Cool Example Of Radiant Energy images
A few nice example of radiant energy images I found:
Shaman of Fire 100804_1405 Cosmic Tribe ~ Knight of Wands
Image by KevinHutchins314
Knight of Wands: Shaman of Fire: i serendipitously happened upon your silly effigy.
One day i was studying the Knight of Wands ("the IMPERVIOUS CLOWN") and his playful sexual energies. I thought to myself, "i’m not very creative; i wish i could learn from this archetype." [Tony reminded me that i AM a little creative-- in the kitchen, for example-- but i don't give myself much credit.] As i watched the Knight and considered his expression of sexual power as a force of creation i went through one of my usual randomizing procedures for drawing cards from the deck (without seeing their faces) until i had thirteen additional items to accompany him. Then i turned over each of the cards and toyed with them individually, pondering my own qualities in comparison with theirs, and in relation to His.
As i fiddled around at the table i didn’t know which way to assemble them, but i began to find them coalescing into a shape which felt aesthetically pleasing. As nine or ten of them were crowded together overlapping, i suddenly noticed they had taken (without my conscious intent) the shape of an effigy of The Clown himself….
There they were, each falling into place, as though they were quasi-stick-figure parts of his body.
He has two blue feet. One foot is the 8 of Swords, indecisive, fretting, "Where o where shall i step next? Where shall i plant my foot on this fiery land?" The other foot is the Queen of Wands, firm and flaming. "I AM FIRE," she says, "and i stand firmly here, consuming with each step, transforming, changing, always moving, spiraling."
One leg is sticking out toward stage-left, with his knee protruding past the edge of his huge wand. That leg is the 7 of Swords, but its name is partly occulted so we only see it as "…words". The cosmic eye is seeing through the crookedness, protruding, leaning, yearning to stick out.
The other leg is leaning against the wand where it is firmly planted against the ground at an intersection where the straight and angular shadows meet the curves of his flesh. That is the 19 Sun card where sunlight gives us shadows between the butterflies, shadows within which more light and dark are crafted, moulded, planted. Sunflower leans tall and strong from the ground.
And that’s when i saw that there were seven other cards surrounding a card in a central position: the 7 cups was representative of the Knight’s crotch. He cups his hands over his crotch playfully, suggestively. Of all the characters in the Cosmic Tribe, only the Knight hides his nudity; but he does so for comical effect, as he, like the others, has no shame of his beautiful nakedness.
This helped me to find the right positions for the adjacent cards surrounding his crotch, as there were seven goblets next to which i could precisely place the other items. The snake from the Queen of Wands obviously continued through the snake in the 7 Cups whose cosmic eye was directing the lavender energy beam. Boreas, the God of the North Winds of Change, was atop the 8 of Swords where the leather fairy on the goblet of the 7 Cups smiled and let its brains pop out of its head. The 7 of Swords had its hilt protruding from the goblet with the lizard-toad-creature draped in pearls, while the crooked blades aligned with the bent elbows of the 8 Swords to emphasize their wavering indecisiveness. The goblet whose inhabitant’s arm crossed its chest was positioned where the "leg" of the 19 Sun emphasized the light and shadows across its own chest. The crab-creature showed me where to slide the 3 Empress where her honey-bee would be buzzing between sunflowers. The lavender beam flowed across the edge of the corner of the Princess of Cups and her hands were definitely supposed to be positioned next to the crazy goblet-creature who was smiling with inhuman eyes open. The seventh goblet on the 7 of Cups contains a likeness of Stevee Postman but he has no eyes which see; instead, he wears a serpent headdress containing a jewel which is next to the lavender beam. Stevee’s snake position in the corner of the crotch card indicated where the (hidden) phallus would be. That showed me where to precisely place the 7 of Disks.
The 7 Disks would sometimes be "hesitation" or "holding back for a moment" but in this case it seemed more like a simple case of "being frozen/ being solid/ petrifaction." So of course it must be the Knight’s actual wand! It’s not a real penis, it’s more of a dildo/ phallic object/ ridiculous representation of something ALWAYS solid and rigid. Thanks, Stevee!
The Princess of Cups with her magnificent hands was apparently representing one of the Knight’s hands. So the 4 of Wands with four arms reaching down toward the Princess was apparently representing one of the Knight’s arms, reaching and striving. This revealed in quasi-symmetry the other hand and the other arm. The 2 Priestess with her myriad hands reaching and pulling and teasing the light through the meadows was now seen as a symbol of one of the Knight’s hands, jokingly covering his crotch region but actually capable of doing many other things. And what beam of energy was the Priestess directing? It must be the beam which flows into the pentacle rock upon which stands the Knight of Disks. Thus the Knight of Disks would have to be representative of the shoulder and arm through which that beam flowed, glowing, radiant, powerful.
The 3 Empress card sits on her sunflower in the position which seemed to represent the inner "guts" of the Knight of Wands. Her symbols of fertility, fecundity, productivity, and effusive pollination were appropriately revealing the Knight’s glands, organs, and sources of fertile creativity.
