A Little Rokkaku Kite History


A Rokkaku kite is used for recreation and has some other interesting purposes as well. This type of kite is very popular many parts of the world. In fact, they fall into several types and classifications of kites today. Most countries have their own unique style of a kite. But in Japan they are called, Rokkaku kites.

This type of kite is not just for pleasure flying only but it is use for kite warfare. Literally it's a battle between two or more kites by knocking the opponents out of the sky is the name of the game for the winner. One method is to attach glass chips to the control line used to rub and cut the opponents control line. The kite warfare is very popular along enthusiast adding the excitement and bigger challenge to kite pilot skills.

Rokkaku kites have been a part of history in Japan for a long time. According to some researchers, these kites go back as far as the very early 16 hundreds. During this time period, Japan had many connections with other countries. There were so many things that influenced Japan and one of them was the art of kite flying. The concept of kites came to Japan was only for pleasure flying purposes only. As time passed by, the Japanese give added some of their own culture and some own own design to kites which wave birth and discovery to the now well known kite called "Rokkaku".

Rokkaku kites are an original design made by the Japanese. They acquired some of the concept flying kites from other countries about a pilot flying one by a string while he was one the ground. It has a hexagon shape being stretched vertically. It has a middle vertical spar that runs from top edge to the bottom edge. Two spars run across the middle spar touching the other four edges of the hexagon shape. It has no tail or wings, and is just a plain hexagonal kite. Its designs often come with a Japanese art painted on them.

The Japanese have added more excitement to flight by having battles in the sky with them. They purpose of the kite battles is to take down an enemy's kite to the ground is its main objectives. The Japanese kite enthusiast focused on developing the kite to make it more stable and able to win in any kite battle.

There is a temple in the Kyoto that is hexagonal in shape. Its name is somewhat related to the Rokkaku kite. Some historians are confused in which came first, the kite or the temple. Some say that the design of the kite was patterned after the temple thinking that it originated in that place. And some historian's think that the hexagonal shaped of the kite has been used as the inspiration to those who built the temple. Even with the controversy it makes an interesting story for the type of kite.

The Rokkaku kites have been around since entertaining spectators in many parts of the worlds. You can find Rokkaku competitions all over the world to watch the battle between two pilots or between many pilots at the same time. With the invention of more durable materials we have today defeating an opponent can to a tough competition.

With the sketchy history and no real clear account of those discovered them many are very happy that the knowledge of Rokkaku kites are passed down to us today. The hours of entertainment afforded by these kites provide much fun, excitement and recreation in many parts of the world.

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Source by David Nettles

Four Factors For Taking Great Pictures


Taking pictures is a fun way for people to capture moments in time that are special and unique to them.  Whether it’s taking pictures for Utah wedding photography, Salt Lake City modeling photography or simply catching your kids playing a game in the backyard, pictures are priceless piece of art that helps us save our memories.  By taking the background, the lighting, distance and the subject into consideration prior to snapping the shot, pictures will turn out clear and colorful.

The background of a picture can make or break a beautiful image.  For instance, if a person is trying to take a picture of their child at a park, they will want the playground equipment, trees and other landscaping in the background.  If they take their photos with a garbage can or other children in the back, it will detract from their child.  The focus wouldn’t be on their child doing something adorable.  It would be on the activity or structure behind them.  By being aware of all the surroundings, the person taking the picture can manage and control the subject of his or her pictures.

The lighting of a picture is probably the most important thing for a person to consider in every picture they take.  They need to know if they should use a flash, move into more sunlight, position a subject in a more shady area and what time of day is best for achieving the look they want in their pictures.  Using a flash is helpful and often necessary.  However, this form of unnatural light may not provide the correct shadowing or color on the subject of the pictures.  Prior to a photo session, the photographer should decide if they can capture their images with or without a flash.  If they choose to not use a flash they will need to make sure there is enough natural light.  If taken indoors, they may have to position their subjects near windows where sunlight is a premium.  If outdoors, they will need to control the amount of sunlight because too much can be detrimental to pictures as well.

Another factor that helps improve the quality of pictures is accurately managing the distance between the photographer and the subject.  Many times, it is beneficial to get up close and personal when taking pictures of people.  This is especially true with kids.  By zoning in on a face, smile or other body part, a person can photograph the texture, color and essence of their images.  This type of candid picture taking is a modern way in which people can really capture their subject’s personality, sense of humor and natural beauty.

Lastly, great picture taking really depends on the mood and state of the subject matter.  The more a photographer knows the person or the thing they are shooting, the better the pictures will be.  For instance, if a person wants to take pictures of their baby, they should time their photo session around the child’s sleeping and eating schedules.  By making sure their baby is awake and fed, they are more likely to have a happy and agreeable subject to photograph.  Cheerful and willing subjects lead to great pictures that will last a lifetime.

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What is Shibari


The knowledge of the ancient art of is very incomplete. Research and knowledge development are still going on every day. There are many different styles, such as Fumo Ryu (the spiritual style) or Iki (the bare Zen essentials only style) and the individual styles of various rope artists.

Picture a room, lit by candles. Shadows will dance on the walls and create the atmosphere in the room. That is exactly what you want to achieve in Japanese bondage – the battle between contrasts: beauty and fear, love and endurance, desire and despair, mental growth and humiliation, pain and lust.

