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Postby the fire elf » Mon Oct 30, 2006 5:15 pm

In Greek mythology, the Naiads (from the Greek νάειν, "to flow," and νἃμα, "running water") were a type of nymph

Sirens or Seirenes (Greek Σειρῆνας) were Naiads (sea nymphs)

It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them.

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Postby the fire elf » Mon Oct 30, 2006 5:22 pm

the Muses (Greek Μουσαι, Mousai : from a root meaning 'mountain') are nine goddesses who embody the right evocation of myth

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Postby the fire elf » Mon Oct 30, 2006 5:26 pm

Convocation

n 1: a group gathered in response to a summons 2: the act of convoking [syn: calling together]

there were three original Muses: Aoide ("song"/"voice"), Melete ("practice"/"occasion") and Mneme ("memory"). Together, they form the complete picture of the preconditions of poetic art in cult practice.

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Postby the fire elf » Mon Oct 30, 2006 5:59 pm

No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident.

A Muse-poet falls in love, absolutely, and his true love is for him the embodiment of the Muse...

But the real, perpetually obsessed Muse-poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom and love of woman, and the individual woman whom the Goddess may make her instrument...

The Goddess abides; and perhaps he will again have knowledge of her through his experience of another woman...
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Postby pinemom » Mon Oct 30, 2006 6:30 pm

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Fire elf...this is what the costume ended up being!
Names pinemom, but my friends call me "Piney".
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Postby the fire elf » Tue Oct 31, 2006 12:32 pm

[Origin: 1705–15; < F < It: usage, habit, dress; doublet of custom]

Sometimes theatrical costumes literally mimic what the costume designer thinks the character would wear if the character actually existed. On the other hand, often stylized theatrical costumes can exaggerate some aspect of a character. Without theatrical costumers, the audience would be left wondering who is related to whom, and which person is which.


why did you choose paint and plastic?
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Postby the fire elf » Tue Oct 31, 2006 12:42 pm

Choice consists of that mental process of thinking involved with the process of judging the merits of multiple options and selecting one for action.

Most people generally regard having choices as a good thing. But a severely limited or artificially restricted choice can lead to discomfort with choosing or even to unsatisfactory outcomes.

Unlimited choice may lead to confusion, regret of the alternatives not taken, and indifference in an unstructured existence; and the illusion that choosing an object or a course leads necessarily to control of that object or course can cause psychological problems.

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Postby the fire elf » Tue Oct 31, 2006 12:51 pm

Typically when businesspeople and economists talk of consumers they are talking about person as consumer, an aggregated commodity item with little individuality other than that expressed in the buy/not-buy decision.

In economics, a consumer is assumed to have a budget which can be spent on a range of goods and services available on the market. Under the assumption of rationality, the budget allocation is chosen according to the preference of the consumer, i.e. to maximize his or her utility function.

Behavioral finance and behavioral economics are closely related fields which apply scientific research on human and social cognitive and emotional biases to better understand economic decisions and how they affect market prices, returns and the allocation of resources. The fields are primarily concerned with the rationality, or lack thereof, of economic agents.
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Postby the fire elf » Tue Oct 31, 2006 1:15 pm

In contemporary usage, a parody is a work that imitates another work in order to ridicule, ironically comment on, or poke affectionate fun at the work itself, the subject of the work, or another subject.

"parody...is imitation with a critical difference, not always at the expense of the parodied text."

"any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice."

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Postby skygod » Tue Oct 31, 2006 1:30 pm

Tonight's refreshments will be made from dead people.
"It will seem difficult in the beginning. But everything seems difficult in the beginning."- Musashi
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Postby the fire elf » Tue Oct 31, 2006 1:41 pm

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Postby the fire elf » Tue Oct 31, 2006 2:01 pm

could barely walk at the last party i helped set up...

lotsa half drank beer left over for the mo(u)rning, though...

why not leave the dead to the worms?

