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PROVIDENCE, R.I. - The Providence College (4-5-5, 3-2-3-2) women's hockey team exploded for six goals to defeat No. 7/8 Boston University (5-4-5, 2-3-1-1), 6-2, on Sunday, November 15 at Schneider Arena. Freshman Nicole Anderson (Jordan, Minn.) recorded four points with a hat trick while sophomore Ashley Cottrell (Sterling Heights, Mich.) added four points of her own with a goal and three assists. Sophomore netminder Genevieve Lacasse (Scarborough, Ontario) recorded 41 saves on the day.
The hat trick was the first since Alyse Ruff (Tualatin, Ore.) put home a triple as a freshman against Northeastern on February 17, 2008. The four-point effort from Cottrell was the second of her career. She recorded four assists against Robert Morris as a freshman on November 8, 2008.
BU opened the scoring at 9:22 with a goal from Jonnie Bloemers. Tara Watchorn fired a shot from the left point that was saved by Lacasse. Melissa Anderson picked up the puck behind the net and pushed a pass in front to Bloemers who put home her third goal of the season. PC answered back with Anderson's tally at 13:53. Ashley Cottrell took a pass from sophomore Jennifer Friedman (San Gabriel, Calif.) in the neutral zone and skated past a BU defender at the blue line. Her shot from the bottom of the left face-off circle was saved but she was able to recover the puck and slip a pass through the crease from behind the net to Anderson who put home her fourth goal of the season. Friedman earned her second assist of the season while Cottrell tallied her fifth assist on the play.
Providence held the edge in shots, 10-6, after one and the two teams went into the locker room tied, 1-1.
The Friars took an early lead in the second with a long-range blast from junior defender Leigh Riley (Lexington, Mass.) at 2:45. Riley took a pass across the blue line from senior Arianna Rigano (Malden, Mass.) and sent a slap shot into the upper right corner for the first goal of her career. Rigano recorded her second assist with the pass.
The Terriers outshot PC, 18-8, in the period but Lacasse made several nice stops in front on Bloemers and Janelle Kohanchuk to keep PC ahead, 2-1.
BU came out for the third and quickly evened the score with a goal by Melissa Tetreau at 4:07. The Anderson and Cottrell show officially began just 12 seconds later. Anderson stationed herself in front of the net and put home her second of the night at 4:19 with a pass from Cottrell. The freshman forward would finish the hat trick a mere 46 seconds later when she slid the puck under the pads of BU goaltender Alissa Fromkin for her sixth goal of the season. Cottrell earned her seventh assist on the play and sophomore Laura Veharanta (La Verne, Calif.) recorded her fourth assist of the season as well.
Anderson would return the favor when she fed Cottrell for her ninth goal of the season at 7:44 to put PC ahead, 5-2. Ruff would go on to net the final goal at 18:44 with a coast-to-coast effort when she roofed a wrister under the cross bar for her fourth of the season. Senior Jackie Duncan (Kitchener, Ontario) earned her first assist of the season on the play.
Providence is next in action with a 2:00 p.m. contest in Schneider Arena against No. 9 Northeastern on Friday, November 20. Following Friday's game, PC's Ashley Cottrell, Amber Yung and Genevieve Lacasse will head to Durham, N.H. to compete with the Hockey East All Stars against Team USA on Sunday, November 22 at 1:00 p.m. Assistant Coach Meredith Roth will be on the bench coaching for the Hockey East All Stars while former Friar great Karen Thatcher ('06) will represent Providence with Team USA.


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The Baltimore Museum of Art Library and Archives
|"Andre Malraux and the Arts" lecture, Henri Peyre, The Baltimore Museum of Art, 1964.
|Baltimore Museum of Art;
|Baltimore Museum of Art; Malraux, André, 1901-1976;
|Henri Peyre, the Chairman of the Department of Romance Languages at Yale University presented a lecture at The Baltimore Museum of Art on January 12, 1964, entitled "Andre Malraux and the Arts". Peyre, whom the French Government gave the rank of Officer in the French Legion of Honor, was also a critic and European literature specialist whose books include "Men and Works of the Twentieth Century" and "The Contemporary French Novel". His lecture was about Andre Malraux, who believed that while museums were inevitably incomplete in their coverage, they could be supplemented by art books. Malraux's first major art book, La Psychologie de l'art, provided examples of art from a vast range of civilizations and historical periods. The comparisons in his book shifted the emphasis from individual works of art to the relationships between them. In 1959, Malraux became France's Minister of State for Cultural Affairs, a post he held for the next ten years. In the belief that all Frenchmen should have access to the best of their cultural heritage, Malraux instituted the Maisons de la Culture, which aimed to attract new classes of people to the arts, especially from outside Paris. The audio recording abruptly ends without a formal lecture conclusion from Henri Peyre.