It is an intriquing art that involves different levels: physical, mental and metaphysical. For the Kizõshà (giver, donor, dominant, active partner) it is a balancing act, juggling with various different impulses. To the Ukétorinìn (recipient, submissive, passive partner – in Japan sometimes also called M-jo – “maso woman” – which can be anything from a female professional bondage model to a woman who just loves to be tied. The male recipient is sometimes referred to as M-o – “maso man”) it is the ultimate journey to paradise.

Weaving or wrapping

“Japanese bondage” is an inadequate, superficial translation. While most people are only aware of the bondages, the lifestyle and technique encompasses much more – in techniques as well as background. Shibari Do, as the lifestyle is called, has roots in Japanese lovemaking and courtship, Ki-energy manipulation, traditional Japanese rope torture techniques, martial arts, theater, even ancient fashion and aspects of Zen Buddhism. The erotic use of bondages is only one aspect of the lifestyle. The technique in modern days is also used as a performing art, has healing aspects and in general is also a way to train the body and mind.

Shibari best translates as either “weaving” or “wrapping in ropes”. Both translations refer to the interaction between ropes, the mind and the Ki energy meridians in the human body. Ki (or Chi in Chinese) is the energy of life; meridians are the channels, through which this energy flows. And since Ki – in Oriental philosophy – controls life inside the body as well as the interaction between the body and its environment, Japanese bondage has a direct influence on life. Ki can only flow and create a healthy situation through the eternal pattern of changes between Yin and Yang. The techniques strive to influence this pattern through magnifying both the Yin and Yang position on many different levels.

Origin

There are many myths and very few facts about the Japanese bondage origin. As a result, to date its origin remains unclear. A few references to what could be early forms of Japanese bondage provide some insight.

In the first half of the 17th century, during the Tokugawa Shogunate (Edo period) the dominant Japanese religion was not Shinto (that came about after the decline of the Togukawa dynasty) but a Shogun-backed form of neo-Confusianism. One of the most important Buddhist schools was the Nichiren Shu Komon School in Kyoto. It had eight temples in Kyoto (the 17th century capital of Japan) and was financed by members of the highest classes, including the Shogun himself.

The 17th High Priest of the school, Nissei, was a decadent, powerhungry man only interested in money, power and women. Under his reign members of the high social classes would gather in this school, tie up naked women in subdued and humiliating positions and leave them tied long enough to enjoy them and make drawings of them while in bondage, thus producing pornographic pictures. These gatherings were called “komon sarashi shibari”. Very rare examples of such drawings have surfaced in Ukiyo-e (17th century erotic woodblock print) collections.

While this is one of the very few documented ancient uses of bondage as an erotic technique, the fact that such gatherings existed in Kyoto supports undocumented rumours about Samurai in rural areas tieing up women and exposing them for erotic amusement. At these gatherings apparently bondage techniques were used, borrowed from Hojo Jitsu (the art of tieing and transporting prisoners), Japanese rope torture techniques (Kinbaku) and Sarashi (the public display of criminals). That is where the martial arts roots (if any) of Japanese bondage are believed to originate from. Although often portrayed as such, there is no evidence of a direct, linear connection between Shibari and what is known as “soft weapon techniques” in most martial arts, of which Hojo Jitsu is one.

Komon Sarashi Shibari in itself brought about another misinterpretation. Japanese words can mean many different things, depending on their context. Komon can be translated as “anus”, which lead to the misconception that Japanese bondage started out as a means to display women with their behind exposed. In this case however Komon means “advisor” or “consultant” (read: part of the temple staff and “follower of confusius”), which is a reference to the school where these gatherings happened and the participants.

Another intriguing source for the Japanese bondage origin and history are ancient Japanese police records. In the 17th century at least one traditional bondage was used by doomed love couples in ritualistic suicides. “Forbidden lovers” (usually lovers from different social classes) would sometimes use the “shinju” (a torso harnass) bondage to tie each other and next – firmly connected together – plunge into a river, a lake or the sea to drown together. For quite some time such ritual suicides were known as the “shinju suicides”.

This is what Washington State University notes about “shinju suicides”: “the most popular theme of both kabuki and joruri (forms of theater – ed.) was the theme of double suicide, shinju, as thwarted lovers, unable because of social restrictions to live a life together, desperately chose to kill themselves in a mutual suicide hoping to be reunited in the pure land of bliss promised by Amida Buddha. Many of these double suicide plays involved ukiyo themes, such as the love between an upper class or noble man and a prostitute. This is the theme of the most famous of the shinju plays (Sonezaki Shinju), by Chikamatsu Monzaemon (1653-1725). Such shinju plays often inspired a rash of real double suicides, so the Tokugawa regime in 1723 stepped in and banned shinju not only on the kabuki and joruri stage, but in real life as well.”

In Japanese psychology the word “shinju” (meaning either “pearl” or “oneness of hearts” depending on its context) is still used for multiple suicides involving people with a strong bond.

In Japanese bondage terms “shinju” is a torso harnass, tied to bring out and erotically stimulate the female breasts (the “pearls”). Amazingly the word “shinju” in Japan is also used for shoulder-string type halter tops for women.

Is there any sort of heritage?

The answer to that question is currently impossible to provide with any certainty. It might be, but due to the lack of any historical reference it is unlikely. Yes, there are references to the art dating back to the 17th century. That however is also where any attempt to trace it back any further stops. As an erotic artform it apparently existed in the very mondain upper classes in Japan. But it has no, as many claim, linear roots to any martial art.

