Friday, March 4, 2011

Closetmaid Or Rubbermaid

Will sign in the Universe


To sign in the Universe, oil on cardboard, 1995
knack Each time it is like every man deserves sees only what he is capable of seeing. Civilizations are mortal and the masterpieces they bequeath us are too. Museums are responsible for the burial in their graves or their tombs labeled.
The art can only survive by the looks that love them, those fans, artists, poets, princes charming all capable of making life appearances dead.
Because the eye has the virtues of the kiss and works of art do not watch those who watch them with love. Thus, as the Belle au Bois dormant, a look of a lover is enough to bring them to life. And their beauty awakened shells pierced the hearts and works in depth.
Real artists, the Vinci, Cézanne, Monet, Van Gogh, Manet, Rodin, Kandinsky, Picasso, Miro, Matisse, Klee, Morandi and many others less known, perceived in the humblest really a miracle and received a grateful joy. If they painted their pictures is so that we perceive these graces our turn.

Eye flourished, drawing on a reproduction a study of flowers by Durer, 1985

For the artist, art is perpetual because it is the beginning of Life, which is simply the principle alive in all creation . The artist is a singular living jumping out of time to be in the divine synchronicity: the Present Alive.

In Him and by Him, he hears and understands his own language, his voice, his eyes and he returned in the Universal staff, he received the first Blow, creator of all things and in the gathering he collects himself.
Collected and gathered it can accommodate everything and know its name and, knowing him, he can sign into the world say that prayer including his incredible sense: I'm in the Name of the Father, Son and Holy Spirit.


grace and He will remain with Leonard, Paul Vincent, Wasily, Claude, Pablo, Henry and all his brothers' elusive in the twigs of Being, "as one of them, Paul Klee. And all these reasons, he laughed.

The kiss inside, gluing, 2007


unpublished text excerpt from my book "To sign in the world", combining texts and drawings by the late eighty - Illustration works of the nineties.

Thursday, March 3, 2011

Auto Light Digital Watches

Everybody's Business.





Point-press this afternoon at St. Martin Community Centre to present the World Day Women, March 8 at Saint-Quentin (vignette 1, the program). Frédéric Delalande, director, emphasized the social dimension that we want to give this day (vignette 2, during the press conference). The team from St. Martin to attend the evening is 3 and the thumbnail displays the thumbnail Ciné-Philo 4. The Social Centre Guise will be involved, since I will animate there debate. We want a friendly and activist commemoration, festive and advocacy. At each visit, everyone is cordially invited. The status of women is everybody's business!

Wednesday, March 2, 2011

Golf Tounament Slogan

Lay and philosophical.




This afternoon, slightly fewer students in the IUF, Laon workshop on the secular philosophy. Normally, these are the vacation.

Reptile Enclosure Blueprints

ICONS OF THE ARAB-BYZANTINE MOTHER OF GOD



Icon Melkite "Hodighitria", 17-18 ° S., Crete
The most beautiful Byzantine-Arab icons are probably those made by the School of Aleppo, the 17 ° and 18 centuries. It is noted in some traits presqu'enfantins faces, symbol of innocence, characteristic of these icons. The School of Aleppo but virtually disappeared, with few exceptions, to be replaced by a more Westernized tradition, the confines of Crete.
Many icons are particularly revered in turn become prototypes giving birth to other icons. The original has disappeared and can often be traced only with copies . Such is the case of the icon Hodighitria. The differences between one type of icon to the next are often small: there is a change of hand position, the tilt of the head or the gaze direction of one or Another person represented.
Mappa del Sito
: Arab-Byzantine icon , Online
translated from Italian

Tuesday, March 1, 2011

Bend Over And Testicle Hurts

Forgetting oblivion


Call 2010 ultimate



The Life is so obvious that we live without worrying about what it really is. Like the air we breathe, life is invisible. We are so totally one with it that we forget. Now it happened that we have so forgotten what life we missed our forgetfulness.

