Podcasts about Vitruvian Man

Golden ratio https://en.wikipedia.org/wiki/Golden_ratio Vitruvian Man https://en.wikipedia.org/wiki/Vitruvian_Man (via ChatGPT) Vitruvius Architecture Overview https://chatgpt.com/share/681b3509-04dc-8006-a53e-8fe1ae50ad9b Mapping our emotionally divided society: Mathematical model helps explain polarization http://phys.org/news/2025-05-emotionally-society-mathematical-polarization.html Vitruvius & the Warlords http://nybooks.com/articles/2025/05/15/vitruvius-the-warlords-all-the-kings-horses 5 surprising things linked to cancer — and what to know about them https://www.washingtonpost.com/wellness/2025/04/28/cancer-tattoos-hair-straightener-meat/ canal do radinho no whatsapp! https://whatsapp.com/channel/0029VaDRCiu9xVJl8belu51Z canal do radinho no telegram:   http://t.me/radinhodepilha ... Read more The post existem princípios universais da Beleza? a matemática e a psicologia da polarização, proporção áurea #sqn appeared first on radinho de pilha.

Another week, another chance for us to caress your ears with our words and wisdom. Well, the wisdom of our guests. No Fintan this episode though, our apologies. He's executiving.In this episode of the Gambling Files podcast, host Jon Bruford welcomes Chris Blake, a director at FireSand, to discuss the critical issues surrounding cybersecurity in the iGaming industry. They explore a recent data breach incident involving a German operator, the vulnerabilities that were exploited, and the importance of proper API security and penetration testing.The conversation also delves into regulatory frameworks, the challenges of supply chain security, and the necessity for proactive security measures to protect sensitive data. We get into the vulnerabilities inherent in software security, the evolution of security practices, and the importance of continuous security measures. The conversation highlights real-world challenges faced by casinos, the intersection of physical and cyber security, and the brand responsibility that comes with managing these risks. They emphasize the need for a deeper understanding of security within organizations and the unique challenges faced by the gambling sector in addressing cybersecurity effectively.Choice quotes: "It's marking your own homework""The gaming sector is a bit behind.""It's a supply chain problem.""It's only got to go wrong once, right?""It's not a chain, it's a fucking web.""Security isn't well understood."Chapters: 00:00 Introduction and Sponsor Acknowledgment02:48 Guest Introduction and Background06:02 Cybersecurity in the iGaming Industry09:01 Vulnerabilities in German Operator's Data11:59 Understanding API Security and Misconfigurations14:50 Regulatory Frameworks and Penetration Testing17:48 In-House vs. Outsourced Security Testing21:00 The Importance of Proactive Security Measures23:55 Supply Chain Security Challenges29:45 Understanding Supply Chain Vulnerabilities31:49 The Evolution of Software Security33:41 The Challenge of Code Security35:46 The Importance of Continuous Security Practices36:53 Real-World Security Challenges in Casinos39:04 Brand Responsibility in Security42:00 The Intersection of Physical and Cyber Security46:12 The Complexity of Security in Organizations51:59 Addressing Cybersecurity in the Gambling IndustryThe Rembrandt of CRM, we thank Optimove for their support, which helps us to keep this podcast ticking over. They turn customer data into PURE GOLD, with tools that make businesses shine. Optimove, your support helps us make things that people listen to. I was going to write 'entertain people' but realised it was a bit of a reach. Clarion Gaming is of course the industry's Da Vinci, and we thank them for keeping the gaming industry buzzing and sponsoring our podcast! If you've been at ICE in Barcelona, you'll know they knocked it out of the park. Every day is a Vitruvian Man with Clarion.And of course there's our wonderful Van Gogh-like sponsors at OddsMatrix Sports Betting Software Solutions — your go-to for sportsbook platforms and data feeds. EveryMatrix's coverage is so wonderful, it makes Wheatfield With Crows look rubbish.The Gambling Files podcast delves into the business side of the betting...

The Network State Podcast ✓ Claim : Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- Rudyard Lynch runs the popular YouTube channel WhatIfAltHist. We're both into applied history — namely, studying the past to forecast the future — and everything we spoke about fell under that rubric. We cover alchemy vs technology, left vs right, nature vs nurture, China vs America, communism vs wokeness, and (of course) networks vs states.Our overarching goal with the pod is to learn about the world to build new startup societies. If these ideas interest you, we're putting theory into practice at Network School, so do apply at https://ns.com.OUTLINE00:00 - Intro to WhatifAltHist and counterfactual history03:52 - The idea in alchemy: everyone is competing on vibes07:12 - Nature/nurture = hardware/software09:37 - Why the left often wins: equality builds scalable militaries11:30 - The idea from Balaji that most influenced Rudyard: God, State, or Network?13:25 - What is the most powerful force in the world: God, State, or Network20:28 - Only 4% of Democrats marry Republicans22:24 - The purpose of alchemy: how early alchemy lead to modern tech33:25 - We have entered the age of the phrase42:33 - The reading list: genetics books you should read43:07 - Communism was based on economics denial, wokeness is genetics denial50:49 - The Vitruvian Man: our moral responsibility to accelerate technology57:42 - We are on the verge of global instability1:20:43 - Internet community becomes physical community: The Network School (ns.com)1:23:08 - Both Soviet and American empires were built on false premises1:28:16 - Bitcoin is the strongest new identity1:32:55 - The total military dominance of the Chinese drone armadaLINKShttps://youtube.com/@nshttps://ns.com

This is the third in a series of five episodes on the original Renaissance man, Leonardo Da Vinci.  This episode covers a number of the side-projects pursued by the artist.  This includes his habits of human dissection, his sleep patterns, and optic studies.  Each would inform his work.  Art discussed in this episode includes the last supper, Il Cavallo, the Vitruvian Man, and Madonna of the Yarnwinder.   We also look at Leonardo's relationship with two other 'geniuses' of the time: Michelangelo and Raphael. Contact the show at resourcesbylowery@gmail.com or on X/Twitter @Empires_Anarchy If you would like to financially support the show, please use the following paypal link. Or remit PayPal payment to @Lowery80.  And here is a link for Venmo users. Any support is greatly appreciated and will be used to make future episodes of the show even better.   Expect new shows to drop on Wednesday mornings from September to May. Music is licensed through Epidemic Sound

Dive into the world of sacred geometry with Gail and Gregory Hoag in this episode. We explore the Phi ratio, its presence in nature, and its profound impact on the human form and the universe. Gail delves into the historical and spiritual significance of these geometric patterns, while Gregory connects numbers and archetypes to metaphysical principles. Learn how sacred geometry re-establishes our connection with nature and our essence. 00:00 Exploring sacred geometry with Gregory and Gail.05:07 Energy affects matter and our natural connection.08:54 How does Vitruvian Man depict sacred geometry?12:12 Phi ratio caliper shows universal proportion patterns.16:40 Book explores sacred geometry, cosmic patterns, and relationships.20:59 Sacred geometry reconnects us with nature's resonance.24:16 Numbers embody gender traits; duality reflects femininity.27:16 Zeros added; number's harmonic resonance unchanged.31:00 Consciousness and love are foundational universal energies.32:29 Universal consciousness connects and enables creation diversity.35:49 Website offers tools, videos, meditations, global experiences.*********************************************** SUPPORT DR. AMY ROBBINS: If you're enjoying the podcast and finding value in guest interviews, ghost stories, and the content I share, please consider supporting the show by becoming a Patreon member for as little as $5 a month at Patreon.com/DrAmyRobbins As a member you'll get more say in the content we cover and exclusive access to behind-the-scenes goodness! Stay Connected with Dr. Amy Robbins: ● Instagram● YouTube● Website● Facebook *********************************************** FOLLOW GAIL AND GREGORY: Find their books here: https://www.amazon.com/stores/author/B0CTD64Q13/ Life, Death and the Space Between is brought to you by:Dr. Amy Robbins | Host, Executive ProducerPodcastize.net | Audio & Video Production | Hosted on Acast. See acast.com/privacy for more information.

Polymath, Robert Edward Grant, returns for an exclusive 3 hour interview that will blow your mind; packed with latest synchronicities, new discoveries around the pyramids of Giza, Da Vinci paintings, Orion's Belt, King's Chamber, Vitruvian Man & Mona Lisa, the Vatican Library, and the list continues. In this podcast, Robert Grant also shares his discoveries of megalithic structures in Brazil that align with Orion's belt and the connections he made with his own ancestry in Scotland. Grant explains his belief that the universe is a game, or simulation, designed to teach us about love and wisdom through experiential learning. Robert Edward Grant is the best-selling author of PHILOMATH, ‘POLYMATH' and ‘NEUROMINED'. Mr Grant is an artist, sculptor, musician, music theorist (Creator of a novel music temperament called ‘Precise Temperament Tuning in 432.081hz') and a prolific inventor. Additionally, he is also a prodigious artist, sculptor, music theorist, musician, and author of several research and patent publications spanning biology, DNA combinatorics, number theory, sacred geometry, and physics. Robert has also been involved in serval films, podcasts, and series such as 'CodeX' streaming on Gaia TV. ✦ WATCH CodeX on Gaia TV (FREE TRIAL)

Click Here to Text us Fan Mail! This week on Tournament Style, we're deep into Sketch-tember and the laughs keep coming! Guillermo and Austin tackle a jam-packed episode with a mix of hilarious sketches and one epic bracket. First, we bring you a film noir-inspired scene featuring Sam, our favorite Time Travel Agent, as he finds himself solving a mystery in Paris involving the Loch Ness Monster, a suspicious femme fatale, and a guy with a neck as thin as a pencil. Plus, Peso Pluma makes an appearance in a wild scenario you won't see coming!In this week's tournament, we're ranking the Best Drawings in the World, from a funny horse by Picasso to some of the wildest sketches ever made. Who will claim the title of artistic supremacy? Tune in to find out!1 Vitruvian Man by Leonardo da Vinci.2 Praying Hands by Albrecht Dürer.3 Two Figures by Michelangelo.4 Study for St. Paul Preaching in Athens by Raphael.5 Road in Etten by Vincent van Gogh.6 Sitting Woman by Egon Schiele.7 Drawing of a Horse by Pablo Picasso.8 My Portrait as a Skeleton by James Ensor.

Apparently buying off the rack has never been too difficult for Luttsy, Ash's son is about have his 21st birthday which has taken him down memory lane and Suse's kids are being demanding againSee omnystudio.com/listener for privacy information.

In the journey of our exploration, we sometimes stumble upon revelations that change our perception of the world. On today's episode, we welcome the profoundly insightful Alan Green. Alan, a classically trained pianist turned researcher, has traversed a fascinating path from music to unraveling the mysteries encoded in the works of Shakespeare, the Great Pyramid, and the hidden symbology within. His tale is one of synchronicity, profound experiences, and an unyielding quest for truth.Alan Green embarked on this odyssey through a series of remarkable events. Despite his initial resistance to Shakespeare, a sudden and inexplicable encounter with extra-dimensional beings set him on a course that would merge his musical expertise with an extraordinary passion for uncovering hidden codes. "I had no interest in Shakespeare," he recounts, "but within minutes of watching a friend's play, I was hooked."In this profound conversation, we dive deep into Alan's book, "Decoding Shakespeare," where he uncovers a labyrinth of codes that suggest a far more complex origin of the Bard's works. Alan's revelations are supported by meticulous research and scientific proof. He describes how radar scans of Shakespeare's gravestone and monument revealed anomalies that aligned with hidden codes. "The actual cavity is 250 times the size it's supposed to be," Alan explains, emphasizing the significance of scientific proof in validating these ancient mysteries.As we delve further, Alan shares his experiences of receiving what he describes as downloads of information from higher beings. These downloads have enabled him to understand advanced mathematics and geometry, which he believes were essential in decoding the messages embedded within Shakespeare's texts and other historical artifacts. "I had no idea what was going on," he says, "but I could feel them operating inside my head."SPIRITUAL TAKEAWAYSThe Interconnectedness of Art and Science: Alan's research underscores the profound connection between artistic expression and scientific knowledge. The intricate codes within Shakespeare's works demonstrate a blend of creativity and mathematical precision that transcends ordinary literature.The Role of Higher Guidance: Alan's encounters with extra-dimensional beings and his subsequent ability to decode complex messages suggest that higher guidance can play a crucial role in human understanding and evolution.The Hidden Mysteries of History: The anomalies found in Shakespeare's gravestone and the Great Pyramid, along with the encoded messages, point to a deliberate effort by ancient and historical figures to preserve and convey knowledge through time.In the latter part of our conversation, Alan elaborates on the profound implications of his discoveries. He connects Shakespeare's works to the geometry of the Great Pyramid and the Vitruvian Man, proposing that these structures contain encoded knowledge meant to be unveiled by future generations. "The codes predicted this," Alan asserts, highlighting the extraordinary foresight of these ancient architects.Alan's journey is not merely one of intellectual discovery but also a spiritual awakening. His dedication to revealing these truths serves as an inspiration to us all. As he puts it, "We are all Shakespeare, wearing masks of delusion. Behind the mask lies the truth, the Divine, the holy of holies inside each of us."In closing, Alan's insights challenge us to look beyond the surface of historical narratives and seek the deeper truths encoded within. His work is a testament to the enduring quest for knowledge and the belief that we are all part of a greater, interconnected reality.Please enjoy my conversation with Alan Green.Become a supporter of this podcast: https://www.spreaker.com/podcast/next-level-soul-podcast-with-alex-ferrari--4858435/support.

Steve and Katie speak with Italian lawyer Giuseppe Calabi and art historian Sharon Hecker about Italy's cultural patrimony laws granting state institutions control over the use of images of cultural property long in the public domain. They discuss the legal, ethical, and practical issues with such laws and their specific application to uses of the Vitruvian Man by Leonardo da Vinci located at the Gallerie dell'Accademia in Venice and the statue of David by Michelangelo located at the Gallerie dell'Accademia in Florence.   Notes for this episode: https://artlawpodcast.com/2024/06/03/italys-expansive-control-over-cultural-heritage/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast

I love how easy it is to predict things about you based on what you like or dislike.Did you know, for example, that if you buy fresh fennel, you are likely to be a low insurance risk? If you like traditional architecture and old buildings, you are more likely to have a conservative, right-of-centre worldview. Whereas if you like modern architecture, you will lean to the left.For what it's worth, there are plenty of 20th-century buildings that I find beautiful. I like Art Deco; I like Bauhaus stuff; I think a lot of modern US residential architecture is great. But I think a lot of more recent Deconstructivist and Parametric stuff has disappeared up its state-funded backside and has no chance of standing the test of time. Post-war social housing the world over is verging on the sinful, it is so ugly, not a patch on the almshouses built a century before for the same purpose, when mankind was far less “advanced”. Meanwhile, the glass-fronted apartment and office blocks that blight cities worldwide may be nice to look out from, but to look at they are horrible.When I look at, for example, what has been built in Lewisham, Elephant and Castle or along the banks of the Thames, you have to wonder what on earth people were thinking. What a wasted opportunity to build something with beauty that endures.I was looking out on the Thames from Canary Wharf the other day. Here is what we built.Here is what was possible.In any case, it is inevitable that most modern architecture will not be beautiful. Inevitable! It is built into the system. Let me explain why.Yes, there is regulation. When final say falls to the regulator, not the creator, and he/she never thinks in terms of beauty, only rules and career risk, and construction is always planned with his or her approval in mind, you immediately clip your wings and more. Imagine Michelangelo, Rembrandt, or Beethoven requiring regulatory approval for their work. Under this banner falls health and safety, bureaucracy, the technocratic mentality, planning, standardisation of materials and their mass production, and more.But there is something even more fundamental, which makes lack of beauty inevitable. That is the system of measurement itself. In the past, before mass-produced tape measures were a thing, we made do with the most immediate tools we had to measure things: the human body. Traditional weights and measures were all based around the human body. A foot is, well, a foot. A hand is a hand. A span is a hand stretched out. An inch is a thumb. There are four thumbs to a hand, six to a span, 12 to a foot, 18 to a cubit, which is the distance from elbow to fingertip. A yard is a pace, which happens to be three feet as well. A fathom is the arms stretched out - two yards, or six feet. It goes on: a pound is roughly what you can hold comfortably in your hand. A furlong is the distance a man of average fitness can sprint for. A stone is what you can carry without strain. A US pint is a pound of water, enough to quench a thirst, and so on. Man is indeed the measure of all things, to paraphrase Protagoras. Spread the truth about weights and measures.Da Vinci noticed it. “Nature has thus arranged the measurements of a man: four fingers make one palm. And four palms make one foot; six palms make one cubit; four cubits make once a man's height," he says in his notes for Vitruvian Man.It turns out the feet are very similar the world over and have been throughout history. The foot, for example, was the principal unit in the design of Stonehenge. Here are some different feet from around the world and from throughout history:The cubit was the principal unit of the Pyramids. The pound is the oldest measure of all and goes all the way back to the Babylonian mina.Here's the thing: proportion is inherent to traditional weights and measures because they derive from the human body, which is proportionate. We are biologically programmed to find the proportions of the human body attractive. The religious will argue that God made man in his own image. Traditional weights and measures derive, therefore, from God, or his image at least, and so are divine.The metric system, on the other hand, is not based on the human body, but on the earth itself. A metre is supposed to be one 10 millionth of the distance from the North Pole to the Equator (though one of French scientists measuring the distance forged the data, so the measure is flawed). The idea of a system based on the earth itself rather than the human body was to achieve a “universal measure based on the perfection of nature” and “a system for all people for all time” to use the words of those who commissioned the measure in the years after the French Revolution. Metric may have a brilliantly simple and comprehensible design, based around the number 10, but unlike traditional weights and measures, proportion is not intrinsic to it. For the purposes of science and for safety, as I argue in my lecture with funny bits, How Heavy?, a universal system of weights and measures is a very important thing. Thanks to the simplicity of decimals (again which derive from the human body and the ten fingers we use to count), metric can scale up or down for use in nanotech or in macrotech .As proportion is inherent to traditional weights and measures, buildings based on them will inevitably have inherent proportion and thus all the beauty which comes with proportion. But most of the world now uses metric in its building, which has no inherent proportion, so it becomes inevitable that modern buildings will not have the proportion inherent to older buildings, unless, the architects deliberately plan otherwise, which most of the time they don't. Thus is modern architecture inevitably not beautiful.It's why even functional old buildings, such as barns or warehouses, have a beauty to them. The proportion is inherent in the foundational weights and measures. It is missing in modern buildings.In the past, weights and measures changed, even if only slightly, from region to region. The result was regional diversity in buildings. Using local materials will have added to this regional individuality. But the world over now using the same system of weights and measures, following similar regulations, using similar mass produced materials, means modern architecture will lack beauty the world over. Bland conformity reigns. Even something as foundational as an old brick is proportionate. A brick is a hand in width. For obvious reasons: so a brickie could handle it.In short, unless an architect or builder takes deliberate steps to remedy this problem of proportion, modern buildings will only ever be beautiful by accident. Here's a little irony: if you like traditional weights and measures, you're more likely to be right of centre, favour free markets, individual responsibility - all that kind of stuff. Favour metric, and you're one of those evil left-wing technocrats who champions government intervention, experts and the BBC.Now go tell your friends about this amazing post.Until next time,DominicPS Here is my lecture with funny bits about weights and measures from the Edinburgh Festival in 2022. I think it's probably the best of all my lectures so far.PPS And here is an 5-minute extract from Italian TV series Sense of Beauty, which I presented a few years back, about beauty and architecture. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

I love how easy it is to predict things about you based on what you like or dislike.Did you know, for example, that if you buy fresh fennel, you are likely to be a low insurance risk? If you like traditional architecture and old buildings, you are more likely to have a conservative, right-of-centre worldview. Whereas if you like modern architecture, you will lean to the left.For what it's worth, there are plenty of 20th-century buildings that I find beautiful. I like Art Deco; I like Bauhaus stuff; I think a lot of modern US residential architecture is great. But I think a lot of more recent Deconstructivist and Parametric stuff has disappeared up its state-funded backside and has no chance of standing the test of time. Post-war social housing the world over is verging on the sinful, it is so ugly, not a patch on the almshouses built a century before for the same purpose, when mankind was far less “advanced”. Meanwhile, the glass-fronted apartment and office blocks that blight cities worldwide may be nice to look out from, but to look at they are horrible.When I look at, for example, what has been built in Lewisham, Elephant and Castle or along the banks of the Thames, you have to wonder what on earth people were thinking. What a wasted opportunity to build something with beauty that endures.I was looking out on the Thames from Canary Wharf the other day. Here is what we built.Here is what was possible.In any case, it is inevitable that most modern architecture will not be beautiful. Inevitable! It is built into the system. Let me explain why.Yes, there is regulation. When final say falls to the regulator, not the creator, and he/she never thinks in terms of beauty, only rules and career risk, and construction is always planned with his or her approval in mind, you immediately clip your wings and more. Imagine Michelangelo, Rembrandt, or Beethoven requiring regulatory approval for their work. Under this banner falls health and safety, bureaucracy, the technocratic mentality, planning, standardisation of materials and their mass production, and more.But there is something even more fundamental, which makes lack of beauty inevitable. That is the system of measurement itself. In the past, before mass-produced tape measures were a thing, we made do with the most immediate tools we had to measure things: the human body. Traditional weights and measures were all based around the human body. A foot is, well, a foot. A hand is a hand. A span is a hand stretched out. An inch is a thumb. There are four thumbs to a hand, six to a span, 12 to a foot, 18 to a cubit, which is the distance from elbow to fingertip. A yard is a pace, which happens to be three feet as well. A fathom is the arms stretched out - two yards, or six feet. It goes on: a pound is roughly what you can hold comfortably in your hand. A furlong is the distance a man of average fitness can sprint for. A stone is what you can carry without strain. A US pint is a pound of water, enough to quench a thirst, and so on. Man is indeed the measure of all things, to paraphrase Protagoras. Spread the truth about weights and measures.Da Vinci noticed it. “Nature has thus arranged the measurements of a man: four fingers make one palm. And four palms make one foot; six palms make one cubit; four cubits make once a man's height," he says in his notes for Vitruvian Man.It turns out the feet are very similar the world over and have been throughout history. The foot, for example, was the principal unit in the design of Stonehenge. Here are some different feet from around the world and from throughout history:The cubit was the principal unit of the Pyramids. The pound is the oldest measure of all and goes all the way back to the Babylonian mina.Here's the thing: proportion is inherent to traditional weights and measures because they derive from the human body, which is proportionate. We are biologically programmed to find the proportions of the human body attractive. The religious will argue that God made man in his own image. Traditional weights and measures derive, therefore, from God, or his image at least, and so are divine.The metric system, on the other hand, is not based on the human body, but on the earth itself. A metre is supposed to be one 10 millionth of the distance from the North Pole to the Equator (though one of French scientists measuring the distance forged the data, so the measure is flawed). The idea of a system based on the earth itself rather than the human body was to achieve a “universal measure based on the perfection of nature” and “a system for all people for all time” to use the words of those who commissioned the measure in the years after the French Revolution. Metric may have a brilliantly simple and comprehensible design, based around the number 10, but unlike traditional weights and measures, proportion is not intrinsic to it. For the purposes of science and for safety, as I argue in my lecture with funny bits, How Heavy?, a universal system of weights and measures is a very important thing. Thanks to the simplicity of decimals (again which derive from the human body and the ten fingers we use to count), metric can scale up or down for use in nanotech or in macrotech .As proportion is inherent to traditional weights and measures, buildings based on them will inevitably have inherent proportion and thus all the beauty which comes with proportion. But most of the world now uses metric in its building, which has no inherent proportion, so it becomes inevitable that modern buildings will not have the proportion inherent to older buildings, unless, the architects deliberately plan otherwise, which most of the time they don't. Thus is modern architecture inevitably not beautiful.It's why even functional old buildings, such as barns or warehouses, have a beauty to them. The proportion is inherent in the foundational weights and measures. It is missing in modern buildings.In the past, weights and measures changed, even if only slightly, from region to region. The result was regional diversity in buildings. Using local materials will have added to this regional individuality. But the world over now using the same system of weights and measures, following similar regulations, using similar mass produced materials, means modern architecture will lack beauty the world over. Bland conformity reigns. Even something as foundational as an old brick is proportionate. A brick is a hand in width. For obvious reasons: so a brickie could handle it.In short, unless an architect or builder takes deliberate steps to remedy this problem of proportion, modern buildings will only ever be beautiful by accident. Here's a little irony: if you like traditional weights and measures, you're more likely to be right of centre, favour free markets, individual responsibility - all that kind of stuff. Favour metric, and you're one of those evil left-wing technocrats who champions government intervention, experts and the BBC.Now go tell your friends about this amazing post.Until next time,DominicPS Here is my lecture with funny bits about weights and measures from the Edinburgh Festival in 2022. I think it's probably the best of all my lectures so far.PPS And here is an 5-minute extract from Italian TV series Sense of Beauty, which I presented a few years back, about beauty and architecture. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

Need some Idiot time but no time (or patience) to listen to us for a full episode? Check out these segments from podcast episode #186! “Pop Culture” Headlines includes the death of polarizing pop culture figure O.J. Simpson. The most valuable comic book sells - what is it? A popular comic/animated/movie franchise that has been more for kids for years will have a darker, Rated R version coming! In our “Ask An Idiot” segment, we discuss the lawsuit involving Leonardo da Vinci's “Vitruvian Man” and who should benefit from old works of art. Warning as usual for some explicit language & content from us Idiots! Listen to us weekly for pop culture talk, nerdy debates, personal insults & questionable jokes on your favorite podcast platforms including Apple Podcasts, Spotify, Overcast, Pocket Casts, Amazon Music, iHeart Radio, Vurbl, Goodpods, Podvine & more! Watch us on our YouTube channel @Convincing Idiots Show info can be found on our website: convincingidiots.wordpress.com Find show links on our Link Tree: https://linktr.ee/ConvincingIdiots Email us at ConvincingIdiots@gmail.com. Main Podcast Page: https://anchor.fm/convincing-idiots Enjoying the show? Consider becoming a Patreon: https://www.patreon.com/ConvincingIdiots Now on the YouTube Music app! https://music.youtube.com/channel/UCKa-u-b0Hd30AYxgzoS6aOg?si=GxMuyf3nlSROrdID Show merch store here: https://www.teepublic.com/stores/convincing-idiots?ref_id=33680 We hope we convince you to listen & subscribe! --- Support this podcast: https://podcasters.spotify.com/pod/show/convincing-idiots/support

Away from the Middle East and Ukraine, war has been raging in Sudan for two years. We find out what caused this latest conflict and if there is any chance of peaceAlso, we meet the man risking his life to bring home Ukraine and Russia's war dead...And why is Italy fighting with a German toy maker over Da Vinci's Vitruvian Man? Your daily round-up of the biggest stories from across the world, as seen through the eyes of the Times of London. You can hear more of these stories on Times Radio, and read more at thetimes.co.uk Hosted on Acast. See acast.com/privacy for more information.

