Friday, September 25, 2009

Russian Pyramid Research By Alexander Golod From Moscow

Rumors of the 12-story pyramid’s mysterious, miraculous powers have spread through the suburbs and into the capital. The pyramid is made of 55 tons of fiberglass. (Photos by Sergei L. Loiko for the Los Angeles Times)

KOZENKI, Russia – You can see it from miles away, looming over the birch forests and wildflower fields and construction sites crammed with future dachas for Russia’s rich and ruthless.

Stabbing toward heaven from its hilltop perch, the pyramid gleams white under the blast of northern sun. Twelve stories high and made of 55 tons of fiberglass, the pyramid swarms with Russians desperate to rearrange their energy fields and cure their karma.

Found Here:

BRIEF HISTORY - In the last 10 years, Alexander Golod has
built 17 pyramids in 8 different locations in Russia. Experiments carried out in them during this time include research in medicine, agriculture, radioactivity, superconductivity , chemical, electrical, , and other areas. For a detailed description of the research see Research Article section. Found Here:


A dolmen (also known as cromlech (Welsh), anta, Hünengrab, Hunebed, Goindol, quoit, and portal dolmen) is a type of single-chamber megalithic tomb, usually consisting of three or more upright stones supporting a large flat horizontal capstone (table). Most date from the early Neolithic period (4000 to 3000 BC). Dolmens were usually covered with earth or smaller stones to form a barrow, though in many cases that covering has weathered away, leaving only the stone "skeleton" of the burial mound intact.

"Dolmen" originates from the expression taol maen, which means "stone table" in Breton,
and was first used archaeologically by Théophile Corret de la Tour d'Auvergne. The etymology of the German Hünenbett or Hünengrab and Dutch Hunebed all evoke the image of giants building the structures. Of other Celtic languages, "cromlech" derives from Welsh and "quoit" is commonly used in Cornwall. Anta is the term used in Portugal, and dös in Sweden.

Found Here:

We as humans inhabiting this wondrous world are curious folk. We all want to know the answers of why, how and where when relating to our origins.

The centuries and millennia have passed as is the natural way of things. Great civilizations have arisen, prospered and disappeared leaving after themselves only the basic ruins of ancient settlements. In their wake lay only the merest fragments and splinters of their existence. Ritual burials become the anthropologist's most important evaluation tool. Everything these civilizations hoped to leave for descendants is really only revealed only in the external forms of what is left behind. The Egyptian and Mayan pyramids, the figures of the Nasca and Stonehenge , are all really only imprecise, visual images. Is this truly everything that remains for us from our far-off ancestors?

There is an undeniable sense of evidence derived from the existence of the remains of civilizations past. The question is whether this matter can have spiritual sense as well. Can it carry not only material traces which have come to us from extreme antiquity, but also the immense spiritual experience accumulated during the lifetime of each whole civilization?

Modern historians put forward a hypothesis that 5 to 10 thousand years ago there was a great Vedic civilization prospering and flourishing all over the Earth. The great spiritual texts of the Vedas make up but one part of its spiritual heritage. There are very, very few material traces of its existence and it is one of the riddles which scientists cannot yet solve. There is a hypothesis that Dolmens, are one of few material traces of this Vedic civilization which have reached into the present time.

Hundreds of thousands Dolmens are scattered all over the world. They exist in Germany , France , Spain , England , Holland , Switzerland , Israel , Netherlands , India , and Korea , as well as in the widespread regions of Russia .

From Wikipedia (online Encyclopedia): Dolmens (also known as cromlechs, antas, Hünengräber, Hunebedden, quoits, and portal Dolmens) are a type of single-chamber megalithic tomb, usually consisting of three or more upright stones (megaliths) supporting a large flat horizontal capstone (table). Most date from the early Neolithic period in Britain (4000 BC to 3000 BC).

Found Here:

Wednesday, September 23, 2009

Miscellaneous-Pics.Blogspot.Com Blog Report

Yesterday and the day before yesterday this blog reached a new water mark in pg. hits. Where as we usually receive any where from 60 to 500 unique visitors per day, there was 1,710 unique visitors and 1,888 page views. The WW1 Dazzle Camouflage Battleships got pounded, and continues to. We were just wondering why? Maybe a television program, or a popular blog post. If anyone knows, feel free to tell us.

Monday, September 21, 2009

Jean Coulon Engravings

Born in Brussels in 1947

Studied drawing and printmaking at the Ecole d'Art de la Cambre, specialising in the techniques of engraving on copper (burin engraving, drypoint and mezzotint) and wood engraving.

With a fine technique, he makes prints that are a product of his teeming imagination, creating a world rich in detail, not without humour, a little disturbing, both ancient and futuristic.

Jean Coulon's work has been exhibited both in Belgium and abroad.

Found Here:

Friday, September 18, 2009

Geometric Illustrations - Lorenz Stöer (c.1537-c.1621)

The artist responsible for the remarkable collection of geometric designs seen above and below is Lorenz Stöer (c.1537-c.1621) , about whom little is known with certainty. He was born in Nuremberg and moved to Augsburg in 1557. He is variously described as a painter and a draughtsman and he may have been the son of a woodcut artist.

