How embarrasing can it get?
Well, here is an attempt.
And it is not the video I am talking about. That one is really great.
Physicalism and Hempel's dilemma
for 10 timer siden
How do you feel about the prototype Polymoog that you have?Hopefully Patrick has returned it by now.
Well, I don’t really like it that much. I don’t use it anymore. You know, I helped design that. I spent about a week with Dave Luce in the studio. While I was there I was saying, "It’s good, but it could be better if you did this and this, and added this to it." So he made some notes and then went back to Buffalo and had the second prototype made up. When I went to Buffalo, I tried it again. All the bumps were out and I said, “Well, it could be good if you had the knobs in this position." So he made some more notes, followed those ideas through, and the next thing I’m expecting is to see the end result. You’d think that after working on the instrument I’d get to see it. But the next thing I know, they’ve sent it to Switzerland. I won’t say to
whom. Well, I was a bit upset."
There’s so much wrong here. First, the bowl isn’t the earliest reference to Christ. And second, there’s no evidence that the bowl suggests what they are saying it does. And finally, this is yet another example of ‘much ado about nothing’.In short, talk about The Historical Jesus reveals more than most, modern medias strange mix of sensationalism and shallow insight.
“It could very well be a reference to Jesus Christ, in that he was once the primary exponent of white magic,” Goddio, co-founder of the Oxford Center of Maritime Archaeology, said.
Rubbish and pure, unadulterated speculation. Archaeology has been bastardized yet again in service of the absurd. The Discovery Channel has lost all credibility since they of late seem determined to promote the most nonsensical theories.
I’ve seen that bowl somewhere before. It looks very familiar. Ah yes - I’m sure it used to sit on Morton Smith’s desk. It’s where he kept his pencils.Better injokes are difficult to dig up.
As the houselights dimmed in Detroits Cobo Hall last week, the concertmaster signaled for the oboist's A, and the strings and woodwinds went about the squeaky business of tuning up. Then like something out of an old Esther Williams spectacular, Conductor Godfrey Salmon rose 14 feet in the air atop a hydraulic podium. Silence reigned for a good second or two before the cries came from the audience: "Rock 'n' roll!" "Get it on!" "It's boogie time!"Read all two atmospheric pages of wonder here.
Not quite boogie time. The British rock group Emerson Lake & Palmer had not brought along a full 58-piece symphony orchestra for just another evening of chug-a-chug rock. As Maestro Salmon gave the downbeat, 9,500 fans, many reared on the violent excesses of Alice Cooper and Iggy Pop, got the first sampling of what was in store for them. From 40 huge loudspeaker enclosures suspended from the ceiling came the mighty sounds of Abaddon's Bolero, a work Composer-Pianist Keith Emerson has based on the same Spanish rhythm as the Ravel classic.
After a few bars, a thick curtain of light, produced by in tense lights rimming the stage, dissolved to reveal Keith Emerson, 32, Greg Lake, 29 and Carl Palmer, 27, hard at work on the center. There was Keith darting from Hammond organ to Moog synthesizer, and Greg picking away at his bass-guitar. Between them sat Carl, confined along with his drums, snares, gongs and tubular bells in a percussion cockpit that resembled nothing so much as a mod four-poster converted into a padded cell for the phantom of the opera. The music built relentlessly, awesomely powered by 72,000 watts worth of amplification -enough to start a medium-sized radio station. The volume never reached the threshold of pain (130 decibels), but it was, in Salmon's words, "enough to peel an apple ten feet".
An ancient burial chamber at Gordian in central Turkey supposedly houses the tomb of King Midas. Midas was not only a myth, but an actual king of the ancient kingdom of Phrygia around 700 B.C.E. His intact tomb seems to have been the location of the final funeral party for its permanent resident, and someone neglected to clean the 157 different drinking vessels left behind.Even Carl Barks didn't predict this.
Some of these vessels still had some residue on them. The University of Pennsylvania Museum of Archaeology and Anthropology used some new methods of molecular archaeology and found that the residue was the remnant of an old drink with traces of barley, honey, and grapes; it was seemingly a mixture of beer, mead, and wine. Assuming this wasn't a mixed drink gone wrong, Dogfish Head Brewing did the only thing it knew how—made a beer from it.