In honor of the total solar eclipse this week we talk our favorite apocalyptic movies and shows! “Pop Culture” Headlines includes the death of polarizing pop culture figure O.J. Simpson; The most valuable comic book sells - what is it?; Margot Robbie is working on a movie based on a board game; A popular comic/animated/movie franchise that has been more for kids for years will have a darker, Rated R version coming & The estate of George Carlin gets a little justice from makers of an A.I. version of George performing a standup routine without permission. In our “Ask An Idiot” segment, we discuss the lawsuit involving Leonardo da Vinci's “Vitruvian Man” and who should benefit from old works of art. “Idiot Reviews” includes non-spoiler reviews of ‘3 Body Problem', George Stroumboulopoulos' radio station & shows + some other stuff! Warning as usual for some explicit language & content from us Idiots! Listen to us weekly for pop culture talk, nerdy debates, personal insults & questionable jokes on your favorite podcast platforms including Apple Podcasts, Spotify, Overcast, Pocket Casts, Amazon Music, iHeart Radio, Vurbl, Goodpods, Podvine & more! Watch us on our YouTube channel @Convincing Idiots Show info can be found on our website: convincingidiots.wordpress.com Find show links on our Link Tree: https://linktr.ee/ConvincingIdiots Email us at ConvincingIdiots@gmail.com. Main Podcast Page: https://anchor.fm/convincing-idiots Enjoying the show? Consider becoming a Patreon: https://www.patreon.com/ConvincingIdiots Now on the YouTube Music app! https://music.youtube.com/channel/UCKa-u-b0Hd30AYxgzoS6aOg?si=GxMuyf3nlSROrdID Show merch store here: https://www.teepublic.com/stores/convincing-idiots?ref_id=33680 We hope we convince you to listen & subscribe! --- Support this podcast: https://podcasters.spotify.com/pod/show/convincing-idiots/support

Ever wondered what drives a seasoned journalist like Kai Ryssdal to swap his microphone for a soccer referee's whistle? In an unexpected twist, Kai joins me to share his zest for the game and how the intellectual rigor and physical challenge of refereeing invigorate him. We navigate through the parallels of his media career and life on the pitch, uncovering the profound impact a referee can have on young athletes. His compelling narrative is a siren call to those pondering the whistle, highlighting the joys of community contribution and shaping the sport's future.As the conversation unfolds, we tackle the undervalued art of communication and empathy in coaching. My own journey in managing dissent on the field underscores the necessity for fostering an environment of respect, a point echoed in tales of pioneering policies from Southern California's AYSO to Utah's creative disciplinary actions. The raw realities of a referee strike in Los Angeles serve as a stark reminder of the high stakes in high school soccer and the often hidden complexities that referees navigate.Concluding on a reflective note, we address the striking imbalance between the professional demands placed on referees and their compensation, notably outside the top leagues. The perplexing handball rule comes under scrutiny, inviting a plea for clarity akin to the simplicity of Da Vinci's Vitruvian Man. And for a dash of star-studded charm, we reveal the delightful antics of public figures like Will Ferrell and Alexi Lalas, who don their stripes and grace the soccer fields of Southern California. My candid recount of a post-interview blunder with Kai rounds off the episode, a testament to the authentic moments that connect us all through our love of the game.

Produced by Joseph Cottrell, Jeffrey Crecelius and Ken Fuller This week's episode is a rather visual one so you will probably want to listen after (or concurrently with) looking at the images below. Mark and I discuss some of the most instantly identifiable (for Yes fans) images which don't include the name of the band. We start off with a quiz for Mark using the first set of images below and then we head off down Yes, Jon Anderson, Roger Dean and some other associated rabbit holes. All of this was kicked off for me by the tiny, circular icons on the inner gatefold sleeve of Tales from Topographic Oceans and I posted this photo of Instagram: It's one of those 'in the weeds' episodes so I hope you find it entertaining! The images I tested Mark with: All images from Discogs What are those little icons on the sleeve of Tales all about? You is the Vitruvian Man? What is the Olias symbol? Let us know if you agree with us! Check out the progress on my other podcast - https://anthem52.com/ The Tales images we talk about: Image credit: detail from photo by RDZK - uploaded to Forgotten Yesterdays Roger Dean items on various Yes albums: The Olias symbol Image credits - left - ana-conda uploaded to Forgotten Yesterdays right - Jeremy North 80s icons: Support the Fundraiser! Yes - The Tormato Story Available now! TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius Patrons: Jim Morrison Jon Pickles Declan Logue Gary Betts Alan Begg Michael Handerhan Barry Gorsky Steve Perry Doug Curran Martin Kjellberg Todd Dudley Rachel Hadaway Lind  Paul Hailes Craig Estenes Mark James Lang Steve Rode David Bob Martilotta John Holden Stephen LambeDem Fred Barringer Scott Colombo Chris Bandini David Heyden John Thomson Mark Baggs John Cowan John Parry Dave Owen Simon Barrow Steve Scott Terence Sadler Steve Dill Robert Nasir  Fergus Cubbage William Hayes Geoff Bailie Steven Roehr Lobate Scarp Geoffrey Mason David Watkinson Tim Stannard Robert VandiverBrian Sullivan David Pannell Jamie McQuinnMiguel Falcão Paul Tomei Michael O'ConnorBrian HarrisHogne Bø PettersenGuy DeRomeAaron Steelman Become a Patron! Our (not really) new Facebook YMP Discussion Group is open to anyone to join but I'll be adding rules and joining requirements when I have time (one day…). One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from: archive.org

vChrissie explains the Vitruvian Man. Read the essay here: https://historywiththeszilagyis.org/hwts204 Find us on Twitter:The Network: @BQNPodcastsThe Show: @HistorySzilagyi.Chrissie: @TheGoddessLivia. Jason: @JasonDarkElf.Send topic suggestions via Twitter or on our Facebook page History with the Szilagyis. History with the Szilagyis is supported by our patrons:Susan Capuzzi-De ClerckLaura DullKris HillPatiJoin these wonderful supporters by visiting patreon.com/historywiththeszilagyis. Read de Architectura: https://www.gutenberg.org/files/20239/20239-h/20239-h.htmThe BQN Podcast Collective is brought to you by our listeners. Special thanks to these patrons on Patreon whose generous contributions help to produce this podcast and the many others on our network! Jason AndersonVera BibleSusan Capuzzi-De ClerckTim CooperChrissie De Clerck-SzilagyiLars Di ScenzaThad HaitMatt HarkerPeter HongJim McMahonJoe MignoneGreg MolumbyMahendran RadhakrishnanTom Van ScotterDavid WillettCarl WondersAnonymousDavid You can join this illustrious list by becoming a patron here: https://www.patreon.com/BQN

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/james_earle_da_vinci_s_vitruvian_man_of_math ■Post on this topic (You can get FREE learning materials!) https://englist.me/55-academic-words-reference-from-james-earle-da-vincis-vitruvian-man-of-math-ted-talk/ ■Youtube Video https://youtu.be/TEd1zI4ehAQ (All Words) https://youtu.be/OZxEe5I3d5U (Advanced Words) https://youtu.be/NbvKq9k7LBY (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

Bob, Cory, and Nick rant and rave about intercontinental trips for podcast drinking buddies, sexy accents, and nocturnal jeopardy with the Vitruvian Man.   00:21:28 - Nick's Existential Question of the Week   Send your comments and existential questions to Schnozzcast@gmail.com, or text us at 618-SHOCKER!   Discuss the show with the #schnozzcast hashtag on Twitter. Follow us on YouTube @Schnozzcast, Instagram @Schnozzcast, and on Facebook @Schnozzcast. And don't forget to rate, review, and listen on Apple Podcasts, Spotify, PodBean, Audible, Google Podcasts, Pandora, Amazon Music, iHeartRadio, Stitcher, MixCloud, or wherever you get your favorite podcasts.   Special thanks to Jack Moran for the intro and outro music. Follow him on Instagram @ thejackmoran.

BGI 272 “The One About  VitruvianMan“ BGI: BGG| FB STRONGHOLD GAMES: website | FB PORTAL GAMES: international website | US website | FB TWITTER:  @StrongholdGames | @Trzewik Intro Music: Happy Rock – Bensound.com

On Episode 96 of The Anecdote presented by Upstream Data, we welcome on Zach Schenken. Prior to the interview, Logan introduces the fellas and we talk baby on the way for Wes and a busy upcoming weekend for Maddog. We are so excited to bring our new website on stream (anecdotesk.ca) with so many exciting things to come.  We bring in Zach from The Vitruvian Man, which is a men's health program that helps men become better versions of themselves. Zach was a walk on at the Georgia Tech varsity lacrosse uteam and graduated with a Degree in Endocrinology. Please reach out to Zach if you are interested in professional 1 on 1 coaching Following the interview, Jesse gives a Pay it Forward and Logan hosts a quick rapid fire of questions about what is going on in the sports world right now. Brett gives a Local Guy of the week, and we finish up with Alternate Lines presented by TB's Bar and Grill in Watrous. Appreciate the show? Follow us on social media, download the podcast, and leave us a tip to show your appreciation: E-Transfer: theanecdote.sk@gmail.comMuun Address: bc1qxxk3f7ds0ft3x28kfdxfwnn2qxza07z4l3vl2v2dk22xkc834umqlr54r6Check out our new website: anecdotesk.cahttps://blog.upstreamdata.ca/Pay it Forward

