Sunday, August 31, 2008

Carl Spitzweg

Carl Spitzweg (February 5, 1808 - September 23, 1885) was a German romanticist painter and poet. He is considered to be one of the most important representatives of the Biedermeier era.

He was born in Unterpfaffenhofen as the second of three sons of Franziska and Simon Spitzweg. His father, a wealthy merchant, had Carl trained as a pharmacist. He attained his qualification from the University of Munich, but while recovering from an illness he also took up painting. Spitzweg was self-taught as an artist, and began by copying the works of Flemish masters. He contributed his first work to satiric magazines. Upon receiving an inheritance in 1833, he was able to dedicate himself to painting.

Later, Spitzweg visited European art centers, studying the works of various artists and refining his technique and style; he visited Prague, Venice, Paris, London, and Belgium. His later paintings and drawings are often humorous genre works. Many of his paintings depict sharply characterized eccentrics, for example The Bookworm (1850) and The Hypochondriac (c. 1865, in the Neue Pinakothek, Munich).

His paintings were the inspiration to the musical comedy Das kleine Hofkonzert by Edmund Nick.

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Saturday, August 30, 2008

Arien Valizadeh

New Illustration for Plazm to be used for Portland Center Stage's production
The History (and Mystery) of the Universe
Based on the life of R. Buckminster Fuller

A 22 year old Iranian-American artist currently residing in Los Angeles, California. Immediate goals are to attend art school as a Fine Art major in the mean while participate in various art exhibitions and programmes imposed by media/market obsessions. Privately learning under the master Farsi Calligrapher, Massoud Valipour and voluntarily helping Zaman Zamani, the great Iranian painter, re-expose his work to the art community, Arien means to be taught the Persian Arts in a traditional manner, as well as familiarize himself to Contemporary Iranian artists prolonged role in Western society.

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Friday, August 29, 2008

Astronomy Picture of the Day | mcnaught3_kemppainen

Astronomy Picture of the Day

Discover the cosmos! Each day a different image or photograph of our fascinating universe is featured, along with a brief explanation written by a professional astronomer.

Quoted from: (no title)

posted on 2007-06-04 22:28:56

Lorenzo Geiger

Hello world! This is the website of the Swiss typographicdesigner Lorenzo Geiger. Have a look at my werkschau which consists in web design and printed matter with a range from corporate identities, record covers, editorial design and knowledge visualization as well as the design of typefaces.

Don’t hesitate to contact me in case of any questions and feel free to sign-up for news. I'm pleased to meet you!

Don't ask people for their number if you know you wont call them anyway. Don't be afraid of the dark. Don't be afraid of dancing spontaneously in environments that are not normally used for dancing. Don't be afraid to dance in clubs where no-one else is dancing. Don't be afraid at all. Don't be ashamed of being proud of your country of origin. Don't be intimidated by bright colors. Don't be politically correct. Don't be sarcastic. Don't be scared of change. Don't be so van about bicycle helmets. Don't bite your nails. Don't buy enormous rounds of drinks for people you don't know at all. Don't buy music through the iTunes music store unless you are sure you will not ever have the urge to play it at party. Don't stop buying CDs. Don't buy new clothes that are exactly the same as the clothes you bought six months ago. Don't buy things on credit except in emergencies. Don't cry for me Argentina. Don't dodge pay the fare. Don't drink as much as last year. Don't drink beer at home. Don't drive an ugly car. Don't drive drunk. Don't talk on the phone when driving. Don't smoke in the car whilst talking on the phone whilst driving. Don't forget that fiction is not real. Don't forget to do what you told everyone you were going to. Don't forget to floss and rinse with a fluoride based mouthwash at least twice a day. Don't generalize. Don't get angry with cyclists. Don't get into fights. Don't get upset that everyone is into apple now and there aren't that many windows users left to argue with. Don't go out with wet hair. Don't ignore important global issues. Don't just take digital photos. Don't lie out in the sun until you get burnt. Don't listen to a word anyone says about your look. Don't listen to In- and Out rankings. Don't do In- and Out rankings. Don't make excuses. Don't miss. Don't over think things. Don't overdo the color coordination thing. Don't let your electronic equipment on standby. Don't pee in public. Don't really like music. Don't ride a bike at night without lights. Don't run over pedestrians. Don't be rude to people on the phone. Don't be rude at all. Don't run with scissors. Don't save. Don't say oh my god. Don't say yes if you mean no. Don't say no if you mean yes. Don't say yes that easy. Don't waste time. Don't forget eating breakfast before you boot your computer. Don't be late. Don't forget to breathe. Don't get addicted to TV series. Don't eat that much pasta. Don't stay up late during the week. Don't smoke as much as last year. Don't smoke the whole cigarette. Don't sneeze in public in Japan. Don't spill other people's drinks. Don't spit on cars. Don't stop exercising once January has passed. Don't stop exploring. Don't stop reading books. Don't stop swimming in the sea through an irrational fear of sharks. Don't tell your partner that dolphins are sharks. Don't mistake dolphins as sharks. Don't waste water. Don't swear in front of children. Don't swear at all. Don't take up expensive hobbies. Don't think about money a lot. Don't talk about dieting at the dinner table. Don't stop till you get enough. Don't think that people do it on their own. Don't say yes that easy. Don't watch too mach TV. Don't wear clothes just once. Don't wear suits with white sneakers unless they are Converse. Don't write songs about your mother. Don't go. Don't go to Lisbon. Don't smoke on the dance floor. Don't underestimate the power of Web 2.0. Don't underestimate at all. Don't pick up the phone in bed. Don't check your mail excessively. Don't drink cheap wine. Don't even buy cheap wine. Don't underestimate the power of love. Don't send newsletters to people who haven't really asked for. Don't believe the hype!