This oversight of forgetting is not to be confused with the happy carefree life that draws unceasingly in his inexhaustible force, it is rather a dramatic break with what we truly are: the living in life. A form dramatic and far-reaching consequences of this omission is to conceive of life as a biological process reduced science to chemical sequences.

Another, older, is to define life only as our existence in the world and time, since our arrival in the world until the day we leave. Both the outward forms of life take place in the world.


What rediscovering phenomenology of Michel Henry's life is that life has no place in the exteriority of the world, nor even in his time, it takes place in the interior of every living, even more it is his interiority itself. The life we have forgotten, that we shall look in vain where it never appears: in the world, the true life forgets us not because it is our life immanent, our selfhood. !

No living has never brought himself in life, rather it is life that gives each and everyone in it to himself at every moment. Life is so and in no way an object as man, which is defined as thinking subject, as a cogito, by Western philosophy, could reach by his thought, conscience or object or his reason or his science. Because life is already coming to us before any thought or idea, it is preliminary, it is the very possibility of thought, like all our powers.

Life is so unthinkable, invisible force that only we can live, that is to say, in our experience emotions, the imperious desire to live which never separates from itself, which appears in each living in suffering and joy, anguish, or love, which is becoming alive in each and everyone. Life is self-giving, self-revelation, she gives herself in you by giving you simultaneously to yourself.
And that means life is live, give, love, hugging, and experience itself be better and so we live, live forever in our heart alive. "The e heart is the most appropriate definition of man," writes Michael Henry.
What is the relationship between life, art and culture?

Art and culture are manifestations of life in which the living who seek to live more intensely than others - artists - seeking to make us feel at we forgetful of life, lost in the exteriority of the world, and feel what they feel deep within themselves.

For works of art, the true culture, life reminds us, it brings us together and makes itself known more to the human heart in joy and love restarted reunion.


The We is emotional the sole and authentic "living together", as desperate in social science statistics and policies, it is the place of real culture capable of connecting any human community. But that we live we have lost the key and forget what life is and what must be the art and culture.


Day We Lost the living, Rimbaud 's remembered in the beginning of A Season in Hell : "Formerly, if I remember correctly, life was a feast where all hearts opened, where all wines flowed. "


you remember from oblivion? 2008

This We the living Michel Henry speaks: "The human community, is a slick emotional ground on which everyone drinks the same water from this source and this well he is himself. "It is this relationship alive and unseen works of art rediscovered in Wasily Kandinsky Concerning the Spiritual in Art when it comes to painting the vibration of the soul, resonances inside ... His friend Paul Klee said about him trying to make visible the invisible.
Discovery simple and understood by these artists is that without our living relationship to works of art there is no work. A work may exist in the exteriority of the world, it can be entered in the history of art or not, represent the world or not, be made of colors, shapes, smoke, gold or waste, it may still be in a museum or on the street, worth millions or nothing without a living person who saw the work is dead.
It n'yad'œuvre by and experience emotional experienced from the work. The work is work that we, in our inner invisible, where it wakes up the powers of experiencing life.

Beethoven condensed it all into a short form nowhere else: "Beginning at the heart it must go to the heart."
is in this sense that art is spiritual and it is as stated by Michel Henry, Wasily Kandinsky and others, the resurrection of life.

text for the exhibition in the heart of the subject in 2006 and works from 2008 and 2010 by Robert Empain

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Back in prison. The



this picture, with Elodie and Patricia (vignette 1), we could very well be the car park of any supermarket in a shopping area. But the left, top, a surprising detail: a turret, more exactly a viewpoint. We are at the entrance of the penitentiary of Laon, that is to say the prison. It is outside the city, in open fields, small fortress between heaven and earth, rising in the middle of the vacuum (vignette 2). It's quite striking to see, when approaching by road. If we do not know what it is, one wonders, the building is mysterious.

