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Walker, Barbara G. The Woman’s Encyclopedia of Myths and Secrets. Despite his death in the late 1700s, the Deacon Brodie Tavern in Edinburgh, Scotland, is plagued by eerie sounds, mysterious lights, and unexplained occurrences. By day, William “Deacon” Brodie was a respected businessman, but by night he emerged as a hard-drinking gambler who burglarized private homes to support his multitude of vices. An accomplice turned him in for a reward, and Brodie was hanged on the very gallows that he had helped design. Stevenson often stated that so many of his story ideas came to him in dreams: This dreamer, like many other persons, has encountered some trifling vicissitudes of fortune. When the bank begins to write letters and the butcher to linger at the back grate, he sets to belaboring his brains after a story, for that is his readiest cast winner. And there seems little doubt that the early dramatic and cinematic versions of the story greatly influenced the manner in which the transformation of humans into werewolves were portrayed in motion pictures. Although in our own time we are familiar with an instant paperback appearing in the bookstores to accompany the latest Hollywood epic, it seems astonishing that in 1887, within a year after the publication of Stevenson’s novella, Thomas Russell Sullivan had adapted The Strange Case of Dr. Jekyll and Mr. Hyde for the Boston theater. Richard Mansfield was the first actor to transform himself from the humanitarian scientist to the evil Hyde in a dramatic performance. In 1908, William N. Selig, the first film producer to establish a studio in Hollywood, released the first motion picture version of Stevenson’s story, its title now shortened to the more familiar Dr. Jekyll and Mr. Hyde. In 1909, a Danish film company released its version of the London doctor who experiments with a drug that frees the beast within to wreak chaos and death. Carl Laemmle filmed the third production of the story in the United States in 1912, starring King Baggot and Jane Gail. By the time the great John Barrymore distorted his fabled matinee idol features to play the dual role of research chemist and monster in 1920, his interpretation was the seventh cinematic representation of Dr. Jekyll and Mr.

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Since then he runs his own Korm Plastics, had a brief involvement in Staalplaat and since 1986 has a magazine called Vital, since 1995 known as Vital Weekly. 'Vijf Profielen' is however the first full length Cd under his own name. This is the debute album of this project and it represents the research of the phenomenon of a harbinger-man, a harbinger of storm, war, chaos. Among the influences the author mentions Oophoi, Klaus Wise, Staruha Mha, John Grzinich. Far more violent and darker atmosphere than ever before. This entire album handles about the loss of nature, all the people who destroy it, knowing and unknowing what they're doing. Further it handles also about nature making conspiracies with the Loa's to let mankind disappear from the earth. The music sounds like a storm wiping away everything in the neighbourhood. Extremely dark classical death industrial with choirs, the voice of the Apocalypse telling people in their dreams how it all will evolve, magical and Black Metal atmospheres. The lyrics are mainly dealing with travelling in these worlds. Dark and deep-dronning Ambient, mixed with strong and powerful Martial songs, varied with hypnotically mesmerizing Tribal parts. All in all the whole Album has a strong Death Industrial touch and even carries some Gregorian elements. Can this instrument become a different 'sound generator'. Beyond what has been done in the past, when many composers used a 'prepared piano', where they placed microphones near the strings, or pieces of metal that generated particular sounds resonating with the strings, the most recent technology offers many tools to manipulate that same sound, so well-known and unmistakable, and transform it into something quite different. Therefore it is possible for the piano to become a generator of percussive sounds, pads and drones, creating a sound palette that is reconciled with other sound sources becoming a cohesive and intriguing whole. The piano sounds manipulated by ANDREA BELLUCCI (Red Sector A, Vetropaco, Qod), are perfectly integrated with the atmospheres generated by CRISTIANO DEISON's machines, creating 'sonic landscapes' which complement each other. Not only melody then, where the piano can be considered 'the instrument' par excellence, but also the search for atmospheres and environments that can involve the listener, perhaps giving unexpected emotions. Douglas Mawson was a famous polar explorer and this 12 minute collaboration with Robert became a focal point for this album. The tracks could perhaps be described as musical narratives, each named after a place or an event or a person that has attracted Spybey's attention. But, ironically, in the world of Dead Voices on Air, concepts limit creativity.