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, MD of Rubber Cheese.Download our free ebook The Ultimate Guide to Doubling Your Visitor NumbersIf you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends January 31st 2023. The winner will be contacted via Twitter. Show references: https://www.draytonmanor.co.uk/https://twitter.com/DraytonManorhttps://www.instagram.com/draytonmanor/https://www.tiktok.com/@drayton_manor Danielle Nicholls - Senior Content Executive at Drayton Manor ResortWhen I graduated from Leeds Trinity University with a degree in Media & Marketing and a multitude of marketing placements in 2017, I was set on combining my two passions - storytelling and theme parks.After a year in a marketing communications role with a tour operator, I was lucky enough to secure a role in the Drayton Manor marketing team.Here at Drayton, I'm responsible for creating engaging visual and written content for all marketing channels - including web, PR, email, in park signage and of course, social media.My main focus over the last 4 and a half years has been to build an engaged social community across all our channels – Facebook, Twitter, Instagram, TikTok, LinkedIn and YouTube.I'm forever grateful to work in such a fantastic industry, filled with incredible energy and enthusiasm.https://www.linkedin.com/in/nichollsdanielle/Twitter @dnicholls_Instagram @_daniellenicholls Ross Ballinger - Design & Brand Manager at Drayton Manor Resort (Inc. Hotel, Zoo & Europe's only Thomas Land) Brand protector and innovator... I played a senior role in a busy agency studio team for nearly 9 years. I joined fresh from leaving university with a sort after London placement under my belt.I now produce fresh, engaging, and dynamic design creative for digital advertising, marketing campaigns, theme park attractions, working closely alongside a talented Marketing team. All to promote Drayton Manor Resort in the most effective and exciting method possible.I can guarantee expertise and a wealth of experience, the final outcome of the design process is not the end of my creative input, you can be assured that maintaining brand continuity and freshly injected excitement remains my priority.Spend time with me and you'll understand why I wanted to be an Actor, but you'll be glad I didn't as my energy provides office enthusiasm and endless creative steer.www.linkedin.com/in/ross-ballingerwww.behance.net/rossballinger(Portfolio)Instagram @rossballingerTwitter @rossballingerTikTok @rossballinger Transcriptions: Kelly Molson: Welcome to Skip the Queue, a podcast for people working in, or working with, visitor attractions. I'm your host, Kelly Molson. In today's episode, I speak with two great team members from Drayton Manor, Danielle Nicholls, Senior Content Executive, and Ross Ballinger, the Design and Brand Manager. We discuss the complex rebranding process. And how building a great social media community can mean your fans having your back when it comes to big change. If you like what you hear, you can subscribe on all the usual channels by searching Skip the Queue.Kelly Molson: Woohoo, I've got Danielle and Ross from Drayton Manor on the podcast today. Hello.Danielle Nicholls: Hi.Ross Ballinger: Hello there. Very excited to be here.Kelly Molson: I love how excited you are. I'm just talking, listeners, Danielle and Ross are literally the most pumped guests I've ever had on the podcast.Ross Ballinger: That's it, we'd better live up to that now.Danielle Nicholls: I know, right?Kelly Molson: They've got a snazzy Drayton Manor background behind them, which is looking fierce. But as ever, we're going to start with our icebreaker questions. Imagine that you're just down your pub with your mates. This is how I need you to feel with the icebreaker questions.Ross Ballinger: Okay. Get a few beers in.Kelly Molson: Ready?Ross Ballinger: Yeah.Kelly Molson: What are you most likely to buy when you exit through the gift shop?Danielle Nicholls: Pin badge, I reckon. Yeah, I've got a little pin badge collection.Kelly Molson: I like this. Ross?Ross Ballinger: Yeah, I'm very similar. I'm fridge magnet.Kelly Molson: You can't go wrong with a fridge magnet.Ross Ballinger: No. And we've got a secondary fridge, under the stairs, which where we keep the beers. And that's where all the fridge magnets go, at the end, if we've been to an attraction.Danielle Nicholls: I love it.Kelly Molson: Is that because your house is beautiful and your partner does not want them on her fridge and you have to hide them?Ross Ballinger: Exactly. Exactly that. The wife does not want them on the normal fridge. They're hidden behind the door.Kelly Molson: Oh, I like her style.Ross Ballinger: But I've got to get a fridge magnet.Kelly Molson: Pin badges, fridge magnets, excellent choices. Mine would be a rubber. Have I told you about my rubber collection?Danielle Nicholls: That's interesting, no.Ross Ballinger: So you collect branded rubbers?Kelly Molson: Right. Well, I used to when I was a kid. I'm going to show you them. I've got them on the desk next to me.Danielle Nicholls: Oh my God, please do.Kelly Molson: I'm sorry, listeners. For the people that are listening, this is rubbish. But if you're watching the YouTube video, hello. Welcome to my rubber collection.Danielle Nicholls: Amazing.Kelly Molson: So they still smell. Again, this is not podcast material, but they smell absolutely incredible.Ross Ballinger: Smell really good.Danielle Nicholls: Oh my God, I love it.Kelly Molson: This is an '80s collection of novelty rubbers.Danielle Nicholls: What's your oldest rubber in there, which have you had the longest?Kelly Molson: So there's one in there from the planetarium, the London Planetarium.Ross Ballinger: Doesn't exist anymore. There you go, that's memorabilia.Kelly Molson: Look at my Thorpe Park one, that's my Thorpe Park one.Danielle Nicholls: Oh my gosh, that is a throwback.Ross Ballinger: Oh, that's a good one.Kelly Molson: This is an old one as well. Anyway-Ross Ballinger: Everyone still does rubbers, so we fit in there with you.Kelly Molson: Because I can collect them.Ross Ballinger: Pin badge, magnet, rubber.Danielle Nicholls: We stick together.Ross Ballinger: That's a perfect combo.Kelly Molson: It's like the perfect triangle. We're the perfect gift shop triangle. Okay, all right, next one. If you had to live in a sitcom for the rest of your life, which sitcom would you choose and why?Ross Ballinger: Oh, mine's easy.Danielle Nicholls: I feel like we're going to be the same.Ross Ballinger: Yeah.Danielle Nicholls: Friends.Ross Ballinger: Friends, yeah.Kelly Molson: Aww. Who would you be, if you had to be one of the characters?Danielle Nicholls: I'm like a perfect mix between Phoebe, Rachel, and Monica, I think.Kelly Molson: Nice, okay. Again, another little triangle.Danielle Nicholls: Maybe more towards Phoebe, I'm a bit more hippie, I guess.Kelly Molson: Ross, what about you?Ross Ballinger: I love all the guys. I love for all the guys. Because I just love Chandler because he's so funny. But then Ross is funny as well, when he doesn't try to be funny. But Ross is just such a good actor. And you don't realise, until you watch it 17,000 times, actually how good of an actor he was. I think I'd have to-Danielle Nicholls: Can you be a Gunther?Ross Ballinger: No, no. I think I just have to sway towards Chandler. Just because he was known for being comedic and stupid.Kelly Molson: And now you feel like that's your life role?Ross Ballinger: Yeah, yeah. Yeah, I would go and live Chandler's life any day.Kelly Molson: Okay, I love this. All right, good, good answers. It's what I thought you were going to say. This is what I thought.Ross Ballinger: Did you?Kelly Molson: Yeah, I thought it was going to be Friends. All right. If you had to pick one item to win a lifetime supply of, what would you pick?Danielle Nicholls: That is so hard.Ross Ballinger: I know. Probably whiskey, lifetime supply of whiskey, just coming out the tap.Kelly Molson: It's a good choice.Danielle Nicholls: I genuinely don't know. That's really, really hard.Ross Ballinger: It's got to be food or drink, surely.Danielle Nicholls: It's got to be crisps or something like that. You can't beat a crisps and dip combo.Kelly Molson: Yeah. What about a crisp sandwich? How do we feel about crisp sandwiches?Ross Ballinger: Yeah, yeah, yeah.Danielle Nicholls: Oo, I'm not sure about that one.Kelly Molson: What?Danielle Nicholls: I'm not sure.Ross Ballinger: Come one, you're Northern. You can put anything in a sandwich.Danielle Nicholls: I would put crisps inside a cheese sandwich or something like that. But I wouldn't just have the crisps.Kelly Molson: See, I would do it either. I'm happy to have a filling sandwich with crisps in it. Or just a plain crisp sandwich.Ross Ballinger: I'd do either.Kelly Molson: What I really love about you two is how well you get on. And we're going to talk a little bit about this in the podcast today about your roles and what you do at Drayton Manor. But you look like-Ross Ballinger: Is it that evident?Kelly Molson: Yeah, it's that evident. But even from your social media channels... You guys feature quite heavily across Drayton Manor's social media channels. And, honestly, it just looks like you have the best time ever. And I want to hear more about it. But, firstly, I need your unpopular opinions. What have you prepared for us?Ross Ballinger: Okay, do you want to go first?Danielle Nicholls: As Ross alluded, I'm very, very Northern, I think. My accent a little bit, but more like how I am. So mine is, it's not a bap, it's not a bread roll, it's not a cob, it's a muffin.Kelly Molson: What?Danielle Nicholls: A muffin. That's mine.Ross Ballinger: It's a cob, it's a cob.Danielle Nicholls: No, it's a muffin.Ross Ballinger: Cob. You call it a cob.Danielle Nicholls: A muffin.Kelly Molson: No, it's a bun. What's wrong with you all?Ross Ballinger: Do you say bun? A muffin's a cake.Danielle Nicholls: I say batch as well. My partner calls it a batch, which is crazy to me. But muffin, we'll go muffin.Kelly Molson: Okay. For now, we'll accept muffin. Ross?Danielle Nicholls: Moving on.Ross Ballinger: Mine is, I just think soap operas are crap, honestly. I was going to swear, but I can't stand soap operas. And I know there's a lot of people out there that love them. But I just can't, I can't watch them. I just think they're so depressing. And if they're on, if I accidentally get home and the channel's on where it's on, I get anxious. And I have to find the remote as soon as I can to turn it off. What a waste of your life. What a waste of time, honestly. Hours and hours. And you add that up over a week and a year, think what else you could be doing. Honestly, if I turn one on now by accident, it's the same actors that are in it 20, 30 years ago. And I think, "What have they done with their life as well? They've just been in a soap opera for 30 years."Kelly Molson: These are excellent unpopular opinions. Listeners, please let me know if you agree or disagree. Thank you for preparing those for us today. I appreciate it.Ross Ballinger: No problem.Kelly Molson: Right, you guys work together. Tell me a little bit about your roles and what you do there?Ross Ballinger: So my title is design and brand manager. So I'm technically like lead designer for the resort. And the brand guardian. I look after the brand guidelines. So yeah, I'll produce, with me and my little team, everything that goes out graphically or visually across all the channels, website, printed media. So yeah.Danielle Nicholls: You definitely underplayed yourself there.Ross Ballinger: Did I?Danielle Nicholls: Yeah. You do so much. You say your little team, you and one other person. You smash everything, literally everything.Ross Ballinger: Aw, thanks, Danielle.Kelly Molson: That's a lot of work for you and your team.Ross Ballinger: It is, because if you think, in the industry, I can imagine people on a parallel with us would have bigger teams, bigger resource. Because basically Drayton Manor is a massive entity. It's not just a theme park, it's a hotel as well. It's a zoo. Then we have Thomas Land, which could be considered as a separate entity. So they're what I consider as four blue chip clients. And then we operate as a little agency within the resort that looks after all those. But then, you've got the resort's departments as well, which could be clusters of clients. So you've got catering, retail, they're the big ones I can think off my head. But they all have their graphical requirements as well, design requirements. So yeah, it's a massive entity and we look after it all.Kelly Molson: And how many... Did you say there's two of you?Ross Ballinger: There's two of us, yeah.Kelly Molson: That's mad. That is mad. So I really resonate with this because I, obviously, come from an agency background. I set up my agency nearly 20 years ago. I feel ancient. But what you're doing is you are essentially a mini agency with loads of clients and two of you. It's crazy. So I can imagine it's quite stressful, but also lots of fun because you get to work on a lot of variety.Ross Ballinger: Yeah. Oh, very varied. Yeah, every day is different. And that is not just a cliche that you can just say. Literally, every day is so different. Because it's an exciting company as well, where there's new things happening all the time, constantly evolving strategies, or new things come in and go in. So yeah, it's very varied.Kelly Molson: Danielle, what's your role? Because the two of you do work quite closely together as well, don't you?Danielle Nicholls: Yeah. Yeah, we do. So my role is, the title is senior content executive. So I primarily look after the social media channels, so Facebook, Twitter, Instagram, LinkedIn, and TikTok. Creating the content, taking the pictures, work with video agents. Sometimes creating a video in-house as well. And all of the community engagement that goes alongside that as well. Whilst also writing any copy, creating the content for the website, and any signage requirements. Literally anything that you see that has text on it, normally, me and Ross have worked together to create that. And with social, it's both paid and organic social media. So all of the adverts you see, alongside all of the organic stuff you see on our feeds. I also help out with PR as well. So we have a PR agency that we work with, but we liaise alongside them. And now, we're getting more into the traditional media as well. So the pair leaflets and out of home magazines, articles. Yeah, little bit of everything now that it's-Kelly Molson: That's mad. I love that you were just glossing over elements of your job that I'm like, "That's a whole person's job there." And we do the social community building and we do this bit and this bit. Wow, yeah, there's a lot. I just think that goes to show, even... We talk to attractions of all kinds of shapes and sizes on this podcast. And I think it just goes to show that even with an attraction that is a big attraction, and it's perceived to be a very big attraction, actually you're working with really small teams here. And there's a lot on each person's shoulder and a lot of responsibility. And I think it's really important that we highlight that, that you're doing a lot there.Ross Ballinger: But the extended team is really good as well. We've got really good team members. So the rapport across the whole team is very tight.Danielle Nicholls: In terms of the marketing side, I report into a digital marketing manager. And she is insane, she's amazing at what she does. And then, alongside me, we also have a digital marketing exec. And how it splits out is, he looks after all of the technical side, so SEO, CRM, that kind of thing. And I look after the creative content. And then we both report in to the digital manager.Kelly Molson: It sounds like-Danielle Nicholls: It's a little team but-Kelly Molson: It sounds like such fun roles as well. Genuinely, they sound really cool. Because I know, Danielle, you are a bit of a theme park... I'm going to say nerd. But you're theme park nut, right? You love theme parks.Danielle Nicholls: Yeah, absolutely, yeah.Kelly Molson: And I'm guessing, Ross, to work in a theme park, you've got to love a theme park.Ross Ballinger: Yeah, absolutely.Kelly Molson: Did you absolutely tailor your careers to make this happen? Was this always your ultimate goals? Like, "I want to work in an attraction."Ross Ballinger: Yes and no, kind of. So I studied to be a graphic designer, went to university for three years. And then I worked as a digital artist while I was at uni. And then I went straight into a local agency, after getting quite a sought after placement in London. And then I worked for an agency for nearly nine years. So I learnt my craft there, really. Worked my way up from a junior, up to a senior creative. And I ended up looking after all the top clients there as well. But almost nine years was enough. I knew I wanted to go in-house because it was at that time, there was a bit of a boom of companies and clients getting in-house designers. Because they knew how cost effective it would be to have your graphic designer in-house. So I started looking about, and I wanted a fun industry. There was no way I was going to go and work for a boiler company. I don't want to bad mouth any other companies out there but something engineering or-Danielle Nicholls: More typically fun.Ross Ballinger: Yeah, I wanted to go full on fun. And I used to come to Drayton as a kid as well so I knew Drayton Manor.Kelly Molson: That's nice to have that connection, isn't it? You know the brand, you've lived it.Ross Ballinger: I've got pictures of me around the park when I'm seven or eight with my mum and dad. So I have that nostalgic connection. And I was a big to a big Thomas fan as well when I was a kid growing up. So Thomas the Tank Engine, I had the wallpaper, had the bedspreads, loved the episodes. So when I knew that the big blue engine was here as well, it was like-Danielle Nicholls: Big boss Thomas.Ross Ballinger: Big boss, yeah, Thomas is your boss, any day. Yeah. So I was a fan of attractions anyway. Who's not a fan of going out on days out? And so it worked.Kelly Molson: Exactly, cool. But, Danielle, you went out and made that happen, didn't you? This was your focus.Danielle Nicholls: It was, yeah. I think, maybe not so much early on, I guess this is different, but from the age of about 13, 14, I knew I wanted to work in marketing. But I wanted to do marketing for a dance company at the time. So I did a couple of placements at some dance companies, Northern Ballet, Phoenix Dance Theatre, places like that. And that was the dream up until about 17, I want to say, when I was at college. I knew that I wanted theme parks. So I went and did a media and marketing degree. And as soon as I got to my second year, I was like, "Right, that's it. I need to find a theme park. I need to get experience. I need to connect with as many people as I can on LinkedIn." And it was my focus.Kelly Molson: That's interesting. Hang on, let me just... Because that isn't a typical 17-year-old's path, is it? They wouldn't necessarily go, "I know that I want to work in this industry, therefore, I need to connect with people that can help me make that happen." That's a really good piece of advice.Danielle Nicholls: Yeah. And I was literally on it, messaging people. I think I messaged, at the time, the PR manager for Legoland. And was like, "Hello, anything you can help me with." I was really a bit brutal. But yeah, then I went to uni, and did everything I could whilst I was there to try and get the connections still. I applied for a couple of grad schemes with some other groups and, sadly, didn't make it through to those. So as a bit of a bridge between finishing uni and starting Drayton, I went to work for a tour operator, who sold overseas UK holidays, but also sold theatre, attraction tickets, theme parks. So it was a bit of a gap between the two.And I worked there for a year, and then the job at Drayton came up. And at the time, I was living in York, working for this tour operator. And I was like, "I've got to go for it." It was a marketing officer job, so a little bit different to what I do now. But I had to. So I drove two and a bit hours up, in my little... I had a little C1 at the time.Ross Ballinger: But I feel that we both came in at Drayton in our respective roles as entry level, really. Because I had just started as a graphic designer. I took a pay cut to come here because I really wanted to start here. It was never about anything like that. So I wanted to work at Drayton. So that proves that I wanted to work. And our roles have both escalated over the seasons that we've been here.Danielle Nicholls: Because I did move so far, and away from my family and stuff, it was a big jump. I had three weeks to find a house and somewhere to live as well, which was fun. But I managed to do it and, honestly, I don't regret it. I don't look back at all. It's probably the best thing I've ever done.Ross Ballinger: If you want it, you make it happen, don't you?Kelly Molson: Yeah, totally. And I think it really says a lot about the Drayton Manor brand that you've done that as well. There is a real... It's clear with both of you, how much you love it. And it's amazing that you've... Ross, you've taken a pay cut. You've changed where you live to come and work and be part of what's happening there. So I think that's a real testimony to the brand itself. And that's a couple of things that we really want to focus on for this conversation today. So I'm going to start with the focus on you, Danielle, if that's okay?Danielle Nicholls: Okay, yeah, that's fine.Kelly Molson: Because I think what you mentioned really briefly, when you went, "Oh yeah and we do this kind of thing as well," is what you said around the social community side. So you have built the social community and I want you to explain how you've been able to do that and what that's looked like. So tell us a little bit about that element of your role.Danielle Nicholls: So I've been here just over four years now. And in that time, we've been through so much change but, also, social has changed so much. So when I first started I was looking at social but it was more, "Let's just post and leave it," kind of thing. And see how it is engaged with, see how it works. But, over time, I've tried to hone it so it's more about a social community, rather than we're just talking at them. It's more we're talking with them and we're engaging with them. Like I say, we've grown into different channels. So we were really just focusing on Facebook. We had a little bit of Twitter, and a little bit of Instagram, but it was primarily Facebook. Whereas now, we've brought in more LinkedIn stuff and TikTok as well, which has really helped. I think in terms of building the social community though, there's so many different to-dos that you can stick to. But, for me, it's more about seeing what works for your brand. Because it doesn't always fit the same, it's not just one formula that fits all.Kelly Molson: And I guess, like you said, about bringing in different social channels, you need to work out where your audience is. I guess where you're getting the most engagement as well. And then, you are a small team, how do you then divide up where you spend your time? You've got to spend it in the areas that you're going to get that engagement. So you might then end up dropping certain channels, or not being as... I don't know, not putting as much effort into those ones, just because it's just not where you get the engagement.Danielle Nicholls: I think in terms of the different channels, they all have a different audience, if that makes sense. So Facebook is very family orientated. You get the grandparents, the mums on there. Whereas, Twitter is theme park fans and slightly younger, it's very conversational. TikTok is younger, but the demographics on there are shifting slightly to be everyone at the moment. Because it's where all the trends are and things, there's a big range. Our audience on there is 13 to maybe 35, 40 upwards. So it is very varied. Instagram is a mix between Twitter and Facebook. So you do get the families and the mums on there, but then you get the theme park fans that just want to see pictures of roller coasters. And with the introduction of reels as well, that's trying to tackle TikTok, so that's really important. And LinkedIn is corporate.But we do have a team, like I say, we have a digital manager as well, but she's so busy with all the other things that she's got to look after. So the social, like creating the content and community engagement, just sits with me. So I have a big plan of all the different channels and the different days. And because I know the Drayton brand inside and out, I know what works now. So we tend to post every other day on Facebook, every day on Twitter. And we try to do every weekday on TikTok. Instagram, very similar to Facebook. But there's not really one that I'd prioritise, necessarily. At first, it was TikTok, at the start of this year, because obviously that was where it was taking off. But now, it's just about tailoring the message across, and trying to keep active on all of them.Kelly Molson: Do you have to really tailor what you put out on each of the channels as well? So you don't do, "This is going to go out across all of our socials." You have to really think about how those... Because I guess there's subtle nuances about how people react to certain things on different channels, and how they might communicate back with you.Danielle Nicholls: I think, from what I've been doing this season in particular, is Twitter's been very conversational. So I've not necessarily been worried about always having an image on there, or always having a piece of media on there. Just some text normally works, so long as it's engaging and people feel like they want to respond to it. Whether there's a CTA on there, or it's just something that's humorous, then that tends to work quite well.Kelly Molson: It's no mean feat. That is an awful lot of work that goes into that. And I think it's really interesting to hear about the tailoring as well. And how you're going to get different reactions, from different people, on different social media platforms.Danielle Nicholls: We tend to get, particularly on Facebook, in the comments, they're always really interesting to read. They're so different to Twitter. Because Facebook, sometimes you get some complaints in there. But because our community is so strong now, we get other people responding for us, which is a good... It's amazing, I love it.Kelly Molson: That's phenomenal.Danielle Nicholls: Sometimes you've got to moderate it because they might give an answer that's not necessarily right. But yeah, a lot of the time they'll be sticking up for us. Or they'll be responding to the questions for us, which is interesting.Kelly Molson: That's really impressive, and I didn't know that that happened. Is that part of, because you've put so much work into building your community, they're now backing you to other people?Danielle Nicholls: Exactly, yeah.Kelly Molson: Wow.Danielle Nicholls: Yeah. They've become our brand guardians without us making them, if that makes sense. Because they're so loyal to the brand, they just want to do all their best for us.Kelly Molson: How does that happen? Is that a time thing? Is it purely because you've spent so much time investing in those relationships that that happens now? Nobody's ever told me this before, that that happens.Danielle Nicholls: I think it's that but, also, like you say, Drayton is such a strong brand. And particularly since I've been here, we've just gone from strength to strength. So I think that helps as well. We also use user generated content. So particularly at the end of a big campaign, so Halloween, we'll say, "Share your pictures with us and we'll share them on our feeds." And that really gives them a sense of belonging as part of the community. Because they'll be scrolling down their Facebook or Instagram or wherever, and they'll see a picture of maybe their little one. Or they'll see themselves and, yeah, they love it.Kelly Molson: Yeah, I love that the whole user generated content is brilliant, because it allows people to see themselves at the place as well, doesn't it?Danielle Nicholls: Yeah.Kelly Molson: So from a sales perspective, I think if people can look at something and go, "Oh, well, that family looks just like mine." Or, "That person looks just like me." Or, "They've got this thing, just like I have." Then they're more inclined to maybe buy a ticket to come and see it as well. So it works two ways.Danielle Nicholls: It's about recognising the top fans as well. So I know Facebook has the top fan badge. And, on Twitter, we've got a closed community group which anyone can join. That's just called Drayton Manor Top Fans. And we, every so often, give them a little bit of information early before we give it to everybody else. Or little things like that, that make them feel special.Kelly Molson: So they feel like VIPs.Danielle Nicholls: So it keeps them interactive. Yes, exactly.Kelly Molson: They've got their own mini community. They feel like VIPs because they get to know stuff early. That's brilliant. Again, I've never heard any other attraction talk about doing stuff like that. Do you think that would be... I always ask about top tips, and what you would recommend other people to do that are building communities. Do you think that would be one of your top tips, is really invest in them?Danielle Nicholls: Yeah. And also, respond in a personal manner, rather than it being very corporate. Include your tone of voice, wherever you can, and make sure your tone of voice is dead on point, according to your brand guidelines. But also, be bold and brave. We always say that, don't we?Ross Ballinger: Bold and brave, yeah.Danielle Nicholls: If you sway away from your brand guidelines slightly, in order to respond, particularly on Twitter, it works really well. Then don't worry too much about that. It's okay, so long as it's in keeping with your values then it's okay.Ross Ballinger: And it's evident out there as well with all the other big companies. And it becomes a news story, doesn't it, when you get supermarkets battling on Twitter. And it's exposure and engagement at the same time.Kelly Molson: And people love that.Danielle Nicholls: That's another really important thing.Ross Ballinger: Yeah, people love it. It's a comedy show.Danielle Nicholls: Yeah, engaging with other brands helps.Kelly Molson: Yeah, they want to know about the people behind the brands, don't they? And if they realise that your brand face, actually there's a human behind it who's got a sense of humour, I think that goes a really long way.Danielle Nicholls: That's what we try and do.Kelly Molson: You do it perfectly, because I love your Twitter chat. You've got a great Twitter chat. We've talked loads about brand today, and that leads me on to what I want to talk to you about, Ross, which is the Drayton Manor brand itself. Because I think, I might have got this wrong, but it's a 70 year old brand. So Drayton Manor's about 70 years old.Ross Ballinger: Yeah, 1950 was when it first came about, yeah. The Bryan family started it in the 1950s. So George Bryan Sr., had this vision to create an inland pleasure resort for the local community. And I guess, in short story, it escalated from there.Danielle Nicholls: We've got a book all about it in the shops.Ross Ballinger: Yeah, yeah. So yeah, we owe a lot to the Bryan family, really, for escalating such a tiny little brainchild into a massive attraction that we are today. So yeah, I can remember thinking that we needed to rebrand years ago though, when I first started. Because I think it's just one of those that was a little bit... I don't want to say anything bad about it but obviously it needed to change. It was a little bit outdated.Danielle Nicholls: It was a bit archaic, wasn't it?Ross Ballinger: Yeah, it was a bit archaic. It stood the test of time and it did a good job.Kelly Molson: So how long had the existing brand been in place, before you got your mitts on it?Ross Ballinger: I think the last logo that we had in the brand was probably in place for about 20 years. I think it's early 2000s, the last logo.Danielle Nicholls: There was always slight variations, wasn't there?Ross Ballinger: Yeah, there was always a few modifications on it.Kelly Molson: But I can imagine that things had changed quite dramatically over those 20 years as well. So you talk about the need for a rebrand, it was really needed.Ross Ballinger: Absolutely.Kelly Molson: What I always think's quite interesting is how long some of these things take. Because I think that people don't fully understand how long a rebrand can actually take you. So can you remember when those conversations first started?Ross Ballinger: Since I started, it's always been a project that was a pinnacle project that we always wanted to try and get on to. But just in terms of budgets and time, we never got around to it. Obviously, it came to the point, I think it was November 2021, when we first sat down and said, "Now is the time to do it." Because, obviously, we were bought out by a big company, Looping Group, and it was the perfect opportunity to do it. It's obviously a new era so it made perfect sense.Kelly Molson: So when did you launch it? So November, you sat down and went, "Right, November '21, we're going to do this." When did it actually launch?Ross Ballinger: Literally-Danielle Nicholls: Two minutes later.Ross Ballinger: Six months.Kelly Molson: Six months?Ross Ballinger: Six months, yeah. We put a brand team together, firstly. And, honestly, because we're such a small in-house team, we knew that we needed some help. So we got agency help, and we got local agencies to pitch in their best processes. So they were the experts in doing it, and they knew what protocols and procedures to go through. And we chose a really talented local agency in Birmingham. Yeah, started the project in '21, and launched it six months later.Kelly Molson: Wow, that's a phenomenal amount of work in six months.Ross Ballinger: Yeah. In, I don't know, design industry terms and the size of the business, that's no time at all, really.Kelly Molson: No, it's not. I honestly thought you were going to say we started talking about this three years ago and it took two years. It was a two year process.Ross Ballinger: The best thing was, is that we were doing that, alongside launching our brand new Vikings area. So we've got three new rides launch. We're launching a new website at the same time.Danielle Nicholls: We had a new booking system.Ross Ballinger: Yeah, a new ticketing system. As well as the regular day to day work and seasonal campaigns to market. It was literally like all Christmases come at once.Danielle Nicholls: It was. Everything we'd wanted for so long, they just went, "There you go."Ross Ballinger: All at the same time.Kelly Molson: You can have it all, but you need to do it in this amount of time. Wow. That is such a lot to all be happening at the same time. But I'm not going to lie, this happens at attractions. Suddenly, they just spring into action. We have just worked with a client with exactly the same. They did a rebrand, new website, booking system, all at the same time. And you're like, "Ah, the world is on fire. What's happening?"Danielle Nicholls: It was great though.Ross Ballinger: It was good though. We collaborated for most of it. The agency were a bit of a rock, really. And they did a lot of the legwork in terms of the brand personality, putting together the guidelines, creating the initial design concepts. But I did sit alongside them and collaborate with them. It would've just been a too big a task solely, on my own, internally, which it wouldn't have been possible. But I'd like to think I had a lot of input, inspirational design ideas along the way, that probably helped chisel the final outcome and the look of the brand that we've got now.Danielle Nicholls: Just logos in itself, you had sheets and sheets of-Ross Ballinger: Sheets and sheets of logos, yeah, logo concepts and variations. But I know I wanted something that was super flexible in terms of composition and layout. Because I know what I'd created before, it was archaic, but it was flexible. It would work on all different platforms. And then the typeface that we chose for the final logo was one of my early typefaces that I pitched in. And the swirl, that was one of my babies, that was one of my original concepts. So I always wanted to push that.Kelly Molson: Yeah, yeah, yeah. I love that. But that's what makes for a good agency client relationship is that you do collaborate. That's how it should be. And they obviously nailed it. And I know that you would've had so many stakeholders involved in this process as well. So I can imagine how big a challenge that was to actually come to a final, "This is what it's going to be like," and everyone be happy.Ross Ballinger: It was a challenge, but only because we had a lot of passionate stakeholders that wanted valued input. And they had strong views, which was very fair.Kelly Molson: So the bit that ties these two stories together, the things that we've talked about today, is that... I think you alluded to the fact, Ross. That when the brand launched, it's a big change for people. The way that you've talked about the brand is incredibly passionate. I can imagine that local people, people that come to visit every week, every month, they are so... The brand is in their heart. So a big change like this can be quite uncomfortable for people. And when the brand launched, there was a little bit of-Ross Ballinger: Yeah, there was a bit of uncertainty, yeah, and a bit of shock. Yeah, they've had a logo installed in their brain for 20 years. But when we wanted to launch the rebrand, it wasn't just about a logo. We did focus on the logo probably, in hindsight, more than we should have.Danielle Nicholls: I think that's maybe a bit of a learning curve, particularly on social. The asset that we used was the old logo going into the new logo, which we thought was great. But then when we put it out, we were like, "Actually, maybe we should have focused more on..." Like you say, brand personality and visions and values, rather than just the logo.Ross Ballinger: Because the end user hasn't really seen the six months of graft that's gone into creating that. And we did portray it in five seconds.Kelly Molson: So they just get the, "Hey, this is new, you should love it." But they haven't understood about the process of why you've done certain things, and the decisions that have been made.Danielle Nicholls: Exactly, yeah. We had a blog which explained it all perfectly, but you had to click through to the blog. People didn't necessarily do that. They just saw the logo and keyboard-Ross Ballinger: But I like the journey we went through because the people that didn't actually really like it in the beginning and really just sacked it off straight away, they're the people that have warmed to it now. And seen it in execution, and how adaptable it is, and how we can get our messages across. And the fact that they love it now, and I love that, that we've turned them round.Danielle Nicholls: Because the main thing we were trying to do, really, is come away from fun family memories, and turn it to fun for everyone. That was the main message that we wanted to portray, particularly on the social channels, and in brand in general. But I think going forward we're definitely going to achieve that.Kelly Molson: But it's quite interesting because I think what you talked about earlier, Danielle, your social community, they would've played a big part in this when you launched it. So I guess it would've been harder if you hadn't already built those relationships and nurtured that community. Launching something like this, would've been 1,000 times more difficult than actually... All right, there was a bit of a bump in the road, but it wasn't the end of the world. And people, like you say, are now warming to it and loving it. Would that have happened if you hadn't put all that work into the social community aspect?Danielle Nicholls: Possibly not. I think, like I said earlier, there was a lot of people, they had our backs. So there was people like, "This is..." Being very negative. But people were responding saying, "Look, they have to move forward, they've been through this, that and the other. They have to move forward. See the positives," which was good.Ross Ballinger: I think as well, probably because we've got such a good social community, they felt comfortable with saying what they thought about it and being honest.Danielle Nicholls: Which helps because we did run focus groups beforehand, as part of the rebrand process, with suppliers, annual pass holders, staff members, literally with so many people. But until it's out there, you're not necessarily going to get that big, full, wider picture. So it did help us with how we were going to move forward with the rebrand as well, looking at their feedback.Kelly Molson: So you actually took some of their... So obviously from the focus groups, you would've taken on board some of the input that you got from those. When it launched, was there anything that you took on board from the feedback that you were getting at that point? That you could look to, not necessarily change, but I guess look at the ways that you implement it in a different way?Danielle Nicholls: I think the main thing was, like we said, the logo situation. Because everyone was so focused on the logo, we knew that, moving forwards, as we were going to explore the brand even more, we had to make sure it was about the imagery and the personality. And including the shop line there and things like that, rather than... I think that learning curve definitely came from the feedback.Kelly Molson: Brilliant. It is such a huge project to go through a rebrand. And I think there's always that anxious moment when you unveil it to people and they go... It could be a bit Marmite. But I think the way that it's been managed, that's the important part of this story, really. And that comes back to, again, it all fits together about how the two of you work together as well. And I think that's quite an important aspect to take away from this podcast episode as well. It's about, it's a team, this is a team thing that happens here. And it's not just about one person. So the brand has launched and then, suddenly, it's all on Danielle's shoulders to deal with all the stuff that's coming back. It's, this is a team thing.Ross Ballinger: Well, no, it cascaded all the way through the company, didn't it?Danielle Nicholls: Yeah.Ross Ballinger: People would be like... Even engineers, and everyone, and HR, they were like... They felt the same... It was almost a little bit of disappointment that the reaction wasn't amazing. But then, everybody felt it.Danielle Nicholls: But we all came together and-Ross Ballinger: Yeah.Danielle Nicholls: Our director of people bought us a box of Krispy Kremes in the office that day. And was like, "There you go, guys. Are you all okay?" And we were like, "Yeah, it's all good."Ross Ballinger: But there's obviously horror stories of brands doing this and reverting back. But we knew that we'd got something that was amazing that we were going to stick to. And once we knew we could roll it out, that it was going to flourish. So we're just glad that we stuck to our guns and just... We had the negativity at the beginning and, now, people love it.Danielle Nicholls: Like you say, we have people coming up to us, just telling me it's good. Saying, "I wasn't sure at first? But now we love it."Kelly Molson: Ah, see, and that's what you want. You want it to be loved by everybody that sees it now. That's brilliant. You just reminded me of something that I saw a few weeks ago. Have you seen the video when Staples changed their logo, they put out?Danielle Nicholls: Yes.Ross Ballinger: Yes, yes.Kelly Molson: That's just like, as you were talking about it, I was going, "Oh my God, I watched that last week." And it's so crazy.Danielle Nicholls: Yeah. And they're all like, "Whoopa." It's amazing.Kelly Molson: "Wow, look at us." And I just didn't think it was amazing either. But I just felt really sorry for the whole team being forced to clap it and, "Yay, a logo." Oh dear, if that's what they thought brand was-Ross Ballinger: I loved it. I just think that's how you should do it, even if it is a bit cringey.Danielle Nicholls: I thought it was hilarious.Ross Ballinger: What they've done is open up the stapler in the logo, and put it on the side. But sometimes that probably would've cost them an arm and a leg just to do that as well.Danielle Nicholls: So much time.Kelly Molson: There's a massive buildup to that happening as well. And I was a bit like, "Wow, that's a massive anticlimax."Danielle Nicholls: A big press conference for it.Ross Ballinger: I just loved everything about it, honestly.Kelly Molson: The next rebrand, that's what you'll be doing, Ross. You'll get everyone in the attraction, you'll launch it on a big screen. I think what you've done, and what you've achieved, is phenomenal. Thank you for coming on the podcast and talking to me about it today. I really appreciate it. As ever, we always ask our guests if they've got a book that they love that they'd like to share with our audience. So you can pick one each.Danielle Nicholls: I think for me... And going back to me being a theme park nerd, this ties in very well. John Wardley, who is-Ross Ballinger: No.Danielle Nicholls: I know, right. John Wardley, who is a big theme park, mainly rollercoaster, designer. He's done work for Merlin, PortAventura, Oakwood, so many. He was really, really big. He worked on things like Nemesis, Oblivion, Katanga Canyon at Alton Towers, was Megafobia at Oakwood. He had an autobiography called Creating Your Nemesis, which basically spanned through his life of how we got into the theme park industry and where we went through. And it's very story based and anecdotal, but it was really inspiring. And helped me create the courage to knock on doors and do that kind of thing.Kelly Molson: Oh, I love that. Great book. Great book choice.Ross Ballinger: That's a really good response to the question. See, I'm a designer so I don't really read. I can read, but I just don't read. I'm very visual, as you can imagine. So I'm just not a fan of reading. I prefer to just scroll through Instagram and TikTok. But I have read books in the past. I remember one book, I think it's probably the only book I have read, was The Da Vinci Code by Dan Brown. I think it's Dan Brown. But that's only because I was interested in Leonardo da Vinci, who was obviously a scientist or an... He was a bit of an artist and an architect. So I was more interested in his theories, and his Vitruvian Man, I think it is. So I was more interested in his works, really. But other than that, I do own every book by Jamie Oliver, so if a cookbook works.Kelly Molson: I don't know if you should be sharing that.Ross Ballinger: So yeah, I love Jamie Oliver. 5 Ingredients, 30 Minute Meals, brilliant.Kelly Molson: Jamie Oliver gets a bad rap and I don't really know why because he seems like a nice guy.Danielle Nicholls: Are we going back to unpopular opinion?Kelly Molson: Well, I think we should. But also a little story in that. I live in Saffron Walden, Jamie Oliver lives five minutes around the corner.Ross Ballinger: He's down the road.Kelly Molson: He goes to the market in my town every Saturday, and goes and buys his-Ross Ballinger: Oh, I'd love to meet him.Danielle Nicholls: You'd be there for a selfie.Kelly Molson: Ross, join the queue. I'd love to meet him. I've lived here since 2019. I've never seen him once. All my friends have seen him. And now, it's a thing with them. They're like, "Have you seen him yet? Have you seen him?" No. And I feel like, I'm not a Jamie Oliver stalker. I'm not going to go and harass him. I just would like to live in the town and be like, "Oh yeah, I saw him this morning." I've never seen him. My mum has been messaging me once, and she's been in the cafe in Saffron Walden, and been like, "I think Jamie Oliver's on the table next to me. I'm not sure if it's him though. I don't know if it's a fat version of Jamie Oliver, or if it's actually... Oh no, it is Jamie. It's Jamie Oliver."Ross Ballinger: Oh no. I can understand why people don't like him. But he just sploshes his olive oil everywhere, sploshes it around. But he has got that passion for cooking, which is what I resonate with. So he loves what he does, he's so-Danielle Nicholls: You can't knock his passion.Ross Ballinger: You can't knock his passion. So I'm in tune with that.Kelly Molson: All right. Listeners, well, I think that we should scrap Ross's book choice, and I think we should go with the Jamie Oliver book. So if you head over to Twitter, and you retweet this Twitter announcement with, "I want Ross and Danielle's books," then you might be in with a chance of winning Danielle's book and a Jamie Oliver cookbook. Does that sound fair?Ross Ballinger: Yeah, that'd be ace.Kelly Molson: I feel like you were more passionate about that.Ross Ballinger: Yeah, yeah, yeah.Kelly Molson: All right, let's do that then. Thank you. It was lovely to have you both on. I've really, really enjoyed it.Ross Ballinger: Thank you.Danielle Nicholls: Thank you.Kelly Molson: And also thank you for the lovely little tour that I got of the new Vikings area at Drayton Manor, when you hosted the UK Theme Park Awards earlier this year.Danielle Nicholls: I'm glad you liked it.Ross Ballinger: Yeah, we did, yeah.Kelly Molson: It was awesome.Danielle Nicholls: It was amazing.Ross Ballinger: I think that's where you spotted us.Danielle Nicholls: Yeah.Kelly Molson: Well, look, I'm not going to lie, you guys were sitting behind me and you were extremely loud. And I thought, "They'll make great podcast guests."Danielle Nicholls: We were whooping everyone.Ross Ballinger: We had so much energy that day though. I was knackered by the end of the day.Kelly Molson: I loved it. No, you hosted it perfectly. It was a brilliant event. But the new area is fantastic, so definitely go on, book your ticket.Ross Ballinger: We're very proud of it.Kelly Molson: And go on and see that while you can. So thanks for coming on, guys.Ross Ballinger: Thank you.Danielle Nicholls: Thank you.Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions, that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more, over on our website; rubber cheese.com/podcast.