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Anka Dabrowska

TITLE: Untitled
ARTIST: Anka Dabrowska
MATERIALS: Mixed media
SIZE: Dimensions variable
REGION: Polish
STYLE: Contemporary (ca. 1945-present)
PRICE*: Contact Gallery for Price
GALLERY: Sartorial Contemporary Art +44 (0) 20 7792 5882 Send Email
ONLINE CATALOGUE(S): 4 X 4 - Chris Tosic, Marcus Freeman, Anka Dabrowska, Martin McGinn Aug 7 - Aug 30, 2008

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Adam Haynes

Quoted from: Adam Haynes

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Gez Fry

a b o u t

Thanks for visiting my site. My name's Gez Fry and I'm an illustrator / art director based in Tokyo.
I'm half British, half Japanese, and I've also lived in France and sunny England.

c l i e n t l i s t
gez fry

Adidas / 180 Amsterdam; Namco Bandai; Marvel; Industrial Light & Magic; D3; Adobe; Evisu / Ben Sherman; Nike / Nike Plus; Manchester United / Kraken Opus; Kogado / Broccoli; Firetrap Clothing; TBWA / Playstation; Royal Mail; Clarks Shoes; Nintendo / Jung Von Matt; Garnier / Publicis; Sports Illustrated for Kids; Montblanc / Beacon Communications K.K.; WWF / WWAV Rapp Collins; Buena Vista International; BBC Top Gear; Virgin Inflight; ALK-Abello / Sudler & Hennessey; Digital Creative Arts; MF DOOM; Devil's Due; HarperCollins; Fremantle / Form; McGraw-Hill; Hot Version / Best Motoring International; Wizards Of The Coast; Hachette Children's Books; Kingfisher Books; Future Publishing; Emap; and more.

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Thursday, August 28, 2008

Patricia van Lubeck

My work is predominantly oil on canvas, I also do illustrations and create sculptures. While my paintings have realist aspects, the improbable forms I depict offset this. I call my landscapes with unusual plant species ‘psychedelic gardens’. My works have a smooth texture and are rich in detail, within a broad, unlimited colour range. It is the meticulous detail in my work that have the power to draw the viewer in. I have not received a formal training and have exhibited throughout The Netherlands, Switzerland and in New Zealand.

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I am Patricia van Lubeck, born in Amsterdam, The Netherlands and presently living in the beautiful Bay of Plenty, New Zealand. This site shows a selection of my most recent art works. If you would like to purchase one of my works or want to be informed when new ones are added, feel free to email me or use the contact form.