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Sunrise on I15 09. Lovely Day 10. Morning Serenade Download file -9011BAJ16. ar ( ) DepFile ? secure cloud storage ( ). Voyage (6:23) 15. Solstice (6:22) 16. Chain Reaction (7:01) 17. Paslms 100 - 2:46 After a lengthy gap between records with his Fellowship Band, drummer Brian Blade has stepped up the pace, following up the unmistakable sound of Season of Changes (Verve, 2008) with Mama Rosa. Different in nature it may be, but in its own way it makes perfect sense for the introspective and deeply spiritual Blade. Blade's always had a penchant for song, even when working in longer form for Fellowship. Blade's subject material is far more religious in nature, however, though his faith is personal and far from proselytizing. It's all part of one continuum, with Mama Rosa simply occupying a different place than Season of Changes or Perceptual. After 11 calming, tender songs, Blade ends the album with two brief soundscapes, in collaboration with Adam Samuels and Tucker Martine. Download file BrianBladeRosa. ar ( ) DepFile ? secure cloud storage ( ). No Diamond Ring 02. New Life 03. Seeds of Love 04.

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Balancing isn't easy due to unforeseen occurrences that continue to rise. I believe nothing is impossible and look forward to doing a new project. So stay tuned folks! 'Overlooked' project to recognise influential women Cache Translate Page. Whatever had been must have been wrong and should be remade in the modernist image. This conviction received its clearest formulation in the highly ramified modernist approaches to art at the beginning of the 20th century. Mimesis is the assimilation of the other (here Achilles) by the subject (here the reader) through a conductive medium (here poetry). Aristotle, in stark contrast to Plato, evaluates mimesis positively as the boon poetry provides its readers and auditors (as opposed to being the article of deception Plato thought it to be). The point here is that Aristotle provides a theory of how art operates. Similar approaches to art were the backbone of the rise of Aesthetics in the mid-18th century. At the turn of the 20thcentury, artists and writers began to see their role not as the furtherance of a tradition but as the instigator of a break with it. Examples abound, of course, and the early 20th century witnessed an ever-burgeoning irruption of new approaches to art, many of which were borne along by their own fully-formed and utterly self-conscious theories concerning artistic production. A particularly marked instance of this was Italian Futurism, with its insistence that art ought not simply to confront the traditions of the past but rather annihilate them. Futurism promoted an art of modernity, of the radical new, of an obsessive concern with the increasing speed of movement within the present, the aesthetic possibilities inherent in the exigencies of technology (including the machines of war), and the liberatory potential of the destruction of the past. Futurism's self-appointed spokesperson, the poet Filippo Tommaso Marinetti, called for the razing of museums and their contents; the radically new requires the disintegration of the old. The pace of life and its attendant emotional and intellectual changes necessitated a radical fragmentation in the realm of artistic creation, a splintering of approaches to expression, an erosion of a homogenous understanding of how art ought to go that gives way to a thriving heterogeneity that requires buttressing through theoretical support. Art can no longer simply perform within the space established by tradition, it must think its way into a thorough-going reconception of space and time. In all cases, the concern was not simply to provide the next ism in an ever-increasing string of isms but rather to find a position that transcends and makes pointless the very notion of a school of artistic production. All three of these isms were meant to be beyond the purview of an ism, they are meant to be meta-isms, if you will. They are self-conscious examinations of the very foundations of what it means to participate in the aesthetic, what it means to produce artwork; they are critical explorations of the ontological requirements that allow us to call something art, and ultimately, they are attempts to destabilize that ontology.