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Did you ever think, as a hearse goes by,
That you might be the next to die?
They wrap you up in a big white sheet,
And bury you down about six feet deep

They put you in a big black box,
And cover you up with dirt and rocks,
And all goes well, for about a week,
And then the coffin begins to leak!

The worms crawl in, the worms crawl out,
The worms play pinochle on your snout.
They eat your eyes, they eat your nose,
They eat the jelly between your toes.

A great big worm with rolling eyes,
Crawls in your stomach and out your eyes,
Your stomach turns a slimy green,
And pus pours out like whipping cream.

You spread it on a slice of bread,
And that's what worms eat when you're dead.
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Postby the fire elf » Tue Oct 31, 2006 2:37 pm

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Postby the fire elf » Tue Oct 31, 2006 3:33 pm

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Postby the fire elf » Tue Oct 31, 2006 3:47 pm

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Postby skygod » Tue Oct 31, 2006 9:59 pm

nice costume pinemom, I'm thinking bluesky/clouds background like maxfield parrish
I just heard the andromeda galaxy is moving towards us at 700,000 miles per second, the black hole in the center of our galaxy will merge with theirs. Stars and galaxies come and go, but black holes just keep getting bigger.
"It will seem difficult in the beginning. But everything seems difficult in the beginning."- Musashi
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Postby the fire elf » Wed Nov 01, 2006 3:30 pm

THE MYSTERY OF PERMITTIVITY

Permittivity e0 is seen, in our equations and in our frame of reference, as a dimensionless number. This should be expected because we are using the dimensions of length, time and mass to describe the charge and the use of the SI system calls for a dimensionless constant in order to return the correct numbers. The implication is that there should be another constant v0, a velocity, so that e0 = v0/c. Numerically we recognize v0 as the inverse of the resistance of vacuum, nevertheless the dimension of permittivity requires the identification of speed v0.



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Postby the fire elf » Wed Nov 01, 2006 3:37 pm

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SWAMP THING VOL. 4: A MURDER OF CROWS

This fourth volume in the saga of the Swamp Thing finds the man-monster interacting with Deadman, the Phantom Stranger, the Spectre, and the Demon as he continues on his journey of self-discovery. Traveling through the horrors of a haunted house, the improbabilities of the afterlife, the depths of hell and the heights of heaven, the Swamp Thing continues his evolution from a simple monster into a powerful elemental being with a potential to exceed the bonds of the Earth itself.

written by M(o)ore



THE CHAMELEONS Swamp Thing (1986 UK original)
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Postby the fire elf » Thu Nov 02, 2006 12:15 pm

'hollywood is for characters' wrote:Character development is a part of characterization through which a story teller informs the audience about the character's personality, history, thought processes, etc.—the better the audience knows the character, the better the character development.


Character development may sometimes be confused with the changing of a character's personality; however, this is one type of character development known as dynamic development.

The Thunder series describes the opening of the consciousness of the human race to ever deeper and subtler experiences of enlightenment. There exists a collective consciousness of humanity that underlies and permeates all of our beliefs and experiences. This collective identity is responsible for most of our world-views and individual experiences of reality. To change this collective belief system is typically quite slow, as it takes continual effort on the part of many over a long period of time.

In this and the subsequent books, the collective consciousness of humanity is personified and individualized as Lord Gana, a semi-divine prince who lived far before recorded history. Since Gana is the representative of all humanity, his struggles to master his own beliefs and judgments have the effect of transforming everyone else. At times aware of his universal status, at times ignorant of it, Gana moves through various life-experiences in the attempt to master the lower aspects of his nature and rise to complete consciousness. This continues with ever-greater complexity as his understanding of the connection of the individual to the Universe unfolds.

Gana does not work alone. He is never long without divine inspiration -- which most often takes the form of an unusual master of form transmutation, the Vidyadhara Airavata, also known as Heramann. Airavata is quite old and quite wise, the last of the ancient Vidyadharas, an intelligent race that was prevalent before the descent of our current human species. Usually unaware of his subtle and Eternal connection to the underlying essence of the incarnations of Gana, Heramann is nevertheless often drawn to assist him in his growth.

