This tale by Mike Steeden is one of the most imaginative stories I have ever read.
Using street art, I will present a feel that moves along with the book’s official blurb.
‘A book of mind boggling time-travel,
feverish sex, syrupy romance,
ho hum history,
a dark future, The Moon,
Constantinople,
Paris and Berlin,
human consciousness, infinity,
a tongue in cheek take on all things carnal,
art for art’s sake
and three thoroughly mad yet oh so delightful gals’
I drew one a one-eyed blue-eyed cat, for Mike. Mike, Eye’m sure this is nothing you ever imagined. However, after reading “The Blue-Eyed Cat”, which I thoroughly enjoyed,I was inspired to this! Also, I believe the video below is apropos.
Should “The Blue-Eyed Cat” take your fancy it can be found at;
All objects either scared or charmed her, with secret meanings they’d impart…
Svyatki
It’s January and the first snow has fallen. Tatyana, like a good Russian girl, loves winter. She hasn’t seen Onegin since his rejection last summer, but has she gotten over him yet? The beginning of January marks the time of the ‘svyatki’* in Russia, a time when traditionally rituals were performed to predict the future. Tanya, who is very superstitious, just like her creator**, is very eager to see what the future will bring and performs several rituals, focussing specifically on love and marriage. Apart from finding out that Tanya’s future husband will likely be called ‘Agafon*, we do not find out what kind of signs Tanya received so far.
Appealing to dark forces
The ultimate ritual she performs is to conjure a prophetic dream, and this dream turns out to be the most written about dream…
Hi dear friends. Today, I’d like to interview or better to use the word sharing with you (before you answer; hey! I know that stuff of course!!) this amazing TV work with great music, directory, actor(ess)s, and story.
You know; it is not simply to find a good TV show or serial and It’s The TV serial! Because I have wonderful memories in which my brother Al and I had watched it permanently after we’d recorded it on the videotapes. We were both introverts. because of our traumatic childhood and TV was a long time the best companion in this world. And I can add that in this one we could find a lot of similarities, for example; don’t trust anybody! (Though one of us must be in contact to the society, I did it, because Al was a writer and I, as I have thought, had nothing to present.)
therefore, we had a lot of memories about watching TV (series) and keep ourselves in. (it would be fit with the Coronas world now, doesn’t it?!
It was and is as a strong memory for me to watch and hear the first line of this show;
Of course, I had to add here, that it wasn’t only the brilliant artist’s movie work but also the music which belong to the time in which we, as humans, were suffering from inhumanity; the WWII.
It was not only a TV show, it shows not just the points of draft or the thoughtfulness of the mankind, but it’d go to the deep of the childhood: Where is the father gone? when will he come back?; SOON… SOON, and we two brothers knew about it so much, too much, so long. we knew these questions!
Anyway, It was my discovery as I knew in Germany, it’s not so easy to find a good production from other countries in the original language. I mean here you can surely find all the good artworks from all over in the world but you must search intensively, they’d never come on the common famous TV channels.
And this song… give me a heartbeat!!
That is not only a good TV serial, I repeat myself I know, but it shows also the psychological stand of a child in a very deeply version; I know what I’m talking about! Roger Waters from Pink Floyd would confirm this! (The Wall)
I have the same stocking at school. from the teachers as the classmates!
And there we’ve found once more, I say once more because the history of the arts keeps mostly going to the deep points of the child in the growing-up period. Shadows… Shadows… We must know our Shadows. Am I right or am I right?
And the umbrella is too fix today 😉
These are the great ones to create this great work;
Michael Gambon, Janet Suzman and Patrick Malahide star in a 1987 miniseries about a stricken writer’s painful recovery.
At one point in my life, I was able to travel some. The area that resonated with me most was the “high desert” southwest of the USA. If you’ve seen my “About” page, you know that story. As I write this, I feel uncomfortable doing any sort of post at all… but I’m going to share a little about my adopted home.
