Results for: the logo Search Results
Family Filter:
I like this following paper for though it is materialistic in its outlook at least Eugene Koonin, unlike many materialists, is brutally honest with the evidence we now have. The Biological Big Bang model for the major transitions in evolution - Eugene V Koonin - Background: "Major transitions in biological evolution show the same pattern of sudden emergence of diverse forms at a new level of complexity. The relationships between major groups within an emergent new class of biological entities are hard to decipher and do not seem to fit the tree pattern that, following Darwin's original proposal, remains the dominant description of biological evolution. The cases in point include the origin of complex RNA molecules and protein folds; major groups of viruses; archaea and bacteria, and the principal lineages within each of these prokaryotic domains; eukaryotic supergroups; and animal phyla. In each of these pivotal nexuses in life's history, the principal "types" seem to appear rapidly and fully equipped with the signature features of the respective new level of biological organization. No intermediate "grades" or intermediate forms between different types are detectable; *******www.biology-direct****/content/2/1/21 Biological Big Bangs - Origin Of Life and Cambrian - Dr. Fazale Rana - video *******www.metacafe****/watch/4284466 It should be noted that Koonin tries to account for the origination of the massive amounts of functional information, required for the Cambrian Explosion, and other “explosions”, by trying to access an “unelucidated and undirected” mechanism of Quantum Mechanics called ‘Many Worlds’. Besides Koonin ignoring the fact that Quantum Events, on a whole, are strictly restricted to the transcendent universal laws/constants of the universe, including, and especially, the second law of thermodynamics, for as far back in time in the universe as we can see, it is also fair to note, in criticism to Koonin’s scenario, that appealing to the undirected infinite probabilistic resource, of the quantum mechanics of the Many Worlds scenario, actually greatly increases the amount of totally chaotic information one would expect to see generated “randomly” in the fossil record. Though Koonin is correct to recognize that the infinite probabilistic resource of “Quantum Mechanic information waves” does not absolutely preclude the sudden appearance of massive amounts of functional information in the fossil record, he is very incorrect to disregard the “Logos” of John 1:1 needed to correctly specify the “controlled mechanism of implementation” for the massive amounts of complex functional and specified information witnessed abruptly and mysteriously appearing in the fossil record. i.e. he must sufficiently account for the “cause” for the “effect” he wants to explain. Atheism In Crisis - The Absurdity Of The Multiverse - video *******www.metacafe****/watch/4227733 “The multiverse idea rests on assumptions that would be laughed out of town if they came from a religious text.” Gregg Easterbrook "Every solution to the equations of general relativity guarantees the existence of a singular boundary for space and time in the past."(Hawking, Penrose, Ellis) - 1970 *******www.leaderu****/real/ri9404/bigbang.html "The prediction of the standard model that the universe began to exist remains today as secure as ever—indeed, more secure, in light of the Borde-Guth-Vilenkin theorem and that prediction’s corroboration by the repeated and often imaginative attempts to falsify it. The person who believes that the universe began to exist remains solidly and comfortably within mainstream science." - William Lane Craig *******www.reasonablefaith****/site/News2?page=NewsArticle&id=6115 Intelligent Design - The Anthropic Hypothesis *******lettherebelight-77.blogspot****/2009/10/intelligent-design-anthropic-hypothesis_19.html
21 Jun 2010
Share Video

*******www.brazilcarnival****.br Sneak preview FIFA 2014 Official Theme Video: The 2014 cup video was presented in Johannesburg, yesterday, July 9th, together with the Official Brazil FIFA 2014 Logo / Emblem and looks very cool. The logo was chosen by committee of notables: Ricardo Teixeira: the president of the Brazilian Football Confederation (CBF) Jerome Valcke: the executive secretary of FIFA Oscar Niemeyer: Legendary Brazilian architect Paulo Coelho : Brazilian best seller author Paulo Coelho, Ivete Sangalo: Brazil´s pop singer from Bahia Gisele Bundchen -super model Hans Donner: Brazilian Designer
10 Jul 2010
Share Video

A huge part of marketing a business involves dealing with images. As visual representation is often more appealing to the eye, it is important to include the right images in your materials. From the logo to the simple eye-catcher image, everything has to be carefully chosen when you print brochures, posters, or flyers.
16 Sep 2010
Share Video

