Who was George Molfetas?
The hotel is named in honour of Katerina's great uncle, George Molfetas (1871 - 1916), a gifted satirical poet, publisher, musician and composer.
Satirical poet and publisher
George Molfetas published his first satirical newspaper at the age of 19. Written entirely in poetic verse, he displayed a rare wit and a keen eye for the manners and customs of his fellow Kefalonians. However, pressed into following his father's footsteps, he was sent to Athens to a pursue a degree in law. He was soon drawn to the capital's literary circles and began publishing another satirical newspaper, which earned him critical acclaim from his literary peers but was a commercial failure. Nostalgic for his homeland, Molfetas eventually returned to Kefalonia where he promptly started his third and final satirical newspaper, Zizanion. Like the previous two, it was entirely written and published by Molfetas himself and almost wholly in poetic verse. The Zinanion ran for 25 years with great success until his untimely death from pneumonia in 1916. It proved to be almost as popular in Athens as it was in his native Kefalonia and Molfetas was often courted by aspiring and incumbent politicians anxious to avoid being the target of his unique form of satire. Indeed, one of his most ardent fans was no less a figure than Eleftherios Venizelos, the noted prime minister of Greece. However, George Molfetas was not a political satirist in the modern sense. He was first and foremost a poet, and though he often drew on the microcosm of Kefalonian society for his subjects, his satire had a universal appeal and, more importantly, a velvet touch. Mastering all forms of the Greek language including archaic, demotic, katharevousa and local dialect, Molfetas' satirical poetry is sadly no longer as widely accessible to contemporary readers as it was a century ago. What can easily be discerned from reading his work, however, is that his was one of the finer minds of an undoubtedly nobler period in Greek history.
Musician and composer
Molfetas' ear for the rhythmic forms of poetry was closely linked to his musical talent, in much the same way that poetry can be described as the music of the written word. A highly skilled and self-taught guitarist, Molfetas not only adapted the classical repetoire to his particular instrument but also composed many pieces of his own. At the request of ardent admirers in Athens, he held his first public performance in a prominent Athenian concert hall in 1895. The reviews were so effusive that he was soon receiving invitations to hold concerts in various Greek communities around the world. For over a year the publication of his satirical newspaper Zizanion was put on hold while Molfetas held concerts to great acclaim in Constantinople, Russia, Egypt and Wallachia (present day Romania). The reviews used words such as 'ethereal' and declared that in his hands the humble guitar sounded like more like an entire orchestra! Together with his considerable talent for rendering harmonies, he was also aided by his unique, custom-made guitar, which in many ways resembled an ancient Greek lyre. This extraordinary instrument was made by Dimitrios Mourtzinos, the greatest Greek musical instrument maker of his time, and is now kept at the Philharmonic School of Argostoli. A faithful copy was recently made by the Department of Sound Technology and Musical Instruments of the Technological & Educational Institute of Lixouri. It was presented on June 6th of 2015 in a moving event that included a fascinating lecture by Joseph Loukeris, entitled George Molfetas: the Musical Poet, as well as a musical recital by Dimitris Dimakopoulos using a copy of Molfetas' remarkable instrument.
Excerpt from the recital by Dimitris Dimakopoulos.
Following his year-long concert tour, George Molfetas ceased giving public performances, with one exception: a charity concert at the Kefalos Theatre in 1904. Received with rapturous applause, Molfetas returned to the stage for an encore and, imitating Nicolo Paganini, broke all but one of his instrument's chords before continuing to play!
1. A transcript of the lecture (in Greek) by Joseph Loukeris entitled G. Molfetas: Musical Poet can be viewed on his blog here.
2. Copies of the Zizanion can be viewed at the Corgialenios Library in Argostoli or downloaded from their website at www.corgialenios.gr
3. The short video excerpt of a recital by Dimitris Dimakopoulos was uploaded to youtube by the Kefalonian news website kefalonitikanea.gr
4. Background image by Joseph Cartwright (1789 - 1829) c.1820. View of Argostoli on the island of Cephalonia


David Foot - Demographic Expert, Professor of Economics
David Foot, Professor of Economics at the University of Toronto, is the author of the best-selling books Boom, Bust & Echo: How to Profit from the Coming Demographic Shift and the updated paperback, Boom, Bust & Echo: Profiting from the Demographic Shift in the 21st Century*. These books are based on his research on the economic impacts of demographic change and on the resulting implications for both private and public policies. These books have sold more than 300,000 copies and were on the Canadian best-seller lists for over 3 years.
David Foot is an outspoken and controversial demographics expert who can bring to life demographic statistics and make the aging of society relevant to any group. He explores how changing demographics, especially the aging of the massive boomer generation, and the entry of their children, the echo generation, into the market and workplace, will redefine society's needs.
Dr. Foot contends that demographics explains two-thirds of everything -- whether the subject is business planning, marketing, human resources, career planning, corporate organization, the stock market, housing, education, health, recreation, leisure, and social and global trends. Change can't be avoided, but it can be anticipated and managed. With an understanding of demographics, a business, an individual or a government has a strong foundation upon which to build an understanding of the past and a vision for the future.
David Foot was born in England, raised in Australia, educated in the United States (Ph.D. from Harvard) and lives in Canada. Reflecting this background, he addresses issues from a global and a North American perspective. He is a much sought after speaker for corporations, associations, community groups and governments.
An award winning teacher, David Foot received a national 3M Award for Teaching Excellence and twice received the University of Toronto undergraduate teaching award.
*formerly Boom, Bust & Echo 2000: Profiting from the Demographic Shift in the New Millennium
David K. Foot, Professor of Economics at the University of Toronto, is co-author of the best-selling books Boom, Bust & Echo: How to Profit from the Coming Demographic Shift* and Boom, Bust & Echo: Profiting from the Demographic Shift in the 21st Century**. These books reflect his research on the relationships between economics and demographics and on the resulting implications for both private and public policies.
Following his undergraduate degree in Australia and his doctorate in economics from Harvard University, Professor Foot's research involved projections of the Canadian economy. Subsequently, he focused on Canada's declining population growth and associated population aging as one of the fundamental and often neglected determinants of the challenges to economic performance and policy. His research has resulted in contributions to a variety of specific fields such as marketing, human resource planning, corporate organization, saving and investing, housing, health, education, recreation and leisure, unemployment, migration, government expenditures, and intergovernmental relations. A number of these themes are explored in two of his previous books, Canada's Population Outlook: Demographic Futures and Economic Challenges and The Over Forty Society.
In addition to academic writings and contributions to professional journals and to the popular media, Professor Foot's work in the area of public policy has included research and submissions to many government commissions and numerous consulting and conference assignments for both private and public organizations.
He is a recipient of a national 3M Award for Teaching Excellence and is a two-time winner of the University of Toronto undergraduate teaching award.
*Entre le Boom et l'Écho : Comment mettre à profit la réalité démographique, Boréal
**Entre le Boom et l'Écho 2000 : Comment mettre à profit la réalité démographique à l'aube du prochain millénaire, Boréal
**formerly Boom, Bust & Echo 2000: Profiting from the Demographic Shift in the New Millennium


Friday, February 1, 2013
Papercraft Japanese World War II A6M Zero, Nakajima B5N torpedo bomber and Aichi D3A carrierborne bomber.
Probably the most famous Japanese airplane of World War II was the A6M "Zero", but of course there were many more, like the Nakajima B5N torpedo bomber and the Aichi D3A carrier-borne bomber.
Download + build your own papercraft Japanese World War II aircraft (by Shikisha):
(click the "公開中" links below the pictures, then on the new pages the "第1回", "第2回", "第3回" and "第4回" links, then on the new pages that open, the "シートA", "シートB", "シートC", "シートD" and "シートE" links for the PDF parts files)


HRM FILE FORMATThe following Polar HRM file format provides more information about the training data transferred from defined Polar products and displayed in the Polar ProTrainer 5 software. Polar_HRM_file format.pdf
PWD/PDD FILE FORMATThe Polar Weekly Data and Polar Diary Data file format is a document that describes the training data that can be transferred from defined Polar products. Polar_PWD_PDD_file format.pdf
If you want a greater understanding of the file formats used in the Polar ProTrainer 5 software, check out the downloadable documents below.


Dilruba Ahmed’s book, Dhaka Dust (Graywolf Press, 2011), won the Bakeless Prize. Her poems have appeared in Alaska Quarterly Review, Kenyon Review, New England Review, PEN America, Poetry, Smartish Pace, and elsewhere. Her poems have also been anthologized in Literature: The Human Experience (Bedford/St. Martin’s, 2016), Indivisible: An Anthology of Contemporary South Asian American Poetry (University of Arkansas, 2010), and elsewhere. Ahmed is the recipient of The Florida Review’s Editors’ Award, a Dorothy Sargent Rosenberg Memorial Prize, and the Katharine Bakeless Nason Fellowship in Poetry awarded by the Bread Loaf Writers Conference. She holds BPhil and MAT degrees from the University of Pittsburgh and an MFA from Warren Wilson College’s Program for Writers.
Ahmed serves on the steering committee for Indivisible Swarthmore: Moving the Needle.