I’m mortified to remember a long ago conversation with a man who enthused about his fondness for the beauties of the desert regions of the USA. He asked if I thought it was beautiful and I’m ashamed to say that I exclaimed, “But it’s all brown.” That was and continues to be the comment I’ve heard most often from other people. Back then, I was still “California dreaming,” (it took 20 years for me to give up…
However forward-looking its full-featured online presence made the Van Gogh Museum seem before, this particular moment has made it look like an even more prescient institution. With it and so many other brick-anmortar museums temporarily closed due to the coronavirus pandemic, online is the only way any of us can enjoy them.
In addition to its existing resources on the web, the Van Gogh Museum has over the past month been uploading a private tour, all shot in 4K video. Much like the five-hour iPhone ad shot in the Hermitage about which we posted last month, this series provides a drifting, floating view of the museum’s galleries and the works they proudly display, all quite unlike any experience one could ever have had there in person.
In the six parts of the series that have gone up so far, with a seventh and final installment to come next, not a single other person appears to get between you and Van Gogh’s portraits, Van Gogh’s still lifes, Van Gogh’s scenes urban and rural. But you do get some accompaniment in the form of a full musical score, an element that has become quite important for this now-emerging form of cinematic, high-resolution museum tour video.
Though brief, this Van Gogh Museum tour in 4K covers a wide swath of the artist’s work, and will surely only whet the appetite of viewers who’ve been meaning to make the trip to Amsterdam themselves. Until then, we can take in Van Gogh’s “art of the future” using the technology of the present — the likes of which wouldn’t have appeared in even his wildest visions.
An older man had a significant amount of money in his account.
The tax administration sent him a letter that he has to come over and explain the source of his income.
The older man went to the administration with his lawyer.
The older man explained how he earned his money from gambling. The employee didn’t believe him and said: “Even a gambler loses sometimes, and usually they are broke.”
The older man said: “I can prove it to you. I bet for $1000 that I can bite my left eye.”
The employee said: “That is impossible, I accept the bet.”
The older man took his artificial left eye out and put it between his teeth and asked the employee for $1000.”
The older man said: “Now I bet you for $2000 that I can bite my right eye too.”
The employee thought it would be unbearable that both his…
I think indeed that the art is a gift given us by God or whomsoever, to see beyond, beyond our own soul (shadow) or either beyond the social life into the future.
To be blunt, I can’t explain myself how it is possible, though the artists-selves never recommended themselves as future predictors if we take a look at all the imaginary and science fiction kind of all possibilities in the history of arts, there are many facts which were fiction those days and now they are assured as fact.
There are so many examples and I don’t want to list them here, but I have a wonderful cingle example here; this movie; The Contact. I don’t know if you have seen this, I would suggest it highly recommended. But let me explain why I meant this and why I share this special clip with you;
agefotostock Contact, Contact, Contact, Contact, Jodie Foster Ellie Arroway (Jodie Foster) empfaengt nach Jahren der Forschung Signale aus dem All. Ihr Traum vom K…
I just tell a short summary on this movie if you haven’t seen it yet, as the title might clear it; it goes on the connection to the aliens as humans are trying all nights & days long and it achieved finally as they got a plan to get this connection. they had to build a ship! And it succeeds by Dr Ellie to understand the code and they got a map to constitute the very ship.
Anyway, last but not least everything got ready and one of the best actress and genius ever Jodie Foster flies to the unknown.
Anything is clear, exiting, and fascinated. But the main point, in my opinion, is here in this scene; here she has a chair which has not to belong to the design of the ship in which she had to stay, this chair is a human version of their own. The rest of the ship is perfectly imitated though, here man can’t get out of its stupidity and of course think that the aliens are stupid and forgotten to put the chair in between!!!
Here, in this scene, you see where is the problem. be safe, all you friends 💖🙏💖
Stele (detail) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52 – photo Marie Grillot
Let’s have a look at this stunning Stele, one of the many fascinating Steles from Egypt; the mysterious part of human history.
And here is “The Gate of heaven” or one of the feminine charms of ancient Egypt.
Funerary stela of Lady Taperet, Third Intermediate Period, circa 850–690 BCE. Lady Taperet is praying to Atum, god of the setting sun, in the hope of eternally accompanying him on his daily journey. The hieroglyphs above her exhort the god to grant her everything she will need in the afterlife. The sky is represented by the blue body of the goddess Nut, who swallows the sun every night and gives birth to it every morning. from https://www.nybooks.com/ by; Ingrid D. Rowland
I could imagine that not only for me, but many also have the wish once to pass through this gate! What is always fascinating me when looking at these Steles, they tell us a lot of mystery which mostly are still unknown to us.
