. This work rivals the Picatrix in importance. This book was later banned by orthodox Muslims as heretical, but continues to be read and studied.
Instead of sihr (Sorcery), this kind of magic was called Ilm al-Hikmah (Knowledge of the Wisedom), Ilm al-simiyah (Study of the Divine Names) and Ruhaniyat (Spirituality). Most of the so-called mujarrabât ("time-tested methods") books on sorcery in the Muslim world are simplified excerpts from the Shams al-ma`ârif. The book remains the seminal work on Theurgy and esoteric arts to this day.
In c. 1200, Ahmad al-Buni showed how to construct magic squares using a simple bordering technique, but he may not have discovered the method himself. Al-Buni wrote about Latin squares and constructed, for example, 4 x 4 Latin squares using letters from one of the 99 names of Allah. His works on traditional healing remains a point of reference among Yoruba Muslim healers in Nigeria and other areas of the Muslim world.
Ahmad al-Buni also left a list of other titles that he wrote. Unfortunately, very few of them have survived.
Al-Buni states in his work Manba’ Usul al-Hikmah (Source of the Essentials of Wisdom) that he acquired his knowledge of the esoteric properities of the letters from his personal teacher Abu Abdillah Shams al-Din al-Asfahâni. He in turn received it from Jalal al-Din Abdullah al-Bistami, who in turn received it from Shaykh al-Sarajani, who received it from Qasim al-Sarajani, who received it from Abdullah al-Babani, who received it from Asîl al-Din al-Shirazi, who received it from Abu al-Najîb al-Sahruwardi, who received it from, Mohammad ibn Mohammad Al-Ghazali al-Tusi, who received it from Ahmad al-Aswad, who received it from Hamad al-Dînuri, who received it from the master al-Junayd al-Baghdadi, who received it from Sari al-Din al-Saqati, who received it from Ma’ruf al-Karkhi, who received it from Dawûd al-Jili, who received it from Habîb al-A’ajami, who received it from Imam Hasan al-Basri.
Al-Buni states in the same work that he acquired his knowledge of magical squares from Sirâj al-Dîn al-Hanafi, who acquired it from Shihab al-Dîn al-Muqaddasi, who acquired it from Shams al-Dîn al-Farisi, who acquired it from Shihab al-Dîn al-Hamadani, who acquired it from Qutb al-Dîn al-Diyâ’i, who acquired it from Muhyiddîn Ibn Arabi, who acquired it from Abu al-'Abbas Ahmad ibn al-Turîzi, who acquired it from Abu Abdillah al-Qurashi, who acquired it from Abu Madîn al-Andalusi.
He also states that he acquired additional knowledge about the esoteric art of letters and the magical squares from Mohammad 'Izz al-Dîn ibn Jam’a, who acquired it from Mohammad al-Sirani, who acquired it from Shihab al-Dîn al-Hamadani, who acquired it from Qutb al-Dîn al-Dhiya’i, who acquired it from Muhyiddîn Ibn Arabi.
Al-Buni also states that he acquired his occult knowledge from Abu al-'Abbas Ahmad ibn Maymûn al-Qastalâni, who acquired it from Abu Abdillah Mohammed al-Qurashi, who acquired it from Abu Madîn Shu'ayb ibn Hasan al-Ansari al-Andalusi, who received it from Abu Ayyub ibn Abi Sa'id al-Sanhaji al-Armuzi, who received it from Abi Muhammad ibn Nur, who received it from Abu al-Fadhl Abdullah ibn Bashr, who received it from Abu Bashr al-Hasan al-Jujari, who received it from al-Saqati, who received it from Dawûd al-Tâ’i, who received it from Habîb al-A'jami, who received it from Abu Bakr Muhammad ibn Sîrîn, who received it from Malik ibn Anas.
Al-Buni also made regular mention in his work of Plato, Aristotle, Hermes, Alexander the Great, and obscure Chaldean magicians. In one of his works, he recounted a story of his discovery of a cache of manuscripts buried under the pyramids, that included a work of Hermetic thinkers.
His work is said to have influenced the Hurufis and the New Lettrist International.
I finished up my value quilt last night! I'm really happy with how it turned out. I'll have to take some better photos at some point, it was starting to get dark! :)
I just did some simple straight line quilting on both sides of the HST middle seam. :)
LEGO blogger and proud brickly Team member Max Engel wrote a must-read piece about finding inspiration within the limits of the brick.
