The most important antique is a self-portrait of Leonardo da Vinci. This self-portrait is in an underground vault that is resistant to fires, earthquakes, and even airplane crashes.
Tibia
The tibia, also known as the shinbone, or shankbone is the larger and stronger of the two bones in the leg below the knee in vertebrates. It connects the knee with the ankle bones and is parallel to the fibula. Additionally it is the second largest bone in the body as its supports a significantly large portion of the human bodyweight. The tibia is essential to everyday movement such as standing and walking as well as jumping and running.
Chauzon
Chauzon is a commune of the Ardèche "département" in the southern part of France.
Chazeaux
Chazeaux is a commune of the Ardèche "département" in the southern part of France.
Cheminas
Cheminas is a commune of the Ardèche "département" in the southern part of France.
Le Cheylard
Le Cheylard is a commune of the Ardèche "département" in the southern part of France.
Theory of Colours
Theory of Colours (original German title, Zur Farbenlehre) is a book by Johann Wolfgang von Goethe published in 1810. It contains some of the earliest and most accurate descriptions of phenomena such as coloured shadows, refraction, and chromatic aberration.
Its influence extends primarily to the art world, especially among the Pre-Raphaelites. Turner studied it comprehensively, and referred to it in the titles of several paintings. Wassily Kandinsky considered Goethe's theory "one of the most important works".
Although Goethe's work was never well received by physicists, a number of philosophers and physicists have been known to have concerned themselves with it, including Arthur Schopenhauer, Kurt Gödel, Werner Heisenberg, Ludwig Wittgenstein, and Hermann von Helmholtz. Mitchell Feigenbaum even convinced himself that "Goethe had been right about colour!"
In his book, Goethe shows how colour is perceived in a variety of circumstances, and considers Isaac Newton's observations to be special cases. Goethe's concern was not so much with the measurement of colour phenomenon, but with how qualities of colour are perceived. Science has come to understand the distinction between the optical spectrum, as observed by Newton, and the phenomenon of human colour perception as presented by Goethe.
For Goethe, "the highest is to understand that all fact is really theory. "The blue of the sky reveals to us the basic law of color. Search nothing beyond the phenomena, they themselves are the theory."
Goethe's studies of colour began with subjective experiments which examined the effects of turbid media on the perception of light and dark. He observed that lights seen through a turbid medium would appear yellowish, and darkness seen through a turbid medium that had been lightened would appear blue.
Starting from these observations, he began numerous experiments, observing the effects of darkening and lightening on the perception of colour in many different circumstances.
For Goethe, light is ""the simplest most undivided most homogenous being that we know. Confronting it is the darkness"" (Letter to Jacobi). Unlike his contemporaries, Goethe did not see darkness as an absence of light, but rather as polar to and interacting with light.
Based on his experiments with turbid media, Goethe characterized colour as arising from the dynamic interplay of darkness and light. The editor of the Kurschner edition of Goethe's works gives the following analogy:
Goethe writes:
When viewed through a prism, the orientation of a light-dark boundary with respect to the prism is significant. With white above a dark boundary, we observe the light extending a blue-violet edge into the dark area; whereas dark above a light boundary results in a red-yellow edge extending into the light area.
Goethe was intrigued by this difference. He felt that this arising of colour at light-dark boundaries was fundamental to the creation of the spectrum (which he considered to be a compound phenomenon).
Since the colour phenomenon relies on the adjacency of light and dark, there are two ways to produce a spectrum: with a light beam in a dark room, and with a dark beam (i.e. a shadow) in a light room.
Goethe recorded the sequence of colours projected at various distances from a prism for both cases (see Plate IV, "Theory of Colours"). In both cases, he found that the yellow and blue edges remain closest to the side which is light, and red and violet edges remain closest to the side which is dark. At a certain distance, these edges overlap. When these edges overlap in a light spectrum, green results; when they overlap in a dark spectrum, magenta results.
With a light spectrum, coming out of the prism, one sees a shaft of light surrounded by dark. We find yellow-red colours along the top edge, and blue-violet colours along the bottom edge. The spectrum with green in the middle arises only where the blue-violet edges overlap the yellow-red edges.
With a dark spectrum (i.e. a shadow surrounded by light), we find violet-blue along the top edge, and red-yellow along the bottom edge – where these edges overlap, we find magenta.
Due to their different approaches to a common subject, many misunderstandings have arisen between Newton's mathematical understanding of optics, and Goethe's experiential approach.
Because Newton understands white light to be composed of individual colours, and Goethe sees colour arising from the interaction of light and dark, they come to different conclusions on the question: is the optical spectrum a primary or a compound phenomenon?
For Newton, all the colours already exist in white light, and the prism merely fans them out according to their refrangability. Goethe sought to show that, as a turbid medium, the prism was an integral factor in the arising of colour.
Whereas Newton narrowed the beam of light in order to isolate the phenomenon, Goethe observed that with a wider aperture, there was no spectrum. He saw only reddish-yellow edges and blue-cyan edges with white between them, and the spectrum arose only where these edges came close enough to overlap. For him, the spectrum could be explained by the simpler phenomena of colour arising from the interaction of light and dark edges. Goethe's reification of darkness has caused almost all of modern physics to reject Goethe's theory.
Newton explains the appearance of white with colored edges by saying that due to the differing overall amount of refraction, the rays mix together to create a full white towards the centre, whereas the edges do not benefit from this full mixture and appear with greater red or blue components.
Orthodox
Orthodox is a word about beliefs. It is made from two Ancient Greek words, ὀρθός "orthós" „correct, straight“ and δόξα "dóxa" „teaching, worship". Orthodoxy means a teaching that is supposed to be close to the original.
In particular:
in Christianity:
in Judaism:
Jewish organisations:
Will Rogers
William Penn Adair “Will” Rogers (November 4, 1879 – August 15, 1935) was a Cherokee-American cowboy, comedian, humorist, social commentator, vaudeville performer and actor.
Known as Oklahoma's favorite son, Rogers was born to a well off Indian Territory family and learned to ride horses and use a lariat so well that he was listed in the Guinness Book of World Records for throwing three ropes at once—one around the neck of a horse, another around the horse's rider, and a third around all four legs of the horse. During his life he traveled around the world three times, made 71 movies (50 silent films and 21 "talkies"), wrote more than 4,000 nationally-syndicated newspaper columns, making him a world-famous figure.
By the mid-1930s, Rogers was loved by the American people, and was the highest-paid movie star in Hollywood at the time. During an around-the-world trip with pilot Wiley Post, Rogers died when their small airplane crashed near Barrow, Alaska Territory in 1935.
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