Imagine if you were a student of Leonardo da Vinci during the height of the Renaissance? What would you learn? All the secrets of oil painting, the hidden proportions of human anatomy, Leonardo's philosophy on life...Let's find out. On this episode, we explore Leonardo da Vinci's Treatise On Painting through three lectures on Proportion, Anatomy, and Color. We stumble onto the invention of 'orange'. And finally, we uncover unlock the secrets of The Vitruvian Man. Join me for this special two part series, as we dive into the thoughts, artwork, and paradoxes of Leonardo da Vinci's mind. A mind whose brilliance is exteriorized for us on the pages of these manuscripts. Visit the companion gallery for this episode here: https://mjdorian.com/notebooks/ --------- Research & Resources: • The Notebooks of Leonardo da Vinci, edited by Edward MacCurdy (Definitive Edition in One Volume). (Digital version, Volume I: https://archive.org/details/in.ernet.dli.2015.283547 ) • Treatise On Painting, by Leonardo da Vinci (Digital version: https://archive.org/details/cu31924008661476 ) • Leonardo: The Complete Drawings, published by Taschen. • The Lives of the Most Excellent Painters, Sculptors, and Architects, by Giorgio Vasari • Leonardo da Vinci, by Walter Isaacson. --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian --------- Listen to episode 2 of Creative Codex for more about Leonardo da Vinci's personal life. Available in the main podcast feed, titled: '2: Leonardo da Vinci's Secret'. --------- Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Angela Ramseyer, Anna Wolff, Aranea Push, Barak Talker, Carmella Cole, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Deborah Meyers, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- All music written & produced by MJDorian. With one exception: Amadeus Mozart's Lacrymosa from Mozart's Requiem plays from 8:50-11:30. Performed by the Boston Symphony Orchestra, conducted by Erich Leinsdorf. Creative Codex is written & produced by MJDorian. All rights reserved.

The theory goes that Leonardo DaVinci grew wary of Hermeticism and created his Vitruvian Man . His representation of a human male body. What does it have to do with the inner workings of the universe? Let's see.  For this episode we need to paint a couple of mental pictures in our minds’ eyes. The […] The post DaVinci's Mental Code appeared first on WebTalkRadio.net.

"Vitruvian Man" refers to the proportions delineated by Vitruvius, who was an architect of people too.

When what is equal and what is just can often differ, can architects design to honour the rights of all humans, while also hold space for the non-human rights of waterways and animals alike? Hear from a panel of Australian Institute of Architects industry thought leaders, who discuss and unpack what design excellence within placemaking for future generations looks like when designing for the moral codes of today—and the changing emotional landscapes of tomorrow. Yesterday, architects designed for the ideal Vitruvian Man—but thankfully a more nuanced, inclusive and diverse conversation prevails today—or at least it should. Most organisations pride themselves on empathic, environmentally enlightened, values-driven policies—and would be disheartened that their optimistic ambitions have not yet been baked into the DNA of the buildings they create. How can we change this? How do we design for the human rights of the collective, while also acknowledging the undeniable climate emergency on our doorstep? This talk was part of Melbourne Design Week 2022. *Content Warning: Discussions of family violence*

This episode we're considering 4 ways to consider our personal space.  Leonardo da Vinci's Vitruvian Man:https://www.leonardodavinci.net/the-vitruvian-man.jspHead Spins with Kid Glyde:https://www.youtube.com/watch?v=EMfZVZm3RQQRond de JambeCORRECTION: I should have identified the rond de jambe as Far Reach, Mid Level. You'll see it in the first 30 seconds of this video...https://www.youtube.com/watch?v=dJ9cprPAJpgThe rond de jambe a terre (where her foot drags on the ground) is Far Reach, Low Level. The rond de jambe en l'air (which is the one I was thinking of) is Far Reach, Mid Level. Video gaming follow up: In my house, the controllers are held with bent arms, but they rest next to the rest of the body, so we're looking at Mid Level, Near Reach.Looking for a dancer to follow on IG? Check out @jonathanbatistaofficial 

The serenity prayer calls for the wisdom to distinguish between things we can and cannot change. But what is this wisdom, and is it actually possible to always be right? This conversation with Kate centered on techniques and framings to live well in a world that is inconvenient at best and unfair at worst. Some topics that came up were Da Vinci's Vitruvian Man, the indifferent universe, stoicism and CBT, and much more. Follow Kate on Twitter: @kate_hammer Website: drkatehammer.com

udah lama gak upload, kali ini ngomongin mind-body problem cover: Vitruvian Man by Leonardo da Vinci --- Support this podcast: https://anchor.fm/sebuah-podcast-filsafat/support

In this week's episode, entitled "DaVinci's Man", I ignore my gut feelings and make a deal with the devil to create a new art installation based on DaVinci's Vitruvian Man, which leads me down a dark corporate rabbit hole. The Compulsive Storyteller Podcast is a series of short personal stories in 20 minutes or less written, narrated by Gregg Lefevre. Follow at the @TheCompulsiveStoryteller and visit our website at thecompulsivestoryteller.com

The current practice of architecture may not be of concern with the theory of architecture, but more than 2,000 years ago in Rome, the theory of architecture was regarded the same as the practice of architecture. Quoted by Vitruvius on "Utility, Strength, and Beauty" as the fundamental principles of architecture, the architect, builder, and engineer in the Roman times in Antiquity were not separated entities but are one and the same. The 10 books of Architecture, talked about the practice and qualifications of the 'architect', construction and materials, building types, and also, the aesthetic principles of the orders. In this day and age, the aesthetics, structure, and functional aspects are dealt with separately. At the very least, the theory of architecture enables the architect to reflect on the current situation of the profession and in the many themes and studies, we could reflect on what had gone before and what has transpired since and the state we are in, so that we may be able to decide on the future better. © 2021 Talk Architecture, Author: Naziaty Mohd YaacobPhoto (artwork): "Vitruvian Man", illustration in the edition of De architectura by Vitruvius; illustrated edition by Cesare Cesariano (1521) from Wikipedia

This episode examines one of the most famous drawings in the world - Leonardo's "Vitruvian Man." From the meaning of the subject, to those artists who influenced Leonardo, to how the drawing has come to symbolize the historical period known as the Renaissance, we shall unpack the extraordinary image that put humanity back at the center of the universe.

In this episode, Eleanor chats to Rosi Braidotti, one of the leading philosophers of our time and a Distinguished Professor at Utrecht University. Her pioneering theory of posthumanism is a way of thinking that she believes is key to understanding the posthuman condition within which we all exist. We are releasing this conversation in two parts. In this first part, she explains how to embrace the crises and possibilities of advanced capitalism, what it means for NASA to choose Leonardo da Vinci's Vitruvian Man as one of its logos, and why colonising outer space risks repeating the worst features of terrestrial capitalism. Look out for the bonus episode for the second half of this interview, which will be released very soon.

This week we're going heavy on the source material, because this particular set of ideas was fleshed out (no pun intended) in passages spanning multiple works, and for the most part in unpublished notes. As Nietzsche was fond of saying, however, all the main points of his philosophy are covered at one point or another in his Zarathustra — and so this week's episode takes its name from a passage in Zarathustra, wherein the titular character says “there is more wisdom in your body than in your deepest philosophy”. The Nietzschean view of the self is that the body and its instincts are primary, in contrast to the Enlightenment view of the mind as primary. For Nietzsche, the rational consciousness is a narrator which merely gives an after-the-fact explanation. The true person is the body and its unconscious, irrational drives. This view of the self subverts many of our presuppositions about the power of reason, and about man's free will. Episode art: Da Vinci's Vitruvian Man, courtesy of Wikimedia commons.

The Holy Shaft keeps yielding revelations! This is part 4 of our look at the incredible #secrets attached to this apparently insignificant solitary shaft at #Giza. DaVinci encodes in his iconic Vitruvian Man drawing directions to follow on #Egypt soil, which yield even greater unfoldings. This is also a YouTube video. Come with us to Egypt in October, for the Ancient Mysteries tour! Details on the new website… www.greatpyramid.org

Taking a moment away from appearing in the Australian production of Harry Potter and the Cursed Child, Gillian Cosgriff and Tom Wren try their hands at the quiz. And for the first time, someone claims that geography is their area of expertise! However they don't get to test their proficiency as there is no geography question in this week's quiz. There are a couple of sports questions though. And a musical theatre adjacent one. Who was the first person to be awarded two Nobel prizes? In which country was Lutheranism founded? And who created The Vitruvian Man drawing? Support this show http://supporter.acast.com/the-saturday-quiz. Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

In this part of our biography podcast, find out how and why Leonardo da Vinci painted the Vitruvian Man, the Last Supper, and the Mona Lisa. Also find out what he did during his later life, how he died, and some interesting facts about him. Listen to the biography of Leonardo da Vinci now. Read our blog post Would you rather read his biography? Read it here: Biography of Leonardo da Vinci. If the link doesn't work, copy and paste this URL into your browser - https://wisuru.com/biography/biography-of-leonardo-da-vinci/ Resources Vitruvian man, as imagined by Vitruvius - https://en.wikipedia.org/wiki/Vitruvian_Man#/media/File:De_Architectura030.jpg Vitruvian man, painted by Leonardo - Depositphotos_3972688_l-2015-768x1111.jpg (768×1111) (wisuru.com) The Last Supper, painted by Leonardo - 1917px-Ultima_Cena_-_Da_Vinci_5-768x433.jpg (768×433) (wisuru.com) The Mona Lisa, painted by Leonardo - Depositphotos_44969577_l-2015-768x1019.jpg (768×1019) (wisuru.com) Donation link Do you like our work and want to donate to us? You can do so by using this Patreon link: https://www.patreon.com/wisuru Contact us Have some suggestions to share with us? Just tweet to us using our Twitter link: https://twitter.com/WisuruBiography

Hello Interactors,Chicago was bursting at the seams at the turn of the century. People were stressed, companies were panicking, and something had to be done. They needed a plan; a map of a 20th century city. They needed someone to draw a picture, ease their minds, and persuade Chicago’s industrial elite. As interactors, you’re special individuals self-selected to be a part of an evolutionary journey. You’re also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let’s go…THE POWER OF THE PENIt wasn’t going to end well. The mechanical engineering class was split in their opinions over elements of a design for a handle bar bracket they were designing. It was getting tense. There was yelling, pointing, and gesturing among the aggressive ones while distracted, despondent doodlers were dawdling in the margins. The instructor, clearly rattled, was vainly refereeing the melee. Then, from the back of the class, came a calm but firm interjection. “Can I make a suggestion?”, a man’s voice said. The class whirled around in their seats. There was another professor seated in the back, but who was he? Last week we left Chicago at the turn of the century. The flood of immigrants from the 1830s to 1900 had led to exponential population growth.  There were nearly 4,000 people living in Chicago in the 1830s and over two million by 1900. It made a lot of people rich, but left many more poor. It was also causing congestion, pollution, and, yes, disillusion. Chicago was not becoming what the city’s elite had imagined. Those who could, escaped to the suburbs proffered. Those who couldn’t, scraped by on whatever was offered. But everyone was frustrated, confused, anxious, and scared. Infamous Chicago organized crime had been building for decades with crooks named Michael ”Hinkey Dink” Kenna, George “Bugs” Moran, and the “Bloody Gennas” – six Sicilian brothers “Bloody” Angelo, Mike “The Devil”, and Pat, Sam, Jim, and Tony – “The Gentlemen.” Railroads were stringing rail lines into the city, boats were crowding the harbors, and the glimmer of automobiles was on the horizon. Companies were booming and competing for rights to increasingly limited public land. The government did their best to mediate and keep the town running, but it was getting heated. Then somebody in the periphery was asked to make a suggestion. As that engineering class was staring down the mysterious man in the back, he continued, “I’m not a mechanical engineer so I’m having trouble understanding what you’re talking about. Would someone kindly draw a picture of this bracket on the whiteboard so I can see what it is you’re arguing about?” All of the students look at each other and then one sheepishly admitted what they were all thinking, “I don’t really know how to draw.” Eventually somebody was delegated to draw a rough sketch of the part. They then circled and labeled the elements they were discussing. The room erupted again in debate. “That’s not what we’re talking about!”, said a boisterous one as they charged the whiteboard. They grabbed another marker and circled and labeled another element. “What are you talking about?”, said another as they leapt from their seat for the board. Soon, all of the students were gathered around the whiteboard, pens in hand, visually negotiating a resolution.  With the power of the pen, and the emergence of an image, comes the persuasion of people. To visualize is to compromise.THE WINDY WHITE CITYSeven years before the 20th century arrived, Chicago hosted the 1892 World’s Fair: Columbian Exposition. Otherwise known as the Chicago World’s Fair. But most people ended up calling it ‘White City’ due to the white neoclassical architecture it featured, but in today’s social context it was ‘White’ for other reasons. For one, it was celebrating the 400 year anniversary of Christopher Columbus “discovering” America. For another, the organizing committee refused to appoint any Black or African-American members. There were Black and African-American exhibits accepted as a consolation, but even though these Americans comprised one tenth of the population at the time, it seemed the organizing committee would rather not hear from them.Ida B. Wells, a Chicago resident at the time, Frederick Douglass, and Irvine Garland Penn didn’t sit idly by. They produced a pamphlet entitled, The Reason Why: The Colored American is not in the World's Columbian Exposition. It was printed in English, French, and German. The preface reads like this:“TO THE SEEKER AFTER TRUTH:Columbia has bidden the civilized world to join with her in celebrating the four-hundredth anniversary of the discovery of America, and the invitation has been accepted. At Jackson Park are displayed exhibits of her natural resources, and her progress in the arts and sciences, but that which would best illustrate her moral grandeur has been ignored.The exhibit of the progress made by a race in 25 years of freedom as against 250 years of slavery, would have been the greatest tribute to the greatness and progressiveness of American institutions which could have been shown the world. The colored people of this great Republic number eight millions – more than one-tenth the whole population of the United States. They were among the earliest settlers of this continent, landing at Jamestown, Virginia in 1619 in a slave ship, before the Puritans, who landed at Plymouth in 1620. They have contributed a large share to American prosperity and civilization. The labor of one-half of this country has always been, and is still being done by them. The first credit this country had in its commerce with foreign nations was created by productions resulting from their labor. The wealth created by their industry has afforded to the white people of this country the leisure essential to their great progress in education, art, science, industry and invention.Those visitors to the World's Columbian Exposition who know these facts, especially foreigners will naturally ask: Why are not the colored people, who constitute so large an element of the American population, and who have contributed so large a share to American greatness, more visibly present and better represented in this World's Exposition? Why are they not taking part in this glorious celebration of the four-hundredth anniversary of the discovery of their country? Are they so dull and stupid as to feel no interest in this great event? It is to answer these questions and supply as far as possible our lack of representation at the Exposition that the Afro-American has published this volume.”The lead architect of the neoclassical “White City” was Daniel Burnham. He was lauded by the White organizing committee for capturing the essence of the American exceptionalism they intended the fair to evangelize. It was the largest exposition to date and drew over 750,000 people on its opening day. So in 1906 when Chicago was fuming in its own waste, clogged with congestion, and stuck with an unclear path forward, a group of industrialists, called the Commercial Club of Chicago (which is still around today), called Burnham to the front of the room to draw them a picture. The project was called the Burnham Plan. WAR OF WORDS AND WATERCOLORSBurnham had already sketched some ideas of how to improve the city’s waterfront after the World’s Fair had concluded. He also helped other cities like Washington D.C., Cleveland, and San Francisco with their own plans. Some regard him as the father of American city planning. Burnham signed on a partner, Edward H. Bennett who ended up doing much of the coordination. But they also hired a prominent muralist and watercolorist, Jules Guérin. Burnham knew his ideas, along with the ideas of the Commercial Club members, would take some selling to the public, other prominent businessmen, and the city government. He needed more than a sketch, a plan, or even a map. He needed people to be both inspired and consoled. But also persuaded.What led to the contention and confusion in that mechanical engineering class wasn’t just differing opinions. That’s what came out in their actions, but what compelled these people to react as they did was more likely anxiety, frustration, confusion, and maybe even fear of being wrong. It’s that same feeling we have when we’re disoriented or lost. There’s a unique image in our head, if we can access it, that will orient us when we’re lost. Every student in that classroom had their own individual image of that bracket in their head. They just needed to access it. But manifesting that image through words can be inadequate and frustrating. Words only get us so far. That’s why images are worth a thousand words. So in our struggle to reason with that feeling inside us we can sometimes lash out, point fingers, blame the environment — and sometimes each other. What an image provides, be it a drawing or a map, is clarity. Certainty. It makes the invisible visible, the impossible possible, and persuadable persuaded. And, yes, it can also be consoling.Jules Guérin was a good choice on the part of Burnham. His serene cityscape watercolors not only represented the rational, orderly, and systematic plan of Burnham, Bennett, and others, but they made Chicago look calm, peaceful, and serene. Maybe even egalitarian. These artistic maps drew inspiration from Europe — especially the Beaux Arts movement of Paris. Georges Eugène Haussmann had executed a similar city plan of Paris fifty years earlier. It was good timing in the lead up to their 1889 World’s Fair and the construction of the Eifel Tower in 1887. Paris was a medieval mess until Napoléon III hired Haussmann to redesign and renovate the city. His work is now synonymous with the allure of Paris. Guérin ended up painting over 150 images that Burnham used for presentations or to be hung in the halls of buildings housing influential commercial and governmental decision makers. His work wasn’t only pleasant to look at, but featured elements that appealed to a wide variety of constituencies. Some paintings included pastoral forests, farms, and open space contrasted with railroad tracks bordering or dividing the natural landscape. Many included high contrast lightly rendered rivers and lakes that featured both boating for pleasure and commerce. There was something for everyone.But one of the most distinctive elements, is the aerial bird’s eye view. This unique perspective allowed the paintings to be seen as traditional works of art, but also allowed Burnham to sell his vision of an orderly, well structured, architectonic city. Just like the ones in Europe. This style of painting, mapping, and planning of cities came to be known as the City Beautiful movement of urban design and planning that spread across the country.Burnham was a master at leveraging the power of these illusory, artistic, and fanciful maps to persuade. But he wasn’t doing it alone. He had the full backing of the Commercial Club who came with their own ideas. But they weren’t alone either. There were competing visions for the city. One contentious element was the refactoring of Michigan Avenue. Burnham’s plan called for both widening and elevating a portion of the street and connecting the two roads with a double decker bridge. Another group called the Michigan Avenue Improvement Association had a simpler idea. They wanted to widen the street, but keep it at one level connected by a single level bridge. Both groups spent two years drawing pictures, making pamphlets, and arguing. NOTHING NEW SINCE THE GREEKSJust like those students all standing around the whiteboard, with pen in hand, they were debating, negotiating, and persuading with pictures. It’s what that guy in the back of class was looking for. The mysterious observer was the head of the Design Department at Carnegie-Mellon at the time, Dick Buchanan. He’s now at Case Western Reserve. He was curious how the engineering department was teaching their students, so he asked to sit in on a class. Drawing is a part of the foundational curriculum in design schools, but he learned maybe that wasn’t the case in engineering. Mr. Buchanan also knows the power of persuasion. He studied rhetoric in college and understands the power of carefully crafted words and images to persuade.The Burnham plan wasn’t the first to take the approach of top-down patriarchal style city planning. Idealized fantasy cities dot the history of western civilization. In Ancient times, the Greek city of Miletus grew from a planned city map dating back to 450 BCE. Milesian settlers used plans like these throughout present day Turkey. Their grid formations became the basis for the gridded Roman cities that I mentioned in my first post of this spring series on Roman cadastral surveying and mapping. These methods continue to be the dominant form of urban planning today.The grid went dormant in mapping and city structure when the Roman empire fell and throughout medieval times. Just like large scale cadastral mapping, it didn’t reappear until the Renaissance. This time the cartesian arrangement included elements of protection to guard against organized military attacks on monarchies. They were optimized for the interaction of people and place and monetary exchange within their borders and thus took on radial and symmetrical arrangements. Architects and designers like Leonardo da Vinci reached back to 80 BCE and the books Vitruvius wrote on structured, practical, architecture to draw these schemes.  Another influential, though less famous, craftsman, artist, architect, and writer of the Renaissance was a man named Filarete. He wrote a highly influential book on architecture in 1464 called Libro architettonico or “Architectonic book.” Even da Vinci was pulling ideas from his work. His book featured a fictional storyline that included an idealize city called Sforzinda. Including a star shaped diagram of the city plan. Humanism was at the center of Renaissance philosophy so art and design often echoed the proportion and function of humans. This trope is also a nod to Vitruvius and his Vitruvian Man that was popularized by Leonardo da Vinci’s famous 1490 illustration of the man with outstretch arms.Newcastle University Urban Design Professor, Ali Madanipour writes,“The desired order was to be achieved by a single design for an entire city, anticipating Machiavelli and Descartes who also looked for a single source of order, which politically became manifest in absolute monarchies.”The idealized city Burnham had devised 500 years later drew from these ideas. It had been occurring around Europe throughout the Renaissance and into the Industrial Age. The orderly, industrialized, and mechanized designs of factories, tools, and products were now being applied to cities. Just as monarchies in Europe looked to artists, designers, and craftsman to bring order to the design of their cities and societies, so were industrialists looking to Burnham and others to bring order to Chicago and its people. A plan that was modelled from ancient European history, and the recent history of the Chicago World’s Fair and American exceptionalism.For both the fair and the Burnham plan, it was White men who held dominant roles in public politics and private enterprise that were in charge. They wielded a moral authority that leaned on America’s founding claims of ‘Manifest Destiny’. A moral code summarized in six words, “Is this yours? It’s mine now.” These men also had privileged social status and felt entitled to their benefits, wealth, and rewards even at the detriment of the lives of Black Americans, Indigenous nations, disadvantaged immigrants, and poor White Americans. Fearful that their privilege, status, or wealth may be challenged by growing populations of people different from them, they turned to power, order, and domination. They sought control over the situation. All they needed was someone to draw a picture. A map. A drawing. Something that would ease their mind. So Burnham stood at the head of the class, grabbed some chalk, and before he knew it he had Chicago’s most powerful men drawing pictures of their idealized future. Subscribe at interplace.io

In this part of our biography podcast, find out what Leonardo learned during his apprenticeship with Verrocchio, and how he started his career. Listen to the biography of Leonardo da Vinci now. Read our blog post Would you rather read his biography? Read it here: Biography of Leonardo da Vinci. If the link doesn't work, copy and paste this URL into your browser - https://wisuru.com/biography/biography-of-leonardo-da-vinci/ Resources Vitruvian man - https://en.wikipedia.org/wiki/Vitruvian_Man#/media/File:De_Architectura030.jpg Donation link Do you like our work and want to donate to us? You can do so by using this Patreon link: https://www.patreon.com/wisuru Contact us Have some suggestions to share with us? Just tweet to us using our Twitter link: https://twitter.com/WisuruBiography

A man awakens from an all-nighter to find himself held captive on a beach, imprisoned in a strange apparatus that spreads him out like da Vinci's Vitruvian Man. Who trapped him there, and why? As he struggles to understand, he must fight to free himself before the elements take hold: the scorching sun, angry gulls, the rising tide, and his own ebbing sanity. 

