There are very few categories more basic than life and death. For Classical Christian thinking, they are essential. There has also been a tendency in both theology and philosophy, however, to move away from these fundamental categories and become lost in the complexities of other language. Thinking about the moral life is a prime example. […]

Carolyn Hillyer Complete set of eight prints. On the prints, these images include the text that accompanies each painting. Return to Weathered Edge page

Título: Lorde Sétimo Autor: Priest Gêneros: Histórico, Humor, Angústia, Sobrenatural, Yaoi Ano: 2010 Status: 76 capítulos + 3 Extras (Concluído) "Subir a montanha Ba Ling no sul Cabeça voltou a assistir Chang'an." * *Duas linhas do poema Sete Dores: a Primeira, de Wang Can. Com o país em ruínas e o mundo entrando na era da desordem, era impossível saber quem havia desistido e quem havia permanecido. Acordando novamente em sua sétima reencarnação, o príncipe Jing Beiyuan voltou ao tempo, quando tudo ainda estava por ser posto em movimento. Tendo recebido uma segunda chance, Beiyuan teve que sobreviver à corte e decidir se finalmente chegara a hora de ele deixar de lado seus sentimentos, enquanto tentava lidar com a força jovem e inocente da natureza que subitamente invadira sua vida já complicada. Esta história se passa no mesmo universo de outro romance de Priest - Faraway Wanderers (que também tem aqui na página). FW é considerado um spin-off dessa obra, que acontece após os eventos de Lord Seventh, inclusive os protagonistas dessa obra aparecem no spin-off. Atenção: Essa história é uma tradução de uma novel chinesa. Classificação: +18 [Essa história contém conteúdo homoafetivo, conteúdo sexual, relacionamento entre homens].

Everyone knows the Bible story of the Israelite Exodus. What most people don’t know is that the Ancient Egyptians wrote an account of the Exodus which has survived, and it’s there in the Kolbrin. Yvonne Whiteman compares the Kolbrin version with five other ancient accounts that reinforce its long-forgotten record, […]

pikeys: “ Clara Lieu ”

Det sjunde inseglet – The Seventh Seal – 1957 Director: Ingmar Bergman Country: Sweden Runtime: 92 mins Cast: Max Von Sydow, Gunnar Bjornstrand, Bibi Andersson, Nils Poppe, Bengt Ekerot The S…

Welcome to the 25th issue of Luna Station Quarterly! It's the beginning of our seventh year of publication, and another year of bringing you, our loyal readers, an exciting assortment of magickal tales by some amazing women. On an alternate earth during World War I, there are women who create sigils in ink and paper that can make airplanes fly ... A young Brazilian girl accepts a dare to visit the local fortune teller, who may or may not have an alligator head ... A selkie comes to shore and stays by choice, and she meets a mysterious woman who looks after her when her life takes a sad turn ... These courageous, multi-faceted, very real women, and others like them, await you within these pages. You can help bring them to life. We hope very much that you will. | Author: Luna Station Quarterly, Sian M Jones, Juliet Kemp | Publisher: Luna Station Press | Publication Date: Feb 27, 2016 | Number of Pages: 216 pages | Language: English | Binding: Paperback | ISBN-10: 193869774X | ISBN-13: 9781938697746