In fact the following assumption is much more likely. Most ancient cultures have seen combinations of power, sometimes spirituality and mysticism, and eroticism. Courtley Love and much earlier Celtic and Saxon rituals in Europe and the Kama Sutra are only a few examples of this. And yes, in most of such rituals weapons and warrior culture were woven into the rituals of courtship, lovemaking and sexuality. Power eroticizes! It always has. There is no reason to assume it was any different in Japan.

Shibari today

Contemporary “Japanese bondage” pictures usually have an entirely different background which – unfortunately – is pornography. Most originate from 1950-1980 produced Japanese pornographic videos. Their only “raison d’etre” can be found in the fact that the combination of naked women and rope sells. These Japanese movies can be seen as the Japanese answer to the emerging popularity of bondage in the American pornographic industry since the 1930’s (John Willie, Betty Page and others).

The vast majority of Japanese rope artists from this period actually made their money rigging the bondages for these movies and some still do. Some, such as the late Osada Eikichi (a.k.a. “mister flying ropes”) and Denki Akechi, created their own style and performing acts.

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Source by Hans Meijer

How to Paint Eyelashes – Painting Techniques


When painting eyes in a portrait, eyelashes are sometimes the final touch and can make or break your work. All eyelashes are not created equal. Sometimes just a few strokes of the brush is all that is needed to give the suggestion of lashes. Other times it is necessary to delicately detail lashes since that is the feature you want to stand out.

One of the things to remember when painting eyelashes is to study your model or reference photo. Seldom are human eyes lashes uniformly straight up from the eyelid. Even so this is a common way for beginning artists to paint them. If you look carefully, you will see that the top lashes usually go off to the side, then gently lift upward. The bottom lashes are similar.

Be careful when painting eyelashes on male subjects. Too much paint and they will look too dark. The same is true on children. A good technique to follow is to use a tiny brush, and to use quick strokes. Stand back and view the painting before adding more. Often times just a few strokes is all you need. Paint too many and you may be unhappy. It’s easy to overdo eyelashes.

When I paint portraits I like to paint the eyes, and then the eyelashes last. The reason is that the eyes define a person and finalize the portrait in a sense. There are other portions of the eye that need to be painted correctly of course as well. When it comes to the eyelashes however, sometimes less is more. My advise it to use a tiny detail brush, quick strokes and to know when to stop!

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Source by Julie Shoemaker

Does Asthma Cause Claustrophobia?


I’m asthmatic and have claustrophobia. Does being asthmatic necessarily mean you’re going to suffer, also, from claustrophobia? Maybe. I read about this in Prevention magazine. It seems that recent studies show that there is a striking connection between asthma and psychological problems, i.e. depression and anxiety. If you’ve ever been in a situation where you have not been able to breath, it’s not hard then for the mind to extrapolate, “small place, no air.” In the last year or so I’ve, unfortunately, had some anxiety attacks brought about by asthma. For example, during our trip to Russia I acquired some bug. When we returned, I was sick for a good 6 weeks with coughing, sinus problems etc. So the coughing exacerbates the asthma. I’m going to my allergist, taking all kinds of stuff and still having trouble breathing. One night I wake up in a sweat and am gasping for air.

I tried not to panic. I was able to slow my breathing down and work my way out of it. But it was scary as hell. I can not imagine what it would be like to have a fully blown panic attack. But, back to asthma and claustrophobia. I’ve tried to overcome the phobia. A few years ago while in Rome (oh, another vacation dropper), we decided to go to the top of St. Peter’s Basilica. Now, if you’ve ever been in these old churches, you can only surmise that the people who built them must have been 5’5″ and 150 pounds because all of the walkways are very narrow and low. I decided to give it a try (my mantra is that if God put it on this earth, I want to see it). It was July and peak tourist season. As we begin to ascend, you’re walking in a spiral. So, you really only see the people’s butts in front of you. There are 100’s of people in front of me and 100’s behind me.

No escape! My dear, dear husband. How I love him so. But what does he say? “This can’t be very good for your claustrophobia”. Screenplay: Wife reaches back and strangles husband. Life: “I love you too dear”. As you get closer to the top of the dome, you are now bending to the right because the staircase mimics the dome. Help!!! Luckily, every so many steps there was a small slit of a window. I would stick my head out of the window, take a deep breath, and continue. I made it to the top! Congratulations! Now to go back down… Over the years I’ve climbed into the Great Pyramid of Giza, gone underground in the Valley of the Kings, gone into caves in Borneo (big ones), and had a Cat Scan. I can fight it but I can’t defeat it.

For the last 5 years I’ve been getting allergy injections. My asthma is almost, ALMOST, under control. And I’ve actually gotten better about being in small places But, any movie or TV show that has a person locked in a room, a room with no window, or, God forbid, watch Kill Bill, forget it. I can’t watch. If a terrorist wanted info from me, just threaten to put me in a small cell with no window and withhold my rescue inhaler… I’ll talk, I’ll talk!!!!! Oh, and no, no scuba diving. Enveloped by water and breathing through a small tube? I don’t think so…

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Source by Linda M Caminiti

Banksy’s Influences – Who Inspired Banksy?


Banksy is a pseudo-name for a well-known British graffiti artist. He is believed to be born around 1974 in Yate, South Gloucestershire. He was first involved in graffiti during the great Bristol aerosol boom on the late 1980s. The style of his artwork is mostly satirical piece on topics such as culture, ethnic, and politics. Technique wise, the way he combines both stencil and graffiti is very similar to a French artist Blek Le Rat. His art that appear in cities around the world was first born out of Bristol underground scene involving musicians and artists. His prints are popular with celebrity and singer Christina Aguilera and actor Brad Pitt.