I consider my work an invitation to explore the ways we experience our environment. My paintings have realistic elements, but above all an alienating atmosphere. My works in recent years show brightly colored landscapes and weird plant species which I call my ‘psychedelic gardens’.

My inspiration comes from the ordinary things around me, the artist in me just sees things in an unusual perspective. Picture a baker looking at a corn field. He sees bread, cookies and pies. I see shapes, patterns and colors. I like to zoom in on an everyday object such as the pins of a hair brush and imagine a tiny landscape with rows of hairy trees.

I’m a self-taught artist and seek to achieve a high level of craftsmanship. It takes me eight hours just to prepare the surface on my smaller canvases. The oil painting itself can take up to 10 layers to achieve rich colors and a smooth finish.

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Nico Steijn

Nico Steijn was born in Rotterdam, 18 March 1926, emigrated to New Zealand in the 1950’s, set up and ran a private school of art in the 1960’s, took to the road in hippy style in the 70’s and landed back in Holland in the 80’s.

AudioBlog: What Intelligence ? by Nico Steijn.
icon for podpress What Intelligence ? [9:48m]: Hide Player | Play in Popup | Download

Ivan Titor

"In my paintings I prefer balancing on an imaginary edge that, in our minds, divides reality and fiction, the beginning and the end, as well as order and chaos. Recently I have been making two parallel pictorial cycles. On the one hand, there are paintings depicting fragments of rationally organized matter in unidentified space, on the other hand there are self - portraits mirroring current news from the real world."

Ivan Titor is one of 50 Artists featured in our second publication entitled Metamorphosis 2.

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Wednesday, August 27, 2008

Mc Bess

Hoy hoy , this the messy part of my website , where I can put unfinished work and pictures of me naked !

WOW !! A new space on my website !
Here is where I'm going to put photos and tell the stories about the events that are happening
since I'm huge star in the illustration world .

may 2008Exhibition in Kassel ( Germany ) with the best people in the world : " ROTOPOLMany many many thanks to Simon Florian and Guillaume that helped me for that exhibition , they're not only great artists they're are great friends as well ( they are part of the " Salle Polyvalente " collectif ). And a serious thanks to the good people of rotopol , michael lisa and rita , who gave us great hospitality , great food , great drinks , and who are fucking amazing when they use their pencils . Don't try to find me in the photos , I way too sexy for the camera .

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Monday, August 25, 2008

Kay Nielsen 1865-1957

Kay Nielsen
(whose first name is pronounced "kigh"), (1886-1957) was a Danish illustrator who was popular in the early 20th century, the "golden age of illustration" which lasted from when Daniel Vierge and other pioneers developed printing technology to the point that drawings and paintings could be reproduced with reasonable facility, He joined the ranks of Arthur Rackham and Edmund Dulac in enjoying the success of the gift books of the early 20th century. This fad lasted until roughly the end of World War II when economic changes made it more difficult to make a profit from elaborately illustrated books.[citation needed]

Born in Copenhagen into an artistic family, his father was director of the Royal Danish Theatre. He studied art in Paris from 1904 to 1911, and then lived in England from about 1911 to 1916. He received his first English commission by Hodder and Staughton to illustrate a collection of fairytales, providing 24 colour plates and more than 15 monotone illustrations - In Powder and Crinoline, Fairy Tales Retold by Sir Arthur Quiller-Couch, 1913. A year later, he also provided 24 colour plates and more than 21 monotone images for the children's collection East of The Sun West of The Moon, old tales from the North, 1914.[1] The colour images for both In Powder and Crinoline and East of the Sun and West of the Moon were reproduced with a 4-colour process - a contrast to many of the illustrations prepared by his contemporaries that characteristically utilised a traditional 3-colour process.

Meanwhile he painted (in tempera) landscapes in the Dover area. Nielsen came into contact with The Society of Tempera Painters where he learned new skills, and was able to reduce the time involved in the process. In 1917 he left for New York where there was an exhibition of his work. Together with a collaborator, Johannes Poulsen, he painted stage scenery for the Royal Danish Theatre in Copenhagen.