Brian Jucha approached us wanting us to design there logo and bring it to life with animation. Even though we took the logo in a different direction he was sold. For the animation he had a specific concept in mind which seemed like a challenge. The logo and final animation were well received. It was a result of our 3 of our team members. The logo designer (Design A Bot), the motion artist (myself), and finally the sound designer (The Human). Technical: It took me a while to get the right amount of sperm in the scene distanced in z space. Through orienting the smaller sperm comp on a path that was manipulated by particular 2s turbulence field I was able to have the sperm swim in random directions. Using a shallow depth of field and changing the focus distance along with playing with physics time factor I slowed the animation down to a crawl. The snake starts as a sperm (if you are watching that slow). Next through key-framing edge thin, and animating the snake via puppet tool the snake transforms and comes to a halt. This was quite a bit more complicated piece for a logo animation, but I think it came out amazing. The best work that comes out of panda motion and spin my logo is always a result of teamwork! logo animation services here: spinmylogo****
13 Nov 2010
Share Video

This was my first upload on YouTube. The ToonGuy500 Productions logo. The logo features Hanna-Barbera characters, Cartoon Network characters, and Looney Tunes characters sitting at a Movie Theater.
19 Dec 2010
Share Video

Transcript by Newsy**** BY JENNIFER MECKLES You're watching multisource business news analysis from Newsy The mother of all breast cancer charities -- The Susan G. Komen foundation -- is the top matriarch in the fundraising world, but the organization is now taking legal action against smaller charities for copyright violations. Komen wants to protect its pink logo and “For the Cure” slogan against what some call “pinkwashing” -- when smaller charities use the logo and slogan for their own cancer fundraisers. “Mush for a Cure” and “Kites for a Cure” are just two charities who were asked to change their names -- or face legal action. (Video: KSDK) The organization has come under fire for using administrative funds -- money donated for cancer research -- to pay for legal fees. NBC hears both sides of the story: SUE PROM (Mush For a Cure): “We’re all supposed to be fighting against breast cancer. And here, another organization opposed to breast cancer will cost us all the money we want to give to the cause.” KATRINA MCGHEE (Susan G. Komen): “If we have been overzealous in our quest to protect our name or the names that our donors come up with, its because we feel such a huge responsibility to the Komen family and donors who volunteer so hard in our mission.” Komen isn’t getting much sympathy from the media -- being called a "trademark bully.” A writer for Statesman Journal uses a few “pink washes” of her own to deliver a firey response: “It has left a taste far less satisfying than Yoplait yogurt [one of the Komen foundation's sponsors] in many a mouth and has many people promising that they won't walk in a race, donate to the charity or buy its endorsed products again. On social media sites such as Facebook and in online forums, the foundation has been getting its pink eye bruised black.” And Ron Coleman, a copyright lawyer, wonders how to pick sides in this charity battle. On his blog, he asks: “Is trademark bullying ok if you’re on the side of the angels?" Even the biggest supporters of Susan G. Komen are peeved pink. Funnyman Stephen Colbert -- who plays a large hand in New York City’s Komen race every year burned his proverbial bra in sarcastic support of the foundation that spends donor money to sue other groups: “If they don’t own the phrase, ‘for the cure’ then people might donate the money thinking its going to an organization dedicated to curing cancer, when instead... its wasted on organizations dedicated... to curing cancer.” But a marketing professor tells a newspaper in Peoria, Illinois -- where the Komen sisters were born -- he defends the foundation. He reminds readers... it may be charity, but they’ve got a business to run. “Organizations invest huge amounts of time and money into establishing their brand and must protect it... Organizations owe it to their customers to protect their brand in order to avoid confusion with other organizations over which they have no control.” Finally, a writer for Tech Dirt offers his simple solution to the fundraising powerhouse. To deal with the other charities WITHOUT acting like a legal bully -- just license the mark, but -- at no cost. “SGK's claim, of course, is that it doesn't want the phrase to get sullied by unscrupulous organizations, but that doesn't mean it needs to pull out the legal guns when a legitimate charity comes along. Just let them use the damn phrase, and let everyone help raise money for charity, rather than legal bills.” The Huffington Post reports Komen has already filed legal paperwork against more than 100 smaller charities. So what do you think? Does the Susan G. Komen foundation, alone, hold the pink power? Or have they turned into a branding bully? Get more multisource video news analysis from Newsy
28 Jan 2011
Share Video

Having trouble getting that intricate design recreated as a wearable label? Stitch count too high and they still can't capture the logo right? We hear these complaints everyday and decided we should do something about it, so we developed the patent pending "FLEX4CP" PVC label which combines the detail of offset lithography with the permanence and sew-ability of soft molded PVC patches. The union of these two processes means you can now reproduce that tricky logo at any size and sew it to your caps, hat, bags, shirts and other wearables. But, don't stop there! We can add a keychain or luggage tag attachment and "POW!" you just turned that awesome art into a keychain or luggage tag. Sound cool? You bet it does. Check out this and more at *******www.flexsystems****
8 Feb 2011
Share Video

