Paintings, photography, aesthetic objects, beautiful communication, and anything I consider to be art, artful, artistic, artsy or whatever.
Art is subjective. It is a quality of communication can be contributed to by the viewer through empathy or agreement with its creator.
Republished by Blog Post Promoter
Here is an intimate exploration of alien lives in a universe of spectacularly colorful strangeness…no less bizarre than our own… marine animals like corals and starfish at high magnification through the time lapse film. This is an infinitesimal part of the world in which we live and of which we should take better care. But, we must first be aware that it exists.
…meanwhile… from Sandro Bocci on Vimeo.
Republished by Blog Post Promoter
FOR IMMEDIATE RELEASE:
— Submitted by Miss Agatha Bolnes Williamson, Press Secretary of The New York City Chapter of The Order of Omega Time Travel Cult
“Lawrence R. Spencer, acclaimed author the the best-selling book THE OZ FACTORS, was invited to attend a recent meeting of the New York City Chapter of the Order of Omega Time Travel Cult as our guest speaker. After the meeting Mr. Spencer was invited to participate in our annual field trip to the year 1864. The adventure proved somewhat calamitous when our guest ran wild in the city, committing numerous unspeakable acts of mayhem, robbery, debauchery and general mischievousness, for which he was apprehended by local law enforcement authorities. In each case Mr. Spencer — posing as “Oz Factors”, a non-existent person — having no actual identity in 1864 — was able to escape prosecution through the same time travel portal from which he entered into the era.
Obviously, such behavior is not tolerated by The Order and Mr. Spencer was forced to relinquish his time travel portal privileges. Subsequently, the research staff from the New York Chapter of the O.O.O.T.T.C. have been able to review the microfiche archives of the NYC police department from 1864. They have retrieved several “mug shots” of persons who appear to be Mr. Spencer, circa 1864. In each case the offending party in the mug shot was easily identifiable under the false identity “Oz Factors”.
Obviously, Mr. Spencer will not be invited to attend any future, or past, meetings of the OOOTTC.”
Republished by Blog Post Promoter
“YOU ARE A SOURCE OF CREATION.
ADMIRE THE ROLES YOU PLAY IN THE GAMES OF THE ETERNAL NOW.
PLAY THE PARTS WORTHY OF YOUR ABILITY, YOUR SANITY AND YOUR SPIRITUAL INTEGRITY.
TIME IS CHANGE; ALL THINGS PASS.
WE ENDURE THE FUTURE WE CREATE.
LOVE OF PLAY IS OUR DESTINY.
LIFE IS THE GAME WE PLAY. “
_______________________________
Lawrence R. Spencer.
Inspired by and dedicated to my Dear Friend, Antonia Gohel and all other IS-BEs who are searching with me for answers in our souls.
New Years Eve, 2012-2013.
Republished by Blog Post Promoter
Republished by Blog Post Promoter
“Authentic Aboriginal didgeridoos are produced in traditionally oriented communities in Northern Australia or by makers who travel to Central and Northern Australia to collect the raw materials. They are usually made from hardwoods, especially the various eucalyptus species that are endemic to the region. Sometimes a native bamboo, such as Bambusa arnhemica, or pandanus is used. Generally the main trunk of the tree is harvested, though a substantial branch may be used instead. Aboriginal didgeridoo craftsmen hunt for suitably hollow live trees in areas with obvious termite activity. Termites attack these living eucalyptus trees, removing only the dead heartwood of the tree, as the living sapwood contains a chemical that repels the insects. Various techniques are employed to find trees with a suitable hollow, including knowledge of landscape and termite activity patterns, and a kind of tap or knock test, in which the bark of the tree is peeled back, and a fingernail or the blunt end of a tool, such as an axe is knocked against the wood to determine if the hollow produces the right resonance.
Once a suitably hollow tree is found, it is cut down and cleaned out, the bark is taken off, the ends trimmed, and the exterior is shaped; this results in a finished instrument. This instrument may be painted or left undecorated. A rim of beeswax may be applied to the mouthpiece end. Traditional instruments made by Aboriginal craftsmen in Arnhem Land are sometimes fitted with a ‘sugarbag’ mouthpiece. This black beeswax comes from wild bees and has a distinctive aroma.
Non-traditional didgeridoos can also be made from PVC piping, non-native hard woods (typically split, hollowed and rejoined), glass, fiberglass, metal, agave, clay, hemp (a bioplastic named zelfo), and even carbon fiber. These didges typically have an upper inside diameter of around 1.25″ down to a bell end of anywhere between two to eight inches and have a length corresponding to the desired key. The mouthpiece can be constructed of beeswax, hardwood or simply sanded and sized by the craftsman. In PVC, an appropriately sized rubber stopper with a hole cut into it is equally acceptable, or to finely sand and buff the end of the pipe to create a comfortable mouthpiece.
Modern didgeridoo designs are distinct from the traditional Australian Aboriginal didgeridoo, and are innovations recognized by musicologists. Didgeridoo design innovation started in the late 20th Century using non-traditional materials and non-traditional shapes.
The didgeridoo is played with continuously vibrating lips to produce the drone while using a special breathing technique called circular breathing. This requires breathing in through the nose whilst simultaneously expelling stored air out of the mouth using the tongue and cheeks. By use of this technique, a skilled player can replenish the air in their lungs, and with practice can sustain a note for as long as desired. Recordings exist of modern didgeridoo players playing continuously for more than 40 minutes; Mark Atkins on Didgeridoo Concerto (1994) plays for over 50 minutes continuously.” — Wikipedia