text:
EN 2997-011:2010
Aerospace series - Connectors, electrical, circular, coupled by threaded ring, fire-resistant or non fire-resistant, operating temperatures - 65 °C to 175 °C continuous, 200 °C continuous, 260 °C peak - Part 011: Dummy receptacle - Product standard
ASD-STAN
This European Standard specifies the characteristics of dummy receptacles in the family of circular electrical connectors coupled by threaded ring.
It applies to the class defined in Table 3.
For plugs associated with these dummy receptacles, see EN 2997-008.
Luft- und Raumfahrt - Elektrische Rundsteckverbinder mit Schraubkupplung, feuerbeständig oder nicht feuerbeständig, Betriebstemperaturen - 65 °C bis 175 °C konstant, 200 °C konstant, 260 °C Spitze - Teil 011: Blinddose - Produktnorm
Diese Europäische Norm legt die Eigenschaften von Blinddosen in der Familie der elektrischen
Rundsteckverbinder mit Schraubkupplung fest.
Sie gilt für die in Tabelle 3 festgelegte Klasse.
Hinsichtlich der zu diesen Blinddosen zugehörigen freien Steckverbinder siehe EN 2997-008.
Série aérospatiale - Connecteurs électriques circulaires à accouplement par bague filetée, résistant au feu ou non, températures d'utilisation - 65 °C à 175 °C continu, 200 °C continu, 260 °C en pointe - Partie 011 : Embase de repos - Norme de produit
Aeronavtika - Konektorji, električni, okrogli, priključeni z navojnim obročkom, odporni ali neodporni proti ognju, s stalno delovno temperaturo med –65 °C in 175 °C, stalno 200 °C, najvišjo 260 °C - 011. del: Slepa doza - Standard za proizvod
Ta evropski standard opredeljuje značilnosti slepih doz iz družine okroglih električnih konektorjev, priključenih z navojnim obročkom. Velja za razred, določen v preglednici 3. Za vtiče, povezane s temi slepimi dozami, glej EN 2997-008.
49.060 - Aerospace electric equipment and systems
ASD-STAN - Aerospace
ASD-STAN/D 2 - Electrical
SIST EN 2997-011:2010 - Aerospace series - Connectors, electrical, circular, coupled by threaded ring, fire-resistant or non fire-resistant, operating temperatures - 65 °C to 175 °C continuous, 200 °C continuous, 260 °C peak - Part 011: Dummy receptacle - Product standard
EN 2997-011:2006 - Aerospace series - Connectors, electrical, circular, coupled by threaded ring, fire-resistant or non fire-resistant, operating temperatures - 65 °C to 175 °C continuous, 200 °C continuous, 260 °C peak - Part 011: Dummy receptacle - Product standard
EN 2997-011:2019 - Aerospace series - Connectors, electrical, circular, coupled by threaded ring, fire resistant or non fire resistant, operating temperatures -65 °C to 175 °C continuous, 200 °C continuous, 260 °C peak - Part 011: Dummy receptacle - Product standard
SIST EN 2997-011:2010
2003-01.Slovenski inštitut za standardizacijo. Razmnoževanje celote ali delov tega standarda ni dovoljeno.Luft- und Raumfahrt - Elektrische Rundsteckverbinder mit Schraubkupplung,
feuerbeständig oder nicht feuerbeständig, Betriebstemperaturen - 65 °C bis 175 °C konstant, 200 °C konstant, 260 °C Spitze - Teil 011: Blinddose - ProduktnormSérie aérospatiale - Connecteurs électriques circulaires à accouplement par bague filetée, résistant au feu ou non, températures d'utilisation - 65 °C à 175 °C continu, 200 °C continu, 260 °C en pointe - Partie 011 : Embase de repos - Norme de produitAerospace series - Connectors, electrical, circular, coupled by threaded ring, fire-resistant or non fire-resistant, operating temperatures - 65 °C to 175 °C continuous, 200 °C continuous, 260 °C peak - Part 011: Dummy receptacle - Product standard49.060Aerospace electric equipment and systemsICS:Ta slovenski standard je istoveten z:EN 2997-011:2010SIST EN 2997-011:2010en01-september-2010SIST EN 2997-011:2010SLOVENSKI
STANDARDSIST EN 2997-011:20091DGRPHãþD
EUROPEAN STANDARD NORME EUROPÉENNE EUROPÄISCHE NORM
June 2010 ICS 49.060 Supersedes EN 2997-011:2006English Version
Aerospace series - Connectors, electrical, circular, coupled by threaded ring, fire-resistant or non fire-resistant, operating temperatures - 65 °C to 175 °C continuous, 200 °C continuous, 260 °C peak - Part 011: Dummy receptacle - Product standard Série aérospatiale - Connecteurs électriques circulaires à accouplement par bague filetée, résistant au feu ou non, températures d'utilisation - 65 °C à 175 °C continu, 200 °C continu, 260 °C en pointe - Partie 011 : Embase de repos -Norme de produit
Luft- und Raumfahrt - Elektrische Rundsteckverbinder mit Schraubkupplung, feuerbeständig oder nicht feuerbeständig, Betriebstemperaturen - 65 °C bis 175 °C konstant, 200 °C konstant, 260 °C Spitze - Teil 011: Blinddose - Produktnorm This European Standard was approved by CEN on 19 May 2010.
CEN members are bound to comply with the CEN/CENELEC Internal Regulations which stipulate the conditions for giving this European Standard the status of a national standard without any alteration. Up-to-date lists and bibliographical references concerning such national standards may be obtained on application to the CEN Management Centre or to any CEN member.
This European Standard exists in three official versions (English, French, German). A version in any other language made by translation under the responsibility of a CEN member into its own language and notified to the CEN Management Centre has the same status as the official versions.
CEN members are the national standards bodies of Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, Switzerland and United Kingdom.
COMITÉ EUROPÉEN DE NORMALISATION EUROPÄISCHES KOMITEE FÜR NORMUNG
Management Centre:
Avenue Marnix 17,
B-1000 Brussels © 2010 CEN All rights of exploitation in any form and by any means reserved worldwide for CEN national Members. Ref. No. EN 2997-011:2010: ESIST EN 2997-011:2010
EN 2997-011:2010 (E) 2 Contents Page Foreword ..............................................................................................................................................................31Scope ......................................................................................................................................................42Normative references ............................................................................................................................43Terms and definitions ...........................................................................................................................44Required characteristics .......................................................................................................................45Quality assurance − Qualification ........................................................................................................86Designation ............................................................................................................................................87Marking ...................................................................................................................................................98Technical specification .........................................................................................................................9SIST EN 2997-011:2010
EN 2997-011:2010 (E) 3 Foreword This document (EN 2997-011:2010) has been prepared by the Aerospace and Defence Industries Association of Europe - Standardization (ASD-STAN). After enquiries and votes carried out in accordance with the rules of this Association, this Standard has received the approval of the National Associations and the Official Services of the member countries of ASD, prior to its presentation to CEN. This European Standard shall be given the status of a national standard, either by publication of an identical text or by endorsement, at the latest by December 2010, and conflicting national standards shall be withdrawn at the latest by December 2010. Attention is drawn to the possibility that some of the elements of this document may be the subject of patent rights. CEN [and/or CENELEC] shall not be held responsible for identifying any or all such patent rights. This document supersedes EN 2997-011:2006. According to the CEN/CENELEC Internal Regulations, the national standards organizations of the following countries are bound to implement this European Standard: Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Gree
EN 3375-011:2022(Main)
Aerospace series - Cable, electrical for digital data transmission - Part 011: Single braid - Star Quad 100 ohms - Lightweight - Type KL - Product standard
This document specifies the dimensions, tolerances, required characteristics and the mass of an AWG 24 shielded quad cable, type KL, intended for high speed (100 Mbit/s) full duplex Ethernet networks.
Linked to this particular application, the operating temperatures of the cable are between −65 °C and 125 °C.
This cable is laser markable, this marking satisfies the requirements of EN 3838.
The impedance is 100 Ω ± 15 Ω.
EN 2235:2022(Main)
Aerospace series - Single and multicore electrical cables, screened and jacketed - Technical specification
SIST EN 2235:2023
This document specifies the required characteristics, test methods, qualification and acceptance conditions of single and multicore cables, screened, jacketed and multicore jacketed cables for use in aircraft electrical systems.
Aerospace series - Test specification for verification of the permeability of electrical insulation
This document specifies a test that determines the ability of electrical equipment to withstand wet atmospheres in combination with variable ambient air pressure in particular in an aircraft installation. The main adverse effects to be anticipated are fluid ingress and related insulation breakdown.
Aerospace series - Cables, electrical, for general purpose - Operating temperatures between -55 °C and 200 °C - Part 008: DRP (pair) DRT (3 cores) DRQ (4 cores) family, multicore UV laser printable jacketed cable - Product standard
This document specifies the characteristics of UV laser printable multicore jacketed electrical cables for use in the on-board electrical systems of aircraft at operating temperatures between −55 °C and 200 °C.
Aerospace series - Cable, electrical, for digital data transmission - Part 001: Technical specification
This document specifies the required characteristics, test methods, qualification and acceptance conditions of signal data transmission electrical cables.
Aerospace series - Connectors, electrical, circular, scoop-proof, triple start threaded coupling, operating temperature 175 °C or 200 °C continuous - Part 001: Technical specification
This document specifies the general characteristics, the conditions for qualification, acceptance and quality assurance, as well as the test programs and groups for threaded ring coupling circular connectors, fire resistant, intended for use in a temperature range from -65 °C to 175 °C continuous or 200 °C continuous according to the classes.
Aerospace series - Requirements and test procedures for switching devices
This document specifies the requirements and test procedures of switching devices for use in aircraft
electrical systems to EN 2282.
Aerospace series - Requirements and tests on user-applied markings on aircraft electrical cables
This document specifies tests that are to be performed on markings applied by the user to ensure that their durability is satisfactory and that, after application of markings directly to the cable insulation, jacket or sheath, the cable will meet the performance requirements laid down.
Aerospace series - Terminal lugs and in-line splices for crimping on electric conductors - Part 001: Technical specification
This document specifies the general characteristics, the conditions of qualification, acceptance and quality assurance, as well as the test programs and groups for terminal lugs and in-line splices designed for crimping on copper and copper alloy conductors and on aluminium and aluminium alloy conductors.
Aerospace series - Electrical cables, installation - Protection sleeves - Test methods - Part 401: Expansion range
This document specifies a method to determine the expansion range of protection sleeve for electrical cable and cable bundles, it is used together with EN 6059-100.


