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Original sin has made it to Bad Ragaz. Artist Liu Ruowang deals with questions about the origin of humanity, its roots and the meaning of life. The 3.5 m high apes made of copper are no longer brand new. They have already been seen in other places. The artist writes: „Ape-man looking up into the sky symbolize the springing up of ancient civilization; today, high civilization bring advanced material culture, yet the nature we live on is being damaged unceasingly“. This has nothing to do with original sin. *The following text is not suitable for religious people. Which does not mean that religiosity is inferior. The religions transport encrypted knowledge over millennia. The time is not yet ripe for the whole truth, but you can already think a few thoughts*.
Anyone who understands the Bible's hidden truth knows that original sin was a genetic manipulation that forced our ancestors and creators to banish us. Adam refused a first Eve because she had her own gene pool and he saw her as a emancipated competitor. It was only when she was created from his gene pool (rib) that he was satisfied, and this has had repercussions on the position of men and women to this day. Adam made this decision with the reduced collective consciousness of nature with which he was created. After all, he was a test person for genetic improvements. He knew no shame, no morals, and did not know what was good and bad. He was also unaware that he was human. But otherwise he had all the human qualities of his creators. Adam and Eve worked in a genetic laboratory where the tragic story about our genetic information took its course. Eva discovered that tampering with the forbidden area of the DNA would not kill them, and was seduced by the DNA snake into an attempt. With that she lost the collective consciousness of nature and became aware of her humanity. With all the consequences such as shame and the knowledge of good and bad that animals do not know. This intoxicant realization she made palatable to Adam too. But they got caught. And so began a journey through space that finally ended on our earth and makes every science fiction film look old. Example: Cain and Abel, murder and manslaughter over DNA information. The gene mutants of the Abel type were able to repair or improve the gene defect, those of the Kain type could not. The group of human beings with the gene mutation of the Kain type is exterminating the Abel type. Apparently the Abelers manage to call for help to their original home. She reports to the Kainern and asks: What did you do with the Abelians? The DNA pattern holders of the Cain type are pushed even farther from the center of the original home of humans to another planet by the headquarters(1. Moses 4: 11–12). On that planet, life support and food production were even more difficult. Cain speaks to headquarters and says: My genetic defect has grown even bigger. It will no longer be repairable. They will hunt me down and kill me (1. Moses 4: 13). They were given a mark in their DNA that immediately allows anyone examining the genetic material to recognize that, according to the law of the universe, these gene carriers are outcast, but must not be killed (1. Moses 4: 15).
The remainder of Chapter 4 of Book 1 of Moses contains the details of how the Cain-pattern bearer dynasty continued to expand. The DNA carriers who are defective in their genetic information, called people, are visited by children of God, i.e. of beings whose DNA genetic information is still in order (1. Moses 6: 1–2). There was a reason why the original home of humans did not destroy the genetically modified creatures, but only sent them into exile. The combination of the properties brought about by genetic manipulation with the DNA carriers of the original hereditary information led to a new type of living being with outstanding properties (1. Moses 6: 4).
Then the story of Noah, a scientist and expert on DNA problems, who had enough time to take healthy DNA information with him from the animal's genetic material for his journey. And Abraham, the story of the greatest genetic engineer all times. You must consider that all of these stories did not take place on today's earth, but on other planets.