SAINT AGNES OF ASSISI
Saint Agnes of Assisi, sister of saint Clare "by flesh and by purity " (LegCl 24), was the second daughter of Ortolana and Favarone Offreduccio of Assisi. From the 14th century Chronicles of the 24 Ministers General of the Order of Friars Minor. (Quaracchi, 1857, pages 173-182), we know that she died at the age of 56 in 1253, shortly after her sister Clare. From this one can deduce that she was born in 1197. The name of Agnes was given to her by saint Francis when with his own hand her cut her hair after "the innocent Lamb, for Jesus Christ, who sacrificed himself for our sake, gave strong resistance and manly combat" (ibid).
Before this she was in fact called Catherine (cL AFH, Archivium Franciscanum Historicum, 13,1920, pg. 275). We find her as a very young child in Perugia, where the family of Favarone fled for refuge. Here they remained for several years, after open warfare broke out and on-going battles of armed conflict followed one after another among the people revolting against the domination of the Emperor as well as against the feudal lords. Her personality was therefore shaped amidst the family household aspirations to power and prestige which made alliance with the Perugians against the city of her birth, as well as by the example of devotion and virtue which she saw in her mother and her older sister, Clare.
'She had an affinity of spirit with her" even if she was attracted by the world and "the thought of a carnal marriage". However, "a marvellous mutual love had taken hold of both of them" (LegCl 24), which for several reasons made the separation painful for the 15 year old Agnes when Clare left to follow the Franciscan ideal in the life of Most High Poverty.
Clare "among the first prayers she offered to God, with all her heart, ardently begged this grace that, just as she had an affinity of spirit with her sister in the world, she might also have now a unity of will in the service of God. Therefore she prayed continuously to the Father of mercy that the world might become insipid to Agnes, her sister at home, and that God might become pleasing to her... that she might together with her be espoused in eternal virginity to the Spouse of glory. The divine majesty answered without delay the exceptional woman of prayer and quickly gave her that first gift that she so eagerly sought and that was so greatly pleasing for God to present" (ibid). And it is here that a light illumines the heart of Agnes and reveals the reality of a divine love, free and sovereign, that will rule her young life and become everything for her. In fact sixteen days after the conversion of Clare, moved by the Divine Spirit, she hurries to join her sister, and reveals to her sister the intimate secret of her will, she confesses that she wants to give herself totally to the service of God.
The two sisters follow in the footsteps of Christ to the church of Sant'Angelo in Panzo, where the violent attack of their family rises against them. The men attempt to carry away Agnes, while Clare throwing herself on. her knees in prayer with tears, implores that her sister will be given strength of will. Suddenly, even with all their might and strength, the knights can no longer lift the young girl from the ground. Her own Uncle Monaldo, overpowered by rage, intended to strike her a lethal blow, but a terrible pain suddenly struck his raised hand. He was restrained from such a blow and all the men left in bitterness at their failure.
Following this, Francis instructed her in the ways of the Lord, bringing her, together with Clare, to the little monastery of San Damiano, where a little later they will be joined by their other sister Beatrice and by their own mother, Ortolana. Here, at the school of Clare, not fearing to embrace the suffering, the fatigue and the deprivations of poverty, we find Agnes present when the sisters were lacking even oil. Clare with her prayer worked the miracle that found the container full even before the brother called to go and beg to have it filled had come to take it away (ProcCan 1, 1 5).
Following the same path as her sister, Agnes loved to contemplate the poor Christ in the mystery of the Incarnation and of the Passion. Wadding recounts the incident of the vision which Agnes, like Clare, had of the Nativity of the Lord (Wadding, Annales Minorum, 111, Quaracchi, Florence, 1931, pg. 350). In fact, she is often portrayed iconographically with the Infant Jesus. Her other focus is on the Crucified, contemplating "the ineffable charity that led him to suffer on the wood of the Cross" for the redemption of humankind.
From the "life" inserted into the Chronicles of the 24 Generals we know in fact that "one time, while apart from the others, in the silence of the night devotedly kept for prayer, the blessed Clare remained to pray. While not far away she saw her at prayer completely lifted from the ground mid suspended in the air, crowned with three crowns by an Angel after an interval of time. The following day... constrained by obedience to the blessed Clare, she related what follows: first, sincerely considering the goodness and patience of God and how each day he allows himself to be offended by sinners, I meditated, grieving and sorrowful. Secondly, I meditated on the ineffable love that he brings to sinners and how for their salvation he underwent death and his most bitter passion. Thirdly, I pondered on the souls in purgatory and on their sufferings, and how of themselves they are not able in any way to obtain relief.
The love of the Eucharist must have been particularly significant for Agnes, as for Clare and the sisters, evidenced from the moment she established communication with Cardinal Hugolino (Letter from Cardinal Hugolino to saint Clare, 1220, in Wadding, Annales Minorum, ad annum 1221, n. XX).
Truly, as the author of the Legend of saint Clare says, "one cannot make a brief discussion to illustrate the wondrous perfection of her life".
It is not known precisely when Agnes left Assisi to go to the monastery of Santa Maria al Sepolcro of Monticelli, in Florence. Here the community, lead by the Abbess Avvegnente, was already vigorously following the "observantiae regulares" of San Damiano, based on the writings and words of Saint Francis. They felt, however, the necessity of receiving a more direct formation. We know that Agnes was still at San Damiano in 1220 from the above mentioned letter of Cardinal Hugolino. This letter was most probably written after Easter, which that year he had spent in Assisi, and he ends with "Greet the virgin Agnes, my sister, and all the sisters in Christ".
Sister Chiara Lucia Garzonio (cf. Senza voltarsi indietro - Vita di S. Agnese d'Assisi, Libreria Ed. Fiorentina, 1991) is inclined to date her departure about 1221. This conclusion comes from the Chronicles of the monastery of Monticelli itself which were compiled in 1649. These documents, based on earlier documents which were subsequently lost, stated that as for going to Florence "Francis himself promised to send Agnes of Assisi to the Florentine Sisters". The 14th century Chronicles of the 24 Generals cited at the beginning of this article as a reference make reference to the fact that "she was sent by Blessed Francis as the abbess to Florence, where, as with the example of holiness of life, and with words that were sweet and persuasive, filled with love of God, fervent in contempt of the world, she was planted in this monastery, though she yearned for saint Clare, she followed the life of gospel poverty". The surest confirmation of this would then be the documents of the monastery of Sant'Apollinare in Milan founded in 1222, when Monticelli sent Sr. Giacome, who was explicitly named the companion of Agnes who was the sister of Clare.
Different studies, on the other hand, based on the Letters of Agnes (AFH, 1920, 496) which were written to her sister shortly after the time of her arrival at Florence definitely support after 1228 (cf. Lainati, Short Biography of St. Agnes of Assisi, in Saint Clare of Assisi, Ed. Porziuncola 1980, pgs. 117-120; Omaechevarria, Writings of St. Clare,, Madrid 1982, pgs. 361-362; Zoppetti-Bartoli, St. Clare of Assisi Writings and Documents, Ed. Franc. 1994, pg. 403). In her swritings Agnes speaks at length of the suffering of separation. 'This distress has a beginning, but knows no end". At the same time she speaks of the wonderful welcome she received in Florence. "I have found great harmony and no factions here, which is beyond belief. Everyone has received me with great happiness and joy, and has very devoutly promised me obedience and reverence".
This letter concludes with two interesting references. The first probably refers to the privilege of poverty only verbally received by the Pope, and the second refers to the desire to be visited by friar Elias. "Be assured that the Lord Pope has satisfied me, as I have said, and has satisfied you too, in all things and in every way according to your intention and mine regarding... our position on the ownership of property. I beseech you to ask brother Elias to visit me more often to console me in the Lord". We find Agnes again at San Damiano towards the end of the life of saint Clare. In the fourth letter to Agnes of Prague it is. Clare herself who confirms this, mentioning "the most prudent virgin Agnes, our sister". From the Legend of saint Clare we know of the promise that the dying Clare made to her sister who was nearby: "It is pleasing to God that I depart. But stop crying, because you will come to the Lord a short time after me. And the Lord will console you greatly after I have left you" (LegCl 43). "After a few days, Agnes, called to the wedding feast of the Lamb followed her sister Clare to the eternal delights" (LegCl #48). The veneration of Agnes began the day after her death. It was solemnly ratified by Pope Benedict XIV, and her feast is celebrated in the Franciscan Calendar on November 19.
At the end of the 2nd Millennium, in the first year of preparation for the Great jubilee, it is very relevant to ponder saint Agnes of Assisi, who centered her whole life around Jesus Christ, the only Saviour of the world.
-Sr. Chiara Mariana Raiola, osc - 'Mater Ecclesiae, Vatican City