So why was the 10 of Cups upside-down, and why did it want to be partially covered by other cards? Ordinarily, i would see 10 of Cups as the symbol of "Fulfillment", but here it seemed to say, "This is not totally fulfilled; this is the Heart of the Knight of Wands, which is trying to become completely fulfilled, working towards its desires." Its radiance connected the "guts" (Empress) with what must be…
… the Knight’s actual head! And there he was, laughing at me; the Knight of Wands card was recursively his own head. His head represented his head representing his head representing… well, i guess it’s "Turtles All The Way Down", so to speak. I cocked his "head" at a jaunty angle so it would match his pose on his card. I looked into his eyes in the middle of his blue mask, and laughed delightedly at what he was showing me.
So there was one card left in my hand, the Ace Of Trump which is the 1 Magician card, the powerful little guy with the immense wand in control of all the elements. Who was he? What was he? What did his wand tell me about his magic? I saw the beam of energy originating in the nexus of shadows and light where the spiral of fire, the Knight’s blue feet and orange legs, and the thick wooden staff were erect from the ground. I saw the energy flow through the snakes’ eyes, through the crotch, across the corner of the Princess’ currents, through the stiff wooden staff among the bubbling 7 Disks. The 7 Disks didn’t reveal their entire name, they only showed the digit "7" which in its current position was merely a reinforcement of the erection shape, almost a quasi-baculum. And suddenly it was obvious: the Magician WAS the FIRE which burned at the top of the great wand.
I jumped up from my chair with a thrill as i now could see the entire effigy clearly. The Knight of Wands had appeared suggestively on the table, heading his own effigy, recursively burning as the Shaman of Fire within his own stick-figure shape, like a Hall Of Mirrors, glowing and implying and laughing and creating and joking and ejaculating and….
He encouraged me. They all did. Some parts are hard to view happily when i think about my own characteristics, when i worry about my indecisive steps, my protrusive bits which stick out oddly, my weird ways of not quite fitting into this world comfortably. But some parts are a joy to behold: when i look at the beauty of the two hands, when i see the Princess and the Priestess holding out their fingers and directing the flows, i am washed over with peace and light. When i see the strong shoulder of the Man With His Halo standing firmly atop a pentacle of health, when i see the strong arms reaching and striving for their rewards, i am strengthened and reminded of the dexterity and powers of manipulation i possess. When i see the Magician burning gorgeously at the tip of the gigantic wooden wand, i see the elements coming together and culminating in a prestidigitation of magic. When i see the cups as a heart yearning for fulfillment, the Empress expressing glands of fertility, and the Clown’s fiery head as a brain burning with incredible power, i feel the virtues uniting in a body, an effigy, a form, a representation which suggests there is so much more abundant creativity than i am usually willing to admit. But when i see it, undeniably, i must admit. I must laugh and thank the Cosmic Tribe. Thank you, IMPERVIOUS CLOWN! Thank you, everybody! You are all so beautiful!
Ever since the Knight Of Wands came dancing out of my deck a couple weeks ago, i haven’t been able to forget his shapes. Now every time i pick up the deck i can quickly pull those thirteen cards out and place them under the fourteenth card of the Knight’s recursive head cocked at a jaunty angle, and they reassemble themselves easily into the precise positions. It was a quasi-random accident, and yet it felt so good. It doesn’t have to "mean" anything, it can just be a great start for my meditations and reflections on creativity, manipulation, action, and whatever is burning in my heart and head at the moment. The Knight of Wands will always appear to me as this Shaman Of Fire composed of well-directed playful energies. He covers his crotch with his fingers, but the lavender beam ejaculating forth is irrepressible.
Now that the Shaman taught me the trick of his effigy, i have been finding this technique useful for other card layouts. If i am toying with the symbols and meditating but i don’t know what sort of geometry is appropriate for their various positions and relations, all i have to do is start looking at the shapes of the bodies and objects on the various cards, and little bits of their effigies and partial outlines begin to form…. they almost beg me to be assembled in ways which emphasize their forms recursively.
When i’m not sure where to place the next card, or i don’t know if i have an item in the "right" position, i just step back and take a bigger view of an "outline". Maybe i look into his flaming eyes in his blue mask, and fall into the Hall Of Mirrors until the forms are clear in my mind’s eye. Maybe i look at the Tribe’s hands and arms and feet and legs and crotches and hearts and heads and all their other adorable anatomies, and maybe i see them with more than my eyeballs; maybe i see them with other parts of my mind which use symbols and shapes and colors and directions of energetic flow, instead of words or numbers or names.
The Knight Of Wands taught me how to make his effigy, and this taught me how to mentally reach inside and find better ways of looking at things. Instead of telling myself, "i’m not creative," i now say new things, like: "i can create if i try, it just takes the right kinds of effort."
Thank you, Cosmic Tribe. Thank you, Shaman of Fire. Thank you, Stevee Postman and Eric Ganther and all who helped create this amazing art. Thank you, World.
