"

Let me be...

Let me share with u my story
U do all u can to listen intently
Let me whisper the name
U do the freedom shout
Let me speak words of condemnation
U ensure it's passed word of mouth
Let me take the hit
U say my epilogue

Let me strap this on
U pick up the pieces
Let there be peace
U battle on regardless
Let me be taken away
U do all u can to get me out
Let me be the first to stand on the frontlines
U watch my back

Let me survey the scene
U hold on to my every word closely
Let me seperate the real from the phoney
U see them for what they are - hypocrisy
Let me look the oppressor in the eye
U do what u can to make the resistance multiply
Let me give up my life in sacrifice
U make sure questions are asked when I die

Let me paint it black
U see a man of many acts
Let me draw the curtain
U respect me for that
Let me inject a willingness
U do all u can not to detract
Let me envisage heaven & hell
U count the human cost

Let me appreciate the sun rise
U should also see the signs of God
Let me string words of poetic justice
U adhere to the questions & answers
Let me stand firm on this ground
U dig yourself out of the quick sand
Let me reach for the sky
U break the chained shackles of lies

Let me fight for my life
U protect my right
Let me be the voice of the voiceless
U do all u can to stay focussed
Let me be the artist who paints the picture
U add the missing colour
Let me tangle with danger
U make sure that I will be remembered

Let me be churned out on this journey
U be weary of the fall-out that follows me
Let me be a rebel who dispells all doubt
U be someone who finds a way out
Let me profess my truth
U shield me from these fools
Let me love who I choose
U stop the out cry that's sure to ensue

Let me put my demons to rest
U carry on no matter the cost
Let me march to my land
U count my every step
Let me recall the forgotten child
U ensure the orphan finds a helping hand
Let me be the clinched fist
U be the collective anguish

Let me be the battering ram
U be the force behind its impact
Let me dream a lil' dream
U help realise it's more even if u have to scream
Let me be your mouth piece
U be my protest march
Let me be your instrument of contempt
U be my true friend

Let me be...

" 

Let me be... 

Judy is staring at the Sun
Catherine Wheel

...she once remarked in a poem, "Some Like Poetry",

 that no more than two out of a thousand people care for the art.

Wislawa Szymborska frequently employed literary devices such as ironic precision, paradox, contradiction and understatement, to illuminate philosophical themes and obsessions... She wrote from unusual points of view, such as a cat in the newly empty apartment of its dead owner... When asked why she had published so few poems, she said: "I have a trash can in my home"
http://info-poland.buffalo.edu/web/arts_culture/literature/poetry/szymborska/poems/link.shtml 

A Cat in an Empty Apartment
Wislawa Szymborska translated by Walter Whipple
http://www.mission.net/poland/warsaw/literature/poems/cat.htm 

Die? One does not do that to a cat.
Because what's a cat to do
in an empty apartment?
Climb the walls.
Caress against the furniture.
It seems that nothing has changed here,
but yet things are different.
Nothing appears to have been relocated,
yet everything has been shuffled about.
The lamp no longer burns in the evenings.

Footsteps can be heard on the stairway,
but they're not the ones.
The hand which puts the fish on the platter
is not the same one which used to do it.

Something here does not begin
at its usual time.
Something does not happen quite
as it should
Here someone was and was,
then suddenly disappeared
and now is stubbornly absent.
All the closets were peered into.
The shelves were walked through.
The rug was lifted and examined.
Even the rule about not scattering
papers was violated.

What more is to be done?
Sleep and wait.

Let him return,
at least make a token appearance.
Then he'll learn
that one shouldn't treat a cat like this.
He will be approached
as though unwillingly,
slowly,
on very offended paws.
With no spontaneous leaps or squeals at first.


True Love http://wonderingminstrels.blogspot.no/2001/02/true-love-wislawa-szymborska.html

Diskreta Kretsar.
http://sv.wikipedia.org/wiki/Digitalteknik

En signal i ett digitalt system ligger i något av två spänningsintervall. De i övre intervallet representerar logiskt 1 och signaler i det undre logiskt 0. Intervallen är väl åtskilda med ett mellanliggande förbjudet område där signalen är odefinierad.