(but has not been washed as much yet). My first top is a light blue and my second is a dark red. I will probably stick to dark colours with this fabric because there are sweat stains in the thumbholes of my lighter shirt. Other than that, it has held its own for two years on countless runs and multi-day hikes. The sweat stains were bound to appear.
This is my go-to running shirt and my go-to travel shirt (comfy for planes and long car rides, casual wear, and running)! I could not ask for more.
I haven't come across the snagging problem that other reviewers have encountered but the fabric is thin so I can see how this happens.
I love it but someone who likes a more snug fit may want to size down.
Love this tshirt. It can go on a run or out to dinner. I want to order another one but they keep running out of stock. Keep this away from velcro. The fabric can snag.
My favorite shirt material from Oiselle! Light, airy, comfortable, but also warm. Not sure how all of these things are possible from a single shirt, but they are & it's wonderful & I have several. They wash up great, don't stink after a hard/long run/multiple wears and are just generally magical. Definitely recommend! Great as a top layer in transitional weather or as a base when it gets cold. Aside from running, this is also my favorite material for hard strength sessions, too. Fits TTS.
I have had an opportunity to wear this long sleeve a couple of times since purchasing it in the spring. First, in colder (50's) weather in Oregon and second when it was raining in Texas in the 70's. Both times it worked out perfectly, which makes it very versatile. It has the ability to keep you warm but not too warm in case the temperature climbs more than expected. Also, it has THUMB HOLES! Who doesn't love thumb holes? I was a little nervous about the length of it, but it comes down to the top/middle of my hip bones and I'm 5'6". I also think this could be a good layering piece. It's not constricting or clingy. I have broad shoulders, and an athletic build at 5'6", 150 lbs and I ordered a 6, which fits perfectly.
I haven't worn this to run yet, but I did wear it before and after a 10K yesterday. It was 50ish before the start, and although this top is very light, I wasn't cold at all. After post-race festivities/shower, I pulled this on for the afternoon and evening, and even though temps were in the upper 70's, I somehow wasn't hot. It's really the perfect layering piece for spring or fall. I don't think it's ideal for extreme temperatures, but that's not what I got it for.
The fit is pretty much as expected. I got this in a 6, and I'm 5'2", 138 pounds, and pretty muscular. The sleeves are more fitted than shown but are not tight or restrictive. The body is semi-fitted, but maybe I should have ordered an 8? Either way, I like the fit, and it looks great with a pair of running shorts or tights.
My ONLY complaint is that it snags very easily. I have worn this once, and there are three or four snags in the front of the shirt. I'm not sure this could be avoided though; the fabric is pretty thin. I'm just not sure how this will hold up with time and washing.
Amazing king soft, cozy and breathable. Any chance you could make this exact top in Snap?
Hi Sandra! Thanks for your review. The Flyout Long Sleeve was available in Snap earlier this spring. Unfortunately, we are sold out, and do not have plans to bring it back in that color.
This long-sleeve top will be a staple in my running apparel this fall. It is so lightweight, yet I think I could wear it out with a pair of jeans or pants and not feel underdressed. I LOVE the slate color. Thank you for making a long sleeve of this fabric. So affordable for its versatility.
please restock the 12's in big blue and black!
This is such a great fabric for running and the fit is awesome. Unfortunately, it snags way too easily. Even when washing in a linen bag on gentle, I still have multiple snags on each shirt. I still wear them, because who cares when you are running, but be warned.
This top is pretty great...it's soft but sturdy, thin but warm, and totally stylish but still means business...pretty much perfect for cool-weather long runs, or even just for errands/hanging out! I got the Frost color in size 4, and it may be shorter than some other Oiselle tops I have (Wazelle for ex.), but it's not too short...hits about lower-hip area. A little roomy in the torso, but still a flattering fit. I'm 5'5" and 125 lbs. for reference.
Yay for this shirt! Long sleeved shirts are often too heavy, or too silky. This one is perfection. Light as air with the coolest looking fabric. It seems to wick really well and I love that the fit is on the looser side. I don't find it too short. For reference I am 5'3"112 lbs and the 2 fits perfectly.
Nothing is wrong with this!!
I would agree that this shirt is a pinch on the short side, but if paired with the Go Tank underneath, it's a great length and layer combo.
I've worn this shirt for trail runs and long road runs and it does fabulously - I stay warm, it doesn't seem to get "heavy" when it gets damp, and it feels light throughout the workout. a real winner for sure!
It really does feel like a cloud!
I've worn this top for a few cool-weather track workouts, and the texture is really unlike anything I've ever worn—super light and floaty without seeming flimsy. I ordered the Snap color expecting a bright orange hue, but the shirt that arrived was more of an electric pink/coral tone. Still, it's bright enough to be pretty high-viz for evening runs, which I like.
A note on fit: the torso of this shirt is cut much shorter than my other Oiselle tops, so the bottom hits just below my bellybutton instead of mid-way down my hips. The material is also slightly transparent, so the outline of my sports bra is pretty visible underneath—fine for a workout, but maybe a little too revealing to wear around town.
I'd definitely buy more versions of this top if it were available in darker, more opaque colors.
The texture is so lovely!
A little too short and see-through for everyday wear.


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You Get Da Time? I Get Hawaiian Time.
The time in Hawaii is anywhere from three to six hours behind the mainland. But the time within Hawaii households? Well, that's a whole different time zone, better known as Hawaiian Time.
It's the time of the islands that keeps everything at a mellower pace.
While ancient Hawaiians used the moon to mark the time of year, this kind of time-telling is a bit different. A Hawaiian Time clock has some very general markings. Instead of numbers, there's Watevas (whatever, whenever), Bum-bye (by and by, to do later) and Laytahs (to be there later). To tell time with this kind of clock depends on the person and situation. For instance, say the luau starts at 6 p.m. and when that time arrives, Kimo is no where to be found. You call him to find out what happened, and Kimo replies, "I'll be there bum-bye." That probably means he just got back from walking the dog and still needs to get ready. These Pidgin-English words came from Hawaii plantation workers and are still used by locals today.
Hawaii moves at a slower pace overall. This is not to give visitors the false impression that we live on a secluded island in grass shacks and commute by canoe. We're very much a developed place – we've got concrete skyscrapers and traffic and face the same economical issues as everyone else. But when living on an island with such natural beauty, we can't help but get lost in the laid-back ways. Why be in a rush? It's a subtle nonchalance that translates through Hawaii's people and finds a home in the warm embrace of the culture.
OR maybe Hawaiian Time starts with the fact that Hawaii as a state is late for everything! We welcome in the New Year way after the ball drops at Times Square. And we avoid Twitter until after watching the latest episode of Hawaii 5-0, for fear we'll find out what happens. Darn this time difference! Maybe that's to blame? It's not the people in Hawaii who are slow-moving. It's just that everyone else is moving too fast!


