Bohemian Rhapsody

Bohemian Rhapsody

PrometheBurningDesire

Taken at Performer Stammtisch Young Performace Festival 2010 by Jurgen Fritz.

Prometheus was a son of Iapetus by Clymene (one of the Oceanids). He was a brother of Atlas, Menoetius, and Epimetheus. He surpassed all in cunning and deceit. He held no awe for the gods, and he ridiculed Zeus and Zeus's lack of insight. Prometheus was the creator of man. When he and Epimetheus (hindsight) set out to make creatures to populate the earth under the orders of Zeus, Epimetheus went with quantity and made many creatures, endowing them with many gifts that were alloted to the brother for that purpose (fur, claws, wings, and fins were some of these gifts). While his brother was making creatures, Prometheus was carefully crafting a creature after the shape of the gods. It was a human. However, Prometheus took so long in crafting his masterpiece that when he was finished, Epimetheus had already used up all the gifts from Zeus. Prometheus was sorry for his creations, and watched as they shivered in the cold winter nights. He decided to steal fire from the gods. He climbed Olympus and stole fire from the chariot of Helios (or, in later mythology, Apollo).

...Zeus was further enraged by Prometheus's escape and had Prometheus carried to mount Caucasus, where a vulture or an eagle named Ethon (offspring of the monsters Typhon and Echidna) would eat out his liver; it would grow back each day and the eagle would eat it again. This punishment was to last 30,000 years.

...Rockefeller Center in New York City is a virtual shrine to Prometheus. His golden statue stands at the head of the central fountain, with lines from Aeschylus inscribed below.

"A recurrent mythic model for revolutionaries -early romantics, the young Marx, the Russians of Lenin's time-was Prometheus, who stole fire from the gods for the use of mankind. The Promethean faith of revolutionaries resembled in many respects the general modem belief that science would lead men out of darkness into light. But there was also the more pointed millennial assumption that, on the new day that was dawning, the sun would never set. Early during the French upheaval was born a "solar myth of the revolution," suggesting that the sun was rising on a new era in which darkness would vanish forever. This image became implanted "at a level of consciousness that simultaneously interpreted something real and produced a new reality."

The new reality they sought was radically secular and stridently simple. The ideal was not the balanced complexity of the new American federation, but the occult simplicity of its great seal: an all-seeing eye atop a pyramid over the words Novus Ordo Seclorum.

http://www.redicecreations.com/winterwonderland/promethean.html

Fruit Battery

Use Fruit to Generate Electricity for a Light Bulb

If you have fruit, a couple of nails, and wire then you can generate electricity to turn on a light bulb. Learn how to make a fruit battery. It's fun, safe, and easy.



Here's What You Need



* citrus fruit (e.g., lemon, lime, orange, grapefruit)
* copper nail, screw or wire (about 2" or 5 cm long)
* zinc nail or screw or galvanized nail (about 2" or 5 cm long)
* holiday light with 2" or 5 cm leads (enough wire to connect it to the nails)


Make a Fruit Battery



1. Set the fruit on a table and gently roll it around to soften it up. You want the juice to be flowing inside the fruit without breaking its skin. Alternatively, you can squeeze the fruit with your hands.



2. Insert the zinc and copper nails into the fruit so that they are about 2" or 5 cm apart. You don't want them to be touching each other. Avoid puncturing through the end of the fruit.



3. Remove enough insulation from the leads of the light (about 1") so that you can wrap one lead around the zinc nail and one lead around the copper nail. If you like, you can use electrical tape or alligator clips to keep the wire from falling off the nails.



4. When you connect the second nail, the light will turn on!



Learn More



* Citrus fruits are acidic, which helps their juice to conduct electricity. What other fruits and vegetables might you try that would work as batteries?



* If you have a multimeter, you can measure the current produced by the battery. Compare the effectiveness of different types of fuits. See what happens as you change the distance between the nails.



* Do acidic fruits always work better? Measure the pH (acidity) of the fruit juice and compare that with the current through the wires or brightness of the light bulb.

PalletHouse

The Palettenpavillon by Matthias Loebermann is a structure made entirely from shipping pallets, ground anchors, and tie rods. Designed to be easily assembled and dismantled, and then entirely recycled at a later date, the resulting building is intended as a temporary meeting place.

http://bldgblog.blogspot.com/2010/08/pallet-house.html

'One man's trash is another's man treasure," says Martin Kaltwasser, screwdriver and saw in hand. The German architect and conceptual artist is rushing to complete the Jellyfish theatre, which stands in a south London playground, 10 minutes' walk from the Globe theatre on the banks of the Thames. To say that this building is junk would be disparaging. And yet junk, of a sort, it is.