When it started, Blek Le Rat took inspiration from New York’s graffiti scenes. It is from this scene that he created his own style by continuously painting stenciled rats around the streets in Paris before going nationwide to Lyon, Marseille and Toulouse.

Banksy has also recognized Blek Le Rat influences in his artwork while also being a big fan of Blek’s work. In one of his quote, Banksy said “Every time I think I’ve painted something slightly original, I find out that Blek Le Rat has done it as well, only twenty years earlier.”

On the other hand, Prou admitted that he sees Banksy as a son of his movement in addition to crediting Blanksy for raising his profile while providing him with increased publication that resulted in increased commercial success. In his interview with Sunday Times, Prou said “I consider him like my descendant. He took some ideas. But he changed them. And he took the movement to a huge level all over the world.”

What other’s do not really know is that there is another person whom inspired Banksy to first take out his stencils and spray paints in the dead of night. Known as the Godfather of Street Art, Richard Hambleton made his first mark in the 1970s painting chalk outlines with red blood across North America cities. His most famous piece, the Shadowman and Marlboro Man collections are among some of his pieces that have the clearest links to Banksy.

He was born in Vancouer, Canada in june 1954. He earned his bachelor in 1975 from Emily Carr School of Art. Recognize as the Founder and Co-Director of “Pumps” Center for Alternative Art in Vancouver. He is now working and living in New York City. Richard Hambleton is the surviving member of group who, together among Jean-Michel Basquiat and Keith Haring, had a great success coming out of New York City art scene during the 1980s. A lot of his work is similar to graffiti art, however, Hambleton considered his work as public art.

He is the person who influenced Xavier Prou (Blek Le Rat). When ask, Prou said that he really like Richard Hambleton. Richard was the first artist from NYC to export his work all over the world in the 80s. His work has been so widespread in Europe it could be found in London, Paris, Berlin, Rome, and many other cities.

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Source by Mike Hackney

A Letter to Science About the Antidote for Cancer


The 1937 Nobel Laureate in Medicine, Szent-Gyorgyi was the co-founder of the American National Foundation for Cancer Research. His ‘Letter to Science’ in 1974 stated that the accepted criteria for applying for crucial government cancer research funding was counterproductive. From his political-medical science perspective, the funding for a cure for cancer was prevented because the accepted criteria for substantial research was itself carcinogenic in nature.

As a Hungarian citizen during World war II he avoided capture by the Gestapo for holding political science theories offensive to the Fascist government. After the war he declined the political theories of Russian communism to pursue his cancer research in America. His letter to science made use of political ideas belonging to the ancient pagan Greek atomic Science for Ethical Ends. The pagan concept of the 28 day moon movement resonating emotion-forming mathematical information to the atomic metabolism associated with the female cycle, had been taught at the Epicurean University in ancient Athens.

These ideas however, go beyond the limitations belonging to modern day science residing within the legal systems of Christianity, Islam and Judaism. We hope that science can resolve the problem and that this might be of practical future value to all three by providing a cure for cancer and bestowing upon them a more benevolent global scientific culture.

Szent-Gyorgyi saw the ancient Greek ideal to develop a political science to guide ennobling government for the health of the universe, in order to avoid the extinction of civilization, as a medical issue. It is the very opposite of the prevailing global scientific thermodynamic culture, which in fact demands the extinction of all life in the universe. This death cult concept of reality clearly belongs to a carcinogenic scientific mindset.

The idea of American Democracy contains aspects of the ancient Greek ethical political science. In 2017 this concept of democracy was clearly revealed to be a plutocracy: government by the wealthy. We can argue that within a culture driven by thermodynamic chaos this current plutocracy might well be a common sense prerequisite for immediate economic tribal survival, inspired by moral democratic values. However, its intrinsic scientific, carcinogenic nature must sooner or later bring about a repeat of its well recorded cyclic destruction of tribal societies. Carcinogenic science is now helping to accelerate this process toward a terminal state, in obedience to the prevailing thermodynamic extinction law.

All that is needed to evolve beyond that situation is just to place the plutocratic know-how alongside relevant survival antidote logic within a computer set up to generate human survival blueprint simulations. Such simulations will outline new technological guidelines to accrue unimaginable wealth, together with the administration guidelines to benefit the people. This model is in contrast to the illusory anticipations existing within a society based upon the present global inflow of dysfunctional information.

This crucial research methodology had already been enacted this century, but the apparent cancer cure knowledge was, as Szent-Gyorgyi predicted, completely ignored. In 1979 China’s most highly awarded physicist, Kun Huang, provided Australian Science-Art researchers with the methodology to measure the existence of the life force. He suggested that by using Szent-Gyorgyi’s understanding of ancient Greek mathematical geometry, it should be possible to develop a scientific program to generate simulations demonstrating the evolution of seashell growth and development through space-time.

If the simulations matched perfectly with seashells recorded within the fossil record then the physics laws governing the evolution of life would have been discovered. During the 1980s, this experiment was successfully carried out in Australia. In 1990 the world’s largest technological research institute, IEEE in Washington, reprinted the discovery from published papers by Italy’s leading scientific journal, Il Nuovo Cimento. IEEE acclaimed it to be one of the 20th Century’s great optical mathematical discoveries, placing it alongside such names as Louis Pasteur and Francis Crick.