  Ett Venn-diagram som visar två mängder. Snittet mellan dem motsvarar den logiska funktionen A OCH B.

(I have no idea why I keep this, except for the beautiful little urn)

Benämning:

Urna (Sakord)

Spinnkruka, miniatyrurna, relikkrus (Preciserat sakord)

Historik:

Användning:

1399 - 1529

Accession (Gåva):

Beskrivning:

Föremålet visas i basutställningen Uddevalla genom tiderna, Bohusläns museum, Uddevalla.

Spinnkruka eller relikvarium.

Rhenländskt stengods tillverkat i Raerenområdet. 

I Raeren fanns ovanligt fina leror.

Krukorna användes av spinnerskor till att fukta fingrarna i, därför är öppningen stor nog för ett finger.

Krukan hängde kring spinnerskans hals eller på spinnrocken.

Troligen handlar det om spinning av lin.

I Norge användes spinnkrukor även som relikvarium. I krukorna förvarades heliga ting och förseglades med vax.Flera av de norska fynden har en tydlig anknytning till kyrkliga miljöer. Några fynd pekar på att man haft krukorna i samband med votiv- eller offerhandlingar. I västskandinaviskt område kan de haft särskild anknytning till Nidaros ärkestift. Man har bla funnit ett litet krus på bottnen av Nidarosdomens kyrkobrunn (helgad åt st Olav). Man tror att en pilgrim tappat sitt krus när han skulle fylla det med heligt vatten. 

Dessa små kärl har alltså förutom det vardagliga bruket i hushållet även medförts av pilgrimmer till St Olavs källa i Nidaros eller möjligen inköpts på plats för att förvara heligt vatten i.

Relik - kvarleva av helig person eller föremål förknippad med denna.

Relikvarium - behållare för reliker.

Ur handskrivna katalogen 1957-1958: Liten urna

H: 5,8. Bottendiam: 3,4. Gulbrun glasyr. Skadad. Uddevalla

http://www.digitaltmuseum.se/things/urna/S-BM/UM004308?query=Arkeologi&search_context=1&timeline_filter=1390&count=1&pos=0

Auspicious Light Pagoda

RuiGuang Ta

in Suzhou in China

http://en.wikipedia.org/wiki/Pagoda

Minarets also function as air conditioning mechanisms: as the sun heats the dome,

air is drawn in through open windows then up and out of the minaret, thereby providing natural ventilation.

Minarets have been described as the "gate from heaven and earth"

http://en.wikipedia.org/wiki/Minaret

"Signs are not the point, they point to the point. A reflection on our fascination with signs and wonders."

http://blog.adw.org/2013/02/signs-are-not-the-point-they-point-to-the-point-a-reflection-on-our-fascination-with-signs-and-wonders/

http://bible.org/seriespage/sign-jonah-matthew-1238-45

In my first psychosis, one of my first complaints was directed to this still undefined area and amounted to that the world was so filled with all kinds of signs that were so confusing that I felt I was seeing nowhere significant.

PINNACLE

The pinnacle had two purposes:

Ornamental – adding to the loftiness and verticity of the structure. They sometimes ended with statues, such as in Milan Cathedral.

Structural – the pinnacles were very heavy and often rectified with lead, in order to enable the flying buttresses to contain the stress of the structure vaults and roof. This was done by adding compressive stress (a result of the pinnacle weight) to the thrust vector and thus shifting it downwards rather than sideway.

http://en.wikipedia.org/wiki/Pinnacle

A crocket is a hook-shaped decorative element common in Gothic architecture. It is in the form of a stylised carving of curled leaves, buds or flowers which is used at regular intervals to decorate the sloping edges of spires, finials, pinnacles, and wimpergs.

http://en.wikipedia.org/wiki/Crocket

Oliver Webb carving ball-flowers for Hereford Cathedral tower.

http://www.finestoneminiatures.com/who_are_we.htm

BALLFLOWER

In architecture a ball-flower is an ornament resembling a ball placed in a circular flower, the three petals of which form a cup round it. They are usually inserted in a hollow moulding. Ball-flower ornaments occur chiefly in the Decorated style of 14th century Gothic architecture, but it sometimes occurs, though rarely, in buildings of the 13th century, or Early English style, as in the west front of Salisbury cathedral, where it is mixed with the tooth ornament: it is however rarely found in that style, and is an indication that the work is late. A flower resembling this, except that it has four petals, is occasionally found in very late Norman work, but it is used with other flowers and ornaments, and not represented in long suits, as in the Decorated style.