Abraham created the gene type Isaac. Isaac is married to a woman of the gene type Cain, from whom Abraham originally descended. The sons from this connection are among others Jakob and Esau. The story on the planet of the Egyptians begins with Joseph coming to Egypt, so that an Isaac type is brought among the people of the Cain type. Abraham apparently knew very well why he was checking the connection between the Egyptian genetic pattern and the Isaac type. After all, he had found out that his technical skills were not sufficient to master the complicated technical systems for large space travel and to carry out the return to the original home of the people. He was not supported by the Egyptians on his first attempt; on the contrary, he was expelled from the country by them because they pursued other interests of their own. With this experience in mind, he systematically prepared his descendants to move to the Egyptians, to acquire their knowledge or their possibilities, and then to try the return home again. The Egyptians realized that there were Isaac types among them and took countermeasures, which led to the strange circumstances surrounding the birth of Moses. The Egyptians, the genetic information type Cain, were not interested in it, because otherwise the same problems would have arisen as with the tragedy of Cain and Abel. So they let kill male births of the Abel type. Moses was born into this situation. His mother played the baby into the Pharaoh's daughter hands. Was she an Egyptian Eva, a scientist looking for the know-how of Abraham? It is possible, that Moses was purposely and experimentally reared by her to discover the repair step in the genetic pattern that Abraham had performed. Moses grows up, receives an Egyptian education and training. And he learns how they use energies to do space travel. So exactly what Abraham wanted, to get his gene type on the way back to his original home. The years have not passed without any problems for Moses. Moses kills an Egyptian and has to flee. In 2. Moses 3:17–18 he is given instructions: Go to the Israelites. If they agree, go with a delegation of the elders to the Pharaoh and say that we have been called by radio, we can go home. Demand that you be allowed to travel into space, three days' journey from here, where your genetic patterns are checked, before you are allowed to travel. The Egyptians say no, you cannot head out alone. Either all or none. A violent dispute arose among genetic engineers (2. Moses 7: 10–13). On the one hand the genetic scientists Aaron and Moses and on the other the genetic experts of the type Cain. The Egyptian Pharaoh realizes that Aaron's gene strands, which he presents for testing, are superior to those of the Cain type. That they are in principle displaced by the Isaac type. The Pharaoh is pissed off because he has to recognize that a corresponding examination by the original home will enable the Isaac type to return to their original home. So he refuses to allow the people of Moses to face the test. The bible now describes the plagues that break in Egypt until the pharaoh finally lets the gene bearers of the Isaac type go. This is the beginning of an unprecedented space odyssey that is described in every detail. Does anyone get the impression that the Bible is a boring and unrealistic story?
There are also references to this in Nostradamus and in Goethe's secret legacy, when he describes the people before people as Adam and Eve. Switzerland, June 8, 2021.
To Write Love On Her Arms is 'a non-profit movement dedicated to presenting hope and finding help for those struggling with depression, addiction, self-injury and suicide.
twloha.com/
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meh, this is more personal than I usually prefer.
Macro Monday - on the inside
I recently heard that schools may stop teaching cursive writing since nobody picks up a pen and writes anymore. I thought that was very sad.
This is my notebook that I allow my random thoughts sit upon. Hopefully I never leave it anywhere because I may scare someone. I do not write anything morbid or scary.....just strange. It helps alleviate my boredom from Generica!
Blogged here, I have posted a new shop to my Renmeleon shop on Cafe Press. This design and the Write Your Self tag are both in the shop now!
Visiting my sister's home over Thanksgiving, I took this pic with my XF 60mm macro. Close-up shots help me realize there's an entire world of geography and color before our eyes if we just look closely enough. This photo is not processed, and I love the colors from my X-T1.
Day 139 of 365 - July 21st, 2012
This is my astronomy journal. My wife bought this for me several years ago to record my observations during my viewing sessions. Every now and then I take a look back on my past outings. Today I happen to turn the page to a clear night on July 18th, 2009. There were two things that stand out in that journal entry. The first one was the temperature. It was July and the temperature that night was in the low 50’s. That is a big difference in the climate when you fast forward to July 2012. The second one was my first observation of the planet Pluto. Yea, I still consider Pluto a planet, lol. It was fun reminiscing. Just like photography has slowed me down and revealed a world that had often gone unnoticed, writing in my journal adds substance to my viewing sessions and it makes for good reading on a cloudy night.
Sigma 30mm f1.4 EX DC HSM
I did not have the heart to write, to convey the message earlier. Perhaps I should have done it....