In 1995 this mathematical discovery was transposed into a physics format by the President of the Institute of Basic Research in America, to discover new physics laws governing the evolution of life forms. The prevailing thermodynamic mathematical logic was shown to generate futuristic distorted carcinogenic life-form simulations. Szent-Gyorgyi’s cancer research observation about dysfunctional thermodynamic information was activated to completely negate the Australian project to obtain a human survival blueprint. Scientists around the world had no choice but to agree that seashells did indeed carry crucial evolutionary survival information because it was clearly written down on mechanistic seashell fossil objects. None of them realized the simple truth, that living life-forms within the seashells had transmitted that information to the growing shell formation. Szent-Gyorgyi, who had predicted such a nonsensical situation had written a book about it, entitled ‘The Crazy Ape’. The scientists refused to allow the living process to use infinite mathematical logic because their obsolete non-sensible thermodynamic culture had already sentenced all life in the universe to extinction.

The Nobel Laureate’s description of a crazy ape mindset, however, had defined a entirely natural state of mathematical schizophrenia existing at the dawn of civilization. This reality only highlights the incredible technological potential of humanity if a great political leader bothers to encourage the generation of the human survival blueprints mentioned above. From such designs completely new technologies can be quickly developed to benefit the human condition.

Ancient Sumerian astrological mathematical intuitions evolved from celestial movement wonderment, a fact compatible with the scientific research process acclaimed by Szent-Gyorgyi. From these ancient research intuitions we inherited a 7 day week of 24 hours a day, with each hour of 60 minutes. Their sense of direction gave us a circle of 360 degrees. Both their time and directional guidance systems are now used to explore the nature of outer space universal reality. However, during the time of the Sumerian civilization, their intuitions about the nature of infinite reality was neither mathematical nor scientific. It was based upon religious concepts belonging to argumentative gods and goddesses, one in particular was Inanna the goddess of sex and war.

The religious non-mathematical persuasions of the Sumerians to wage war was a natural expression of a survival of the fittest instinct to guard against their falling prey to some other tribe intent of committing violence against them. The Sumerian astrological mathematical knowledge and the worship of warlike deities was later absorbed by the Babylonian Kingdom. Ancient clay tablets record the Sumerian gods from a dark abyss declaring ‘Let there be light’ prior to the creation of hybrid humans from clay. Their gods argued about the bestowing of eternal life to keepers of the Ark during the Great Flood. Mathematics then became an unethical Babylonian instrument to terrorize the populace to wage war. The Babylonian priests developed the mathematics to be able to predict eclipses, Inanna the goddess of sex and war became Ishtar the Babylonian goddess of prostitution and war and the bestowing of immortality to the keepers of the Ark escalated into violent chaos.

This unethical use of mathematics is made clear by the discovery of a baked clay tablet written by a Babylonian priest to his king. The message reads to the effect that the gods demanded that the 673 BC lunar eclipse be used by the king to terrorize the population to ensure that they became sexually anxious to advance the art of waging war to increase the power of the Babylonian Kingdom.

The 19th Century champion of American Democracy, Ralph Waldo Emerson wrote about the enslavement of the American people by a plutocracy that had inherited aspects of the unethical Babylonian legal system. He did not realize that such a state of government at that time was a biological necessity for American survival amid a global society of warring tribes seeking to dominate each other. Nonetheless, his mathematical solution involved new technologies alluded to within ancient Sanskrit mathematics, which were based on a similar scientific logic that Szent-Gyiogyi used later to derive his cancer-free science belonging to ancient Greek political mathematics.

The carcinogenic cycle of the destruction of future civilizations fighting to the death over which deity, or set of mathematical laws, provided personal access to infinity followed from the Babylonian social system. Szent-Gyorgyi’s description of the scientific crazy ape with a carcinogenic mindset can now be seen as belonging to a form of mathematical schizophrenia being an integral aspect of a primitive tribal evolutionary process. The process of dysfunctional emotional information governing modern plutocracy has now been classified by government appointed epidemiologists as a global 3D epidemic. The mass manufacture of dysfunctional information and communication devices is now understood to be causing severe damage to global society.

To better understand the nature of this global dysfunctional information epidemic it can be seen to be similar to the use of mathematics programmed within a poker machine, employing sound and colour vibrations to bring about a heroin-like addiction. This compulsion is designed to bring about a state of moral and financial bankruptcy. The unethical use of mathematical manipulation involving illusory emotional anticipation, echoes the global stock-market excitement. That game is destined eventually to cause economic collapses for the benefit of the players running global plutocratic battles of wits. Nonstop artistic colour advertising instills a trivial sense of excitement to the masses referred to in terms of market confidence.

This global economic existence is eventually paid for by massive casualties on battlefields, with people fighting for the right of some deity or honour philosophy to grant both victims and survivors some beneficial access to infinite realty. The mathematician, Plato, classified the associated artistic rhetoric, pomp and ceremony involved in such a form of government, as unethical art, lacking a substantial spiritual purpose.

The philosopher, Immanuel Kant, researched the difference between Plato’s definition of unethical art and and human survival artistic wisdom to establish the ethical basis of the electromagnetic Golden Age of Danish Science. The philosopher of science, Emmanuel Levinas, agreed with Kant’s conclusion that the missing artistic spiritual component within Plato’s condemnation of art, was an asymmetrical electromagnetic inner-vision existing within the creative artistic mind. The relevant asymmetrical electromagnetic potential technology belonging to that concept was predicted by the inventor of the alternating electric industrial motor, Charles Proteus Steinmetz. He actually wrote, specifically stating, that such a spiritual electromagnetic motor technology would be far greater that the technology associated with the present physical electromagnetic one.