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Quick Answer: What Is A Full Hijab?
Are Muslims allowed tattoos?
Why do girls wear bras?
What Quran says about hijab?
What does the hijab symbolize?
Can you use a regular scarf as a hijab?
Is it haram to adopt a child?
Do you have to wear a headscarf in Dubai?
Why do Muslims not eat pork?
What age are you supposed to wear a hijab?
Is hijab banned in France?
Is a hijab religious or cultural?
Why can't Muslims touch dogs?
Is it haram to own a dog?
Why did Turkey ban the hijab?
Why is burqa banned in France?
What are the rules for wearing a hijab?
Is the hijab optional?
Generally permanent tattoos are forbidden in Islam The majority of Muslims consider permanent tattoos to be haram (forbidden), based on hadith (oral traditions) of the prophet Muhammad.
The details provided in hadith help to understand the traditions relevant to tattoos as well as other forms of body art..
Bras can protect breast tissue and keep the breasts supported. Some girls may also like that bras smooth out their silhouettes and make them feel more comfortable. A bra can make a girl feel less exposed when she's wearing a light shirt, such as a T-shirt.
And at the genesis of the hijab discussion, the Quran commands men to not stare at women and to not be promiscuous. The Quran 24:31 obliges men to observe modesty: "Say to the believing men that they restrain their eyes and guard their private parts. That is purer for them. Surely, Allah is well aware of what they do."
Hijab is an Arabic word meaning barrier or partition. In Islam, however, it has a broader meaning. It is the principle of modesty and includes behaviour as well as dress for both males and females. The most visible form of hijab is the head covering that many Muslim women wear.
No, any scarf can be worn as a hijab. A scarf that is worn with the ideology and spirit of a hijab becomes a hijab.
Thus many Muslims say that it is forbidden by Islamic law to adopt a child (in the common sense of the word), but permissible to take care of another child, which is known in Arabic as الكفالة (kafala), and is translated literally as sponsorship.
Dress code in public places in Dubai Women do not have to cover their head, face and hair with a scarf or something similar in public, although Muslim women, particularly Gulf Arabs, do cover their hair, face and head with a scarf for cultural and religious reasons.
The main reason pork is forbidden for Muslims is because it says in the Holy Quran that some food is allowed, while others are explicitly declared haram, which means forbidden. And pork is one of those forbidden foods.
According to Islam the girl should start to practice Islam ( including wearing Hijab ) once she get her first period. Before that age she is not obligated to pray, fast or wear hijab. Some parents try to make the girl get used to practice Islam at young age to make it easy for her when she grow up.
France has about five million Muslims. … Wearing the Muslim headscarf or veil – known as a hijab – is banned in French schools, and for public servants at their place of work. France is officially a secular state and body-covering garments have been at the centre of a number of controversies in recent years.
Hijab is an Islamic concept of modesty and privacy, usually expressed through women's clothes. (Men also follow hijab customs, although the concept is more associated with women.) Hijab is often a cultural, not a religious, construct.
The Prophet declared dogs' mouths unclean, because they sometimes eat carrion. … Muslims are absolutely allowed to touch dogs. However, because dogs are considered unclean animals, and ritual purity is a very important thing in Islamic practice, you can't touch/pet a dog and then go on as if nothing happened.
The Sunni Maliki school of Islamic jurisprudence distinguishes between wild dogs and pet dogs, only considering the saliva of the former to be impure; on the other hand, some schools of Islamic law consider dogs as unclean (najis).
The headscarf was banned in public institutions because of the 'public clothing regulation' issued after the 1980 coup and began to be implemented in a radical way after the 1997 military memorandum.
Sarkozy had stated that the law is to protect women from being forced to cover their faces and to uphold France's secular values. A poll carried out by Pew Research Center leading up to the vote indicated that 80% of French voters supported the ban.
And say to the believing women that they should lower their gaze and guard their private parts; that they should not display their beauty and ornaments except what (must ordinarily) appear thereof; that they should draw their khimār over their breasts and not display their beauty except to their husband, their fathers, …
Muslim women may freely choose whether or not to wear the headscarf. The exception is when visiting a mosque, where the tudung must be worn; this requirement also includes non-Muslims.
Question: What Is A Good U Value For Windows?
What is the minimum U value for windows? 1.
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What happens if neighbors tree roots cause damage?
What Is The Strongest .22lr Bullet?
Will a .22 stop an attacker? The . 22 required the
Quick Answer: What Do The French Call France?
What is the French for France? In modern French, the
Question: How Do You Dig Asphalt?
What will dissolve asphalt? If you do not have turpentine
Quick Answer: What Are The Major Economic Systems In The World?
What are the primary features of the world'
Quick Answer: What Country Has The Highest Taxes In The World?
Does America pay taxes to England? Americans pay a
Question: Can You Sue Someone For Telling Your Secrets?
Can you sue someone for disclosing personal information?
What Is Included In A Compensation Package?
How do you negotiate a compensation package?
What Is Another Name For Capital?
What is another name for capital stock? When referring
What Happens To A Body In A High Impact Crash?
Can you survive a crash at 100 mph? We all know that
Question: What'S Wrong With Tesla?
What's the problem with Tesla? Tesla'
Quick Answer: Do I Need Tax To Get An MOT?
Do you need tax to get mot? If you'

redpajama_set_name: RedPajamaCommonCrawl


text:
La Villa comunale (già Villa Reale o Real Passeggio di Chiaia, poi Villa Nazionale e Villa Municipale) è uno dei principali giardini storici di Napoli.

Il vasto giardino, piantato a lecci, pini, palme, eucalipti si estende per oltre 1 km tra piazza della Vittoria e piazza della Repubblica, fiancheggiato dalla Riviera di Chiaia e da via Caracciolo.

Storia
Il suo primo nucleo risale al 1697, quando il viceré duca di Medinacoeli fece piantare lungo la riviera di Chiaia un doppio filare di alberi abbellito da 13 fontane, indirizzando una prima idea di passeggiata che dalla porta di Chiaia si spingeva fino alla Crypta Neapolitana.

Tra il 1778 e il 1780 l'area della spiaggia lungo la riviera fu convertita in un vero e proprio passeggio, un giardino urbano molto in voga in quegli anni, per volontà di Ferdinando IV di Borbone e per opera di Carlo Vanvitelli, figlio del più noto Luigi, sulla scia di quanto aveva fatto il padre, Carlo III di Spagna, lungo il Salon del Paseo del Prado di Madrid e del Giardino delle Tuileries nella Francia borbonica. Il Vanvitelli si avvalse dell'aiuto del botanico Felice Abbate, giardiniere reale.

Nei primi anni del XIX secolo la villa fu ampliata e ridisegnata dagli architetti Stefano Gasse e Paolo Ambrosino, secondo il volere di Giuseppe Bonaparte che decretò nel 1807 i lavori. Si occupò di curare la scelta delle essenze arboree il tedesco Friedrich Dehnhardt, ispettore dell'Orto Botanico. Con la realizzazione del cosiddetto boschetto l'aspetto di passeggio alberato rettilineo, che caratterizzava prevalentemente la villa fino a quel momento, fu affiancato da quello di un parco cittadino, con sentieri e aiuole, secondo il pensiero romantico di allora. Un ulteriore ingrandimento fu eseguito per progetto del Gasse verso ovest (fino all'attuale piazza della Repubblica) nel 1834.