รายการก่อ กอง Science ในครั้งนี้จะมาพูดคุยเรื่องของ เลโอนาร์โด ดา วินชี ซึ่งหลายๆ คนจะนึกถึงภาพโมนาลิซ่า ภาพอาหารค่ำมื้อสุดท้าย รวมไปถึงภาพ Vitruvian Man แสดงถึงชายเปลือยที่ยืนกางแขนกางขา หรือถ้าเป็นบุคคลในวงการแพทย์ ก็จะทราบดีกว่า ดา วินชี เป็นนักกายวิภาคที่ทำการศึกษาร่างกายมนุษย์อย่างละเอียด แต่ครั้งนี้จะมาพูดถึงมุมที่น้อยคนจะรู้ ไม่ว่าจะเป็น ความเป็นนักอ่าน นักจดบันทึก นักวาดแผนที่เมือง และอื่นๆ อีกมากมาย รายละเอียดเป็นอย่างไร ติดตามได้ในพอดแคสต์ตอนนี้ครับ

It’s the cryptocurrency episode! Spencer wants to invest $100 in bitcoin live on the air, and we may not be able to talk him out of it! The Vitruvian Man, updated for the modern age! (it’s Kid Rock, sorry) The four bodily humors, updated for the modern age! (one of them is Fritos, sorry) In honor of the NFL playoffs, the team goes looking for the best clam chowder in Tampa, sorry

What if I told you that every computer system on the planet had roots that stretched all the way back to 350 BC? Aristotle, a Greek philosopher who laid the foundation for much of modern Western thought, developed the concept of binary logic – that everything is either A or not-A, or to put it in more familiar terms, 1s and 0s. And while this system has served us well through the late 20th and early 21st centuries, the development of AI and Machine Learning has exposed a dangerous flaw in binary logic – collecting data in this black and white, yes or no fashion has perpetuated bias in AI systems. Our guest today is Twain Liu, an inventor, engineer, and the former UBS board observer for more than 20 major tech investments. Twain discussed why binary logic is insufficient when trying to replicate the human thought process in machines and explained how da Vinci’s Vitruvian Man and R2D2 from Star Wars, both played a pivotal role in her journey to developing a more human AI.

What if I told you that every computer system on the planet had roots that stretched all the way back to 350 BC? Aristotle, a Greek philosopher who laid the foundation for much of modern Western thought, developed the concept of binary logic – that everything is either A or not-A, or to put it in more familiar terms, 1s and 0s. And while this system has served us well through the late 20th and early 21st centuries, the development of AI and Machine Learning has exposed a dangerous flaw in binary logic – collecting data in this black and white, yes or no fashion has perpetuated bias in AI systems. Our guest today is Twain Liu, an inventor, engineer, and the former UBS board observer for more than 20 major tech investments. Twain discussed why binary logic is insufficient when trying to replicate the human thought process in machines and explained how da Vinci’s Vitruvian Man and R2D2 from Star Wars, both played a pivotal role in her journey to developing a more human AI.

What do Volkswagen, Wells Fargo and NASA have in common? At one point, each of these organizations with storied histories experienced a major, public failure that was a result of "catastrophic leadership." My guest, Chris Lewis, and I talk about how it's time to put an entirely new lens on leadership. His new book, "The Infinite Leader - Balancing the Demands of Modern Business Leadership" encourages us to consider both long and short term ways of thinking. In addition, he tells us to embrace imagination, empathy, humility, humor and (above all else) courage. We talk about the usefulness of the "Zero Model" and how DaVinci's Vitruvian Man sketch can be used to help leaders at all levels strive for balance.

Robert Edward Grant is a mathematician and business man making huge breakthroughs in math connecting math, music, and science!   In this interview we discuss the link between Leonardo DaVinci's between Egypt the King's chamber.   Stay up to date and join the mailing list for amazing content in health, wellness, spirituality & personal development! http://www.mattbelair.com   Robert's Website: https://www.robertedwardgrant.com/   ✅Join our community and get cutting edge tips and tools for human optimization, health, wellness, and personal development

The Roman Empire grew. Philosophy and the practical applications derived from great thinkers were no longer just to impress peers or mystify the commoners into passivity but to help humans do more. The focus on practical applications was clear. This isn't to say there weren't great Romans. We got Seneca, Pliny the Elder, Plutarch, Tacitus, Lucretius, Plotinus, Marcus Aurelius, one of my favorite Hypatia, and as Christianity spread we got the Cristian Philosophers in Rome such as Saint Augustine.  The Romans reached into new lands and those lands reached back, with attacks coming by the Goths, Germanic tribes, Vandals, and finally resulting in the sack of Rome. They had been weakened by an overreliance on slaves, overspending on military to fuel the constant expansion, government corruption due to a lack of control given the sheer size of the empire, and the need to outsource the military due to the fact that Roman citizens needed to run the empire. Rome would split in 285 and by the fourth century fell. Again, as empires fall new ones emerge. As the Classical Period ended in each area with the decline of the Roman Empire, we were plunged into the Middle Ages, which I was taught was the Dark Ages in school. But they weren't dark. Byzantine, the Eastern Roman Empire survived. The Franks founded Francia in northern Gaul. The Celtic Britons emerged. The Visigoths setup shop in Northern Spain. The Lombards in Northern Italy. The Slavs spread through Central and Eastern Europe and the Latin language splintered into the Romance languages.  And that spread involved Christianity, whose doctrine often classed with the ancient philosophies. And great thinkers weren't valued. Or so it seemed when I was taught about the Dark Ages. But words matter. The Prophet Muhammad was born in this period and Islamic doctrine spread rapidly throughout the Middle East. He united the tribes of Medina and established a Constitution in the sixth century. After years of war with Mecca, he later seized the land. He then went on to conquer the Arabian Peninsula, up into the lands of the Byzantines and Persians. With the tribes of Arabia united, Muslims would conquer the last remains of Byzantine Egypt, Syria, Mesopotamia and take large areas of Persia.  This rapid expansion, as it had with the Greeks and Romans, led to new trade routes, and new ideas finding their way to the emerging Islamic empire. In the beginning they destroyed pagan idols but over time adapted Greek and Roman technology and thinking into their culture. They Brough maps, medicine, calculations, and agricultural implants. They learned paper making from the Chinese and built paper mills allowing for an explosion in books. Muslim scholars in Baghdad, often referred to as New Babylon given that it's only 60 miles away. They began translating some of the most important works from Greek and Latin and Islamic teachings encouraged the pursuit of knowledge at the time. Many a great work from the Greeks and Romans is preserved because of those translations.  And as with each empire before them, the Islamic philosophers and engineers built on the learning of the past. They used astrolabes in navigation, chemistry in ceramics and dyes, researched acids and alkalis. They brought knowledge from Pythagoras and Babylonians and studied lines and spaces and geometry and trigonometry, integrating them into art and architecture. Because Islamic law forbade dissections, they used the Greek texts to study medicine.   The technology and ideas of their predecessors helped them retain control throughout the Islamic Golden Age. The various Islamic empires spread East into China, down the African coast, into Russia, into parts of Greece, and even North into Spain where they ruled for 800 years. Some grew to control over 10 million square miles. They built fantastic clockworks, documented by al-Jazari in the waning days of the golden age. And the writings included references to influences in Greece and Rome, including the Book of Optics by Ibn Al-Haytham in the ninth century, which is heavily influenced by Ptolemy's book, Optics. But over time, empires weaken.  Throughout the Middle Ages, monarchs began to be deposed by rising merchant classes, or oligarchs. What the framers of the US Constitution sought to block with the way the government is structured. You can see this in the way the House of Lords had such power in England even after the move to a constitutional monarchy. And after the fall of the Soviet Union, Russia has moved more and more towards a rule by oligarchs first under Yeltsin and then under Putin. Because you see, we continue to re-learn the lessons learned by the Greeks. But differently. Kinda' like bell bottoms are different than all the other times they were cool each time they come back.  The names of European empires began to resemble what we know today: Wales, England, Scotland, Italy, Croatia, Serbia, Sweden, Denmark, Portugal, Germany, and France were becoming dominant forces again. The Catholic Church was again on the rise as Rome practiced a new form of conquering the world. Two main religions were coming more and more in conflict for souls: Christianity and Islam. And so began the Crusades of the High Middle Ages. Crusaders brought home trophies. Many were books and scientific instruments. And then came the Great Famine followed quickly by the Black Death, which spread along with trade and science and knowledge along the Silk Road. Climate change and disease might sound familiar today. France and England went to war for a hundred years. Disruption in the global order again allows for new empires. Ghengis Khan built a horde of Mongols that over the next few generations spread through China, Korea, India, Georgia and the Caucasus, Russia, Central Asia and Persia, Hungary, Lithuania, Bulgaria, Vietnam, Baghdad, Syria, Poland, and even Thrace throughout the 11th to 13th centuries. Many great works were lost in the wars, although the Mongols often allowed their subjects to continue life as before, with a hefty tax of course. They would grow to control 24 million square kilometers before the empires became unmanageable.  This disruption caused various peoples to move and one was a Turkic tribe fleeing Central Asia that under Osman I in the 13th century. The Ottomon empire he founded would go Islamic and grow to include much of the former Islamic regime as they expanded out of Turkey, including Greece Northern Africa. Over time they would also invade and rule Greece and almost all the way north to Kiev, and south through the lands of the former Mesopotamian empires. While they didn't conquer the Arabian peninsula, ruled by other Islamic empires, they did conquer all the way to Basra in the South and took Damascus, Medina, and Mecca, and Jerusalem. Still, given the density of population in some cities they couldn't grow past the same amount of space controlled in the days of Alexander. But again, knowledge was transferred to and from Egypt, Greece, and the former Mesopotamian lands. And with each turnover to a new empire more of the great works were taken from these cradles of civilization but kept alive to evolve further.  And one way science and math and philosophy and the understanding of the universe evolved was to influence the coming Renaissance, which began in the late 13th century and spread along with Greek scholars fleeing the Ottoman Turks after the fall of Constantinople throughout the Italian city-states and into England, France, Germany, Poland, Russia, and Spain. Hellenism was on the move again. The works of Aristotle, Ptolemy, Plato, and others heavily influenced the next wave of mathematicians, astronomers, philosophers, and scientists. Copernicus studied Aristotle. Leonardo Da Vinci gave us the Mona Lisa, the Last Supper, the Vitruvian Man, Salvator Mundi, and Virgin of the Rocks. His works are amongst the most recognizable paintings of the Renaissance. But he was also a great inventor, sketching and perhaps building automata, parachutes, helicopters, tanks, and along the way putting optics, anatomy, hydrodynamics and engineering concepts in his notebooks. And his influences certainly included the Greeks and Romans, including the Roman physician Galen. Given that his notebooks weren't published they offer a snapshot in time rather than a heavy impact on the evolution of science - although his influence is often seen as a contribution to the scientific revolution.  Da Vinci, like many of his peers in the Renaissance, learned the great works of the Greeks and Romans. And they learned the teachings in the Bible. They they didn't just take the word of either and they studied nature directly. The next couple of generations of intellectuals included Galileo. Galileo, effectively as with Socrates and countless other thinkers that bucked the prevailing political or religious climate of the time, by writing down what he saw with his own eyeballs. He picked up where Copernicus left off and discovered the four moons of Jupiter and astronomers continued to espouse that the the sun revolved around the Earth Galileo continued to prove it was in fact suspended in space and map out the movement of the heavenly bodies.  Clockwork, which had been used in the Greek times, as proven with the Antikypthera device and mentions of Archytas's dove. Mo Zi and Lu Ban built flying birds. As the Greeks and then Romans fell, that automata as with philosophy and ideas moved to the Islamic world. The ability to build a gear with a number of teeth to perform a function had been building over time. As had ingenious ways to put rods and axles and attach differential gearing. Yi Xing, a Buddhist monk in the Tang Dynasty, would develop the escapement, along with Liang Lingzan in the seventeenths century and the practice spread through China and then spread from there. But now clockwork would get pendulums, springs, and Robert Hook would give us the escapement in 1700, making clocks accurate. And that brings us to the scientific revolution, when most of the stories in the history of computing really start to take shape. Thanks to great thinkers, philosophers, scientists, artists, engineers, and yes, merchants who could fund innovation and spread progress through formal and informal ties - the age of science is when too much began happening too rapidly to really be able to speak about it meaningfully. The great mathematics and engineering led to industrialization and further branches of knowledge and specializations - eventually including Boolean algebra and armed with thousands of years of slow and steady growth in mechanics and theory and optics and precision, we would get early mechanical computing beginning the much more quick migration out of the Industrial and into the Information Age. These explosions in technology allowed the British Empire to grow to control 34 million square kilometers of territory and the Russian empire to grow to control 17 million before each overextended. Since writing was developed, humanity has experienced a generation to generation passing of the torch of science, mathematics, and philosophy. From before the Bronze Age, ideas were sometimes independently perceived or sometimes spread through trade from the Chinese, Indian, Mesopotamian, and Egyptian civilizations (and others) through traders like the Phoenicians to the Greeks and Persians - then from the Greeks to the Romans and the Islamic empires during the dark ages then back to Europe during the Renaissance. And some of that went both ways.  Ultimately, who first introduced each innovation and who influenced whom cannot be pinpointed in a lot of cases. Greeks were often given more credit than they deserved because I think most of us have really fond memories of toga parties in college. But there were generations of people studying all the things and thinking through each field when their other Maslovian needs were met - and those evolving thoughts and philosophies were often attributed to one person rather than all the parties involved in the findings.  After World War II there was a Cold War - and one of the ways that manifested itself was a race to recruit the best scientists from the losing factions of that war, namely Nazi scientists. Some died while trying to be taken to a better new life, as Archimedes had died when the Romans tried to make him an asset. For better or worse, world powers know they need the scientists if they're gonna' science - and that you gotta' science to stay in power. When the masses start to doubt science, they're probably gonna' burn the Library of Alexandria, poison Socrates, exile Galileo for proving the planets revolve around Suns and have their own moons that revolve around them, rather than the stars all revolving around the Earth. There wasn't necessarily a dark age - but given what the Greeks and Romans and Chinese thinkers knew and the substantial slowdown in those in between periods of great learning, the Renaissance and Enlightenment could have actually come much sooner. Think about that next time you hear people denying science.  To research this section, I read and took copious notes from the following and apologize that each passage is not credited specifically but it would just look like a regular expressions if I tried: The Evolution of Technology by George Basalla. Civilizations by Filipe Fernández-Armesto, A Short History of Technology: From The Earliest Times to AD 1900 from TK Derry and Trevor I Williams, Communication in History Technology, Culture, Leonardo da vinci by Walter Isaacson, Society from David Crowley and Paul Heyer, Timelines in Science, by the Smithsonian, Wheels, Clocks, and Rockets: A History of Technology by Donald Cardwell, a few PhD dissertations and post-doctoral studies from journals, and then I got to the point where I wanted the information from as close to the sources as I could get so I went through Dialogues Concerning Two New Sciences from Galileo Galilei, Mediations from Marcus Aurelius, Pneumatics from Philo of Byzantium, The Laws of Thought by George Boole, Natural History from Pliny The Elder, Cassius Dio's Roman History, Annals from Tacitus, Orations by Cicero, Ethics, Rhetoric, Metaphysics, and Politics by Aristotle, Plato's Symposium and The Trial & Execution of Socrates. For a running list of all books used in this podcast see the GitHub page at https://github.com/krypted/TheHistoryOfComputingPodcast/blob/master/Books.md 

*We conclude our 3-part series on the Raised by Wolves first season! We'll get into lots of symbolism on the show: Vitruvian Man, Orphic egg and Tarot! We'll talk about occult connections of vegetarians, transhumanism, the true nature of their deity Sol, mormons, connections to Prometheus, engineers, Neurolink, flying snakes, Eden, simulation theory and of course; the meaning of that cRaZy ending! We'll wrap up what this ENTIRE show was about! You've GOT TO SEE THE IMAGES I pulled for this analysis on my IG: Instagram.com/IsaacWeishaupt*WE ALSO HIT THE TIER 2 and 3 PATREON SHOUTOUTS!*Links:*Peep all the images discussed on the show at Instagram.com/IsaacWeishauptGet your mega soft podcast t-shirts (the 2020 'Nerds are gonna kill us' version) AND your signed paperbacks of ALIENS, UFOS & THE OCCULT USE YOUR ILLUSION I: https://gumroad.com/isaacw***Gumroad.com/IsaacW has all my signed paperbacks & other merch:**Conspiracy Theories and Unpopular Culture super soft t-shirts! Gumroad.com/IsaacW **Signed paperbacks of USE YOUR ILLUSION I Pre-Order here: Gumroad.com/IsaacW **Get my book BANNED by Amazon: “The Vaccine Conspiracy” for FREE! https://gumroad.com/isaacw*ALIENS, UFOS & THE OCCULT IS NOW UP ON AMAZON! (Audible version will be up soon- November 2020): https://amzn.to/33IBMRA*Our sponsor: Get 10% off your first month BetterHelp.com/IlluminatiWatcher *Full transcript of show will be available on IlluminatiWatcher.com for the show’s post, thanks to the Patreon supporters*Support the show: 1. SUBSCRIBE! 2. Leave a review! 3. Join the IW Patreon team at Patreon.com/IlluminatiWatcher! By joining Patreon you’ll get: -Free ebook of THE DARK PATH-Free ebook of KUBRICK'S CODE-2.5 hour KUBRICK'S CODE VIDEO-NO COMMERCIALS!-Early access-Signed books discount code-PDF show transcripts -Index of Patreon bonus podcast content: https://www.patreon.com/posts/index-of-all-29414054*If you want to hear more from me AND also want to support the show, search for "Isaac Weishaupt" on Audible or hit this link to get my most popular book- THE DARK PATH! https://www.audible.com/pd/B0759MN23F/?source_code=AUDFPWS0223189MWT-BK-ACX0-095441&ref=acx_bty_BK_ACX0_095441_rh_usThis show is brought to you by our sponsors:* CONNECT WITH YOUR HAPPINESS AGAIN! Get 10% off your first month: BetterHelp.com/IlluminatiWatcher* Want to advertise/sponsor our show?
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Sacred Geometry: Understanding the Underling Meanings of Shapes + Patterns In this episode of Unboxing God, we talk about sacred geometry and the meaning and connection of certain shapes, like the square, circle, and triangle. Is the ultimate answer in the Great Architect or just a series of extremely unlikely coincidences? Paying attention to your surroundings reveals patterns appearing all around us both in nature and in human made structures; we take a closer look at how this is especially true of the golden ratio. We also try to unbox the number five, and the irrationality of pi and phi. It is important to that from our earliest days humans have been using images, shapes, and numbers to represent our understanding of the universe. But we also need to understand that there’s still so much more we don’t know and highly unlikely that we will ever achieve the theory of everything. Listen in to learn how sacred geometry brings healing, harmony, and rebalancing on every level. You will also understand why the triangle is the magic shape uniting the body, mind, and spirit. What you will learn: · How sacred geometry deals with more than proportions of geometric figures, but also with forms and structures of natural objects. · My struggle with finding balance with any two things and the solution of some possible third option. · The circle - is the undifferentiated unity and a sign of completion. · A snippet of Devon’s interview - she’s a freemason and has been interested in satanic literature since she was a child. · Unboxing the number five - the Fibonacci Sequence and the golden ratio and how by paying attention you can see patterns appearing all over. · Leonardo da Vinci’s Vitruvian Man mystery - on whether he used the golden ratio or not. · How sacred geometry supposedly connects the inner with the outer in unity. · The triangle - represents the union of our body, mind, and spirit and is the symbol that underlies all other symbols. It is the magic shape. · Why we’ll never achieve the theory of everything but can be inspired by the natural phenomena we can see all around us. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/unboxinggod/support

Menkaure Pyramid inside the Da Vinci Vitruvian Man YouTube: https://youtu.be/hpNtVKA81Go Leonardo Da Vinci encrypted the Pyramids of Khufu and Menkaure in his famous drawing of the Vitruvian Man. Larry Pahl, AIP Director, continues the focus on the secrets and mysteries of the Great Pyramid, the Silent Sage, by looking at the hidden Pyramids Da Vinci hid in this famous artwork. The square and circle which Da Vinci drew, long assumed to be a solution to the problem of "squaring the circle", do not serve that function. What is the message of this enigmatic sketch? Please join AIP on the Ancient Mysteries of Egypt Tour, Nov. 1-9, 2020: https://www.greatpyramid.us/tours.html AIP Social Sites: Instagram: https://www.instagram.com/sagesilent @sagesilent Twitter: https://www.twitter.com/DirectorAIP @DirectorAIP The web: https://www.greatpyramid.org Blog: https://www.greatpyramid.org/sage Podcast: https://anchor.fm/greatpyramid Tumblr: https://greatpyramidaip.tumblr.com Facebook: https://www.facebook.com/TheSilentSage

Deportation! Our heroes shunned by other heroes! MSE! Vitruvian Man! Not-so-secret origins and flashbacks! Kurt Russell! Las Vegas! SUPER-HIP! (Who??) Plus the return of an old foe! LET'S GET PATROLLING! News Patrol - 11:32 Doom Clock – 11:54 Doomsplaining- 20:22 - This episode we return to Volume 5, and discuss issues 20 and 21! These issues we brought to us by Keith Giffen, Matthew Clark, Ron Randall, Scott Clark, Jose Luis, Scott McDaniel, Art Thibert, Serge Lapointe, John Livesay, David Beaty, Patrick Brosseau, Guy Major, Elizabeth V. Gehrlein and Simona Martore! Mailbag O Doom- 45:03 - We read through listener feedback as well as your responses to the last Question of the Week, which was: ‘What is your favourite fictional acronym?’

Reconquest Episode 233: What’s Wrong with ' Theology of the Body '? Episode 233 debuts on June 10, at 8:00 PM Eastern. Rebroadcasts will take place according to the Crusade Channel programming schedule (note: all times listed are Central time). The topic is What’s Wrong with ‘Theology of the Body’? What’s Wrong with Personalism and ‘Theology of the Body’? An Interview with Dom Pietro Leone — by Brother André Marie, M.I.C.M., at catholicism.org The Family Under Attack — book by Dom Pietro Leone at store.catholicism.org  "Theology of the Body" explained: a Traditional Catholic view — by Dom Pietro Leone at rorate-caeli.blogspot.com Renowned moral theologian weighs-in on Theology of the Body debate — (on Christopher West's errors which went beyond John Paul II's original ideas) at catholicnewsagency.com A Critique of the Theology of the Body — by A Sinner at renegadetrad.blogspot.com "Vitruvian Man," by Leonardo da Vinci, cropped from a photo by Luc Viatour (www.lucnix.be) 2007-09-08, Link. “Reconquest” is a militant, engaging, and informative Catholic radio program featuring interviews with interesting guests as well as commentary by your host. It is a radio-journalistic extension of the Crusade of Saint Benedict Center. Each weekly, one-hour episode of Reconquest will debut RIGHT HERE on Wednesday night at 8:00 PM Eastern (7:00 PM Central). It will then be rebroadcast according to the Crusade Channel programming schedule (note: all times listed are Central time).   What Is The Crusade Channel? The CRUSADE Channel, The Last LIVE! Radio Station Standing begins our LIVE programming with our all original CRUSADE Channel News hosted by 28 year radio ace, Stacey Cohen. Coupled with Mike “The King Dude” Church entertaining you during your morning drive and Rick Barrett giving you the news of the day and the narrative that will follow during your lunch break!  We’ve interviewed over 200 guests, seen Brother Andre Marie notch his 200th broadcast of Reconquest; the The Mike Church Show over 900 episodes; launched an original LIVE! News Service; written and produced 4 Feature Length original dramas including The Last Confession of Sherlock Holmes and set sail on the coolest radio product ever, the 5 Minute Mysteries series! We are the ONLY outlet to cover the Impeachment of President Trump from gavel to gavel!  The Crusade Channel is an open forum for the great thinkers of our time, those who accept the REALITY that Truth is higher than opinion and are willing to speak it with clarity, courage and charity.  Now that you have discovered The Crusade, get 30 days for FREE of our premium service just head to: https://crusadechannel.com OR download our FREE app: https://apps.appmachine.com/theveritasradionetworkappIti- Did you know about Theology of the Body? If you are interested in supporting small business, be sure to check out the official store of the Crusade Channel, the Founders Tradin Post! Not to mention our amazing collection of DVD’s, Cigars, T-Shirts, bumper stickers and other unique selection of items selected by Mike Church!

