what happened to http://schaaflicht.blogspot.com?
meanwhile starting over on http://schaaflicht.wordpress.com
schaaflicht links art media peace ressources all weird and serious natural chaos creating trials and errors hot and spicy
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Firefox 3 is codenamed 'Gran Paradiso'
Mozilla has told the BBC's World Service that the new browser has been designed around the importance of search to users.
Firefox 3, currently going through its third stage of beta testing, will offer a combined search and bookmark tool via the url bar.It will also allow offline working.
Gel ("Good Experience Live") is a conference and community exploring good experience in all its forms -- in business, art, society, technology, and life.
The photographs for this portrait series were taken in various locations around the world between 1987 and 2005.
The Gerontology Research Group estimates there are 250,000 centenarians (people 100 years and older) currently living in the world. In rare instances, people live to 110 years and beyond, inspiring a new demographic label: supercentenarian. The Gerontology Research Group, through rigorous investigation of records, acknowledges about 65 supercentenarians, and estimates that about 350 are alive worldwide today.
The idea to photograph people who have lived in three centuries evolved over the course of the project. First, I was simply interested in taking portraits of people who appear worn beyond their years by living extraordinarily hard lives. Those experiences drew me to centenarians, and on to supercentenarians and their stories.
People consistently ask the same questions when viewing the portraits: How does a person live to be 114 years old? What do these long-lived people have in common that makes many of them look younger than people in their 90s, 80s and even 70s? The notes on aging is a short review of the current research on longevity.
The experience of talking with a 110 year-old man whose father stood next to Abraham Lincoln during the Gettysburg Address does not easily lend itself to words. A photograph seemed appropriate.
— Mark Story, September, 2005
The interior of our bodies is hidden to us. What happens beneath the skin is mysterious, fearful, amazing. In antiquity, the body's internal structure was the subject of speculation, fantasy, and some study, but there were few efforts to represent it in pictures. The invention of the printing press in the 15th century-and the cascade of print technologies that followed-helped to inspire a new spectacular science of anatomy, and new spectacular visions of the body. Anatomical imagery proliferated, detailed and informative but also whimsical, surreal, beautiful, and grotesque — a dream anatomy that reveals as much about the outer world as it does the inner self.
Over the centuries anatomy has become a visual vocabulary of realism. We regard the anatomical body as our inner reality, a medium through which we imagine society, culture and the human condition.
Drawn mainly from the collections of the National Library of Medicine, Dream Anatomy shows off the anatomical imagination in some of its most astonishing incarnations, from 1500 to the present.
Here you will find a wealth of uselessly interesting characters not found on your keyboard. Ever wanted to know how to make an 'i' with those two little dots above it? How about a multiplication sign? A euro sign? A smiley face? A bunch of different letters with squiggly things under them? Ỹổů’ṽẻ čøm̉ę ŧỡ ţĥë ŕıġħť p̀łắĉễ. Unlike most similar lists, Ultimate Cool Characters has more than just those odd characters that we all know so well. It was painstakingly compiled to include a whole lot of weird characters that you have probably never seen before. Feel free to use any of them in your web pages and documents. After all, I didn't make these up, I just compiled them.(0) comments
Ultimate Cool Characters
In the story of the Buddha, the white elephant is connected to fertility and knowledge. On the eve of giving birth to the Lord Buddha, his mother dreams that a white elephant comes to present her with a lotus, symbol of purity and knowledge.
The white elephant is not an ordinary elephant. It had sacred powers. It was the mount of the war god. It brought fertility. The Royal White Elephants were not taken to war and not ridden in processions. They were kept within the confines of the palace, entrusted to the care of senior officials, fed well, washed regularly, and worried over constantly.
For the kings of Burma, Siam, Laos and Cambodia -- the possession of these sacred beasts became very important because their rule depended on it. A king who had many fine white elephants would be successful and his kingdom would prosper. If his white elephants died, it foretold disaster for the king and his kingdom.
read more: B I S E A N: THE LEGEND OF THE WHITE ELEPHANT
Born and raised in London, Nick Brandt studied Film and Painting at St. Martins School of Art.
He started photographing in December 2000 in East Africa, beginning the body of work that is his signature subject matter and style. He no longer directs, devoting himself full time to his fine art photography now.
Brandt's first book of photographs, "On This Earth", was published in October 2005, by Chronicle Books, with forewords by Jane Goodall and Alice Sebold (author of "The Lovely Bones").