Following his theatrical work in Copenhagen, Nielsen returned to contributing to illustrated books with the publication of Fairy Tales by Hans Andersen in 1924. That title included 12 colour plates and more than 40 monotone illustrations - the colour images were prepared with integrated formal and informal borders; the informal borders were produced in a mille fleur-type style. A year later, his superb contribution to Hansel and Gretel: And Other Stories by the Brothers Grimm was first published with 12 colour images and over 20 detailed monotone illustrations. A further 5 years passed before Red Magic - the final title to be illustrated comprehensively by Nielsen - was published: the 1930 version of Red Magic included 8 colour and more than 50 monotone contributions from the Danish artist.

In 1939 he left for California and worked for Hollywood companies.

His art has a very hard edge, which makes them suitable for conversion into cinema cartoon form.

In the 1930s went to work for The Walt Disney Company, where his work was used in the "Ave Maria" and "Night on Bald Mountain" sequences of Fantasia. In 1940 he was laid off. He did some work on "The Little Mermaid" story, but it was almost 50 years before this reached the cinema. His final years were spent in poverty. His last works were for local schools and churches. His reputation has grown steadily since then.

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Alks by Same / 2006 / Dope Cover

Hip Hop / Rap / Thrash

  • "I make music first and foremost for me. I do it because I love it and if there are people who enjoy what I do and there are fans because of it; well, then that's a plus. I don't wake up in the morning and go into the studio to make a record hoping that a DJ, one of my peers will play it. That's not why I make music. I do it because that's my passion and that's what I do. I'll do it for the rest of my life because that's who I am."
  • ALKS Setup
    • KORG Triton Extreme

    • YAMAHA Motif ES Rack

    • ENSONIQ EPS 16 +

    • ENSONIQ Asrx

    • ROLANDS SH-1 (Analog 1978)

    • EMU Emax

    • AKAI Mpc 2000 XL For Sequencing

    • APOGEE Convertissors (MINI ME and X2 MINI DAC)

    • NEVE and TRIDENT Channel Strip

    • DYNAUDIO BM15 A 4 the Monitoring

    • YAMAHA NS 10 Mythic 4 Monitoring

    • AKG Headphone

    • 1 millions of samples collects all over the years

    • 2 MK2 and PMC08 for mixing and sampling vinyls

    I produce all kindz of beats but only raw shit, drop with all my knowledge of beatmaking and with my own style


    Found Here:

Friday, August 22, 2008

Baalbek Stone of the Pregnant Woman | Stone of the South

Image Sources: Jupiter Images
Baalbek Stone of the Pregnant Woman: Unbelievably Massive Stone in the Quarry Near Baalbek, Lebanon

The Baalbek trilithon is a set of three massive stone blocks which are part of the foundation of the Temple of Jupiter Baal ("Heliopolitan Zeus") in Baalbek. They are so large that people cannot imagine how they were cut and transported to the site. As impressive as these three stone blocks are, though, there is a fourth block still in the quarry which is three feet longer than the blocks in the trilithon and which is estimated to weigh 1,200 tons. Locals have named it Hajar el Gouble (Stone of the South) and Hajar el Hibla (Stone of the Pregnant Woman), with the latter apparently being the most popular.

In the two photos above you can see just how large it is - if you look closely, each image has one or two people on the stone to provide reference. The stone is at an angle because it was never cut away. Although we can see that it was cut to be made part of the Baalbek site, it remains attached at its base to the underlying bedrock, not unlike a plant which still has roots in the earth. No one knows how such a massive stone block was cut so precisely or how it was supposed to be moved.

As with the trilithon, it's common to find people claiming that since we don't currently know how the ancient engineers accomplished this or how they planned on moving this massive block to the temple site, that therefore they must have employed mystical, supernatural, or even extraterrestrial means. This is just nonsense, however.Presumably the engineers had a plan, otherwise they would have cut a smaller block, and an inability to answer the questions right now simply means that there are things we don't know.

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Baalbeck is a city in eastern Lebanon famous chiefly for its magnificent, excellently preserved Roman temple ruins. It was a flourishing Phoenician town when
the Greeks occupied it in 331 B.C. They renamed it "Heliopolis" (City of the Sun) .
It became a Roman colony under the Emperor Augustus in 16 B.C..On its acropolis, over the course of the next three centuries, the Romans constructed a monumental ensemble of three temples, three coutyards, and an enclosing wall built of some of the most gigantic stones ever crafted by man. Some tourists believe that the construction can only be attributed to extra-terrestial artwork .