Delicate, aromatic, and easy to prepare, Pesto Alla Trapanese is a slight variation of the Genoa traditional one, with almonds, tomatoes, and pecorino instead of Parmigiano and pine nuts.In the mix: penne rigate, basil, Roma tomatoes, raw almonds, pecorino cheese, garlic, olive oil, salt, pepper. Also, this time we need a mixer too... or the traditional mortar, if you got one. Of course, paired with the freshest music selection from yours truly. EnjoyEpisode #211 - video here Enjoying the show? Please support BFF.FM with a donation. Playlist 1′59″ Amor En La Mission (unreleased) by Nino Msk (-) 4′16″ Solve by Freitag (-) 8′40″ Loose Focus by WANUBALÉ on Nadra / Loose Focus (Agogo) 14′58″ Versace on the Floor by Sonamó (-) 19′39″ Stop Your Life (DJ Friction Dub edit) by Ago on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Productions) 25′40″ Bite the apple (Massimo Berardi Dub Edit) by Rainbow Team on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Production) 31′25″ Banana Peel (Cáscara de plátano) [feat. Masauko Chipembere] by Jneiro Jarel on single (Far Out Recordings) 37′05″ Long Way Home (feat. Tossie Long) by MagnaFreaq on Human Beam (MagnaFreaq / PabloSound Studios) 41′26″ Agua Viva by MagnaFreaq on Human Beam (MagnaFreaq / PabloSound Studios) 45′02″ Nah Beg No Friend (feat. Natty Campbell) by Blend Mishkin on single (Rewind Guaranteed) 52′06″ Pakistan by Siti Muharam on single (On The Corner Records) 58′12″ Nsie Nsie by Y-Bayani & Baby Naa on Nsie Nsie (Philophon) 61′57″ Nadra by WANUBALÉ on Nadra / Loose Focus (Agogo) 67′22″ Just Hang On by Ciara McAllister on single (Ciara McAllister Music) 70′59″ Where Is the Edge? by Bugge Wesseltoft & Henrik Schwarz on Wesseltoft Schwarz Duo (Jazzland Recordings) 74′53″ 505 Face by Hesychia369 on Neurogenesis EP (Drumpoet Community) 79′21″ It's A War (Serge Santiàgo SS UK re edit) by Kano on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Productions) 85′46″ Vitruvian Man by WheelUp on single (Tru Thoughts) 90′08″ Bad Passion (Tiger & Woods Speetalo Remix) by Steel Mind on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Productions) 98′03″ Two Bs One White feat. Farda P (Minor Science Remix) by Magic Drum Orchestra on 100 Whites a day (Tru Thoughts) 103′17″ The Present by Laurent De Wilde on Time 4 Change (Sony) 108′45″ The Robots by Kraftwerk on 3-D Der Katalog (Kling Klang / Parlophone) 117′09″ River Man by Nick Drake on Five Leaves Left (Island) 329′01″ Nah Beg No Friend (feat. Natty Campbell) by Blend Mishkin on single (Rewind Guaranteed) 362′54″ Solve by Feiertag on single (Sonar Kollektiv) Check out the full archives on the website.

Delicate, aromatic, and easy to prepare, Pesto Alla Trapanese is a slight variation of the Genoa traditional one, with almonds, tomatoes, and pecorino instead of Parmigiano and pine nuts.In the mix: penne rigate, basil, Roma tomatoes, raw almonds, pecorino cheese, garlic, olive oil, salt, pepper. Also, this time we need a mixer too... or the traditional mortar, if you got one. Of course, paired with the freshest music selection from yours truly. EnjoyEpisode #211 - video here Enjoying the show? Please support BFF.FM with a donation. Playlist 1′59″ Amor En La Mission (unreleased) by Nino Msk 4′16″ Solve by Freitag 8′40″ Loose Focus by WANUBALÉ on Nadra / Loose Focus (Agogo) 14′58″ Versace on the Floor by Sonamó 19′39″ Stop Your Life (DJ Friction Dub edit) by Ago on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Productions) 25′40″ Bite the apple (Massimo Berardi Dub Edit) by Rainbow Team on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Production) 31′25″ Banana Peel (Cáscara de plátano) [feat. Masauko Chipembere] by Jneiro Jarel on single (Far Out Recordings) 37′05″ Long Way Home (feat. Tossie Long) by MagnaFreaq on Human Beam (MagnaFreaq / PabloSound Studios) 41′26″ Agua Viva by MagnaFreaq on Human Beam (MagnaFreaq / PabloSound Studios) 45′02″ Nah Beg No Friend (feat. Natty Campbell) by Blend Mishkin on single (Rewind Guaranteed) 52′06″ Pakistan by Siti Muharam on single (On The Corner Records) 58′12″ Nsie Nsie by Y-Bayani & Baby Naa on Nsie Nsie (Philophon) 61′57″ Nadra by WANUBALÉ on Nadra / Loose Focus (Agogo) 67′22″ Just Hang On by Ciara McAllister on single (Ciara McAllister Music) 70′59″ Where Is the Edge? by Bugge Wesseltoft & Henrik Schwarz on Wesseltoft Schwarz Duo (Jazzland Recordings) 74′53″ 505 Face by Hesychia369 on Neurogenesis EP (Drumpoet Community) 79′21″ It's A War (Serge Santiàgo SS UK re edit) by Kano on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Productions) 85′46″ Vitruvian Man by WheelUp on single (Tru Thoughts) 90′08″ Bad Passion (Tiger & Woods Speetalo Remix) by Steel Mind on FULLTIME, Vol. 2 (Reworked by DJs) (Fulltime Productions) 98′03″ Two Bs One White feat. Farda P (Minor Science Remix) by Magic Drum Orchestra on 100 Whites a day (Tru Thoughts) 103′17″ The Present by Laurent De Wilde on Time 4 Change (Sony) 108′45″ The Robots by Kraftwerk on 3-D Der Katalog (Kling Klang / Parlophone) 117′09″ River Man by Nick Drake on Five Leaves Left (Island) 329′01″ Nah Beg No Friend (feat. Natty Campbell) by Blend Mishkin on single (Rewind Guaranteed) 362′54″ Solve by Feiertag on single (Sonar Kollektiv)

Leonardo di ser Piero da 14/15 April 1452 – 2 May 1519), known as Leonardo da Vinci was an Italian polymath of the Renaissance whose areas of interest included invention, drawing, painting, sculpture, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, paleontology, and cartography. He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time (despite perhaps only 15 of his paintings having survived). Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci, in the region of Florence, Italy, Leonardo was educated in the studio of the renowned Italian painter Andrea del Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan, and he later worked in Rome, Bologna and Venice. He spent his last three years in France, where he died in 1519. Leonardo is renowned primarily as a painter. The Mona Lisa is the most famous of his works and the most popular portrait ever made. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is regarded as a cultural icon as well. Salvator Mundi was sold for a world record $450.3 million at a Christie's auction in New York, 15 November 2017, the highest price ever paid for a work of art. Leonardo's paintings and preparatory drawings—together with his notebooks, which contain sketches, scientific diagrams, and his thoughts on the nature of painting—compose a contribution to later generations of artists rivalled only by that of his contemporary Michelangelo. Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo is revered for his technological ingenuity. He conceptualized flying machines, a type of armoured fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He is also sometimes credited with the inventions of the parachute, helicopter, and tank. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, but he did not publish his findings and they had little to no direct influence on subsequent science.

Leonardo di ser Piero da 14/15 April 1452 – 2 May 1519), known as Leonardo da Vinci was an Italian polymath of the Renaissance whose areas of interest included invention, drawing, painting, sculpture, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, paleontology, and cartography. He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time (despite perhaps only 15 of his paintings having survived). Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci, in the region of Florence, Italy, Leonardo was educated in the studio of the renowned Italian painter Andrea del Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan, and he later worked in Rome, Bologna and Venice. He spent his last three years in France, where he died in 1519. Leonardo is renowned primarily as a painter. The Mona Lisa is the most famous of his works and the most popular portrait ever made. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is regarded as a cultural icon as well. Salvator Mundi was sold for a world record $450.3 million at a Christie's auction in New York, 15 November 2017, the highest price ever paid for a work of art. Leonardo's paintings and preparatory drawings—together with his notebooks, which contain sketches, scientific diagrams, and his thoughts on the nature of painting—compose a contribution to later generations of artists rivalled only by that of his contemporary Michelangelo. Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo is revered for his technological ingenuity. He conceptualized flying machines, a type of armoured fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He is also sometimes credited with the inventions of the parachute, helicopter, and tank. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, but he did not publish his findings and they had little to no direct influence on subsequent science.

各位聽眾大家好，歡迎收聽謙信的歷史廣場，這次是從藝術來說歷史，主題是從達文西的維特魯威人（Vitruvian Man）看與解剖學關係，請原諒謙信不懂義大利文，無法說出原文發音。 其實這幅素描是李奧納多·達·文西在1492年按照古羅馬時代一位建築師所留下的著作中提到的比例原則，所繪出具有完美比例的人體結構，因這位建築師之名所以命名為維特魯威人，後來的人又加上一個名字：神聖比例。 畫面上一個裸體的健壯中年男子，兩臂微斜上舉，兩腿叉開，《維特魯威人》以他的足和手指各為端點，正好外接一個圓形。同時在畫中清楚可見疊著另一幅圖像：男子兩臂平伸站立，以他的頭、足和手指各為端點，正好外接一個正方形。一般人看這幅素描，大概可以看到幾個重點：1.2.高度分成八個等分，兩手臂張開也可分成相同的八個等分，長寬共六十四個正方形的格子。2.達文西理想中人的頭部應該是身高的八分之一，陰部應該位於身高的一半之處。 那麼為什麼稱為神聖比例，達文西在這張素描中體現他自己所說：「簡單就是終極複雜」，提出了你我都很熟悉的黃金比例1：1.618，更提出身體各部分完美比例如：手掌寬度相當於四隻手指寬、腳掌長度相當四個手掌寬、肘長相當於六個手掌寬，男性身高相當於四個肘長，又或者是二十四個手掌寬、展開雙臂長度等於身高（這在體育運動中是缺點，像是籃球運動要求雙臂越長越好，短臂長的球員通常發展受限），謙信最有興趣的是手掌長度是身高的十分之一，這對於M.喬登、或是Kawhi Leonard等頂尖籃球大手怪來說，完全就不符合了。 但是這些只不過是表面，要深究就得回到文藝復興時期，去探討那個時期的文化意涵。追求對於人類自身的認識，以及探索所在宇宙之間的關係，遠遠比起宗教經典更為重要，也成為許多當時藝術作品選擇的題材之一。 達文西本身就是個很特立獨行的存在，在當時觀念對於解剖學還有很深的誤解時，認為人是依據上帝的樣子所造，不能像是機器一般遭到大卸八塊的處理。突破傳統禁忌與教條主義質疑的他，搶在屍體冷卻前的珍貴時刻進行令人為之厭惡的解剖，可以想見他的勇氣與毅力有多麼強大。他的行為當然也受到阻礙，他曾寫下在1515年時與教會對立，原因是口中羅馬城內某個居心叵測的人阻礙他的解剖，不只在教皇面前公開指責、還在醫院內喋喋不休。相信這不會是唯一，只是他印象比較深刻罷了。 曾經有位早期的人文主義者科盧切·薩盧塔蒂曾寫：「解剖學揭示『自然所一直精心隱藏的東西，』我不相信如果在看到人體深處的時候，有人能不潸然淚下。」達文西的行為不僅是做到，更拉近解剖學與藝術之間的距離，又或者說向來以為兩者之間有著巨大鴻溝的，其實根本不曾存在，一切都出自我們自身的誤解。 達文西是從誰那裡展開解剖學之路的呢？一般相信是安德烈·德爾·韋羅基奧（Andrea del Verrocchio，1435-1488年），他是達文西與波提切利的老師，除此外拉斐爾的老師佩魯吉諾也是他的學生，之於米開朗基羅也有相當影響，可說是當時非常有影響力的藝術家。本來他是有繪畫的，由於《耶穌受洗》這幅畫，確認達文西的才能超越自己，決心放棄繪畫轉往雕塑，最有名當屬青銅大衛像。 這個時期的佛羅倫斯充滿藝術表現風格，安東尼奧·德爾·波萊沃洛（Antonio del Pollaiolo）的繪畫和韋羅基奧的雕塑都具有對人體解剖描寫的細節與戲劇性，甚至波萊沃洛還創作稱為裸體人大戰的《Battaglia di dieci uomini nudi》。 即使如此，達文西對於解剖學表現出強烈興趣的時期還是在米蘭。1489年開始，他陸續繪製八幅與頭骨有關的畫作，除了以多種角度繪製外，最特別是以形而上學方式理解，其中一幅在邊界註記：「a－m線與c－b線相交的地方，就是各種感覺的交匯之所。」特意強調的『各種感覺交匯之所』也就是亞里士多德曾經假設的『共通感』，對此他說：「共通感就成為理智、幻想、智力，甚至是靈魂的來源。」 很快的他又把目光從頭骨轉移到人體的肌腱與肌肉--也就是人體的形態。因為這個轉變出現了許多的素描，《維特魯威人》就是這時期最為出名的一張。 馬爾庫斯·維特魯威·波利奧（Marcus Vitruvius Pollio）生活年代大約是公元前80年或前70年到公元前25年，同時是古羅馬的作家、建築師和工程師，雖然如此，當時並非是個名流，甚至可能汲汲無名，可以從生平幾乎不詳，連名字馬爾庫斯和姓波利奧也只是由伐溫提努斯（Cetius Faventinus）提到過可以得知。 但即使如此，對於達文西來說這些都不重要，他以拉丁文寫下獻給羅馬首任皇帝奧古斯都的《建築十書》，提及為建築定下三個主要標準：持久、有用、美觀（firmitas, utilitas, venustas），更認為建築是對自然的模仿，如同鳥和蜜蜂築巢， 人類也用自然材料造建築物保護自己，又為了建築美觀，先後發明了多立克柱式、愛奧尼柱式和科林斯柱式，其中的比例要依照最美的人體比例。 達文西必然讀過《建築十書》，了解到前面所說的人體比例原則，才會在這張素描底寫下：「建築家維特魯威在他的建築學著作中說，大自然把人體的比例安排如下:四指為一掌，四掌為一足，六掌為一腕尺，（cubit指前臂的長度，該詞來自『肘部』的拉丁文cubitus），四肘尺合全身……」 這些是出自維特魯威《建築十書》第三卷第一章中所提到的。素描中除了神聖比例外，還有圓形與正方形，各有其用意存在，比如在文藝復興時期，人道主義者認為完美的圓圈象徵著上帝，通過身體循環運動所形成的圓圈，是一種完美的精神世界。至於正方形下邊的邊線外切於圓周，象徵著突破物理世界的局限。 就像達文西喜歡在他的作品中暗藏謎題一樣，這幅素描也不例外，許多地方都充斥著67這個數字，包括同心圓的圓周長為67cm、人體中垂線與左右抬手之間的夾角為67°、圓內人體恥骨橫線與左右開腿之間的夾角為67°等。 提到達文西很難避開的《蒙拉麗莎》，十六世紀到十七世紀，大約有十多件摹本流傳到今天，其中有一幅年輕版的《蒙娜麗莎》，經過瑞士蒙娜麗莎基金會在2013年2月宣布，這張的構圖完全符合達文西慣有的維特魯威式的幾何構成創作手法，使得這張作品成為第二幅《蒙娜麗莎》真品，當然是真是假我們也不用太去計較了。 維特魯威人應用在現代中，最有名我想莫過於以丹。布朗原著與改編的《達文西密碼》電影中，第一個等待解開的謎團就是法國羅浮宮博物館年邁的館長索尼耶被人殺害在藝術大畫廊的地板上。最後時刻館長脫光衣服，把自己的身體明白無誤地擺成名畫《維特魯威人》的樣子，在旁邊留下一個令人費解、以費波納契數列排列的密碼。解剖學本就是以屍體為研究對象，以此開啟這部小說的推理旅程，實在是很好的想法。 說到這邊，大家是不是想起自己學生時代學過的黃金比例，其實就是從《維特魯威人》而來的，當然這些人體黃金比例在我們這些凡人身上很難體現全部，但是卻能以那些光彩耀目的Model、明星身上找到一點印證，也許這也是他們能夠身在鎂光燈下的先天優勢吧？為什麼謙信要從這幅畫來切入解剖學，以前的人總認為科學與美學是分家的、不相關的，但是達文西打破這個定見，把科學的發現應用在美學上，他之所以不朽不是沒有原因的。

各位聽眾大家好，歡迎收聽謙信的歷史廣場，這次是從藝術來說歷史，主題是從達文西的維特魯威人（Vitruvian Man）看與解剖學關係，請原諒謙信不懂義大利文，無法說出原文發音。 其實這幅素描是李奧納多·達·文西在1492年按照古羅馬時代一位建築師所留下的著作中提到的比例原則，所繪出具有完美比例的人體結構，因這位建築師之名所以命名為維特魯威人，後來的人又加上一個名字：神聖比例。 畫面上一個裸體的健壯中年男子，兩臂微斜上舉，兩腿叉開，《維特魯威人》以他的足和手指各為端點，正好外接一個圓形。同時在畫中清楚可見疊著另一幅圖像：男子兩臂平伸站立，以他的頭、足和手指各為端點，正好外接一個正方形。一般人看這幅素描，大概可以看到幾個重點：1.2.高度分成八個等分，兩手臂張開也可分成相同的八個等分，長寬共六十四個正方形的格子。2.達文西理想中人的頭部應該是身高的八分之一，陰部應該位於身高的一半之處。 那麼為什麼稱為神聖比例，達文西在這張素描中體現他自己所說：「簡單就是終極複雜」，提出了你我都很熟悉的黃金比例1：1.618，更提出身體各部分完美比例如：手掌寬度相當於四隻手指寬、腳掌長度相當四個手掌寬、肘長相當於六個手掌寬，男性身高相當於四個肘長，又或者是二十四個手掌寬、展開雙臂長度等於身高（這在體育運動中是缺點，像是籃球運動要求雙臂越長越好，短臂長的球員通常發展受限），謙信最有興趣的是手掌長度是身高的十分之一，這對於M.喬登、或是Kawhi Leonard等頂尖籃球大手怪來說，完全就不符合了。 但是這些只不過是表面，要深究就得回到文藝復興時期，去探討那個時期的文化意涵。追求對於人類自身的認識，以及探索所在宇宙之間的關係，遠遠比起宗教經典更為重要，也成為許多當時藝術作品選擇的題材之一。 達文西本身就是個很特立獨行的存在，在當時觀念對於解剖學還有很深的誤解時，認為人是依據上帝的樣子所造，不能像是機器一般遭到大卸八塊的處理。突破傳統禁忌與教條主義質疑的他，搶在屍體冷卻前的珍貴時刻進行令人為之厭惡的解剖，可以想見他的勇氣與毅力有多麼強大。他的行為當然也受到阻礙，他曾寫下在1515年時與教會對立，原因是口中羅馬城內某個居心叵測的人阻礙他的解剖，不只在教皇面前公開指責、還在醫院內喋喋不休。相信這不會是唯一，只是他印象比較深刻罷了。 曾經有位早期的人文主義者科盧切·薩盧塔蒂曾寫：「解剖學揭示『自然所一直精心隱藏的東西，』我不相信如果在看到人體深處的時候，有人能不潸然淚下。」達文西的行為不僅是做到，更拉近解剖學與藝術之間的距離，又或者說向來以為兩者之間有著巨大鴻溝的，其實根本不曾存在，一切都出自我們自身的誤解。 達文西是從誰那裡展開解剖學之路的呢？一般相信是安德烈·德爾·韋羅基奧（Andrea del Verrocchio，1435-1488年），他是達文西與波提切利的老師，除此外拉斐爾的老師佩魯吉諾也是他的學生，之於米開朗基羅也有相當影響，可說是當時非常有影響力的藝術家。本來他是有繪畫的，由於《耶穌受洗》這幅畫，確認達文西的才能超越自己，決心放棄繪畫轉往雕塑，最有名當屬青銅大衛像。 這個時期的佛羅倫斯充滿藝術表現風格，安東尼奧·德爾·波萊沃洛（Antonio del Pollaiolo）的繪畫和韋羅基奧的雕塑都具有對人體解剖描寫的細節與戲劇性，甚至波萊沃洛還創作稱為裸體人大戰的《Battaglia di dieci uomini nudi》。 即使如此，達文西對於解剖學表現出強烈興趣的時期還是在米蘭。1489年開始，他陸續繪製八幅與頭骨有關的畫作，除了以多種角度繪製外，最特別是以形而上學方式理解，其中一幅在邊界註記：「a－m線與c－b線相交的地方，就是各種感覺的交匯之所。」特意強調的『各種感覺交匯之所』也就是亞里士多德曾經假設的『共通感』，對此他說：「共通感就成為理智、幻想、智力，甚至是靈魂的來源。」 很快的他又把目光從頭骨轉移到人體的肌腱與肌肉--也就是人體的形態。因為這個轉變出現了許多的素描，《維特魯威人》就是這時期最為出名的一張。 馬爾庫斯·維特魯威·波利奧（Marcus Vitruvius Pollio）生活年代大約是公元前80年或前70年到公元前25年，同時是古羅馬的作家、建築師和工程師，雖然如此，當時並非是個名流，甚至可能汲汲無名，可以從生平幾乎不詳，連名字馬爾庫斯和姓波利奧也只是由伐溫提努斯（Cetius Faventinus）提到過可以得知。 但即使如此，對於達文西來說這些都不重要，他以拉丁文寫下獻給羅馬首任皇帝奧古斯都的《建築十書》，提及為建築定下三個主要標準：持久、有用、美觀（firmitas, utilitas, venustas），更認為建築是對自然的模仿，如同鳥和蜜蜂築巢， 人類也用自然材料造建築物保護自己，又為了建築美觀，先後發明了多立克柱式、愛奧尼柱式和科林斯柱式，其中的比例要依照最美的人體比例。 達文西必然讀過《建築十書》，了解到前面所說的人體比例原則，才會在這張素描底寫下：「建築家維特魯威在他的建築學著作中說，大自然把人體的比例安排如下:四指為一掌，四掌為一足，六掌為一腕尺，（cubit指前臂的長度，該詞來自『肘部』的拉丁文cubitus），四肘尺合全身……」 這些是出自維特魯威《建築十書》第三卷第一章中所提到的。素描中除了神聖比例外，還有圓形與正方形，各有其用意存在，比如在文藝復興時期，人道主義者認為完美的圓圈象徵著上帝，通過身體循環運動所形成的圓圈，是一種完美的精神世界。至於正方形下邊的邊線外切於圓周，象徵著突破物理世界的局限。 就像達文西喜歡在他的作品中暗藏謎題一樣，這幅素描也不例外，許多地方都充斥著67這個數字，包括同心圓的圓周長為67cm、人體中垂線與左右抬手之間的夾角為67°、圓內人體恥骨橫線與左右開腿之間的夾角為67°等。 提到達文西很難避開的《蒙拉麗莎》，十六世紀到十七世紀，大約有十多件摹本流傳到今天，其中有一幅年輕版的《蒙娜麗莎》，經過瑞士蒙娜麗莎基金會在2013年2月宣布，這張的構圖完全符合達文西慣有的維特魯威式的幾何構成創作手法，使得這張作品成為第二幅《蒙娜麗莎》真品，當然是真是假我們也不用太去計較了。 維特魯威人應用在現代中，最有名我想莫過於以丹。布朗原著與改編的《達文西密碼》電影中，第一個等待解開的謎團就是法國羅浮宮博物館年邁的館長索尼耶被人殺害在藝術大畫廊的地板上。最後時刻館長脫光衣服，把自己的身體明白無誤地擺成名畫《維特魯威人》的樣子，在旁邊留下一個令人費解、以費波納契數列排列的密碼。解剖學本就是以屍體為研究對象，以此開啟這部小說的推理旅程，實在是很好的想法。 說到這邊，大家是不是想起自己學生時代學過的黃金比例，其實就是從《維特魯威人》而來的，當然這些人體黃金比例在我們這些凡人身上很難體現全部，但是卻能以那些光彩耀目的Model、明星身上找到一點印證，也許這也是他們能夠身在鎂光燈下的先天優勢吧？為什麼謙信要從這幅畫來切入解剖學，以前的人總認為科學與美學是分家的、不相關的，但是達文西打破這個定見，把科學的發現應用在美學上，他之所以不朽不是沒有原因的。

Wild Bill has a lot to get off his chest after a week off. This is a good episode if you need help living a more well rounded life. Strive to be great, because Helium will always rise.