He has had numerous one-man exhibitions between 2004 and 2006, including London, Berlin, New York, Los Angeles, Hamburg, Santa Fe, Sydney, Melbourne and San Francisco.
He now lives in Topanga, California....
Welcome to the Tenth Dimension
In string theory, physicists tell us that the subatomic particles that make up our universe are created within ten spatial dimensions (plus an eleventh dimension of "time") by the vibrations of exquisitely small "superstrings". The average person has barely gotten used to the idea of there being four dimensions: how can we possibly imagine the tenth?
Imagining the Ten Dimensions
The flash version of this website (www.tenthdimension.com) provides an interactive set of animations with narration and sound effects which explain the basic concepts from chapter one of the book. The media-rich nature of these animations is not recommended for viewing with a dialup connection because of long load times. Below is a transcript of the narration from those animations. The ideas presented here come from chapter one of a new book called "Imagining the Tenth Dimension: a new way of thinking about time, space, and string theory", written by Rob Bryanton.
0. A point (no dimension)
We start with a point. Like the “point” we know from geometry, it has no size, no dimension. It’s just an imaginary idea that indicates a position in a system.
1. The first dimension – a line
A second point, then, can be used to indicate a different position, but it, too, is of indeterminate size. To create the first dimension, all we need is a line joining any two points. A first dimensional object has length only, no width or depth.
2. The Second Dimension – A Split
If we now take our first dimensional line and draw a second line crossing the first, we’ve entered the second dimension. The object we’re representing now has a length and a width, but no depth. To help us with imagining the higher dimensions, we’re going to represent our second dimensional object as being created using a second line which branches off from the first.
Now, let’s imagine a race of two-dimensional creatures called “Flatlanders”. What would it be like to be a Flatlander living in their two-dimensional world? A two-dimensional creature would have only length and width, as if they were the royalty on an impossibly flat playing card. Picture this: a Flatlander couldn’t possibly have a digestive tract, because the pipe from their mouth to their bottom would divide them into two pieces! And a Flatlander trying to view our three-dimensional world would only be able to perceive shapes in two-dimensional cross-sections. A balloon passing through the Flatlander’s world, for instance, would start as a tiny dot, become a hollow circle which inexplicably grows to a certain size, then shrinks back to a dot before popping out of existence. And we three-dimensional human beings would seem very strange indeed to a Flatlander.
3. The Third Dimension – A Fold
Imagining the third dimension is the easiest for us because every moment of our lives that is what we’re in. A three dimensional object has length, width, and height. But here’s another way to describe the third dimension: if we imagine an ant walking across a newspaper which is lying on a table, we can pretend that the ant is a Flatlander, walking along on a flat two-dimensional newspaper world. If that paper is now folded in the middle, we create a way for our Flatlander Ant to “magically” disappear from one position in his two-dimensional world and be instantly transported to another. We can imagine that we did this by taking a two-dimensional object and folding it through the dimension above, which is our third dimension. Once again, it’ll be more convenient for us as we imagine the higher dimensions if we can think of the third dimension in this way: the third dimension is what you “fold through” to jump from one point to another in the dimension below.
4. The Fourth Dimension – A Line
Okay. The first three dimensions can be described with these words: “length, width, and depth”. What word can we assign to the fourth dimension? One answer would be, “duration”. If we think of ourselves as we were one minute ago, and then imagine ourselves as we are at this moment, the line we could draw from the “one-minute-ago version” to the “right now” version would be a line in the fourth dimension. If you were to see your body in the fourth dimension, you would be like a long undulating snake, with your embryonic self at one end and your deceased self at the other. But because we live from moment to moment in the third dimension, we are like our second dimensional Flatlanders. Just like that Flatlander who could only see two-dimensional cross-sections of objects from the dimension above, we as three-dimensional creatures can only see three-dimensional cross-sections of our fourth-dimensional self.
5. The Fifth Dimension – A Split
One of the most intriguing aspects of there being one dimension stacked on another is that down here in the dimensions below we can be unaware of our motion in the dimensions above. Here’s a simple example: if we make a Möbius strip (take a long strip of paper, add one twist to it and tape the ends together) and draw a line down the length of it, our line will eventually be on both sides of the paper before it meets back with itself. It appears, somewhat amazingly, that the strip has only one side, so it must be a representation of a two-dimensional object. And this means that a two-dimensional Flatlander traveling down the line we just drew would end up back where they started without ever feeling like they had left the second dimension. In reality, they would be looping and twisting in the third dimension, even though to them it felt like they were traveling in a straight line.