Nel 1869 la villa fu denominata comunale (talvolta indicata con il sinonimo municipale). Con la realizzazione della colmata di via Caracciolo, a partire dagli anni settanta del XIX secolo la villa fu ampliata verso il mare. Fu eseguito un nuovo ingresso principale su piazza Vittoria, abbattendo quello vecchio del Vanvitelli, costituito da due padiglioni simmetrici, chiamati casini; furono qui collocate otto delle statue neoclassiche che erano poste all'interno.

La parte occidentale della villa fu il luogo dove furono allestiti i padiglioni (provvisori) dell'Esposizione Nazionale dell'Igiene del 1900, caratterizzati da un aspetto spiccatamente eclettico con molti richiami al nuovo stile liberty. Uno dei padiglioni, voluto dal Municipio e costruito con carattere definitivo, fu in seguito sede del Circolo del Tennis.

Nel 1924, fu eseguita in prima assoluta la "Turandot" di Giacomo Puccini per banda. Seguirono l'evento circa 10.000 spettatori. La banda, composta dai migliori musicisti del tempo, fu diretta dal M° Felice Iovino, primo clarinetto dell'orchestra del San Carlo.

La villa è stata restaurata tra il 1997 e il 1999 da Alessandro Mendini e dal suo atelier; sono stati così riprogettati gli chalet, è stato risistemato il verde, realizzato un nuovo impianto di illuminazione e una nuova cancellata. L'intervento restaurativo è stato tuttavia al centro di numerose polemiche per la rottura con lo stile neoclassico preesistente e l'alterazione dell'aspetto botanico della storica villa ottocentesca.

Descrizione

Il "Real Passeggio di Chiaia" si apre con un percorso rettilineo adorno di copie neoclassiche di statue di epoca romana, nonché di gruppi scultorei e fontane di età tardo-rinascimentale. Le statue furono collocate intorno al XIX secolo in sostituzione di alcune delle opere farnesiane, poi spostate presso il museo archeologico nazionale di Napoli. Oltre alle sculture e fontane, il parco è punteggiato anche da vari edifici di differenti epoche.

Fontane
 la fontana della Tazza di Porfido (detta delle Paparelle) è caratterizzata da una grande tazza di porfido sottratta al Duomo di  Salerno, in Campania;
 la fontana di Santa Lucia, opera degli scultori Michelangelo Naccherino e Tommaso Montani (1606), detta così perché prima di essere collocata qui nel 1898 si trovava in via Santa Lucia;
 la fontana del Ratto d'Europa di Angelo Viva già in Via della Marinella (1798);
 la fontana del Ratto delle Sabine;
 la fontana di Lucio Papirio (detta anche di Oreste ed Elettra);
 la fontana di Castore e Polluce;
 la fontana della Flora Capitolina;
 la fontana della Flora del Belvedere;
 la fontana del Ratto di Proserpina.

Sculture neoclassiche
Nel primo XIX secolo furono collocate nella prima parte della villa varie sculture settecentesche neoclassiche, provenienti dalla reggia di Caserta e raffiguranti soggetti mitologici. Una parte di queste è stata scolpita dal genovese Tommaso Solari senior, un'altra invece dallo scultore romano Andrea Violani. Le fontane del Ratto delle Sabine, del Ratto di Proserpina, di Castore e Polluce, di Lucio Papirio, della Flora del Belvedere e della Flora Capitolina presentano gruppi scultorei eseguiti dal Solari.

Statue e busti di uomini illustri
Diversi sono i busti e le statue di illustri personaggi napoletani o legati alla città realizzati tra il XIX e il XX secolo.

Le statue raffigurano:
 Giambattista Vico, scolpita da Leopoldo di Borbone-Due Sicilie, conte di Siracusa, nel 1862;
 Pietro Colletta, opera del 1866 di Gennaro Calì;
 Sigismund Thalberg, scolpita da Giulio Monteverde nel 1879 e inaugurata nel 1881.

I busti invece raffigurano:
 Enrico Pessina;
 Giovanni Bovio;
 Luigi Settembrini;
 Alfredo Cottrau;
 Edoardo Scarfoglio;
 Errico Alvino;
 Francesco Del Giudice;
 Giorgio Arcoleo;
 Francesco De Sanctis;
 Gioacchino Toma;
 Errico De Marinis;
 Giuseppe Semmola;
 Giosuè Carducci;
 Vito Fornari.

C'è infine una scultura dedicata agli italiani che vennero in soccorso della città per l'epidemia del colera del 1884. Eseguita da Vincenzo Jerace, fratello del più noto Francesco, raffigura un pellicano che si squarcia il petto per nutrire i propri figli.

Monumenti architettonici
Tra i notevoli esempi di architettura si annoverano invece:
 il Tempietto circolare di Torquato Tasso, opera neoclassica di Stefano Gasse, che presenta al centro un busto di Tasso dello scultore Tito Angelini;
 il Tempietto di Virgilio, sempre di Stefano Gasse, eretto nel 1825-1826 (nel luogo in cui lo storico Karl Julius Beloch avrebbe nel 1890 ipotizzato la localizzazione alternativa a quella comune della tomba del poeta), con all'interno un'erma del poeta eseguita nel 1836 da Angelo Solari, figlio del Solari senior;
 la Casina Pompeiana (in origine padiglione pompeiano o Pompeiorama), costruita nel 1870 come esposizione di vedute degli scavi archeologici di Pompei;
 la grande Cassa Armonica di Errico Alvino (1877) in ghisa e vetro;
 la Stazione Zoologica Anton Dohrn;
 il Museo Darwin-Dohrn creato e gestito dalla Stazione Zoologica Anton Dohrn ed inaugurato nel 2021 nell'edificio realizzato dagli architetti Luigi Cosenza e Marcello Canino nel 1948;
 l'Obelisco Meridiana.

Note

Bibliografia
 Benedetto Croce, La spiaggia e la Villa di Chiaia, in "Napoli nobilissima", I (1892), pp. 3-10, 35-39 e 51-53, poi in Id., Storie e leggende napoletane, Laterza, Bari 1919.
 Renato Penna, La Villa comunale di Napoli, in "Napoli nobilissima", V (1966), pp. 19-33.
 Franco Strazzullo, Il Real Passeggio di Chiaia, Napoli, 1985.
 Giancarlo Alisio, Il passeggio di Chiaia dagli interventi vicereali ai progetti futuri, Electa Napoli, Napoli, 1993.
 Vanna Fraticelli, Il giardino napoletano. Sette e Ottocento, Electa Napoli, Napoli, 1993.
 Franco Strazzullo, La Villa Comunale due secoli dopo, Franco Di Mauro, Napoli, 1993.
 Antonio Emanuele Piedimonte ed Enzo Pagano, La Villa comunale di Napoli. Storia, statue, flora del giardino sul mare, Intra Moenia, Napoli, 1999.
 Massimo Visone, La Villa Reale di Napoli dalla Fiera di Carlo Vanvitelli al rilievo del 1835. La progettazione del giardino pubblico e la passeggiata nella memoria letteraria classica, in «Antologia di Belle Arti», Il Settecento, III, nn, 63-66, 2003, pp. 114-128.
 Andrea Maglio, La Villa Comunale di Napoli e gli "uomini illustri", in L'architettura della memoria in Italia. Cimiteri, monumenti e città (1750-1939), a cura di M. Giuffrè e F. Mangone, Skira, Milano, 2007, pp. 317-323.
 Maria Laura Castellano, La Villa Reale nel decennio francese e l'opera di Federico Dehnhardt, in "Napoli nobilissima", X (2009), pp. 21-42.
 Massimo Visone, Il Real Passeggio di Chiaia nello sguardo dei viaggiatori tra Sette e Ottocento, in Il viaggio a Napoli tra letteratura e arti, a cura di P. Sabbatino, Edizioni Scientifiche Italiane, Napoli, 2012, pp. 349-360.

Voci correlate
 Neoclassicismo
 Giardino d'inverno (Napoli)
 Riviera di Chiaia

Altri progetti

Collegamenti esterni

Villa Comunale

redpajama_set_name: RedPajamaWikipedia


text:
Йован Миладинович (; род. 30 января 1939 года, Белград — 11 сентября 1982 года, там же), более известный как Зоран — сербский футболист, полузащитник.