The Jellyfish theatre, which opens next week, is being built from the detritus of markets, timberyards and building sites; from redundant school furniture, hand-me-down front doors, recycled nails and pretty much anything that local residents and businesses have contributed – prompted by a public appeal by the Red Room film and theatre company. As work progresses, ever more planks of wood and stuff that would otherwise be "landfill" have been piled up in this playground in Southwark.

http://www.guardian.co.uk/artanddesign/2010/aug/16/junkitecture-jellyfish-theatre-kaltwasser-kobberling#send-share-box

Ausländer Raus! Schlingensief’s Container

Ausländer Raus! Schlingensief’s Container
Paul Poet | Austria | 90 min. | video | 2002 | Canadian Premiere | Featuring Christoph Schlingensief, Daniel Cohn-Bendit, Einstürzende Neubauten

In the summer of 2000, German provocateur Christoph Schlingensief set up a refugee camp in front of the Viennese Opera House. He interned twelve actual refugee applicants in a large shipping container and streamed their life over the web for the week. As in any “reality TV” show, the audience was allowed to vote their least favourite player out of the compound – and, in this case, out of the country.

Crowned by a banner with the phrase “Ausländer Raus!” (“foreigners out”) on it, the container became a national flashpoint – hundreds of Austrians converged on the square and 800,000 others logged on to the website to cast their ballots. Schlingensief (dubbed “the German bad-tastemeister” by Variety) served as the ringmaster, watching bemusedly as people of every stripe shed their demure exteriors and let fly their inner prejudices. Jorg Haider’s extreme right Freedom Party funneled their consternation through the press – it’s never clear if they were insulted because they were being taunted or because somebody else thought of the idea first. The hippie left reacted en masse, storming the container and “liberating” those inside during their weekly Anti-Haider demonstration.

Paul Poet designed the website and documented the action from its inception to its logical conclusion. Poet’s resulting documentary covers the bases – from the use of art as a political challenge, to the concept of national embarrassment in the face of a civilised world, to the shit-disturbing narcissism of Schlingensief himself.
http://www.imagesfestival.com/2004/programs/auslander_raus.php

Moving? Pack With Banana Boxes: Why Moving With Banana Boxes is Easy, Cheap, and Green

Moving? Pack With Banana Boxes: Why Moving With Banana Boxes is Easy, Cheap, and Green

wor(L)d

How to pronounce English words: world and word -- powered by eHow.com

Letter to Lord Byron

W.H. Auden

Letter to Lord Byron was first published in Letters from Iceland (1937), Faber and Faber, and Random House, New York. The revised text in this volume is based in Longer Contemporary Poems (1966), Penguin Books.

Clearer than Seafell Pike, my heart has stamped on

The view from Birmingham to Wolverhampton.

Hail to the New World! Hail to those who’ll love

Its antiseptic objects, feel at home.

Lovers will gaze at an electric stove,

Another poésie de départ come

Centred round bus-stops or the aerodrome.

But give me still, to stir imagination

The chiaroscuro of the railway station,

But you want facts, not sighs. I’ll do my best

To give a few; you can’t expect them all.

http://www.arlindo-correia.com/lord_byron.html

$BETTAFLY

St. Francisco di Assisi

Unlike other media – from tempera painting to video art – performance art doesn’t rely on some technological invention. Do you think it’s at all useful to assert that performance art began at some specific moment in time, with a particular piece or artist?

Some people say it started at the Cabaret Voltaire with the Dadas during the First World War. But of course you can trace it back to religious theatre and the self-inflicted agonies of the saints… and I’d much rather do that, because there was conviction and authenticity in the stuff they did – sitting on a pillar for 39 years (St. Simeon Stylites), trying to talk to the birds (St. Francis of Assisi) rather than the nihilism and banality of the Dadaists.

http://www.tankmagazine.com/magazine/magazine-feature/james-westcott-shumon-basar-performance-art-129

Many of the stories that surround the life of St. Francis deal with his love for animals.^[22] Perhaps the most famous incident that illustrates the Saint's humility towards nature is recounted in the "Fioretti" ("Little Flowers"), a collection of legends^[22] and folklore that sprang up after the Saint's death. It is said that, one day, while Francis was traveling with some companions, they happened upon a place in the road where birds filled the trees on either side. Francis told his companions to "wait for me while I go to preach to my sisters the birds". The birds surrounded him, drawn by the power of his voice, and not one of them flew away. Francis spoke to them:

My sister birds, you owe much to God, and you must always and in everyplace give praise to Him; for He has given you freedom to wing through the sky and He has clothed you... you neither sow nor reap, and God feeds you and gives you rivers and fountains for your thirst, and mountains and valleys for shelter, and tall trees for your nests. And although you neither know how to spin or weave, God dresses you and your children, for the Creator loves you greatly and He blesses you abundantly. Therefore... always seek to praise God.