The fourth dimension, time, feels like a straight line to us, moving from the past to the future. But that straight line in the fourth dimension is, like the Möbius strip, actually twisting and turning in the dimension above. So, the long undulating snake that is us at any particular moment will feel like it is moving in a straight line in time, the fourth dimension, but there will actually be, in the fifth dimension, a multitude of paths that we could branch to at any given moment. Those branches will be influenced by our own choice, chance, and the actions of others.
Quantum physics tells us that the subatomic particles that make up our world are collapsed from waves of probability simply by the act of observation. In the picture we are drawing for ourselves here, we can now start to see how each of us are collapsing the indeterminate wave of probable futures contained in the fifth dimension into the fourth dimensional line that we are experiencing as “time”.
6. The Sixth Dimension – A Fold
What if you wanted to go back into your own childhood and visit yourself? We can imagine folding the fourth dimension through the fifth, jumping back through time and space to get there. But what if you wanted to get to the world where, for example, you had created a great invention as a child that by now had made you famous and rich? We can imagine our fourth-dimensional selves branching out from our current moment into the fifth dimension, but no matter where you go from here the “great child inventor” timeline is not one of the available options in your current version of time -- “you can’t get there from here” -- no matter how much choice, chance, and the actions of others become involved.
There are only two ways you could get to that world – one would be to travel back in time, somehow trigger the key events that caused you to come up with your invention, then travel forward in the fifth dimension to see one of the possible new worlds that might have resulted. But that would be taking the long way. The shortcut we could take would involve us folding the fifth dimension through the sixth dimension, which allows us to instantly jump from our current position to a different fifth dimensional line.
7. The Seventh Dimension – A Line
In our description of the fourth dimension, we imagined taking the dimension below and conceiving of it as a single point. The fourth dimension is a line which can join the universe as it was one minute ago to the universe as it is right now. Or in the biggest picture possible, we could say that the fourth dimension is a line which joins the big bang to one of the possible endings of our universe.
Now, as we enter the seventh dimension, we are about to imagine a line which treats the entire sixth dimension as if it were a single point. To do that, we have to imagine all of the possible timelines which could have started from our big bang joined to all of the possible endings for our universe (a concept which we often refer to as infinity), and treat them all as a single point. So, for us, a point in the seventh dimension would be infinity – all possible timelines which could have or will have occurred from our big bang.
8. The Eighth Dimension – A Split
When we describe infinity as being a “point” in the seventh dimension, we are only imagining part of the picture. If we’re drawing a seventh dimensional line, we need to be able to imagine what a different “point” in the seventh dimension is going to be, because that’s what our line is going to be joined to. But how can there be anything more than infinity? The answer is, there can be other completely different infinities created through initial conditions which are different from our own big bang. Different initial conditions will create different universes where the basic physical laws such as gravity or the speed of light are not the same as ours, and the resulting branching timelines from that universe’s beginning to all of its possible endings will create an infinity which is completely separate from the one which is associated with our own universe. So the line we draw in the seventh dimension will join one of these infinities to another. And, as boggling as the magnitude of what we are exploring here might be, if we were to branch off from that seventh dimensional line to draw a line to yet another infinity, we would then be entering the eighth dimension.
9. The Ninth Dimension – A Fold
As we’ve explored already, we can jump from one point in any dimension to another simply by folding it through the dimension above. If our ant on the newspaper were a two-dimensional Flatlander, then folding his two-dimensional world through the third dimension would allow him to magically disappear from one location and appear in a different one. As we’re now imagining the ninth dimension, the same rules would apply – if we were to be able to instantaneously jump from one eighth dimensional line to another, it would be because we were able to fold through the ninth dimension.
10. The Tenth Dimension – A Point?
Before we discussed the first dimension, we could say that we first started out with dimension zero, which is the geometrical concept of the “point”. A point indicates a location in a system, and each point is of indeterminate size. The first dimension then, takes two of these “points” and joins them with a line.
When we imagined the fourth dimension, it was as if we were treating the entirety of three-dimensional space in a particular state as a single point, and drawing a fourth-dimensional line to another point representing space as it is in a different state. We often refer to the line we have just drawn as “time”.
Then in the seventh dimension, we treated all of the possible timelines which could be generated from our big bang as if this were a single point, and imagined drawing a line to a point representing all of the possible timelines for a completely different universe.