They say time heals.
But does time heal a past one cannot honestly talk about? Tulsa City, Oklahoma, still bears the scars of the 1921 Tulsa Race Massacre because the truth is still untold.
One hundred years ago, in Tulsa, OK, a violent white supremacist mob carried out what experts believe to be the single-most horrific incident of racial violence since slavery.
They raided, firebombed, and destroyed approximately 35 square blocks of the thriving Black neighborhood in Greenwood District, known as the “Black Wall Street.” It was one of the wealthiest Black communities in the U.S. and home to hundreds of Black-owned businesses.
One hundred years later, there are still so many unanswered questions.
Questions include where the bodies were buried, and why there is no definite story to this date. In the past, talking about the Tulsa Massacre in Oklahoma was taboo.
The top unanswered question is:
Why did the Tulsa Massacre happen?
An Impudent Negro, a Hysterical Girl, and a Yellow Journal
The main factors leading to the Tulsa Massacre were a white girl named Sarah Page, a nineteen-year-old black boy named Dick Rowland, and the Tulsa Tribune Newspaper.
Sarah Page was an elevator operator at Drexel Building, while Dick Rowland was a shoe-shiner. On Monday, 30th May 1921, Dick Rowland walked into Drexel Building, probably to use the only toilet downtown available to black people when he encountered Sarah Page. When Dick Rowland stepped into the elevator, Sarah Page screamed.
Witnesses claimed that Rowland wanted to assault her.
Looking back at such a claim, 100 years later, it is evident that maybe the whole arrest was planned.
Sarah Page had several versions of the story which is rather hysterical of her.
At first, she said Dick Rowland wanted to assault her. Her second story was that Dick Rowland had seized her arm as he entered the elevator. Thus, she screamed, and Dick ran away.
Later, it was found that the boy had accidentally stepped on her foot. What happened exactly remains uncertain. When Sarah Page screamed, Dick Rowland ran away for his life because at that time, Tulsa was racially segregated and there was so much lynching that caused fear among the blacks.
Tulsa Tribune published details of the alleged assault on Memorial Day - Tuesday, 31st May 1921, in the afternoon.
The story caught so much attention, coupled with the racial segregation in Tulsa at that time. Talks of the lynching of the boy were made known by several parties, including the police department, Tulsa Tribune, and citizens.
When the black community of over 15,000 people in Tulsa heard the threatened lynching, they feared for Rowland’s life.
A white man had been lynched in the same jail that Rowland was put in, and thus, they came up with a quick rescue plan. Some people, armed and unarmed, drove downtown to check that Rowland was safe only to find a crowd of hundreds of white men armed, outside the courthouse.
Conversing with Sheriff McCullough, the black men were assured that Rowland was safe, although the crowds of white men were not as convinced.
As they turned back to leave, a black World War I veteran and a white man got into a fight over who should wield a weapon. A shot was fired. Several gunshots followed, and the sheriff stated that within minutes, 12 men died - two blacks and ten whites.
Tulsa was at war.
The war that began over who should wield a weapon and who should not brought lifelong dark consequences on Black Wall Street.
Perhaps it was all planned. Perhaps it was not planned but just happened as a result of the economic jealousy of the thriving black community.
Before the massacre, Black Wall Street was a dream in progress. A promising future. A place that was full of life.
In less than 48 hours, it became a nightmare.
People lost their lives. Buildings were burned down using kerosene bombs.
According to the American Red Cross:
1256 houses were destroyed
215 houses were looted
Over 9,000 black Tulsans were left homeless.
Some bodies were dumped into unmarked graves; others were thrown into the Arkansas River.
Damages of about $25 million were incurred but insurance companies and the city of Tulsa did not approve of the claims. The attack was deemed a riot.
Justice was not granted. Families affected were not compensated; everyone else would be at fault for the massacre but the white people who invaded Greenwood.
No specific plan has been put in place to compensate the victims to this day.
The consequences of the Tulsa Massacre are felt even now.
Housing, economic development, and land - all have been limited in progress if not stuck. Inequalities between whites and blacks are still present, and the effects of inequalities thereof.
The horrific dark story of the Tulsa Massacre that has been hidden for decades has gained attention in recent years.
This could be the best way to let the city heal. This could be the best way to face its past. This could be the best way to acknowledge the long-hidden history of a once-thriving city. A city once valued and rich in culture.
This could be the best way, besides compensation, of honoring the lost lives, black and white.
In an interview, Phil Armstrong, the project director of Greenwood Rising points out that,
“Until you tell the truth. Until you are honest with your past, you cannot move forward.”
Greenwood Rising is a state-of-the-art history center and organization dedicated to honoring the Black Wall Street before and after the Tulsa Race Massacre of 1921.
It is time for Tulsa to be honest with its past. It is time to move forward.
Help us fight Racism, along with all other pressing issues of our world by contributing whatever you can.
We use these funds to provide quality education, training, and awareness to youth from underserved communities to help them become better leaders of tomorrow.
Nondiah Khalayi is a Kenya-based Statistics and Programming student at Kenyatta University, a Health Science student at the University of the People, and also a Content Writer at IYOPS. Being an INFJ-T personality, she enjoys a calm life, coding, data analysis, reading, and writing multiple-niche research-based articles.