At the southern entrance of Baalbeck is a quarry where the stones used in the temples were cut. A huge block, considered the largest hewn stone in the world, still sits where it was cut almost 2,000 years ago. Called the "Stone of the Pregnant Woman", it is 21.5m x 4.8m x 4.2meters in size and weighs an estimated 1,000 tons.

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Wednesday, August 20, 2008

The art of Luis Ricardo Falero, 1851–1896

A suitably sorcerous bacchanal for Walpurgis Night by the Spanish painter. There’s more of his voluptuous erotica at ArtMagick and The Atheneum.

Falero was born in Granada, Spain and studied in Paris, working as a portraitist. He settled in London in the 1880s, dying there in 1896 at the age of 45. Falero specialised in the female nude in a mythological or fantasy setting.

Typical titles include 'Muse of the Night', 'The Minstral's Dance', 'Iris' and 'The Zodiac'.

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Mike Rea

Who are you? What do you do and why should we care?

Well, my name is Michael Rea. 32, brown hair and eyes, 6', about 190 lbs. , and I like long walks by the beach. I am a sculptor from the South suburbs of Chicago. I currently reside in Milwaukee. I am desperately working on an exit strategy for myself. Wisconsin is slowly crushing my soul. Why you should care, is beyond me.

What kind of work were you making at school as a beginner? How did it evolve into mammoth size, epic sculptures?

As a beginner I worked primarily as a painter, and it seems that everyone in painting will tell you to go bigger. So I guess I followed their advice and started making large-scale paintings. When I switched to making sculptures, about three year out of undergrad, I wanted to make things that were human in scale. More specifically my scale. I rarely sketch I simple start cutting something out. In most cases I will refer to my body to gage the scale. When I started, I built everything in an apartment I had in Chicago. Things became cramped very quickly. I had to put my bed in a closet. Shortly after switching to sculpture I left Chicago to attend graduate school. I think it might have been a mixture of the competitive atmosphere of graduate school and a large studio that really pushed me into what you refer to as an epic scale. A friend of mine has a pet python. I remember when he first got it; it was a little bigger than a worm. I asked him "how big will it get?" He replied, "lets just say you won't lose it in the lawn." I guess I want to make things that don't get lost in the lawn.

Since your projects are so involved and costly, how do you go about constructing one of your pieces?

Well, I start. It's as simple as that. I start at one end and work through the composition. I try to use cheap materials: pine, mahogany-luan, rope, burlap, and pink foam. This way I tend to get the most bang for my buck. I real don't plan anything. Yes I have an idea of what I want or what I am going to make but that's about it. It's a very linear process, much like drawing. I am never sure how much something will cost in the long run. If I did, I might worry. So I have about a hundred dollar a month wood habit. Since I quit smoking it has been really easy to afford supplies. The real problem is moving these pieces around. Shipping is expensive, and in most cases I have to drive the work out myself. The largest vehicle I can legally drive is a 25' truck. The twenty-five footer is a nightmare. The only thing that really kills me is the cost of gas and truck rentals. Building time and materials are not really an issue for me.

Do you find yourself facing a lot of limitations due to your style? How does making large sculpture affect your artistic career as opposed to say being an artist who works exclusively on paper?

I guess there are limitations, but the grass is always going to be greener somewhere else. It seems a little harder to sell large sculptures than lets say a work on paper, but if sales were driving me I probably wouldn't be an artist. I am not saying a sale or two wouldn't hurt. In fact I do sell a lot of the smaller pieces I make, which is great. I hope that someday there will be a market for the larger works, but I will have to wait and see how that plays out. There always seems to be a lot of support for large work in residencies and as a visiting artist. I like the idea of traveling somewhere and building something huge and leaving. All you need for that is a plane ticket. I have also found that large bold pieces tend to attract a lot of attention and this has helped a lot with getting more shows and and creating new opportunities. I really cannot complain. It seems every year I show a little more, and a little less comes out of my pocket. That's about all you can ask for.