This so-called “Dame Tapéret” stele is certainly one of the most original artefacts of the Egyptian department of the Louvre museum. Its particularly rich and harmonious chromatic palette seduces us; the originality of the scenes which appear on each of the faces delights us, and the very representation of Dame Tapéret, all in femininity, charms us … As for the symbolism, it is exposed in every detail.
Referenced E 52, 31 cm high, 29 cm wide, 2.6 cm thick, dated from the XXIInd dynasty (approx. 900 BC), it is made of painted wood and of a curved shape. Indeed, as Auguste Mariette reminds us: “Until the 11th dynasty, the steles are quadrangular … But from the 11th dynasty, the stele takes the form that it only abandons on rare occasions. is rounded from above, as if it were intended to recall the curvature of the sky or that of the sarcophagus lids. “
Stele (front and back) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52
On both sides, Dame Tapéret, the “dedicatee” of the stele, is dressed in a light, pleated, orange-coloured dress, with long and long sleeves, edged with bangs on the front. Completely transparent – we imagine it made in the finest linen – it suggests the curves of the body, especially the arch of the kidneys and the shape of the legs. Tapéret is wearing a long black tripartite wig, encircled by an orange band and surmounted by a delicate cone of perfume. It is adorned with a large necklace with several rows in green tones.
As a sign of adoration, her delicate hands are raised before the god Re whose representation differs from one face to the other.
Stele (front) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52
The front of the stele is an enchantment, a profusion of colours, symbols and charming details. The hanger is fully occupied by the curved sign of the sky which rests and seems to rest on the heraldic plants of Egypt. A set of three stems, artistically positioned, on one side of the lotus and on the other of papyrus, adorn the opposite sides of the stele. The plants seem to “be born”, to spring from a human head which could be that of the god Nefertoum who, as “personification of one of the receptacles of the sun of the origins, is in connection with the perpetual rebirth of the star”.
Stele (detail) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52 – photo Marie Grillot
The upper part is occupied, in its centre, by a representation of the conception of the world. The sun, orange and majestic, seems to be surrounded by two uraeus whose heads, erected on either side of its lower part, carry an ankh cross. On each side of the sun is an oudjat eye. The unit thus formed gives an impression of perfect balance.
Under the right eye is a rectangle made up of six vertical lines of hieroglyphs, coloured, which stand out against an ocher background.
The rest of the panel is occupied by a magnificent scene, whose highly accomplished pictorial quality is matched only by extreme originality.
Tapéret, which we described above, stands in front of Re-Horakhty with the head of a falcon. The god with grey flesh is wearing a black tripartite wig. Her muscular body is perfectly proportioned. She wears a green top with suspenders and a loincloth of two colours – orange and beige – held by a belt. It is adorned with many jewels, a large necklace, bracelets of humerus, wrist and ankle. In the left hand, she holds firmly a light green was sceptre as well as a striped stick while, in the right, there is a flail and an ankh cross. The orange solar star which is on its head darts its powerful rays symbolized by four rows of blooming and multicoloured flowers which go towards the face of the deceased. “Figured like multicoloured garlands of lily flowers, these rays bring it the promise of survival in the afterlife …”
Stele (detail) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52 – photo Marie Grillot {detail of the tapeter stele – unknown provenance – stuccoed and painted wood – “The mistress of the house tapéret raises her arms in adoration before the re-horakhty god. the god with the head of a hawk carries on his head the solar star which illuminates the emptying of the woman. Figured like multicolored garlands of lily flowers, these rays bring her the promise of survival in the afterlife. ” (quotation text andreu in “the ancient egypt in the louvre”)}
Between the two figures is a table of offerings laden with food. A caring hand has placed delicate lotus flowers on it. On one side of the table, the leg is an elongated container, decorated with a flower, while the other is occupied by a delicately flowering branch. Dame Tapéret “offers Re a table heavily stocked with food, while the hieroglyphs placed behind her back assure her for herself” thousands of bread, beers, meats and poultry “, according to the millennial formula which allows humans to enjoy eternal sustenance. “
On the back of the stele, Tapéret reproduced identically, is in front of Atoum, “form of the sun god at sunset which echoes Rê-Horakhty, the sun of the day”. He appears without his “human” form, proudly wearing the double crown, in orange tones. Its flesh is grey, the curved false beard is treated in black. He is dressed and dressed in the same way as on the other side. What he holds in his hands are different, however: in the left an ouas sceptre and, in the right, a cane and an ankh cross. In the right centre of the upper part, there is also a rectangle made up of 6 vertical lines of hieroglyphs.