The writer Idries Shah has often put foward the argument that Ghazali was also a major influence on St. Thomas Aquinas and St. Francis of Assisi, who may have been a Sufi initiate himself.

task #37

This is a City that never sleeps.

We are citizens of this City.

Therefore We should never sleep.


Task #37: How long can we stay awake in the city that never sleeps?
Performers may ingest whatever drug enhancing stimulants and narcotic substances they want to remain awake.

Performers have to be working/performing with frequent breaks- to avoid simply just ‘sitting up trying to stay awake’.
Reminiscent of staying up the night before the hand-in in Foxhole during 1st year?

NYCBM!!!

the double cross of lorraine

And the sigil used by Crowley was also employed by ancient alchemists as a device whose meaning was literally "very poisonous." In fact, the symbol was commonly affixed to containers of toxic substances in Europe as recently as the mid-twentieth century. To the alchemists, of course, the symbol and its very meaning had far more esoteric connotations. To them, poison represented an agent of transformation, a vehicle for the reconciliation of opposites. And there is an alchemical myth about a poison which for most men is extremely deadly, while for the elect it confers mastership and absolute power. Echoes of this idea recur as a motif in various aspects of the Grail lore. It would seem that the alchemists accorded this symbol very much the same meaning attributed it by Crowley, which in turn echoes what the Cross of Lorraine embodied for Rene d'Anjou. It is little known, but the Cross of Lorraine was also the official emblem of the Knights Templar.

Though they are more frequently associated with the symbol of the red equilateral cross, their true symbol first and foremost was the Cross of Lorraine, and many Templars awaiting death at the stake pursuant to the Friday the 13th persecutions drew the emblem on the walls of their cells. There is still a degree in certain rites of Freemasonry called the Knights Templar, whose symbol is the Cross of Lorraine. It is interesting to note that even the less esoteric-looking equilateral cross used by the Templars had essentially the same meaning: that of the union of opposites, the intersection of creative force and destructive force, or the union of male and female principles. It was a fundamental occult symbol, and it was in deference to the idea which it embodied that medieval occult rituals were often held at crossroads.

The Cross of Lorraine is far more explicit in it's iconography: the bar above mirroring the bar below, both of which are symmetrically affixed to a central pillar that provides balance and equilibrium. As above, so below is, after all, a Hermetic maxim. And the three bars of which the cross is composed echo Eliphas Levi's concept of the true trinity. Levi posited that the world is governed by two primordial forces, one creative, the other destructive. The equilibrium between these two forces constitutes a third force, and the union of the three constitutes what some might refer to as... God.

The central role of the principle of equilibrium in various occult arts cannot be overstressed. For Master Mason Albert Pike, equilibrium represented the Royal Secret, the pivotal principle upon which the universe is ordered. And Pike's specific designation of equilibrium as a royal secret is of particular significance because, as previously mentioned, Hermeticism has traditionally been known as the Royal Art, and its central tenet is essentially that of equilibrium.
[extracted from http://www.thevesselofgod.com/crosslorraine.html]

In typography the double cross is called double dagger, double obelisk and diesis.
In botany a balanced cross (equal length bars on equal distances) is used to mark very poisonous plants.
Used to symbolize checkmate.
The "Cross of Lorraine" symbol appears in Unicode as U+2628 (☨) or U+2021 (‡) and in HTML as ‡ (‡).
The Cross of Lorraine design was used by silversmith during the Fur Trade in North America( 1680 -1820) When certain^[who?] Native American group first saw the cross they thought that it was a dragon fly, which in their culture is a sacred being that took prayers to the Great Spirit on their behalf.^{[citation needed]}

(XVI)

The Tower

(of Babel?)

The WORD, therefore, I conceive to be the symbol of Divine Truth; and all its modifications--the loss, the substitution, and the recovery--are but component parts of the mythical symbol which represents a search after truth.

How, then, is this symbolism preserved? How is the whole history of this Word to be interpreted, so as to bear, in all its accidents of time, and place, and circumstance, a patent reference to the substantive idea that has been symbolized?

The answers to these questions embrace what is, perhaps, the most intricate as well as most ingenious and interesting portion of the science of masonic symbolism.

This symbolism may be interpreted, either in an application to a general or to a special sense.

The general application will embrace the whole history of Freemasonry, from its inception to its consummation. The search after the Word is an epitome of the intellectual and religious progress of the order, from the period when, by the dispersion at Babel, the multitudes were enshrouded in the profundity of a moral darkness where truth was apparently forever extinguished. The true name of God was lost; his true nature was not understood; the divine lessons imparted by our father Noah were no longer remembered; the ancient traditions were now corrupted; the ancient symbols were perverted.