Please let me know if you care about my characters.
25,000 years ago
U5b2C, blinked her eyes and closed them tight again. She was cold and wet. Soot from the fire irritated her newborn eyes. Little did she know she had a harmless new mutation in her mitochondrial DNA making her the foremother of all subsequent people with her haplotype. Before she could howl in protest, a warm fur was placed over her and her mom on whose soft belly she rested.
She quickly found her mother’s breast and instinctively comforted herself by suckling. From that vantage point, she gave the world a second look and found herself staring into the loving brown eyes of she who will be the center of her universe for the next four or five years.
Since all was right in her little world, U5b2c fell into a long nourishing sleep giving her mother a chance to rest and heal from the hard work of giving birth.
When she was weaned, U5b2c was given a name, Tara. Tara belonged to a kinship that lived farther north than almost any other people group. This was a time when ice could be seen regardless of how much longer the sun stayed in the daytime sky compared to the darkness of night. Those glaciers were, however, in the early stages of retreat. Although hunters in Tara’s kinship were known to follow game taking them deep into the vast inland coniferous forest for days, Tara lived in a coastal settlement from which the great water could be seen in the western horizon.
Each time the songbirds returned in spring Tara’s mother made a record of her daughter’s progress toward adulthood by marking the height Tara reached at her tallest and carving a little line at that height that was symbolized by a fish icon which was Tara’s mark (these were the days before people knew how to read and write.) According to the old custom, each generation of mothers used the trunk of a hawthorn tree that had been struck by lightning to track the growth of their children. Tara grew tall and strong. During those years in which Tara was busy growing and learning, more and more water was being liberated from ice. When ten lines on the tree trunk belonged to Tara, the melting water created a trickle that rolled over the face of the ice cliff. The water pooled at the bottom of the cliff for some time and was finally able to join a nearby stream. Enough water collected in the eddy to allow Tara to wade knee-deep in the nearly frozen water and cast nets that would almost consistently yield a catch of fish. In winter, when the water froze into ice in spite of its motility, Tara would manage to hack a hole in the thick ice allowing her to fish throughout winter in spite of harsh conditions.
Tara had quickly become a critical member of her kinship because she provided many high protein feasts that kept everyone strong and alert. There was far more to her than being a good fisherwoman, however. She was also perceptive of the spirit world. When their wise woman died, it was Tara the elders chose as shaman in spite of her youth.
Tara was fascinated by the ice caves and would explore them in spite of their obvious dangers. At the mouth of the largest ice save, a sea monster kept vigil with rows of sharp teeth ready to devour anything foolish enough to cross its path. Everyone in her kinship was afraid of it and would dare not look into its inky black eyes or venture past the mouth of the cave that it seemed to be guarding but Tara had looked and discerned that whatever life that had quickened when it hatched from its mother’s egg had long left and there was nothing left to animate what was frozen and had become part of the wall of the ice cave.
There were two types of people back in the time before people learned how to write, the tall agile people who could kill with their spears and the shorter hairy people that were clumsy but more aware of their prey and could anticipate future events by looking for clues of past behavior. These were also the people that left records in their cave-homes by painting pictures to enable future eyes to understand what they had experienced. Of course, the spear-throwers thought themselves better than the quieter artists. Bryn was among the most talented of artists and he captured Tara’s heart when she took an interest in his weaving. She was able to adapt his design to create stronger fishing nets and he took her fish net design and incorporated a knot design for his cave murals. (yes, these were the first Celtic knots.)
Because the tall spear-throwing kinships thought they were better than the hairy artists, it was forbidden to marry one of those inferior peoples. Some people need to feel better about themselves by denying the humanity of others. Tara, by contrast, could see the “In God’s Image-ness” when she looked into Bryn’s eyes. She saw something else that she hadn’t noticed before, love welling up. She was awakened to realize that every act of kindness, every gesture, every, “Do you like this?” and “Take it, it is a gift,” was actually a declaration of, “I love you.” Now, her heart had quickened and she became aware of every little tender gesture and created ways to reciprocate.
The water from ice started to melt and form little riverlets that made their final dramatic descent as a waterfall. Falling water was a new experience for Tara. There was a release of energy as the water tumbled. Tara experienced, for the first time, a new dynamic energy that was previously captive to the frozen glacier. Tara was wondering at the song the falling water made as it crashed into the ice-cold pool of water below.
The Universe was singing a love song. Tara and Bryn could hear it and sang songs to one another with its harmony.
Dynamic is the word. It is derived from the Greek, dynamo. Dynamo is the source of words like dynamite and dynamo which evokes the mental image of energy expanding. Never created, never destroyed. Water, frozen hard in the form of ice was absorbing more and more energy from the sun until it transformed into the fluid water making it animate. Eventually, it would become vapor after absorbing yet more energy from the sun. This was the end of the last ice age and although there have been many ice ages before, the change from solid to liquid and even to vapor was mirrored by the quickening of spirit within the human population. Some of the ice sublimed directly into gas in a similar fashion, Tara was among the first to hear the love song the universe was singing. Little biological flash drives filled with information and coded in the most ancient of languages were coming together. In a dance that is as old as life itself, the little flash drives came together, all 22 pairs plus two large X-shaped pieces each one filled with thousands of recipes needed to make Unique, although the recipes are handed down generation to generation the most precious of heirlooms, each combination is unique, never before and never after. Naturally, she was the second U5b2c and the song the universe sings bore its most beautiful fruit, the fruit of love, reflection of divine.
But for every action, there is an equal and opposite reaction and while Tara and Bryn’s spirits were being quickened into a consciousness that sought after things more real than what their eyes could envision, there were others that remained frozen and feared what they saw in the eyes of those whose spirits were subliming into enlightenment.
Sharpening their spears, they hunted their own sister because she refused to send Bryn away because he was shorter and not agile. Why couldn’t they see he was the painter of the most beautiful wall murals? To them, none of his talents made a difference, they couldn’t see past their own hate and fear. Even though he made a knot of heart and trinity and promised Tara that he would love her forever. Fear cannot hear the melody of the love song the universe is singing, it knows nothing of the dynamic of awakening life. It is unaware of love and the limitations of love which are none.
The first thing that was done was to spread fear by telling the people lies that Tara was using magic from Samhan. They said she would make their sons and daughters sick and die. They said she was the reason ice was melting and eventually it would become so warm that the great water would start boiling and kill everyone in their kinship. In their minds, Bryn wasn’t human and fear convinced them that he was to be sacrificed. Just like love quickened into in god’s likeness, fear spawned Malevolent who remained solid using expanding gases to create the lift he needed to ride the thermals and survey his territory.
But all of this would take time and Tara and Bryn’s love was starting to show and Tara was keeping her own sweet daughter warm in a furry sling and the winters were shorter and summers were longer and the ice receded and green moss and other plants became plentiful on the island that would later be known for its greenness. When she was weaned, Tara’s daughter was given the name Mara and Malevolent was afraid of her because she, too, could hear the song the universe was singing.
Then it happened, fueled by fear, Malevolent, was able to influence the others such that they were going to carry out the murders but Tara and Bryn were prepared. They were going to hide in the ice caves. The others were afraid of them because a frozen sea monster with rows of teeth could be seen frozen in the ice. The others weren’t sure it was completely dead so they stayed away from the creature and its teeth.
The little family was trying to slip away unnoticed but they were being watched and the fearful ones with the sharp spears were pursuing them and catching up quickly.
When they reached the ice caves, the mouth of the largest cave was completely covered by the expanding waterfall. With no other recourse of escape from their pursuers, all three ran through the waterfall in order to reach the safety of the ice caves.
This is when things happened that could never be explained rationally.
Bryn crossed ran through flowing water to the ice cave and passed the frozen sea monster. Alone. He was alone in the cold wet dark cave in the shadow of the sea monster. He could do little but wait for Tara and Mara. Although he lost track of time waiting, Bryn was dangerously cold and frightened in the shadow of the ice monster and finally, reluctantly went past the sea monster and out through the waterfall and took a spear through his broken heart because the fearful ones were waiting for him.
Eventually the tall spear throwing people managed to kill all the cave painters but some of us carry the memory of them in a language we are just beginning to understand.
Tara and Mara were never seen again.


The purpose of this article is to present some of the most significant image processing technologies that are utilised in dental restoration, as well as to emphasise the relevance of image processing technology in dental restoration and its applicability. The following are examples of information sources: Using the search phrases "tooth colour," relevant English papers that were published between the years 1990 and 2021 were located using a computer-based internet search of HighWire biomedical full-text electronic resources on the internet. During this time, we searched for related Chinese publications using the keywords "computer aided design, tooth, digital" and "image processing, tooth" in the VIP database from 2001 to 2007 and the Wanfang database from 2000 to 2021, respectively. Both of these databases covered the years 2001 to 2007. Choices Made Regarding Research: Over two hundred and fifty articles were compiled, and from those, the top ten were selected. The first kind of research included written materials on tooth bleaching as well as the components and production process of baked porcelain teeth. The second type of research included basic investigations, case reports, or repeated studies. Only articles that discussed the following topics were read in their entirety: 1 the current state of tooth damage in China and the importance of dental restoration; 2 the acquisition of digital tooth images and preconditioning of tooth images; 3 the three-dimensional image reconstruction of general tooth films; 4 computer-aided colour matching technology; and 5 current tooth restoration products both in China and abroad. Extraction of Data In order to conduct this research, a total of twenty-six different pieces of literature on a variety of subjects, such as digital dental image capture and preconditioning, three-dimensional image reconstruction of general dental films, and computer assisted colour matching technology, were selected as samples. The Process of Information Synthesis: Digitized X-ray imaging technology is the current development trend in the field of dental diagnostics. In picture preconditioning, the most common ways are geometrical alteration and image enhancement. In dental restoration, additional essential approaches include three-dimensional image reconstruction and computer-assisted colour matching. According to the findings, the composites with particular monomers (Digital image processing, meth acrylamide, methacrylic acid, and 1-6 hexanediol methacrylate) for group (D) that were reinforced with silica nanoparticle have elevated flexural properties as compared with other types of the prepared nanocomposite, where these values reached to (144 MPa and 5.4 GPa) for flexural strength and flexural modulus respectively.


Mar 14th, 2021. We’ve been through a great deal during the past year.
There are also many forms of energy and many spiritual potencies which are not as yet generally recognized but to which the church Festivals of all religions bear witness; these are released at the period of the Festivals. It is not possible in this book to deal with this subject in any detail. But we can indicate the general line of thought which will produce and condition the New World Religion, which will link it with all of the good which the past has given, which will make it spiritually effective in the future and which today will slowly condition man's approach to God––an approach which for the first time in history can be organized on a worldwide scale and consciously undertaken. This indicates that because of man's desperate need, because of the crisis through which humanity has just passed and is now passing, men and women of vision and of inclusive thinking in all the churches of every world faith will end their doctrinal differences, agree on the essential religious truths and then proceed unitedly and with some uniformity of ritual and ceremonial to approach together the center of spiritual power.
Is this too much to expect and to ask of humanity in the hour of man's need? Cannot the enlightened members of the present great world religions in the East and in the West get together and plan for such an invocative undertaking and thus together inaugurate the mode of spiritual Approach which will serve to unify their efforts and establish the seed at least of the New World Religion?
The establishing of a measure of uniformity of procedure will not prove so difficult once a measure of unity on the spiritual essentials has been achieved. This carefully determined uniformity will aid men everywhere to strengthen each other's work and enhance powerfully the stream of thought energy which can be directed towards those spiritual Lives, working under the Christ, Who stand expectantly waiting to come to the aid of humanity. At present the Christian religion has its great Festivals; the Buddhist keeps his particular set of spiritual events, and the Hindu has still another list of holy days, as has also the Mohammedan. Is it not possible that in the world of the future, men everywhere and of all faiths will keep the same holy days and unite in honor of the same Festivals? This will bring about a pooling of spiritual resources and a united spiritual effort, plus a simultaneous spiritual invocation. The potency of this is surely apparent.
Let us indicate the possibilities of such a spiritual happening, and prophesy the nature of certain of the future worldwide Festivals. There are three such Festivals each year which all men could and would normally and easily keep together, in unison and with a uniformity of approach which would link them all closely together. These three Festivals are concentrated in three consecutive months and lead, therefore, to a prolonged annual spiritual effort which should affect the entire year. They would serve to unite in closer spiritual ties the Eastern and the Western believer; they express divinity in manifestation through the place where the will of God is known, through the spiritual Hierarchy where the love of God is fully expressed and through humanity whose task it is intelligently to work out God's plan in love and goodwill to all men.
I. The Festival of Easter. This is the festival of the risen, living Christ, the Head of the spiritual Hierarchy, the Inaugurator of the Kingdom of God and the Expression of the love of God. On this day, the spiritual Hierarchy which He guides and directs will be universally recognized, man's relation to it emphasized and the nature of God's love registered. Men everywhere will invoke that love, with its power to produce resurrection and spiritual livingness. This Festival is determined always by the date of the first Full Moon of spring. The eyes and thoughts of men will be fixed on life, not death; Good Friday will no longer be a factor in the life of the churches. Easter will be the great Western festival.
II. The Festival of Wesak or Vaisakha. This is the festival of the Buddha, that great spiritual Intermediary between the center where the will of God is known and the spiritual Hierarchy. The Buddha is the expression of the will of God, the embodiment of Light and the indicator of the divine purpose. Men everywhere will evoke wisdom and understanding and the inflow of light into the minds of men everywhere. This Festival is determined in relation to the Full Moon of Taurus. It is the great Eastern festival and is already meeting with Western recognition; thousands of Christians today keep the festival of the Buddha.
III. The Festival of Humanity. This will be the festival of the spirit of humanity––aspiring to approach nearer to God, seeking conformity to the divine will to which the Buddha called attention, dedicated to the expression of goodwill which is the lowest aspect of love to which Christ called attention and of which He was the perfect expression. It will be the day preeminently on which the divine nature of man will be recognized and his power to express goodwill and to establish right human relations (because of his divinity) will be stressed. On this festival we are told Christ has for nearly two thousand years represented humanity and has stood before the Hierarchy as the God-man, the leader of His people and "the Eldest in a great family of brothers". This will, therefore, be a festival of deep invocation and appeal; it will express a basic aspiration towards fellowship and for human and spiritual unity; it will represent the effect in the human consciousness of the work of the Buddha and of the Christ. It will be held at the time of the Full Moon of Gemini.