My last visit was a year ago and a half or two, I can not remember very well (look in the archives of this blog). The League of Education organizes cultural activities of all kinds, including a café philo. This time, it was with a colleague, Elodie Cabeau, which I participated: it exposes the subject, guides the debate and I raise when needed. Patricia Legendre is the coordinator of initiatives in prison. This morning we discussed in the presence of seven inmates, the question "What freedom?"

The prison, even when we went there several times, it's always impressive controls, doors, gates, corridors, cameras, guards, inmates, one enters in a strange world, in part, disturbing, but at the same time ordinary, normal, familiar. Because prisoners are closer to us than is implied by their deprivation of liberty, sometimes for several years. Most have a family to support, considering to work out, practice in penitentiary outside activities (sports, studies, ...), are very aware of their rights, following the news, often have a good command language. Some even bear marks of distinction which would seem unnecessary here, jacket Lacoste, Adidas or Nike.

The Cafe Philo went as any which coffee philosophy (or almost), with coffee and ideas! In any case, our exchanges for one hour (the participants are all volunteers) are almost forget gates, guards, violence (because there are those who have committed violence on property or people, and deprive someone its freedom is a violent measure although necessary). Instead, the atmosphere is quiet, relaxed (my perception), even if the speeches are often vivid. But it just fine.

Before the session begins, the prisoners were waiting outside the room, I went and said goodbye to a small nod of head. In the end, upon departure, they have risen, have approached us for a handshake. I felt then my mistake, I should do it too, from the beginning (though I have thought, but it is not always what we think). As a handshake in a prison takes on another meaning elsewhere: it is a form of recognition, a gesture of dignity, confidence building.

In a café philo ordinary handshake (when applicable) is trivial, friendly and polite. It does not pay attention, have it done or not. In prison, she has another dimension, it becomes a mark of humanity (no not shake hands with a beast or a monster). This morning, I felt this thing, I've experienced: the strength, dignity and humanity of a hand reaching out to another hand. Next time (in April), I will not forget.

Monday, February 28, 2011

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smokescreen. Love to


I unearthed this little article (inset) in Le Canard Enchaine in early February, about a book that just came out, "School, the easement program "Florent Goujet literature teacher. His subject: the entry of digital technology in classrooms, the famous ENT, Digital Environment Work. Gone are the blackboard, long live the digital interactive table! A whole bunch of toys we are given, imposed, but are they relevant? Goujet says no, for several reasons:

1 - The numerical results of many disturbances among students: vision problems, reduced ability to listen, difficulty with memory, loss of language ...

2 - The computer calls for a superficial approach and quantitative knowledge, no real depth and mastery.

3 - The teacher takes the risk of being reduced the role of technical assistant.

4 - Digital technology is undoubtedly entertaining, but what can he do against the evils afflicting the education system, absenteeism, boredom, lack of motivation?

5 - Digital technology is mainly a vast market whose products require maintenance and constant renewal. Its development criterion is the profit the utility.

I'm not sure what to think of it all. Technological progress has always been a reluctance which were eventually overcome. But it is good to reflect, to the computer screen is not a smokescreen.

Sunday, February 27, 2011

Warm Face After Eating

Bernot.


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Philo, cow and pig. Philo




I found this (see thumbnails) in bookstores this week. I do not know what it's worth the small collection of "30 greatest philosophers" did not look very good. And then I see no known author among the drafters of this new magazine. Who is he really? Students, in public, it is not clear. Because the philosophy is now for sale, they put all the sauces.

That said, it seems that everything is good in pig , and I'm inclined to think the same goes for philosophy. Better read this "Hot philosophy" that the press people or touted. About pig, I told you yesterday about the sausage of Cambrai, and some of you have asked me for details on its composition: Initially, it is not made of veal and pork, but after the scandal "mad cow", the sausage Cambrai converted to pork. For philosophers, sages, catching the disease of "mad cow" would be a shame. But becoming a pig, is it better?