But this night was not to last forever. A brighter dawn was to arise, and amidst all this gloom and darkness there were still to be found a few sages in whom the religious sentiment, working in them with powerful throes, sent forth manfully to seek after truth. There were, even in those days of intellectual and religious darkness, craftsmen who were willing to search for the Lost Word. And though they were unable to find it, their approximation to truth was so near that the result of their search may well be symbolized by the Substitute Word.

And now we know by this symbolism what is meant by masonic labor, which, too, is itself but another form of the same symbol. The search for the Word--to find divine Truth--this, and this only, is a mason's work, and the WORD is his reward.

Labor, said the old monks, is worship--laborare est orare; and thus in our lodges do we worship, working for the Word, working for the Truth, ever looking forward, casting no glance behind, but cheerily hoping for the consummation and the reward of our labor in the knowledge which is promised to him who plays no laggard's part.

Extracts from http://www.sacred-texts.com/mas/sof/sof33.htm

Dartington is the lost Wor(l)d. A substitute Wor(l)d has been built and named for us. We must build and name Our own Wor(l). Through this new Wor(l), can we find the origin?
Show me the traces of our Old Wor(l)d!
How far can we follow them back in Our simulated New Wor(l)d?

Genesis Chapter 11 בְּרֵאשִׁית

א וַיְהִי כָל-הָאָרֶץ, שָׂפָה אֶחָת, וּדְבָרִים, אֲחָדִים.	1 And the whole earth was of one language and of one speech.
ב וַיְהִי, בְּנָסְעָם מִקֶּדֶם; וַיִּמְצְאוּ בִקְעָה בְּאֶרֶץ שִׁנְעָר, וַיֵּשְׁבוּ שָׁם.	2 And it came to pass, as they journeyed east, that they found a plain in the land of Shinar; and they dwelt there.
ג וַיֹּאמְרוּ אִישׁ אֶל-רֵעֵהוּ, הָבָה נִלְבְּנָה לְבֵנִים, וְנִשְׂרְפָה, לִשְׂרֵפָה; וַתְּהִי לָהֶם הַלְּבֵנָה, לְאָבֶן, וְהַחֵמָר, הָיָה לָהֶם לַחֹמֶר.	3 And they said one to another: 'Come, let us make brick, and burn them thoroughly.' And they had brick for stone, and slime had they for mortar.
ד וַיֹּאמְרוּ הָבָה נִבְנֶה-לָּנוּ עִיר, וּמִגְדָּל וְרֹאשׁוֹ בַשָּׁמַיִם, וְנַעֲשֶׂה-לָּנוּ, שֵׁם: פֶּן-נָפוּץ, עַל-פְּנֵי כָל-הָאָרֶץ.	4 And they said: 'Come, let us build us a city, and a tower, with its top in heaven, and let us make us a name; lest we be scattered abroad upon the face of the whole earth.'
ה וַיֵּרֶד יְהוָה, לִרְאֹת אֶת-הָעִיר וְאֶת-הַמִּגְדָּל, אֲשֶׁר בָּנוּ, בְּנֵי הָאָדָם.	5 And the LORD came down to see the city and the tower, which the children of men builded.
ו וַיֹּאמֶר יְהוָה, הֵן עַם אֶחָד וְשָׂפָה אַחַת לְכֻלָּם, וְזֶה, הַחִלָּם לַעֲשׂוֹת; וְעַתָּה לֹא-יִבָּצֵר מֵהֶם, כֹּל אֲשֶׁר יָזְמוּ לַעֲשׂוֹת.	6 And the LORD said: 'Behold, they are one people, and they have all one language; and this is what they begin to do; and now nothing will be withholden from them, which they purpose to do.
ז הָבָה, נֵרְדָה, וְנָבְלָה שָׁם, שְׂפָתָם--אֲשֶׁר לֹא יִשְׁמְעוּ, אִישׁ שְׂפַת רֵעֵהוּ.	7 Come, let us go down, and there confound their language, that they may not understand one another's speech.'
ח וַיָּפֶץ יְהוָה אֹתָם מִשָּׁם, עַל-פְּנֵי כָל-הָאָרֶץ; וַיַּחְדְּלוּ, לִבְנֹת הָעִיר.	8 So the LORD scattered them abroad from thence upon the face of all the earth; and they left off to build the city.
ט עַל-כֵּן קָרָא שְׁמָהּ, בָּבֶל, כִּי-שָׁם בָּלַל יְהוָה, שְׂפַת כָּל-הָאָרֶץ; וּמִשָּׁם הֱפִיצָם יְהוָה, עַל-פְּנֵי כָּל-הָאָרֶץ. {פ}	9 Therefore was the name of it called Babel; because the LORD did there confound the language of all the earth; and from thence did the LORD scatter them abroad upon the face of all the earth. {P}

Wachturm

http://sketchup.google.com/3dwarehouse/details?mid=516012dd88b158ba79b6fb9cdc662b43

whistlewhistleblowblow