The omnipotent Power of the upward current of the Laws of Nature is also always present to support Gana; but he is not often aware of this. This force is personified as his feminine aspect, Almira. Almira is the second half of Gana’s soul, ever conscious; she is the Goddess, always in divine communion with the One; she is the Earth Mother, the Source of all Good for humanity, the personified Holy Spirit.

Gana is also ever watched, protected and guided by the incarnate wisdom of higher consciousness, portrayed in the Thunder books as his seven Teachers Vasuki, Mordom, Rodavi, who was later reborn as Joab, Vaga, Atri, Brihas, and Matri. Their relationship to Gana is one of gentle guidance and discipline.

All the other characters in this History are either manifestations of partial aspects of Gana’s infinite mind or else are his creations. Some of these creations are positive and represent the creative forces of nature: his children and the peoples he attempts to save from destruction and guide to higher levels of understanding. And some of these creations are negative, the destructive forces of nature personified and given form by Gana’s incomplete understanding of life: the Emperor

Valin and Valin’s agents and minions, the Asurs and Rakshasas. In both cases, although having independent form and life, all his creations remain rooted in Gana’s mind.

Thus the rest of the Thunder series is a history of humanity’s age-old attempts to achieve a stable and upwardly directed civilization. They stand also as a description of an individual’s journey to enlightenment through numerous births.

Either reading is correct, for we are continually creating our own world. We project our beliefs and judgments outward; these return to us as our experiences of others, of history, of life, of matter. Each of us dreams our own world -- this means that each of us is ultimately responsible for our own creation. And therefore, each of us can change any of the rules governing our world at any time, resulting in a completely different world-view and a completely different world. Full realization of this simple fact is an acceptable definition of enlightenment. It is the Ishayas’ hope that learning of the different levels of reality woven into this work will assist others to rise more quickly to the recognition of their primary authority in their own worlds. Then the healing of this Earth will be the sooner accomplished.

-- MSI


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Postby the fire elf » Thu Nov 02, 2006 12:53 pm

The value in using archetypal characters in fiction derives from the fact that a large group of people are able to unconsciously recognize the archetype, and thus the motivations, behind the character's behavior.

It derives from the Latin noun archetypum via the Greek noun arkhetypon and adjective arkhetypos, meaning "first-moulded". The Greek roots are arkhe- ("first" or "original") + typos ("model", "type", "blow", "mark of a blow").



Jung listed four main forms of archetypes:

The Self
The Shadow
The Anima
The Animus



Symbols of the unconscious abound in Jungian psychology:

The Syzygy ("Divine Couple")

The Child

The Ãœbermensch ("Superman", the Omnipotent)

The Hero

The Great Mother

The Wise old man

The Trickster or Ape

The Puer Aeternus (Latin for "eternal boy")

The Cosmic Man



and what of radicality perpetuous


Shakespeare also borrowed heavily from a speech by Medea in Ovid's Metamorphoses in writing Prospero's renunciative speech; nevertheless, the unique combination of these elements in the character of Prospero created a new archetype, that of the sage magician as a carefully plotting hero, quite distinct from the wizard-as-advisor archetype




A pastiche is an imitation of an archetype or prototype in order to pay homage to the original creator.
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Postby the fire elf » Thu Nov 02, 2006 1:06 pm

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Postby the fire elf » Thu Nov 02, 2006 1:09 pm

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Postby the fire elf » Thu Nov 02, 2006 1:22 pm

A syzygy is a divine active-passive, male-female pair of aeons, complementary to one another rather than oppositional; in their totality they comprise the divine realm of the Pleroma, and in themselves characterise aspects of the unknowable Gnostic God. The term is most common in Valentinianism.