Who knew that Leonardo DaVinci, in his famous Vitruvian Man drawing of the human anatomy, coded the inner passages of the Great Pyramid!? If you are skeptical... have a listen! This episode is also a YouTube video. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AIP Director Larry Pahl continues his expose of the hidden message in Leonardo DaVinci's celebrated drawing of the Vitruvian man, which channels the inner passages of the Great Pyramid! Pahl also reveals the AIP Pyramid on Egyptian soil, which is a 5 times larger than life replica of the Great Pyramid and what happens when it is combined with the DaVinci masterpiece. This episode is also a YouTube video. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Time Spent Watching Cool Cat Saves the Kids: 15 hours.Twitter: @intobadnessGmail: intobadness@gmail.com

For the remaining two months of the year, we'll be briefing you on the top moments of 2019 from art, entertainment, music, fashion and footwear. To kick off our list, Mikey sits down with Art Editor Keith Estiler to discuss the top art moments of 2019. A year of debacles and discoveries, they examine standout moments like the Notre Dame fire, Kehinde Wiley's sculpture, and the changing landscape of art due to the influx of social media. As always, thank you for tuning into HYPEBEAST Radio and The HYPE Report. You can subscribe to our channel on Apple, Spotify or wherever you get your podcasts. Please don't forget to leave a comment or review. Feel free to reach out to our host, Mikey Dabb on Instagram or Twitter @MikeyDabb. This episode features references to the following: Notre Dame Fire: https://hypebeast.com/2019/5/notre-dame-exhibition-gagosian-paris Banksy's GDP store: https://hypebeast.com/2019/10/banksy-gross-domestic-product-online-store-exclusive-info Leonardo da Vinci's Vitruvian Man: https://hypebeast.com/2019/10/leonardo-da-vinci-vitruvian-man-drawing-the-louvre-exhibition Kehinde Wiley's sculpture: https://hypebeast.com/2019/10/kehinde-wiley-rumors-of-war-sculpture-times-square KAWS Chairman Mao artwork: https://hypebeast.com/2019/10/kaws-china-backlash-chairman-mao-zedong-controversy-uniqlo Ai Weiwei's lawsuit: https://hypebeast.com/2019/5/ai-weiwei-lawsuit-volkswagen Kanye West's ‘Jesus Is King' filmhttps://hypebeast.com/2019/10/kanye-west-jesus-is-king-imax-film-official-trailer Woolly Mammoth Tooth: https://hypebeast.com/2019/8/boy-finds-woolly-mammoth-tooth-ohio Maurizio Cattelan's gold toilet: https://hypebeast.com/2019/9/maurizio-cattelan-gold-toilet-theft-blenheim-palace Klaus Littmann's Football Stadium: https://hypebeast.com/2019/9/klaus-littmann-for-forest-football-stadium-installation-austria

This week's topics include: Kanye's Jesus Is King release, Nike's President & CEO Mark Parker stepping down, what to look forward to in the upcoming NBA season, Leonardo da Vinci's Vitruvian Man drawing coming to the Louvre and the new Call of Duty: Modern Warfare multiplayer gameplay. Mikey sits down with Music Coordinator Patrick Johnson, Business Editor Emily Engle, Senior Editor Robert Marshall, Art Editor Keith Estiler and Associate Editor Issac Rouse to discuss this week's buzzing news. As always, thank you for tuning into HYPEBEAST Radio and The HYPE Report. You can subscribe to our channel on Apple, Spotify or wherever you get your podcasts. Please don't forget to leave a comment or review. Feel free to reach out to our host, Mikey Dabb on Instagram or Twitter @MikeyDabb. The HYPE Report on Spotify: https://hypb.st/talkspot Apple: https://hypb.st/talkapp (00:19) - Call of Duty: https://hypebeast.com/2019/10/call-of-duty-modern-warfare-multiplayer-4k-gameplay (07:39) - Leonardo da Vinci: https://hypebeast.com/2019/10/leonardo-da-vinci-vitruvian-man-drawing-the-louvre-exhibition (14:34) - Kanye West's Jesus Is King: https://hypebeast.com/2019/10/kanye-west-jesus-is-king-imax-film-official-trailer (22:22) - Nike's President & CEO stepping down: https://hypebeast.com/2019/10/nike-president-ceo-mark-parker-officially-steps-down (28:15) - 2019-2020 NBA Season: https://hypebeast.com/2019/10/nba-2019-2020-season-preview-predictions-stories-to-follow

Hello Everyone! Welcome, to this episode of arta podcast! This episode is very special to me, as it is the first episode that you can also watch on the freshly made Arta youtube channel! Of course, if you prefer the podcast in audio format, don’t worry, I’ll keep posting it to your favorite podcast platform as usual. I myself am a massive fan of audio as you can listen to it while driving, jogging, shopping, etc. About today's episode: How could an artist capture time, the human form, religion, and violence with a single medium? My guest, Tyler Jackson exploits the beauty and darkness of humanity by integrating music, photography, and painting! We talked about Tyler's exploration of more traditional means such as analog photography, vandalism and traditional easel acrylic/oil painting. Tyler is an artist chameleon, changing his style, materials, and even his name/personas. If you want to know why he is doing it and how the idea works for him, stay with us. ARTA IG: @artaapps Website: www.artaapp.com Youtube:https://www.youtube.com/channel/UCVW84sYmRaIiBfBW7ioj7Vg?view_as=subscriber KRÜTZ SIVAEL (acrylic/oil paintings): Showing in November Art Canton in Guangzhou Purchase now available Online through Saatchi Art @krutzsivael www.krutzsivael.com Tyler Jackson (photography): Work from “Figure & Form” show still on display at Le Meridian in Cyberport Hong Kong Book “Holy Violence” out the end of this year @tylerjcksn Instagram www.tylerjackson.cc More: KNIFE FIGHTER (music): new ep “Join My Cult” available everywhere (all streaming services)

Everybody is familiar with Da Vinci's ubiquitous image of the "ideal" male physical specimen, the Vitruvian Man. Area artist Chad Estes has gathered the images of 50 women and used the images to show there is no "ideal" physical type in an effort to promote body positivity. "Vitruvian Women" is showing at the Gem Center for the Arts and we talk about the installation and promoting body positivity with Estes and Tara Price, one of the models for the exhibit.

The secrets techniques and hidden messages of Leonardo Da Vinci's paintings. Quietly kept a guarded secret for over 500 years under the strict instructions of Da Vinci, this information was passed down through 21 trusted generations to Art Historian PT Lowe. Find out the hidden message behind The Last Supper, the true identity of Mona Lisa and the Vitruvian Man, and how to duplicate Leonardo's painting system.

Howdy, Zengineers! This week we're joined by writer and philosopher Jennifer Harris. She's a staple in the San Diego fundraising community, owns and operates JH Collective (http://www.jhcollectiveinc.com - a professional fundraising organization), and used to lead an amazing creative writing group with Brian, years ago. Our conversation is one of falling in and out of love with what you do professionally and who you become throughout the cycles. It's a personal journey trying to understand the psychology of the modern worker and the journey through ever changing careers. In it we attempt to uncover why we connect with the things we choose to do, and how do these connections guide us in developing our self image and our internal monologues. It's a fascinating journey, and we're glad you're here to join us. Hope you enjoy the convo. Support the show: http://support.zengineeringpodcast.com Visit our website for more episodes: https://zengineeringpodcast.com Cheers, Adam & Brian Show Notes Jennifer Harris Collective: http://www.jhcollectiveinc.com/ The Vitruvian Man: https://en.wikipedia.org/wiki/Vitruvian_Man Seth Godin: https://www.sethgodin.com/ Recode/Decode with Kara Swisher: https://www.recode.net/recode-decode-podcast-kara-swisher On Being Podcast: https://onbeing.org/series/podcast/2/ --- Support this podcast: https://anchor.fm/zengineering-podcast/support

Jon references Cars That Go Boom. Moltz likes The Expanse. Lex is high on Forto. That da Vinci drawing of a man with his arms outstretched is called Vitruvian Man. Our thanks to Sixt, a whole new car rental experience. Rent top quality cars, like a 2018 Jaguar F-Type, at affordable prices in cities like Miami, LA, Las Vegas, Atlanta, Dallas, Philadelphia, and Seattle, AND in over 105 countries internationally. Go to Sixt.com to find a branch. Follow us: @ttcashow. Lex Friedman can be found @lexfri, John Moltz can be found @Moltz and Jon Armstrong is @blurb.

“The Mona Lisa”. “The Last Supper”. “The Vitruvian Man”. Leonardo Da Vinci’s work still inspires over five hundred years later. But what about the man behind the paintings? He was an illegitimate child, a graverobber, and briefly lived at the Vatican. Carter and Vanessa explore the complex life of the true renaissance man. 

“The Mona Lisa”. “The Last Supper”. “The Vitruvian Man”. Leonardo Da Vinci’s work still inspires over five hundred years later. But what about the man behind the paintings? He was an illegitimate child, a graverobber, and briefly lived at the Vatican. Carter and Vanessa explore the complex life of the true renaissance man. 

"I had an epiphany which resulted in me taking a new direction in 2009. It took me more than a year of full time work to create an epic documentary called Secrets in Plain Sight, a densely-packed series about patterns found in art, architecture, urban design and the cosmos. " -From Scott Onstott's Bio @ http://www.secretsinplainsight.com/contact/ Topics Discussed Include: Astana, The Golden Ratio, Corporate Logos, Fractals, Art History, Abstract Expressionism, Marcel Duchamp, R. A. Schwaller de Lubicz, Vitruvian Man, Pyramids, Leonardo da Vinci,William Pereira, Minoru Yamasaki, Millenium Tower, Scientism, Max Planck,Skeptics, The Multiverse, Strategies in Advertising and Marketing,Subliminal Seduction Book by Wilson Bryan Key, The Freemasons, The Necktie, Secret Societies of America's Elite Book by Steven Sora, Masonic Sayings, Masonic Theater, Alchemy, The Secret History of the World -Book by Jonathan Black and Mark Booth, Kangaroo Rats donâ??t need water, Don Quixote, Rudyard Kipling, Transhumanism, Hermaphrodite Agenda, Beehives, Mormons, The Jesuits, The Illuminati Fable, John Robison-Proofs of a Conspiracy, The Illuminati Brand, secretsinplainsight.com hoaxbusterscall.com Commute Music: 2 Degrees East 3 Degrees West by Grand Encounter

Something To Talk About.....Super Duper Podcast Show!, Crunchie, Bob is zapped, Lukin gorj doll, Modern family album, Nun teacher, The belt, Grace Campbell & Jane Cosans, Fidget spinners, Toby who?, Stephen explains Killer, Harder than a fingery, Diane at the #IndyRef2 rally, Two types of Tory voters, Smarmy Salmon?, 'MERICA, The Vow Fuck John Lennon, #TDK90 , Blockbuster piracy, Lying to your parents, Metatarsal, Stephen Diesel trainers, Barefoot running is when you've got shoes on, Vitruvian Man, First CD, Bob goes for a pee, Yamaha smells of sulpher, President Trump to solve JFK assassination!, How many Americans own passports?, Diane in Mexico, Glesga accent will get you far, Four Federal Officers & Interpol Doppelganger Diane, Grant Campbell, #FakeBoab , The Maguire Brothers, Education, Shite teachers, Shite taxi drivers, Stephen & Kieran, Recording, The barter system, A paper clip for a house, #ThomasGarrity #BrianGraham , The Show Must Go On... Tennessee Whiskey (Dillon/Hargrove) Performed By Stephen Maguire & Kieran Sinclair

So, many of you know that I recently received my 200 hour yoga teacher certification over a 6 month intensive training regiment. And I'd like to share with you something I learned through my experience of spending months twisting and lengthening my body so that I looked more like Gumby. This story is about finding balance, literally and figuratively in our lives. It's so easy to go the extremes of lethargy or overdoing it. The middle path is always a lot freakin harder (well, for me at least) I laid on my back in a spinal twist to the left and breathed deep to stretch as far as I could. I had just committed to my yoga journey and gosh darn-it, I was going to be a real yogi. My instructor came over and offered an assist. With a grunt, I said yes. She helped me twist deeper and, after three deep breaths, I had twisted so much that I envisioned my body to look like Da Vinci's Vitruvian Man from above. I could go deeper. More, more, more — my mind screamed. So I grunted some more, squeezed my abs, and forced a deeper twist. And here, my friends, is where I learned my first yoga lesson. Forcing leads to injury, injury leads to pain, pain leads to suffering. I popped a rib. Forcing back the tears, I embraced that stoic machismo that young boys quickly learn the first time they cry on the football field. So, when I heard the “pop” and felt a stabbing pain in my stomach, I looked around to see if anyone else noticed. No one did, so I continued on with the class and quietly suffered on. My shavasana was a mental sufferfest. I left the class and immediately called my physical therapist. She suggested I bring my knees to my chest — even though this would hurt — and roll back-and-forth. So I did just that, popped that little ol' rib back into place, and made a mental note to never, ever, do that again. A sore stomach for the days following served as my post-it note reminder. My body had paid the penalty for this mental foul. Now, whenever I catch myself pushing too hard, my rib speaks a few words of advice: find balance between pushing and letting go. Or as Patanjali called it thousands of years ago: Sthira and Sukha. One must balance the polarity of working hard and easing back. Go too deep and you'll injure yourself, don't go deep enough and you won't grow. And this, of course, extends beyond yoga and flows into life. As a yoga teacher of mine, Richard Villella, put it: “A river when it's overflowing can move from a peaceful to a destructive force. Our mind is the same and when our mind is overflowing with noise it can become a destructive force.” Going out for a run is a great idea, but if you haven't run in years, would it be wise to go run a marathon? Probably not. Working on a new entrepreneurial venture is a noble journey, but, when coupled with working a full-time job, does it hinder your ability to be a good parent, spouse, or friend? A cup of coffee is okay, but two shots of espresso in a cup of coffee? Well I'm learning today that is totally overdoing it! The lesson I'm learning with this whole Sthira and Sukha business is that when I find this balance on my journey, I end up reaching a destination that goes far beyond the map I originally looked at. My bubble of potential pops, the world is suddenly round instead of flat, and I realize I've tapped into a universal truth: There's an infinite potential inside all of us. ----------------- What about you? Has there been a time in your life when you pushed too hard and injured yourself? How do you find balance and float onward without becoming a destructive force?

