Welcome
PAX Affiliates
Solfeggio MP3s
www.lukerobertsartist.com
popealice.blogspot.com
RSS Feeds
Our news can be syndicated by using these rss feeds.
MYSTORY
 MYSTORY: EMISSION TO PLANET EARTH THE STORY OF POPE ALICE begins in Outer Space in the year 5252 ABCD. Before Earth-time Pope Alice existed on Metalluna, one of a consortium of planets within the Orion group. At the dawn of the future Her Divine Holiness falls through a Black Hole (Her concept of reality) and lands in Australia at Uluru having bounced from Alice Springs, which still bears Her name. Alice Springs into Wonderland is the extended name of that mysterious inland city. Sponging the primeval slime from Her frock She sits down to scribe the only known personal account of pre-history. Critics have said of this work, 'Alice - a voice crying in the wilderness'. Escaping the pre-human horrors of OZ in a reed basket prior to the Zep Tepi (an Egyptian equivalent of Genesis). Pope Alice later journeys across the Pacific Ocean, to the Great Continent of Mu, home to an advanced civilisation which crowns Her pontiff. To this day Pope Alice is the Spritual Leader of Mu, the Motherland of Humankind. Unfortuneately it sank beneath the waves some 12 500 or more years ago. Pope Alice believes the 'Lost' Continent will rise again from its watery abode in the near future, coinciding with the Earth tilting on its axis, or the icecap melting on Antartica. Her struggle for the United Nations to recognise the autonomy of Mu continues. There have been countless sightings of Her Divine Holiness, over the millennia. Any sighting invariably means a crop circle isn't far behind. As the Russian cosmonaut Yuri Gagarin said 'My conversation with Pope Alice completely altered any view I had of histroy and the Space Race'. "Planet Earth is the cosmological equivalent of a provincial town" - Pope Alice
|
"Well now that we have seen each other" said the Unicorn, "if you believe in me I'll believe in you. Is that a bargain?" --Lewis Carroll. Through the Looking Glass
.........................................................
The Moon's cosmic ray shadow, as seen in secondary muons detected 700m below ground, at the Soudan II detector.
MUON
From Wikipedia, the free encyclopedia
Muon
Composition: Elementary particle
Family: Fermion
Group: Lepton
Generation: Second
Interaction: Gravity, Electromagnetic, Weak
Antiparticle: μ+ (Antimuon)
Theorized: —
Discovered: Carl D. Anderson (1936)
Symbol(s): μ−
Mass: 105.658 369(9) MeV/c2
Mean lifetime: 2.197 03(4) × 10−6 s[1]
Electric charge: −1 e
Color charge: None
Spin: 1⁄2
The muon (from the Greek letter mu (μ) used to represent it) is an elementary particle similar to the electron, with negative electric charge and a spin of 1⁄2. Together with the electron, the tauon, and the three neutrinos, it is classified as a lepton. It has a prolonged mean lifetime of 2.2 μs, second only to that of the neutron. Like all elementary particles, the muon has corresponding antiparticle of opposite charge but equal mass and spin: the antimuon (also called a positive muon). Muons are denoted by μ− and antimuons by μ+. Muons were sometimes referred to as mu mesons in the past, even though they are not classified as mesons by modern particle physicists (see History).
Muons have a mass of 105.7 MeV/c2, which is about 200 times the mass of the electrons. Since their interactions are very similar to those of the electron, a muon can be thought of as a much heavier version of the electron. Due to their greater mass, muons do not emit as much bremsstrahlung radiation; consequently, they are highly penetrating, much more so than electrons.
As with the case of the other charged leptons, the muon has an associated muon neutrino. Muon neutrinos are denoted by νμ.
................................
Mu (negative)
From Wikipedia, the free encyclopedia
Mu (negative)
Chinese name
Traditional Chinese: 無
Simplified Chinese: 无
Transliterations
Mandarin
- Hanyu Pinyin: wú
Cantonese
- Jyutping: mou2
Japanese name
Kanji: 無
Hiragana: む
Transliterations
- Revised Hepburn: mu
Korean name
Hangul: 무
Hanja: 無
Transliterations
- Revised
Romanization: mu
The character 無 in cursive script. See also an animation showing the stroke order for calligraphy.
The character 無 in seal script.
Mu (Japanese/Korean), and Wu (Chinese traditional: 無, simplified: 无 pinyin: wú Jyutping: mou2) is a word which has been roughly translated as "no", "none", "without", "no meaning". While used in Japanese and Chinese mainly as a prefix to imply the absence of something (e.g., 無線/无线 musen or wúxiàn for "wireless"), in English it is more famously used as a response to certain koans and other questions in Zen Buddhism, intending to indicate that the question itself was wrong.
The Mu koan is as follows: A monk asked Zhaozhou, a Chinese Zen master (known as Jōshū in Japanese): "Has a dog Buddha-nature or not?", Zhaozhou answered: "Wú" (in Japanese, Mu).