Большую часть карьеры выступал за футбольный клуб Партизан, после чего на год перешёл в Нюренберг, где и завершил карьеру игрока. За сборную Югославии провёл 17 матчей, выходил в стартовом составе югославской сборной на финальный матч чемпионата Европы 1960 против сборной СССР, который Югославия проиграла.

В 1976 и 1979 году тренировал футбольный клуб Партизан протяжении всей тренерской карьеры возглавлял его тренерская карьера была связана с «Партизаном», некоторое время был ассистентом тренера. Был женат, имел двоих детей.

Примечания

Игроки ФК «Нюрнберг»
Тренеры ФК «Партизан»
Игроки ФК «Партизан» Белград
Футболисты на летних Олимпийских играх 1964 года
Футбольные тренеры Сербии
Футболисты Сербии
Футбольные тренеры Югославии
Футболисты Югославии
Игроки сборной Югославии по футболу


text:
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Home > 英訳 > ③Kimigayo Seminar
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———-What kind of song is this?
This is actually the last song I finished.
———-I see, that's somewhat surprising.
Isn't it? I had another ballad ready to go with the nine songs I had written.
I had outsourced the lyrics for this ballad, but I couldn't get it done in time.
So I decided to put the ballad on the next album, and to write another song on short notice.
———-This song fits in well with the album, doesn't it?
Well, it was written by the same person.
I still had a few songs' worth of lyrics in stock, so I compared the lyrics to our stock of riffs and chose the lyric " Kimigayo Seminar" .
———-That's a dangerous-sounding title…
Just barely out, maybe.
I thought that the theme song's psychedelic synth riff would go well with the lyrics, so I started working on it.
———-It's a pretty catchy synth.
I was going to put the ballad in the ninth song, so I thought, well, this song should be the ninth song, too… but it became unbalanced.
———-I guess.
So I thought it wouldn't be bad to have an upper followed by a song with some momentum, so I brought it in as the third song following "No-Face".
———-YOSHIFUMI, who wrote the commentary, also praised this flow.
I am grateful for that.
But you know, it was the last song I wrote, so I had to come up with a melody that didn't sound like any of the other nine songs.
So there are not a few strange chord progressions.
———-Like " Left-handedness is corrected"?
I also wanted to give the lyrics a military feel, and I think it worked out well.
———-The guitar solo is great.
I know, right!
I especially like the riffs that come in between the solos, and they are quite long.
———-The lyrics in matter… are they okay?
Hmmm…well, I hope the world is a place where this level of expression is possible, Poison.
———-What?
As for the lyrics, well, to put it simply, they make fun of netouyos(Online Right-Wingers).
From the Internet to TV, there are so many netouyos out there.
It's an eyesore.
The reason why they spring up like this is because there are people with a purpose behind them.
———-It's eerie because so many people are working with the same will.
You see it in the lyrics of "Timers", don't you?
"In the meantime, the one with a purpose is steadily getting ready, chak-chak-chak-chak. (from the song "River of Strife" by The Timers)
———-That's a classic, isn't it?
Anyway, it's just poking fun at the ne'er-do-wells, so please listen to it with a light heart.
———-There's some kind of narration in the middle of the song.
There is a famous netouyo account on Twitter called "Fuka-Kurose," who lost his account when Shinzo Abe left office.
———–That's easy to understand.
It's just a mess of false rumors from that account, spliced together in a messed-up order.
So it doesn't make sense, and the grammar is messed up.
But on the other hand, what they were saying was messed up before I put them together.
That's what I wanted to convey.
On the lyric cards, the letters are printed in one point size so you can't see them, so if you have a microscope, take a look .
———-Normally we can't read the letters with a microscope.
You might be able to see at least ink particles.
———-I don't know what I'm talking about.
Anyway, give it a listen, Stay Metal!
May 2,2022 Freakz
Marcelook Adams Galette:Researcher of sophistry
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③君が代ゼミ Kimigayo Seminar
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Beezone Library
"Beezone is an enormous, priceless treasure, it's value cannot be overstated!"
Main Shelf
Adi Da
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Beezone Library > Adi Da Section > Vision Mound > Beezone
Beezone
VISION MOUND
Birth Until Death: The Culture of
by Bubba Free John
THE FIRST STAGE OF LIFE: ADAPTATION
TO THE PHYSICAL BODY
The first seven years of life, or
the first stage of human culture, is the time of the
development of the vital or living physical being. Other
functions may also be developing then, but it is especially
the time for physical development. In the beginning the
individual is a "babe in arms," without responsibility of
any kind and essentially without response to life. He lives
a calm, sleepy, vegetable-like existence. At this stage of
growth, the physical nature is not impinging on the child.
He lives in a kind of dream state even though awake, free of
concepts, not differentiating between the more subtle forms
of consciousness and the waking or physical
forms.
Gradually he begins to adapt to the
functional structures of physical existence. Therefore, in
this first stage we see the development of coordination
among the functions of the body. And that adaptation is
appropriate. It is not that he loses something by turning
outward to physical existence. Adaptation to lower, physical
life is absolutely necessary. He is preparing the ground for
responsible adaptation to higher life.
In the first stage of life, then,
there is only minimal development of responsibility for the
emotional and the mental faculties. The mental life at this
stage is a process of adaptation of attention, not of
conceptualization. There is a functional mind, and the
individual can learn rudimentary skills, such as reading and
writing. But we cannot expect the individual during those
seven years to become a true intellectual or moral
representation of human integrity. The level of experience
to which he or she is adapted in the present bodily form is
too rudimentary to provide the vehicle for a truly creative
intellect. This is true even of prodigies. They must adapt
to the human condition through experience. Neither can we
expect a range of sophisticated relational emotions or
heightened sexual capacity during this time. If the child is
a prodigy, with possibilities for intellectual or sexual
development, and we exploit those possibilities without
giving attention to the functions he should be developing at
his stage of life, then we will eventually see an aberrated
adult. He may be a genius at mathematics, but an idiot from
almost any other point of view, because he has not adapted
to forms of experience that inform the mechanical mind of
what is above, below, other, and greater than
The education of children in the
first stage of life is a process of nurturing them in a
state of dependence, gradually serving their growth to
relative independence through adaptation to rudimentary
physical, emotional, and mental confrontations with life,
and drawing them into life through feeling and playful
experimentation with their possibilities as physical
beings.
THE SECOND STAGE OF LIFE: ADAPTATION
TO THE EMOTIONAL-SEXUAL NATURE AND THE TRANSITION TO
As the child approaches the seventh
year, from perhaps five to seven years of age, his emotional
and also his concrete linguistic or mental development is
beginning to become a little more sophisticated. Emotional
responsibility is thus clearly required. He must begin to
live in relational terms and to learn how to deal with the
real existence of other beings, human beings especially! In
the second stage there appears the potential of full
relational feeling and the necessity for responsibility for
the communication of life-force and sympathy with its vital
processes. Thus, the individual develops an expanded bodily
life through the extension of feeling, and he also becomes
sexually aware, even very early in life. In this second
stage he should develop a more sophisticated awareness of
energy and healthfulness, of breathing and of bringing
energy to others. The morality of love itself finds its seed
form in the second stage.
The second phase of life is the time
of the development of the etheric or emotional-sexual life,
of polarization to etheric life, of feeling alive and
flowering, as the primitive physical sense, which once was
the primary goad to living adaptation, begins to submit
itself to awareness of the greater world of energy
relations, the living world wherein solidity gives way to
animation and rapid changes. It is the time of the
development of sexual polarization and sensitivity, and of
emotional life based on the forces contained in sexual
differentiation. Emotion and physical energy of every kind,
including sexuality, are simultaneously awakened as parts of
the same process. Blood and breath, circulation, and bodily
rhythms are also developed during this second stage of
THE THIRD OR "STUDENT" STAGE OF
LIFE: ADAPTATION TO THE LOWER MIND AND INTEGRATION OF THE
WHOLE BODY THROUGH FEELING
In the third stage, the lower
functions of mind, including will, intention, and
self-control, and general integration of the living being in
its relations should begin to develop. The weakness of this
level of development, or the absence of the cultural demand
for it, are the basis of the conflict that commonly appears
at puberty. Not only has the individual developed physically
by this time, but he has also developed an emotional and
sexual presence. Then suddenly the suggestion of the
functions of will and intention arise in him, accompanied by
the social demand to be responsible, to control himself, and
to develop himself mentally. The conflict between his
readiness to throw himself into a life of self-indulgence