Now, as we enter the tenth dimension, we have to imagine all of the possible branches for all the possible timelines of all the possible universes and treat that as a single point in the tenth dimension. Whew! So far, so good. But this is where we hit a roadblock: if we’re going to imagine the tenth dimension as continuing the cycle, and being a line, then we’re going to have to imagine a different point that we can draw that line to. But there’s no place left to go! By the time we have imagined all possible timelines for all possible universes as being a single point in the tenth dimension, it appears that our journey is done.
In String theory, physicists tell us that Superstrings vibrating in the tenth dimension are what create the subatomic particles which make up our universe, and all of the other possible universes as well. In other words, all possibilities are contained within the tenth dimension, which would appear to be the concept we have just built for ourselves as we imagined the ten dimensions, built one upon another.
The Heavens Rejoice
is a new film by the creative team of Angi Sullins and Silas Toball. The soundtrack is titled "Rejoice" and is an original composition by Silas. This piece is best viewed in full screen and you MUST TURN YOUR SPEAKERS UP!
(The sound fades at the end but is essential to the experience and you need to hear it!)
So UP UP UP!!
"The Heavens Rejoice" is inspired by a true love story. Silas Toball, my creative partner and soul mate, penned a love song (of sorts!) for me last Christmas. I, in turn, have penned a visual love letter back to him, and the marriage of the two is "The Heavens Rejoice", our love letter to YOU!
Click in the image below to view the film:
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Al Maslakh and the unpublishable Lebanese artistic scene
Back in 2000, after 15 years of civil war and a decade of post war rehabilitation, the situation of alternative art and especially music was very poor in Lebanon. From Arabic pop songs to hard rock bands, passing by new age and techno beats, everything you could hear in Beirut was most likely a bad “arabised” copy of old or new western musical fashions. The jazz scene for instance was – and arguably still is – mostly interested in playing standards, be-bop or fusion.
Things began to change around 2000 with the arrival of a new generation of musicians, born at the beginning and during the war, more interested in experimental art forms than in fame and glory.
After a couple of gigs in Beirut, three musicians formed MILL, an association to promote and develop the practice of free improvised music in Lebanon. MILL became in 6 years the reference for the avant-garde musical scene both as an exchange platform for different Lebanese musicians coming from improv, free jazz, contemporary composition, noise music and alternative rock, and as the organizer of IRTIJAL, the first and biggest festival for experimental music in the Middle-East and the Arabic region.
The idea to create a recording label in order to document the nascent scene existed ever since the scene itself was born. However, it took 5 years to become a reality. In 2005 the name Al Maslakh (The Slaughterhouse in arabic) was chosen – for reasons that we let you figure out – and the label launched with two first records.
Our constantly growing catalog - publishing exclusively projects involving Lebanese musicians or projects of international musicians recorded in Lebanon – offers with each new release a different and unique musical / sound experience.
Al Maslakh Records : Improv and Experimental Music - Beirut, Lebanon
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Movie Alphabetical Index
"Baby Face Morgan" (1942)
"Beat the Devil" (1954)
"Below the Deadline" (1936)
Betty Boop cartoons
"The Big Trees" (1952)
"Boy! What a Girl!" (1946)
"The Brain That Wouldn't Die" (1962)
"Bride of the Gorilla" (1951)
"Brideless Groom" The Three Stooges (1947)
Bugs Bunny cartoons
"Calendar Girl" (1947)
"Call of the Yukon" (1938)
"Captain Calamity" (1936)
"Carnival of Souls" (1962)
"Caspar the Friendly Ghost
"Color Craziness" The New Three Stooges (1965)
"The Contender" (1944)
"The Corpse Vanishes" (1942)
"Crashing Through Danger" (1938)
"Cyrano de Bergerac" (1950)
"Lady Frankenstein" (1971)
"Lady Says No" (1952)
"The Last Man on Earth" (1964)
"The Last Time I Saw Paris" (1954)
Laurel & Hardy
"Li'l Abner" movie (1940)
"Little Lord Fauntleroy" (1936)
"Little Men" (1940)
"The Long Shot" (1939)
"Lost in the Stratosphere" (1934)
"The Lost World" (1925)
"Love Island" (1950)
Lucky Strike commercial
"Machine Gun Mama" (1944)
"Made for Each Other" (1939)
"The Mad Monster" (1942)
"Malice in the Palace" The Three Stooges (1949)
"The Man Who Knew Too Much" (1934)
"Mark of Zorro" (1920)
"Million Dollar Weekend" (1948)
"Misbehaving Husbands" (1940)
"Mr. Reckless" (1948)
"My Dear Secretary" (1949)
"My Man Godfrey" (1936)
"My Favorite Brunette" (1947)
"The Payoff" (1942)
"Pecos Kid" (1936)
"Penny Serenade" (1941)
"The Phantom of the Opera" (1925)
"Phantom Ship" (1942)
Popeye the Sailor Man
"Private Buckaroo" (1942)
"Private Snuffy Smith" (1942)
"Santa Clause Conquers the Martians" (1964)
"Scared to Death" (1947)
"Scarlet Street" (1945)
"School's Out" (1930)
"Second Chorus" (1940)
"So This Is Washington" (1943)
"So's Your Aunt Emma" (1942) Also known as "Meet the Mob"
Spanky and Our Gang - The Little Rascals (1930)
"The Sunset Murder Case" (1938)
"Texas, Brooklyn and Heaven" (1948)
"Texas Terror" (1935)
"The Little Shop Of Horrors" (1960)
Hitchcock's "The 39 Steps" (1935)
"The Talking Magpies" (1946)
"Things to Come" (1936)
"This is the Army"
"Til the Clouds Roll By" (1946)
Tom and Jerry
"Tombstone Canyon" (1932)
"Two Weeks to Live" (1943)
The Vampire Bat (1933)
"The Yanks Are Coming" (1942)
Oil Standard is a web browser plug-in that converts all prices from U.S. Dollars into the equivalent value in barrels of crude oil.