It's surprising that you have all of your fingers left, any good studio related injuries?

A few, but for the most part I have been lucky and or smart. The key is to keep your finger away from the spinning blade. The worst accident I have had is I once shot a brad nail through my pointer finger. I was shooting down into the cross cut of a doll rod with a 1,1/4" Brad. The dowl was about the same in diameter. and a little less in length. The nail fish-hooked out and went right into the finger holding the rod in place. The nail entered the pad and exited under the nail bed. When I felt the impact I pulled my finger away. This worked well since I did not have to think about removing the nail it just sort of happened. I had not realized at this point, that I had shoot right through my finger. I looked at the palm side of my finger and wondered how deep the nail had gone. This is when I noticed that the other side was bleeding as well. Can you believe I didn't even get vicodin for that?

What kinds of things influence your work, besides Indiana Jones?

Well motion pictures in general are a big source of inspiration for me. I have always enjoyed how people will quote lines from a movie. I like how for a few seconds the line between fiction and reality is blurred. I tend to like horror and science fiction films the most. I also like to think about time travel from time to time. Television is a big thing for me as well. I love inappropriate jokes, and I like to incorporate humor into a lot of my pieces as well. Music is good. I tend to spend long hours building and when things are not to loud I listen to music. As I said earlier, I do not start with a plan. This creates an opening to develop or change an idea while I am building. While I am working on a project I am constantly absorbing the world around me and my

Name drop list, what is tickling your fancy right now?

Fergie, MIA, Folkert de Jung, Ben Stone, No Country For Old Men, Soft Pretzels, Peroni, Jens Lekman, Battlestar Galactica, Lost, Cloverfield, Jaws, Lolita, the 27th directors cut of blade runner, thongs, Alex Katz, Robert Morris, Hey Willpower, Paris Hilton, Klarbrunn water, Paul McCarthy, Grind House (in the theater)

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Monday, August 11, 2008

Slave - Visions Of The Lite (1982)

was an Ohio funk band popular in the
1970s and early 1980s. Trumpeter Steve Washington and Mark Hicks (Drac) formed the group in Dayton, Ohio in 1975.


Trombonist Floyd Miller teamed with Tom Lockett Jr. (sax, keyboards), Carter Bradley (keyboards), Mark Adams (bass), Mark Hicks (lead and rhythm guitar, lead and background vocals), Danny Webster (rhythm guitar, lead and background vocals), Orion Wilhoite (sax), and Tim Dozier (drums). Vocalists Steve Arrington, Starleana Young, then Curt Jones came aboard in 1978, with Arrington ultimately becoming lead vocalist. Their first big hit was the single "Slide" in 1977 for Cotillion Records, where they remained until 1984. Their best work was usually based on bass licks and the band's general arrangements emphasis on the rhythm section and soaring lead vocals.

Other Top Ten R&B hits were "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981. They added Charles Carter on sax and brother William P Carter on keyboards. Young, Washington, Jones and Lockett departed to form Aurra in 1981. Slave added Roger Parker, Sam Carter, Delburt Taylor, and Kevin Johnson as replacements. Arrington himself left in 1982 after the Showtime album. They continued on, though much less successfully, into the late 1980s.

They moved to Atlantic Records for one LP in 1984, then switched to the Atlanta-based Ichiban Records in 1986. Their most recent release was The Funk Strikes Back in 1992. Rhino issued Stellar Fungk: The Best of Slave Featuring Steve Arrington, an anthology of their finest cuts, in 1994.