Until relatively recently, Stöer's principal legacy was thought to have been the eleven woodcut illustrations seen above that show combinations of regular and semi-regular solids in landscapes with fanciful ornamental shapes. This suite of eccentric designs was published under the title, 'Geometria et Perspectiva' , in 1567.

The book - which included no text - was subtitled:

'Herein are a few ruined buildings, useful to cabinetmakers working in inlaid wood, and for the special pleasure of many other amateurs, arranged and presented by Lorenz Stoer, painter and citizen of Augsburg'.

'Geometria et Perspectiva' was sufficiently popular to warrant publication of a second edition, but it's difficult to gauge the extent of influence the book had over marquetry * workers. Perhaps its main effect was as conceptual inspiration, although the Met. Museum has a collector's cabinet also ].

Apparently there had been little in the way of academic study of Stöer apart from a couple of mid-20th century papers that linked him to two Nuremberg goldsmiths - Hans Lencker and Wenzel Jamnitzer - forming a trio of mannerist artists interested in geometric design and perspective. But a large portfolio of coloured drawings was discovered (when?) at the Munich University Library that has, in the last fifteen years, been attributed to Stöer (samples seen below).

"The woodcut sequence 'Geometria et Perspectiva' , that was published in Augsburg in 1567, has long been considered the principal work of Lorentz Stoer. Several hundred hitherto virtually unnoticed drawings, owned by the University Library in Munich, triggered the current study. For the first time, a proper academic evaluation was dedicated to Stoer's works. The description of the prints and drawings that were already known to scholarly literature was completed by the presentation of the large number of unknown works that had been discovered in the course of the analysis.

By means of critical discussion of questions of attribution and influence, and by confirming decisive points in Stoer's biography, a re-evaluation of his enlarged œuvre was accomplished: it was the representation of stereometric solids that was Stoer's major interest. The overview of the polyhedron literature and the analysis of the contemporary treatises on geometry and perspective enabled a differentiated look at Stoer's drawing method, contrasting it with that of the Nuremberg goldsmiths Hans Lencker and Wenzel Jamnitzer. The final discussion of the purpose of the drawings facilitated a new appreciation of his work. The study makes an important contribution to the positioning of Lorentz Stoer as a German Mannerism artist in the context of craftsmanship, ornamental arts and geometry."

[This is the english abstract for the 1996 paper by Dorothea Pfaff, 'Lorenz Stöer: Geometrica et Perspectiva' - full article pdf ] Kim H Veltman : "Stoer's manuscript was actually a compilation of over three decades' work ranging from 1562 through 1599. The novelty of his remarkable effects lay mainly in his combination of earlier techniques. We have noted, for example, that Dürer's workshop explored the use of shading to enhance the spatial effects of these solids. Jamnitzer and Lencker developed this technique using narrow banks of colour to accentuate the borders of these shapes. Stoer added a feature of his own. He used the surfaces of his solids as spaces in which to inscribe further polygonal shapes. Frequently he combined both techniques. In the case of a dodecahedron, for instance [ 5th image from the bottom below ] , he outlined the boundaries of its twelve surfaces with bands of colour. In each of these he then inscribed a pentagon." Veltman goes on to intimate how the colour manuscript - although never published - offered a logical means by which designs could be readily adapted for marquetry, with different wood types matched to the colours; so perhaps Stöer's influence was in fact more significant than suggested above.
with fairly evident connection to Stöer's designs and another cabinet of comparative style is known to exist in Munster [

Found Here:


Monday, September 14, 2009

Landscape Photography

Landscape photography is a genre intended to show different spaces within the world, sometimes vast and unending, but other times microscopic.

Many landscape photographers show little or no human activity in their photos, striving to attain pure, unsullied landscapes[1] that are devoid of human influence, using instead subjects such as strongly defined landforms, weather, and ambient light. Despite this, there is no pure or absolute definition of what makes a landscape in photography, as such it has become a very broad term, encompassing urban, industrial, macro and nature photography. A beach full of parasols and sunbathers can be a landscape photo, but so can the view through an electron microscope, which shows a different type of landscape. Waterfalls, and mountains are especially popular in classic landscape photography, often calling for Large Format cameras[2] and neutral density or polarizing filters. Though many photographs are inspired by traditional landscape painting, the term in photography is very broad, most places and things can be photographed as a landscape, a kitchen, a lamp, a wall, or even the human body[3] can be turned into a rolling vista by a skilled photographer.

Landscapes are often created with such tools as a pinhole camera, or a large format camera and tripod, usually with a wide angle lenses (24 mm and 35 mm are especially popular). Many serious photographers use medium or large format systems to record as much detail as possible, although the vast majority of landscapes shot today are from digital SLRs and compact cameras.

Landscape photography has become a valuable tool to inspire environmental stewardship. Capturing the beauty of unspoiled places serves to bring dwindling wilderness areas into the public eye. Many noted landscape photographers provide images to environmental protection organizations. Noted organizations use professional and amateur photographers' work to further the preservation cause. Notable landscape photographers include Ansel Adams, Bill Brandt, and Edward Weston.[