On March 17th 2011, Vancouver will experience the largest pub crawl in its history. Hosted on Commercial Drive and backed by its Business Society, this traditional style pub crawl collides with the trendy community of the Drive. In this modern festival inspired beer event, the participants have the freedom to visit the nine venues: Avanti's Pub On The Drive, BierCraft Tap and Tapas, Divino Winebar, Fets Bar & Grill, Havana Restaurant, La Rocca Italian Dining Louge, Marcello Pizzeria & Ristorante, The Charlatan Restaurant and The Libra Room, and explore them at their own leisure. They will criss cross the night with their LED glowing lanyards that bears the logo of Efes beer, the title sponsor of this Irish cultural event. If you feel like a guided tour through the tasty spots instead, the crawl also provides guides that will circulate from venue to venue throughout the night walking the participants to the next party destination each with its own drink special. Discover the fun and growing community of the Drive, a Celtic Festivity, and support a great cause at the same time! This St. Patrick’s Day Pub Crawl raises funds for the Ride to Conquer Cancer, a multi day cycling adventure from Vancouver to Seattle that brings in funds and raises awareness in the ongoing fight to find a cure to cancer. The event starts at 6pm and ends at 9pm with no cover charge at any of its 9 drinking destinations. It features fun prizes, and cool challenges that may win you drink vouchers! Sign in opens at 5:30pm with Efes kicking off the celebration with its newly repackaged Efes Pilsener for participants to taste. Visit the official site, and keep your eyes peeled for the best deal around town, $9 per ticket when this pub crawl will be featured on the SocialShopper, www.socialshopper****.
28 Feb 2011
Share Video

Felix da Housecat launched his new residency at N9ne Group’s Rain Nightclub at the Palms Casino Resort in Las Vegas Friday, bringing his blend of house music and electroclash to Clash Fridays. The lightning bolt logo for Clash Fridays was ever-present throughout the club, appearing on the video screens during their blatantly erotic and at times disturbingly fetishistic videos, which were “Like Something 4 Porno!,” with the logo appearing on butt cheeks and tongues of the girls featured. Clash Fridays are a recent introduction to Rain, rounding out the exceptional events lineup honed by Paul Oakenfold’s legendary Perfecto Saturdays. The motto of Clash Fridays, “All electro everything” was certainly met by the stellar performance of Felix da Housecat. Since the recent launch of the weekly electro party, Clash Fridays have quickly established themselves as arbiters of all that is good in house music, bringing a talent-packed roster to the Las Vegas nightlife and music scene, with performances from Diplo, Dave Fogg, Yelawolf, Klever, and Dada Life, among others.
1 Mar 2011
Share Video

Power Ranger Guy Takes A Look At The Logos That We Fear Alot! I'll Be Working On The Wrath Of Viacom 2 After That.
10 Apr 2011
Share Video

*******www.dealbyethan****/index.php?main_page=index&cPath=180_2963 Red Nose - Find out more here: *******www.dealbyethan****/index.php?main_page=index&cPath=180_2963 - The logo, a pit bull, show the feeling of the brand. Attitude, power, agility and audacious are characteristics that were transfered to the products and to the marketing of the company, became it a wish and modern brand to the young people. The brand sponsor athletes of the most different xtreme sports. Sports as MMA, jiu-jitsu, town-in, surf, skate. extreme kaiak and skydivers belong to Red Nose Universe.
12 Jul 2011
Share Video

Another animation for the talented designer: Callum MacRaild. I sat down with this logo with a couple of ideas, but tried a number of others. All I knew is I wanted to animate the “spikes” along with playing with colors. Most of the effort was spent timing out the “spike” burst, along with an effect or two to compliment it. Scaling down the multiple layers to simulate the depth really sold this one. Technical: I knew I wanted to animated the “spikes” so I imported those sections by copying the path right in illustrator and pasting the path into a shape layer within after effects. This allowed me to manipulate the shape of the path itself with keyframes. I just worked animating the one green layer, then duplicated it a number of times, filled with different colors, scaled down each layer, and delayed their start times by 3 frames. Finally I added a camera wiggle which faded out with a glow when the logo came to a rest. Logo Animations: spinmylogo**** Explainer Videos: pandamotion****
13 Jul 2011
Share Video