Read the full article here: blog.brickly.com/2017/09/12/ideas-over-pieces/
# Trees increase property values from 5-9%!
# Shoppers will spend more time in areas that are shaded and business rents in tree-lined districts are up to 15% more than those areas without shade.
# Trees clean the air. An acre can remove about 13 tons of dusts, gases, and pollutants from the atmosphere every year.
# Trees produce oxygen. Trees produce the oxygen that we breathe. The pine tree is the oxygen factory of the south, producing more oxygen than any other tree.
# Communities that have an abundance of trees and show a commitment to respecting their environment enjoy significantly higher property values.
# Trees produce the oxygen that we breathe. The pine tree is the oxygen factory of the south, producing more oxygen than any other tree! One mature tree can produce enough oxygen for a family of four for one year.
# Trees conserve energy. A home shaded by trees can reduce its air conditioning costs by almost 50%!
# Cities with few trees become heat islands. Trees lower surrounding air temperatures by as much as 15 degrees!
# Trees provide homes for wildlife. The pine tree is home to over 11 different species of birds, more than any other tree in Florida!
# Trees reduce noise pollution by acting as sound barriers. Each 100-foot width of trees can absorb about 6-8 decibels of sound intensity.
# Trees help with flood control. A moderate size tree's roots absorb 400 gallons of water per day.
# Trees are the homes of wildlife and vital for all ecosystems. The pine tree is home to 11 species of birds, more than any other tree in Florida.
# Street trees provide an effective traffic calming mechanism. Drivers will slow down on roads that are canopied by trees!
# Trees absorb carbon dioxide (car emissions: air pollution) through the scientific process of carbon sequestration.
Early morning walk.
Just put me in mind of the Ents as I’m re-reading Lord of the Rings at the moment. Mind you, they’d have to find the Entwives first.
More tests today. I'm learning how to control very light values. But first I did a little ink test in the upper left to see if you get green when you mix yellow and black ink. Yes, you do if you are very fast and mix them while they are still wet. I used a yellow Micron pen and a black Zig pen.
My main test was to slowly build up dilute colors. I had burnt sienna in one Kuretake Mini waterbrush and cobalt in another. I applied a wash, waited for it to dry completely, and added another. I did this four times to create four increasingly darker values. You have to be very patient, but it works. I learned this method from a book called "The Wash Method of Handling Water Colour" by Frank Forrest Frederick published in 1908. I found it for free on Archive.org
archive.org/details/washmethodofhand00freduoft
Where you can download it as a PDF, ePub, or Kindle file.
Finally I tried to get the lightest value possible with a number of colors. I used a wet round brush to pick up a little dried tube paint. I then quickly dipped the brush in water, tapped the brush against the inside of my water container (to dislodge a little water) and then made a brush mark down the dry page. This deposits very little pigment and is a good way to make beautiful, light colors. I also tried lifting some color out with a thirsty brush (in the cadmium red/lemon yellow mix), and I tried adding a little more color on top of the wet first stroke (ultramarine and cobalt - bottom left).
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.
Shiny silver- something I value very highly... especially when it clings to my curves as well as this!
I've had this snug fitting strapless gown for so long I've forgotten where I bought it! But that doesn't really matter because it still looks Fabulous, especially in this ensemble!
This is a reshoot of me wearing my excitingly snug and tight fitting silver wet look lycra spandex strapless gown. For this set I've matched it up with silver elbow length opera gloves, fishnet hose and a newly arrived pair of shiny silver platform stocking boots with 6" heels.
I do hope you like my ensemble and the way it hugs my curves as much as I do!
To see more pix of my legs in sexy dresses and other sexy, tight and revealing fitting outfits click this link:
www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me in sexy boots click here: www.flickr.com/photos/kaceycdpix/sets/72157622816479823/
DSC_5567-25
A person, who values the beauty of nature and ambient in the world, for richer and happier than those, who did not notices this.
A Beat Safari csapata (karácsonyra való telkintettel :D )
ezúttal Current Value-t látja vendégül!
