ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
y like a slow Catherine wheel I am composed of perhaps 100 billion stars and am about 13.6 billion years old, give or take 800 million years! I am a fairly large spiral galaxy some 120,000 light years across and 3000 light years thick in my centre. I live in a cluster of about 30 galaxies known as the Local Group, the other large galaxy in this group, the Andromeda Nebula, being about 2 million light years away (from the Earth). Currently I am colliding with a small neighbouring galaxy, the Sagittarius Dwarf Galaxy, but not for the first time. It will probably pass through me without causing any serious damage. The most distant group of galaxies I've so far discovered is 13.5 billion light years away.
I am one among 100 billion or more galaxies (who knows?)
rushing outwards from some mysterious primal explosion.
The Hierarchy of Heaven and Earth - by - Douglas E. Harding
…
Added by Michael Grove at 12:08 on February 23, 2012
s a whole. As the crisis intensified, German banks started to withdraw the money lent to Greek banks to finance the Greek deficit. Since no-one would lend to the Greek banks to finance these withdrawals, they were forced to call on European Central Bank liquidity support.
Meanwhile, the German banks are suddenly flush with cash from their newly called in Greek loans. Some of this money is on lent to the German economy, where there has been something of a construction and investment boom, but there is obviously a limit to how much of the money coming back from Greece can be viably on lent, so it gets deposited with the Bundesbank. The Bundesbank in turn lends the money to the ECB, which lends it to the Greek Central Bank, which lends it to the Greek commercial banks to repay their German loans. The circle is squared and the deficit is financed.
Quite obviously, this is an unsustainable model. It is simply not viable indefinitely to finance a customer who cannot pay his way. But generally you don't find that out until you demand the money back.
So to return to the question raised at the start of this article, at what point does that happen? Well it might happen sooner, but it will certainly happen once the costs of the demographic timebomb start to impinge on the German economy, and it requires its surplus savings to finance a dignified old age. These costs start to kick in big time about ten to fifteen years from now.
So assuming the euro manages to stagger on until then, that's the point of no return.
Now back to the real world. It's most unlikely the euro will survive in its present form to see this moment of doom, but you get the picture.
The whole thing is essentially a house of cards.…
nkers and scientist took lots for his work about communication and communication theory from work of Jaspers.However nobody has defined for the present time the new figures like Jesus, Buddha. Some like Thich Nhat Hanh speak about a collective Buddha.
However, without written teaching of personally identiyfable living teachers and pioneers I see no possibilty to name new ones for 21st century. And IT IS necessary to proclaim a new axis age.
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Added by Michael Grove at 9:20 on September 25, 2012
tadium, but that is hardly why I send my child school.
Basic literacy is appalling, before they do anything else they need to ensure every child is taught to read and write. I actually favour a system where they cannot progress until they pass a test which is designed to ensure they have the basics nailed.
This is why are Children are being failed by the education system.
Telegraph article comment by ayshf_m
As Linnie has just responded when I read this comment to her -
"The educational system ethos IS move them on at any cost"
... and as oldbikergit has also commented -Most teachers are useless, and are completely oblivious to the real world, as they have always been at school. Therefore it is not strange that they find it hard to adapt and to change what they know best, and any changes that have occurred are more about left leaning ideology, than improvements to take advantage of technology. All teachers should have to spend some time out of the schoolroom and in commerce and industry, unless this happens they will always be inadequate.
... to which Linnie also responded -
"That goes for politicians also, doesn't it !!!???"
…
this puzzle book also features a short story of an apprentice in
Leonardo Da Vinci’s Workshop. The Codex acts as a trap and as a
test to see whether or not the apprentice is worthy of Da Vinci’s
tutelage; can you help him escape the Codex and discover it’s
secrets within?
…