HQ, ISRAEL & THE ENEMY. a scary werewolf story. what seems at first to be a simple story for children turns out to be a profound example of what today we call gestalt therapy. text by permission of howard schwartz, editor of "gabriel's palace, jewish mystical tales". in this story we see the baal shem tov (hebrew: "master of the good name") - the founder of hassidism, according to some - in his youth struggling with two opposite sides of his personality, the good side and the evil side. the evil side takes the form of a werewolf, and the young tsaddik succeeds in doing some serious symbollic centering work. for your information, the germanic word "werewolf" derives from two roots, "wer", meaning "man" and "wolf", i.e., a man capable of becoming a wolf when the impulse moves him. a footnote to this story is that fifteen years ago i created the music in a single improv session at the keyboard, without even a single pause. i simply read the story to myself and my fingers attempted to come up with sounds that fit the action and mood at each moment of the text. then, since the story was longer than the text i had created, i simply reprised the music i had recorded when the initial music ended, with a slightly faster tempo to fit the heightened dramatic tension of the story's ending. the end of the story coincided with one of the cadences of the music - and in the appropriate minor key. voila! finally, this week i added the video images. THE FOLLOWING ESSAY APPLIES NICELY TO THIS VIDEO, THOUGH HERE IS NOT THE PLACE FOR ME TO TRACE ALL THE PARALLELS. ALSO, I APOLOGIZE FOR THE WAY THIS UPLOADER GARBLED UP THE DIAGRAMS IN THE ORIGINAL PDF OF THE ESSAY. BRIEFLY, WE MAY REGARD THIS VIDEO AS A GESTALT THERAPY CENTERING SESSION BY THE BAAL SHEM TOV. IF THE ORIGINAL STORY IS LOWER LEVEL LANGUAGE, THEN WE MAY REGARD THE ENLIGHTENMENT THE BAAL SHEM TOV ACHIEVES BY CENTERING HIS SPLIT PERSONALITY AS AN ASCENT TO PURE LANGUAGE, THE WORD, PURE IDEAS, PROPHECY EXPERIENCED BY A TSADDIK. BY ENTERING THE HEART OF THE WEREWOLF, FOR EXAMPLE, THE BAAL SHEM TOV ALSO IS PLUMBING HIS OWN HEART AS PART OF THE KABBALISTIC PROCESS OF "TSIMTSUM" (CONTRACTING HIS EGO) SO HE CAN BE REBORN WITH A HIGHER POINT OF VIEW ABOUT LIFE. FRANKLYN WEPNER franklynwepnergmail**** JULY 2006 GESTALT DREAMWORK AS "TRANSLATION" GESTALT DREAMWORK CONSIDERED FROM THE POINT OF VIEW OF WALTER BENJAMIN'S "THE TASK OF THE TRANSLATOR" FW: What is a translation, in its broadest sense? Think of angels or saints travelling up and down from earth to the heavens, on a ladder or whatever other means of transportation they have available. That is one sense of the term "translation". Then, think of a set of Russian Dolls, or an inverted stack of bowls with the smallest on the bottom. Translation implies moving up or down the stack, from smaller to larger envelopes, or from larger to smaller envelopes. Now think of a stack of inverted gestalts or monads in a monadology, such as comes to pass during a Gestalt dreamwork session. Here again the motion is from smaller to larger and more encompassing envelopes, or the reverse. This time we are talking about envelopes of awareness or the circumference of a contact boundary. This also is translation. But what does this sort of translation have to the translation of a text from one language to another? FW: Especially relevant to this discussion is a remarkable essay on "translation" in all the above senses by the literary critic Walter Benjamin. The essay is entitled, "The Task Of The Translator: An Introduction To The Translation of Baudelaire's Tableau Parisien". The original was written in 1923, and recently it was republished as part of an anthology of Benjamin writings called "Illuminations". Walter Benjamin was a friend of the Kabbalah scholar Gershom Scholem, and he availed himself of the latter's library of Kabbalistic sources. Like Scholem, Benjamin made use of a mix of idealistic philosophies: Gnosticism, Plato, and Aristotle, all from a Kabbalistic point of view. In addition, there are in Benjamin's work obvious references to alchemical lore, perhaps that of Paracelsus. What follows are some selected passages from Benjamin's essay on translation, along with by my own commentary. WB: A translation issues from the original - not so much from its life as from its after life. For a translation comes later than the original. In translation the original rises into a higher and purer linguistic air. FW: The translation or "after life" of a text, is, dialectically speaking, its final cause (Aristotle) or the good which comes from it (Plato) or the Word of G-d which is revealed through it (Kabbalah). This is a pietistic point of view which places the spirit of the law above the letter of the law, and hence puts great value in the role of a translator or interpreter of texts as a prophet of the Word. A literary translation, therefore, is a spiritual ascent of both text and interpreter to the level of divine immanence and universal man, man who thinks in encompassing Platonic ideas. The translated text resides in a higher level of the logos, or Word than did the original. The translation comes later than the original, after the original has passed through the concrete dialectic or biological clock. During that concrete dialectical process the constellations of polarized ideas (X/-X) making up the alchemical water and earth of the text are processed by alchemical air and fire. In the course of this process the microcosmic constellations of the original resonate with corresponding constellations of ideas on higher macrocosmic levels of the logos or Word. A true translation, hence, conveys the macrocosmic echo (Benjamin) or shadow (Artaud) or Double (Gnosticism) of the original text. As alchemy Benjamin's goal of a "pure language" is an attempt to distill from the dross of the original spiritualized gold. Here is the concrete dialectic or biological clock which underlies much dialectical thinking. I have explained this diagram in several other essays and here I will deal only with those aspects necessary for the