Title: Ancient Pagan and Modern Christian Symbolism
Last Updated: November 17, 2012

http://www.gutenberg.org/files/38485/38485-h/38485-h.htm

With two exceptions, Figs. 4 and 9,—exhibits Christian emblems of the trinity or linga, and the unity or yoni, alone or combined; the whole being copied from Pugin's Glossary of Ecclesiastical Ornament (London, 1869). 

Fig. 1 is copied from Pugin, plate xvii., and indicates a doable anion of the trinity with the unity, here represented as a ring, Vanneau.

     * There is an able essay on this subject in No. 267 of the
     Edinburgh Review—which almost exhausts the subject—but is
     too long for quotation here.

...

It has been said by some critics that the figures above referred to are mere architectural fancies, which never had pretensions to embody a mystery; and that any designer would pitch upon such a style of ornamentation although profoundly ignorant of the doctrine of the trinity and unity. But this assumption is not borne out by fact; the ornaments on Buddhist topes have nothing in common with those of Christian churches; whilst in the ruined temple of the sun at Marttand, India, the trefoil emblem of the trinity is common. Grecian temples were profusely ornamented therewith, and so are innumerable Etruscan sculptures, but they do not represent the trinity and unity. It has been reserved for Christian art to crowd our churches with the emblems of Bel and Astarte, Baalim and Ashtoreth, linga and yoni, and to elevate the phallus to the position of the supreme deity, and assign to him a virgin as a companion, who can cajole him by her blandishment, weary him by wailing, or induce him to change his mind by her intercessions. Christianity certainly requires to be purged of its heathenisms.

http://en.wikipedia.org/wiki/Doric_order

 In their original Greek version, Doric columns stood directly on the flat pavement (the stylobate) of a temple without a base; their vertical shafts were fluted with 20 parallel concave grooves...
The triglyphs are decoratively grooved with three vertical grooves ("tri-glyph") and represent the original wooden end-beams...

http://www.ask-aladdin.com/Temples-of-Egypt/luxortemple.html 

The 1st open court has double rows of 32 papyrus bud columns. 

 ... the Colonnade... consists of two pairs of large open papyrus columns, which are arranged to make a long processional avenue.

 http://www.touregypt.net/featurestories/columns.htm

Most of the time, the column shafts were copied in stone of supports made from plants, resembling either a trunk or a bundle of stems of smaller diameter.

The Doric corner conflict:

Spiral fluted columns in the Great Colonnade at Apamea in Syria

http://en.wikipedia.org/wiki/Fluting_%28architecture%29

http://www.nature.com/nature/journal/v137/n3457/abs/137180b0.html

http://www.historyforkids.org/learn/greeks/architecture/fluted.htm

The Greeks probably started this idea because their earliest columns were made out of wooden tree trunks, and when the builders shaved the bark off the trunks it left these vertical gouges. When they began to build stone temples, they copied the gouges from the wood...

Doric columns usually had 20 flutes, while Ionic columns usually had 24 flutes. 

Structures of the human telomeric repeat.

(a,b) Parallel structure from crystal structure, PDB 1KF1. (c,d) NMR structure, PDB 143D. (a,c) Top views. (b,d) Side views.
Guanines are shown in blue, the phosphate backbone as a gold ribbon.

http://rsta.royalsocietypublishing.org/content/365/1861/2969/F4.expansion.html

"We need to be open about what its structure is, because it's dynamic."