(the habit of wasting life-energy) and the new demand for a
life of self-control is the conventional theatre of puberty.
The third stage of life should be the cultural moment in
which the individual is clearly confronted with the
obligation to be responsible, independent, and loving.
Otherwise, the relative dependency of his earlier life will
become a source of weakness, withdrawal, negative
reactivity, and destructiveness in relation to himself and
When the second stage is essentially
mature, generally from twelve to fourteen years of age, the
individual should be acknowledged, even by his parents, to
be essentially responsible for himself (or herself), but
within the context of a total educational or cultural
structure that will guide him in his adolescent development.
From this time on, he is to adapt to life from the point of
view of intentional responsibility, until he is capable of
being an integrated human being in the common world of human
functions and human relations. Thus, in the third stage, the
mind as intention and will must be integrated with the whole
complex of feeling and activity that are an ordinary human
life. It is in this stage that the individual must learn
what the matter of life is all about, what relations are all
about, what sexuality is all about (without indulgence of
the sexual functions), and it is also in this stage that he
actually begins to practice moral responsibility for the
relational context of human life.
It may be appropriate to change the
childs living circumstance when he enters the third stage of
life. For example, in our own developing culture of devotees
practicing the Way of Divine Ignorance, most often the
teenager lives in a household with his parents-and with
other families as well-but there is a tacit and real
acknowledgment of his responsibility, his relative maturity.
He is not independent in the sense that he can live
independently and do anything he likes. Nevertheless, now he
is no longer parented. He is a responsible individual within
the culture in which his education appears. The whole
culture, or in our case, the Church, is responsible to him
rather than just his parents. He does not have a
conventional child-parent relationship to anyone. Rather, he
is a mature individual meeting other mature individuals of
greater experience who are serving his growth in life, and
he serves them with love and respect, not with childish
needs to be either dependent or separate.
Thus, the typical rebellion of the
adolescent is not necessary. His essential independence is
acknowledged, not threatened or prevented. Therefore, it may
be appropriate during the third stage of life for the
individual at least to move out of the childhood orientation
within his household. He may even move out of his household
to live in an educational environment with others of the
same age or stage of life. He should not be completely
separated from his parents and previous intimates, but able
to see them by choice. It should be clear that he has been
accepted into the sacred culture of the larger society, and
there he (or she) is to learn his mature obligations and be
instructed in the right use of his lower functional
potential relative to a future in which he must also grow
into expanded psychic and spiritual dimensions of existence.
The incidents that inform his life from day to day must
remain the essential responsibility of the cultural or
sacred group into which he has been integrated (presuming
such a group exists, as it does in our Church), and that
order of his life should be maintained until his moral
maturity is acknowledged, generally between the late teens
and the age of twenty-one, when it should be presumed, based
on evidence, that this individual is now able to live a true
human and spiritual life. From that time, he should be free
to combine himself with the world and, as in the case of our
own Church culture, to continue to develop the sacred life
of higher development as well. But he has learned what he
can learn about the body, emotion, and mind in themselves
and now he must go out and live them in further practical
and intellectual education, work in the world, and
marriage.
In the third stage of life, the
conflict between intentional responsibility and the desiring
force of life is felt most deeply. It is the responsibility
of the parent generation to help the adolescent individual
understand this conflict and continue the process of
adaptation and integration within the ultimate framework of
the full seven stages of life. (Where there is no
understanding or culture of the seven stages of life,
clearly the young are not only disadvantaged but deprived of
their birthright.) The growing individual at any stage must
not be allowed to retreat just because the Way is difficult.
The tendency of the teenager is to become self-indulgent, to
exploit the physical and emotional forces already developed,
and to yield to all kinds of gross social stupidity. This is
essentially the very motivation limiting the development of
common humanity at the present time. All the stupidity, all
the false views, all the "scientific" heresies, all the
psycho-social limitations of life are commonly implanted in
subtle or obvious ways during this period. It is all learned
essentially during those first twenty-one years and less, in
school, among parents and relatives, in isolation and kid
games, and in the media of daily communication-conversation,
TV, books, and all the argument, hype, propaganda, and
persuasiveness of random experience and the subconscious
forces below thought.
The third stage of life should be
initiatory, but in the cultural sense, not in the spiritual
sense. As an immature child, the individual exists
essentially removed from the things of the world and does
not know anything about them. In the second stage of life,
however, he begins, through feeling, to participate more
fully in the process of his incarnation, his bodily
functional life. In the cultural process of this stage, he
adapts essentially through physical and vital-emotional
feeling. A rudimentary aspect of mentality is present in the
second stage, but it is only in the third stage that the
individual gains integral control and mastery of his
life-functions-body, emotions, and mind-as he develops the
use of attention, reflection. analysis memory, and
Among the principal and most
significant adaptations that the individual must realize in
this stage is the adaptation to his sexuality. Most
present-day teenagers, adapted to the world with only
partial acculturation (and, therefore, only partial
humanization), are suppressed by the parental enclosure,
required to be childishly dependent, even into and beyond
their second seven years, rather than to move toward
responsibility. When the individual is a teenager, in the
society of high school, he gets rebellious. He acquires a
secret life hidden from his family and the older people who
are responsible to him. He starts to exploit himself
emotionally, physically, and sexually, and to do so even
violently and stupidly. Thus, we truly serve our children
only if we set them free within the cultural circle of the
wise during their teens. Then their nature will not be
suppressed, but brought into a very mature relationship to
that stage of life in which we all must realize truly human
control over body, emotion, and mind, and a devotion of
these to the spiritual point of view.
Actual sexual contact should not be
part of an individuals life until he (or she) is mature in
the third stage of life. Only then is he prepared for true
sexual intimacy, and only then should he be encouraged to
live it in actual relationship. And he must be instructed in
not only the generative but the regenerative and esoteric
functions of the sexual process. A life of sexual and
personal exploitation is the result of being a reactive,
psychologically dependent personality as a teenager. Such an
individual is able to differentiate himself and feel his own
life-strength only by extraordinary acts of independence
through self-indulgence, promiscuity, manipulation of self
and others, and so forth. The principle of the exploitation
or elimination of life that we all commonly learn in our
conventional relations simply must not be learned or
reinforced. Individuals must see that independence based on
self-indulgence and exploitation of bodily experience is a
false principle, that it has nothing to do with Wisdom, with
spiritual life, with Realization of Truth, or with being a
human being. That principle is false, not only relative to
sexuality but to the whole of life. The usual man empties
himself in all kinds of ways. He exploits himself to acquire
pleasure because he does not feel pleasure inherently.
Rather, he always already feels a contracted or reactive
condition, a dilemma or suppression of body, emotion, life,
and mind. He is not a spiritual person. He is not
consciously involved in the Divine Process. He probably
thinks there is no such process. Therefore, he basically
uses up his life, as his sexual tendencies and habits
clearly demonstrate.
Orgasm is a principal method people
exploit for the sake of pleasurable release. They feel
pleasure temporarily, but ultimately they empty themselves.
Conventional orgasm is a reflex that discharges the
life-force. But people commonly are not only addicted to
orgasm, but they believe it is a healthful practice. In a
true culture of human adaptation, the regenerative
conservation of the vital force is realized through
instruction in the third stage of life. The psycho-physics
of diet, health, sexual intimacy, and so forth, as well as
the Law of Sacrifice, fulfilled through unobstructed
feeling-attention in all relations, must be learned before
we are prepared for the human world. (Since most people have
not grown to maturity in such a culture, the so-called human
world of our time is peopled by subhuman, immature, and
uninstructed individuals who know practically nothing about
the spiritual order and ultimate functional destiny of human
life.)
Thus, the principle of the
conservation of life force, the psycho-physics of the
