Rodin had drawn all his life, but the drawings he made from around the turn of the century (when he was sixty) to his death in 1917 are utterly distinctive. There are around 8,000 of them. Made either with pencil alone, or with the addition of pen and ink or colour washes, these late drawings are images of the most refined simplicity and concise beauty.
They divide into two types: female dancers, in particular Javanese and Cambodian dancers, and nude female models. Both types were made very quickly, in pencil, from life; some were worked up later.
A few were made by tracing from the original onto another sheet so as to eliminate superfluous lines as a further means of simplification; some were cut out and recombined with other figures.
This method of working was highly unusual both for its speed and freedom. Rodin did not look at the page while he was working. Neither did he ask his models to hold any particular pose. Instead he drew as they moved freely around him, letting each finished sheet fall to the floor as he began another. The daring poses and viewpoints and the bold distortions that resulted are extraordinary. This very innovative way of working coincided with Rodins obsession with modern dance during this late period. In an article published in 1912, he claimed that dance has always had the prerogative of eroticism in our society. In this, as in other expressions of the modern spirit, women are responsible for the renewal. Isadora Duncan, another American dancer called Loie Fuller, Diaghilev, Nijinsky, the Japanese actress Hanako, all knew him and posed for him. Isadora Duncan opened a ballet school and brought her students to Rodins studio so that he could draw them.
If you want to blow 200 times that amount or more on the real thing, try Tourneau (Madison Avenue and 52nd Street, 758-6098) or
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S E C R E T
WEB C A M S
Ever feel like thousands of people are watching you? Well, if you're standing on the corner of Third Avenue and 25th Street, they are!
The city is filled with surveillance cameras — in banks, public buildings, and retail stores — but the latest addition to this voyeuristic onslaught is Web cams, video cameras that broadcast 24-houra-day live images of New York over the World Wide Web. Some of them are predictable — the cam on top of the World Trade Center
(www.wtca.org/view.html), for example, that offers an almost envious view of the Empire State Building; or the three cameras on the
77th floor of the Empire State Building (www.realtech.com/ webcam) that stare right back; or a dramatic view of the Brooklyn
It is no exaggeration to say that, in psychoanalysis as it is practised today, work on the affects commands a large part of our efforts. There is no favourable outcome which does not involve an affective change. We would like to have at our disposal a satisfactory theory of affects, but that is not the case. Unable to have such a theory at our disposal, we would prefer it if we did not have to encumber ourselves with previous theoretical conceptions, in order to have an entirely new look at the question. That is hardly possible. These difficulties have two sources. The first stems from the very nature of affects. It is difficult to speak of something which is, in essence, only partially communicable, as affects often are, at any rate more so than any other phenomena observed in analysis. The second difficulty lies in our preconceptions and in the very manner in which the problems were posed from the beginning of Freudian theory. If the first difficulty constitutes an obstacle which is not easily overcome, the second can lead to an enlightening thought. It is easier to talk about what has been said about affect, and the way in which affect has been conceived, than about affect itself. Affect constitutes a challenge to thought.
The Knight of Swords holds a sword which is the penetrating aspect of his nature, where he is ready to inflict punishment or uphold a law.As with all the other Knights his body and crown are winged to show their swift nature and link with their souls'/spiritual nature. He wears the crest of the winged Hexagram on his crown, breast and knee guards. This is power of the Ruach pushing him forward. The Sigil of his scale is, in fact, an arrowhead showing his violent and swift penetrating nature. On the arrowhead is a small circle which represents the Vayu Tattwa. The dark stratus clouds beneath him are the potential growth of things to come under the Knight's influence.
The King of the Sylphs is called Paralda and like the other Kings before him, he expects quick obedience to his orders. His direct force of governance are the Winds which blow over every quarter of the earth. He charges the atmosphere with either positive or negative ions and as such can alter the disposition of all those who come into contact with his winds of power. He also governs the mind and thinking process and will either stimulate or hinder those he comes into contact with (depending on the circumstance).