Stele (back) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52
The body, night colour, of the beautiful goddess Nut, long but folded, hugs the entire border of the stele. Its slender legs occupy the entire left part, while its long torso stretches in the hanger, and its head and arms with hands stretched down to occupy the right part.
The pubis is marked with a black triangle and in front of it is a small ocher-red circle which represents the sun, and which is found twice: in the centre of the hanger and at the level of the mouth. “Dream sails on a river originating near the pubis and in the evening she engulfs it in her mouth to revive it every morning.”
The torso, thin and long, is decorated with eleven stars; the breasts are pointed and small. The face of the goddess is in the roundness of the hanger and her long hair descends in a long black cascade to the level of her wrists.
Hieroglyphs “arranged in a retrograde manner above Tapéret exhort these gods to grant to the deceased all the offerings that will be necessary for her to survive in the afterlife”.
In these scenes of worship in the sun is manifested the wish of the deceased to eternally accompany the god Re on his night journey and to be reborn with him each morning. The feet of the god as well as those of Tapéret are bare: they rest on a black band which is at the bottom of the stele and which symbolizes the earth.
Stele (tranche) of the Lady Taperet – tenth or ninth century BC. AD (Dynasty XXII) painted wood – origin unknown – gift Batissier Department of Egyptian Antiquities at the Louvre Museum – E 52
It should be noted that “an inscription painted on the edge invokes the divinities Isis, Nephthys, Sokar and Hathor so that they grant to the Lady Tapéret all the funeral offerings necessary for her survival”.
The origin of this stele, the “composition of which combines traditional elements and plastic innovations” remains unfortunately unknown.
She entered the Louvre, thanks to a donation from Louis Batissier. This doctor, art lover, inspector of historic monuments in the Allier in 1839, was, after several charges, appointed consul of France in Suez in 1848. He stayed there for thirteen years, and, befriending Auguste Mariette, was passionate about Egyptology. He built up a fine collection of antiques and it was in 1851 that he offered the stele to the Paris museum, as well as vases, papyrus, amulets …
Ancient Egypt at theLouvre, Guillemette Andreu, Marie-Hélène Rutschowscaya, Christiane Ziegler, 1997
The gates of heaven: worldviews in ancientEgypt, March 2009 Jocelyne Berlandini Keller, Annie Gasse, Luke Gabolde
Egyptology at the Dawn of the Twenty-first Century: Proceedings of the Eighth International Congress ofEgyptologists, Cairo, 2000, Volume 2, Lyla Pinch Brock; American University in Cairo Press, 2003
Egyptian mythologydictionary, Isabel Franco, 2013
Universal Exhibition of 1867. Description of the EgyptianPark, Auguste Mariette, 1867
The aspidistra is a hardy long-lived houseplant popular in the oil and gas lit Victorian era and still common in the middle class homes of George Orwell’s time. The comedienne Gracie Fields recorded a song called “Biggest Aspidistra in the World” due to its virtual indestructibility and a nod to its ubiquity in undistinguished English homes. Orwell uses the plant to symbolize and spoof the mediocrity of pedestrian patriotism adapting the expression “Keep the flag flying” or “up with the middle class”.
Gordon Comstock comes from a decent but impoverished background. He received an adequate education and knows the literary canon as well as all the contemporary writers most of whom he holds in disdain. Fully realizing he is a minor literary talent with one barely noticed little book of poems to his name he gives up a promising career as a copywriter to manifest his contempt for the money…
Blazing Sunset by Teagan R. Geneviene 2020
lampmagician 
You must be logged in to post a comment.