In many Gnostic systems, the various emanations of God, who is also known by such names as the One, the Monad, Aion teleos (The Perfect Aeon), Bythos (Depth or profundity, Greek Βυθός), Proarkhe (Before the Beginning, Greek Ï€Ï
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Postby the fire elf » Thu Nov 02, 2006 1:52 pm

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*edited after file conversion to increase visibility*
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Postby pinemom » Thu Nov 02, 2006 3:10 pm

the fire elf wrote:[Origin: 1705?15; < F < It: usage, habit, dress; doublet of custom]

Sometimes theatrical costumes literally mimic what the costume designer thinks the character would wear if the character actually existed. On the other hand, often stylized theatrical costumes can exaggerate some aspect of a character. Without theatrical costumers, the audience would be left wondering who is related to whom, and which person is which.


why did you choose paint and plastic?


Well, it was a kitchen sink costume, as to what alot of my costumes are made of, what I have around the house, some of the leaves were real, some were silk(given to me by Cryptofish upon leaving burningman)
The Greenman was also a kitchen sink costume, I had the faux fur for his tree in my sewing room(from a school play I did costumes forlast yr) when I realized I could paint it with the fabric paints also gifted by cryptofish'y and had just enough of the fur to make it a vested hoody. Head bands laying around the house....No cost in making the costumes, just determination and lots of hours of work, I was lovingly painted by 2 artists for 2.5 hours!!
Names pinemom, but my friends call me "Piney".
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Postby the fire elf » Thu Nov 02, 2006 4:56 pm

sounds beautiful...

in my perception, the lots of hours of work is a cost...and it sounds as if you are well pleased with the return

there are many things laying around which could be of use, depending on what your determination leads you to accomplish

~much love to you and yours
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Postby the fire elf » Thu Nov 02, 2006 5:11 pm

Determinism is the philosophical proposition that every event, including human cognition and action, is causally determined by an unbroken chain of prior occurrences. No wholly random, spontaneous, mysterious, or miraculous events occur, according to this philosophy.

The principal consequence of deterministic philosophy is that free will (except as defined in strict compatibilism) becomes an illusion. It is a popular misconception that determinism necessarily entails that humanity or individual humans cannot influence the future (a position known as Fatalism); this is not obviously the case, and the subject is still debated among metaphysicians.

Indeterminism is the philosophical belief contradictory to determinism: that there are events which do not correspond with determinism (and therefore have no cause). There are generally three types of indeterminism. One version holds that some events are uncaused, another holds that there are nondeterministically caused events, and the third holds that there are agent-caused events.

The seven (7) main indeterminations in the field of modern arythmetics are the corner stone of quantum mechanics and the entire M-Theory


indeterminate

having a capacity for continuing to grow at the apex; "an indeterminate stem"
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Postby the fire elf » Thu Nov 02, 2006 5:31 pm

determination:

Logic.

a. the act of rendering a notion more precise by the addition of differentiating characteristics.
b. the definition of a concept in terms of its constituent elements.

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The ascertaining of the quantity, quality, position, or character of something.

2 : the fixation of the destiny of undifferentiated embryonic tissue —compare DIFFERENTIATION

v. intr.
To become distinct or specialized; acquire a different character.
To make distinctions; discriminate.
Biology. To undergo differentiation.


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Postby the fire elf » Thu Nov 02, 2006 6:19 pm

Cellular differentiation is a concept from developmental biology describing the process by which cells acquire a "type". The morphology of a cell may change dramatically during differentiation, but the genetic material remains the same, with few exceptions.

A cell that is able to differentiate into many cell types is known as pluripotent.


Pluripotency in the broad sense refers to "having more than one potential outcome". In biological systems, this can refer either to cells or to biological compounds.

In cell biology, a unipotent cell is a cell (e.g. a stem cell) that has the capacity to develop/differentiate into only one type of tissue/cell type. The most common of these in humans are skin cells. This cell has a unique property: self-renewal.


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Postby the fire elf » Thu Nov 02, 2006 6:21 pm

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