In 2010 the Australian seashell life force discovery theories were fused with quantum biology by the Department of Medicinal Chemistry at the Italian University of Pavia. In association with Quantum Art International based in Italy they jointly worked together to research for an antidote to the global dysfunctional epidemic. They were aware that Isaac Newton within his long forgotten, but nonetheless published, 28th Query Discussions, insisted that ancient Greek science considered that gravity was not caused by the functioning of a mechanistic universe. Newton wrote that the mass of objects in space was not the first cause of gravitational force as modern quantum mechanics had falsely pretended otherwise.

Although the previously mentioned living evolutionary seashell mathematics had been recorded on mechanical seashell objects, modern quantum mechanical science was unable to reason about the crucial living information being transmitted to the shell by the living creature within it. The Italian-Australian team, free to reason otherwise, began to research how quantum mechanics needed to be completed by linking it with living information. In 2016 they achieved their objective. Their Science-Art antidote discovery was awarded an international First Prize at the XX International Exhibition & Competition of Contemporary Art, Central House of Artists, Moscow. The World Fund for Arts, Government of Moscow, Artist Union of Russia and the European Art Union sponsored this competition.

Recent DNA discoveries have allowed us to consider that humans now belong to one species. In that case, the prevailing carcinogenic thermodynamic scientific culture, which demands human extinction, depicts the human species as suffering from some sort of scientific carcinogenic neurological disorder. That echoes the conclusion that the greatest mathematician in history, Georg Cantor, whose work upholds most of modern science made. He wrote that the modern scientific mind was suffering from a myopic fear of infinity, as alluded to by Waldo Emerson and Szent Gyorgyi.

The author of ‘The Crazy Ape’ held that there is a link between molecular electromagnetic processes and fundamental aspects of cancer growth and development. The scientist, David Hilbert, working with Albert Einstein on mathematical research embracing that field of knowledge, fully supported Cantor’s observation that an ignorance of infinite mathematical reality governed the modern scientific mind. With the aid of several other great philosophers of science, it was not difficult to discover the antidote to bring scientific research into a far greater perspective than one obsessed with human extinction. Very eminent scientists around the world hailed the antidote discovery as being a major historical achievement of the 21st Century.

During 2016 the Australian Prime Minister, the Governor General, the Minister for Art and Communications, the Leader of the Opposition and several senators received copies of the prize-winning antidote documentation. On November 15, 2016, the Department of the Minister for the Arts and Communication advised that the Australian Government’s principle arts funding body makes decisions on grant applications at arm’s length from Government, through a process of peer assessment.

It is not rational to use peer assessment about a internationally accepted unique important discovery of crucial government importance. The cancer antidote document was dismissed in a way that Szent-Gyorgyi had very clearly described as belonging to a counterproductive cancer research methodology. Not one senior Australian politician saw fit to allow any opportunity for critical evaluation of this research for the betterment of the global human condition.

To compound this illogical way of thinking the Macquarie University in Sydney, acting on behalf of the Commonwealth Visual Arts Board, arranged for a phone interview which would have been about the antidote situation. The University mailed copious protocol directions to guide the discussion, which were ultimately counterproductive to the antidote thesis. Therefore, the non-sensible proposal associated with the Australian Visual Arts Board was dismissed out of hand.

The greedy unethical plutocratic nature of Australian politics became evident during the writing of this letter to science. The resignation of the Minister for Health concerning the misuse of pubic monies for personal gratification made front page newspaper headlines. This was followed by more front page headlines, in which similar ‘misuses of funds’ scandals were associated with other senior Australian politicians. The plutocracy; government by the wealthy, can be considered scientifically unfit to care about the health and wellbeing of democratic government and explains why its appointed epidemiologists are unable to find an antidote to the prevailing 3D dysfunctional information epidemic.

In conclusion, the pharmaceutical empire in the hands of powerful multinationals, continues to conduct brilliant research resulting in incredible discoveries, alleviating the spread of cancer. However, it is surely warranted that the antidote discovery be critically examined as soon as is possible.

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Source by Robert Pope

How To Use Wall Hangings Properly?


Wall hangings were used as decorators in homes, temples, churches, and buildings to decorate them, by various cultures from the early times. This trend is followed in contemporary times also. The wall hangings designed from different cultural environments exhibit a historical outlook and are very resilient as they are from textile background.

Now a day, wall hangings have become an important part of home decoration as they can be used in various exclusive ways. The wall hangings can be designed in a number of lovely styles like landscapes, modern art and flowery wall hangings provided the weaver knows his work excellently. The wall hangings are enjoyed by the art fans as well as the interior decorators as they are a good complement to the traditional art. In medieval times the wall hangings were prepared using wool but now high quality colors and latest fibers are used for this purpose. They can be used to make classical as well as traditional wall hangings.

In modern wall hanging tapestry, the use of chenille is popular. This is because this versatile material is soft and flexible. If you wish to decorate your home then the use of chenille will make your décor elegant, warm and adaptable. Chenille can be used for a wide variety of settings in home décor like tapestry throws, wall tapestries and cushions.

The high class wall hangings are very useful as they provide motivation to the decorators as well as historical and traditional sense to the viewer. They also make the living area look spacious.

A vivacious colored wall hanging makes your room more spacious and bigger than it actually is. But for a room that is already big, you can line up a number of wall hangings of different sizes to make it look smaller than it actually is.