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Most people think that the Victorians developed the language of flowers however, it was actually two women from Europe’s 17th century who started the trend. Lady Mary Wortley Montagu and Aubry de la Mottraye both went on trips during the Ottoman Empire and brought back their knowledge of a secret hidden language made up of flower symbolism.
In the Victorian period, Floriography was extremely popular. It was the practice of using flowers to communicate messages. Despite its waning during the latter half of the nineteenth century, floral symbolism remains current. For instance, contemporary artist Whitney Lynn created a project specifically for San Diego International Airport using floral designs with particular meanings for sentiment.
The popularity of the florature trend started in Ottoman Turkey, and was transferred to Europe by Lady Mary Wortley Montague and Seigneur Aubry De La Mottraye. Following its rise to fame, a variety of floral dictionaries were released. These included information on botanicals along with novelty items such as calendars, as well as lists of flowers with their related symbols. The meanings were derived from myths or mythology and folklore (the linkage of daffodils to egotism as an example) however, some were taken directly from flowers. As a matter of fact, the authors the works frequently referenced an Eastern culture known as Selam in their flower dictionary.
The time of Victorian society, flowerography or floral language was utilized as a form of subtle communications. The system of coded botanical symbols was used for conveying love, hatred or even desire. This allowed Victorians who were governed by strict social rules and customs, to communicate their emotions by using a method that was acceptable.
In the 19th century, books regarding the meanings of flower and words were released. The nuances in this flower language can vary depending upon the kind of flower that was employed, how it was delivered, and the person that gave the flower. This nuanced expression of emotion allowed for much room to be imaginative and interpreted. Over 1,400 flowering shrubs, plants and plants are included in the floral vocabulary. Though the flower lexicon varied in different cultures but the sentiments were usually alike.
Since the beginning, flowers have been used to convey deep messages of respect, love, and sentiment. While the landscape changes and flowers expand in cultivation, old meanings are modified or lost, while new meanings are created.
As the flower language craze gained popularity during the 19th century England and North America, authors penned ingenuous guides and dictionaries, which linked a particular flower to its symbolic meaning. These were often extravagantly illustrated and adorned with emotional dedications.
Many of these symbols were drawn from mythology, religion and folklore. For instance, daffodils are believed to symbolize egoism. inspired by the story of Narcissus who fell in love with his own reflection while swimming in a lake. Some were inspired by the plant’s appearance or attributes. Mimosa, for instance, inspired feelings of purity as they close at night and are touch-sensitive.
The Victorian Era saw the emergence of the flower language as a discrete method of communicating. It was appropriate for hoa khai truong a society where direct verbal expression of feelings was not encouraged and etiquette was a crucial part of social interactions.
Ladies’ magazines like Godey’s Ladies’ Book featured it often. It was also a popular parlor game where players were blindfolded and picked a bloom from a vase to determine their fate, love or luck.
There were many flower dictionaries which gave each flower its specific meaning. Lexicon definitions can be varied; for example, the flowers of hyacinth were believed to symbolize beauty, however, they also symbolized the virtues of loyalty, devotion and forgiveness. The meanings for these flowers are derived from a diverse range of sources including Shakespearean literary and classical sources.
Flowers are a popular symbolism to this day. Editors, designers, writers marketing, florists and poets use it. The term is often used to refer to it as”florography,” also known as the language of flowers.
In the Victorian period, the art of floriography hit the heights of its popularity. There were hundreds of books written about flowers, plants and even plants. They included descriptions of the flowers, herbs as well as plants, along with their meanings symbolic. Other were based on legends and folklore. Daffodils’ association with self-esteem, for instance was derived from the legend of Narcissus and his obsession in his reflection.
Floral designs convey a diverse variety of messages and sentiments. It is also possible to use colors to convey different emotions. As an example, a fiery red rose is a symbol of passion and love, whereas a delicate white rose signifies the purity and innocence.


ALIEN KEYBOARDS AKADEMY
The Virtuoso Keytarist
If you want become a master on Keytar, this series of lessons by Mistheria is a must for you!
Based on the famous C. L. Hanon's piano book, revisited and arranged for Keytar by Mistheria,
The Virtuoso Keytarist includes a series of preparatory exercises for the acquirement of
agility, indipendence, strenght and perfect evenness in the fingers.
Exercises n. 1, 2, 3, 4, 5, 6, 7.
Exercises n. 8 and 9 with rhythmic variations.
Exercises n. 32, 33, 34 (turning the thumb under)
Exercise n. 38 (preparatory exercise for the study of scales)
Scales and Arpeggios in the following keys:
C/Am, G/Em, F/Dm, D/Bm, Bb/Gm, A/F#m, Eb/Cm
7 video lessons (total lenght: 30 minutes)
Sheet music, midifiles, graphic files (95 files)


The history of Westgate Baptist Church is an amazing story of God doing wonderful, extra-ordinary things through ordinary people.
Over the centuries, there has been a constant stream of witnesses sent out into the daily life of our city - its government, professions, trade, industry, sports fields and street corners have all felt their influence and that of the Spirit through them.
The present building on the corner of Northcote Street and Westgate Road was completed in 1886. Our spiritual forefathers, however, can be traced back to 1650, when the town had a population of 13,000 and was still garrisoned by Parliamentary troops!
If you would like, you can read a comprehensive history of the people and places that have made Westgate what it is today. It’s an amazing story!


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Keith Gilbert is a design and publishing consultant and educator, Adobe Certified Instructor, conference speaker, Lynda.com/LinkedIn Learning author, and contributing writer for various publications. His work has taken him throughout North America, Africa, Europe, and Asia. During his 30+ years as a consultant, his clients have included Adobe, Apple, Target, the United Nations, Best Buy, General Mills, and Lands' End.