Shankar Balasubramanian

http://www.newscientist.com/article/mg21729014.400-quadruple-helix-dna-discovered-in-human-cells.html

... the four-stranded DNA arose most frequently during the so-called "s-phase" when a cell copies its DNA just prior to dividing.

http://www.oratert.com/english/word-news/39438.html

Russian DNA Discoveries Proof of 12-Strand DNA Activation Theory?

http://doowansnewsandevents.wordpress.com/2013/01/21/dna-strand-found-in-humans/

Different opinions on that:

http://www.thescienceforum.com/biology/1144-dna-phantom-effect.html

The genome looks like it is far more of a network of RNA transcripts that are all collaborating together. Some go off and make proteins; [and] quite a few, although we know they are there, we really do not have a good understanding of what they do.

http://news.bbc.co.uk/2/hi/science/nature/6749213.stm

The Encode Project

http://www.genome.gov/10005107

Stained glass mural on Alaskan theme: dog sled.
Photo manipulated with GIMP: there is no angle from which to shoot a rectangular image the way this is displayed in the museum.

Photo by Joe Mabel of 1910 stained glass piece originally part of a downtown Seattle storefront, The Alaskan Cigar Store in the original Arctic Club (now Morrison Hotel). This piece is now in Museum of History and Industry (MOHAI), Seattle, Washington, although two other comparable pieces remain as part of the building.

Unknown stained glass artist.

Separate photo of same glass. That one is sharper, and is probably the one that should be used (I got a better camera).

http://en.wikipedia.org/wiki/File:MOHAI_Alaska_glass.jpg

As Mother Teresa said in her letter to SMI, “Today, Jesus relives his passion in so many who need the help of mental health professionals loyal to Christ and to the Holy Father.” She is telling us that Jesus is suffering with schizophrenia, alcoholism, psychosexual addiction, bulimia, bi-polar disorder, obsessive-compulsive disorder, and all kinds of pyschic guilt, shame, panic, hostility and inferiority. And when we see Jesus at the Last Judgement, he will remind us “whatever you did to the least of my brothers and sisters you did to me.”
http://www.saintmichael.net/why-smi.html

Du som är i himmelen

Helgat varde ditt verk

Tillkomme ditt rike

Såsom i himmelen

Så ock på jorden

Giv oss vårt dagliga bröd

Och förlåt oss våra synder

Såsom och vi bör förlåta dem oss skyldiga äro

Och inled oss icke i frestelse

Utan fräls oss ifrån ondo

Ty riket är ditt

Och makten och härligheten

I evighet

You who art in heaven,

hallowed be thy works.

Thy kingdom come.

Thy will be done

on earth as it is in heaven.

Give us this day our daily bread,

and forgive us our trespasses,

as we should forgive those who trespass against us,

and lead us not into temptation,

but deliver us from evil.

For thine is the kingdom,

and the power, and the glory,

for ever and ever.

http://kinetigram.com/micds/Precalculus/PrecalcSHW12A/Michael/FlowerPower.html

Flint was the eighteenth of the twenty prehispanic symbol. Its design is a knife or razor made of stone. It seems that this design is formed by the area of intersection between two circles. I believe that the flint is the symbol of the solar eclipse, tonatiuhcuallo in Nahuatl, caused by the interposition of the moon between the earth and the sun

In an annular eclipse of the Sun is very clear to see how the sun king is maimed by a portion of your disk. The mutilated portion is a tecpatl . Also during a total solar eclipse can be seen as the flint widens to cover the entire Sun

Within twenty days ring calendrical opposite the rabbit this flint and symbolizes the moon. The rabbit represents the full moon and the new moon flint. The hollow center is made of maguey sap called to extract water and honey which is produced pulque, resembles a pot that was represented in the codices as the pot of the moon. When is full of white sap is at its full moon phase. In mythology the rabbit takes drunk that water and leaving the empty pot, new moon, is just a stone, the tecpatl , inside, the stone covering the hollow of the maguey, to protect the ritual of liquid rainfall and dust.

The process of extracting juice from the maguey is repetitive, the void is filled in a few days and the liquid is extracted leaving it empty until refilled to repeat the process.The operation resembles the processes of full moon and new moon.

Flint was associated with the moon and still to this day remains in the memory of indigenous myth of care for pregnant women in an eclipse. If they are not protected with a flint knife or scissors, the child in the womb may be born with a cleft lip. This lip recalls the shape of the mouth of the rabbits and they were associated with the moon.The rabbit, visible in the full phase of the satellite, was drawn in some codices loading to the moon.

In the mythology of India is exactly like this picture and not just the rabbit but the deer that loads the Sun Funny thing is the knowledge that the Chinese also seen on the face of the moon rabbit.