Some earlier Buddhist thinkers had maintained that creatures such as dogs did have the Buddha-nature; others, that they did not. Therefore, to answer "no" is to deny their wisdom, whereas to say "yes" would appear to blindly follow their teachings. Zhaozhou's answer has subsequently been interpreted to mean that all such categorical thinking is in fact a delusion. In other words, yes and no are both right and wrong. This Koan is traditionally used by students of the Rinzai school of Zen as their initiation into Zen study.
Great Seal of MU
Pope Alice Xorporation
Character for Nothingness, Emptiness, Tao
Character for Nothingness, Emptiness, Void
Character for Nothingness, Emptiness, Tao Non-ness
Above. 1986. Brushed by young Buddhist monk as at Renge-ou-in (Rengeō-in) 蓮華王院, more popularly known as Sanjusangendo (Sanjūsangendō) 三十三間堂, one of the most impressive of all Buddhist temples in Kyoto. The temple houses the Kannon of 1000 hands and is said to contain 33,333 of her images. The fluid sweeping brush strokes invoke a sense of vitality and spontaneity. When watching him brush this character, it seemed as though his hand and arm were dancing rather than writing. . Note the uninterrupted sense of motion and fluidity of brush. Despite the negative connotations of this term in English, the term in Japan and China has glorious overtones, for it represents the principle of "going back to one's nature," of forgetting the forms of the material world, of finding enlightenment by discarding the mundane world and all its concepts. Be nothing, and become everything !
............................................................
Justified And Ancient
Klf - (Featuring Tammy Wynette)
All bound for Mu Mu Land
All bound for Mu Mu Land
(hey)
(hey hey)
All bound for Mu Mu Land (justified)
(hey hey)
All bound for Mu Mu Land
(Bring the beat back!)
They're Justified, and they're Ancient,
And they like to roam the land.
(just roll it from the top)
They're Justified, and they're Ancient,
I hope you understand.
(to the bridge, to the bridge, to the bridge now)
They called me up in Tennessee
They said "Tammy, stand by The Jams"
But if you don't like what they're going to do,
You better not stop them 'cause they're coming through
(bring the beat back)
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (justified)
(Ancients of Mu Mu)
Mu Mu Land
Mu Mu Land
All bound for Mu Mu Land
They're Justified, and they're Ancient,
And they drive an ice cream van.
(just roll it from the top)
They're Justified and they're Ancient,
With still no master plan.
(to the bridge, to the bridge, to the bridge now)
The last train left an hour ago,
They were singing "All aboard"
All bound for Mu Mu Land,
Then someone starting screaming "Turn up the Strobe"
(bring the beat back)
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (Ancients of Mu Mu)
(Bring the beat back)
Justified and Ancient, Ancient and a-justified,
Rocking to the rhythm in their ice cream van
with the plan and the key to
enter into Mu Mu
Vibes from the tribes of the Jams
I know where the beat is at,
'cos I know what time it is
Bring home a dime,
Make mine a "99"
New style, meanwhile, always on a mission while
Fishing in the rivers of life
Fishing in the rivers of life (hoi)
Fishing in the rivers of life (hoi)
Fishing in the rivers
Fishing in the rivers
Fishing in the rivers of life (hoi)
Voo-va-voolie
Za-shi-va-zom
Voo-va-voolie
(Bring the beat back)
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (Ancients of Mu Mu)
They have travelled the world
With the ice cream van
Their voyage, the bottom of time
They have entered the place
with the Mu Mu mate
And their children so pride
Mine as a "99"
(Bring the beat back)
Mu Mu Land (Ancients of Mu Mu)
Mu Mu Land (Ancients of Mu Mu)
All bound for Mu Mu Land
Mu Mu Land (Ancients of Mu Mu)
Mu Mu Land (Ancients of Mu Mu)
All bound for Mu Mu Land
Mu Mu Land
Mu Mu Land
All bound for Mu Mu Land
........................................
“Mu” was one of two standing statues in Shin Banrisha garden
Isamu Noguchi : MU
by Joe May
Isamu Noguchi created “Mu” in 1952 upon his return to Japan after a twenty-year absence. Under contract with Keio University, Noguchi was invited to design a faculty room with an accompanying garden in coordination with Yoshiro Taniguchi, a popular architect at the time. Noguchi under direction of the President of Keio University created Shin Banrisha, a building and garden “where all opinions are welcome.”
“Mu” was one of two standing statues in this garden (it has only recently been dismantled and temporarily stored away). This granite, freestanding sculpture maintained a real presence in the garden. Looming just around ten feet tall, this sculpture had the appearance of a thick tree trunk with a twisted U shape on top. Position facing west on a small cliff, Noguchi intended for the semi-circular top to capture the setting sun. With it’s smooth, matte finish, “MU” stood out distinctly from the surrounding trees and landscape. In what may be an unintentional irony, “MU,” meaning “nothingness,” actually makes a chunky and heavy impression on the viewer.