Thursday, August 7, 2008

Dr. von Braun Standing by Five F-1 Engines

English: Dr. von Braun Standing by Five F-1 Engines
A pioneer of America's space program, Dr. von BraunSaturn V stands by the five F-1 engines of the launch vehicle. This Saturn V vehicle is an actual test vehicle which has been displayed at the U.S. Space Rocket CenterHuntsville, Alabama. Designed and developed by Rocketdyne under the direction of the Marshall Space Flight Center, a cluster of five F-1 engines was mounted on the Saturn V S-IC (first) stage. The engines measured 19-feet tall by 12.5-feet at the nozzle exit and burned 15 tons of liquid oxygen and kerosene each second to produce 7,500,000 pounds of thrust. The S-IC stage is the first stage, or booster, of a 364-foot long rocket that ultimately took astronauts to the Moon. in
Français : Wernher von Braun posant devant cinq moteurs F-1.
Wernher von Braun pose devant le premier étage de la fusée Saturn V, constitué de cinq moteurs F-1. Ces moteurs étaient fabriqués par RocketdyneCentre de vol spatial Marshall. Chaque moteur avait une hauteur de plus de 5,5 mètres (19 pieds) pour une diamètre de tuyère de 3,8 mètres (12,5 pieds), et délivraient une poussée de 6,7 MN, ce qui nécessitait 15 tonnes par seconde d'un mélange d'oxygène liquide et de kérozène. Ce premier étage, ou Booster, était à la base de la fusée saturne V, un engin de 110 m de haut utilisé pour envoyer des hommes sur la lune. sous le contrôle du

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Tuesday, August 5, 2008

Culture as symbols - Clifford Geertz | Chen Hongshou

An album leaf painting by Ming artist Chen Hongshou (1598–1652) depicting nature scenes. The Chinese viewed painting as a key element of high culture.

The symbolic view of culture, the legacy of Clifford Geertz (1973) and Victor Turner (1967), holds symbols to be both the practices of social actors and the context that gives such practices meaning. Anthony P. Cohen (1985) writes of the "symbolic gloss" which allows social actors to use common symbols to communicate and understand each other while still imbuing these symbols with personal significance and meanings.[14] Symbols provide the limits of cultured thought. Members of a culture rely on these symbols to frame their thoughts and expressions in intelligible terms. In short, symbols make culture possible, reproducible and readable. They are the "webs of significance" in Weber's sense that, to quote Pierre Bourdieu (1977), "give regularity, unity and systematics to the practices of a group."[15] Thus, for example:
  • "Stop, in the name of the law!"—Stock phrase uttered to the antagonists by the sheriff or marshal in 20th century American Old Western films
  • Law and orderstock phrase in the United States
  • Peace and order—stock phrase in the Philippines
  • Ordnung muss sein / Order must be — stock phrase in the Germany, Austria

Painting by the Chinese Ming Dynasty artist Chen Hongshou (1599-1652), leaf from an album of miscellaneous paintings., Zhongguo meishu quanji, Huihua bian 8: Mingdai huihua, xia (Beijing: Wenwu chubanshe, 1988), pl. 170, p. 191.

Early to mid 17th century, late Ming Dynasty

Chen Hongshou (1598–1652)

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Monday, August 4, 2008

namako team forum

Mushishi (DS)

God, I love any and all promotional artwork associated with this manga, anime, and now game.

I like the monochrome pixels.

Topic: Notable Covers (Read 865 times)

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Winged Disk and the Tree of Life

Winged Disk and the Tree of Life
Wednesday, November 19, 2003


The owner of this seal can be identified from the cuneiform inscription which translates: 'Seal of Mushezib-Ninurta, governor, son of Ninurta-eresh, ditto, son of Samanuha-shar-ilani, ditto.' Samanuha-shar-ilani was ruler of Shadikanni (Arban in eastern Syria), in 883 BC, and an Assyrian vassal - subject to the firm control of Assyria, and enjoying the wealth and security that such political domination provided.

During this period, seal designs were often cut on hard stones using cutting-wheels and drills. The image is similar to two wall reliefs from the throne room of King Ashurnasirpal II (reigned 883-859 BC) at Nimrud. The king, shown in mirror image, is protected by guardian genii sprinkling holy water from a bucket using what may be a fir cone or sponge. A stylized tree stands in the centre, symbolizing nature and the land of Assyria. Above is a god in the winged disc.

Length: 4.9 cm
Diameter: 1.7 cm

Found by H.C. Rawlinson and acquired by The British Museum around 1852

D. Collon, First impressions: cylinder seals in the Ancient Near East (London, The British Museum Press, 1987), pp. 76-7, fig. 341

A.H. Layard, Discoveries in the ruins of Nineveh and Babylon (London, J. Murray, 1853), p. 603

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