Saturday, February 26, 2011

Mario Salieri All Film

the sausage.






Philo Cafe last night at Cambrai, where I stand, once will not hurt, as a mere spectator, as it Alain behind (vignette 1). But I'm not the only Saint-Quentin, Christophe Laurent and also are there (and it did not show!). Topic: time eludes us there? (vignette 2, the introduction, a little crumpled ...). The public is provided, about fifty people (Vignette 3, part of the audience).

Alain has his own way animate, very different from mine, and it's just fine. Each coffee philosophy must have its personality. Alain, who is not a teacher, teaching is much more than me, trying to forget that I am. This means that it occurs much more often, makes numerous references. He did not point this provocative and sometimes wickedness that characterized my animation, whose purpose is to destabilize, creating discomfort. Alain is the consensus, I in the conflict, both in thought.

After a session of coffee philosophy, I like to go home, I do not appreciate extensions. "It is good company at the end she did leave . But again, we must adapt: Alain us into a nice little restaurant, "Chez Nous", where I order the famous sausage recess of Cambrai, a delicacy that is we do not regret coming. And discussion time and many more things continues late into the evening (vignette 4, photo by Angelo, technical assistant to Alain, who has left his parking space).

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Press review. All



Today in New Aisne .

Friday, February 25, 2011

How Hot Are Flaming Hot Cheetos

a cinema.


Decidedly, it is all I do! Multiplex CinéQuai 02 asked me to write an editorial for two years of the magazine distributed to spectators. If this continues, I will require the deputy director of the film! Come on, it's the holidays, we have to joke a little ... In the meantime, read the program so the next few weeks, as many of you these days to pass through the halls of the Quai Gayant.

Vive le cinema! Vive la philo! Vive le cinema philosophy!


PS all at Cambrai in late afternoon for coffee philosophy.

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Philosophy thirties.



Philosophy has no age but as we all philosophers belong to a generation. They're usually old and ugly image. Socrates or Kant, this is not really Don Juan and Casanova. Bearing in Express this week (vignettes 1 and 2), philosophers of today are young and beautiful. They are the same age group that is popular for some time, the thirtysomethings . You see them on TV, they talk well, their books sell. Their names? Charles Pepin, Cynthia Fleury, Vincent Cespedes, Raphael Enthoven example. Alexandre Lacroix, Editor, Chief Philo Mag, is also the band.

Is it because I'm starting fifties? but this philosophy thirties, I do not, I do not recognize myself, I read very little. However, Lacroix and Cespedes I had the phone, I wanted them to come to Saint-Quentin. It did not, I sticks. Why? This new generation of philosophers approach and concerns are not mine (but that does not detract from the value of their work, I do not dispute).

Claire Chartier, author of the article says it well: "The young philosopher is invited to give up on everything and anything . He became the philosophical commentator of current events. It's interesting but it does not upset me. I expect the philosophy that it bothers me. Philosophers thirties rather arrange our thinking. Raphael Enthoven is not fooled: "It claims us meaning, whereas the essence of philosophy is to transmit the doubt, to raise questions .

My reaction is generational: I was born with the philosophy Levy and Glucksman, in the '70s, whose subjects were primarily political reflection. Then I professionalized in the 90s with Comte-Sponville, Onfray and Ferry, who submitted the ethics up to date, taking up large references to Comte-Sponville Spinoza, Kant and Nietzsche Onfray for Ferry. I find my way. With thirty philosophers, none of this: politics and ethics are eclipsed, we are in a rather existential approach to everyday problems. And major references have completely disappeared. Ahead now Kantian or Marxist Spinoza?

And then is this wrong (and stupidity) to a young relative reflection of an argument. After all, "old" philosophers also meet success, for example, Alain Badiou, that interests me much more than Pépin or Cespedes, even though his political thinking is very different from mine.