Noguchi, apart from his growing fame, was invited for this commission as a way of commemorating the life of his father who had taught at Keio for forty years. While Noguchi’s relationship to his father had been strained at best, he writes later, “I became preoccupied with this as my own act of reconciliation to my father and to the people.” ‘Nothingness’ is a traditional value in Zen philosophy but for Noguchi, it encapsulated the post WWII times and the emptiness that he, as a nationless and fatherless son, realized.
Mu was originally located in Shin Banrisha Garden at Keio University, Tokyo. As of Sept 2003, this garden and sculpture were dismatled for campus reconstruction.
Mu and Nogachi in context:
On the international scene of modern artists, few have been as successful and well know as Isamu Noguchi. Achieving renown in the theatre and performance arts, creator of many, many commemorative sculpted portraits, admired for his persistent drive and determination, a Guggenheim Fellowship recipient, and creator of internationally famous public monuments, Noguchi has been revered as one of the twentieth century’s leading artists.
Born in California of a Japanese father and American mother in 1904, Noguchi was abandoned before birth when his father returned to Japan. When he was two, his American mother pursued her husband/lover (it was never known if they were ever formally married) in Japan but was unsuccessful. Isamu was then raised in Japan through his early years but moved back to America during his adolescent years and studied in Paris in his twenties. While in Paris, he was under the instruction of Constantine Brancusi, who would become one of the world’s greatest Post-Moderninst sculptors. Brancusi’s ideologies rubbed off heavily on the impressionable Noguchi and would reemerge when Noguchi returned to Tokyo in 1950.
Through fellowships and other means, Isamu traveled around the world much of his early life. In 1949, he traveled to France, Great Britain, Italy, Spain, Greece, Egypt and India as preparation for writing a book on leisure. As much as this may sound like a pleasure cruise of the world, Noguchi’s leisure studies were very much interrelated with his Zen Buddhist beliefs. This trip allowed Noguchi to effectually ‘find himself’ and provided much of the inspiration that would fuel his work in the years to come. Such a broad experience of the world and it’s arts truly manifested itself in the spontiniety and variety of ideas which Noguchi employed; even when using this knowledge across multiple mediums.
Upon returing to Japan in 1950, after a twenty year absence, Noguchi was not so much greeted as a foreigner but more as a artistic icon. Japanese artists in the immediate wake of WWII looked to the already famous Noguchi as an inspirational leader. His advice to them was not to revert to old methods, or to look at Europe or America, or look only to their past but rather to look to themselves--as individuals, a very Post-Modern approach. He announced, “to be modern does not mean to copy us but to be yourselves, to look to your own roots.” For a Japan already thinking positively toward “a new art and culture,” this was perfect direction. As for his own work, he quickly was invited to exhibit in a show. On short notice he created 13 clay figurative works with influence in the haniwa soldiers of ancient Japan. He sought to capture some of the wabi (poverty-like/spirit of simplicity) aesthetic of Rikyu, the famous ceramicist. Among these 13 (which he diplayed in an exhibit at a shopping mall), he threw in some plaster cast ‘sketches,’ among which was a preliminary “Mu.”
Soon after, Noguchi was approached to do a cooperative work in commemoration of his father’s 40 year career at Keio University. Failed attempts of reconciliation with a father who did not recognize him as a son left Noguchi on uncertain terms with this project. He needed money and a job so he took the commission to construct the Shin Banrisha, a faculty building and adjacent garden. Upon accepting the job, he noted publically that, “this is not a memorial that exalts a hero, nor is it the object of someone’s reminiscence.” However, later on, he would would write that he “became preoccupied with this as my(his) own act of reconcilliation to my(his) father and to the people.” Mu, placed in this garden towards the setting sun, symbolizing “Nothingness,” surely encompassed many of his conflicting thoughts and emotions concerning his father.
After this major public opening at Keio, Noguchi moved more from the dance/theater productions he was working on in the ‘40’s towards large scale public works. The newly formed United Nations, centered in Paris, was looking for a sculptor/architect to construct a massive garden as a landmark of the building. Noguchi was selected to construct this. Today, the UNESCO Gardens are one of the most famous modern-style Japanese gardens in the world. The Chase Manahattan Corp. also commissioned Noguchi to create a sculpture (Red Cube) for their office in downtown Manahattan.
Noguchi continued to shell out work prolifically until his untimely death in 1988. He is most remembered for his spontineity of ideas, exceptional drive and work ethic, and desire to navigate a life caught between two nationalities.
Isamu Noguchi also invented and developed Akari Lamps and 'kidney shaped' coffee tables, much admiredd by HDH Pope Alice, who knew Noguchi and Frida Kahlo, with whom Noguchi had a brief affair.