Flint was part of the pre-Hispanic symbols for years. The first year was the house, the second rabbit, reed third and fourth flint.

http://tonalpohualli260.wordpress.com/2010/01/12/cipactli/

http://www.mayanmajix.com/1mma_11_9_12.html

This Trecena starts with 1 Etznab (Flint/Mirror) – reflection, spiritual warrior, self-sacrificing healer and defender,

facing the truth with strength.

To the Ancient Maya, Flint symbolized the consciousness of duality, right and wrong, good and evil,

faith and fear, the spiritual warrior who, through his actions, chooses the ethical and moral path.

There is evidence of another ancient interpretation of the Flint glyph. According to Tony Shearer in

Beneath the Moon and Under the Sun, there was a Maya story told to Friar Juan de Cordova

on the day of Flint about a light coming from the Sun as a Solar Beam bringing with it the “Book of Days”

which we know as the sacred calendar or Tzolkin. 

“On the day we call Tecpatl ( Flint ) a great light came from the northeastern sky.

It glowed for four days in the sky, then lowered itself to that rock

(the rock can still be seen at Tenochtitlan de Valle in Oaxaca ).

From the light there came a great, a very powerful being

who stood on the very top of the rock and glowed like the sun in the sky. 

There he stood for all to see, shining day and night.

Then he spoke, his voice was like thunder, booming across the valley.

Our old men and women, the astronomers and astrologists,

could understand him and he could understand them. 

He (the Solar Beam) told us how to pray and fixed for us days of fast and feasting.

He then balanced the “Book of days,” (Sacred Calendar) and left,

vowing that he would always watch down on us, his beloved people.” 

http://www.iep.utm.edu/aquinas/

http://driscollwatch.wordpress.com/2011/01/28/mark-driscoll-and-thomas-aquinas/

http://sv.wikipedia.org/wiki/Hugo_Simberg

The Nag Hammadi Library

The Thunder, Perfect Mind

---

Translated by George W. MacRae

I was sent forth from the power,

and I have come to those who reflect upon me,

and I have been found among those who seek after me.

Look upon me, you who reflect upon me,

and you hearers, hear me.

You who are waiting for me, take me to yourselves.

And do not banish me from your sight.

And do not make your voice hate me, nor your hearing.

Do not be ignorant of me anywhere or any time. Be on your guard!

Do not be ignorant of me.

For I am the first and the last.

I am the honored one and the scorned one.

I am the whore and the holy one.

I am the wife and the virgin.

I am <the mother> and the daughter.

I am the members of my mother.

I am the barren one

and many are her sons.

I am she whose wedding is great,

and I have not taken a husband.

I am the midwife and she who does not bear.

I am the solace of my labor pains.

I am the bride and the bridegroom,

and it is my husband who begot me.

I am the mother of my father

and the sister of my husband

and he is my offspring.

I am the slave of him who prepared me.

I am the ruler of my offspring.

But he is the one who begot me before the time on a birthday.

And he is my offspring in (due) time,

and my power is from him.

I am the staff of his power in his youth,

and he is the rod of my old age.

And whatever he wills happens to me.

I am the silence that is incomprehensible

and the idea whose remembrance is frequent.

I am the voice whose sound is manifold

and the word whose appearance is multiple.

I am the utterance of my name.

Why, you who hate me, do you love me,

and hate those who love me?

You who deny me, confess me,

and you who confess me, deny me.

You who tell the truth about me, lie about me,

and you who have lied about me, tell the truth about me.

You who know me, be ignorant of me,

and those who have not known me, let them know me.

For I am knowledge and ignorance.

I am shame and boldness.

I am shameless; I am ashamed.

I am strength and I am fear.

I am war and peace.

Give heed to me.

I am the one who is disgraced and the great one.

Give heed to my poverty and my wealth.

Do not be arrogant to me when I am cast out upon the earth,

and you will find me in those that are to come.

And do not look upon me on the dung-heap

nor go and leave me cast out,

and you will find me in the kingdoms.

And do not look upon me when I am cast out among those who

are disgraced and in the least places,

nor laugh at me.

