The Edicts of Ashoka are a collection of 33 inscriptions on the Pillars of Ashoka, as well as boulders and cave walls, made by the Emperor Ashoka of the Mauryan dynasty during his reign from 269 BCE to 231 BCE. These inscriptions are dispersed throughout the areas of modern-day Bangladesh, India, Nepal and Pakistan and represent the first tangible evidence of Buddhism.
The edicts describe in detail the first wide expansion of Buddhism through the sponsorship of one of the most powerful kings of Indian history. According to the edicts, the extent of Buddhist proselytism during this period reached as far as the Mediterranean, and many Buddhist monuments were created.
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Edicts of Ashoka
Chivas
Rustic buses are old artisan modified buses used in rural Colombia and Ecuador where they are known as chivas (kid goats) or escaleras (ladders). They are used as public transport and more recently used as party buses in both countries. These are varied but characterized for being painted colorfully (usually with the yellow, blue, and red colors of the flags of Ecuador and Colombia) with local arabesques and figures.
Most have a ladder to the rack on the roof which is also used for carrying people, livestock and merchandise. They are built upon a bus chassis with a modified body made out either metal or wood. Seats are bench alike, made out of wood and with doors instead of windows.
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Barba Non Facit Philosophum
‘Barba non facit philosophum‘ is a Latin phrase meaning ‘A beard does not constitute a philosopher.’ According to the Latin author Aulus Gellius, who relates he was present at the episode, a man in a cloak, ‘with long hair and a beard that reached almost to his waist’ once came to the Athenian aristocrat, Herodes Atticus, who was renown for his ‘charm and his Grecian eloquence,’ and asked that money be given him for bread. When Herodes asked him who he was, the man, seemingly taking offense, replied that he was a philosopher, adding that he wondered why Herodes thought it necessary to ask what was obvious
‘I see,’ said Herodes, ‘a beard and a cloak; the philosopher I do not yet see.’ Some of Herodes’ companions informed him that the fellow was a actually a beggar ‘of worthless character,’ whose behavior was often abusive. Hearing which, Herodes said: ‘Let us give him some money, then, whatever his character may be, not because he is a man, but because we are men,’ and ordered that enough money be given to the man so that he could ‘buy bread for thirty days.’ The Athenian’s phrase, shortened to ‘A beard does not constitute a philosopher,’ has taken on a meaning similar to the proverb: ‘Clothes do not make the man,’ encountered in many cultures.
Jean Meslier
Jean Meslier (1664 – 1729) was a French Catholic priest who was discovered, upon his death, to have written a book-length philosophical essay promoting atheism. Described by the author as his ‘testament’ to his parishioners, the text denounces all religion.
He began learning Latin from a neighborhood priest in 1678 and eventually joined the seminary; he later claimed this was done to please his parents. At the end of his studies, he took Holy Orders and became priest in Champagne. One public disagreement with a local nobleman aside, Meslier was to all appearances generally unremarkable, and he performed his office without complaint or problem for 40 years. He lived like a pauper, and every penny left over was donated to the poor.
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Commercial Graffiti
Commercial graffiti (also known as aerosol advertising or graffiti for hire) is the commercial practice of graffiti artists being paid for their work. In New York City in particular, commercial graffiti is big business and since the 1980s has manifested itself in many of the major cities of Europe such as London, Paris and Berlin.
Increasingly it has been used to promote video games and even feature prominently within them, reflecting a real life struggle between street artists and the law. Commercial graffiti has created significant controversy between those who view it as an effective medium of advertising amongst specific target audiences and those who believe that legal graffiti and advertising using it encourages illegal graffiti and crime.
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Mr. Brainwash
Mr. Brainwash (‘MBW’) is a pseudonym for Thierry Guetta in the film ‘Exit Through the Gift Shop,’ directed by Banksy. Guetta is presented in the 2010 film as a French citizen who now lives in Los Angeles, having been a proprietor of a clothing store and videographer who evolved into a street artist and gallery artist, influenced by the street artists he documented through video over the years.
According to the film, Guetta was first introduced to street art by his cousin, the French street artist, Invader. The film includes authentic documentation of Space Invader, Shepard Fairey, Banksy, and other well-known street artists at work on the streets, and is directed by Banksy with significant participation from Fairey.