present discussion. ARISTOTLE & PARACELSUS ON TIME & THE ELEMENTS: "THE BIOLOGICAL CLOCK" G-D "RIDING THE ARAVOT", ACTIVE INTELLECT ANGELS AS MESSENGERS FROM OUTSIDE fifth element, macrocosm ↓ microcosm 0:00/12:00 midnight fire 1:00 11:00 6 AM water, ↓ Y ← 0 air, 6 PM deduction X / -X ↑ induction earth, impasse 12:00 noon WB: The life of the original attains in the translation to its ever-renewed latest and most abundant flowering. Being a special and high form of life, this flowering is governed by a special, high purposiveness. The relationship between life and purposefulness, seemingly obvious yet almost beyond the grasp of the intellect, reveals itself only if the ultimate purpose toward which all single functions tend is sought not in its own sphere but in a higher one. FW: With all this talk of flowering we can suspect to find Paracelsus' biological clock lurking in the underbrush, and we recall also Fritz Perl's use of the plant metaphor in "Gestalt Therapy Verbatim". A Gestalt dreamwork session is a translation of the dream as original text into the existential message of the dream as translation to a higher level of integration. The language of the final synoptic idea employs more encompassing, stronger gestalts, less confused ideas, than does the original. Gestalt dreamwork as translation is an ascent from low order monads to higher order monads of a monadology, or from malchut to chochmah on the Kabbalist's "tree of life". In the biological clock above translation is another label for logical induction, the ascent from the extremes of the impasse to the moment that the new idea bursts through and negates all negations of the One Without A Second. WB: Here it can be demonstrated that no translation would be possible if in its ultimate essence it strove for likeness to the original. For in its afterlife - which could not be called that if it were not a transformation and renewal of something living - the original undergoes a change. Even words with fixed meaning can undergo a maturing process. FW: Perls and Paracelsus share the metaphor of growth as a ripening, maturation and coming to fruition. Words, for example, do not mean the same thing when spoken as part of the existential message at the end of the dreamwork that they do when first used to describe the dream itself at the beginning of the session. During the dreamwork the words undergo a ripening, progressing towards the ideal goal of being an articulation of the Word of G-d, i.e., an explosion into authenticity. In Nominalist jargon, we can say that what initially was merely a web of terms about reality gradually is displaced by language which more and more codes for the divine omnipotence, reality itself, which is struggling to burst through the veil of mere verbalizing. Poetic use of language is an intermediate level use of language, culminating in the dreamwork session as a whole constituting one Word of G-d crystallized in the existential message of the dream. For the dream itself, as Maimonides tells us, is only the unripe fruit of prophecy, only 1/60th of prophecy. The dreamwork, in the form of the concrete dialectic, is what ripens or matures the dream to the level of prophecy. A ripened, perfected dream constitutes on example of what Maimonides labels a "prophetic vision". It serves as a vehicle, "merkavah" (Hebrew: chariot) which allows the prophet to receive the Word, i.e., the existential message of the dream. An example: let's imagine that the initial dream contains a tree that the client describes as "beautiful, with lots of leaves". Next he identifies with that tree in a dialogue with the sky and involves his body, his emotions and his personal associations to, say, his father as a source of protection against too much light. Finally, that tree is part of an overall gestalt expressed by the existential message of the dream, wherein he identifies with universal, complete man and is able to say goodbye to his father. He no longer has a hole where his own center ought to be. The word "tree" remains the same, but its meaning has expanded to the ends of the Gestalt protagonist's universe. WB: Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own. All suprahistorical kinship of languages rests in the intention underlying each language as a whole - an intention, however, which no single language can attain by itself but which is realized only by the totality of their intentions supplementing each other: pure language. FW: Benjamin here is perhaps alluding to other essays he has written on the Name of G-d. A Gestalt session, since it is transpiring in concrete, biological now time - the messianic now - is an ongoing naming of the contact boundary, which in its totality often is labeled an experience of "the Glory of G-d". This piling up of awareness moments or Names is labeled the Glory of G-d in view of the Hebrew root "koved", meaning on the one hand substance or tangibility and on the other hand "glory". Hence it refers to the tangibility of the client's experience of his contact boundary. Each time the protagonist says "I am aware of X" he is giving an account (Greek: "logos") of another aspect of G-d's face, countenance or presence in the space. A hint of the complete Name would be attained by a Gestalt protagonist who proceeds with the process till arriving at a culminating explosion into authenticity. Benjamin's notion of a "pure language" implies the complete Name, and hence for most of us is merely an asymptotic process of successive approximations. Perls and Goodman, in "Gestalt Therapy", make a distinction between contactful and noncontactful use of language using the secular jargon of existentialism, by distinguishing between poetry and verbalizing, or being real and talking literature, or being believable and using aboutist elephantshit. Gestalt work on awareness transforms language from talking literature about one's life to active involvement in living one's life here and now. Language which serves to express the Word is prayer. Gestalt work is meditative process as prayer, when it is considered