Finally, I learned in Express a certain Richard David Precht is in Germany, invented a new genre, the "philosophical show, which won it seemed a great success . This "téléphilosophe" has sold 1.5 million copies of his book " Who am I and if I am how? "(25 000 in France). In short, the mode of philosophy, begun two decades ago, continues, and it is not I who will grieve me, although I do not adhere not always. philosophize Evil is still philosophize, and it is finally what counts.

Thursday, February 24, 2011

Bottomless Or Toppless

CRAZY LOVE OF GOD TO MAN


The famous "Vladimirskaya", 12 sec, Moscow
Fathers put the beginning Church of Paradise. God came in the cool evening " (Genesis 3:8) to converse with humans. The essence of the Church and expressed in the communion between God and man, and culminates in the mystery of the Incarnation, the total communion of the divine and the human realized in the Person of the Word.
Except for rare exceptions (Orante, Pokrov), the icon of the Virgin with the Child has always, in fact, is precisely the icon of the Incarnation and the Church, the Communion ultimate divine Child-Word, and the human: the Mother. With an incomparable art and the greatest simplicity, the icon of Vladimir describes the overwhelming love for each other, the divine philanthropy, "mad love" from God to man, and in response, all the passion of man for his God. This is the pre-eternal desire of God becoming man that man might become god. icon offers us the contemplation of the mystery of God himself.
on the icon of Our Lady of Vladimir, the gaze of her grandmother opened at infinity is at the same time turned inside. He speaks of his great mercy toward the sky like the pain, inescapable fact of human existence and which raises the Cross. Countless souls have brought their suffering before this icon for so many centuries. Mother's eyes follow the fate of every man, nothing interrupts his eyes, nothing can stop the momentum of his heart.

Paul Evdokimov,
Orthodox theologian in "A theology vision "

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The living fire from heaven

The other Tonight I made a detour to the river between Rives and Mérigny. At the foot of the cliff at the waterfront, a man of the village was burned branches and stumps that remained on the ground after the tall poplars have been cut in a room flooded in a bend of the Anglin. "We must burn everything," said the man, save the river they will prevail and the damage ...". The fire was so close to the water and sky that I returned my camera. (Return the world, we return to ourselves, is our vocation) The man to whom I showed the map on the screen of my camera says "It's like fire from heaven." It was the through the first filmed this year. Here it is.
The text is what I said in 2002 to introduce thousand thanks thousand tears of joy, my film that brought together the graces of those years and I presented at the House of bees Ingrandes, the small village next door to me.



If calls poetic form words or pictures that sings the prettiness, the bucolic charm of natural things: flowers, small Birds, butterflies, springs, glades, the pretty faces we remain at a superficial outdated and poetry for me is the negation of true poetry. The poetry is dying of poetry. Poetry is dying of love poetry of the thing, this passion for kitsch poetic subjects.
It is not enough to align the names of things to make a poem poetic and true poet does not seek to the poetic as the true artist does not seek to make art. If painters like Cezanne or Picasso, if poets like Rimbaud and Hölderlin, were kept to name names of things or to make images of apparent reality, that they would align pictures, images flat, empty, exhausted, belaboured.

be a poet or painter is not mentioned but encouraging, it is not relying on what appears, but rather the apparent distrust. The poet, in my opinion, does not look like a rose Silesius saying that the rose is without why, it seeks instead to understand why the pink and wants to say so in the proper form of a word that simultaneously captures the rose itself and in itself, in a romantic encounter between himself and Rose.