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Two fingers in a six-to-five situation means a man wants to wager ten ringgits on the underdog against twelve, three in an eight-to-seven situation, twenty-one against twenty-four, and so on. 440 432 THE INTE RPRETATION OF CULTURES directed toward profundity and, with a certain frequency, approximates it. If a man whose fortune is a thousand pounds (or ringgits) wages five 18 Besides wagering there are other economic aspects of the cockfight, especially its very close connection with the local market system which, though secondary both to its motivation and to its function, are not without importance. Cockfights are open events to which anyone who wishes may come, sometimes from quite distant areas, but well over 90 percent, probably over 95, are very local affairs, and the locality concerned is defined not by the village, nor even by the administrative district, but by the rural market system. Though the markets themselves have never been very highly developed, small morning affairs in a village square, it is the microregion such rotation rather generally marks out-ten or twenty square miles, seven or eight neighboring villages (which in contemporary Bali is usually going to mean anywhere from five to ten or eleven thousand people) fro m which the core of any cockfight audience, indeed virtually all of it, will come. In genuine deep play, this is the case for both parties. Having come together in search of pleasure they have entered into a relationship which will bring the participants, considered collectively, net pain rather than net pleasure. Bentham's conclusion was, therefore, that deep play was immoral from first principles and, a typical step for him, should be prevented legally. But more interesting than the ethical problem, at least for our concerns here, is that despite the logical force of Bentham's analysis men do engage in such play, both passionately and often, and even in the face of law's revenge. For Bentham and those who think as he does (nowadays mainly lawyers, economists, and a few psychiatrists), the explanation is, as I have said, that such men are irrational-addicts, fetishists, children, fools, savages, who need only to be protected against themselves. But for the Balinese, though naturally they do not formulate it in so many words, the explanation lies in the fact that in such play, money is less a measure of utility, had or expected, than it is a symbol of moral import, perceived or imposed. It is, in fact, in shallow games, ones in which smaller amounts of money are involved, that increments and decrements of cash are more nearly synonyms for utility and disutility, in the ordinary, unexpanded sense-for pleasure and pain, happiness and unhappiness. In deep ones, where the amounts of money are great, much more is at stake than material gain: namely, esteem, honor, dignity, respect-in a word, though in Bali a profoundly freighted word, status. o It is at stake symbolically, for (a few cases of ruined addict gamblers aside) no one's status is actually altered by the outcome of a cockfight; it is only, and that momentarily, affirmed or insulted. But for the Balinese, for whom nothing is more pleasurable than an affront obliquely delivered or more painful than one obliquely received-particularly when mutual acquaintances, undeceived by surfaces, are watching-such appraisive drama is deep indeed. This, I must stress immediately, is not to say that the money does not matter, or that the Balinese is no more concerned about losing five 20 Of course, even in Bentham, utility is not normally confined as a concept to monetary losses and gains, and my argument here might be more carefully put in terms of a denial that for the Balinese, as for any people, utility (pleasure, happiness. ) is merely identifiable with wealth. But such terminological problems are in any case secondary to the essential point: the cockfight is not roulette. 442 434 THE INTERPRETATION OF CULTURES hundred ringgits than fifteen. It is because money does, in this hardly unmaterialistic society, matter and matter very much that the more of it one risks, the more of a lot of other things, such as one's pride, one's poise, one's dispassion, one's masculinity, one also risks, again only momentarily but again very publicly as well.


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With Arya being a master ninja now and Bran seeing pretty much everything. ast, present and future, i wonder. f he was more smart, he should be running in a horse right now. Not unrealistic, she is a killing machine by this point. To me that one sentence and the way it was said conveyed a ton about Bronn. Most of her abuse happened when she was a kid which was off screen for us all. The question posed for the next episode is whether triumphant in victory equates to an increasing disposition towards using her dragonpower more liberally. This was exaggerated a bit for sure but it’s a television show. Not to mention she only went after legitimate military targets. I seem to remember the Lannisters being so cruel in the riverlands that they spawned an insugency. It is made of wood! and I believe I saw Drogon torch it after being hit. So, in the future, Dany just needs a scout to find the location of the Scorpion and she sends a dragon from behind to torch it. It’s not very maneuverable and it takes a long time to load. The surprise factor is out of the bag, so Dany’s army should be looking for it next time and approach it from behind. Plus Tyrells and Dornish are the last to bow to Robert. Tarlys Even fought Robert hard and now They switch sides, betray liege lords and everyone says Dany is evil. Solid stuff. I wonder if it will ever come up that Podrick is related to Ilyn Payne. Didn’t burn castles, but reminded everyone she is a fooking Dragon.