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Yep, been by that place more than once.
He also designed the Custom House of New York City
Bridgeport City Hall, constructed in 1853-54
yep strolled down Layfayette street plenty.
Corinthian order of the Greek Revival "Colonnade Row" on New York's Lafayette Street, the very first apartments designed for the prosperous American middle class (1833, half still standing)
That one too. Tarrytown is right next to Sleepy Hollow. Yes the same one.
His villa "Lyndhurst" at Tarrytown, New York,
Carpenter Gothic building on his property near Hoboken
Beautiful place. I was going to go to work there for a NYC real estate mogul.
Jay's Hudson River waterfront property in Rye, New York
Lathers estate in the town of New Rochelle in Westchester County, New York.
Grace Hill, built in Brooklyn
Llewellyn Park in West Orange, New Jersey, a garden suburb that was one of the first planned residential communities in the United States.
I lived less than a couple of miles from West Orange in Neighboring downtown Newark NJ. My girlfriend at the time lived in Livingston NJ. East and West Orange lie directly between.
He built little in the last thirty years of his life, but spent his easy retirement in West Orange drawing plans for grandiose schemes
And lastly. Yep.
Davis is interred in Bloomfield Cemetery in Bloomfield, New Jersey.
05: Rune Ingwaz
"The Rune Ingwaz (Inguz) is related to the Nordic symbol Frey (Froh), who represents the Christic fire that produces spiritual growth. Learn how this rune is hidden in the Aztec calendar and The Pistis Sophia, the Gnostic scripture documenting the teachings of Jesus after his resurrection. Includes discussion of the twelve apostles, four elements, the eucharist (unction), the role of Martha, and much more."
He called it an Atlantean Stargate
Originally posted by timewalker
Ok. I just love looking into stuff. Obviously.
Some of you might find this interesting.
If not, I just add stuff for later reference for myself.
Lets see who Debussy is that the crater is named after.
Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi]) (August 22, 1862 – March 25, 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions. Debussy is among the most important of all French composers, and a central figure in European music of the turn of the 20th century. He was made Chevalier of the Legion of Honour in 1903.
 His music is noted for its sensory component and for not often forming around one key or pitch.
Claude Debussy was born in Saint-Germain-en-Laye, France, August 22, 1862
Given that Debussy's music is apparently so concerned with mood and colour, one may be surprised to discover that, according to Howat, many of his greatest works appear to have been structured around mathematical models even while using an apparent classical structure such as sonata form. Howat suggests that some of Debussy's pieces can be divided into sections that reflect the golden ratio, frequently by using the numbers of the standard Fibonacci sequence. Sometimes these divisions seem to follow the standard divisions of the overall structure. In other pieces they appear to mark out other significant features of the music. The 55 bar-long introduction to 'Dialogue du vent et la mer' in La mer, for example, breaks down into 5 sections of 21, 8, 8, 5 and 13 bars in length. The golden mean point of bar 34 in this structure is signalled by the introduction of the trombones, with the use of the main motif from all three movements used in the central section around that point.[page needed]
The only evidence that Howat introduces to support his claim appears in changes Debussy made between finished manuscripts and the printed edition, with the changes invariably creating a Golden Mean proportion where previously none existed. Perhaps the starkest example of this comes with La cathédrale engloutie. Published editions lack the instruction to play bars 7-12 and 22-83 at twice the speed of the remainder, exactly as Debussy himself did on a piano-roll recording. When analysed with this alteration, the piece follows Golden Section proportions. At the same time, Howat admits that in many of Debussy's works, he has been unable to find evidence of the Golden Section (notably in the late works) and that no extant manuscripts or sketches contain any evidence of calculations related to it.
To go a little deeper his and Maurice Ravel' (I love Bolero) field of Impressionist music.
The impressionist movement in music was a movement in European classical music, mainly in France, that began in the late nineteenth century and continued into the middle of the twentieth century.
While this era was characterized by a dramatic use of the major and minor scale system, Impressionist music tends to make more use of dissonance and more uncommon scales such as the whole tone scale.
Consonance and Dissonance
Physiological basis of dissonance Musical styles are similar to languages, in that certain physical, physiological, and neurological facts create bounds that greatly affect the development of all languages. Nevertheless, different cultures and traditions have incorporated the possibilities and limitations created by these physical and neurological facts into vastly different, living systems of human language. Neither the importance of the underlying facts nor the importance of the culture in assigning a particular meaning to the underlying facts should be understated. For instance, two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound that is very audible. Musical styles such as traditional European classical music consider this effect to be objectionable ("out of tune") and go to great lengths to eliminate it. Other musical styles such as Indonesian gamelan consider this sound to be an attractive part of the musical timbre and go to equally great lengths to create instruments that have this slight "roughness" as a feature of their sound (Vassilakis, 2005).
In Western music, dissonance is the quality of sounds that seems "unstable" and has an aural "need" to "resolve" to a "stable" consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Although there are physical and neurological facts important to understanding the idea of dissonance, the precise definition of dissonance is culturally conditioned — definitions of and conventions of usage related to dissonance vary greatly among different musical styles, traditions, and cultures. Nevertheless, the basic ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony, or tonality.