Image from Grace 22042001 - Puddle in a garage


The poet is the true man, ontological, he who hears the rose in him, which becomes the rose and that becomes pink, the living, by whom she becomes human and alive. The artist said Malraux does not imitate nature, he is the rival! This means to me that the artist can not simply rent nature but must go beyond it, penetrate it, disclose it for cache, to raise his singular truth, know her very being, that is to say born with it, love it really.
A poet who says the name of a flower or a tree, a painter who included an apple or a pipe needs to know, like Magritte, for example, that the picture is not a pipe or an apple, but it is an array, ie that it is not a picture of this or that but a reality in itself, a sensitive and vibrant, like rose, apple or pipe, which is made up of colors and shapes, light and vibration, energy, forces, blast, painting as poetry are manifestations of the miracle that makes visible the invisible and mysterious emergence of all reality: painting, poem, apple, animal rights, is simultaneously outside and within us.

That, I think he meant that Rimbaud in his famous formula: must be absolutely modern.
Thus, staying with the literalness of it seeming to settle for a sterile copy that remains below its model is to show that we have seen nothing of the being of what is there is to betray what is claimed to celebrate is to deny the true artists that are seeking to emulate without seeing what they want us to see is still deceiving himself and deceive the world and the living.

Art, Cézanne said, is reserved for very few people! Most, in fact, remains on the surface of the familiar and reassuring appearance, riveted to the images.

But we live in an age where pictures are present so they cover what it is to be. We now see the world and the living as the permanent show us images of the show. And it goes very far! So when we look at our face in a mirror or when we give it to others to see, we feel how we are obsessed with our image, our skin surface as my friend Guy Delrez. These images of ourselves are built by the media systems of representation. And these images we tyrannize. The dictatorship of appearances consumes our being and the tyranny of appearance of exteriority, is, in my opinion, the major cause of the current identity crisis.

Similarly when we look at a landscape: the sea, a sunset, a mountain snow, for example, we do not see more in their being, nor how they appear mysterious, we test a shot!

Pasolini had already said in the sixties that we lost the vision Cezanne, sensing the coming tyranny of images, "said a century before he had to hurry to see things before they disappear . He was bent on painting for us and against his hostile contemporaries few antidotes to blindness.

These things said, you'll wonder why I made a movie!

As I said, I could not make this film in trusting the images but rather by challenging me. And more so that the technique has achieved a degree of perfection illusionist paralyzing and confusing! So I turned my eye and the glass eye of my camera to nature. I wanted a minimalist film form made plans sequences that follow the natural movement of the eye and phenomena, I dismissed the staging, assembly, manufacture, production, fiction, short everything is the usual cinema spectacle. We will talk again ...

Now to The main intention of this exhibition and the film.
In 1997, I moved here in the Brenne - The country of thousand lakes - the land of water, rivers and springs. In this country, I saw a thousand eyes, a thousand eyes, a thousand mirrors, a thousand miracles, natural and perpetual thousand films, moving reflections thousand times a thousand at any moment and I wanted the film to give you see and simply refer you to their reality. That's why every plan ends with a to follow ... who wants a finger pointing toward the source. Actually

say, billions of billions of films are designed and created around the earth continuously by nature, and it for billions of years, long before the invention of photography and film by the technique.

This film does thousand thanks therefore shows some images from these images infinite, he can not keep a little piece of this movie cosmic created spontaneously and incessantly with these infinite games and moving liquid mirrors such as rivers, ponds, puddles, dew drops and the eyes of the living.

our eyes, "said George Braque , are light injuries - Yes, injuries wetted which flows into our souls the light dazzled the world, so we can see and think, but especially so that we felt its mystery, that we knew and loved ...

By this attention to natural images long before the artificial images of the art, I still hope to relativize your eyes the whole time that our power to give the technique a bit and fold the claim of modern man imbued with his formidable powers to the world. I would also do justice to the true Creator all of these mysterious phenomena which we regard as natural for granted: light, water, fluidity, shadow, movement and life. A coup for the providential Creator who names God and without which there would be no film not only possible, but no life, no living man. Perhaps then we will also remember that animated means be provided with a anima, soul alive!