There’s nothing I don’t love or admire or respect or appreciate about the filmmaking process. I’m fascinated by it all. If I was to crudely rank each part of the process strictly based on personal inspiration, then cinematography would rank extremely high for me. I’m a complete and utter film addict, there’s no question. And for me to try and articulate how completely taken I can be by a camera angle or tracking shot, or how inexplicably moved I can become based on lighting and shadows, would be to fail my loyal readers. I simply can’t explain the full impact that cinematography has over me. Superb cinematography makes great films masterful, and bad films bearable. Here is a list of my favorite directors of photography – men who have moved me to tears, based simply on what they can do with a lens. Roger Deakins If you’ve enjoyed the look of most any Coen brothers film since 1991, Roger Deakins is largely to thank. The richness of the monochrome in The Man Who Wasn’t There, the rising vanilla sky behind Josh Brolin running for his life in No Country for Old Men, the sepia-infused warms of O Brother, Where Art Thou? – Deakins is an utter master of color and mood. Take, for instance, the shot of Andy Dufresne walking into Shawshank State Penitentiary for the first time. He looks up as the camera tracks his point of view, catching the dark, imposing tower entrance of the prison. There’s nothing good behind those doors, and Deakins’ eye makes us acutely aware of that. Notable Credits The Man Who Wasn't There Barton Fink (1991) The Shawshank Redemption (1994) Fargo (1996) The Hurricane (1999) O Brother, Where Art Thou? (2001) The Man Who Wasn’t There (2001) Jarhead (2005) No Country for Old Men (2007) The Assassination of Jesse James by the Coward Robert Ford (2007) Revolutionary Road (2008) A Serious Man (2009) Robert Elswit Really, who doesn’t love a good Paul Thomas Anderson tracking shot? Following Luis Guzmán through his club in the opening of Boogie Nights, tracking Michael Bowen as he walks through the hallways of a news studio in Magnolia, running with Ciarán Hinds as he rescues little H.W. in There Will Be Blood – the man has a steady hand that can work cinematic wonders. In addition to his tracking shots, Elswit can be gritty (Syriana), smooth (Good Night, and Good Luck, Michael Clayton) and ballsy (Mission: Impossible – Ghost Protocol) with equal amounts of ingenuity. Notable Credits There Will Be Blood Boogie Nights (1997) Magnolia (1999) Punch-Drunk Love (2002) Good Night, and Good Luck. (2005) Syriana (2005) Michael Clayton (2007) There Will Be Blood (2007) Redbelt (2008) The Town (2010) Mission: Impossible – Ghost Protocol (2011) Conrad L. Hall Hall was a huge presence in the emergence of America’s cinematic freedom in the late ‘60s-early ‘70s, capturing the inhumane heat endured by the prisoners in Cool Hand Luke, winning an Oscar for shooting Newman and Redford jumping off a cliff in Butch Cassidy and the Sundance Kid, having rain reflect off glass to make it look like Robert Blake is crying in In Cold Blood, and so on. And although he largely vanished in the ‘80s, Hall proved that he had no intention of going out quietly, lensing the one-two punch of American Beauty and Road to Perdition. Both films are shot to perfection, the former a lesson in minimalist resourcefulness, the latter a perfect example of period shooting. He justly won Oscars for both, the second posthumously. That’s one hell of a swan song. Notable Credits Road to Perdition Cool Hand Luke (1967) In Cold Blood (1967) Butch Cassidy and the Sundance Kid (1969) The Day of the Locust (1975) Marathon Man (1976) A Civil Action (1998) American Beauty (1999) Road to Perdition (2002) Janusz Kaminski By now, the name Steven Spielberg is so synonymous with Janusz Kaminski that it’s impossible to imagine what a current Spielberg film would look like if shot through other eyes. Kaminski is the modern master of light. He uses lights, smoke, and shadows to propel the story, occasionally drowning a scene completely out in bright, white light. It shouldn’t work, but when you watch certain sequences from Minority Report, Munich, The Diving Bell and the Butterfly, and so on, it’s impossible to envision the scenes shot any other way. While Schindler’s List represents arguably the most well known black and white style of contemporary cinema, and Saving Private Ryan redefined the use of Steadicam, Kaminski deserves to be remembered for his entire body of impressive work. Which, I suspect, he will be. Notable Credits Saving Private Ryan Schindler’s List (1993) Jerry Maguire (1996) Saving Private Ryan (1998) A.I. Artificial Intelligence (2001) Minority Report (2002) Catch Me If You Can (2002) Munich (2005) The Diving Bell and the Butterfly (2007) Emmanuel Lubezki My favorite living cinematographer has got to be Emmanuel Lubezki. And am justifying that label based on four films he’s shot: Ali, Children and Men, The New World and The Tree of Life. In Ali, Lubezki switched from 35MM to digital seamlessly, going as far as to invent a tiny digital camera for the close-ups during the fight scenes. The result is the best-looking boxing film since Raging Bull. The cinematography in Children of Men speaks for itself, boasting a handful of the best extended takes ever put on film (which admittedly are achieved through sneaky digital editing). But it is his collaborations with Terrence Malick that make Lubezki so invaluable. In The New World, the fluid camera feels almost like its own character, in The Tree of Life, the camera is its own character. To be concise, The Tree of Life is one of the very best films ever shot. Period. The fact that Lubezki didn’t win an Oscar for his work on that film is inexcusable. Notable Credits The Tree of Life Sleepy Hollow (1999) Y Tu Mamá También (2001) Ali (2001) The Assassination of Richard Nixon (2004) The New World (2005) Children of Men (2006) The Tree of Life (2011) Sven Nykvist Without hesitation, Sven Nykvist is my favorite cinematographer of all time. His frequent collaborations with Ingmar Bergman mark one of the most fruitful cinematic working relationships in the history of the medium. Thank God these two were inseparable, because we have a lifetime to reap the benefits. For Winter Light, Nykvist and Bergman sat in a church for days, keeping detailed track of how the sun lit the church during every minute of every day. He lit an entire scene in The Passion of Anna using just one candle, he made shadows sensual with Persona, and captured the color red in a way that’s impossible to shake in Cries and Whispers. I could go on (and on, and on) about the correlation of my love for film and Nykvist’s work, but I don’t want to take away from the other masters on this list. Let me just say, I believe Sven Nykvist to be the very best at what he did. All things considered, he’s the most skilled man to ever step behind a camera. Notable Credits Persona Through a Glass Darkly (1961) Winter Light (1963) The Silence (1963) Persona (1966) Hour of the Wolf (1968) The Passion of Anna (1969) Cries and Whispers (1972) Scenes from a Marriage (1973) Face to Face (1976) Autumn Sonata (1978) Fanny and Alexander (1982) Another Woman (1988) Celebrity (1998) Rodrigo Prieto There are really two facets to Rodrigo Prieto’s work: the gritty, unshakable side (notably in the films of Alejandro González Iñárritu) and the lush, crisp side (evident in Brokeback Mountain, Lust, Caution and Broken Embraces). No matter what kind of style he’s imploring, Prieto has a way of making the viewer feel like they’re in the setting of the film. Can’t you just smell that shitty prison Benicio Del Toro is stuck in in 21 Grams? Or the sweatiness of the club in Babel? Or the dampness of the dew-covered mountains in Brokeback? I know I’m beginning to sound like a broken record, but the fact that this man hasn’t won an Oscar is deplorable. Notable Credits 25th Hour Amores Perros (2001) 8 Mile (2002) 25th Hour (2002) Frida (2002) 21 Grams (2003) Brokeback Mountain (2005) Babel (2006) Lust, Caution (2007) Broken Embraces (2008) Biutiful (2010) Robert Richardson Robert Richardson has got one hell of an impressive Rolodex, collaborating frequently with Oliver Stone, Martin Scorsese and Quentin Tarantino. And if you look at the films he’s shot for those directors, you’ll see that there’s nothing really random going on here. JFK, Natural Born Killers, Casino, Kill Bill, and others, all use a wide variety of colors, film stock, lenses, and so on, to tell their story. Hell, any guy who can pull off what Richardson did with Natural Born Killers deserves to be on this list. (Let’s also give credit to the fact that Richardson pulled off one of the very rare examples of non-flashy, gorgeous 3D with last year’s Hugo. Did it deserve to win the Oscar over The Tree of Life? No, don’t be silly… but it was still pretty to look at.) Notable Credits Kill Bill: Vol. 1 Platoon (1986) JFK (1991) Natural Born Killers (1994) Casino (1995) Nixon (1995) Kill Bill Vol. 1 (2003) Kill Bill Vol. 2 (2004) The Aviator (2004) Inglourious Basterds (2009) Hugo (2011) Steven Soderbergh The most unconventional choice on my list is director Steven Soderbergh, whose been shooting most (but not all) of his films under the pseudonym Peter Andrews since Traffic. One of the reasons I love Soderbergh so much, and why I will see anything he directs, no matter what it’s about, is because his command over the cinematic medium is so clearly evident, especially when he’s holding the camera. And believe you me, I love it all. I love the varied hues of Traffic, the stillness of Ocean’s Eleven, the dizziness of Ocean’s Twelve, the nostalgia of The Good German, the coldness of The Girlfriend Experience – everything. Let me put it this way: based on Traffic alone, I feel confident in listing Soderbergh here. Notable Credits Solaris Traffic (2000) Ocean’s Eleven (2001) Solaris (2002) K Street (2003) Ocean’s Twelve (2004) The Good German (2006) Che (2008) The Girlfriend Experience (2009) The Informant! (2009) Haywire (2012) Gregg Toland You cannot draft a list of the best cinematographers of all time without having Gregg Toland’s name on it. Why? Because Citizen Kane is the best-shot film of all time. This point can be argued, certainly, but at the end of the day, I’m unable to say that any film matches the aesthetic bravado of Orson Welles’ masterpiece. Essays have been written about Toland’s work on the film, documentaries have been dedicated to it, and films have been ripping from it for decades I’ve always been marveled by Toland’s work on Citizen Kane, but I didn’t become enamored with it until I listened to Roger Ebert’s commentary on the Citizen Kane DVD. If you are a film fan of any regard, this is a commentary that should in no way go unheard. In 1941, Citizen Kane changed the game. In 2012, it’s more impactful than ever. Toland is much to thank for this. Notable Credits Citizen Kane Wuthering Heights (1939) The Grapes of Wrath (1940) Citizen Kane (1941) The Best Years of Our Lives (1946) Gordon Willis Gordon Willis, the master of the dark. When studio heads saw the first rushes of The Godfather, they took immediate action to have Francis Ford Coppola replaced as the film’s director, largely because they thought the film was too dark. Not tonally, literally dark. They were furious that half of Marlon Brando’s face was in silhouette, or that characters would go unseen for entire sequences of the film. Coppola stuck to his guns, and the result was some of the most revelatory work of cinematography ever put on film. After that, Willis became a household name. No wonder. Frequent collaborator Woody Allen has said that Willis’ mantra was that it didn’t matter if you couldn’t see a face, it didn’t matter if half the room was pitch black, or if an actor was off camera. What mattered was the mood, the look and feel. Watch Allen’s Manhattan for evidence. It’s one of the finest-looking black and white films ever. Notable Credits Manhattan Klute (1971) The Godfather (1972) The Godfather: Part II (1974) All the President’s Men (1976) Interiors (1978) Manhattan (1979) Stardust Memories (1980) Zelig (1983) A Few More I Love: The Third Man John Alcott (A Clockwork Orange, Barry Lyndon, The Shining) Michael Ballhaus (The Last Temptation of Christ, Goodfellas, Sleepers, The Departed) Robert Burks (To Catch a Thief, Rear Window, Vertigo, North by Northwest, The Birds) Michael Chapman (Taxi Driver, Raging Bull) Robert Krasker (Brief Encounter, The Third Man) Matthew Libatique (Requiem for a Dream, Tigerland, She Hate Me, Inside Man, The Fountain, Black Swan) Asakazu Nakai (Ikiru, Seven Samurai, Throne of Blood, High and Low, Ran) Wally Pfister (Memento, Insomnia, The Prestige, The Dark Knight, Inception) Harris Savides (Gerry, Elephant, Last Days, Zodiac, Margot at the Wedding, Somewhere) Dante Spinotti (Heat, The Insider, Public Enemies) Vittorio Storaro (The Conformist, Last Tango in Paris, Apocalypse Now, Dick Tracey) Vilmos Zsigmond (McCabe & Mrs. Miller, Deliverance, Close Encounters of the Third Kind, The Deer Hunter)