And do not cast me out among those who are slain in violence.

But I, I am compassionate and I am cruel.

Be on your guard!

Do not hate my obedience

and do not love my self-control.

In my weakness, do not forsake me,

and do not be afraid of my power.

For why do you despise my fear

and curse my pride?

But I am she who exists in all fears

and strength in trembling.

I am she who is weak,

and I am well in a pleasant place.

I am senseless and I am wise.

Why have you hated me in your counsels?

For I shall be silent among those who are silent,

and I shall appear and speak,

Why then have you hated me, you Greeks?

Because I am a barbarian among the barbarians?

For I am the wisdom of the Greeks

and the knowledge of the barbarians.

I am the judgement of the Greeks and of the barbarians.

I am the one whose image is great in Egypt

and the one who has no image among the barbarians.

I am the one who has been hated everywhere

and who has been loved everywhere.

I am the one whom they call Life,

and you have called Death.

I am the one whom they call Law,

and you have called Lawlessness.

I am the one whom you have pursued,

and I am the one whom you have seized.

I am the one whom you have scattered,

and you have gathered me together.

I am the one before whom you have been ashamed,

and you have been shameless to me.

I am she who does not keep festival,

and I am she whose festivals are many.

I, I am godless,

and I am the one whose God is great.

I am the one whom you have reflected upon,

and you have scorned me.

I am unlearned,

and they learn from me.

I am the one that you have despised,

and you reflect upon me.

I am the one whom you have hidden from,

and you appear to me.

But whenever you hide yourselves,

I myself will appear.

For whenever you appear,

I myself will hide from you.

Those who have [...] to it [...] senselessly [...].

Take me [... understanding] from grief.

and take me to yourselves from understanding and grief.

And take me to yourselves from places that are ugly and in ruin,

and rob from those which are good even though in ugliness.

Out of shame, take me to yourselves shamelessly;

and out of shamelessness and shame,

upbraid my members in yourselves.

And come forward to me, you who know me

and you who know my members,

and establish the great ones among the small first creatures.

Come forward to childhood,

and do not despise it because it is small and it is little.

And do not turn away greatnesses in some parts from the smallnesses,

for the smallnesses are known from the greatnesses.

Why do you curse me and honor me?

You have wounded and you have had mercy.

Do not separate me from the first ones whom you have known.

And do not cast anyone out nor turn anyone away

[...] turn you away and [... know] him not.

[...].

What is mine [...].

I know the first ones and those after them know me.

But I am the mind of [...] and the rest of [...].

I am the knowledge of my inquiry,

and the finding of those who seek after me,

and the command of those who ask of me,

and the power of the powers in my knowledge

of the angels, who have been sent at my word,

and of gods in their seasons by my counsel,

and of spirits of every man who exists with me,

and of women who dwell within me.

I am the one who is honored, and who is praised,

and who is despised scornfully.

I am peace,

and war has come because of me.

And I am an alien and a citizen.

I am the substance and the one who has no substance.

Those who are without association with me are ignorant of me,

and those who are in my substance are the ones who know me.

Those who are close to me have been ignorant of me,

and those who are far away from me are the ones who have known me.

On the day when I am close to you, you are far away from me,

and on the day when I am far away from you, I am close to you.

[I am ...] within.

[I am ...] of the natures.

I am [...] of the creation of the spirits.

[...] request of the souls.

I am control and the uncontrollable.

I am the union and the dissolution.

I am the abiding and I am the dissolution.

I am the one below,

and they come up to me.

I am the judgment and the acquittal.

I, I am sinless,

and the root of sin derives from me.

I am lust in (outward) appearance,

and interior self-control exists within me.

I am the hearing which is attainable to everyone

and the speech which cannot be grasped.

I am a mute who does not speak,

and great is my multitude of words.

Hear me in gentleness, and learn of me in roughness.

I am she who cries out,

and I am cast forth upon the face of the earth.

I prepare the bread and my mind within.

I am the knowledge of my name.

I am the one who cries out,

and I listen.

I appear and [...] walk in [...] seal of my [...].

I am [...] the defense [...].

I am the one who is called Truth

and iniquity [...].

You honor me [...] and you whisper against me.