▼ Current Value ▼
(Blackout NL, Critical Music, Subsistenz, TSM, MethLab)
Artist Profile : methlab-agency.com/agency/artist/current-value
Facebook : www.facebook.com/currentvalue
Soundcloud : twitter.com/TIMCURRENTVALUE
Website : www.currentvalue.eu/
▼ Midland Breakz - (UK) ▼
▼ Gosh - Highscore - (AT) ▼
▼ Konor - dnbnoise.com, wirsindcybo ▼
THE BEAT SAFARI CREW:
▼ SiN - Beat Safari, wirsindcybo ▼
▼ Khaist - Beat Safari ▼
▼ Stuy - Beat Safari ▼
▼ Mgl - Beat Safari ▼
▼ Mist - Beat Safari ▼
▼ Magematix - Beat Safari ▼
Deko: Goof Art Deko
JEGYEK A HELYSZÍNEN MÉG KAPHATÓK KORLÁTOZOTT SZÁMBAN:
- 3000 HUF
364 Water Street, Vancouver, BC.
Description of Historic Place:
The Holland Block is a three storey plus basement mixed-use flatiron Victorian Italianate masonry building with retail areas on the ground floor. It is located on the western edge of the historic district of Gastown, on a triangular lot at the convergence of Cordova and Water Streets.
Heritage Value:
Gastown is the historic core of Vancouver, and is the city's earliest, most historic area of commercial buildings and warehouses. The Holland Block is valued as an early Gastown commercial building and hotel, representative of the area's mix of uses in the late nineteenth and early twentieth centuries, as Vancouver emerged as western Canada's predominant commercial centre. Hotels such as this provided both short and long-term lodging, serving primarily those who worked in the seasonal resource trades such as fishing and logging. Many of these hotels had combined functions of commercial services on the ground floor and lodging rooms on the upper floors, which contributed to the lively street life in Gastown.
The Holland Block is valued for its architecture as a fine example of the Victorian Italianate style from the late nineteenth century, illustrating how popular architectural styles were used by the hotel business to market a progressive image. The building was constructed in 1891-92 for James M. Holland, an early real estate developer, to take advantage of a wedge-shape lot that allowed the ground-level retail stores access to two street frontages. The Holland Block is also valued as evidence of the influence of American architecture, as illustrated by design elements such as the repetitive bay windows that provide increased light and space in the second and third-floor rooms. Also of significance are the ground floor cast iron columns, manufactured by B.C. Iron Works, which demonstrate the use of prefabricated elements that enabled large storefront windows that maximized merchandising display space and took advantage of natural light.
The landmark location and flatiron shape of the Holland Block marks the western boundary of Gastown. This unusual lot was created when the subdivisions adjacent to the original 1870 Granville Townsite survey were oriented to different compass directions. Until the north side of Water Street was filled in at the turn of the nineteenth century, this site would have faced the waterfront across the street.
Source: City of Vancouver, Heritage Planning Street Files
Character-Defining Elements:
The character-defining elements of the Holland Block include:
- landmark location at the western edge of Gastown, at the convergence of Water and Cordova Streets, in close proximity to the waterfront of Burrard Inlet and the Canadian Pacific Railway yard
- siting on the property lines, with no setbacks
- form, scale and massing, as exemplified by its three storey height, flat roof and flatiron shape, resulting from the converging relationship of the two streets
- masonry construction: rough-dressed sandstone piers at the ground floor level; brick cladding above with flush-struck mortar joints
- repetitive double-height semi-octagonal bays, clad in wood with formed sheet metal cladding on the curved base
- fenestration: double-hung 1-over-1 wood-sash windows on the upper floors; and large rectangular storefront windows with wood-sash storefronts
- wide projecting wood-clad cornice with sheet metal edges and flashings, with large decorative scroll-cut brackets between each bay
- prefabricated elements such as the storefront cast iron columns, with 'B.C. Iron Works' maker's stamps
- entry at front corner to basement level that extends in areaways under the sidewalks on both Water and Cordova Streets
- entry to the upper floors from Cordova Street
- surviving interior features such as original room configuration
UN VALUE: Progress
Fishing in the Bay of Bengal at the Saint Martinâs Island of Bangladesh. Fishing is the only profession of this islandâs poor people. Every year they lose their fishing net by storm, cyclone and other natural disaster. In that situation local NGOs gives micro credit loan to fisherman for buy fishing net.
Photo: United Nations/M. Yousuf Tushar
Agfa Optima 200 Sensor (second version).
German viewfinder camera produced c.1969.
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So this is how the Exposure Value is automaticly determined on this camera.
The amount of light on the Selenium Cell drives the Meter. Right after pressing the Shutter Release Button the Needle of the Meter is clamped in a Stepped Trap.
The amount of degrees the Stepped Trap has to rotate before it clamps the Needle determines the Exposure Value for the interface to the Shutter.
btw That headpin is my own idea to set the Needle as the Selenium Cell did not work anymore.
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WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt !
Hornstrandir nature reserve was established in 1975. It covers around 58.000 ha of the northernmost part of the Westfjord peninsula, a diverse landscape with fjords, mountains and abandoned settlements.
The area was inhabited from the 9th century, when the first settlers arrived in Iceland and was originally valued for easily accessible fishbanks with abundant amounts of fish. Later, excursions were also made to the area from other parts of the country to collect some of the driftwood that characterizes the shores of Hornstrandir and to hunt for the seabirds that nest there in large colonies.
During the centuries the population of the area fluctuated according to climatic conditions and it seems that the traditional subsistence farming and fishing on small boats was on the verge of supporting the settlements. The farms were small, 5-10 sheep and a cow. Unimproved grassland and wetland was used for haymaking, a necessity in the harsh winter conditions.
The area was abandoned between the 1930's and 1952 when the last inhabitants decided to move from the area. It has since been one of the tourist attractions of Iceland, equally visited by Icelandic and foreign tourists. There are no roads in the area and it is only accessible by boat or by traditional trekking routes.
The vegetation of the area has changed dramatically during the last 50 years, grassland has turned into flower meadows or in some cases a monoculture of Angelica archangelica. Heavy snowcover during the winter and an intensive, if short, growing season with 24 hrs sunlight create special conditions for rare species and the absence of grazing ruminants gives a new perspective on the capacity of many common species in these harsh conditions.
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Have returned to Iceland after five years for a 10-days hike in the abandoned, awesome and exceptional area of Hornstandir. This is a place where the toughest of mankind finally failed to permanently dominate the nature.
Fjords, mountains, lonely houses, lost graveyards; no villages, no roads, no shops, nothing. Just an unspoiled nature, beautiful flowers, arctic foxes giving good night and seals peacefully playing close to the coastline.
(For those who are interested – the itinerary was as follows: Fljótavík -> Hlöðuvík -> Hornvík -> Hornbjargsvíti -> Bolungarvík -> Reykjafjörður -> Hrafnfjörður -> Grunnavík.)
This is a shot taken in the evening during our 7th day in the area - we were hiking from Reykjafjörður across Furufjörður to finally reach Hrafnfjörður fjord where we spent a night.
In the past the farm in the valley was considered one of the most attractive choices in the Hornstrandir area. When the area was left desolate in 1950, three farms had been inhabited in the valley at the same time. A few houses, an old prayer chapel (1900) and an emergency shelter of the National Life Saving Association are still standing.
True Value, Shop Rite Hardware and Paint Supply, Silas Deane Hwy Wethersfield, CT, Pics by Mike Mozart
Timings are ready now. The table show the values between 1/256 power and full power. Using the Puls LA timings for driving the TTL mode gives the right output power.
On the LA you see the X and Q signals. X signal is here 15 usec width and Q signal 25 usec. The delay value between the X and the Q signal define the correct output power.
The X signal need to be more then 10 usec or the flash d'nt works. Large puls is not critical.
I've tested the recovery time, this is the time to start a second flash cycle. This critical time is for this SB-80-DX near 40 msec. This means that only near 50 msec a second flashpuls can be generated. For my waterfigures I need pulses between 1 and 5 msec. So I need 2 different flashes if I will use this option.
For wireless control you have to setup first the powerlevel remote via a protocol.
There after you can give via the RFM12B module a command to fire the flashes. In case of SC-27 Nikon cable (remote TTL cable) you only need to give the X and Q puls at the right time.
Very easy, and lowcost central remote control of all your flashes!
For the connection signals see: www.flickr.com/photos/fotoopa_hs/3715377259/
Photo of the setup: www.flickr.com/photos/fotoopa_hs/3709619306/in/photostream/
Remote delay RFM12B at max baudratespeed and optimal syncmethode see: www.flickr.com/photos/fotoopa_hs/3762346539/in/set-721576...
I build a prototype Master with the RFM12B wireless module. The master can also drive local 3 flashes in TTL mode and have an extra LCD display of 2x16 char. The master transmit also the signals to the slave ( slave have 4 flash outputs in TTL mode). Master and slave flash signals are so calculated that all the flash powers are centrered even if the powers are different. This is very important for very highspeed systems. If flashes are not centrered blur into the highspeed capture may happen.
For shema and layout of components see:
www.flickr.com/photos/fotoopa_hs/3896289984/in/set-721576...
Most of the parts are now soldered on a board to put into a nice box. Within a few days the hole unit will be ready. Picture will be follow.
Update 2009 Sep 21:
new timings are added for the SB-29-S ringflash and some others are updated. The new results stay on: