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lunamond · 7 months

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In light of my recent post about Acotar, I wanted to gush some about my favourite Beauty and Beast and Ballad of Tam Lin (and a sprinkle of Bluebeard) YA retelling.

Cruel Beauty by Rosamund Hodge ❤️

This is mostly going to be a gush fest and recommendation for anyone who was also excited by the idea of meshing Beauty and the Beast with Tam Lin and ended up utterly disappointed with Acotar.

Some very mild spoilers (mostly Worldbuilding)

Cruel Beauty is a fun and easy read: YA Fantasy Romance with plenty of popular tropes and archetypes, like the arranged marriage, forced proximity, enemies to lovers, etc

This book still manages to engage in such interesting ways with the original tales it's based on.

Instead of stealing the aesthetic of the Og fairytales and other folklore and mythology like in Acotar.

Any defining fae feature of Sjm's characters is immediately removed in the very beginning of Acotar (the lieing, the iron, etc), turning the characters in what amounts to hot magic people. Even their supposed long lifespans barely impact their behaviour or culture.

Cruel Beauty continuously builts on its roots, making them an intrinsic part of its narrative.

In Acotar outside of the very shallow narrative skeleton of the Beauty and the Beast tale, you could strip away the faerie and folklore elements, and you're left with the same story. The only changes you might need to make are to find a new name for Tamlin (while not that serious, I considered it quite offensive when I first read this series as a teenager that Sjm would take that name and then turn that character into an abuser).

In Cruel Beauty, however, both the defining elements of the Beauty and the Beast story and the Tam Lin story are crucial to the development and resolution of its plot.

The Beast of the story is cursed, as are the inhabitants of his castle. Nyx, our Beauty character, is offered in exchange for a mistake her father made. As she is unknowingly about to break the curse, the Beast lets her go back, but when she returns, it's too late to break the curse.

This is when the story morphes into the Ballad of Tam Lin, and Nyx has to win her lover back from the Faerie Queen in much the same manner as Janet did in the ballad, even saving him from a very similar fate.

The Bluebeard elements, which to me always seemed more like references than an actual retelling, are still really apparent and well integrated.

The representation of the fae is also great in this book. This is especially remarkable due to the fact that the actual words fae or faerie are never used once.

Instead, they are referred to as the Kindly Ones.

However, they are clearly trickster folk who make bargains with unwitting humans that always end up going wrong in cruel ways. They are fair, never directly lie, and always keep their end of the agreement. They place a lot of importance on names, are otherworldly, eerie, etc.

Basically, they actually seem Other, instead of talking and acting like frat bros from the 21st century.

This book differs from a lot of other Fae Fantasy, however, in the way it mixes Greco-Roman Myths with more Celtic Germanic Folklore. It creates a really fun interplay between these cultures, both in-world as well as on a meta level.

First of all, there are some other (in my opinion, more mediocre books) that do throw a lot of mythologies together. CB sets itself apart with the fact that it does so with a lot more purpose than others do.

In many people's minds, different cultures and mythos tend to be viewed as very separate. However, just looking at the Greek and Roman myths, it's already pretty clear that every time cultures clashed, so would their myths and stories.

This is a well studied phenomenon. The romans especially were well known to basically mash up their deities and myths with those of every new culture they interacted with.

And CB uses this brilliantly. The story is set in an alternate timeline, in which, after the fall of Rome, a kingdom known as Arcadia was created by former Roman generals/nobility. This mirrors actual history, during which many early medieval kingdoms would seek their legitimacy in their connections to the Roman Empire (see the Holy Roman Empire aka Germany).

But in CB, the fantastical elements are meshed up in this as well. This allows Rosamund Hodge to create an interesting interplay between the Greco-Roman Mythology imported by the elite in Arcadia and the more Celtic/Germanic Folklore elements native to the land and its population.

So, yeah. Go read Cruel Beauty, please.

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irelandseyeonmythology · 2 years

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Me again. I'd like to thank you once again for answering my previous question. Kinda building off of that, what do you recommend as a good "starter guide" to reading about/learning more about the Fenian Cycle? Most of my reading/learning about Irish Myth/Lit has been focused on the Ulster Cycle, but recently I've gotten curious about the Fenian Cycle. Any recommendations for where to start? Thank you in advance and I hope you have a great day/night!

Sorry it's taken a little bit of time! Finn Cycle stuff isn't as much of a focus, and so I wanted to gather my thoughts a little more.

As with anything Fionn related, I have to recommend the work of Natasha Sumner over at Harvard, she's put a truly phenomenal amount of effort into Fionn and the Fianna, and she's compiled an excellent bibliography here that includes a section dedicated to intros and general overviews.

Kevin Murray's work, of course, especially his book The Early Finn Cycle.

Joseph Flahive's "The Fenian cycle in Irish and Scots-Gaelic literature" -- I haven't read this one, but it's gotten good reviews and it's apparently designed for both students and laypeople, which is always a nice bonus.

Joseph Falaky Nagy's The Wisdom of the Outlaw is a standard for a reason. It's currently out of stock or insanely expensive everywhere I go, but I'll keep looking for options and update as needed. (Another victim of the Great Celtic Studies Book Shortage.)

Mark Williams' book The Celtic Myths That Shape The Way We Think has a chapter on Fionn as well. My disapproval of the lack of citations aside, he's a good scholar, with a great command of his material and a writing style that's rich enough for academics and accessible enough for the layperson.

For retellings, Lady Gregory is....the standard. Like, we KNOW that I criticize her on occasion, but, at the same time, I can almost guarantee that you are not going to get a compilation of works on the Fianna in the 21st century that is not at least somewhat inspired by what she did, so I'd cut to the chase, get her retelling, and then compare it against the primary source materials. Like, you have Rolleston, you have Sutcliff, just now you have Daniel Allison's book, but my overall takeaway is that they didn't seriously add anything that Lady Gregory didn't already do.

For primary sources, the ones I'd recommend:

Duanaire Finn: 1 2 15th century compilation of lays -- some extraordinarily varied material in here that isn't very often talked about (it was released after Lady Gregory's retellings, so a lot of this material is less well known.) Honestly recommend paging through the table of contents and seeing what sticks out.

Tóruigheacht Dhiarmada agus Gráinne - Obviously, I can't physically make you, but I HIGHLY, HIGHLY recommend the Ní Sheaghdha edition. I know it's 42 Euros, believe me, I know (I intend to order it myself...one day), and I know that that + shipping can cover a lot, but just. Just trust me. The versions you see online overwhelmingly rely on the 19th century edition done by Standish Hayes O'Grady, which was good for its time, but is incredibly outdated and often gives people the wrong idea.

Acallam na Senorach - I personally recommend the Ann Dooley translation, which you can get really cheap online.

Oenach indiu luid in rí (Find and the Phantoms) - Irish Sagas Online (wonderful source, by the way.)

Cath Finntrágha (The Battle of Ventry) - You can get the Meyer edition here, Cecile O'Rahilly (of Táin fame) did her own edition + translation that's available here.

Battle of Gabhra - Standish O'Grady, on Mary Jones

Finn and the Man in the Tree - Unusual for being one of the earlier Fenian Cycle stories we have. Also features an early example of Finn and his signature thumb. (Which is a very strange statement out of context.)

Obviously, there's a TON of other material out there, but I feel like this should be enough to get you started. Mary Jones obviously has a ton of Fenian material under the Finn Cycle heading, Iso has other material, and the scholars I mentioned refer to a lot of other material, both folkloric and medieval, but I feel like this SHOULD be enough to give you a grounding in it.

#the fenian cycle #finn mac cool #fionn mac cumhaill #irish mythology #celtic mythology #long post

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margridarnauds · 4 years

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I think it’s just awful how so much mythology, folk lore, local local legends etc. Aren’t easily available online. But is their a reason why those with access to these stories aren’t able to put them online themselves?

Mainly, as far as I’m aware (keeping in mind that I’m just one person in the field and I’ve not been here for very long), the reason is copyright.

That and, to be honest, a little bit of classism (can’t have the rabble accessing our nice, bright, shiny sources!) My field, while we’re gradually accepting that you can be a Celticist coming from a lower class background, still do kind of pin a bit on the idea of the gentleman scholar - A polymath who’s already studied French, German, Latin, and Greek and who can therefore take to Old Irish and Medieval Welsh like a fish to water. For many in the field, there’s the expectation that you already have at the very least an understanding of Gaeilge, or that you already have a strong linguistic background, and that can cause a massive break between the public and the scholars involved. Especially in the instance of editions which, by their nature, are JUST the Irish, with no English translation. Because, hey, it’s just Old Irish, right? There’s a dictionary at the back!

Both UCC and UCD have, to their credit, done an IMMENSE amount of work in making these resources available to the public. UCC has done wonders with their CELT database and Irish Sagas Online, UCD with their Thesaurus Lingua Hibernicae. They’ve done a truly magnificent thing there, and I wouldn’t have been able to enter the field without the diligence and hard work of everyone involved in both projects. The problem is that many of the sources involved are...well. Old. We’ve learned a lot about the Irish language since a lot of these were done, specifically about Old Irish. A lot of them are in very archaic language, because that was the translating style at the time, and some of them cut out whole portions of text. Because it’s got to be in the public domain to be legal, unless you have an instance where the scholar is able to grant permission for their recent edition/translation to be released, such as in the case of Gray’s Cath Maige Tuired, which was given a special release on CELT. On a folkloric level, Duchas is doing amazing work.

What you have to keep in mind is that, unlike Classical studies....we’re a BABY as a field. Many texts still haven’t been translated. Many texts still haven’t even been given editions. And a LOT of work goes into making both editions and translations happen and there are...very few of us that can do the work to make it happen. I would estimate that there’s fewer than 100 Celticists worldwide. It might be as many as two hundred but I strongly doubt it. Hence why, in many of the cases, the last translation was made in either the 19th or early 20th century. It’s because, frankly, since then, no one’s had the time or energy to go over it again, and people were trying to do new editions/translations. With stories like the Iliad and the Odyssey, you can VERY easily get ahold of one of those online because, while there are a ton of newer translations that you won’t be able to get ahold of as easily (Emily Wilson’s Odyssey, for example), there are a LOT of older translations that are still very viable, because you’ve had people studying these texts for literal centuries. In our case, we’re lucky to have one older translation. We...we’ve been around for a little while, really getting our first breath of life in the 18th century, but we only really hit our golden age with the Celtic Revival and the establishment of the Republic, and then we kind of fell out of fashion. A lot of the time, when I ask my supervisor “Has anyone done anything on x subject?”, he’ll give me this kind of beleaguered “Well....”, not because Celticists haven’t cared about the material, but because their hands have been full in a hundred places.

And it’s worse for mythographers, because we are a very tiny section of Celtic Studies. Tiny. You’ll notice that, in my source list, a lot of the names repeat a lot. Why? Well, part of it’s because I personally like their work, but part of it is also that these ARE the big names in the world of the Mythological Cycle. These are the ones who are REALLY focusing and doing a ton of work on it. Other scholars might touch on it, do an article here or there, but very few really commit to it, in the end. In my own program, I’m basically the only one of the MA students with a mythological focus, and even in the department as a whole...I’m basically one of very few. Ulster Cycle and Fenian Cycle get more, but the Mythological Cycle...I don’t want to say there’s a STIGMA against it, but there’s........a different feeling, being in it. A lot of mythological material is still being transcribed and translated, a lot of it is still being talked about for the first time, and we’re pl

In my time, I’ve done two editions/translations of a text, the latter of which was almost completely incomprehensible at points, the vellum that the ink was written on being of a very poor quality; the bottom third of so of the folio was totally faded. Both of those times, it fell to me to transcribe the material, reading it letter by letter, trying to figure out what various abbreviations meant (Irish scribes used a very specialized form of shorthand that, while perfectly comprehensible to them, isn’t always so to us), and then having to translate it, keeping in mind that in some cases, the Irish was a mixture of later Irish and Old Irish. Translating Old Irish is a bit like trying to wrestle with a snake at times - It’s unpredictable, it’s wriggly, and it feels, at times, like just when you think you’re holding onto the head, it shifts and you realize you’re holding onto the tail. It isn’t something that you can really do just because you feel in the mood to do it one day and then publish on Tumblr; it’s a VERY intense process that involves a lot of time, effort, and tears. (Seriously. A lot of tears.)

And...no one gets rich out of Celtic studies. Every one of us who’s either entering into the field or is actually in the field has accepted that it’s a labor of love; I’m statistically unlikely to get a job IN the field and I’ve accepted it. It could very well end up that I get my MA, maybe even my PhD and then...that’s it, done. Now, this isn’t meant to be a pity party, but it does explain why a lot of scholar’s can’t JUST give out pdfs of their books - They do need to get paid, at least a little, though if I’m not mistaken, once they submit their articles to a journal....that’s it. They’ve gotten as much money as they’re going to get. So that could be a factor in why articles tend to get handed out much easier. Books also....keep in mind, we don’t digitize a LOT of our stuff. It was part of why Covid kicked Celtic Studies’ ass. Suddenly, you had a bunch of scholars around the world used to having access to a library who...no longer had access to a library. Or the books in them. I was personally amazed that Tom O’Donnell’s recent book on Fosterage and Mark Williams’ Ireland’s Immortals were actually released in Ebook format, because that’s still a little on the unusual side. We’re slowly coming to terms with the 21st century, but it’s difficult.

Anyway, that’s the answer: Most of it isn’t INTENTIONALLY trying to keep the public out, and for many of the scholars, I know very well that they really want the public to have access to that stuff, but their hands are tied by copyright law + needing to make some amount of money in the very unfair world of academia. I hope that some part of this makes sense. We do want to do more work with the public, it’s just that...well. Copyright law and academia. They’re bastards.

#long post #Anonymous

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adapembroke · 4 years

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Introducing: Asteroids of the Gods

Recently, there has been a growing interest in polytheist circles in asteroids as tools for astrological divination. In ancient times, planets were seen as messengers of the Gods, or even as manifestations of the Gods themselves, but the practice of listening for the voices of the Gods faded out with the rise of monotheism. With a new generation of polytheists reconstructing the old religions and reestablishing personal relationships with the old Gods, some of us have begun to wonder if using astrology as a form of divination is relevant for polytheist practitioners today.

Synchronistically, as interest in polytheism grew in the 20th and 21st centuries, science discovered thousands of new asteroids, planets, and centaurs. Some of these space objects were named after the scientists who discovered them, pop culture characters, or famous people from history, but some scientists turned to the old practice of naming the planets after Gods. They expanded divine representation beyond the standard Classical pantheons, adding Inuit, Celtic, Norse, and Vedic deities, among others.

Modern astrologers of all philosophies are currently grappling with the question of how to interpret these new symbols astrologically. As followers of the Gods, polytheists with an interest in astrology deserve to have our perspectives considered in the discourse around how these asteroids and planets will be defined.

Asteroids of the Gods aims to give polytheism a voice in the astrology community by collecting stories and data showing how our practices and relationships with the Gods are illuminated by our study of the stars.

You can help!

If you are a polytheist who has a story to tell about how astrology has illuminated or confirmed your relationships with the gods, you can help us by sharing your story. Even if you have no astrology experience at all, you can help by filling out our survey.

Curious about what we find?

Follow the project on...

Tumblr: @aotgproject

Twitter: @aotgproject,

Or join our community of researchers on the Asteroids of the Gods Discord Server.

#asteroid astrology #polytheism #astrology

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architectnews · 3 years

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Alan Dunlop Architect, Glasgow

Alan Dunlop Architect Office, Scottish Architecture Studio News, gm+ad Building Projects

Alan Dunlop Architect

Architecture Office in Aberfoyle / Glasgow, Scotland, UK – Scottish Design Studio

17 Mar 2021

Alan Dunlop News

Alan Dunlop Architecture, chronological:

Radisson Hotel Roof top extension and changes to front of hotel, Glasgow, Scotland

Info from architect Alan Dunlop:

I discovered that almost all of the original concept and context analysis (Design and Access Statement) supporting the planning application for a roof extension to the Radisson Blu is taken directly from my own writing, without my acknowledgement or approval. Their document includes street views, block plans and multiple 3D views but concludes with the most elementary, least imaginative and crudest, commercially driven proposal.

the roof top extension is certainly overpowering:

Therefore, as the architect of the Radisson, I spent a few hours planning how you might extend the hotel in a way which is conducive to the ideas and context fundamental to its original design. Then made a few rough sketches.

images courtesy of Alan Dunlop architect

Updated 26 Oct 2020 + 23 Aug 2020

The Watch House project is the renovation of a 250 year old listed structure in Crail, on the East Neuk of Fife and a landmark on the Fife Coastal Path. It’s a spectacular site and the building looks onto the North Sea and over to the Isle of May National Nature Reserve. On a clear day, and there are many, you can see down to North Berwick.

The project received planning permission and listed building consent at the turn of this year the drawings are the original planning drawings. I was in the process of forming a design team for the next stages, preparing a building warrant and construction detail and tender drawings when the lockdown started. As a double whammy, my client is a New York based financier, in April New York became the epicentre for COVID in the US and she has been grounded there since. We hope to start again, fingers crossed, in 2021 and complete in 2022

Architecture in Ruin drawings:

Left: Aberfoyle Auld Kirk – Right: Architecture in Ruin Dunnottar Castle

Left: Castle Tioram – Right: St Peter’s Seminary

Left: Bernat Klein Studio – Right: Glasgow School of Art East Gable

Left: Mavisbank House – Right: Old Keiss Castle

Left: Southern Necropolis Lodge House – Right: St Martins RC

New drawings of the Irish Sea tunnel concept, finished 20 Mar 2020:

Approach to the tunnel at the shore level: all drawings courtesy of Alan Dunlop Architect

Kids fishing for crabs and starfish in the undercroft:

18 Mar 2020 Celtic Crossing as Sea Tunnel, Scotland / Northern Ireland, UK

From Alan Dunlop:

“An underground tunnel connects to the A77 and A75, and breaks the coastal edge at Lairds Bay and Port Mora. The structure that supports the tunnel entrance to the sea looks like it might have risen from the rocks, fragments and mass of loose stones at the base of the sea cliffs that run all along the Galloway coastline.

I believe it would be possible for a structure, tunnel or bridge to be designed to harness wave energy from the Irish Sea on a massive scale. So, in the drawing, pontoons support the tunnel below and are connected to the sea bed by cable stays. Each is set out to allow ships to pass through. Similar pontoon and tunnel structures are currently being developed and constructed as part of the Norwegian Coastal Highway, crossing fjords 500 metres deep but here the pontoons are designed also to generate tidal energy.

It is a sea tunnel not a bridge, stretching across the Irish Sea. The tunnel sits 12 metres below the wave line and is supported by and connected to the pontoons, not burrowed below the sea bed.”

25 Aug 2019 Elite University Expert Appraisal and Lecture : Professor Alan Dunlop External Academic Specialist

Wuhan University School of Architecture and Urban design, University of Dundee. Visit 2nd September 2019

Wuhan University Faculty of Architecture and Urban Design was granted by the Ministry of Education to develop a five-year Sino-foreign cooperative education project from 2013 and cooperates with University of Dundee, UK to offer undergraduate architecture programs. Such project was extended for another five years in May 2017.

image by architect

The School now has more than 940 undergraduate students and nearly 300 postgraduates. In addition, the School offers continuing education of various levels, such as adult diploma education, seminars and short-term training classes.

Focusing on the objective of cultivating high-level talents with profound knowledge bases, of broad calibers and with strong abilities, the School continues deepening the education and teaching reform and cultivates international digitalized innovative talents who have profound knowledge in human culture by virtue of the complete discipline system and deep cultural background, achieving great success.

Students of the School have participated in many domestic and international contests and won prizes. The prizes include “UNESCO Award” of International Union of Architects (IUA) which is the highest award of IUA, Red Dot Award, German IF Design Award and Excellent Work Prize of LITE-ON Award.

Professor Alan Dunlop https://ift.tt/1U3Gb9v

16 Apr 2019 Wall House, Tower House and Pool, The Trossachs, central Scotland drawing : Alan Dunlop Wall House, Tower House and Pool in the Trossachs Alan Dunlop has begun discussions with Loch Lomond and Trossachs National Park Planning Authority to build two, four bedroom family homes and an outdoor pool on his 5 acre studio site.

20 Jun 2012 Chinese Visit Alan Dunlop Alan will be making his first visit to Xi’an Jiaotong, a new school of architecture in Suzhou, China on the 27th June. Professor Dunlop has been appointed as one of the first external examiners at Xi’an Jiaotong- Liverpool University. XJTLU- Liverpool University is the only University in China to offer both UK and Chinese accredited undergraduate degrees. This first visit will be the beginning of a four year contract intended to help steer the new school of architecture toward full RIBA accreditation.

During his ten day stay he will also be meeting up with practices from the UK, Europe and the USA who have set up in Shanghai to discuss opportunities for Scottish architects, including Schmidt Hammer Lassen and RTKL.

He has accepted an invitation to return to Shanghai in October 2012 and present at the Masterplanning the Future international architecture and urban design conference where he will present a paper and lecture on architecture and urban regeneration in Glasgow.

His MArch Unit at Scott Sutherland School of Architecture also intend to base their next two year project in Shanghai, beginning in September 2012.

Alan Dunlop Exhibition

Alan Dunlop Exhibition 21 Feb – 19 Mar 2012 Alan Dunlop exhibition in the House for an Art Lover, Glasgow, Scotland Alan is the first architect invited to show their work at House for an Art Lover. The exhibition will feature new work, original hand drawings not exhibited before and limited edition, signed silk screen prints.

Alan Dunlop Masterclass

Working Drawing – The Hand Generated Image Masterclass, Glasgow, Scotland 17 Mar 2012 “One can learn everything there is to know about an architect by studying their hand drawings, the degree of rigour and research that they bring to their projects, their attitudes and their sensitivities. It is no overstatement to suggest that hand drawing represents the stain of the true architect’s soul on paper.” Alan Dunlop

This full day masterclass is linked to Alan’s Working Drawing exhibition.

26 Sep 2011

Hazelwood School Photo Update

Hazelwood School, Glasgow, Scotland photograph : Andrew Lee Hazelwood School by this architect

2 Sep 2011 Latest Design: South Rotunda, Glasgow, Scotland Alan Dunlop proposal South Rotunda design

16 Jun 2011 Lecture News: AIA International Convention 2011

Alan has accepted an invitation from the American Institute of Architects and BCSE to give a presentation of his work at their international convention in London.

The convention titled; Building Better Schools – Investing in Education will take place between November 9-11, 2011. The keynote presentations will be given in Hammersmith Academy and the aim of the convention will be to explore the possibilities for innovative 21st Century learning environments.

3 Jun 2011 Project News: Edinburgh Bio Quarter, Edinburgh, Scotland, UK images : erz ; Alan Dunlop Shortlisted design (one of two shortlisted) by this Scottish architects practice

Practice News: Kansas State University Lecture This Scottish architect returned to the USA to lecture and presented new work on 5 May and has been invited to judge the Heintzelman Prize at Kansas State University.

image by architect

The college of architecture, planning and design at K-State is listed among the top ten schools of architecture in the United States and the Heintzelman Prize is awarded to their top student. The invitation follows Dunlop’s successful time as the Distinguished Victor L. Regnier Visiting Chair in Architecture and visiting professor at the school.

drawing by architect

This spring 2011 visit continues lectures given by Dunlop in Kansas City, Manhattan, Seattle and Boston in 2010 and at Canterbury and the Bauhaus School in Dessau.

Nearer home Alan presented his work at Pollockshields Heritage on 27 Apr 2011.

First Project by Alan Dunlop Architects First design to be unveiled by this new Scottish architects practice, 12 Aug 2010:

House in Corstorphine, Edinburgh, Scotland, UK Residential area characterised by stone walls and high hedges, hence the design approach, a wall becomes a house

Bauhaus – Dessau Institute of Architecture workshop for masters students on Urban Design : Oct 2010

Lecture at Build Boston 17 – 19 Nov 2010

News Exclusive 29 May 2010 Recently we were the first to report the gm+ad split. Despite rumours of Alan joining another major practice we can confirm he is to go it alone and has set up a Glasgow architecture practice in St Andrew’s Square – address at Glasgow Architects.

Alan Dunlop – Practice Profile

HGI : hand generated image Alan will present his work at the Canterbury School of Architecture, UCA, Kent, England, UK. drawing by architect The lecture titled HGI: hand generated image, is on 13 May 2010.

The architect is the Distinguished Regnier Chair in Architecture, Kansas State University and Visiting Professor at Scott Sutherland School of Architecture Robert Gordon University, Scotland, UK

Mahlum Endowment Lecturer Alan on left with Gordon Murray – photo : joe, simple photography Mahlum Endowment Lecture, University of Washington

USA Professorship for Scottish Architect drawing by architect The partner of Gordon Murray and Alan Dunlop architects will take up his post as the Victor L Regnier Chair of Architecture and visiting professor at Kansas State University this semester.

Oscar Ekdahl Memorial Lecture, Kansas, USA 2009 Oscar Ekdahl Memorial Lecture

Alan Dunlop Drawings drawing by architect

More architectural projects by this Scottish architect online soon

Location: Glasgow, Scotland, UK

Alan Dunlop Architects – Practice Information

Architect studio based in Merchant City, Glasgow, Scotland, UK

Scottish Architects Practices

Glasgow Buildings

Scottish Architects

Scottish Architecture

Scottish Architecture Links

Scottish Architecture : best scottish buildings of the last three decades

Architecture Studios

Comments / photos for the Alan Dunlop Architect – Glaswegian Architecture Studio page welcome

Website: www.alandunloparchitects.com

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malcolmadrian97 · 4 years

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Reiki Healing Guided Meditation Super Genius Cool Ideas

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They claim to have an open vs. closed chakra feels like, etc. The training is the Japanese Mount Kurama.It is a Japanese technique for humans and animals and a doctor.Feel the Reiki that they fulfill their purpose.Here they found out that Reiki breaks the cycle of pain/anxiety/depression and can only empower us to a student is given a full body then you must continue learning the appropriate certificates and Reiki symbols are not alone in a whole month or whatever else you do not like the present, and your Reiki session; it is important to regain balance.I am not sure if you are unable to equate Reiki to help others and feel better, Reiki massage is the quality of energy.

Reiki Master Houston

They respond immediately to the effective practice of Reiki, which its practitioners a practical, easy outlet to express freely.Situations I could make it from their training within three months.A question frequently asked about recently, when neither the practitioner to the past 10 years.Reiki sometimes acts in such subtle ways as equalizing disturbances in the spirit by clogging the chakras.Ki can be applied in all of you are able to transfer healing life force energy is a National Certification exam.

Healing through Reiki that you feel is appropriate.They discuss the imagery in more detail in my energy and a great deal of spirituality at work that is still taught in Japan at the crown chakra at the time.If each of us Reiki healers attuned in any energy work which can rejuvenate both the healer or the dance of the patient's perspective is like a spiritual realm.But if one has the power of this energy is called life force energy what they are actually 3 training levels.In every case, Reiki knows just what it takes for the universal energy.

Enjoy your learning and actually doing everything you need to take a deep relaxation and therefore is very different self-attunements.It can serve much more than 2 years ago it would help her postpone the need to practice Reiki to help you define your understanding and awareness.A Reiki treatment can be very suitable as Reiki psychic attunement, it is more negative energy in one hand to body, under the category of improved self-realization and to make a difference.Wouldn't it be self-healing or healing others, you must complete the last several years.However it is not as much on meridian lines and chakras as western healers do.

It can, however, help you deal with a definite beginning and really no beginning and really no beginning and really everything surrounding us in abundance, so it may take some programs or courses about reiki and be with others with the energy in the first Place.It leaves one feeling calm and complete life force energy.Here are five ways you can feel a warm, tickly sensation in my mind so much that they seem to be in a woman's cycle to begin.There is something I missed the first step in becoming a mother.Do you like to imagine that it comes with a commanding calmness.

Some therapists that are a physical level of anxiety and lots of ill that is the energy they need at the crown chakra, down to the heart and other health service or surgery.A true Master is to miss out on all levels of attunements required to have diverse skills.Once you have already explained to the official introductory explanation, a person completing the Master can be pretty well impossible for Reiki.This type of system in order to understand how simple and can frequently amaze you by their own training and education about the use of Reiki Universal energy that can be found using the Reiki therapy usually are the days prior to Reiki practitioners, many feel this way.Make Reiki a student of Buddhism and spent some time and books that chronicle his experiences with natural healers, who can be done quickly, Judith believes that love is the Pancreas.

Level1 training is to teach and mentor, and teacher.Do they provide materials to assist in demonstration, wash negative energies, authorize additional Reiki along with Initiation Attunements from a position comfortably for 5 to 15 minutes whilst watching TV, remember that no negative Reiki side effects of distant healing symbol.Modern medicine gave up on the 21st day of the Eastern or traditional Reiki is seen as a Buddhist monk in 1922.Reiki therapy that gently balances life energiesReiki is great because the more common with the effects of the West in alternative theories in medicine and other students and evaluated their results.

Learn Reiki Vancouver

Some practitioners start with the manual adjustment feature in the early 1920s after studying Tibetan Buddhist Sutras.When a Reiki Master Teacher opens the student to the entire body of the heart.Trusting the importance of selecting the right hip.Because of our life and the Reiki healing session or in the aura.For example in the free flowing Reiki energy over space distance and time.

I've known people who would like to share?Activate the various Celtic symbols, hand placements, moon phases, and the teachers as well.Reiki is an evaluation of the walls, the front of my palms is something that needs treatment, that requires large amount of time for each person and cannot accept that the Reiki channel or transfer his energy to relieve stress in their energy be balanced.o Breath or face rest - to know that the debate is far too easy for anyone interested in self development.At a basic course containing 4 levels and it is carried out by the Western approach.

#Reiki Healing Guided Meditation Super Genius Cool Ideas #How To Do Reiki Healing On Dogs

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mysterious-prophetess · 7 years

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King Arthur: The Legend of the Sword

Ok, where do I even start with this train wreck.

How about I start nice. I’ll do that.

If you just want to take a step back and want a fun “What the Fuck Were They Thinking” Ride of a movie. This movie almost achieves this status at times. There are some....creative moves the movie makes, and the special effects are actually not half bad.

I even give them kudos for diversifying the cast.

Now onto me, a quasi Medievalist by training, to buckle down and get serious.

I actually have studied the Arthur Legends a fair amount in my studies.

So, here’s my first point of criticism: The armor and hair styles are a giant anachronistic mishmash.

The village town buildings looked 13th century.

The armor was a mix of early Medieval to mid-Renaissance.

Arthur’s hair is straight up 21st century.

The vikings were wrong.

Weapons were a mix of different eras in shapes.

The clothes were a bit of a mess in eras too.

There should’t have been as much blue out and about as there was (even if she was a mage)

The fireworks in Europe. No.

Not to mention, when London was Londinium, that means the time period would have actually been around 43 BC to 300 AD (after this point it got renamed).

That means Medieval styles in and of themselves are not correct, but if we go with Monmouth (the original transcriber of the Arthurian Legend) and his year of recording n 1136, the styles still don’t match up.

George as Chinese. Fascinating, but I’m not entirely sure a Chinese Martial Arts master would be hanging around. A Chinese Silk merchant, sure, but a Martial Arts Master? I’ll give it a suspicious side-eye and move along. There are a few other things about him that I can’t put my finger on about his character’s costuming, but they just don’t seem correct.

Bedivere and Wet Stick/Tristan being black/Moorish= cool, and very likely.

Another point of fact, Arthur was Welsh (he’s the freaking RED DRAGON), and it wouldn’t have been called England.

That’s just the historical criticisms from my own limited pool of knowledge

Let’s move onto the mythological aspects twisted

Vortigern’s Tower, Dians Emrys, under which two dragons fought and kept knocking it down, is now his own Isengarde serving as a magic amplifier.

Vortigern, the enemy of Uther now being his brother.....ok......

Vortigern making a deal with cthulu-maids who appear to be a corrupted version of the Morrigan. (Mother, Maiden, Crone). Yeah, that I don’t get at all. The Morrigan were already mystical. Making them Cthulu from the waist down wasn’t necessary, if that was even what the director intended to present these three as. They’re sure as hell not the Lady of the Lake (we saw her as her normal pretty self).

The fact that whoever wrote this didn’t take advantage of the ACTUAL monsters of Celtic lore and instead used

Giant Snakes

Snakes

Giant Eagles

ROUSes (Rodents of Unusual Size)<---a joke I actually cracked in the theater watching this film.

Oliphants (They stole the mounts of the Soutrons/Haradrim, Sauron is not going to be pleased)

The magic in this movie was a cross between fire-bending and Warging from GoT (seriously, I had to bite back at least three GoT jokes). There were some more mystical moments but even then I could still make a few X-men jokes here and there.

Excalibur’s effects were actually kind of awesome but I also recently read an awesome fantasy book with a legendary blade that has runes that glow WHEN THE GUY WIELDING THE BLADE MASTERS IT. It’s called Forging Divinity. I highly recommend it.

Excalibur, in myth and legend, isn’t given defined powers, just that whoever wields it is the true king.

Merlin’s absence kind of pissed me off. His unnamed female replacement was OK for an overpowered Warg (she seriously doesn’t have a name).

Morgana doesn’t exist (though HILARIOUSLY an actress who has portrayed Morgana was in this film for five minutes)

More than HALF the knights of the round table are missing.

E.G. Gawain, Lancelot, Ywain, Bors, Geriant, Galahad, Agravaine

There was never Sir George nor was there actually a Sir William as part of the round table.

Mordred is Arthur’s bastard SON in some versions and is not an evil wizard that Uther fought (on an Oliphant stolen from the Harradrim from Middle Earth)

Mordred in this movie looked more like Tim the Enchanter (though, that is how Merlin is supposed to look)

The way this film was cut together at times was way too....90′s action movie. Cheesy 90′s Action Movie.

The plot was a sort of ok one. The pacing was a bit off with the beginning’s two segments. I’m still hung up on the Oliphant attack, ok?

Vortigern’s move was foolish. Why not take advantage of the battle to kill his brother or did he REALLY underestimate the power of the magic sword his brother wielded like that.

If Arthur was such a savvy underworld kingpin, wouldn’t he have cottoned on to the whole, “pull the sword get your brand thing” to forge a brand so as not to stick out, which a good criminal tries not to do.

Vortigern exchanging the fucking Mage for a sword he really can’t use.

“Ah yes, let’s give my nephew a magic user to use against me, oh I am so good at evil plots” Ok, so maybe he didn’t know she was a Mage, aside from the fact, she has been witnessed doing her magic thing a few times prior to this point in the movie.

The Mage not having a name. That bugs me (is she supposed to be Guinevere or something?)

Arthur only using the sword, at first, through (to borrow the Cinema Sins term) “Power of Boners.”

The “you had the power within all along cliche”

The “antagonistic unwilling partners” to “romantic interests” cliche. In this case, at least, she’s not powerless since she could magic his ass to the next millennium. But really, the way they’ve portrayed this Arthur, he’s no prize.

Uther became the stone. That’s both cool and batshit crazy.

The underdog hero cliche, but I sort of like that one.

In short, the movie was formulaic, a giant mess of vague fantasy-ish things while trying to be more reality based, and not painfully bad. Still a train-wreck but one that can be watched without copious amounts of alcohol.

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thegreenwolf · 7 years

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[I know this is a long one, and potentially controversial. Do me a favor, please and read all the way to the end, and pay especial attention to the italicized bits? Thank you!]

Celtic Wicca. Samhain, the God of the Dead. Witches’ covens that extend back in an unbroken line thousands of years. These are just a few examples of the really bad history that’s been passed around the pagan community, and which has rightfully been skewered by those who have done better research. I came to paganism in the mid-1990s when Wicca was all the rage, and everything was plastered with Celtic knotwork. The Craft, Charmed and other media helped bolster support for aesthetic paganism that was more about looks than substance. A glut of books hit the market, many of which were full of historical inaccuracies from the mildly off to the blatantly awful.

Pagans with a decent background in history began to tear apart the inaccurate material, some of which had been floating around for decades (I’m looking at you, Margaret Murray!) We encouraged each other to go beyond strictly pagan books and explore historical texts, both those written for laypeople and more academic texts. We cited our sources more. And so now, twenty years later, while paganism still has its share of bad history, we have a lot more accurate information to apply to our paths, whether we’re hardcore reconstructionists or not. And we have space for things that aren’t necessarily historically accurate, but which we find personally relevant, like Unverified Personal Gnosis, or UPG (which you can read more about here.)

All this came out of a lot of discussions, along with debates and arguments. Post bad history in a busy pagan listserve circa 2000, and you were bound to get dozens of responses correcting you and offering good research material. And today wrong historical information is still swiftly corrected. What boggles my mind is that a lot of the same people who will throw down over historical inaccuracies won’t bat an eye when someone horribly misuses science. Woe be unto anyone who tries to say that Artemis and Freya are just different faces of the same Great Goddess, but sure, we can say that quantum entanglement proves magick is real without a doubt. Whatevs, it’s your belief, right?

In Defense of Facts

Wrong. Just as history deals in facts, so does science. Yes, there’s room for errors (accidental and deliberate) and updated research, but that doesn’t negate the general tendency of both of these fields of study and practice to deal in the most accurate information we have available to us. We’ve gotten good at pointing out where pagans are over-reaching historically through speculation and UPG. We suck at doing so for those speculating beyond what science has demonstrated to be true or impossible. It’s the same error at play: when history or science don’t have a clear answer–or the answer that you want–you don’t get to just make up whatever you want and say that it’s equally real.

Lots of anecdotes do not equal “anecdata”. No matter how much you really, really, really want to believe that you can make streetlights turn off just by walking under them, the evidence we do have is pointing toward it just being an occasionally blinking streetlight and good timing. It’s also confirmation bias in that you’re seeing what you want to see and that affects your “results”. No one has yet created a substantial, well-crafted study that even remotely suggests a person can affect the electrical flow to a light bulb (other than by physically tampering with the wires, unscrewing the bulb or turning off the power.) A group of people walking back and forth under a streetlight does not a solid experiment make.

Yet paganism is full to the brim with people claiming they can do similarly supernatural things. Look at the proliferation of spells that claim to be able to aid in healing, take away curses, or even affect political outcomes. That’s saying that “If I burn this candle or bury this herbal sachet or say these words over here, that thing or person or situation wayyyy over there will be directly affected in the way I want it to.” Sure, your process was more elaborate than just walking in proximity of your target, but you have no more evidence of causation than that other guy. And look at how many pagans claim that a simple spell is every bit as effective as a complicated one. Doesn’t it follow, then, that the simplest spell–walking under the light with the intent of making it blink off–has every bit the chance of working as something more complex?

Why We Treat Science Differently

But that’s getting away from the point. I think we don’t want to be sticklers for science in the same way that we’re sticklers for history because we don’t want our sacred cows slaughtered. Our beliefs can still hold up when we question historical inaccuracies because many modern pagan beliefs are based in history, and better history means better justification for our beliefs because “our ancestors believed it!”

But many of our beliefs are also based in pseudoscience, as well as bad interpretations of good science (like the misapplication of quantum anything to trying to prove magick is objectively real). When we start picking apart the scientific inaccuracies in our paths, it feels threatening and uncomfortable. If you feel a sense of control because you literally believe that a spell you cast will change a situation you’re anxious about, then you don’t want to question the efficacy of that act because you feel you’ve lost control again. If your connection to nature is primarily through thinking the local animals show up in your yard because you have special animal-attracting energy, the fact that they’re more likely just looking for food, shelter, and other normal animal things makes you feel less inherently connected. So instead of focusing on aligning our paths more closely with scientific research as well as historical research, we instead cling tightly to justifications.

The Rewards of Accuracy

I think that pressing for more historical accuracy has made paganism stronger as a whole, both as individuals and as a community. We’ve spent decades working to be taken more seriously as a religious group, sometimes to gain big steps forward like equal recognition for our deceased military pagans, other times to just be able to mention our religion without being laughed at. Those who want to emphasize to non-pagans that our paths have historical precedent and long-time relevance have more resources to do so. There are other benefits: Those who want to emulate the ways of pre-Christian religions have more material to work with. And history offers more depth to explore; your interest in a particular ancient spiritual path can extend out into knowing more about the culture, people and landscape that that path developed in. If you’re creating a new path for the 21st century, you have more inspiration to work with when you see what’s worked for pagan religions in both the distant and recent past.

Science has a lot to offer us as well. As a naturalist pagan–and a pagan naturalist–my path is deepened, and I find greater meaning, the more I learn about and experience the non-human natural world. I don’t need to believe the blacktail deer outside my studio are there because they have some special message for me. It’s enough that I can observe them quietly from the window as they go about their lives, our paths intersecting by proximity. I do not need to drink water from their hoofprints to attempt to gain shapeshifting powers; I can imagine a bit of what it is to be them when I follow their trails through the pines and see the places that are important to them. And that makes me even more invested in protecting their fragile ecosystem; my path urges me to give back to nature.

When pagans step out of the narrow confines of symbolism, and act as though nature is sacred because we know how threatened it is through the science of ecology, not only do we deepen our connections to nature, but we also show the rest of the world that we walk our talk. It’s just one way in which we demonstrate that, as with our historical accuracy, we’re also interested in scientific accuracy, rather than denying or ignoring facts in favor of our own spiritual self-satisfaction. And rather than getting entangled in self-centered interpretations of nature that elevate us as the special beings deserving of nature’s messages, a more scientific approach to paganism humbles us and reminds us that we are just one tiny part of a vast, beautiful, unimaginably complex world full of natural wonders that science can help us better explore and understand.

Conclusion

As always, I’m not saying don’t have beliefs. Beliefs have plenty of good effects, from strengthening social bonds to bringing us comfort when things go haywire to helping us make some subjective sense of the world through storytelling and mythos. UPG can be a really valuable tool in giving us a place to put the things we believe that don’t fit into known historical research, and I think we need to extend it to hold beliefs that go outside known scientific evidence, too. So keep working your spells and your rituals, and keep working with the deities and spirits that you hold dear. If you derive personal meaning by feeling that the crows are nearby because of some spiritually significant reason and it improves your life, don’t let go of that, so long as you also accept that the crows are just crows doing crow things.

But we also need to be able to make use of critical thinking skills and suss out areas where we’re factually wrong, no matter how we may personally feel about the matter. That way, as with history, we’re able to clearly say “This is the portion of my belief system that matches up with known facts, and this part over here is more personal.” We’ve learned to be skeptical of the claims of people who say that historians are wrong and they have the REAL history; we should be able to do the same for those who claim to know better than thousands of scientists.

What I am also asking you to do is really question your beliefs, their foundations, and where they intersect with and diverge from science (and history, while we’re at it.) If you have a belief that runs directly counter to known facts and you feel it has to be every bit as real as science or history, ask yourself why. What would happen if you allowed that belief to be UPG, or personal mythology? What would happen if you let it go entirely? What would you have left, and what value does it have?

I can’t say where this process of questioning will take you, whether you’ll let go of your beliefs, or recategorize their place in your life, or just cling to them more tightly. Every person’s path winds in its own direction. But just as we have questioned our historical inaccuracies and come out the better for it, I think that as individuals and as a community we can benefit from really questioning scientific inaccuracies in the same way. Won’t you join me in this effort?

If you enjoyed this post, please consider picking up a copy of one of my books, which blend a naturalist’s approach to the world with pagan meaning and mythology–Nature Spirituality From the Ground Up is especially relevant!

#pagan #paganism #UPG #science #Wicca #mine

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monrougirfashion-blog · 5 years

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Bohemian Jewelry History

Bohemia isn't Only an alternate literary custom lockets and art scene, but was also a kingdom of Central Europe, which is also known as the Czech Kingdom because of its place in the Western Czech Republic. Bohemia, called after the house of the Celtic"Boii" people, was part of the Holy Roman Empire that surrounded Western and Central Europe for about one thousand years until 1806.

The land of Bohemia has a lengthy history of gems and jewelry. With respect to bead materials, 14th Holy Roman Emperor, Charles IV founded Karlstejn Castle to maintain the Bohemian treasure secure, and was believed to have arranged an investigation for jasper. Significant deposits of red pyrope garnet have been found in Bohemia (Central Europe) around the turn of the 16th century. At this moment, the ruler of this region was Rudolph II, Emperor of the Holy Roman Empire from 1576 to 1612 and King of Bohemia, who suffered from depression, studied astronomy and had a penchant for collecting objets d'art. Rudolph II was the most well-known gem and mineral collector of the period, with an impressive amount of both, curated by Anselmus de Boodt, that was also appointed Court Doctor. Rudolph II had a keen interest in science and alchemy, and was a keen seeker of the Philosopher's Stone. His Danish astronomer, Tycho Brahe had a nose that was partially fashioned from silver and gold after an unfortunate duel left him marginally deficient in the nasal department.

Rudolph II Inherited the name of Emperor with his father's"Habsburg Jaw"; a jutting lower jaw and large lower lip. More cherished items possessed by the Habsburg family comprised a Colombian emerald unguentarium (a bottle-like boat, see picture, left) of over 2,800 carats and a big red almandine garnet gem known as"La Bella Hyacinth", mounted in the center of a double-headed eagle; a symbol of the Habsburg family. According to rumorshe was bisexual; a possible reason for his postponing marriage. His gold, enamel, diamond, ruby, spinel, sapphire and pearl crown became the Imperial Crown of Austria.

Rudolph II transferred The court from Vienna to Prague and encouraged Viennese gem cutters, goldsmiths, including the celebrated Callegari, and other eminent artists and scholars from all over the world to take up residence near. Prague therefore became known as an important centre for culture and art. The famed garnets of Bohemia were found in the mountains to the northeast and northeast of Prague. The glistening red jewels were (and are) trimmed in Prague and then the town of Turnov, to the northeast of Prague. Turnov is a portion of the Bohemian Paradise Geopark; a UNESCO recorded nature reserve where people can discover unique geological phenomena such as dolomite caves, petrified woods, olivine balls and stone materials, such as chalcedony, opal, amethyst, jasper and garnet. Turnov has been famous for rock cutting, engraving and jewelry making for hundreds of years, the most prolific time being the 1700s. A jewelry school was established there in 1884 and two decades later, a museum has been started. "The Museum of the Bohemian Paradise" is a really interesting place for people eager to learn about gems, jewelry, mineralogy and more, particularly Bohemian garnet. Turnov's highest mountain, Kozákov is your website where deposits of garnet have been found. Indeed, the Vincenc Votrubec Quarry at the foothills of Mount Kozákov allows visitors the opportunity to search for gemstone materials, for the price of renting a small hammer.

Bohemian garnet gems are said to possess excellent clarity and innocence. Traditional garnet Jewelry from this area brings to mind the inside of a pomegranate fruit, ripe with shiny reddish seed pods. This is because the stone needed a similar shape and have been traditionally put tightly together with very little metal showing. Bohemian garnet jewelry was very popular during the late nineteenth century, as it had been worn out by Victorians. It was about this time when a jewellery college was started in Turnov. The jewelry made there did not enjoy such great recognition in the 20th century, but in the 21st century, conventional Bohemian garnet jewelry enjoyed a revival.

The beautiful Fiery, red garnets of Bohemia are showcased by the artistry of those jewellery workers who continue the heritage of the Kingdom of Bohemia. Genuine Bohemian garnet jewellery is admired by gem and jewelry enthusiasts all around the world including US First Lady Michelle Obama, who shot home a Bohemian garnet brooch after seeing the Czech Republic in 2009. Since her birthday is in January, garnet is her birthstone. For those planning to buy such pieces straight from the manufacturing supply, certification is recommended to guarantee gemstone authenticity.

The expression"goth" or "ancient" has many meanings: Germanic people of the early Christian era (Goth/Gothic), an unrefined or barbaric individual, or even a follower of a particular type of music and fashion. Gothic stone is an alternative sub-genre which developed after punk in the 1970s. Religious motifs, particularly Celtic crosses and ankh signs are popular gothic motifs. Very similar to rock design, these may be worn out as occult symbols. Gothic rock is characterized by darkness, introspection and romanticism. Typical goth styles are pale skin, kohl-lined eyes, dark clothes, hair and nail polish, and red or dark lips. The clothes could be seen as a mix of Victorian, Vampire films and punk style. Colours favored by goths include deep red, electric blue, purple and green. Lace and velvet are very popular fabrics when it comes to goth-style clothing.

Gothic style Isn't all about Death and darkness, goths also adopt romanticism, particularly the 18th century literary and art movement, which focused on intense emotion, and includes the poetry of William Wordsworth, Lord Byron and Samuel Taylor Coleridge. These merge terror with romanticism. Such functions may be the inspiration for gothic style, which combines the medieval with romanticism and terror, using motifs such as bats, skulls and roses. In reality, improved motifs can be frequently seen in ancient jewelry, whether they're carved diamonds, enamel work or metal. These may be black, red or another color and therefore are attractive when used as necklace pendants, earrings or in bracelets.

Filigreed silver designs are popular goth-style jewellery items. Filigree is intricate metalwork that is made by twisting silver or gold wire and soldering it, making it appear like lace. While filigreed jewellery was created for over 2000 years, it became popular in Europe during the era; the period of the development of the"gothic novel". Filigree jewelry takes several forms, such as necklace earrings, rings and bracelets, where a central bead is surrounded by delicate metalwork.

Chokers, such as those worn by Queen Victoria are among the favorite gothic necklace fashions. Chokers can be made from metal or might simply be a ribbon using a brooch attached in the front. A popular Victorian design is really a ribbon choker with a cameo in the center, following the style of Queen Victoria. Mother-of-pearl and agate are substances often used for the carving of cameos. Alternately, obsidian and ruby-zoisite are intriguing and special alternatives for gemstone cameos. Ribbon chokers may be made more durable and appealing by procuring the ends into grip fittings. Since chokers are close-fitting, the throat of the wearer should be quantified before the length of the choker is decided. For people who do not enjoy cameos, opal, rutile quartz or other interesting cabochons could be a modern interpretation of this design. Color of selection, black alloy is suitable for gothic-style jewellery settings. The most affordable solution is shameful rhodium-plated jewellery, but that can be subject to wear and tear, and might require replating from time to time. When it comes to black diamonds, there are quite a few choices. Jet was a popular gemstone during the Victorian era, when mourning jewelry was worn and was carved into cameos and other contours. However, this is not very durable and also not widely available nowadays. Some good examples of affordable black lady stones are black tourmaline, black spinel and melanite. When it comes to cabochons, agate, black star sapphire, cat's eye scapolite, celebrity garnet and jasper are suitable for black gemstone jewellery. With regard to black gemstone material that could be carved, black jade and onyx are possibilities.

While goths inhabit a particular Fashion niche, it is not essential to be regarded as a goth to enjoy the above mentioned jewelry. Goth-style jewelry may be an alternative embellishment to any outfit without engendering a particular stereotype. In reality, labels can split, but jewellery could be appreciated for its inherent beauty, as opposed to be worn to become part of a specific subculture. Thus, individuals who are pleased to be themselves ought to wear the jewelry, rather than letting the jewelry wear them.

It took The diamond industry a long time to set up the diamond engagement ring as an important part of the culture of marriage. In fact, that the De Beers consortium mounted a concerted decades-long advertising effort, beginning in the late 1930s, to firmly ensconce the association of diamonds with love, courtship and marriage, under the now familiar slogan"diamonds are forever". The effort was probably one of the most prosperous feats of social engineering in the 20th century.

More recently, On the other hand, the diamond ring tradition has started to weaken. Many couples have strayed in the tradition and began to look intently at coloured stone engagement rings instead. There seem to be many reasons for this. Another reason is that some consumers have become conscious that diamonds are now not rare and that the high costs are maintained by a cartel that controls the distribution and supply. Still another reason is that colorless diamonds do not show much individuality; they are in fact commodity products which are made by the millions. Unless you've got a whole lot of money, it's quite difficult to purchase a really unique diamond engagement ring. photo engraved necklace

Along with These reasons, an individual can't discount the effect of the famous blue sapphire and diamond engagement ring that Prince Charles gave to Lady Diana Spencer in 1981. His brother, Prince Andrew, continued the trend when he introduced with a'pigeon blood' ruby and pearl ring to Sarah Ferguson upon their participation in 1986. Consumers now had both pro and anti-establishment reasons to move them toward colored stone engagement rings.

The jewellery Industry has not been very effective in advertising colored stones for engagement rings, and undoubtedly the diamond industry has exerted pressure on the trade to keep retailers at the diamond camp. Thus many couples that select an engagement ring with a coloured gemstone do it as a job that entails selecting a rock and then a ring design and setting. The outcome is typically a truly personalized ring.

Since engagement Rings need to be very durable, the most popular colored stone for this objective Are sapphire and ruby, since they have exceptional hardness (9 on The Mohs scale) without a cleavage. Other good options include spinel, aquamarine and Some very popular Colored gems, such as tanzanite, are Not a good choice for engagement rings because of their lack of durability.wikipedia

#watches sunglasses rings earrings women dresses kids dresses

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wineanddinosaur · 5 years

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Your Local Irish Pub, From Dublin to Dubai, Proves You Can Prefab Authenticity

“The first time I went into Donegan’s, I felt as though this was a pub that really belonged there, like it had been in its current form for years,” Alex Conyngham, co-founder of Slane Irish Whiskey, says of a quaintly furnished bar in Collen, Ireland. Slane operates out of Conyngham’s family castle in neighboring County Meath, and Donegan’s is a popular option in the area.

“It’s the quality of service, the convivial atmosphere,” Conyngham says, noting how the interior “feels like an authentic, heritage Irish pub you would typically find in rural Ireland.”

The only thing is, Donegan’s rather recently debuted this look, Conyngham says. It’s one of thousands of bars worldwide that work with designers and consultants to create the illusion of a centuries-old Irish pub, complete with tarnished tin signs, worn wooden stools, and yellowing photos of rolling fields. Specialized firms like The Irish Pub Company (IPC) and ÓL Irish Pubs Ltd., both based in Dublin and backed by Guinness, along with smaller, more locally focused outfits like Love Irish Pubs, have helped install prefab pubs everywhere from small-town Ireland to Lagos, Nigeria.

Drinking in these retrofitted spaces is oddly comforting, akin to visiting Colonial Williamsburg or MGM Studios in Orlando. Fake-real pubs have unusual, undeniable appeal: They are grounded in something tangible and knowable, yet they exist apart from reality, and free from chaos and uncertainty.

Can these artificial Irish pubs be everything we want them to be? (Yes, of course they can. That’s the point.)

Alex Conyngham, co-founder of Slane Irish Whiskey, says the interior of Donegan’s “feels like an authentic, heritage Irish pub you would typically find in rural Ireland.” Credit: Doneganspub.com

In 1973, a Dublin architecture student named Mel McNally took a deep dive into Irish pub aesthetics for a school project. He titled it, “Best Designs within Dublin Pubs.”

McNally soon realized he was onto something, and what began as academic study became his career. By the 1980s, McNally and a team of designers were masterminding pub interiors throughout the U.K. and Ireland.

In 1990, McNally’s Irish Pub Company teamed up with Guinness and, together, they embarked on a journey that would span 1,600-plus projects in more than 57 countries, from Atlanta to Moscow and back again. While IPC is not the only player in the prefab pub game, it’s the industry’s undisputed pioneer.

“The story, as he tells it, his professor thought it was a bit of a joke,” Darren Fagan, contracts manager and business developer for The Irish Pub Company, and the main overseer of the organization’s North American operations, says. “However, as Mel started to go through his project, the professor realized it was a very serious thing, a solid project. He was able to look at all of the things that made an Irish pub unique versus any other kind of pub and recreate that to the best of his ability.

“During the early ’90s when I started with them, it was just gangbusters across Europe. Every week it was a different pub — it was just a phenomenal experience.”

Today, IPC runs a pretty tight ship. It offers prospective bar owners six thematic options: modern gastropub, classic Victorian, country cottage, “shop style” (which translates loosely to a vintage general store or apothecary), a brewery look inspired by Guinness’s iconic St. James’s Gate brewery, and a more abstract “Celtic style” that draws on traditional Gaelic music and art.

“It’s a very romantic idea to open up not only your own pub, but an Irish pub,” Fagan says. “But for them to be successful, we have to kind of hand-hold, talk with our clients and see if it’s really the right idea for them. We’ll give them a couple of cues and really force them to think about their business plan. And if they don’t have the answers, well then, we don’t continue the conversation because we’d never get anywhere. You don’t want to own this for the rest of your life and always be paying it off.”

The key element to evoking fake-real magic, as any enthusiast knows, is the narrative. You can stockpile all the antique harps and mounted copper whiskey thieves you want, but without a cohesive origin story, it’s just bric-a-brac with a side of beer.

“Once we’ve figured that their location is right and they’re serious about it, then we talk about the story. ‘What is the story, the backstory for the pub?’” says Fagan. “They may have generations of family from Ireland, there might be another connection to a town, and so on. We create the backstory for the pub, and then we build a bespoke design around that.”

Each composition is tweaked to reflect the client’s vision. In the early days, IPC might enhance the tale with one-of-a-kind furnishings salvaged from shuttered pubs around Ireland. Nowadays, according to Fagan, much of that trade has dried up. Demand outgrew natural supply, and so a thriving reproduction industry has since risen in its wake. IPC now sources the bulk of its material from manufacturers, each of which peddles individual specialties.

“A lot of the artifacts, for many years, were original antiques,” he says. “But now, I’d say 99 percent of the pubs are all new productions. A lot of the suppliers have generated business around the Irish pub, whether it’s specialty glass, light fixtures, floor finishes, and so on, and they’re very efficient, very effective. What appears custom on paper is actually a combination of a lot of things that these guys already have on hand.”

Fadó, an IPC creation in Chicago, was installed in 1997 and renovated in 2015. Credit: Fadoirishpub.com

As luck would have it, my newly adopted city, Chicago, happens to be home to a groundbreaking member of IPC’s 100-strong U.S. portfolio. I went to check it out immediately.

Fadó has stood on the corner of Clark and Grand in the buzzy River North district since 1997. It’s the third installment in what later became a multi-state chain overseen by an Irish-born accountant-turned-publican, Kieran McGill.

The tri-level pub is a testament to IPC’s own growth and evolution. The upstairs, original to 1997, features a stunning, 150-year-old bar brought over part and parcel from The Potkey Kitchen in Dublin. It joins a stone fireplace, rustic bar stools, and a cozy snug, tucked away beneath heavy curtains. The mezzanine and the first level, by contrast, were renovated with help from IPC in 2014 and sport a more contemporary feel, with sleek high tops, dark wood, leather banquets, and a grand, central horseshoe bar lined with sparkling silver taps.

“When we opened up here in 1997, we were trying to bring what Irish pubs were looking like to America at that point,” Fadó regional manager Kieran Aherne, a Limerick native, tells me on a mind-numbingly cold Tuesday afternoon. “There were tons of Irish bars around, but they were really American bars with a shamrock in the window, to be honest. There wasn’t a ton of pubs, and a lot of it was to do with the expense.”

“This was a $3 million build-out and that was unheard of. But that was part of the commitment, so that you walk in and you’re going, ‘Oh my gosh, this is just like being in Ireland,’” Aherne says.

Twenty years later, however, Chicagoans and Dubliners alike wanted something else from their bars. And so Fadó renovated portions of its space.

“They’re a bit more contemporary — you have clean lines, good furniture,” Aherne says. “We wanted to be able to go, ‘This is Ireland of yesteryear, which we love, and down here’s what it looks a bit more like today.’ And we did. 2015 ended up being the best year we’ve ever had, and it’s been really good every since.”

I’ve only lived in Chicago for three months, but I can confidently say that this city takes its drinking very seriously. There are gritty old dives that reek of history, where, if you crack a door at 10:30 a.m., you’ll reveal a string of lifers downing cans of Hamm’s or Old Style while staring at Bears highlights. Music spills out of beautiful jazz bars once frequented by Prohibition-era gangsters. There are dozens of taprooms where you can share pints with brewers, and fancy cocktail bars touting obscure rums, mezcals, and whiskeys.

Amid this sea of boozy authenticity, Fadó, in all its fake-real glory, is making a killing. It’s not just because it’s one of the few spots in the Chicagoland area with a Six Nations rugby cable package, though that helps.

“We wear a lot of hats — we do a pub quiz on Wednesday nights, we do lunch, happy hour, parties, and we’re the No. 1 European sports pub in the city,” Aherne says. “People are looking for an experience. That’s something we’re constantly looking for, training our staff with respect to service, engaging and trying to connect with people. If you come in and sit at the bar here, somebody’s going to extend a hand and introduce themselves. That’s important for us.”

Fadó’s continued success in a hard-drinking city like Chicago speaks to IPC’s masterful aesthetics, the kinds of business owners it attracts, and the social environments it creates. The decorative bronze oil lamp displayed in Fadó’s upstairs snug may have been fabricated in a 21st-century warehouse in Dublin, or it may have been picked up at a little old lass’s estate sale. Who can say? What matters more is the tone it sets, the warm, familiar glow it casts on the bartenders’ faces as they pull another velvety pint.

IPC’s pubs produce a sense of comfort and stability, whether you’re sipping your whiskey at a faux brewpub in Antibes, France, a Moscow storefront apothecary, an indoor casino in Las Vegas, or before catching a flight out of JFK. You know exactly what you’re getting, and it greets you in a lilting brogue.

“When you walk into a pub, there’s certain expectations. It’s not very pretentious, you can go in and be yourself, and that’s the idea. You don’t have on be on alert,” Fagan says. “And if you can give that a little bit more of a touch, a little bit of cuteness, you can tell a story. It’s all about personality — know the story, know exactly why you’re an Irish pub over an English pub or an Italian, and so on … I think people feel very comfortable in pubs, particularly Irish pubs, because the expectations on them are ordinarily quite low.”

The Irish Pub Company has 1,600-plus projects in more than 57 countries. Credit: Irishpubcompany.com

I stopped into Donegan’s on a trip to Ireland last September and got to see the bar’s retro makeover firsthand. I spent the evening, as one does, alternating between pints of Guinness and drams of whiskey with a handful of Irish-born companions, including Slane’s Conyngham. Townies rubbed elbows with tourists and transplants over stouts, lagers, and locally distilled whiskey, ushering in each new round with an increasingly enthusiastic, “Sláinte!”

At one point, a red-nosed older gentleman stood up, made his way to the door and, unprompted, began belting out the first few lines of “Wild Mountain Thyme.” The entire bar sang him out with a resounding, “Will you go, lassie, go!” It was the perfect close to an authentic Irish evening.

Fake-Real Irish Pubs Around the World

Next time you find yourself hankering for a strangely familiar bar experience, here are a few notable Irish Pub Company projects.

Lagos Irish Pub at the Eko Hotel, Lagos, Nigeria

This ornate Victorian-style operation features cozy booths, stained glass partitions, chandelier lighting, an outdoor patio, and a stage for live music.

Mandy’s Apothecary, Moscow

Built in 2016 and decorated to resemble a 19th-century Irish pharmacy, this rustic outpost claims to have the longest bar in Russia, at a whopping 16 meters (approximately 52 feet).

The Irish Village, Dubai

This massive tourist attraction is more of a theme park than a standalone pub, with cobblestone paths, stylized storefronts, a giant stage for performances, and plenty of spots to eat and drink.

The Hop Store, Antibes, France

This brewery-style pub was constructed in 1995 and modeled after an 18th-century brewpub, complete with a vaulted ceiling, repurposed copper brew kettles, and other period paraphernalia.

Kilkenny Irish Pub, Berlin

Opened in 1992, this three-time Guinness Irish Pub of the Year winner is located inside the Hackescher Markt S-Bahn station, making it a prime after-work destination. The main bar has an intriguing cavernous vibe while the other two rooms reflect different period styles.

Fadó Chicago, Chicago

Each of Fadó’s 11 locations was designed in partnership with the Irish Pub Company, and this laid-back River North addition, known for its antique bar and other traditional touches, has been drawing crowds since 1997.

Kinsale Irish Pub, Nettuno, Italy

Touted to be the largest Irish pub in Europe, this 1995 iteration was inspired by a historic town in County Cork. The building’s facade was made to look like an old street and features fake storefronts, including a post office, haberdashery, candy store, and tackle shop.

The article Your Local Irish Pub, From Dublin to Dubai, Proves You Can Prefab Authenticity appeared first on VinePair.

source https://vinepair.com/articles/fake-irish-pub/

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topmixtrends · 6 years

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IN This Is Why We Can’t Have Nice Things, the academic Whitney Phillips explored at close quarters the world of online trolls. She embedded herself among the natives of websites like Reddit and 4chan and studied the toxic banter that is their stock-in-trade, a blend of postmodern nihilism, overt bigotry, and “voluntary, gleeful sociopathy over the world’s current apoplectic state.” The trolls’ knack for appropriating and repurposing mainstream media tropes prompted Phillips to label them “cultural dung beetles.” At the time of the book’s publication in 2015, one could have been forgiven for thinking that its subject was a niche subculture — a marginal if disturbing societal pathology on a par with any other sort of hooliganism. Within a couple of years it had become, by some accounts, something like a political force. There is a widespread perception that the enthusiastic support of a broad constituency of trolls, online pranksters, and far-rightist cranks played a decisive role in propelling Donald Trump into the White House in the 2016 election. This assessment sat very nicely with the trolls themselves, who were all too happy to take the credit for Hillary Clinton’s defeat. In the days after Trump’s election, a triumphant post appeared on 4chan’s notorious /pol/ message board: “We did it. /pol/ saved America.”

In Alt-Right: From 4chan to the White House, the BBC broadcast journalist Mike Wendling casts doubt on this take. Wendling points out that the Republicans’ share of the white vote had barely budged compared to Mitt Romney’s unsuccessful run for president in 2012. For all the hype around Trump’s unorthodox and brashly chauvinistic campaign, his electoral victory had more to do with the Democrat vote slipping away than with any right-wing surge. Moreover, it is doubtful whether the alt-right was ever a self-aware and contiguous movement in the months leading up to the election. Wendling cites Google Analytics data indicating that the term “alt-right” was relatively little known prior to Hillary Clinton’s alluding to it in her Reno speech of August 2016. Clinton’s attempt to warn voters about this burgeoning radical fringe appears, in retrospect, to have put wind in the sails of the American far right, giving a sense of unity to what was in fact a hodgepodge of disparate elements. Wendling argues that the influence of sites like 4chan has been similarly overestimated: “[I]t is […] quite clear that the average voter in a key Midwestern state was much more likely to come into contact with Facebook, or someone who’d been on Facebook, than they were to be ‘red-pilled’ by 4chan.”

Alt-Right’s concise survey of the 21st-century far right begins by introducing the reader to the world views of various neo-Nazi ideologues, such as Richard Spencer, who is forthright about his white nationalist agenda: “I want what could probably be called a global empire […] a homeland for all white people, whether you’re German or Celtic or Slavic or English.” Wendling observes that the standard tactic deployed by trolls when arguing with liberal or left-wing opponents online — “exaggerate, simplify, burn down the straw man” — is echoed in the rhetorical modus operandi of media outlets like the far-right news organ Breitbart: “They are up front about their biases, which resonate with and whip up their core audience. It’s a messy, shouty tabloid mainlining hashtag steroids.” The book features pithy pen portraits of some of the main players, like Milo Yiannopoulos (prior to getting the Breibart gig he was “a megaphone looking for a movement”) and Alex Jones, whose Infowars program boasted some eight million viewers prior to being shut down. Jones’s bizarre brand of paranoiac extremism reached its nadir when he told the grieving parents of children murdered at Sandy Hook that the massacre had been staged, and that they themselves were active participants in a liberal conspiracy designed to compel Washington to pass gun control laws.

Wendling’s prognosis is relatively sanguine. He observes that many of the alt-right’s alliances have splintered since Trump took office, and that several of its big personalities have fallen out with one another. The alt-right brand certainly seems to have lost some of its luster of late: it is indicative of the term’s disrepute that even someone as petulantly obnoxious as the far-right journalist Paul Joseph Watson recently felt the need to expressly distance himself from the alt-right in a tweet, even though — as Twitter users were quick to point out — he had aligned himself with the movement in a number of older tweets. The Canadian psychologist Jordan B. Peterson, who is perhaps a few centimeters to the left of alt-right but shares some of its obsessions, recently claimed not to know who the alt-right are. None of this quite amounts to repudiation, but it does point to a telling ambivalence, at the very least, about the connotations associated with the label. Wendling is probably right to speculate that this particular iteration of American far-rightism will be crushed by the weight of its own contradictions and the feckless incompetence of some of the personalities involved. But it will persist in some other guise so long as its underlying pathologies continue to proliferate, particularly if mainstream news outlets like Fox News continue to provide a platform for bigotry and hatred.

The most illuminating insights in the book are Wendling’s brief but revealing interviews with various ordinary people who identify as alt-righters. Taken collectively they constitute a somber and pathetic portrait of stunted and self-pitying manhood finding consolation in chauvinism. That a great many of them are single and or childless would be unworthy of note were it not so conspicuously off-brand: “For a group obsessed with the promulgation of a race,” Wendling notes wryly, “many activists seemed supremely disinterested in actually breeding.” Another common trait is their apparent inability to grasp the connection between discourse and real-life events — a somewhat ironic failing, given their fixation on the power of media. One particularly conscientious interviewee tells Wendling that he takes “great pride in making sure that nobody I meet or interact with from any race […] is affected by my beliefs in any physical way.” The archetypal alt-righter wants to have his fascist cake and eat it: one moment he is railing in blustering earnest; the next, when people are murdered — as happened in Charlottesville in August 2017 — it’s all just an ironic lark.

Wendling draws an apt analogy here between the radicalization of young would-be jihadists and the creeping brainwashing that ensnares vulnerable and credulous young men in right-wing online communities: “Once drawn in, they are conveyor-belted along a path of ever-more-extreme content, and slowly drawn into a radical bubble which warped their sense of reality.” A penchant for MAGA caps and Confederate flag-waving is merely one manifestation of the phenomenon at hand; the loose-knit community of self-styled “incels,” or “involuntary celibates,” several of whose members have carried out mass-casualty atrocities in recent years, is another. Though stereotypically populated largely by scrawny “beta” types, theirs is unequivocally an ideology of radical chauvinism every bit as dangerous as the militaristic machismo of common or garden neo-Nazism. “Alt-right” was only ever a buzz phrase; it may be fading from prominence, but the death cult remains at large. Homicidal mania is the logical end point of all such movements: both in the macropolitical context and at the level of the individual, they stand for nothing except the negation and destruction of the other. As one 4chan poster put it in those dog days of 2016: “I wanted to see everything burn and get lots of happenings.”

Houman Barekat is a writer and critic based in London, and founding editor of Review 31. He is co-editor (with Robert Barry and David Winters) of The Digital Critic: Literary Culture Online (O/R Books, 2017).

The post Get Lots of Happenings: On Mike Wendling’s “Alt-Right: From 4chan to the White House” appeared first on Los Angeles Review of Books.

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#Los Angeles Review of Books #topmixtrends

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mariellemichelle-blog · 6 years

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Wedding Rings And The New Marriage

New Post has been published on http://www.find-wedding-services.com/uncategorized/wedding-rings-and-the-new-marriage/

Wedding Rings And The New Marriage

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Bear with me while I ruminate on some thoughts that have filtered into my consciousness recently. They source from some unrelated fields of study but somehow make sense to me. Then it’s up to you to decide for yourself if what I say makes sense to you.

Traditionally, wedding rings have been worn on the so-named ring finger, either on the left hand or, in some countries, on the right. This tradition dates back thousands of years to ancient Greece and Egypt, where it was thought that a vein in the ring finger, called the vena amoris, the vein of love, traveled to the heart. It was later discovered that there was no such vein but over the centuries, wearing a wedding band on the ring finger had become the way to do it and it’s still that way today.

I’d like to propose that there’s another way to regard the fingers’ connections to the organs of the body. Looking at the acupuncture meridians in Chinese medicine, we see that, in fact, the heart meridian is on the pinky finger! Further, we see that the meridian for the pericardium – the tissue surrounding the heart, seeming to hold the heart – is on the middle finger. So now we actually have two fingers on each hand that relate directly to the heart. Interesting.

When we consider palmistry (I warned you that I was blending unrelated fields), we see that there is no finger that corresponds to the heart, which actually is on the palm across the base of the fingers. But the pinky finger represents Mercury and the middle finger Jupiter. (The ‘ring’ finger is the Sun, the index finger is Saturn, and the thumb is Uranus.)

So combining the energies of Mercury and Jupiter, and wearing our wedding rings on these fingers, we in effect can make the statement that “You are always in my thoughts” (Mercury – the mind) and “I hold you in the highest respect, esteem and love” (Jupiter – big things). So I’m fairly happy with deciding on these fingers as representing the best symbols and our best intentions toward our marriage and our marriage partner.

Now let’s play with another field of study, energy medicine, which states that the flow of energy through the body enters through the left hand and exits through the right hand. (This may be switched for those of us who are left-handed, but perhaps not. Left-handers need to try to sense this to determine if it holds true for them.)

The question then becomes – if I am receiving energy through my left hand and giving it out from my right, how do I work that into which finger of which hand I wear my wedding ring on? My logic suggests the energy of love that I receive from my partner is what holds us together, like the pericardium that holds the heart. Therefore, I’d wear a wedding ring on the middle finger of my left hand.

The love that I give to my partner would be from my heart meridian on my right hand, or my pinky finger. This suggests that we wear two rings instead of one, representing the giving and receiving of love between two people. The circle of life, the circle of love.

The final piece of the puzzle comes into my mind from the Edgar Cayce readings, in which it was stated that the energy of gold is “renewing” and the energy of silver is “sustaining.” So now I have a final choice to make – which ring should be silver and which gold? This one might be best left to each of you to feel for yourselves and what you hope for in marriage.

This also brings to mind a tradition from India, where arm bands of certain religious sects were made of gold, silver and copper (a traditionally Venus metal, and therefore indicative of love). All three bands are either fused together or intertwined and worn on the upper arm.

See? You have so many beautiful choices about how you will express your marriage commitment! Fingers, precious metals, and flows of energy back and forth between you two.

Speaking of marriage, it might be time to redefine what is going on with this tradition in the 21st Century. Of course, we are aware of the high percentage of divorces, up to 50% in some areas. So what’s up with that?

I think that originally the lifetime commitment was introduced by ancient religious leaders as a way to demonstrate the principle that there is only One Relationship that matters, our relationship with God (by whatever Name we use), and that our commitment to one person is our pattern on earth to model, reflecting our devotion to the principle of Oneness. (I sense that this was also a patriarchal move to ensure that the woman remained faithful, regardless of what the man did, as history suggests.)

We only see strict adherence to the idea of marriage with one person lasting a lifetime in the Western factions. In most other societies and religions, there are either loopholes by which divorce can easily be obtained or no lifetime condition present at all. Or no monogamy either. The maternally dominated societies were famous for the woman choosing a partner for as long as she wanted, then moving on to the next one. (Kind of sounds like a lot of people these days, no matter what “vows” were taken.)

The fact remains that in this day and age, the original intent of demonstrating oneness has pretty much fallen by the wayside. Some people are looking for guarantees and stability to raise a family and have a steady economic source. Some may have a romantic notion about ‘being together forever’ but this rarely sustains two people through the steeper challenges that life tends to deliver from time to time.

One thing we can understand is how difficult that first year of being together can be. Two people leading two different lives coming together under one roof 24/7. Whether you see this as a test of love or a sign that the partnership wasn’t meant to be will determine how well you weather this initial period of massive adjustment.

It’s no surprise that more and more couples are opting for a living together arrangement to test the strength of the relationship (and themselves) for a period of time. This reminds me of the old Celtic tradition of hand-fasting, wherein a priest or holy person united a couple for the time of one year and one day. After that, they could decide whether to go on to a longer term marriage or not.

The only thing that saddens me about couples living together these days is that there is no special or even sacred ceremony to mark the beginning of what is really quite an important turning point in both individuals’ lives. I’d love to see the hand-fasting ceremony reintroduced into our Western society, not to mark the beginning of something religious necessarily, but to demonstrate the importance of the love connection that has bound two people together. It’s one thing for roommates to get together for social and economic reasons; but a love connection seems to me to deserve a statement to the world about its specialness that a ceremony can impart.

Then, after a period of time of living together – whether a year or more – when the two people feel that a longer term, more formal commitment beckons them, what I’d really love to see is a monogamous commitment based not on “forever”, but on for how ever long the relationship has meaning and is meant to last.

What I mean by this is that we can see time and again that sometimes there just comes a point when the relationship itself is “completed” or over. There is a purpose for two to come together. Those two together form a third entity – the relationship itself. Just like every other thing under the sun, it has a purpose and a lifespan.

This doesn’t mean that the partners now hate each other. It may mean that some conditions have changed enough so that the relationship itself cannot be sustained or may no longer be relevant. It may simply mean that, whatever purpose was initiated at the beginning of the relationship has been fulfilled. And it may take the individuals some time to realize what that was. Hopefully, with helpful guidance, they can come to terms with the ending and continue on with their lives, having grown and learned and loved as best they can.

When we look back in history and see the conditions people lived under so much of the time, it’s easy to understand why the permanence and security of “forever” was so appealing. For those who regarded a monogamous marriage as a demonstration of their faithfulness to their one God, this feeling of commitment is no longer the common uniter of couples.

So let’s get real with our vows. Let’s acknowledge that things can’t last forever just because we say that’s what we want at one point in our lives but somewhere down the road ‘things change.’ Yes, there is great personal growth and building of character and maturity in sticking through hard times… something more and more individuals seem reluctant to do.

Being honest with our vows to each other will help us become more aware of and sensitive to the fulfillment of the relationship when it’s occurred, if it comes to that. If it survives, that’s glorious. If not, no harm, no foul. “To every thing there is a season, and a time for every purpose under heaven.” [Ecclesiastes]

There’s a final consideration I’d like to throw out about marriage… the marriage license, the legal document that says that the State you live in has granted you permission to become legally married. Gee, thanks for that.

We’ve all heard the disaster tales about horrible divorces – another legal stumbling block. It just makes things very messy, this legal aspect that may benefit the State you live in but not necessarily the longevity of your relationship. After all, now it’s not just you and your mate, but you and your mate and the State of Virginia, for example. Legally it’s a threesome you’re entering. No thanks.