conservation of energy or of life, must be realized in the
third stage of life. When this principle, understood
relative to all life-functions, becomes the foundation of
the practice of life, then the individual may become not
only sexually active but maturely present in every common
way as a human being in the world.
By the time an individual is about
twenty-one years old he should be ready to grow into what is
more than "human" in the conventional sense. But the usual
man is hardly even equipped to be human. He has gone through
this twenty-one years, but he has not come to the point of
integrated functional responsibility. He cannot control the
force of life in himself and use it in creative ways. He is
full of fear, continually subject to negative emotions and
bouts of self-indulgence, and always looking to be consoled
by the things of life and beyond life, rather than being
responsibly and pleasurably integrated with the Great
Process into which he was born.
The first three stages of life
should be served by cultural incidents and relations that
bring the individual into more and more perfect coincidence
with the inherent structural necessities awakened at each
stage. The first twenty-one years represent the demand for
adaptation and integration relative to vital-physical,
emotional-sexual, and primary mental faculties. The mature
individual who has entered into the greater human world, to
live on the basis of what he has already learned as well as
to continue growth in the fourth stage of life, should be
fully instructed and responsible relative to the integrity
and Lawful conservation of life-energy for the sake of
common happiness, health, and well-being.
The Eating Gorilla Comes in Peace is
a book of instruction relative to such conservation or
Lawful practice relative to diet and health. Love of the
Two-Armed Form considers the same responsibility relative to
the sexual process. Conscious Exercise and the
Transcendental Sun is a manual not only of exercise but the
psycho-physics of feeling-attention, or love. The higher
esoteric considerations of this culture are discussed in The
Paradox of Instruction , Breath and Name , and other books,
and are otherwise directly communicated in the Spiritual
Company of Bubba Free John as well as in the private
instructional and educational occasions enjoyed by devotees
in The Free Communion Church.
RIGHT ADAPTATION IN THE MATURE
STAGES OF LIFE: REORIENTATION TO THE ETHERIC
It is in the first three stages of
life, when others are culturally responsible to an
individual for his development from dependence to autonomy
(or truly human incarnation), that we see the process of
growth in more or less concrete periods of years. The
pattern of the first twenty-one years is more specific than
the rest of life, but the later stages of life can also
differentiate subsequent growth into periods of
approximately seven years, if the individual is consciously
applied to spiritual practice in a total culture. (Most
individuals are likely to see future growth only in terms of
lifetimes of slow testing and learning.) In any case, the
kind of development that follows the first three stages
cannot be fixed in terms of the time and space known to the
grosser aspects of the body-being alone, and it ultimately
breaks through the patterns of time and space
altogether.
There is no temporal or spatial end
to human growth. We are, by virtue of our structure, fitted
for growth into Light, or Eternal Life, via all seven stages
of life. We are always, in one or another stage, obliged to
purify and integrate ourselves at the functional levels in
which we are already aware, and we are simultaneously
obliged to be initiated (or introduced to the next
food-source) into awareness at the next highest level of the
functional body-being. In the first three stages, we are
obliged to adapt to an autonomous, relational, feeling life
in terms of body, emotion (including sex), mind, and their
relations. When we are so mature, then we enjoy the
foundation from which the body-being readily enters into the
ascending order of higher mental, psychic, and intuitional
awareness. This process is naturally keyed into play by a
refining process in the lower body-being that occurs when
the heart, the feeling core, ceases to be weighted down by
the gross physical life and begins to flower in its devotion
to Infinity and the Light or Source beyond all
thinking.
As we have seen, the body-being
matures in the cycle of life by first adapting to his or her
born individuality, to the physical, emotional, and mental
dimensions of being. But then quite independent of the level
of psychological and philosophical preparation, the process
begins to reverse itself. The grosser dimensions in which
the whole body-being has been adapted gradually wind down,
and the body-being becomes more refined as time goes on.
Thus, in the teens and twenties the individual is generally
disposed to a very vital and physically oriented play of
life. He has a great deal of energy at the physical level,
and his total development is organized around physical
activity or the conditions of the gross physical world. In
these early years, the etheric, or energy dimension of the
being, is itself oriented or turned toward the elemental and
physical dimension. Then in the thirties and on into the
forties, the relationship between the etheric and the
physical dimensions reverses. The gross physical or
elemental dimension turns to the etheric, and the etheric
becomes senior. The physical dimension of the being becomes
finer, more apparently associated with the life-force and
feeling dimension. The physical dimension becomes gradually
weaker, or less and less active in the sheerly physical
sense. Eventually, there is death.
Since human beings tend to adapt to
the reactive-egoic Principle of life, they also generally
fail to develop or grow beyond a complicated organization of
the physical-emotional-mental dimension of human potential.
Therefore, death has tended to be interpreted (even
"scientifically"-science being no more illumined than the
stage of life of its practitioners) as a terminal event.
("When you are dead, you are dead.") This is because the
event of gross physical death is a dropping off of at least
the present configuration of all the levels of awareness to
which the usual man has adapted. However, those who grow
into adaptation above the grosser levels of the body-being
become naturally aware in and as levels of conscious
existence (levels of light) that cannot possibly be
terminated by gross physical death. Even simple love is a
tacit intuition of the heart, or the higher psychic
condition that transcends the elements. And if the
individual would become truly sensitive to the process and
physics of thinking, breathing, feeling, and moving, the
doctrine of mortality would lose its argument against love
and light.
However, full transcendence of death
requires a consciousness that already persists independent
of the changes in body, emotion, and thought. Therefore, we
must grow beyond adolescence and early manhood. And the
body-being itself contains a mechanism whereby the finer or
more etheric and psychic dimensions of awareness, feeding,
and growth are made to impinge on our vital motives to
perpetual physical desire and fulfillment. That mechanism is
aging. And death is the ultimate argument for higher and
subtler adaptation of attention in the cycle of maturity and
aging.
We need not necessarily call the
changes we can observe in the middle age of life
"degeneration," unless the body-being is devoted to a
degenerative way of living. The changes that inevitably
occur are simply a refinement of the conditions of the
body-being. As long as the individual leads a responsible,
loving, and healthy life, the changes that occur in maturity
are not a matter of essential degeneration. As the being
becomes more fundamentally and profoundly oriented to the
etheric dimension and the food that is life itself, and even
perhaps to the more subtle mental or psychic and spiritual
dimensions, the physical dimension itself becomes more a
display of higher energy than a gross activity. Thus, the
more forcefully intelligent life of the individual, which
only begins in his twenties, generally only matures in his
thirties or forties. As he matures, the release of his fixed
orientation toward the gross physical permits the higher
human faculties to become more prominent and obvious to the
consciousness.
Tragically, the usual man or woman
is commonly unable to realize a free life of love and
responsibility relative to the lower life. The struggle with
the problems of childhood and adolescence tends to be
life-long. Thus, as the bodily life passes into its stages
of refinement toward death, the dilemma of his failed
adaptation is only more profoundly demonstrated. If only
human beings could maintain Communion with the Mystery of
their own existence and respect the Wisdom-influence that is
always present in various forms in this world! But the
dogmas of egoic experience and of human suffering are
constantly exercising a general and popular propagandistic
force over the Voice of Wisdom and eternal
As a result, the clues in our
maturing or aging are lost, and we fear annihilation is
built into the world. We look for consolation in the
vulgarities of this world and the illusions of the next. We
seek escape. We look for the food of eternal life. But we
despair or only hope until death, whereas we should grow all
our lives and enjoy the blessedness of the Radiant Divinity
whose secret processes are not merely in our minds, our
subjective inwardness, but in the whole body-being itself,
which has the potential to manifest all of the Genius and
Form and Bliss of Light.
Devatma Shakti – Kundalini – Divine Power – Swami Vishnu Thirtha – Swami Vishnu Tirtha Maharaj
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text:
Every goddamn day: 01/20/20
Neil Steinberg's blog
Flashback 2011: Sons of Thorne Rooms artist still run dad's studio
A Thorne Room in the modern style.