You who are vanquished, judge them (who vanquish you)

before they give judgment against you,

because the judge and partiality exist in you.

If you are condemned by this one, who will acquit you?

Or, if you are acquitted by him, who will be able to detain you?

For what is inside of you is what is outside of you,

and the one who fashions you on the outside

is the one who shaped the inside of you.

And what you see outside of you, you see inside of you;

it is visible and it is your garment.

Hear me, you hearers

and learn of my words, you who know me.

I am the hearing that is attainable to everything;

I am the speech that cannot be grasped.

I am the name of the sound

and the sound of the name.

I am the sign of the letter

and the designation of the division.

And I [...].

(3 lines missing)

[...] light [...].

[...] hearers [...] to you

[...] the great power.

And [...] will not move the name.

[...] to the one who created me.

And I will speak his name.

Look then at his words

and all the writings which have been completed.

Give heed then, you hearers

and you also, the angels and those who have been sent,

and you spirits who have arisen from the dead.

For I am the one who alone exists,

and I have no one who will judge me.

For many are the pleasant forms which exist in numerous sins,

and incontinencies,

and disgraceful passions,

and fleeting pleasures,

which (men) embrace until they become sober

and go up to their resting place.

And they will find me there,

and they will live,

and they will not die again.

         Selection made from James M. Robinson, ed., The Nag Hammadi Library, revised edition. HarperCollins, San Francisco, 1990.

http://www.gnosis.org/naghamm/thunder.html

Head of Amazon, Ephesus, western Asia Minor (Turkey), 435 bce. The ancients said that Amazons founded the Temple of Artemis Ephesia, or Upis, on their travels. They were also said to have founded the cities of Myrine, Smyrna (now Izmir) and Cyme. This last island city was famous for preserving an Isis aretalogy (praise-song taking the form of 'I am,' familiar to many in the Gnostic scripture Thunder, Perfect Mind).

Young and old machis lead a procession playing on their kultrún (drums) in a Nguillatún ceremony of the Mapuche, in Chile.

Valaam icon of the Mother of God

Everything is one force.

The force consists of two aspects.

The aspects are attraction and separation.

Everything that exists varies properly between these aspects.

Because I can.

Brought back from the dead. By popular demand.

http://hajustbecauseican.blogspot.no/2009/11/antiquity-huge-toga-party.html

Thanks to Aristotle,
you now know what a fireball is.
Or fire damage. Or fire, as a matter of fact.

Aristotle was a smart-ass as you see, but he wasn't the only one. About a hundred years later, a kid was born in Syracuse of Sicily. This kid was named Archimedes. Yeah, that's right, he also happened to be Greek. One of his most famous discoveries is...the one with...the golden...and with....you know what? Fuck it. Let Wikipedia explain it to you:

"The most widely known anecdote about Archimedes tells of how he invented a method for determining the volume of an object with an irregular shape. According to Vitruvius, a new crown in the shape of a laurel wreath had been made for King Hiero II, and Archimedes was asked to determine whether it was of solid gold, or whether silver had been added by a dishonest goldsmith. Archimedes had to solve the problem without damaging the crown, so he could not melt it down into a regularly shaped body in order to calculate its density. While taking a bath, he noticed that the level of the water in the tub rose as he got in, and realized that this effect could be used to determine the volume of the crown. For practical purposes water is incompressible, so the submerged crown would displace an amount of water equal to its own volume. By dividing the weight of the crown by the volume of water displaced, the density of the crown could be obtained. This density would be lower than that of gold if cheaper and less dense metals had been added. Archimedes then took to the streets naked, so excited by his discovery that he had forgotten to dress, crying "Eureka!""

That should explain everything. Of course, you know this anecdote very well because you've been hearing it since you were little brats until now when you're fulltime losers, just to remind yourselves that you live a completely worthless and pathetic life. What still amazes you (as much as it used to, in your childhood) is not the complete genius of the theory, no....of course not. The thing that really amazes you still is the fact that after he had his little revelation, he took to the streets naked. Come on, don't fucking lie, you bloody bastard. You can almost see yourself again:

The Teacher: "Archimedes then took to the streets naked, so excited by his discovery that he had forgotten to dress, crying "Eureka!""
You: "Holy Mother of Teenage Mutant Ninja Turtles! Did he really? What a nutter!" 

