Treasury of Snow
I remember the first time I read the Book of Job. It was an eye-opener for me…the distinct moment when God enters the scene and questions Job:
“Then the Lord answered Job out of the whirlwind, and said:
“Who is this who darkens counsel By words without knowledge? Now prepare yourself like a man; I will question you, and you shall answer Me. “Where were you when I laid the foundations of the earth? Tell Me, if you have understanding. Who determined its measurements? Surely you know! Or who stretched the line upon it? To what were its foundations fastened? Or who laid its cornerstone, When the morning stars sang together, And all the sons of God shouted for joy?
-Job 38:1-7 NKJV
Job realizes how mighty God truly is and answers The Lord by saying:
“I know that You can do everything, And that no purpose…
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(Ver 1.1) There are many people who do not understand how the Bible was written. God has hidden a countless number of mysteries, riddles and puzzles in the Bible for us to solve with His help. These riddles are always word based puzzles. All of these puzzles are implemented with techniques that use hidden and spread out information that makes them very hard to find. These mysteries are of course much more difficult to solve than they are to find but many of the puzzles are also very hard to recognize by just reading the Bible. Today I am going to show you one of these very complex puzzles that I have been working on from the Bible for several years and so far have not completely solved the entire mystery of the puzzle. I want to share what I know today with those on the Web to challenge you…
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The futuristic manifesto was taken place in Italy, written by F. T. Marinetti in 1909 on a French newspaper.
This manifesto is quite related to the technological advances and the modification of human activities, perspectives and interactions because of them. It shows a paradox between the progressive feeling brought by the noise and speed of machines and the Italian static and established traditional role of knowledge and on the art field.
This specific moment represented the new possibilities advancing to the ‘unseen and unknown’ caused by technology and the ‘safe and glorified’ past that wouldn’t represent anymore the reality as it was on ancient times (according to futurists).
Different from the Maker’s Bill of Rights, the Chindogu tentents and the Adhocism idea, in which, in different levels, were about behavioral changes based on new understandings in relation to accessible material world, the Manifesto of Futurism was also based on…
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James Atherton writes
‘As I see FW it is everyone’s dream, the dream of all the living and the dead. Many puzzling features become clear if this is accepted. Obviously we will hear many foreign languages…The Wake never stops: the sentence circles round to become the first and the whole work revolves to reflect the nature of the world of sleeping humanity….
To my mind, the most revealing statement Joyce ever made about his work was ‘Really it is not I who am writing this crazy book. It is you, and you, and you, and that man over there, and that girl at the next table.’ This is stressed, once you start looking for it, in the Wake itself. It is ‘us’ who are brought back to ‘Howth Castle and Environs’ in the third line of the book…It is easy to miss the ‘we’…
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sent to FWRead
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Who was Anne Read of Annefield?
First, a word about her first husband, William Jameson. Pictured here are two sets of coats of arms on the tombstone of Mildred (Smith) Jameson, wife of David Jameson, who died 10 December 1778 and is buried at Yorktown, Virginia. Note the Jameson arms on the left (Smith, obviously, is on the right). While not known to be a relation to William Jameson, the arms fit the description of a now lost armorial artifact that once belonged to Anne Read, the widow of William Jameson; Jameson died about 1785, as his last will and testament of 1784 announces, probably while on a perilous journey: “Whereas I am about undertaking a voyage to Great Britain, from which it may be the will of…
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When browsing among the goods in antique stores and the occasional junk store, one inevitably comes across an old painting bearing the likeness of person whose identity is unknown — perhaps obtained from the estate of the last person who could identify them, or deaccessioned by descendants in need of cash who don’t know or care who they are. If the shopkeeper has a sense of humor, he or she may label the painting “Instant Ancestor!” as an inducement to purchase. Not so this oil painting, still cherished by her descendants and gracing the parlor of one of the more substantial dwellings in Charlotte County, Virginia.
The style of dress suggests that the painting dates from the early 1830s, when exaggerated puffed sleeves were abandoned for a more streamlined look, and the…
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