Relaxation and tension have been used as analogy since the time of Aristotle till the present (Kliewer, p. 290).
In early Renaissance music, intervals such as the perfect fourth were considered dissonances that must be immediately resolved.
Physiological basis of dissonance
Musical styles are similar to languages, in that certain physical, physiological, and neurological facts create bounds that greatly affect the development of all languages. Nevertheless, different cultures and traditions have incorporated the possibilities and limitations created by these physical and neurological facts into vastly different, living systems of human language. Neither the importance of the underlying facts nor the importance of the culture in assigning a particular meaning to the underlying facts should be understated.
For instance, two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound that is very audible. Musical styles such as traditional European classical music consider this effect to be objectionable ("out of tune") and go to great lengths to eliminate it. Other musical styles such as Indonesian gamelan consider this sound to be an attractive part of the musical timbre and go to equally great lengths to create instruments that have this slight "roughness" as a feature of their sound (Vassilakis, 2005).
In human hearing, the varying effect of simple ratios may be perceived by one of these mechanisms:
Fusion or pattern matching: fundamentals may be perceived through pattern matching of the separately analyzed partials to a best-fit exact-harmonic template (Gerson & Goldstein, 1978) or the best-fit subharmonic (Terhardt, 1974), or harmonics may be perceptually fused into one entity, with dissonances being those intervals less likely to be mistaken for unisons, the imperfect intervals, because of the multiple estimates, at perfect intervals, of fundamentals, for one harmonic tone (Terhardt, 1974). By these definitions, inharmonic partials of otherwise harmonic spectra are usually processed separately (Hartmann et al., 1990), unless frequency or amplitude modulated coherently with the harmonic partials (McAdams, 1983). For some of these definitions, neural firing supplies the data for pattern matching; see directly below (e.g., Moore, 1989; pp. 183–187; Srulovicz & Goldstein, 1983).
Period length or neural-firing coincidence: with the length of periodic neural firing created by two or more waveforms, higher simple numbers creating longer periods or lesser coincidence of neural firing and thus dissonance (Patternson, 1986; Boomsliter & Creel, 1961; Meyer, 1898; Roederer, 1973, pp. 145-149). Purely harmonic tones cause neural firing exactly with the period or some multiple of the pure tone.
432Hz Anyone? I am no music theorist, but I have a hunch.
Turn your volume down for this one.
Any way that is one interesting crater.
edit on 31-3-2011 by timewalker because: (no reason given)edit on 31-3-2011 by timewalker because: (no reason given)edit on 1-4-2011 by timewalker because: arghh.
The Voynich Manuscript/Alphabet, The following alphabet layout is based on the number correspondences of f49v. When other researcher's letter values are laid against this table, distinct patterns are formed.
First the number layout:
X X X X1 X X X2 X X X3 7 X X4 X 9 X5 X X X6 X X X8 X X XX X X XX X X X
Here is the alphabet layout (in EVA):
f p cFh cPho q i xr ir iir iiiry s g be ee ch shl il iil iiilk t cKh cThd a u jm im iim iiimn in iin iiin
Glen Claston's Standard Glyph Set ("S" means "standard"): S S X XS S X XS X X XS S X XS S S SS X X XS S S SS S X XS X X XX S S X
Jorge Stolfi's (c)rust-(m)antle-(k)ore paradigm:
k k k kc c X cc X X Xc c c Xm m m mc X X Xk k k kc c X Xc X X Xc X X X
My job took me on the road. I worked for a Point of Sale company up there and had to go on location to restaurants, hotels, etc. all over the Tri-State and PA. Same in TX, Louisiana, and Florida.
Originally posted by Frater210
reply to post by timewalker
This is just one bad ass post. I can't believe that you actually tour the cities that you stay in. Who does that? If I go somewhere I only ever seem to have the time for whatever I went there for.
For a guy that is new to this you sure have a powerful predilection towards architecture. Fulcanelli's The Dwellings of the Philosophers is just that; a tour of a bunch of people's houses.
Loved reading this. Makes me want to bust out Google Earth and check this stuff out.
Originally posted by Frater210
reply to post by Jinglelord
But since we are on Crowley...
Someone was asking about Violet. I am going to go ahead and take my turn as a Centre of Pestilence here...
From: The Book of The Law CH II V. 51
50. Blue am I and gold in the light of my bride: but the red gleam is in my eyes; & my spangles are purple & green.
51. Purple beyond purple: it is the light higher than eyesight.
edit on 27-4-2011 by Frater210 because: Whew, spelling.
The purple light is often perceived as the background of the
other lights or colour patterns. It gives the feeling of an expanse
or of a space that extends in front of your third eye. The deeper
you contact the purple light, the more you perceive it as a space
that is not only in front of you but all around you. This space
corresponds to what esotericists call the astral space.
This space of consciousness is not always perceived as purple, but
also as dark blue or even black. What matters most is the feeling
of space, whatever the colour of darkness perceived. I will
therefore use the word ‘space’ for the dark expanse at the
background of the third eye, regardless of its colour.
Note that the perception of the purple space is quite simple, and
that many people have experienced it (in particular during
childhood) without realizing its real nature.