from a religious point of view. FW: Another analogy that can be drawn between Gestalt dreamwork and Benjamin's linguistic musings involves the term "history", a word which has many ramifications in dialectical philosophy. By "the suprahistorical kinship of languages" Benjamin is referring to what Perls in his own jargon labels "the rhythm of contact and withdrawal". Each cycle of the rhythm of contact and withdrawal, each rotation of the biological clock, each beat of the concrete dialectic, constitutes - from the point of view of the subject doing the process - a world with its own language. This is so since each cycle of the rhythm of contact and withdrawal includes its own movement from thesis (X) to antithesis (X/-X) to synthesis, and incorporates all the alchemical elements: water, earth, air and fire. It is a complete world with its own governing idea. "History" here is another word for the gradually emerging Word or the logos (account of the dialectic). Hence the suprahistorical kinship of languages is the gradual maturing of languages from beat to beat of the dialectic, each language more mature, closer to the Word or existential message of the dream than was its predecessor. Ultimately - so Benjamin maintains - a state of pure language is attained by man at the level of universal man, prophecy or the messiah - which Perls labels innocuously "the coming solution". WB: In the individual, unsupplemented languages, meaning is never found in relative independence, as in individual words or sentences; rather, it is in a constant state of flux - until it is able to emerge as pure language from the harmony of all the various modes of intention. Until then, it remains hidden in the languages. If, however, these languages continue to grow in this manner until the end of their time, it is translation which catches fire on the eternal life of the works and the perpetual renewal of language. Translation keeps putting the hallowed growth of languages to the test: How far removed is their hidden meaning from revelation, how close can it be be brought by the knowledge of this remoteness? FW: What remains hidden in the original, microcosmic text is the macrocosmic text, the Word or logos or concrete dialectic. Since it is this dialectical process which - for dialectically inspired folk - man and G-d share; therefore, when it is said that man is made in the image of G-d the implication is that man shares with G-d his participation in the concrete dialectical process. Now, this is not to proclaim that "G-d is dialectics, selah"! None of the authors we are dealing with here presumes to know that which according to his own tradition is unknowable, i.e., the complete definition of G-d. Rather, by examining the actions of man in what are considered to be his most inspired, truthful moments idealist thinkers get a notion of how G-d operates, his Divine action as immanent in the world. They postulate this ideal of universal man (authenticity, truth, prophecy, metatron, Moses, Jesus, etc.) as the goal of human striving, and build their philosophies accordingly. Universal man thinks not just ideas, but he thinks Platonic ideas, pure, unconfused ideas, ideas divested of self-interruptions. FW: In a literary translation, or in a Gestalt dreamwork session regarded as a process of translation, true meaning - the Word - is not to be found in the individual words and sentences of the original. Rather, there is first of all the concrete dialectical process, the biological clock which to begin with factors the initial text (and the pilgrim along with it) into key extreme polarities (constellations of ideas), and then demands of the pilgrim that he withdraw into his "heart" (the fertile void), confront the reality of his existential impasse, and open himself to the possibility of finding resonances with corresponding higher level, more encompassing constellations of ideas. Then, "with a little bit of luck" as the song goes, from the void or from the heavens and by means of logical induction, emerge the higher, redeeming ideas as an explosion into authenticity. This translation from fragmented, conflicted existence in the microcosm to integrated, blissful existence on the level of macrocosmic encompassing, general, universal ideas, goes by many names - most typically Platonic collection or anamnesis (recollection) of primordial ideas. Once the pure, universal ideas have emerged, then they are projected upon key figures of the particular cultural tradition which is the context for that Gestalt session. If the context is Jewish, then the most general ideas (those of the dialectic itself) may be projected onto Abraham (the thesis, awareness), Isaac (the antithesis, conflict) and Jacob (the synthesis, authentic action). Other Jewish trinities are available, such as Chochmah/Binah/Keter, or Metatron/Avir/Shekhinah. Christians prefer the persons of the trinity and Paracelsus prefers his three basic principles of alchemy: sulphur (the thesis, what is combustible), salt (the antithesis, what is solid), and mercury (the synthesis, what is fluid or volatile and can undergo translation). FW: Kabbalah labels pilgrims who undergo this descent to the heart in search of pure, redemptive ideas as "those who descend in the chariot" (Hebrew: "yorday ha- merkavah") Maimonides, writing 200 years or so before the Kabbalah became a major cultural force in Judaism, prefered to focus on preparation for the prophetic function when he addressed man's participation in the concrete dialectic or biological clock. But regardless of which set of metaphors is invoked by a particular philosopher, theologian, therapist or alchemist, the "process" underlying concrete, here and now dialectical thinking remains the same, and it is perhaps Gestalt dreamwork which is the most clearly accessible, paradigm case of this process. The notion of man operating in the image of G-d refers to concrete dialectical experience in which the macrocosm of possible, ideal experience shines through the microcosmic dead shell of our usual experience. Man's hope is that