August 19, you left us 20 years ago. 20 years that I live without you, that the Earth turns without your presence, which dug a gap in my heart. But despite the lack of your presence, you remain in my skin.
I wanted to make a photo that expresses what I feel, what I live every day since that heartbreaking day. I even found a song that perfectly expresses my itch. Maybe one day it won’t kill me anymore. Maybe one day I’ll look to the future with my head held high. But right now, I can’t help but look back, and hope to find you there. Because without you, life is not as beautiful, because without you, I don’t know how to live... But I continue, because I made you a promise, to continue my life, and to do my utmost to make me happy. So I’m doing it for you, Father.
I do not write this text to have compassion, or to complain, but simply because I needed it, and it made me think for a long time...
Here is the music that expresses what my heart wants to say :
About 3 years ago I've started to write a book...now it's in my desk's drawer, incomplete...
Uhm, I Should restart to write, I Think...
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
LEAH GARCHIK writes in the San Francisco Chronicle: 'I am informed by ADDA DADA , who never misses a party, that the winner of the Hunky Jesus Contest was TWERKING JESUS. And "Why carry your cross when you can ride it?" is what REBECCA ZITO when she spotted a cyclist so accessorized.'
In Wednesday's Leah Garchik column in the San Francisco Chronicle.
www.sfgate.com/entertainment/garchik/article/Dancing-in-t... ............................................................................................SISTER's of PERPETUAL INDULGENCE's 35th Annual HUNKY JESUS & FOXY MARY fun....The best thing about the Sister's show were the Marijuana 4/20 folks who incorrectly wandered into the Sister's party space...They were like "OMG, This is like , OZ, man."
Yes, it was.
Probably because it was the Sister's 35th Anniversary and it was an homage to the Wizard of Oz. The lawn in front of the stage was filled with red-paper poppies. There were several 'Cowardly Lions", many "Glenda the Good Witch", a couple of 'Bad Witches" including one on a bike...a very young 6-year old Judy Garland passing out Giradelli Chocolate, an awesome Scarecrow of indeterminate sex, a few Tin Men (and one obviously Tin Woman), and even a couple of 'munchkins'...yes, real little people. Though, ADDA DADA is happy to report that there were no Flying Monkeys.
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I will write you a song
That's how you'll know that my love is still strong
I will write you a song
And you'll know from this song that I just can't go on without you
I'm coming back, New York. I tell you this as a warning, because I am gonna fuck shit up. I'm gonna write my name on each of the bodies I drop. Imma make some noise!!!!!!!
...
Okay, not really. But I am gonna be there with 2 cameras and enough film to do what I gotta do.
And what I gotta do is a last run at NY with my Polaroid.
Because I got a fever. And the only cure is more picture-takin'.
So let me know if you're gonna be in the Big Apple the week of September 28th-October 2nd.
Let's make some magic.
I'll show you how we do Polaroid on the west coast.
Escreva a sua história à lápis, pra poder apagar e corrigir quantas vezes você quiser.
Escreva sua história à caneta, se tiver certeza de tudo que não vai querer mudar.
Escreva sua história com lápis de cor, se quiser fazer da sua vida um livro de pintar.
Escreva sua história até com pedaço de tijolo, se quiser...
Mas escreva você mesmo!
Não deixe ninguém mais ser roteirista da história da sua vida. Ela é sua! Só sua! De mais ninguém =)
Ps: More inside
Obrigado por tudo, pessoal =D
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Apperantly someone saw the initials I wrote for an HBW competition where you had to have the initials in the shot and wondered who the initials belonged to? They were so intrigued that they deemed it necessary to take out something sharp and write on the tree in front of my house with "Who is that?" and a little arrow. We don't know who it was, nor at what time it was, and it was no one from my family. :-/
HBW, that is, for those of us who actually -know- what HBW stands for. ;)