Henry Hazlitt (28 November 1894 – 9 July 1993) was an American journalist who wrote about business and economics for such publications as The Wall Street Journal, The Nation, The American Mercury, Newsweek, and The New York Times.
According to Hazlitt, the greatest influence on his writing in economics was the work of Ludwig von Mises, and he is credited with introducing the ideas of the Austrian School of economics to the English-speaking layman. Hazlitt also helped introduce F. A. Hayek’s The Road to Serfdom to the American reading public.
Unlike many other writers of his generation from the political right, Hazlitt never experienced a period when he was a socialist or communist, or a significant change in his classical liberal political views. He was the founding vice president of the Foundation for Economic Education, which also acquired his large personal library in the 1980s. Established by Leonard Read in 1946, FEE is considered to be the first “think tank” for free-market ideas.
Lew Rockwell called Economics in One Lesson (1946) Hazlitt’s “most enduring contribution”. With a million copies sold and available in ten languages, conservative, free market and libertarian circles consider it an “enduring classic”. Ayn Rand called it a “magnificent job of theoretical exposition,” while Congressman Ron Paul ranks it with the works of Frédéric Bastiat and F. A. Hayek. Hayek himself praised the work, as did fellow Nobel Prize laureate Milton Friedman, who said that Hazlitt’s description of the price system, for example, was “a true classic: timeless, correct, painlessly instructive”.
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This topic introduces key concepts that will help you to get up and running in NVivo.
In this topic
- Coding and nodes
- Node classifications (to manage demographic attributes for case coding)
- Source Classifications (to manage bibliographical data)
In NVivo, sources include the materials you want to analyze and your ideas about them. Here are some examples of the sources you might work with in your project:
You code your sources to gather material about a topic and store it in a container called a node.
As you explore your sources, you can select content and code it at a node. For example, while working through your interviews you find that a number of participants talk about the natural environment—code each occurrence at the node Natural Environment.
When you open the node, you can see all the references in one place—allowing you to reflect on the topic, develop your ideas, compare attitudes and discover patterns:
Organizing your nodes is also an important part of the analytical process. As you catalogue your nodes in a hierarchy, you can refine your thoughts and draw connections between themes. For example, since the themes of Natural Environment and Water Quality are related, you might organize them like this:
Refer to About Coding for information on ways to code (along with links to detailed instructions).
For coding strategies and ideas, refer to Code sources and manage nodes.
In the course of your research, you may want to make comparisons based on:
The demographic attributes of your participants (for example, you may want to compare attitudes based on gender or age).
The attributes of places, organizations or other entities (for example, you could compare how issues are handled in large and small schools).
To make these kinds of comparisons, you need to setup
node classifications. For example, to gather demographic information about
interview participants you could:
Refer to Create node classifications for detailed instructions.
You can use source classifications to manage the bibliographical attributes of your sources. For example, if you work with articles you could:
Setting up source classifications also facilitates the use of queries and visualizations—for example, you could use a matrix coding query to see if a theme is prevalent across various types of sources (is a theme appearing in interviews but not in journal articles?).


Are you ready to step on the path of remembrance?
You are invited you to wholeheartedly embrace the entirety of all that you are, including the often overlooked shadows and aspects you may hesitate to confront. The acknowledgment that challenges and hardships are inherent in the dance we call life is essential in our quest for truth – the truth that resides within each one of us.
Through its guidance, Sacred Ways prompts introspection and reflection on the profound essence of your being, encouraging you to listen to the whispers of your heart.
Sacred Ways - A Guide to Your Essence
About the book
Sacred Ways - A Guide to Your Essence was brought into existence with the intention to serve all souls. It carries within its pages a timeless wisdom, embracing universal values and principles, expressed with a gentle and compassionate voice.
Crafted to be embraced as a timeless gift book, whether for friends, lovers, or as a heartfelt offering to celebrate the beautiful journey of a new life, it embodies the spirit of new beginnings and offers comfort and inspiration in times of transition.
Within the pages of Sacred Ways lies the opportunity to initiate an inward journey. The book serves as a gentle companion, inviting you to pause, reflect, and listen to the whispers of your inner voice. It invites you to peel away the layers of conditioning and rediscover the radiant light that dwells within, waiting to be embraced and celebrated.
Embark on a transformative odyssey through the seven chapters of this book, as they illuminate the significance of the chakra system within you. Each chapter takes you on a journey of remembrance, guiding you towards balance, harmony, and the realization of your highest potential.
May this book serve as a compass that leads you to the awareness of the present moment, where the gates to the true essence of your being await.
In gratitude, Naikando
A sneak peak inside the book
To play, press and hold the enter key. To stop, release the enter key.
About the author
Marc Naikando Grüninger, born in 1980, lives with his family near Zürich, Switzerland. Utilizing the power of sound, breath, and present moment awareness, he has been working as a teacher and transformational guide in the Healing Arts for many years. Out of this experience, the Naikando Method® has emerged — a transpersonal Breathwork approach that incorporates sound and frequency elements. For information about current programs, courses, inquiries, and more, please visit us at www.sacredways.earth
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Goodreads Synopsis: Zach Kalusky, host of Sci-D TV's Xavier Paranormal Investigators, is ecstatic when he's given the opportunity to explore the most haunted site in Chicago for a Halloween Special: Rosewood Asylum, a place long made off-limits by the local government, plagued by decades of mysterious fires and unexplained events. It's Zach's dream investigation- but there's a catch: the network forces Xavier Paranormal Investigators to partner with the more dramatic-but less ethical-Demon Hunters.Now, Zach must fight for both his show's integrity and his team's loyalty while trying to protect his own secret: that he, himself, is possessed.
Ghosts of Rosewood Asylum by Stephen Prosapio
My rating: 5 of 5 stars
I love Ghost Stories, and Stephen Prosapio's 'Ghosts of Rosewood Asylum' does not disappoint.
Paranormal research, Ghost Hunting groups and Reality TV shows have become very popular in recent years, so to add them to a recipe for a piece of fiction totally makes sense, and it works!
The idea of two opposing TV groups, Ghost and Demon Hunters investigating on a Halloween TV special at Rosewood Asylum, a derelict, creepy and haunted setting with a disturbing past, is awesome!
The characters living and dead are diverse and draw you in. The story flows, but there are twists and turns, and occasional misdirection which is in keeping with the suspense.
In my opinion Stephen Prosapio's style of writing is descriptive and atmospheric, enabling the reader to build vivid images of characters and scenes.
Ghosts of Rosewood Asylum has a perfect combination of the paranormal genre, and I would love to see this book made into a modern day ghost film.
No Spoilers Intended
View all my reviews


Here a remarkable expansion in the publication and dissemination of printed books coincided with a cultural renascence in scholarship, literature, arts, crafts, and architecture. Kyoto, the imperial capital since , had long flourished as a cultural center under the patronage of the imperial court, noble and warrior families, the Ashikaga shoguns — , and Buddhist monasteries. It was also home to professional artists, calligraphers, and craft specialists with unrivaled expertise and skills, developed and refined for generations. A century of destructive warfare among powerful warlords abated following the decisive victory of Tokugawa Ieyasu — at the battle of Sekigahara in Although the Tokugawa shoguns established a new administrative center in Edo modern Tokyo , where a distinct urban culture emerged, Kyoto remained a center of learning and cultural traditions. The technology of printing on paper from carved woodblocks had been known in Japan since the eighth century, but hand-copying with brush and ink remained the dominant method for reproducing texts and images in handscroll and book formats until about , when Kyoto artists and publishers began to develop methods of printing aesthetically attractive books. By , merchants in Kyoto had recognized the commercial potential of book publishing, and new enterprises developed efficient methods for producing and marketing books. In time, commercially printed books became the primary carriers of knowledge, culture, historical and contemporary literature, amusements, and practical information. Until the beginning of the seventeenth century, woodblock printing for texts and occasionally for talismanic images had been organized within Buddhist temples and monasteries, where the written language for religious and historical texts was Chinese. The technology of printing from type, however, was also known in Japan through the metal type brought back from the Korean campaigns of the hegemon Toyotomi Hideyoshi —
Ukiyo-e and Woodblock Prints: Pictures of a Floating World
Print reproductions are decorative, but actual woodblock prints are even better, and many are affordable, even on a small budget. So what do you do now? Here are five practical tips. Owning woodblock prints allows you to see their beauty whenever you want.
Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female Aside from Dutch traders, who had had trading relations dating to the.
Return to Allinson Gallery Index All works are guaranteed to be authentic as described. Works found not to be so will be taken back and the purchase price refunded at any time. Otherwise a sale is considered final after ten days. Measurements are in inches, height first. All prints are signed in pencil or ink unless indicated otherwise.
Condition is excellent; defects are noted.
There are 4 typical components for a woodblock print: the title, signature, seal, and publisher’s mark. In this print by Kobayashi Toshimitsu, all 4 are clearly laid out. The title is set in the center-top of the print, the signature is in the bottom right-hand corner, and under the signature in the bottom right-hand corner is the seal. The publisher’s mark is the scroll looking object in the bottom left-hand corner.
Let’s take a look at the different parts of these prints closer up.
Japanese woodblock print with a 3-color palette commonly made from the s to tions, even though the date of the print is listed based on its initial.
Woodblock prints often contain text, inscriptions and seals which give information about their subject matter and the date of publication. On this print the signature appears in a little frame called a cartouche and reads Ici’eisai Yoshitsuya ga. Before , the Japanese calendar was based on the Chinese one, with years calculated on a twelve year cycle, and named after animals. The publisher used a seal. The text at the top of the image gives the title of this image, and the series of prints from which it came.
You can explore the print further through this interactive image. How to Find Clues Within a Woodblock Print Woodblock prints often contain text, inscriptions and seals which give information about their subject matter and the date of publication.
Tips for Beginning Japanese Woodblock Collectors
They originated as popular culture in Edo present day Tokyo and depicted popular geisha , sumo wrestlers and kabuki actors from the world of entertainment. Ukiyo-e, literally “paintings of the floating world”, were so named because their subjects were associated with impermanence and detachment from ordinary life. At first ukiyo-e were monochrome, but by the mid 18th century polychrome prints were made.
The woodblock printing technique enabled mass production which meant affordability, and therefore led to the popularity of these prints. New genres of ukiyo-e such as short story compilations and paintings of landscapes or historical events later became well received. The beginning of the 19th century saw the emergence of several outstanding ukiyo-e artists like Hokusai, Hiroshige and Utamaro, who created famous prints that are celebrated to this day.
These prints represent the classical period of Japanese woodblock let alone precise dating, let alone hand-signing of prints with very few.
The Met Fifth Ave opens August The Met Cloisters opens September Your health is our top priority. Utagawa Kunisada Japanese. To represent artisans, one of the four classes warriors, farmers, artisans, and merchants of the Edo period, Kunisada replaced the men more typical of the theme with pretty women and illustrated the interior of a woodblock printer’s atelier.
The woman at a table at the right is incising fine lines into a woodblock through a sheet of paper bearing an artist’s painted design.
old imprints ABAA/ILAB
Thank you for bidding in our auctions. We keep your purchases safe with us as long as necessary. Description A kingfisher perches on a snow covered tree stamp.
Utagawa Kunisada Japanese Artisans, from the series “An Up-to-Date Parody of the Four Medium: Triptych of woodblock prints; ink and color on paper.
Art is created by people. That’s why, in telling these stories, we pay close attention to their social and political implications. Through these 8 newly updated chapters you will learn, for instance, why nature has always been central to the Japanese way of life, and how the Edo era produced some of the most exquisite paintings of beautiful women. The Japanese contemporary art scene is buzzing with innovation and creativity. We are pleased to share with you some of the most ingenious contemporary artists, craftswomen and men, who are often not as well-known internationally as they should be.
The Origins of Japanese Art. The Art of the Samurai.
List of ukiyo-e terms
At that time, “the popularity of women and actors as subjects began to decline. That last group includes woodblock prints of styles and subject matter one certainly wouldn’t expect from classic ukiyo-e, though the works never go completely without connection to the tradition of previous masters. Some of these more recent practitioners, like Danish-German-Australian printmaker Tom Kristensen , have even gone so far as to not be Japanese.
The surfboards may at first seem incongruous, but one imagines that Hiroshige and Hokusai, those two great appreciators of waves, might approve.
Well, recently we’ve put two such “same image” prints together side-by-side to give collectors a better idea how they compare. Pictured just below then are two copies of Toshi’s print “Mt. Toshi Yoshida’s Print, “Mt. Fuji from Ohito, Morning” Newer print left, older print right Other than a slightly different “color palette” used by the two different printers, who probably did their individual works some 40 years apart, there is really very little discernable difference in the overall printing quality of these two prints.
Both prints exhibit skillful use of “bokashi” shading to achieve the delightful gradation of colors seen in the sky, to Mt Fuji, and in the foreground. In both cases, each print is seen to be crisply printed, with careful attention to details. OK, next let’s take a closer look at both of these print’s “signatures” as seen just below. In fact, these hand-carved and then ink-stamped “signatures” are usually so “life-like” in appearance that they can often fool unsuspecting collectors into incorrectly believing that they’ve purchased a true “life-time” print.
Here, to help collectors to “tell the difference,” we will offer a couple of useful suggestions to keep in mind when examining the “signature” seen on a Toshi Yoshida print. First, holding the print’s “signature” up against an angled light source, look carefully for the “shiny” appearance of a graphite pencil’s lead.
If the signature is observed to be “shiny,” most certainly then it IS indeed a “pencil-signed” copy. A second thing to also check for in the same manner again while holding print in an angled light source is the presence of “embossing” or “pressing” into the paper’s surface.
Japanese Wood Block Prints
For both collectors and dealers of woodblock prints, precise dating and the knowledge about the various editions of a print is essential to determine the value of a given print. In the following article, the basic facts as far as available, are summarized for the prints of Shiro Kasamatsu. Since this content is neither perfect nor yet complete, the author appreciates any additions, corrections and new “discoveries.
As for dating, Kasamatsu’s prints clearly follow the rules of the Watanabe publishing house. His earliest prints W-1, W, W-3, W-4, W-5 , all published in , carry either a black round 6mm seal or no seal. The blocks of these prints were destroyed in the fire following the Great Kanto Earthquake; therefore, they never were reprinted after
Dating Tsuchiya Koitsu Prints and Artwork New! The good oil on how to date your Koitsu prints! (Under construction). Japanese Woodblock print Publisher.
Bring it to Dr. Japanese woodblock prints are lovely works that go under many names. Made by well known masters like Hokusai and Hiroshige, Japanese woodblock prints are highly collected worldwide. During the Meiji period , Japanese woodblock prints became very popular and were widely reproduced. The most common subjects in Japanese woodblock printmaking are landscapes, beautiful women, scenes from the theatre, animals and flowers, and historic events.
Artists did not own the woodblocks necessary to make their prints. Authenticating Japanese woodblock prints is similar and different from identifying valuable prints in the West.
Ukiyo-e Signature Sample Database
Welcome to the first dedicated Japanese woodblock print site in Australia , established in by Peter and Wivine Winch. We sell antique, rare, limited edition and contemporary genuine Japanese woodblock prints. Please contact us via email for shipping costs and payment details.
The truly serious collectors of Japanese woodblock prints! 2. The relatives All major institutions which own woodblock print collections! If they are Publishers were now required to list their name, address and date of publication. All of this.
Please read to faq end of this text. We tell you how you might get your questions answered. Go to Ukiyo-e. The owner japanese the web site, Woodblock Woodblock, developed a tool to and Japanese prints by prints an uploaded image against a huge database of images. He collected these images using so-called bots – a technique identify also how search engines and by all kinds of friendly as well as malicious data collectors.
Japanese Prints for Beginners
Published by Tokyo. No date. Seller Rating:. About this Item: Tokyo. Four binding holes in right margin, small chip to left upper edge outside image ; very good condition.
Reading these date seals allows the dating of prints, usually to within a month. during which zodiacal date seals were used on Japanese woodblock prints.
A widespread belief among scholars and connoisseurs of the Japanese color woodblock print nishiki – e holds that synthetic dyes were imported from the West in the s, and soon came to be used for all nishiki – e colorants during the Meiji period. This study calls this narrative into question through an analysis of the colorants of nishiki – e from until , using surface-enhanced Raman spectroscopy coupled with micro-Raman, XRF and fiber optic reflectance spectroscopies.
The results show that the introduction of synthetic dyes was gradual and selective, and that most of the customary colorants of the late Edo period continued in use. The results revealed a series of key turning points after 1 In , the purple dye rosaniline became the first synthetic dye to be used in nishiki – e , at first in combination with Prussian blue for a more bluish color. Carmine remained the primary red for the next two decades, often combined with vermillion.
Just about this time, however, a tendency to more restrained use of color and more painterly effects began to emerge in nishiki – e , and with the exception of a burst of dynamic color in prints depicting the Sino—Japanese War —95 , the uses of strong colors in Meiji prints receded. A final key finding is that colorants were often combined, either through mixture in a bowl or on the printing block, or by two-step overprinting.
Descriptions of Japanese color woodblock prints nishiki – e of the Meiji period — inevitably draw attention to their bright colors as can be seen in Fig. Japanese woodblock print realized by Kunichika in October Red and purple colors are the protagonists of the scene. This study aims at tracking the introduction of synthetic colorants into Japan through the scientific analysis of a sample of nishiki – e woodblock prints covering most years from the s through the s.


EPIX’s Pennyworth London Underworld
Fans looking forward to the Epix series Pennyworth can whet their appetite by entering the 1960s underworld of London at an activation at the Oxford Social Club at the Pendry Hotel, 435 5th Ave. San Diego.
The underground will be open Thursday, July 18 from 11am – 5pm and Friday and Saturday, July 19 and 20 from 10am – 7pm.
After decoding the password, you will gain access to the Velet Rope, a a high-society London lounge filled with gambling, drag, and cabaret performances, plus live music from the era. You’ll also find yourself inside a library that leads to an eerie poetry reading in the posh hidden headquarters of the Raven Society, as well as a dank dungeon where the membership’s darker deeds become clear.