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Four-On-The-Floor
Four-on-the-floor is a rhythm pattern used in disco and electronic dance music. It is a steady, uniformly accented beat in 4/4 time in which the bass drum is hit on every beat (1, 2, 3, 4) in common time. This was popularized in the disco music of the 1970s and the term four-on-the-floor was widely used in that era: it originated with the pedal-operated drum-kit bass-drum.
Many styles of electronic dance music, particularly those that derived from house and techno, use this beat as an important part of the rhythmic structure. Sometimes the term is used to refer to a 4/4 uniform drumming pattern for any drum.
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Wall of Sound
The Wall of Sound was an enormous public address system designed specifically for the Grateful Dead’s live performances by audio engineer Owsley ‘Bear’ Stanley. Used in 1974, the Wall of Sound fulfilled the band’s desire for a distortion-free sound system that could also serve as its own monitoring system. The Wall of Sound was the largest concert sound system built at that time.
As Stanley described it, ‘The Wall of Sound is the name some people gave to a super powerful, extremely accurate PA system that I designed and supervised the building of in 1973 for the Grateful Dead. It was a massive wall of speaker arrays set behind the musicians, which they themselves controlled without a front of house mixer. It did not need any delay towers to reach a distance of half a mile from the stage without degradation.’
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Space Art
Space art is a general term for art emerging from knowledge and ideas associated with outer space, both as a source of inspiration and as a means for visualizing and promoting space travel. Whatever the stylistic path, the artist is generally attempting to communicate ideas somehow related to space, often including appreciation of the infinite variety and vastness which surrounds us.
In some cases, artists who consider themselves space artists use more than illustration and painting to communicate scientific discoveries or works depicting space; a new breed of space artists work directly with space flight technology and scientists as an opportunity to expand the arts, humanities and cultural expression relative to space exploration.
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Zero Gravity Arts Consortium
American artist, Frank Pietronigro, is co-founder of the Zero Gravity Arts Consortium. The organization was founded in 1999 by Laura Knott, Lorelei Lisowsky and Frank Pietronigro. Zero Gravity Arts Consortium (ZGAC) is an international space arts organization dedicated to fostering greater access for artists to space flight technology and zero gravity space through the creation of international partnerships with space agencies, space industry entrepreneurs, arts and science organizations and leading universities.
ZGAC is the first organization of its kind, based in the United States, that is facilitating parabolic flight projects that will help in the international effort to set the stage for teams of artists to have permanent access to space transportation systems including the International Space Station. ZGAC supports arts, humanities and culture in space education, international outreach and conference programs that are being organized as a way for artists, from all over the globe, to affiliate with us and experience the possibilities of collaborating with space flight technologists.
Association of Autonomous Astronauts
The Association of Autonomous Astronauts is a worldwide network of community based groups dedicated to building their own spaceships. The AAA was founded in 1995. Although many of their activities were reported as serious participation in conferences or protests against the militarization of space, some were also considered art pranks, media pranks, or just an elaborate spoof. The AAA had numerous local chapters which operated independently of one another, with the AAA effectively operating as a collective pseudonym along the lines of a nom de plume.
The Association’s ostensible five-year mission, a reference to Star Trek, was to ‘establish a planetary network to end the monopoly of corporations, governments and the military over travel in space.’ Artists who became involved were often connected to the zine scene or mail art movements. The five year mission’s completion was marked at the 2000 Fortean Times conference, although some chapters have continued activities to the present day. Several AAAers have experienced zero-gravity training flights.
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Lume
Lume is a short term for the luminous phosphorescent glowing solution applied on watch dials. There are some people who ‘relume’ watches, or replace faded lume. Formerly lume consisted mostly of radium; however, radium is radioactive and has been mostly replaced on new watches by less bright, but less toxic compounds.
Common pigments used in lume include the phosphorescent pigments zinc sulfide and strontium aluminate. Use of zinc sulfide for safety related products dates back to the 1930s. However, the development of strontium oxide aluminate, with a luminance approximately 10 times greater than zinc sulfide, has relegated most zinc sulfide based products to the novelty category. Strontium oxide aluminate based pigments are now used in exit signs, pathway marking, and other safety related signage.