But another result of those intension it: revive an essential faculty of the human soul, a faculty specular living: our imagination. Yes, what is sight in the mirrors and fluid animation of your Sanctuary, I invite you to admire it - say to turn your imagination, your eye inward to the outside, the world is reflected, and looks up to you. Know this, that you look at the created world should you cross his eyes, you turn to him and his Creator to your inner eye, your eyes alive and knowing, that is, your imagination, which is other than your soul, reflecting and collecting.

It is from the reopening the eye of our soul that we become again a poet, that we become again what we truly are: living men called to be co-creators of the world and life, men who cross the surface of the obvious and apparent, to enter the illuminated reflection within the soul - what Rimbaud, with the mystics, has appointed Illuminations.

then rolled to the very source of our being, where flows the Word of Life, we see and hear mysteriously arise in us the words, sounds, rhythms, shapes, colors, visions, epiphanies, the lights and joys of being given. reviving our creative imagination, we réanimons our soul and the world which then recognize, love, by giving each other the to one another.

Knowing that way is to start thinking really is becoming a man capable of love, to receive and to give thanks is to be able to again of God, come back and live the Word and House to be as Martin Heidegger says, a house that is other than the House of the Word of God is still be open, as Rimbaud said, to possess the truth in a soul and body. It finally see it all starts at every moment in the Present. It

grasp the miracle of our creation and continued the sacred law of life that proclaims every human face, the only law which is sufficient for us to live together.

Dear friends, remember that we're all in this dark background of the poets enter gratitude, enter poetry infinite Life.

Text said at the opening of the exhibition and the film of Robert Empain entitled " thousand thanks, a thousand tears of joy, a film infinity, the Beekeeping at home Ingrandes - Indre, July 20, 2002
Illustration: With video February 16, 2011

Trasvestis Shows Las Vegas

IFSI madness.



Earlier this afternoon, I past half past one in front of the student (s) in the first year of the IFSI (Institute for Training in Nursing) at the Hospital of St. Quentin, where I go from time to time.'s theme of my speech: " The normal and the pathological madness philosophical approach "(vignette 1 and 2, my notes, scrambled a bit, but I am confused!). I acknowledge some high school (do) s I s last year. 140 nurses in the amphitheater in front of me if I have any discomfort or health problem, I am saved!

Faced with such a large audience and quickly dissipated, which sometimes took with Other players bad habits must be clear from the beginning: no mess, everyone listens! From experience, I also know that the beautiful Opening statements are nothing without an example just after. Luckily, I spot a student who quickly smiles and speaks as if I was there: stern public remonstrance, to remind everyone that I'm not kidding. Well, silence and concentration have not held a half hours, but most has been preserved and attention pretty good. As for me, I fulfilled my contract schedule to the minute, which is not always the case.

an introduction, I asked what we said the current language of madness, through revealing expressions (flipping out, losing the ball, have a grain or rather a box is missing ...). Then I divided my presentation into three parts: first a very general approach, the experiences of ordinary madness, then a historical detour, from antiquity to the modern world, and finally the current situation, the perception of contemporary normality and madness. I concluded with a defense of insanity as bringing civilization, art, religion, politics, but also in the individual life, in love, for example, crazy love of course.

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CLOSE OF ANCIENT PAINTINGS OF THE LOW TO CLEAR


The Mother of God with the Child, 6 century, Kiev
originally Mount Sinai
icon above the Virgin and Child dating from the 6th century, and thus pre-iconoclast, is interesting from the standpoint of style and is, with the icon of Saint Peter's Mount Sinai icon the closest representations of late antiquity currently known.
The Virgin and Child is on the left arm, as the future "Hodighitria" but it is also right, his body slightly turned toward him, while his head is oriented in the opposite direction, non-conforming attitude Graphic rules still somewhat fluctuating in the 6th century . Finally his face to the sensual mouth, almost laughing, is not really that of the Mother of God, yet it emanates from him a kind of radiation that we have no difficulty to see in this picture a authentic icon.

Tania Velman, research director of Byzantine art at the National Center for Scientific Research
in "The first icons "