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Carolyn Hillyer Women are calling upon the forest bear to protect them, they whisper to their drums, they sing the cold words given by mothers of their mothers and they reshape the world with their music. They twist their damp hair into a tight braid, in which they wear white stone hair bones and blue stone hair bones, given by sisters of their sisters and they create a dance of perfect balance... Return to Northern Sisterhood of Drums page

An exclusive limited edition release of only 50 pieces for Andy Okay, made by the artist Seventh Voyage in an effort to raise donations for the non-profit organization National Museum of Natural History. The art from our collaborating award-winning artists are usually sold for $149-$795. Now, in a limited release the price is up to you. And what you choose to give will help support the cause linked to the art.  Be fast. When the piece is sold out, the art is gone forever. Details: Exclusively authorized print on 200gsm matte fine art paper. - 65,000+ Artworks sold for charity - Worldwide shipping with DHL/FedEx - Arrives fast in 5-7 business days - 100% Money-back guarantee You'll receive a tracking number from us as soon as it's shipped so you can follow your art all the way to your door. Pro tip: If you’re deciding between sizes, size up. Most people regret buying too small.

The print is a copy of my original oil painting, "Jack the Ripper". This unique print is signed, dated, and numbered on the back the print" *Note: this print will be numbered in the order it is bought. E.g. if you are the seventh purchaser, a number "7" will appear). I sign each print by hand to authenticate it. *Printer - I use a professional grade fine art printer that produces vivid, sharp copies of my paintings. I will re-reprint every order until I am satisfied with the quality. *Paper: 1. Hahnemuhle Museum Etching - The finely textured surface with fine felt structure lends FineArt prints added depth and a three-dimensional effect. Combined with the pure cotton base, this creates a wonderfully soft tactile feel and artistic impression. 3. Hahnemuhle Goya Canvas - It is a satin-gloss poly-cotton inkjet canvas featuring a distinctive surface texture. The characteristic, tactile canvas texture lends art reproductions and photographs a painting-like appearance. Together with the satin-gloss premium inkjet coating, it produces outstanding print results with striking reproduction of colour and detail, deep black and perfect contrasts. Goya Canvas is acid- and lignin-free and meets the most exacting requirements for age resistance and is ideal for FineArt use. The canvas structure is highly compatible with canvas stretching frames. The print is a copy of my original oil painting, "Krampus". This unique print is signed, dated, and numbered on the back of the print.*Note: this print will be numbered in the order it is bought. E.g. if you are the seventh purchaser, a number "7" will appear. I sign each print by hand to authenticate it. *Printer - I use a professional grade fine art printer that produces vivid, sharp copies of my paintings. I will re-reprint every order until I am satisfied with the quality.

Art.IWM PST 0488. whole: the image occupies the upper three-quarters with text across the bottom in dark brown flanked by the arms of Tyrol and Vorarlberg

This article takes a look at the best way to smack the ugly face of procrastination with the spirit-empowering Word of God.

A 19th century CE painting by John Martin depicting the great storm which was the seventh plague of Egypt in the Moses story. (Museum of Fine Arts, Boston)

People who have experienced the so-called DMT trip usually say that it transcends words, but they often feel compelled to speak incessantly about it anyway. Learn about the artworks that display these beings in spectacular form.