pure ideas will illuminate dead form into live form. Religiously inspired people express this hope by saying that G-d creates the world anew at each moment by emanating His light into the darkness of the world. MACROCOSM VAST POSSIBILITIES, INFINITE LIGHT DEDUCTION ↓ Y ← 0 X / -X ↑ INDUCTION MICROCOSM DEAD FORM ILLUMINATED INTO LIVE FORM WB: The nucleus is best defined as the element that does not lend itself to translation. While content and language form a certain unity in the original, like a fruit and its skin, the language of the translation envelopes its content like a royal robe with ample folds. For it signifies a more exalted language than its own and thus remains unsuited to its content, overpowering and alien. The task of the translator consists in finding that intended effect [Intention] upon the language into which he is translating which produces in it the echo of the original. Unlike a work of literature, translation does not find itself in the center of the language forest but on the outside facing the wooded ridge; it calls into it without entering, aiming at that single spot where the echo is able to give, in its own language, the reverberation of the work in the alien one. FW: When we read of "a royal robe with ample folds" and "the echo of the original" immediately we suspect Gnostic sources. The Hymn of the Pearl is quite popular among those who turn to Gnosticsm for inspiration. Walter Benjamin is no exception. (See Hans Jonas' "The Gnostic Religion" for a succinct rendition of the story.) The myth is simple, but its implications are profound. Once upon a time, it is said, the heavenly Father and Mother decided to dispatch the Prince to go forth into the world in search of a Pearl. The Prince leaves behind his heavenly garment and his twin brother and sets off on his way. Once there the Prince forgets his mission, until a message from on high reminds him to complete it. He does so and returns home, where he reclaims his royal garment, merges with his twin brother and joyously appears before his Father and Mother. End of the Hymn of the Pearl - simplified version. Now, the twin brother who does nothing at all in the story is actually the key to decoding it, since he is a Gnostic version of Aristotle's final cause immanent in the world. Says Aristotle, the final cause, which is actuality, is prior to potentiality. Or in Gestalt terms, the "coming solution" with which the protagonist needs to identify is prior to the mere potentiality of the system of rigid games and ego defenses in which the Prince is stuck at the outset. Likewise, the Prince leaves a copy of his "nucleus", center, true actual being, final cause behind in the heavens, and he descends into the mire of a world full of archons or dybbuks which are organized as a totalitarian system by the demiurge. Around his pneumatic nucleus, the Prince dons a human ego instead of his regal garment of pure Platonic ideas and he sells himself out to the system. But finally he hears the call from on high. He then identifies with the coming solution and finds his way back home by doing a lot of Gestalt dreamwork, until the Double bursts through the Prince's ego character armor and rejoins the Prince's pneumatic soul. FW: Concerning the art of translation, the original text is the Prince lost in the world. The nucleus of that text that does not need translation is the pure pneumatic soul of the Prince which is one with his transcendent Double. The pneumatic soul of the original author (the content of the original text) and the expression (skin) of the original text form a tolerable unity in the original, but nothing like the explosion into authenticity that that pneumatic soul would experience if it would rejoin its royal garment of pure Platonic ideas on the level of universal man. For then as Metatron (universal man), merged with the Ether (the perfected contact boundary), the pneumatic soul would embody the Shekhinah, the Divine immanence. Ditto for an analogous process using Christian or alchemical symbols to code the underlying dialectical logic. FW: What is the role of the translator in the Gnostic myth? The translator, as messenger sent by the Father, calls from outside the terrestrial system (the forest), and seeks the hidden soul of the original text - the soul its author put there is the first place. The hidden soul, the Gnostic pneuma, is the lost soul of the Prince buried in the quagmire or junk collage of the world. The translator struggles to release the pneuma by working his way through the text and identifying with the heavenly Double or pure language. By himself undergoing the concrete dialectic, as an image of the true G-d, the translator extracts pure ideas from the dross of the world - the X/-X extremes - and sends them forth to illuminate the original text, thereby elevating it to the level of a true translation. FW: And here is the Gestalt parallel. The protagonist does dreamwork on the dream using awareness, identification with images and the rhythm of contact and withdrawal. Thereby he sets the biological clock in motion dialectically. This is his alchemical distillation apparatus, and from the dross of the X/-X impasses he extracts pure Platonic ideas, which then move the original statement of the dream through the dreamwork process and towards higher ideas in the macrocosm. The protagonist succeeds in negating the original dream statement, burning it up in alchemical fire, and from the husks he creates a series of new texts, each one more pure and exalted than the last version, till finally the text is freed all terrestrial entanglements and as the existential message of the dream the text and the translator rejoin the Double on high. Amen. No longer is there an echo, since now the Word and its echo on high are one. The Nam(ing) of G-d and G-d Himself on high are One at this moment of messianic redemption. This is the hope expressed at the end of most Jewish religious services: "and on that day the Lord shall be One and His Name One". This is the ultimate translation.
27 Jul 2011
Share Video

