woops
is not like other people
i think we need to do the astronomy on this one @Clinamenic
Fountains
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this is the good bit - the other voice now says:
"is there a way that human beings can ever be waterfalls themselves?"
and the first guy answers:
"to begin with, just the fact that you exist makes you a waterfall in a sense because your higher self is sending a continuous stream of living electrons down through your silver cord.. it's like a tape recorder, blank tape goes in, and then sound gets recorded onto it, it gets stamped with the qualities of whatever its recording... likewise, what comes from your heart is very pure, but once it passes through your emotional body, it gets stamped with your thoughts and feelings and then goes out to the whole universe, and drags more energy of the same kind back to you again"
"is there a way that human beings can ever be waterfalls themselves?"
and the first guy answers:
"to begin with, just the fact that you exist makes you a waterfall in a sense because your higher self is sending a continuous stream of living electrons down through your silver cord.. it's like a tape recorder, blank tape goes in, and then sound gets recorded onto it, it gets stamped with the qualities of whatever its recording... likewise, what comes from your heart is very pure, but once it passes through your emotional body, it gets stamped with your thoughts and feelings and then goes out to the whole universe, and drags more energy of the same kind back to you again"
Latona fountain, Palace of Versailles (Versailles, France)
"Inspired by Ovid's Metamorphoses, the Latona fountain illustrates the legend of Apollo's mother and Diana protecting her children against the insults of the peasants of Lycia, and calling on Jupiter to avenge them. He heard their plea and transformed them into frogs and lizards."
www.huffpost.com
"Inspired by Ovid's Metamorphoses, the Latona fountain illustrates the legend of Apollo's mother and Diana protecting her children against the insults of the peasants of Lycia, and calling on Jupiter to avenge them. He heard their plea and transformed them into frogs and lizards."
10 Most Beautiful Fountains in the World
Fountains were originally purely functional, connected to springs or aqueducts and used to provide drinking water and water for bathing and washing to the residents of cities, towns and villages.
Inversnaid (1881)
Gerard Manley Hopkins
This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fáwn-fróth
Turns and twindles over the broth
Of a pool so pitchblack, féll-frówning,
It rounds and rounds Despair to drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
Gerard Manley Hopkins
This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fáwn-fróth
Turns and twindles over the broth
Of a pool so pitchblack, féll-frówning,
It rounds and rounds Despair to drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
Impetuous Torrents: Scottish Waterfalls in Travellers’ Narratives, 1769–1830
This paper examines the waterfall in travellers’ accounts and guidebooks of Scotland between 1769 and 1830. As well as providing easily accessible punctuation points in the narratives of travellers...
www.tandfonline.com
This paper examines the waterfall in travellers’ accounts and guidebooks of Scotland between 1769 and 1830. As well as providing easily accessible punctuation points in the narratives of travellers journeying through the often bleak surroundings of the Scottish Highlands, waterfalls were central to the main aesthetic categories devoted to interpretation of natural features in this period, the sublime and the picturesque. With reference to these categories – the sublime disclosing sentiments of awe, even of terror; the picturesque, detached contemplation – the paper discusses waterfalls as static objects, and as instances of dynamic processes. Waterfalls are perhaps the pre-eminent landform for static, picturesque appraisal. At the same time, they are inescapably dynamic, embodying characteristics associated with the sublime such as multi-sensory experience, non-human agency, and emotional and affective impact. These latter characteristics are recognised by recent phenomenological approaches to landscape in human geography, in contrast with more visual, representational treatments of landscape.
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Hudson discusses different possible theoretical groundings for understanding the appeal of waterfalls, including (2000, 2012) psychological or biological explanations, such as the balance of high and low arousal that they provide with their mixture of moving water and still surroundings
Traditionally in the West cultivated land, embodying classical notions of beauty such as order, symmetry, and harmony was preferred to unimproved natural scenery, which was associated with predominantly negative qualities (Thomas 1983). Through the course of the eighteenth century, however, the allure of mountainous and wild regions increased, and this trend found a parallel in the aesthetic theories of the time, in which a contrast was often made between the beautiful and the ‘sublime’. Edmund Burke was particularly responsible for popularising the idea of the sublime, in his theory which split human passions into two types. According to Burke, societal passions are associated with love and are aroused by beauty, which gives pleasure. Passions of self-preservation, on the other hand, are associated with terror. Undiluted, they are merely unpleasant, but they can be ‘delightful when we have an idea of pain and danger, without being actually in such circumstances … Whatever excites this delight, I call sublime’ (Burke 1759, p. 132, italics his). Burke detailed a large number of attributes that could be deemed sublime, such as power, vastness, and ‘the noise of vast cataracts’ (Burke 1759, p. 75). Other theorists such as Addison and Kant also associated the sublime with these types of characteristics, found in natural phenomena more readily than human-made works, and which make the human subject ‘feel overwhelmed, small, and insignificant in comparison, because we find it difficult to take in those qualities, while also feeling uplifted’ (Brady 2013, p. 4).
These various different aspects of the waterfall as a visual prospect show how they allowed for picturesque contemplation and description. The combination of water, rock, and wood, including the falling water itself, and the waterfall's presence as the obvious centrepiece to ‘hold’ a view together, combine to render it perhaps the pre-eminent picturesque landform of the period