The wall hangings differ a lot from the traditional posters. So, placing them at their right place requires a lot of intellectual skills and patience. A lean and high wall will be most suitable for a long wall hanging which will give it slightly active look and not the trifling looks.

But for a large wall hanging the wall with apparent display will be most suited which helps in displaying the charm and brilliance of the wall hanging to its greatest extent. The wall hangings are a very god choice to decorate your house and give it a royal look.

If you are having 2 wall hangings of self-effacing designs but only 1 rod, then you can hang both of them next to each other on the same rod with a gap of 3 to 6 inches. Be cautious about the dimensions because any exception in the dimension will create a kind of chaos that will not be pleasant to look at.

From decades, wall hangings have been the best choice for decorating the houses. Manufactured from modern stuff and knitting, they are the most handy, appealing and a displays the beauty of history and traditions. Wall hangings are truly the heritage for future generations.

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For more home decor articles, see Jessica’s latest article about using decorative mirrors.

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Source by Jessica Ackerman

What is Shibari


The knowledge of the ancient art of is very incomplete. Research and knowledge development are still going on every day. There are many different styles, such as Fumo Ryu (the spiritual style) or Iki (the bare Zen essentials only style) and the individual styles of various rope artists.

Picture a room, lit by candles. Shadows will dance on the walls and create the atmosphere in the room. That is exactly what you want to achieve in Japanese bondage – the battle between contrasts: beauty and fear, love and endurance, desire and despair, mental growth and humiliation, pain and lust.

It is an intriquing art that involves different levels: physical, mental and metaphysical. For the Kizõshà (giver, donor, dominant, active partner) it is a balancing act, juggling with various different impulses. To the Ukétorinìn (recipient, submissive, passive partner – in Japan sometimes also called M-jo – “maso woman” – which can be anything from a female professional bondage model to a woman who just loves to be tied. The male recipient is sometimes referred to as M-o – “maso man”) it is the ultimate journey to paradise.

Weaving or wrapping

“Japanese bondage” is an inadequate, superficial translation. While most people are only aware of the bondages, the lifestyle and technique encompasses much more – in techniques as well as background. Shibari Do, as the lifestyle is called, has roots in Japanese lovemaking and courtship, Ki-energy manipulation, traditional Japanese rope torture techniques, martial arts, theater, even ancient fashion and aspects of Zen Buddhism. The erotic use of bondages is only one aspect of the lifestyle. The technique in modern days is also used as a performing art, has healing aspects and in general is also a way to train the body and mind.

Shibari best translates as either “weaving” or “wrapping in ropes”. Both translations refer to the interaction between ropes, the mind and the Ki energy meridians in the human body. Ki (or Chi in Chinese) is the energy of life; meridians are the channels, through which this energy flows. And since Ki – in Oriental philosophy – controls life inside the body as well as the interaction between the body and its environment, Japanese bondage has a direct influence on life. Ki can only flow and create a healthy situation through the eternal pattern of changes between Yin and Yang. The techniques strive to influence this pattern through magnifying both the Yin and Yang position on many different levels.

Origin

There are many myths and very few facts about the Japanese bondage origin. As a result, to date its origin remains unclear. A few references to what could be early forms of Japanese bondage provide some insight.

In the first half of the 17th century, during the Tokugawa Shogunate (Edo period) the dominant Japanese religion was not Shinto (that came about after the decline of the Togukawa dynasty) but a Shogun-backed form of neo-Confusianism. One of the most important Buddhist schools was the Nichiren Shu Komon School in Kyoto. It had eight temples in Kyoto (the 17th century capital of Japan) and was financed by members of the highest classes, including the Shogun himself.

The 17th High Priest of the school, Nissei, was a decadent, powerhungry man only interested in money, power and women. Under his reign members of the high social classes would gather in this school, tie up naked women in subdued and humiliating positions and leave them tied long enough to enjoy them and make drawings of them while in bondage, thus producing pornographic pictures. These gatherings were called “komon sarashi shibari”. Very rare examples of such drawings have surfaced in Ukiyo-e (17th century erotic woodblock print) collections.

While this is one of the very few documented ancient uses of bondage as an erotic technique, the fact that such gatherings existed in Kyoto supports undocumented rumours about Samurai in rural areas tieing up women and exposing them for erotic amusement. At these gatherings apparently bondage techniques were used, borrowed from Hojo Jitsu (the art of tieing and transporting prisoners), Japanese rope torture techniques (Kinbaku) and Sarashi (the public display of criminals). That is where the martial arts roots (if any) of Japanese bondage are believed to originate from. Although often portrayed as such, there is no evidence of a direct, linear connection between Shibari and what is known as “soft weapon techniques” in most martial arts, of which Hojo Jitsu is one.

Komon Sarashi Shibari in itself brought about another misinterpretation. Japanese words can mean many different things, depending on their context. Komon can be translated as “anus”, which lead to the misconception that Japanese bondage started out as a means to display women with their behind exposed. In this case however Komon means “advisor” or “consultant” (read: part of the temple staff and “follower of confusius”), which is a reference to the school where these gatherings happened and the participants.

Another intriguing source for the Japanese bondage origin and history are ancient Japanese police records. In the 17th century at least one traditional bondage was used by doomed love couples in ritualistic suicides. “Forbidden lovers” (usually lovers from different social classes) would sometimes use the “shinju” (a torso harnass) bondage to tie each other and next – firmly connected together – plunge into a river, a lake or the sea to drown together. For quite some time such ritual suicides were known as the “shinju suicides”.