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A research paper is a piece of academic writing based on its author’s original research on a particular topic and analysis together with interpretation of research findings. Writing a research paper can be a little intimidating at times. Students, especially those new to the rigors of academia, often feel anxious about the process especially that the paper often gets assigned a big chunk of.
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Prepare your paper for submission. Preparing your paper. Read the guide for authors, which you can find on the journal’s homepage. It contains specific requirements related to ethics, open access options, copyright and funding body agreements. It also provides guidelines for preparing your paper, covering: article structure; abstract; highlights and keywords; accepted formats for artwork.
Research papers can take months or years to move from the idea generation all the way to completion. Despite the long and task intensiveness of preparing a research paper, many researchers still find the oral presentations in conferences which could last from five minutes to an hour the most daunting. Many researchers get nervous when asked to do a presentation.
Preparing the Research Paper A paper and abstract describing a student’s research are required of all students who wish to enter the TJSHS competition. Students are to select the most appropriate field of research from the following six categories established by the JSHS.
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The Lost Book Of Remedies
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The Lost Book of Remedies Book is miraculous book that provides you with a listing of natural environments from the earth that can be used to manage as well as deal with a wide array of health and wellness problems along with conditions. Because The Lost Book of Remedies Claude Davis looks like taking a blast to the past along with click here for info discovering whatever our predecessors made use of to not only endure however to grow. Claude Davis is the guy behind The Lost Book of Remedies extraordinary book of natural remedies and likewise treatments, every one of which he gained from his grandfather Dr. Davis.
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As the world’s eyes turn to the UK for Harry and Meghan’s royal wedding, one year on, we take the opportunity for some reflection. Back on Friday 19th May 2017 we were ramping up for the Open Senses Symposium. We kick started the sensory awakening to come.
We caught up with our very own Open Senses multi-talented, never-stops-to-take-a-breath artist and poet Amy Neilson-Smith (remind yourself here and here of her previous features) to see how she’s been getting on…apparently getting her own royal invitation, to another type of party though!
Amy and Zara-Jayne Arnold (co-workshop leader and similarly multi-talented deafblind writer, poet, performer) were invited to meet the Princess Michael of Kent at the Joseph Clarke School extension and centenary celebrations where the announcement of the students’ work being published was rightfully also celebrated.
Michael Rosen is Impressed (as are others)
Back last year, Amy worked with other talented artists, like Zara, to create a series of successful sensory poetry workshops with students with visual impairments from Joseph Clarke School that culminated in a spoken word showcase at Open Senses.
It was so well received, that now both a book and audiobook entitled by a student “A Blind Bit of Difference” are in development along with an accompanying exciting Open Senses-esque launch!
Through working with a combination of those with sensory needs, science, poetry, food, art and literature, and by experimenting with tastes, smells and music to create metaphors and spoken word poems and stories, they fully embraced crossmodalism principles.
Here’s a few thoughts on the Open Senses showcase and the book from those involved:
“We don’t have to see the colour we can eat the colour!”
- Mohammed, Joseph Clarke School student and now published poet
“This is an explosion of a book; feelings, thoughts, memories, hopes, attitudes and more whizz through the air and land in our minds. I feel privileged to read it. Please read it too and share your favourite poem with someone. These young people are poets!”
- Michael Rosen, Author (yes the famous one who wrote ‘We’re All Going on a Bear Hunt’!)
“It’s amazing to see young minds at work, improvising Spoken Word, out loud, free of their Braille machines, whilst breaking out into the new found confidence of life changing performance!”
- Zara-Jayne, successful deafblind writer and performer whose poetry and an interview with her exploring vision and hearing impairment also feature in “A Blind Bit of Difference”.
“I enjoyed the performance and celebration at the end most of all! They have grown in confidence, self-esteem and enjoyed every single sensory session. Especially the food! Amy and Open Senses brought their imaginations to life and the poetry they produced was amazing!”
- Jody Beecham. Class Teacher, Joseph Clarke School
“Many of these students have vision impairment and some have additional needs. My classes took part in weekly Spoken Word and Sensory Poetry “Tasting Colour” sessions and produced their own exciting audio poems and performances. This project with Amy and the students has been extremely rewarding. Their thoughts conveyed on paper go far beyond their years!”
- Cheryl Aubury – Braille and Literacy Curriculum Manager, Joseph Clarke School
“Since reading my head is full of rusty wire flamingos slicing through sound to find their soft and fluffy fathers! The poems create their own visceral and powerful landscape where feelings and the senses collide to make a sense of their own. It’s an important book, and most beautifully, it rings of a freedom that the poets discovered through writing and synaesthetic metaphor. Loved it!!!”
- Stephanie Singer, Director, Open Senses Festival
“This book is alive with colour and imagination. The students take you on a vivid journey of exploration, taking the senses beyond what is seen and into a world deep with meaning, poignancy and texture. A joy to read.”
- Kara Jarrold, Head of Arts and Wellbeing, Sense
Can you guess?
Intrigued about the contents? Here are some samples from the book to try for yourself – can you guess what food they are describing?
1. “Dark is a delightful smudge of night” & “Dark is the squidgy yet satisfying feeling of the inside of a hug”
2. "Light is...a rainbow exploding in my head!” & “Light is...electric words zooming off my tongue!”
3. "Yellow is...a mischievous mouse!” & “Yellow is the cold sharp bitterness of a falling sun!”
4. “Red is...the skin I shed!” & “Red is...a set of closed round doors...and when I open them I fall to a soft landing!”
Answers: 1. Dark chocolate 2. Popping Candy 3. Cheese 4. Tomatoes
How did you do?
Amy created the experience of “tasting colour” through “playfully ‘inducing’ synaesthesia, creating a sensorial kaleidoscope of the senses, improvising metaphors ‘out loud’ using taste, smell, texture & word games!”
Sensory Festivals spread to Birmingham
If you want to experience more of Amy, Sense and Steph’s work, they’ll be at the Sensibility Festival in Birmingham this weekend from Friday 18th May to Monday 20th May 2018.
Continue the conversation @OpenSensesUK #OpenSenses, shared by Natasha Blok


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The Life of Mary as Seen by the Mystics provides a detailed look at the life of the Virgin Mother from the Immaculate Conception until her Assumption. Compiled by reference librarian and Franciscan, Raphael Brown, in 1951, this work brings together the visions and revelations of four devout women separated by centuries but united in their Catholic faith and piety.
Not much is said in the Biblical gospels of Mathew, Mark, Luke and John regarding the life of Mary. After all, their gospels were intended to tell the story of Christ — his birth, teachings, crucifixion and ascension.
The Life of Mary as Seen by the Mystics provides greater context to the life of Jesus Christ by bringing the reader closer to his earthly mother. It explains the trials she suffered in order to bring about the salvation of mankind.
This work is unique in that not only is it focused entirely on the Virgin Mary, but its sources were all women as well. The four “mystics” whose writings make up the basis of this work lived in different times and different nations. But they were all devout Catholics who dedicated their lives to their faith.
St. Elizabeth of Schönau lived from 1129 to 1164. Born in the Rhineland, she entered Schönau Abbey, where she became an abbess. Her visions were known across Europe, and she was often consulted for advice by learned and religious men.
St. Bridget of Sweden, born in 1303, was the daughter of a wealthy provincial governor. She did not enter a convent, but rather married and had 8 children. After her husband’s death, she entered the Franciscan order and dictated over 1,500 pages of revelations regarding the Passion of Christ and the Nativity.
Ven. Mother Mary of Jesus of Agreda was born in Spain in 1602. She founded the Monastery of the Immaculate Conception with her mother and sisters, where she was elected abbess 11 times. Mary of Jesus was said to have visited the New World through bilocation — being in two places at the same time. She appeared and spoke to Native Americans in Texas, New Mexico, and Arizona without ever leaving Spain. The content of her book, The Mystical City of God, forms part of the basis of The Life of Mary as Seen by the Mystics.
Sister Anna Catherine Emmerich was born to poor Westphalian peasants in 1774. She spent 10 years in a convent, but when it was closed in 1812 she moved to a private home where she spent the rest of her life. She claimed (not without controversy) to have experienced the wounds of Christ, and to witness his daily teachings over the course of three years. She dictated her visions to Clemens Brentano, who later published them based on his notes.
The visions and revelations of these four remarkable women were compiled and condensed by Mr. Brown into a coherent narrative. Beginning with the history of her parents, St. Ann and St. Joachim, it follows Mary from her Immaculate Conception through her life to the Assumption. It describes her many conversations with God and his angels throughout her life, the revelation that she would be the mother of the Messiah, and the trials that she had to undergo to prove herself worthy of serving God’s only son.
Rather than intending this work to be a fifth gospel, Mr. Brown meant it to be a secondary text, a “religious novel” providing insight into the Blessed Virgin’s humility, charity, and devotion to God. It draws about two-thirds of the history from the writings of Sister Anna Catherine Emmerich and Ven. Mother Mary of Jesus. St. Bridget’s visions add to the major events in Mary’s life, and St. Elizabeth’s writings provide insight into Mary’s youth in the Temple and the Annunciation of the angel Gabriel.
A masterpiece that combines the visions of four great Catholic mystics into one coherent story on the life of the Blessed Virgin Mary. Based primarily on the famous revelations of Ven. Anne Catherine Emmerich and Ven. Mary of Agreda, it also includes many episodes described in the writings of St. Bridget of Sweden and St. Elizabeth of Schenau. To read this book, therefore, is to share in the magnificent visions granted to four of the most priviledged souls in the history of the Church.
In complete harmony with the Gospel story, this book reads like a masterfully written novel. It includes such fascinating details as the birth and infancy of Mary, her espousal to St. Joseph and her Assumption into Heaven where she was crowned Queen of Heaven and Earth.
For young and old alike, The Life of Mary As Seen by the Mystics will forever impress the reader with an inspiring and truly unforgettable understanding of the otherwise unknown facts concerning Mary and the Holy Family. Imprimatur. 280 pgs, PAPERBACK