Q: Jerry could you talk a little bit about the actual cards and how the restaurant make the selection? Jerry: Restaurants as well as the other businesses like to brand the name. Look at Mcdonalds. And so what we do is we encourage the restaurants to do it in two ways. We have different cards we have a thank-you card, we have a birthday card, we have an anniversary card. Many of the restaurants use the same picture I need to the card. So, when the customer gets that picture they know its coming from that restaurant since that i have one restaurant that the picture on the card is the picture that you see when you first walk in to the restaurant so everybody knows that that is coming from that particular restaurant. The other way that a restaurant work is to put the logo on the picture but we'll change the picture. But again it's a type of brand because they see that particular logo constantly on with a little information. One of the good things about cards is people tend to get them and they hold on to them. The shelf life of these card people put the on the side they put them on the fridge and they use all the time. We also by the way one of the things what we do when we print these cards. We don't label them. The name, address and that goes on the card is directly printed on the card and the card is sent that first class on the people get them immediately. The other thing we have on here we have a code for instance if it's July it will have a 7 and if August, we'll have an 8 so the restaurant can tell when that card was sent and they can even check to see how many months that person held it before they use it. Now the other thing is that the car is very important because of the fact that they require more than 4 people when it come, and listen if you are at home and you're having a birthday and you have one my cards I offered you a bottle a wine versus two other promotions they offered you nothing but to other restaurants that you like and where are we gonna go? So certainly they pick out the one with promotions because they're not getting something for nothing and that's what people like. So, all in all the cards do very well it's a higher percentage of return, higher than national average, almost double than the national average. So that's very important to know and the restaurant love it and that's easy ways to make money and bring in new customers.
12 Aug 2011
Share Video

How do describe your experience at Paramount Pictures over the last eight decades in 3-5 minutes. You don't. When meet A.C. Lyles for the first time, his story and story of how he progressed in the movie business becomes almost a movie in itself. We had the pleasure of listening to how he got his first job at Paramount as an office boy and later became a major influence and executive producer for dozens of movies. It shows how anyone can get into the business if you just set your mind to it. For all your insider tips on entertainment publicity, the media and social media done right visit www.MAYOCommunications**** be sure to click on the "thumbs up" button right under the logo, it takes you to MAYO's Fan Page (facebook****/MAYOPublicRelations****) or call 818-340-5300. Publicitymayocommunications**** A.C. Lyles was a guest speaker along with MAYO's George McQuade on careers in entertainment and entertainment publicity.
12 Sep 2011
Share Video

Here's a few tips, resources, and design planning advice we personally follow when designing a new logo for a project.Before you ever talk to a designer it's best to brainstorm first and jot down some notes regarding:What overall purpose the logo serves?How it should connect and relate to the consumer?Is this logo for a website, physical product, T-shirts, letter head, etc?Do you have a basic layout in mind already?Do you have any logos that can be used as an example and why?me.
14 Sep 2011
Share Video