[We apologize for the sound quality of the episode. We had some mic issues which caused some problems in editing.] Robyne: Hi, I’m Robyne.Wesley: and I’m Wesley.Robyne: and this is Obstructed View. Wesley: Today we’ll be discussing the Company XIV production of Cinderella at the Minetta Lane Theatre under the direction of Austin McCormick. Robyne: Today we’re going to start talking about the concept of the production and Austin McCormick’s style.Wesley: Company XIV is a burlesque circus that has taken over the Minetta Lane Theater and was previously performing across from the Public Theater in Astor Place. Their work survives on incredible design, fascinating choreography, and a high level of technical skill put towards unselfconscious frivolity. Robyne: A lot of what we saw in this production, and Wesley might be able to speak for the company’s design as a whole, was a self defined new Baroque Ballet. It was a very bare-bones, I would say deconstructed, Rococo, Louis XIV what Wesley would describe as melange. For this production our design team was: Choreography, direction, and sound design by Austin McCormick, set and costume design by Zane Pihlstrom, lighting design by Jeanette Yew and Devon Jewette, make-up design by Sarah Cimino, and stage management by Nataliya Vasilyeva.Wesley: I really cannot stress enough how incredibly fully realized the design of this production was.Robyne: Something I really loved about this production was how cohesive all of the designs were. The world felt complete because every element was there supporting the others and it was beautiful.Wesley: Absolutely, the lighting design by Jeanette Yew and Devon Jewette was sublime. The way certain lights hit chandeliers in the space, the way they filled that world using smoke and lights and mirrors everywhere.Robyne: The use of an old-school, large spot light that sat just off stage but visible to the audience to light one of the performances was divine. Wesley: So one of the things I really love about Company XIV’s design, and I noticed this last year when I saw Nutcracker Rouge, and it really goes to the heart of what makes them work very well, is that they take the best of every era and seamlessly blend them into a cohesive whole. You see design elements that speak to old time Hollywood Golden Age, you see design elements that speak to Weimar and Belle Epoque and Louis XIV and all these fascinating eras, but they never feel intrusive to the world they’re making for us. What makes it work so tremendously well is how the finesse in creation of each of these comes from immense study and immediacy in performance, and that goes I think a lot for Austin McCormick and his trust in his designers, and the designers in their finesse and creativity.Robyne: And I love how they can take this high style and mix it with contemporary anachronisms. So in this production we got a lot of covers of songs in different languages in different styles that were scintillating.Wesley: When the sisters enter, for example, they sing the song Sisters from White Christmas, but in German and as conjoined twins – like it’s, it sounds absurd but the joy of it and the oddity of it and the sensuality of it is incredible.Robyne: There is an aspect of beautiful grotesqueness running through out this production. It gives me the sense that this is how Austin McCormick views humanity, as this divine, glorious, disgusting ‘Thing’, and that is so in-line with my taste. I absolutely love the stylistic world that they created.Wesley: It’s something that I noticed last year when I saw Nutcracker Rouge, and it’s something that I noticed here – the design work from every angle did not give you a moment to question the abilities of anybody involved in this performance.Robyne: And every element of the design supported the production as a whole. There was nothing that felt out of place and there was nothing that did not feel necessary. I don’t know what could have been removed and left the piece intact.Wesley: Which is incredible given that this is Baroque style. Because Baroque is, of course, many different layers, many different elements coming in and out. This performance isn’t reductive in design. There are many things happening at any given time, but I wouldn’t wish any of it away.Robyne: No, it was the illusion of bareness. There is the idea that you as the audience can see all of the contraptions and mechanisms.5:00Robyne: The use of creating, in the set, in Zane Pihlstrom’s set you can see the frame, a literal giant frame that is used as a proscenium that is offset and angled to the audeience and about halfway into the stage. And it’s gorgeous. You can see all of the contraptions happening on the sides, you can see the performers drawing the curtains. And it works so wonderfully together as a concept. This is clearly a design team that loves and trusts each other and everyone is on the same page.Wesley: One of my favorite elements in terms of set design, which is then, of course, in cohesion with all the other design elements, was upstage there was a chandelier that was on the ground, and it wasn’t hanging by anything, and every once in a while the lights in the chandelier were lit and it caused this nice, gentle backlight onto the performers. And t’s little things like that, instead of having lights put a chandelier on the ground; the amount of commitment to the images in the designers’ heads. And also I think this all goes to the concept of Cinderella as a story about smoke and mirrors, as a story about finding a way to present yourself differently to the Prince, and find a way to escape. And it all read incredibly, beautifully well. Robyne: And the overall sense of brokenness, the overall sense of this gentle decay that permeated the entire piece. The costumes I loved for the most part, it was perfectly in line with the style. You really got to see the absolute beauty of the performers moving; which, Austin McCormick’s choreography, in every style, was gorgeous.Wesley: Yeah, his choreographic work, even on a clinical, academic level, beyond the sensuality of the burlesque, which is so integral to the way he works, is fascinating and is beautiful and could probably hold it’s own if the performers were wearing street clothes. But with the added bonus, with the gravy of it being burlesque, it came so much more alive. And the transcendence of such choreographic work was added to instead of reduced from.Robyne: And it’s important to state that if you are sensitive to seeing mostly nude bodies this might not be the piece for you, but I guarantee you that you will lose the sense that you are looking at sexually clothed bodies and just be lost in the beauty of their movement.Wesley: It’s very much like you said, the Rococo paintings. It really comes with that delicacy as if you were walking through the sculpture gardens of Versailles. Like they’re … They are sculptural in the way they are formed. And that doesn’t just go to their physical capabilities, that goes to the way they are presented, the way they are framed by this design team.Robyne: The performers become part of the art; the movement is all Art. It is non-sexual. It is sexual, but it is not sexualized. It is not for Dionysian pleasure, it is not erotic, it is –Wesley: There’s nothing prudish about it.Robyne: There is a joy in their humanity.Wesley: If you don’t think you will enjoy this performance because you think that they are either be using their sexuality in this burlesque framework as a gimmick, or you are made uncomfortable by seeing the nude form on stage, I think that they will be able to transport you to a level that you will be able to appreciate it on a mere culinary level, at the very least. I know I keep on harking on the chandelier but there is a moment I remember watching and I looked up and there was a spot light above me hitting a chandelier going away from the stage. That is the kind of meticulousness in vision that Austin McCormick has and in his collaboration these designers to recognize that these are the things that transport us; these are the things that put a flavor in our mouths when we sit in that theater.Robyne: That level of detail shows that Austin McCormick loves what he does and he loves the art of storytelling and he has found his medium. This production is magic. It will transport you. It is absolutely gorgeous. It is highly stylized, and you might not enjoy the style but you cannot argue the execution.Wesley: One of the things I enjoy about Austin McCormick’s work is that I have no doubt that he is one of THE Visionaries right now of downtown theater. And the thing about visionaries is that very often they become constraining on their collaborators. I felt each person on this stage is getting to do exactly what they wanted to do when they woke up this morning. 10:00Everybody there brought something to the piece only they could bring. He is not only a visionary, but I’m also getting the sense that he is a collaborator in the construction of his work. Robyne: But that is not to say that the production is perfect. I did have some major issues with a few elements in this show. There was a BDSM theme that came through in some of the costume designs, for instance the horse. The creation of the horse, which in production, in performance, was gorgeous, but the elements of BDSM that strayed from the Step-Mother, which totally worked and made sense with her, lost me at certain points, and I did not understand why we needed tat pain and suffering for beauty.Wesley: The BDSM horse didn’t mesh with the sexuality that was being presented to us by the rest of that scene. The rest of that scene was very delicate, very floral, and it was very gilded with a gentle sexuality; and to have the horse brought in, and if it were a plot shift to have that kind of sexuality introduced, would be one thing. But instead, that kind of sensuality is accepted as the same to all the others in that particular scene, which was a little jarring in comparison to the seamlessness of the rest of the design. Robyne: Completely, and I only worry that that decision will alienate a number of audience members and it will be used as evidence of perversion, when I found the rest of the production to be gorgeous and human and beautiful.Wesley: And that’s not to say that BDSM couldn’t have been involved in this performance, I mean -Robyne: No, I think it’s used exquisitely with –Wesley: The Step-Mother.Robyne: The Step-MotherWesley: Yes.Robyne: I think when it made sense characteristically it worked very well. The cruelty shown threw very well. I just don’t think it was necessary in this moment.Wesley: I do like the idea that BDSM could be portrayed in a way that is something besides “This is a Broken Person” cause most of the time in performance BDSM is a sign of a person being harmful or sinful and I would like to see it put into a gentler context. But here it just didn’t mesh on the same level that other design aspects meshed.Robyne: And when we say BDSM we don’t mean there was actual –Wesley: YEAH.Robyne: - flogging happening on stage. But the use of leather, the use of a leather Horse Mask, really lent itself towards that style. And as in 50 Shades of Grey when you do not accurately portray BDSM as the often loving, mutual respectful, however varying from the sexual norm, relationship that it typically is, it becomes this grotesque thing, and that is very unfair to represent.Wesley: This is a small bump that we are talking about, honestly.Robyne: Maybe two minutes of the entire production.Wesley: That I didn’t so much have a problem with as much as I became conscious that I was watching something sexual happen in front of me.Robyne: It took me out of being transported into this world. Wesley: Exactly.Robyne: For the most part though, the costumes I absolutely loved. I adored The Prince’s costume.Wesley: Hee.Robyne: I love how – the costumes are, on the men, little more than dance belts.Wesley: Yeah.Robyne: Which is typical of a dance production in which you are highlighting the absolute gorgeousness of the human body. On the women, they are equally as revealing without sexualizing the nudity of their forms; while also giving homage to the eras from which you are borrowing the dances.Wesley: Mhmm. You see a lot of corsets, you see a lot of the skeletons for hoop skirts and other sort of Monarchal wear. Robyne: But striped down to simply the hoop, striped down to simply the bare bones. Which, it’s that idea of being bare, that idea of only what is there to lend to the imagination – that you can see that this is what would be underneath Wesley: And they did wear shoes that were pertaining to the Louis XIV style, which I enjoyed greatly because that was a huge culture part of the culture back then, the shoes.Robyne: And the shoes were all gorgeous. There was the entire shoe number where The Prince was searching for Cinderella and they brought out pair after pair after pair of absolutely gorgeous, exquisite shoes, that no one wore, that just sat upon the stage to be looked upon as Art themselves in a way that was not flamboyant or exuberant or self-indulgent of the costumer but felt so perfectly in this world.* *[Since recording this scene has been moved into Act I and is used as the dressing of Cinderella by the Fairy.]Wesley: This production allows you to indulge, indulge in what you are seeing, indulge in the craftsmanship and in the culinary appreciation of good artistry. And the design team was right there with everything Austin McCormick did.Robyne: Absolutely. The makeup and the hair work were gorgeous.15:00 The androgyny of the performers during different dance numbers when they would often play opposite their own gender, not as a commentary on gender but as a necessity for the storytelling of now “Now we are in a Ball” situation, was wonderful. And the makeup lent itself so beautifully to that style. Wesley: And nothing about the sexuality of anybody on stage, nothing about the gender meldings, nothing about that felt unnatural at any point in time. Every flavor offered made sense. You were allowed to appreciate everything on it’s own terms.Robyne: And the hair was historical and accurate and impressive.Wesley: There was a wig that comes out in Act III that rivals anything I have seen in Marie Antoinette. There was a boat on it.Robyne: Yup. It was gorgeous.Wesley: It was gorgeous.Robyne: And to delineate between scenes, they had the placards walked across the stage and the, the graphic design there was great. Kyle Ballentine’s detail to the font and the frame of the placards felt like a 1920s inspired Marie Antoinette party. And that is phenomenal, to be able to witness those melding of styles and not feel the alienation.Wesley: Nor self-congratulatory. I so rarely felt as though somebody was patting themselves on the back for what they just achieved. There was just unbridled joy in show-and-tell here. Often when people make choices stylistically like that, when they make such bold decisions, it comes with the expectation that we will all bow down at their work but here we are allowed to appreciate just what we are witnessing.Robyne: And to be blunt, when you make such extreme style choices, especially in the burlesque art of being bare, there is often a desperation and a self-indulgence that reeks off of the production and the performances, and I got very little, if any, of that.Wesley: There were a few moments that I might have felt a glimmer of indulgence on the part of the artists, but by then everything was so well deserved that I almost got joy out of seeing them get washed away with their own work.Robyne: Absolutely. And that is not to say that there are not moments of self-indulgence in this production that are a part of the storytelling. Wesley: Right.Robyne: And when you see that narcissism juxtaposed with the beauty on stage, it is comical, it is masterfully performed comedy. Which, not to harp simply on the design team, the ensemble of this production was incredibly talented. It was very well balanced and I did not feel as if there was a weak link amongst them.Wesley: Every one of them is incredible in their own right. Many of them showing abilities, that perhaps may only be performed on a stage like this. Robyne: And the creation of a piece that has so many different dance styles within it is really the only way to showcase all of this talent. I did not feel as if I was being put upon. I did not feel as if any of these dance numbers did not fit. They all worked wonderfully within this production.Wesley: The performance was done in three acts: first act was Cinderella going to the ball, second act, Cinderella at the ball, third act The Prince finding Cinderella afterwards. In between these acts were entr’actes during which they performed Vaudeville numbers mostly. And a lot of this story was developed using placards and using light levels of dialogue.Robyne: The Entre Act numbers were wonderful and allowed the Ensemble members to perform solo numbers that were fun and massively impressive.Wesley: These numbers didn’t often sit in the story nor need they, however, they always did sit well still with the style.Robyne: The ensemble consists of Hilly Bodin, Lea Helle, Jakob Karr, Nicholas Katen, Malik Shabazz Kitchen, Mark Osmundsen, Katrina Cunningham as the Fairy, Davon Rainey as The Step-Mother, Marcy Richardson and Brett Umlauf as The Step-Sisters, Allison Ulrich as Cinderella, and Steven Trumon Gray as The Prince.Wesley: As you said, I could not point out a weak link among them. Devon Rainey performing The Step-Mother as a BDSM, Drag Queen worked very well in this world.20:00Robyne: The use of a multi-ethnic cast was not bothering. Often you hear companies argue for production with “Colorblind Casting” that are just painful to watch and the coarseness of the handling of race is often so painful to bare. And that completely fell away into this production, into the characters they were portraying. Wesley: I feel as though there was nothing that Devon Rainey wanted to do that night than to perform this character. And he suited it very well. And the sisters, Brett Umlauf and Marcy Richardson, not only are obscenely talented peopled, but -Robyne: Disgustingly talented.Wesley: Like Cirque Du Soleil levels of talent. But they are also such joys to watch have fun on stage. They clowned, they laughed, they did silly things, and it’s things like this that make me think that talent of this caliber should be allowed to have fun like this all the time. Because when they are this good and this much fun they create such joy in The Step-Sisters. They’re almost impossible to hate as characters because of that, because of all the manic fun they’re having. Allison Ulrich as Cinderella – Robyne: Was charming.Wesley: She didn’t have any real stunt, I would say, to perform. She was very much exhibited on a pedestal when it comes to the talents. Her works were much more going for a transcendent form, more balletic, more delicate.Robyne: Pure, and naïve, and it gave a gorgeous sense of the purity of this character. The earnestness with which she sought the love of her stepfamily, who only showed her abuse, often portrayed as this sort of BDSM abuse without love, cruel, and, in this day and age, hopefully unthinkable, of how a family should work. And the pureness of her love for them was not insulting, because of her performance. It worked so well.Wesley: And it matched the Cinderella story. It very much matched the story of this girl that was able to transcend the hardships she is going through. And the points of story telling such as the Step-Sisters and the Step-Mother talking about the ball using text bubbles and using placards and using shadow, were such great ways to reinvigorate a story that, especially in the last couple years, we have heard over and over and over again.Robyne: Especially in the same year that a major motion picture is released that tells the exact story in high style, gorgeous costuming, gorgeous setting.Wesley: It wasn’t just the motion picture, there has been – the San Francisco Ballet, the motion picture, Juilliard did a production of it, there was the Broadway production of it; this is a story that for some reason has really come back on a level of force that I haven’t really seen of late in fairy tale. I think this might be my favorite version of, no, let me rephrase that. This is my favorite version that I have seen. This is the most reinvigorating of it that I have seen.Robyne: I did have issue with Katrina Cunningham’s Fairy. Often she felt dismissive and abusive of Cinderella, very uncaring, in that very sexualized manner that the Step-Mother was. And I don’t know if there was a parallel supposed to be happening there or if there was something to be said about beauty or magic or love, but it just did not ring true to me. Her performances were gorgeous. She had a silk headdress filled with balloons that floated above her that was extraordinary, and, again, divine. That sense of ethereal beauty was rampant, but it didn’t feel right in this world. Wesley: It didn’t come off as a sense of kindness that I‘ve come to expect of The Fairy Godmother. This didn’t feel as much the woman coming down, and despite how high and mighty she is feels for this girl. This almost feels like fairies in the Midsummer Night’s Dream. Robyne: It felt completely like fairies. It felt like she was an actual fa– not that fairies are real. It felt that she was a more traditional fairy, that was simply having fun, which I like, but I did not like here.Wesley: Right. Here her vocal prowess, her stage presence, all these undeniable. In terms of characterization, I would have preferred a more gentle warmth in her conduct with Cinderella.Robyne: Agreed.Wesley: Ugh, The Prince.25:00Robyne: Steven Trumon Gray’s The Prince, despite being a gorgeous human being, was a gorgeous performer. The fun sexual jokes made at The Prince’s expense, the use of The Step-Mother’s sexuality to sway The Prince into choosing one of her daughters, was great and I felt worked but was a little off-putting, every now and then there was just a little too much of it. But his talent, number one, was incredible, both vocally and in every dance in which he performed was a joy to watch.Wesley: He enters in a bathtub singing in Russian, I think, and that’s where you start to wonder in this production, ‘What next? What next will you be able to surprise me with?” Because by now, I thought I was prepared for anything, I was not expecting a man in a bathtub to sing Russian. And for me to just give in to it.Robyne: This performance felt indulgent in the way that Champagne is. It felt warm and amber and like a blanket hugging your body.Wesley: Right.Robyne: And I don’t know how else to say that. It –Wesley: No, it’s true.Robyne: -was so comfortable and warm and fun and happy, and every performer lent to that.Wesley: And this is something that not many fairy tale adaptations, maybe more now, tend to do, which is put weight on the male love interest and to make this a person who is enticing in terms of a personality. They normally put all their force into the heroine without actually giving any tangible resonance as to why is she after this person. We know why Cinderella is after him.Robyne: Yeah. I cannot speak highly enough of the ensemble. Hilly Bodin, lea Helle, Jakob Karr, Nicholas Katen, Mailk Shabazz Kitchen, Mark Osmundsen – the ensemble numbers were incredible. The Can Can, the traditional court dance, the transformation into animals, the, what I will call "Back-up Singer" positions, when The Fairy Godmother was singing – all of their moments of movement and detail and mime and their work in literally the background behind the framed proscenium as they moved behind the curtain to go into performance, had this luxurious, cat like movement to it where they were both apart of the show and watching the show AND watching the audience and that kind of magical, meta-theatrical performance is so fine and so easily mishandled that when it is handled so well comes off with incredible impressiveness. Wesley: The ensemble are what made the transportation absolute. Their immediacy with us, their ability to be at one with the audience and with the action on stage, and how they weren’t just set dressing, they weren’t just pretty objects on stage, but vital personalities, every one of them. Not all of them had names but I felt as though I knew something about all of their characters in this world, which is incredible for a silent ensemble to achieve. Robyne: And the attention to detail in the minor characters which they played, for instance the dance teachers for The Step-Sisters, was great and added a level to this production that wouldn’t have been there if that fun competitiveness wasn’t in every aspect of those two dancers’ faces whenever they took looks at each other.Wesley: There is a confidence to their performances that allowed them to have fun in what they are achieving. So something that I’ve told people who go to see something like Cirque Du Soleil or something like a fine ballet is stop thinking ‘Wow, look at what they’re able to achieve,’ and start thinking, ‘Wow, look at what people can do.’ And I felt that at so many times during this production, that I was seeing actual achievements of the human race. I felt as though I was seeing the body at it’s best, in a sort of Vitruvian Man, idealistic sort of way. Robyne: The stunt work completely faded into choreography.Wesley: Right.Robyne: And it was not stunt for stunt sake. It was not a modern dance company presenting stunt as choreography, it was a choreographer utilizing stunt to tell the story in his choreography, that was gorgeous, all within his style.Wesley: It reminds me of when I was reading about the Commedia dell'arte ballet. The reason we have dancers en pointe nowadays is because Commedia dell'arte performers would go on their tippy toes and it was a stunt that was astonishing and yet people were like, “This is a stunt. It’s amazing.” But it wasn’t considered High Art. It wasn’t until La Sylphide where Marie Taglioni performed en pointe (La Sylphide video) the whole time when people said this was fine, high art. I am seeing that here.30:00 I am seeing that transformation of things like aerial hoops, things like flips, no longer being just stunt but going towards that high art realm.Robyne: I have so often seen aerial hoop work simply done as a demonstration of skill but this was aerial hoop work done so well, which, I do have to point out, and this might be spoilers, the use of the hoop work as the final number between Cinderella and The Prince, didn’t work for me. The Pas de Deux was so gorgeous, was incredible, was the absolute highlight of this production, and while I understand that it was necessary to have that as ball number, those two numbers should have been switched. There have been few things I have ever seen in my life that have been as gorgeous as that Pas de Deux. Wesley: The Pas de Deux that ends Act II or is part of Act II, where The Prince and Cinderella meet is – it was sublime on a grounded level. I agree, I would have liked them to have reversed the two. I would have liked them to meet using the aerial hoops going above the party and on the end of the performance we get Monarchical Ballet at its absolute best. Those dancers, the way they performed in that world, when – the way they interacted with each other’s bodies with both feet on the ground, it’s hard for me to call it a highlight because there’s so many – Robyne: All of the dances (laughs)–Wesley: EVERYTHING was just so incredible. And the hoop work was good too, the worst part about it was they did something better earlier. Robyne: There was no bad choreography.Wesley: No.Robyne: There was no mediocre choreography. There was no good choreography. It was all great, but some of it was so otherworldly in its quality and beauty. That is the image we should have been left with, was THAT final number and then, AND THEN the show ends and everybody is on their feet because, it was so moving that I, I was almost brought to tears.Wesley: Because Company XIV also is based off of Louis XIV, that’s where they get their name from, and I think that would have also lent itself to the company’s mission, the company’s foundation, to end on that note. Robyne: To not only end on that note but to have the aerial work above the party, what better way to have physically staged the party so that everyone was looking up at them? If you don’t have a balcony put them in the air and the image of the craned neck of everyone dancing in this painful position to see would give such a physical adaptation of envy and jealousy and lust, that if felt like a very obvious choice.Wesley: Right. But that’s just to say that this thing sparked our imagination a bit. There was also, in Act III you have the challenge of The Step-Sisters for The Prince. And, once again, both were great, but there was one of them in particular, and I hate to say that because it’s not that –Robyne: Brett Umlauf’s –Wesley: Brett Umlauf’s vocal prowess, her capabilities as a singer, was sublime. That is unqualified statement. Robyne: The operatic number there was great, however, when that number is second to, and is intended to upstage, Marcy Richardson, on a pole dancing pole mounted to a deconstructed carousel, held down by the male performers, while she was pole dancing and singing French opera – there was almost nothing more impressive in this show than that. Wesley: And it wasn’t her talent itself, it was the fact that they added something to it; the fact that she was upside down, singing French opera. It wasn’t that the talent was better, it’s just that when you add something more, to that extent, it feels like the logical choice, THAT was the one-upmanship.Robyne: Right.Wesley: That was her going, “Ha Ha, you think you’ve won. But I’m gonna do it upside down, on a pole, in a split.”Robyne: AgreedWesley: I will repeat that. Upside down, on a pole, in a split, singing opera.Robyne: WELL. Singing opera Well. Hitting notes that … I could never … It was incredible.Wesley: I don’t know the last time I’ve seen something that astonishing.Robyne: And again, we are describing this and it sounds like stunt, and it is, but in this world, in this one-upsmanship, in this magical world where Cinderella is given wings by her stepsisters and put in a cage, in THIS world, it made perfect sense, and–Wesley: -you welcome it. You absolutely welcome every breath that they took and that cage work –35:00Robyne: Austin McCormick’s sound design was wonderful. The singing of Royals in French, the Fairy Godmother’s song which I, it slips my mind at the moment, (James Young, Dark Star) they were all wonderful choices. But there was … there is an art to the creation of practical sounds on stage and one of the noises I absolutely love is the sound of bird wings on metal cage. I don’t know why. But that is such a textural sensory, and giving us that sound in this, the literal trapping of a Dove in a cage, representing Cinderella and having the Godmother save her, was extraordinary.Wesley: So one aspect of this performance that I did miss, cause I saw them in their previous space across from the Public Theater doing Nutcracker Rouge, and one of the aspects of Nutcracker Rouge and that space that I preferred was you had a sense that the entire experience from walking in the door was under the artists’ control. And when you walk through the bar to this back hallway, you really got a sense of being transported from beginning to end. I’m sure they’re still finding their footing in the Minetta Lane Theatre; however, there were points inside of the space itself that it felt like the Minetta Lane Theatre hosting this show rather than that sort-of Sleep No More, this is Their Space. Robyne: Where the door is a portal to a new world.Wesley: Exactly.Robyne: Yeah.Wesley: I was looking for that Natasha, Pierre (and the Great Comet of 1812), and also, what I got from them last time, which was, from beginning to end, inside their world, you are under their command and you are invited into their home. Rather, here, at times, I’m sure, this is their first performance in this space, this is the premiere of Cinderella, so there will be some adjusting to this space; however it is much larger and I’m sure that there are certain aspects of it that they don’t have the ability to give to it the same level of detail that they do to the stage.Also, an integral part of Nutcracker Rouge was audience interaction and given the size of the space, given that they could no longer just walk off the stage and be among the people, but have to walk down a set of stairs off the rose lip. The audience interaction, there was immediacy, but the direct interaction was a very rare aspect to this performance. And simply given the talent, given the amount of personality most of these performers had, I would have appreciated more direct contact with the audience.Robyne: And it could have been something as simple as The Step-Mother handing out flowers for the audience to toss at her daughters after they finished performing. That kind of almost gimmicky interaction would have worked so wonderfully in this production and would have just, JUST made that transportation, just brought us into this world that little bit more and would have been wonderful. My biggest issue, over all, would have to be the ending. Wesley: Yes.***SPOILERS***Robyne: And Spoilers here *I completely understand, intellectually, the desire to alter the ending of Cinderella to have The Dream end. I felt that it was supported by the concept; I felt the design work supported that kind of broken, bare bones, dismay. Desolation was abound throughout the design. I just simply felt betrayed at the end of the show. It was handled well, it was blunt, I just think it could have been further articulated so it wasn’t so rough on the audience. And we should have been given more of a primer that this dream COULD not been real. It just felt so sudden and almost painful and I’m sure that was part of the intent but I didn’t enjoy that pain. *Wesley: Furthermore, unlike Nutcracker Rouge, where throughout the performance you watch Clara go inside of this dream world of the Nutcracker, into this graden of earthly delights, as she discovers sensuality and sexuality, until the end when she does this beautiful Pas de Deux, this had no through-line of burlesque developing into this world. If we’d entered and we were in the real world and then the world of burlesque brings her into this dream of Cinderella, that could be one way of seeing it; but when it’s just the burlesque the whole way through and at the end there’s this very depressing coda regarding her being sent back to her abusive mother – that’s the other difference, Nutcracker ends with her waking from the dream but she’s going back t a fine life, when Cinderella wakes up, she’s going back to her abusive mother and dead father. 40:00Robyne: Well, I don’t even know if she went back to them, I’m, it just felt like reality broke. As all of the other performers switched out of their characters and started striping the stage, she was left alone and abandoned. And I got the sense that this is what he was going for, was that this was all just a dream in her head that she had had that night after, I think in the original story she picks out lentils. She does this thing and she falls asleep and then in this version I guess the Fairy Godmother comes to her in her dream and she wakes up from that dream and is back in that world. But it felt even worse than that; it felt like she woke up in a war-torn country alone. And I did not understand.Wesley: It was difficult to enjoy their intent.Robyne: Yes. Which was made so much more acute by how gorgeous and detailed and warm and loving the rest of the world was. That champagne feel and then to be left with –Wesley: -this hangover.Robyne: Not even that hangover, the sour, tart, acidic bile of that stark reality.Wesley: And that’s not to say this ruined the evening, that’s not to say we couldn’t –Robyne: By no means did we walk out of this theater completely bemoaning that ending, it was a thirty second tip on the rest of this production that –Wesley: I just didn’t feel that I needed.Robyne: Nor did I.***END SPOILERS***Wesley: I personally would love to see them come out with a CD once they’ve finished their next two performances using the music of these performances. The music is always beautiful. They use some classical, such as Arvo Pärt, Spiegel im Spiegel, they do revamps of new pieces like Royals in French; I would love to see that happen. And I look forward to seeing them really taking over the Minetta Lane Theatre and making it entirely their own.Robyne: I am so looking forward to Nutcracker Rouge and Snow White.Wesley: I say this without any … I check my hyperbole, Austin McCormick is one of the best visionaries I can think of in the downtown theater scene. I can’t think of anybody who has truly created a singular vision and taken over a space to create it, and with such level of detail and craftsmanship. There is a dedication and a love to this world he is making, that I don’t know exists elsewhere. This is a unique theatrical experience perhaps in the country, but definitely in New York, and I would love to see this become a permanent staple of New York.Robyne: So would I.Wesley: So I guess the final question is: Is it worth the $40-$100 priced ticket?Robyne: Absolutely. More so than many Broadway shows I’ve seen recently. The quality of performance, the quality of talent, the amount of time you get in this world, is so worth the ticket price. I full heartedly recommend seeing this show.Wesley: The tickets could cost twice as much and I’d be saying these words, “Pay and go se it.” This is dance at it’s finest and this is theater craftsmanship better than most that you will see.Robyne: Cinderella runs until November 15th at The Minetta Lane Theatre. You can find tickets at TicketMaster.com or CompanyXIV.com. As always, you can join in on the conversation at Obstructed-view.com on Facebook at facebook.com/ObstructedViewPodcast, on Twitter, Soundcloud, or Tumblr, or email us at TheObstructedViewPodcast@Gmail.com. This is Robyne.Wesley: And Wesley.Robyne: And Remember.Wesley: Never be a Wallflower. [All images taken from Company XIV's Instagram feed]

On this episode, we've got videos from Sealed Our Fate, Frosthelm, Cold Snap, Repaid In Blood, Varials, Vitruvian Man, and Vlad The Inhaler!

Homesteading and Hermetics with Cosmic Preachers' Desmond Garrett | bcdPodcast #307Mr. Desmond Garrett, lead vocalist and guitar player for Cosmic Preachers, joins Mister Dr. X and Stephen Michael Schroeder to talk about homesteading, pentagrams, and Desmond's genius idea to have churches stop paying somebody to mow their lawns and start growing food! Then they can give that food to people in the community who are hungry. It's a really great idea and I hope some people put it to use.Listen: https://archive.org/details/Homesteading-And-Hermetics-With-Cosmic-Preachers-Desmond-Garrett-bcdPodcast-307Download: http://archive.org/download/Homesteading-And-Hermetics-With-Cosmic-Preachers-Desmond-Garrett-bcdPodcast-307/Homesteading-and-Hermetics-with-Cosmic-Preachers-Desmond-Garrett-bcdPodcast-307.mp3"We're already experiencing the 'crap hitting the fan.' This is what it looks like." -Desmond GarrettCosmic Preachers: Rock 'n Soul from IndianapolisDesmond Garrett, Lead Vocals and Guitar for Cosmic PreachersStephen Schroeder vs DNRStephen Schroeder got ticketed for trespassing on Flat Rock River in Columbus, IN. Schroeder took it to court and set a precedent: people of Columbus, you may now go enjoy the Flat Rock River without getting ticketed by the DNR. You can thank Stephen Schroeder for that.Other Topics in this Episode IncludePentagrams on the "In God We Trust" Indiana license plate, Columbia Club and Masonic Lodge flying Indiana state flag upside down, Greenwood Police Department, food independence, what is homesteading?, how to get started homesteading, what to do when SHTF/CHTF, bug out locations, generators, community and group prepping, self-reliance, survival, storing food, and more.Video Playlist Companion PieceHere's the episode playlist. It's chock full of sweet live videos from Cosmic Preachers and watch the videos that Stephen Schroeder and Desmond Garrett are talking about in this interview with the secret occult layout of Indianiapolis and Washington, D.C., the magic squares, Egyptian magick, and more.LinksDesmond Garrett on FacebookCosmic Preachers on FacebookCosmic Preachers on YouTubeImages from the episodeSacred Geometry | The Flower of LifeIndiana License Plate with PentagramsOklahoma License Plate without PentagramsRepublican Party PentagramsMedal of Honor Pentagram Vitruvian Man on the Map

Although he lived more than 500 years ago, Leonardo da Vinci drew pictures of machines that would not be invented for more than 400 years. His paintings of the Mona Lisa, The Last Supper, and the Vitruvian Man are perhaps the most widely recognized images in the world. WIKIPEDIA says Leonardo “was an Italian painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. He is widely considered to be one of the greatest polymaths of all time and perhaps the most diversely talented person ever to have lived.” “Leonardo da Vinci” is an idea that is larger-than-life in our minds. But when I show you a photograph of the house in which he died, he becomes more of an actual human being. That photo of the house is what I call “a reality hook,” a point of contact that connects the world of abstract imagination to the world of concrete fact. You can buy a print of the Mona Lisa on Amazon.com for less than ten dollars and the image will be identical to the original. But the value of the original is beyond estimation because Leonardo da Vinci actually touched it. An original work of art gives you a point of contact with the artist. An historical artifact gives you a point of contact with a specific moment in time. Understand this, and you understand the heart of every collector. Just as Leonardo da Vinci became more “real” when you saw the house in which he died, he comes into chronological focus when I tell you that Ferdinand Magellan, Christopher Columbus and King Henry VIII shared his lifetime. Leonardo becomes gut-wrenchingly real when I tell you that his diaries speak of a “gang of four” that raped him repeatedly when he was a boy. BAM. Reality hook. Stories and descriptions become more believable when you give them context. There are four ways to create reality hooks:Connect to something the reader/listener has already experienced. “Have you ever bought a car and then began seeing cars like yours everywhere you went?” Use terms of description that are specific and highly visual; shapes, colors, and the names of familiar things. “A man pulling radishes pointed my way with a radish.” Include details that can be independently confirmed. These bits that can be confirmed lend credibility to those parts of your story that cannot be confirmed. “There's a restaurant in Austin at 4th and Colorado called Sullivan's. It was there that I met Kevin Spacey and Robert Duvall.” Make logical sense. People are quick to believe things that seem correct, even when those things are not true. “If your advertising isn't working, it's because you're reaching the wrong people.” Later this morning (Monday, January 12, 2015 at 11AM CST) I'll spend the better part of an hour presenting examples of each of the 4 categories of reality hooks and talking about when and how to use them. Reality hooks are the hammer, screwdriver, pliers and duct tape of an ad writer. You can use them to fix practically anything. I really should have told you about http://www.rhw.com/ (today's webcast) a week ago, but it didn't occur to me. Sorry about that. Here's how I'll make it up to you: the next time you come to a class at Wizard Academy, tell Vice-Chancellor Whittington that you'd like to see my examples of reality hooks and we'll figure out a way to make that happen for you (and anyone else in your class that wants to join you.) 2015 is going to be a year unlike any other. Hang on tight. Roy H. Williams

A 2003 mystery-detective novel by Dan Brown. It follows symbologist Robert Langdon and cryptologist Sophie Neveu after a murder in the Louvre Museum in Paris, when they become involved in a battle between the Priory of Sion and Opus Dei over the possibility of Jesus Christ having been a companion to Mary Magdalene. The title of the novel refers, among other things, to the finding of the first murder victim in the Grand Gallery of the Louvre, naked and posed similar to Leonardo da Vinci's famous drawing, the Vitruvian Man, with a cryptic message written beside his body and a pentacle drawn on his chest in his own blood. Stream online: https://amzn.to/2USY54b Become a Patron: https://www.patreon.com/mfrbooksandfilm?fan_landing=true

A 2003 mystery-detective novel by Dan Brown. It follows symbologist Robert Langdon and cryptologist Sophie Neveu after a murder in the Louvre Museum in Paris, when they become involved in a battle between the Priory of Sion and Opus Dei over the possibility of Jesus Christ having been a companion to Mary Magdalene. The title of the novel refers, among other things, to the finding of the first murder victim in the Grand Gallery of the Louvre, naked and posed similar to Leonardo da Vinci's famous drawing, the Vitruvian Man, with a cryptic message written beside his body and a pentacle drawn on his chest in his own blood. Stream online: https://amzn.to/2USY54b