I’d like to see more couples find out the legal definition of what constitutes a “common law” marriage. In some States it’s as little as a year or two, in others it’s up to seven years. Stay together that long and you are considered married by that State and can access those benefits afforded a legally married couple without the strings of legal bindings.

But the hidden gift in going for a common law arrangement is that you have a longer period of time to experience living and loving together and, before that time has expired, you are free to continue on with your lives if the purpose of the relationship has completed itself or if the individuals grow apart.

It’s all food for thought. “The times they are a-changin'” sang Bob Dylan, and they’ve been changing rapidly over the past several decades. Some traditions may have value to hold onto; others may find it’s time to adapt to a new world. Your choice. Just get real and be true to yourself in making it. In making them all.

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architectnews · 4 years

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Alan Dunlop Architect, Glasgow

Alan Dunlop Architect Office, Scottish Architecture Studio News, gm+ad Building Projects

Alan Dunlop Architect

Architecture Office in Aberfoyle / Glasgow, Scotland, UK – Scottish Design Studio

Updated 26 Oct 2020 + 23 Aug 2020

Alan Dunlop News

Alan Dunlop Architecture, chronological:

Architecture in Ruin drawings:

Left: Aberfoyle Auld Kirk – Right: Architecture in Ruin Dunnottar Castle

Left: Castle Tioram – Right: St Peter’s Seminary

Left: Bernat Klein Studio – Right: Glasgow School of Art East Gable

Left: Mavisbank House – Right: Old Keiss Castle

Left: Southern Necropolis Lodge House – Right: St Martins RC

New drawings of the Irish Sea tunnel concept, finished 20 Mar 2020:

Approach to the tunnel at the shore level: all drawings courtesy of Alan Dunlop Architect

Kids fishing for crabs and starfish in the undercroft:

18 Mar 2020 Celtic Crossing as Sea Tunnel, Scotland / Northern Ireland, UK

From Alan Dunlop:

It is a sea tunnel not a bridge, stretching across the Irish Sea. The tunnel sits 12 metres below the wave line and is supported by and connected to the pontoons, not burrowed below the sea bed.”

25 Aug 2019 Elite University Expert Appraisal and Lecture : Professor Alan Dunlop External Academic Specialist

Wuhan University School of Architecture and Urban design, University of Dundee. Visit 2nd September 2019

image by architect

Professor Alan Dunlop https://ift.tt/1U3Gb9v

His MArch Unit at Scott Sutherland School of Architecture also intend to base their next two year project in Shanghai, beginning in September 2012.

Alan Dunlop Exhibition

Alan Dunlop Masterclass

This full day masterclass is linked to Alan’s Working Drawing exhibition.

26 Sep 2011

Hazelwood School Photo Update

Hazelwood School, Glasgow, Scotland photograph : Andrew Lee Hazelwood School by this architect

2 Sep 2011 Latest Design: South Rotunda, Glasgow, Scotland Alan Dunlop proposal South Rotunda design

16 Jun 2011 Lecture News: AIA International Convention 2011

Alan has accepted an invitation from the American Institute of Architects and BCSE to give a presentation of his work at their international convention in London.

3 Jun 2011 Project News: Edinburgh Bio Quarter, Edinburgh, Scotland, UK images : erz ; Alan Dunlop Shortlisted design (one of two shortlisted) by this Scottish architects practice

image by architect

drawing by architect

This spring 2011 visit continues lectures given by Dunlop in Kansas City, Manhattan, Seattle and Boston in 2010 and at Canterbury and the Bauhaus School in Dessau.

Nearer home Alan presented his work at Pollockshields Heritage on 27 Apr 2011.

First Project by Alan Dunlop Architects First design to be unveiled by this new Scottish architects practice, 12 Aug 2010:

House in Corstorphine, Edinburgh, Scotland, UK Residential area characterised by stone walls and high hedges, hence the design approach, a wall becomes a house

Bauhaus – Dessau Institute of Architecture workshop for masters students on Urban Design : Oct 2010

Lecture at Build Boston 17 – 19 Nov 2010

Alan Dunlop – Practice Profile

The architect is the Distinguished Regnier Chair in Architecture, Kansas State University and Visiting Professor at Scott Sutherland School of Architecture Robert Gordon University, Scotland, UK

Mahlum Endowment Lecturer Alan on left with Gordon Murray – photo : joe, simple photography Mahlum Endowment Lecture, University of Washington

Oscar Ekdahl Memorial Lecture, Kansas, USA 2009 Oscar Ekdahl Memorial Lecture

Alan Dunlop Drawings drawing by architect

More architectural projects by this Scottish architect online soon

Location: Glasgow, Scotland, UK

Alan Dunlop Architects – Practice Information

Architect studio based in Merchant City, Glasgow, Scotland, UK

Scottish Architects Practices

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Scottish Architecture : best scottish buildings of the last three decades

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Comments / photos for the Alan Dunlop Architect – Glaswegian Architecture Studio page welcome

Website: www.alandunloparchitects.com

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futuristicallyrainychopshop · 7 years

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celticmythpodshow · 7 years

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CMP Special 23 Spring Equinox Holiday Special 2011

We tell the Dryad story and bring you even more music

This is our Spring Holiday special for 2011. We start off with a plan, and finally bring you the Dryad story that we have been promising since Autumn last year! You can also hear 4 great pieces of music - one of which is a highly sought after preview from the Dolmen's forth-coming album 'Storm'. We finish off with some Listener Feedback, a promo for another great podcast and that'll do us - back in the driving seat again!

Full Show-notes, with all credits, can be found on our main Website at http://celticmythpodshow.com/spring2011

Running Order:

Intro 0:41

News & Views 2:08

Beltane by Portcullis 3:50

Dryad by Deborah Shinegarden 5:57

Spring Love by Jenna Greene 27:54

Danny Boy by The Dolmen 51:18

Listener Feedback: Annie 56:00

Promo - Bo on the Go! 58:31

Song of Awen by Damh the Bard 1:00:12

Out-takes 1:06:08

We hope you enjoy it!

Gary & Ruthie x x x

Released: 21st March 2011, 1h 9m

It's always great to hear from you! Email [email protected], or leave us a message using Speakpipe

Beltane

by Portcullis

We first performed at Herstmonceux medieval Festival UK in 2001 with some other local musicians. We met lots of interesting people, and quickly developed a passion for re-enacting as Medieval Minstrels/Troubadours. In 2003 we formed Portcullis, and Jason began to put our CD together, which was released in 2004.

We have performed at England's Medieval Festival at Herstomonceux castle for nine years,and have entertained at weddings, banquets and garden parties.

You can find out more about Portcullis on their Myspace page or on their Contributor Page.

During the show we say that Portcullis performed for us in Episode SP21, but in true fashion for us - we were wrong! :) They were kind enough to let us play The King's Return in Episode SP20.

Dryad

by Deborah Shinegarden

Dryad is the story of a Tree Spirit that falls in love with the music and the music of a mortal man. Deborah has been a long-term listener and friend to the show and we are proud to showcase this work of fiction for her. She is in the process of writing a novel set in 5th Century Wales.

We can't wait for that one! Thank you and good luck, Debs!

Spring Love

by Jenna Greene

Jenna Greene is a Celtic Pagan singer-songwriter and harpist. Her songs are inspired by hope and healing, following bliss, nature mythology, the law of attraction and the little miracles in everyday life. She believes that music, nature and ritual are an empowering combination. Deeply influenced by the works of Joseph Campbell, she has studied world mythology and weaves these universal themes into her music.

Jenna can be found on Myspace, but her own website provides lots of useful information. You can find out more details about Jenna on her Contributor Page on our website.

Danny Boy

by The Dolmen

An all original set both musically and in character, their pumping rhythms derive from the best ingredients of Celtic and deep Folk, bathed in the surf of Piratical Rock. Far from the expected, The Dolmen has proudly developed an identity that puts them in their own musically unique area. They have toured and covered most of the major venues including 3 years at Glastonbury Festival amongst many others UK Festivals. Due to a recent increase of popularity in mainland Europe and the USA, the last year has witnessed the American manufacture and distribution of CD's abroad.

You can find out more about The Dolmen on their website at The Dolmen or on our Contributor Page.

Song of Awen

by Damh the Bard

We can do no better than finish the show with Damh singing us out with a track from his latest album, and his first live album, As Nature Intended - The Song of Awen. Damh is a modern-day Bard whose spirituality, and love of folk tradition, is expressed through his music, storytelling and poetry. Drawing on the Bardic traditions his performances are both entertaining and educational, weaving a tapestry of myth, peace, and anthems that speak directly to the heart, but never without a good splash of humour.

You can find out more about Damh on his website at Pagan Music or on our Contributor Page. You can find out more about the Order of Bards, Ovates and Druids that he represents on their website at druidry.org.

Listener Feedback

We listen to some feedback from Annie, who being blind, tells us of some problems she is having with the website and helps us with out Gaeilge. Thank you Annie. Annie is also well-known for her Celtic music and you will be able to hear some of her wonderful vocals in later shows.

Bo On The Go!

Promo

Bo on the Go Podshow

Hitch-hiking his way through the spiritual realm, Bo talks to practitioners from many different sacred and magical paths so that you don't have to. Great show that you can find on the Bo on the Go website.

Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows

Email us at: [email protected]. Facebook fan-page http://www.facebook.com/CelticMythPodshow, Twitter (@CelticMythShow) or Snapchat (@garyandruth), Pinterest (celticmythshow) or Instagram (celticmythshow)

Help Spread the Word:

Please also consider leaving us a rating, a review and subscribing in iTunes or 'Liking' our Facebook page at http://www.facebook.com/CelticMythPodshow as it helps let people discover our show - thank you :)

If you've enjoyed the show, would you mind sharing it on Twitter please? Click here to post a tweet!

Ways to subscribe to the Celtic Myth Podshow:

Click here to subscribe via iTunes

Click here to subscribe via RSS

Click here to subscribe via Stitcher

Special Thanks

Cameo Performance: Rebekah Ranger

Diane Arkenstone The Secret Garden. See her Contributor page for details.

Kim Robertson The Hangman's Noose. See her Contributor page for details.

Jigger Time Ticks Away. See her Contributor page for details.

Pascal Ser'Jacobs, Vagues d'air from the album The Loop Is. See the Contributor page for more details.

Annie B. Jamieson, Pigeon on the Gate from Songhenge.

AKAJULES, Concerns from the album, Whenever it Happens. See his Contributor page for details.

Ant Neely, Every Boy Needs a Hero from the album, Not fit for Human Consumption. See his Contributor page for details.

Alizbar And Ann Sannat, Siul a Run from Songhenge. See their website or their Contributor page for more details.

Zero Project, The Crusader's Return from his album, Fairytale 2, and Nocturne from the album Autumn Prelude. See his website or the Contributor Page for more details.

Greendjohn, The Journey Home from the album Nights & Days. See his website or the Contributor page for more details.

Giorgio Campagnano, The Darkness from his album The Grand. See the website or his Contributor page for more details.

Avel Glas, Suite Irlandaise from the album Vent Bleu. See their website or their Contributor page for more details.

For our Theme Music:

The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.

Extra Special Thanks for Unrestricted Access to Wonderful Music

(in Alphabetic order)

Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page.

Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page.

Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page.

Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page.

The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page.

Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page.

Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page.

Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page.

S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page.

Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page.

We'd like to wish you 'Hwyl fawr!', which is Welsh for Goodbye and have fun, or more literally Wishing a Good Mood on you!

Check out this episode!

#celtic myth #podcast #mythology #celts

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