T.J. Day Hall remodel (formerly Northup Library)
Image by Derek Severson
Brick classic gets high-tech retro-fit – Green Living & Learning
Excerpted from the June 18, 2011 News Register
The newly remodeled T.J. Day Hall is strikingly different from the old Northup Library. An airy atrium is flooded with light from clerestory windows. From the outside, Linfield College’s T.J. Day Hall still looks like the 1936 brick classic known for years as Northup Library. If you ignore the bank of solar panels above the new south entrance, and some new rooftop heating and cooling units, at least.
From the inside, though, it’s 1936 meets 2011 and beyond. The original oak paneling and barrel ceilings contrast with the latest in technology, from classroom computer carts to computerized climate control. Designed for the Linfield Center for the Northwest and the business, english, economics and philosophy departments, T.J. Day Hall will open to students when classes start in late August. A public grand opening event in early October will be the culmination of a million remodeling project that includes million for maintenance.
Before Walsch Construction began gutting the building in July 2010, it had gone unoccupied for several years. The college had closed Northup when it opened a new library on the south side of campus in 2003. But the structure, the first visitors see when they arrive at the main entrance on South Baker Street, was too important to leave unused.
It is architecturally significant because it is an early example of the work of Pietro Belluschi, who would earn fame for the Equitable Building in Portland, PanAm skyscraper in New York and modernist Cathedral of Saint Mary of the Assumption in San Francisco. It is historically meaningful because it is the product of a cooperative agreement between the college and the city.
It is also logistically significant because its 25,000 square feet is not only roomy enough to encompass a writing center, computer lab and set of offices, but also 8,500 square feet of classroom space. That increases the campus quota 27 percent.
McMinnville city officials helped Linfield obtain a ,250 Public Works Administration grant that covered most of the cost of the original construction. In return, the school named the building in honor of professor and dean Emanuel E. Northup, who once served as mayor of McMinnville. Now called T.J. Day Hall after the lead benefactor in the renovation, it features interior changes that become immediately obvious, whether you either through the new doorway or the original.
Instead of a closed-in foyer with doors leading to a warren of other rooms, you enter a soaring space topped with clerestory windows that flood all three levels with natural light. In this interior atrium, an open staircase leads to a glass-sided walkway that seems to float at the second-floor level. Wallboards are made from perforated metal — a design element that cleverly conceals the air-filtration system. The ceiling is marked with a diamond pattern that mirrors the diamond ceiling of the original foyer. On either side of the north entrance, 1936 arched windows open onto rooms with barrel-vault ceilings. They will double as classrooms and places for public gatherings.
The oak paneling, like the other details, dates from Belluschi’s original design. In the remodeled version, designed by Jamie Watson of SRG Architects, it now slides back to reveal a screen on which a projector will display information from a professor’s computer, or a white board on which students can outline their thoughts.
Both barrel-vault rooms, like classrooms throughout the building, will be equipped with smart carts — bundles of computers, DVD players and other technology that can be rolled to different parts of the room as needed. All feature data jacks, electrical outlets and Wi-Fi to accommodate laptops or other electronic devices.
Classrooms feature built-in tables for 24 to 40 students each. Most have more than one level, giving students a good view of the professor and one another.
One room is equipped with moveable tables and folding partitions, so it can be divided into small spaces for group discussions. If the dividers prove useful enough, said Glenn Ford, vice president for finance and administration, Linfield may install them in other rooms as well.
T.J. Day Hall will be Linfield’s greenest building, earning LEED silver status. To show that off to full advantage, a monitor in the entranceway will tell visitors about its sustainability features — and show them how much energy it’s using at the moment, how much the solar panels are producing, etc.
"It’s a wonderful chance to educate people about the green features," said John Hall, director of capital planning and development.
The three-story structure is heated and cooled by water that flows through copper pipes in the ceiling of each room. Many buildings use hot water in this manner for heating, Hall said, but T.J. Day is one of only about four in the state that also uses cold water to lower the temperature. Such cooling technology is common in Europe, but not in the U.S.
It was a challenge to retrofit the 1936 building, he said, but worth it. The radiant technology is 30 percent more efficient than a conventional system.
All rooms feature fresh air exchanges. A heat recovery system extracts warmth from air that leaves the room before it’s vented to the outside and uses it to pre-heat fresh air before it enters. "No energy waste," Hall said.
Classrooms are equipped with carbon dioxide sensors. If the CO2 level rises toward the upper limit of acceptable levels, the system automatically sends more fresh air into the room.
Sensors also work the lights, increasing illumination when it’s needed, and the temperature, adjusting it for comfort when the room is occupied.
Carpeting in the common areas is made from recycled materials. Paint and adhesives in the building are low- or no-VOC. Toilets are dual-flush models designed to minimize water use.
Even the wood used in the remodeling project is sustainable, Hall said. Lumber comes from areas with sustainable forestry practices. And signs include decorative touches made from wood from a magnolia tree that grew in front of Northup.