This is what Washington State University notes about “shinju suicides”: “the most popular theme of both kabuki and joruri (forms of theater – ed.) was the theme of double suicide, shinju, as thwarted lovers, unable because of social restrictions to live a life together, desperately chose to kill themselves in a mutual suicide hoping to be reunited in the pure land of bliss promised by Amida Buddha. Many of these double suicide plays involved ukiyo themes, such as the love between an upper class or noble man and a prostitute. This is the theme of the most famous of the shinju plays (Sonezaki Shinju), by Chikamatsu Monzaemon (1653-1725). Such shinju plays often inspired a rash of real double suicides, so the Tokugawa regime in 1723 stepped in and banned shinju not only on the kabuki and joruri stage, but in real life as well.”

In Japanese psychology the word “shinju” (meaning either “pearl” or “oneness of hearts” depending on its context) is still used for multiple suicides involving people with a strong bond.

In Japanese bondage terms “shinju” is a torso harnass, tied to bring out and erotically stimulate the female breasts (the “pearls”). Amazingly the word “shinju” in Japan is also used for shoulder-string type halter tops for women.

Is there any sort of heritage?

The answer to that question is currently impossible to provide with any certainty. It might be, but due to the lack of any historical reference it is unlikely. Yes, there are references to the art dating back to the 17th century. That however is also where any attempt to trace it back any further stops. As an erotic artform it apparently existed in the very mondain upper classes in Japan. But it has no, as many claim, linear roots to any martial art.

In fact the following assumption is much more likely. Most ancient cultures have seen combinations of power, sometimes spirituality and mysticism, and eroticism. Courtley Love and much earlier Celtic and Saxon rituals in Europe and the Kama Sutra are only a few examples of this. And yes, in most of such rituals weapons and warrior culture were woven into the rituals of courtship, lovemaking and sexuality. Power eroticizes! It always has. There is no reason to assume it was any different in Japan.

Shibari today

Contemporary “Japanese bondage” pictures usually have an entirely different background which – unfortunately – is pornography. Most originate from 1950-1980 produced Japanese pornographic videos. Their only “raison d’etre” can be found in the fact that the combination of naked women and rope sells. These Japanese movies can be seen as the Japanese answer to the emerging popularity of bondage in the American pornographic industry since the 1930’s (John Willie, Betty Page and others).

The vast majority of Japanese rope artists from this period actually made their money rigging the bondages for these movies and some still do. Some, such as the late Osada Eikichi (a.k.a. “mister flying ropes”) and Denki Akechi, created their own style and performing acts.

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Source by Hans Meijer

The Art of Mixing Wines – Blend Your Own Wine


In simple terms, blending wine means mixing or combining two or more wines and coming up with something new. It is done for various reasons like

  • To obtain better color
  • To improve or enhance aroma
  • To adjust the sweetness, the pH of the wine or the levels of tannin
  • For the adjustment of the acidity level of alcohol
  • To reduce the oak flavor and get wine flavor

Once the reason for mixing is known, there are few simple rules to be followed. Mainly the aim of blending has to be fixed. Combining can be done for fun or to get a new one which can be reproduced in larger quantities for commercial purposes. Tips to be followed while amalgamating them are simple.

  • Wines of similar type are to be combined. For example, a red wine has to be combined with a red one and a white with white.
  • Do not use bad wine to combine with a good wine to make it tolerable. The resultant would be disappointing and over and above the good wine would go waste.
  • It is advisable to try with very little quantities so that the wastage is minimized. Until the desired result is obtained use wines in little quantities.
  • It is better to blend wines made in the same year, which will allow some shelf life to it.
  • While experimenting on various blends, it is good to keep notes to avoid repeating the combinations which are already tried and tested.
  • One can take help of a friend to judge the resultant.
  • One should take care to blend them in well lit rooms which are free of any other odor.

Combination of wines in fact has a scientific approach too. It is a very simple process which can be learnt easily. It is called Pearson square and by following the instructions one can easily get the desired blend. There is a set method to any kind of blending adjustment that has to be done.

It is better to blend wines before the aging process starts so that the two separate wines which were combined, age together. It is the right mixing which brings delicious taste to it.

As there are various reasons for combining there are also various types too.

Vintage wine blend is a type which is commonly used for champagne. It is made from different grapes grown on the same vintage or year. For a bottle of champagne to have a label of vintage it has to be made from grapes from the same year and vintage. Champagne made from different grapes or years is marked as “N.V” and cost less.

Bordeaux blend; it is the famous French wine where only certain varieties of grapes are to be used. If any other grapes are used the resulting wine can not be called as Bordeaux. As a practice use two to three of the approved varieties to make luscious variety.

Meritage is the kind of wine which is similar to Bordeaux but only wines made in Bordeaux can be called so. There are regulations to label a bottle as Meritage. The wineries should have acquired the approval of the Meritage association to use the name.

Red wine blends are found in vast numbers in the market. Of them, the most famous is the Super Tuscan which came into being in 1970s. Italy has very strict rule for wine making, which were broken by the maker of super Tuscan. They created the new wine from grapes of their own choice.

Summary

There are many aspects to wine making and later their mixing. Combining wines becomes easy once the aim for doing so is known. There are certain rules and tips to reach the desired goal. It also has a scientific approach to it which is as easy as additions and subtractions.

Learn More about Blending Wine

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Source by Blair Holand