And after that you'd think of what did the people around him say. Well, let me tell you what and enlighten you a bit: absolutely frickin' nothing! This was happening in ancient Greece! Do you really think it would've made any difference if he would've just walked out in a toga or a towel? I think people were accustomed enough to seeing each other naked....I don't know....it's just a wild guess....which is a right one, by the way. So stop being so amazed. We'll be back to this bit later.

As you see, Archimedes was also a smart-ass. He invented even more shit that you couldn't possibly wrap you head around. And among those great inventions there's an even greater one, a milestone in humanity's evolution, a key invention that helped us people survive for so long:

Go ahead. Make my day. I'm watching you.

1966 / Daisies – The food orgy.

Czechoslovakia (Ceskoslovenský Státní Film/Filmové Studio Barrandov). Director: Vera Chytilová. Cast: Jitka Cerhová, Ivana Karbanová. Original title: Sedmikrasky.

Why It’s Key: The climactic shock in this avant-garde farce is connected to food, not sex.

In an avant-garde feminist farce full of giggles and outrages, the ultimate jolt, which reportedly got its director into the most trouble, is an extravagant food orgy. Prior to this, the countless antics of two 17-year-old girls, both named Marie, nearly all involve food and/or drink, some of it served in posh restaurants, as well as the promise of sexual favors to dirty old men that are never delivered. Sometimes the transgressions are mainly formal; sometimes they involve both food and sex, such as when phallic bananas are compulsively sliced.

Eventually, the heroines’ plotless wanderings bring them via a dumbwaiter to a huge banquet hall filled with delicacies. After tentatively sampling a few dishes, they start sinking their hands into the sauces, devouring chickens, swilling diverse kinds of liquor, mixing together different dishes, gorging on pastries, and finally engaging in a food fight worthy of Laurel and Hardy —- much of this done to the strains of the Austrian national anthem. Then they start dancing on the table, swinging from an ornate chandelier, and smashing plates and glasses. Finally, to make matters even worse, they pretend to clean up the carnage —-reassembling plates like jigsaw puzzles and scraping food off the floor to heap it back onto trays.

Indignant Czech citizens who decried the waste and self-indulgence were only rising to the bait. The film ends with newsreel shots of aerial bombardment, over which a title appears: “This film is dedicated to those whose only reason for outrage is mutilated lettuce.”

http://www.jonathanrosenbaum.com/?m=200703&paged=4

I am not so interested in the various ways billions of others receive their pleasures from for example food or sex. I am somewhat disgusted by the staggering amount of time and effort that is now being spent in communicating these pleasures to each other. To each their own delights, so that we leave communications free to deal with more crucial matters.

Musiken föder ett behov av tystnad, publiken är försatt i sin egen scen och är inte beredd på att delta utan vill låta sig förföras. Musikforskaren Lucy Green beskriver, inspirerad av bland andra psykoanalytikern Jacques Lacan ett musikaliskt framträdande som en uppvisning där den som uppträder har på sig en mask, både som skydd och som hjälp i sin framställning av ett verk. Green beskriver att ”den som ser” framträdandet också är medveten om masken och att detta är en förutsättning för kommunikationen mellan ”förevisar” och ”den som ser”. För den som ser är den som framträder dubbel i sin natur, det är både någon annan och någon annan i en mask. Masken är mellanrummet mellan den som ser och den förevisar och det är där det konstnärliga utbytet sker. Detta sätter värdefulla ord på det som tar plats under en konsert. Ord som beskriver att det inte bara är den som framträder som skapar.

Musikern är sig själv på scen, men inte riktigt, och det vet publiken, och det är en förutsättning för kommunikationen. Detta scen-jag är en extra anspänning, en förhöjd vakenhet, kanske den mask Green talar om. Masken är inte bara min konstruktion som publiken får ta del av utan en ömsesidig produkt. Den som förevisar är den som har den aktiva positionen, makten att förföra, att locka...

http://sverigesradio.se/sida/artikel.aspx?programid=503&artikel=5252246

http://www.estahome.nl/index.php/en/136820

Pyroclastic flow