Hank Kupjack died Monday. My colleague Maureen O'Donnell did her usual excellent job ushering the miniaturist into the hereafter. I felt a connection, beyond that offered by Maureen, because I had visited Kupjack at his studio in 2011. I remember being pleased that I had stumbled upon a bit of controversy over a subject as blandly familiar as the Thorne Rooms.
Imagine that you are in the Impressionist wing at The Art Institute of Chicago, admiring the masterpieces, and you notice a placard telling visitors that the sons of Vincent Van Gogh — Harold and Bob Van Gogh, say — still run their dad's studio.
That's basically what you find if you go down to the beloved Thorne Miniature Rooms in the basement of The Art Institute.
Over the holidays my wife dragged the family there. I've never been a particular fan of the Thorne Rooms — the 68 wee interiors always struck me as girly. But they are art, of a sort, with a certain serene quality, and I had no trouble peering into them for 20 minutes, reading the notations, including one crediting the work of local craftsman Eugene Kupjack, adding: "Today Kupjack Associates is operated by his two sons, Hank and Jay, in Park Ridge, Illinois."
A few days later, I was shaking hands with Hank Kupjack, 59, a singular figure — very thin, pants tucked into tall black leather boots, wearing glasses, a turtleneck and a mop of anachronistic ginger brown hair.
We chatted briefly about Istanbul, where the rooms were on display last year, then sat down at his workbench — dozens of jars of paint and shellac, dozens of needle nose pliers. Kupjack lit a Marlboro cigarette and conversation immediately took an unexpected dive into controversy.
"As you know, the Thorne Rooms are very popular," he began. "The Institute has never liked the rooms, I'll be honest with you. Now they do. But they hadn't, for a very long time, because they are the most popular thing in the Art Institute. . . . But they're not Impressionist paintings, and the Institute for a long time didn't like that. They always rubbed them the wrong way — they only acquired them because Thorne gave them to the Institute, [which] only took them because [Mrs. Thorne] was a founding member of the Art Institute and the only donor during the Depression. Once they were installed they couldn't do anything about it."
That's the risk of all public art — once you put it in, you can never get rid of it — and why Chicago is stuck forever contemplating a rusty baboon, a fiberglass Snoopy in a blender, and other crude 1970s debris that aging masters fobbed off on the city.
Not to lump the Thorne Rooms in with such monstrous modernist kitsch — at least they require skill to create and are pleasant to regard.
To my surprise, the Art Institute cheerily acknowledged both the popularity of the rooms now and the undervaluing of the rooms, installed in the mid-1940s, in the past.
"When people come here, they look for American Gothic, for Sunday on the Grande Jatte, and for the Thorne Rooms," said Erin Hogan, director of communications. "They're a hugely, hugely popular part of the museum."
"I think there's always that problem with, not only miniatures, but decorative arts in particular," said Lindsay Mican Morgan, curator of the rooms. "There's a history where paintings became 'art' and anything else is simple and decorative."
The Kupjacks — Hank is the main artist, Jay assists and take photographs — make the miniatures on a scale of one inch to one foot, now primarily for collectors and rich folk who want to immortalize themselves. The studio that produced "The Drew Carey Show," for instance, paid the Kupjacks $100,000 to create a diorama of the show's set.
"Right now I'm doing a classical Greek andron — an andron is a room specifically built in a Greek home for parties, for boys only," said Kupjack. "You basically sat around, drank wine, told stories, read poetry and behaved badly. The donor wants to show the context this stuff was actually used in antiquity."
"And the donor?" I asked.
"We're having serious issues," he said, of the museum, which he asked me not to name (Geez, I thought, I flee politics to seek refuge in quaintness, and controversy still nips at my heels like a dim pup). "It's going to go to one of several institutions that have large collections of classical art."
The Thorne Rooms — I did not realize — were intended to replace full-scale interiors.
"When Mrs. Thorne was on the board in the 1920s, it was all the rage for museums to have full-sized period rooms," said Kupjack. "The Institute had, I think, five or six. And she realized that not only were they terribly expensive to recreate . . . they took vast amounts of space and ultimately, when the public walked through they didn't give a damn. The purpose of the Thorne Rooms was so that the Institute did not have to have full-sized period rooms. She did not realize they were much more popular than full-sized rooms until she did it."
I found the Kupjacks candid and charming, filled with tales of P.K. Wrigley, Marshall Field V and Malcolm Forbes, and the museum has grown to value them.
"I have to admit, when I got this position, it took many tries and a lot of bridge building to gain their trust," said Morgan. "They definitely felt hurt from the past. To me, they had so much history — they've given me fabrics, they've been very generous — it seemed ridiculous not to associate with them."
—Originally published in the Sun-Times, Jan. 7, 2011
Posted by Neil Steinberg at 12:00 AM
Neil Steinberg February 21, 2019 at 8:21 AM
The Dubuffet in front of the Thompson Center.
Bitter Scribe February 21, 2019 at 9:12 AM
Damn. In all the times I've been to the Art Institute, I've never even heard of the Thorne Rooms. I will definitely seek them out next time.
tate February 21, 2019 at 9:35 AM
Marvelous. If I ever had the least curiosity about the Thorne Rooms, it disappeared two or three seconds after leaving them. Who knew there was gold in them thar Rooms!
Grizz 65 February 21, 2019 at 10:10 AM
I fell in love with the Thorne Rooms as a kid, on a field trip to the Art Institute in the late Fifties. We were bused there from the suburbs, and guided through them by our fifth grade art teacher. I always included those miniature rooms on subsequent visits, right into adulthood. I have my favorites, including the English cottages and that wonderful 1930s San Francisco apartment--I have always LOVED Art Deco!
Even as a youngster, I noticed how those rooms were lit, which made many of them appear to have sunlight pouring through their windows. They were a joy and a delight to a kid who'd never really traveled anywhere, along with the Colleen Moore dollhouse at the Museum of Science and Industry. Just two more of the many privileges of growing up in Chicago.
Bitter Scribe February 21, 2019 at 2:21 PM
FWIW, another Art Deco fan here. If I had unlimited money to spend on furnishing my living quarters (a pipe dream at this point), it would definitely be in Art Deco.
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CAMACHO, Jorge (1934 – 2011)
Jorge CAMACHO (1934 - 2011) - Jorge R. Camacho Lazo
Oil on canvas by Jorge Camacho – Titled: The window, 1972
CAMACHO, Jorge
Lithography with enchantments on Guarro paper by Jorge Camacho – Titled: Cenizas 1, 1974.
AA-Graphic arts Planographic PrintingCAMACHO, Jorge
Jorge R. Camacho Lazo said Jorge Camacho was born on January 5, 1934 and died on March 30, 2011. He was a Cuban painter. Born in Havana in 1934, Camacho left his law studies in 1951 to dedicate himself to painting despite the fact that he never studied art.
By the end of the 40's, Camacho and his friend, Carlos M. Luis were well versed in contemporary painting. It was Carlos who introduced him to the paintings of Paul Klee, Joan Miró, Yves Tanguy and Giorgio de Chirico.
In 1953, Camacho travelled to Mexico, where he lived for a year and met his colleague José Luis Cuevas- they both investigated the sources of Mayan culture. Camacho's first major influence was the Wifredo Lam exhibit at the University of Havana in 1955. Camacho was also influenced by the paintings of Rufino Tamayo and Francis Bacon.
He had two exhibitions in Havana, in 1955 and 1958, before moving to Paris in 1959.
Once in Paris, Camacho immediately adopted Surrealism and in 1960 had a show at Galerie Raymond Cordier. Camacho met surrealist poet André Breton during an exhibit of works by Toyen in 1961 and his meeting with Breton truly tied him to the Surrealist movement. This exhibit also served as the setting for a 1962 event with the surrealist group, where he created an antireligious tribute to Oscar Panizza that featured aggressive paintings, including L'Immaculée conception des Papes.
André Breton wrote a preface to Camacho's 1964 exhibition at the Galerie Mathias Fels, describing his work as a painting of cruelty. Camacho's works, with their claw-like forms laden with ossuaries, borrowed their harsh themes from novels by Sade and Bataille. Camacho discovered esotericism with René Alleau, who exhibited his works in a show titled The Dance of Death, in 1976, at Galerie de Seine, writing, "It is essentially the Caput mortuum in its application, hence the emblematic importance of the skull in all his paintings."
Camacho was also fascinated with ornithology, which led to two exhibitions: History of Birds, an exhibition of paintings at Galerie Maeght, and an exhibition of his photos at Galerie Mathias Fels. Many of his paintings are haunted by the ibijau, a bird he observed on a trip to Venezuela. A visit to Peru inspired his first sand landscapes, which were shown in 1984 at Galerie Albert Loeb, under the title The Philosophy of the Landscape, in a reference to shamanism. In 2003, the same year as his retrospective at the Maison de l'Amérique latine, Camacho also had an exhibition at Galerie Tessa Hérold titled The Book of Flowers, which presented his new paintings of reinvented flora.
Camacho's avowal is best captured in his quote, "Surrealism is, without a doubt, the most important poetic creation of the XX century, because it is a world open to enchantment."
Camacho lived in Paris from 1975 until his death in 2011.