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When you load a web page, the script seamlessly inserts converted prices into the page. As the cost of oil fluctuates on the commodities exchange, prices rise and fall in real-time.
Oil Standard, Greasemonkey conversion of US Dollars to Barrels of Oil(0) comments
Free Element, seascapes by Chinese born photographer Dodo Jin Ming, from April 18 - June 15, 2002. Respecting the awesome power and drama found only in the sea, Dodo Jin Ming creates violent black and white images that transport the viewer to a precipice about to be submerged under a cascade of water. Printing her pictures from a combination of two negatives, one of the sea, the other sky, Ming has intensified the power of the surging waves by blanketing them under an engulfing sky. Although this technique of multiple-printing harks back to the mid-19th Century and the majestic and peaceful seascapes of Gustave LeGray, Dodo Jin Ming’s turbulent images are more akin to the paintings of J.M.W. Turner and Winslow Homer. We also see strong literary connotations, such as Edgar Allen Poe’s "Descent into the Maelstrom" and Dante’s "Inferno." Ming made most of her exposures along the coast of Maine and the outskirts of Hong Kong. Often at great personal risk, she was able to capture on film the power and rage of the sea that would stir the heart of any sailor. Born in Beijing in 1955, she trained as a concert violinist before taking up photography.
This genre, often called Ledger Art, represents a transitional form of Plains Indian artistry corresponding to the forced reduction of Plains tribes to government reservations, roughly between 1860 and 1900. Due to the destruction of the buffalo herds and other game animals of the Great Plains by Anglo-Americans during and after the Civil War, painting on buffalo hide gave way to works on paper, muslin, canvas, and occasionally commercially prepared cow or buffalo hides.
Changes in the content of pictographic art, the rapid adjustment of Plains artists to the relatively small size of a sheet of ledger paper, and the wealth of detail possible with new coloring materials, marks Plains ledger drawings as a new form of Native American art. As such, ledger painting portrays a transitional expression of art and material culture that links traditional (pre-reservation) Plains painting to the Plains and Pueblo Indian painting styles that emerged during the 1920s in Indian schools in Oklahoma and New Mexico.
Beginning in the early 1860s, Plains Indian men adapted their representational style of painting to paper in the form of accountants ledger books. Traditional paints and bone and stick brushes used to paint on hide gave way to new implements such as colored pencils, crayon, and occasionally water color paints. Plains artists acquired paper and new drawing materials in trade, or as booty after a military engagement, or from a raid. Initially, the content of ledger drawings continued the tradition of depicting of military exploits and important acts of personal heroism already established in representational painting on buffalo hides and animal skins. As the US government implemented the forced relocation of the Plains peoples to reservations, for all practical purposes completed by the end of the 1870s, Plains artists added scenes of ceremony and daily life from before the reservation to the repertoire of their artwork, reflecting the social and cultural changes brought by life on the reservation within the larger context of forced assimilation.
Kennislink presenteert op deze pagina een computersimulatie én achtergrondartikelen over files. Over de kosten, het risico voor de gezondheid en over de vraag of het beter is bumperklevend of stapvoets aan te sluiten bij de voorganger.(0) comments
Het fileprobleem - microsimulatie van het wegverkeer