|February 12, 2006, February 9 and 23 and March 8th. In which literature, (property, banking 0:00:08.0) sculpture, dance and music will be dealt with by Henri Peyre, honored member, Robert Motherwell, Richard Lipow and they extending hand and accompanying with John Tate, on music on that segment. Today's ticker, when we're delighted to have to initiate this theory this year which has been in fact effecting to the market, (inaudible 0:00:39.3) and have to come to ensure in a manner which he told before us, as a constant reader of letters of classification for our branch to the American Council Learning Society and elsewhere and where he once commented to take place as (inaudible 0:01:08.0) certainly can feel. But it is not my intent to do so when I say, using all the phrases that he kept to be most cooperative, he is most devoted to interviewing with the work, is his regular (inaudible 0:01:26.7). He is poised with demeanor, (inaudible 0:01:34.6) will to work. I could go on speaking more of integrity and public services devoted to community and all these other things. Including (inaudible 0:01:44.1) a very negative modern interpretation (inaudible 0:01:49.6) The Enchanted Women (inaudible 0:01:54.3). but I want to introduce him not in all of these ways we've seen him so accustomed but rather in terms I have to distinguish the author of critics in order to (inaudible 0:02:07.3) European literature, also wrote some (inaudible 0:02:11.8) I think the best known to you are (inaudible 0:02:15.5) contemporary French novels, and work to the 20th century of literature as (inaudible 0:02:23.3) above the others. Sterling Professors Professor of French (inaudible 0:02:30.0), Chairman of the Department of Romance Languages affairs as well as in charge of the (inaudible 0:02:34.9) program a man of many honors, a man of wise courage, professors Henri Peyre and Andre Malraux and the art. Speaker 2 Thank you, sir. (Inaudible 0:02:59.8). Ladies and gentlemen and dear friend, indeed I'm trying to brush but you can't see that I'm brushing, I'm very sincerely brushing since I like the word sincerity after the first phrase which is best to date. But I won't waste your time and my time by telling you how intimidating and also how impressed and how do I feel in having this occasion here to appear before this audience. This is not the first time I spoke I think I've spoken on John Hopkins in Baltimore but it is probably the first time that I have addressed such a distinguished audience on a series which is especially devoted to the fine art. I am of course, the most humble of the five electros that you will have this year and I shall try to initiate or to inaugurate the series wordily. There is no museum sincerely speaking which are not quite so much in America as your Baltimore museum. It is always shown not only tasteful elegant discrimination in the choice of its paintings but also imagination but also audacity on more than one occasion and it is probably the choices overall the finest combinations of modern art offering also a great view of life on the art over the past which is one other things which I would like to try and do today up above Andre Malraux. Not only that but through this series which you have on Sunday afternoon, this is also a museum in which you believe that art should be communicated. And I praise you for this instead of sometimes wrapping up art into all kinds of jargons of so many odd critics and as I want to do and making it inaccessible to the general public instead of believing as well as quite effluent my artistic colleagues also sometime seem to do that we should be the only ones to admire a few things and we should have great base of curatives spread around a few things that we admire. You will hear, since you've got another principle which is that we should impart to others the admiration of some of us (inaudible 0:04:49.4) sincerely felt. There is a line or a line and they have I think it's in the prelude by (inaudible 0:04:54.4) not the very best poetry in that line I mean which he have wrote in which he says and it might very well apply to the critic of the interpreter of the art, which you have loved, others will love and you will teach them how. It is I think one of the duties which we follow professors of literature, of art of culture, of almost anything in the broad field of the humanities to try and spread to others what we sincerely love. And if art really is what Andre Malraux has always content of that of could be and should be that is perhaps the one universal language of all time. Even more universal then music in spite of the inferences if art indeed can reach that sort of universality it should spread also to many people who otherwise we want to say nothing but despite of it and in videos jealousy of it and eventually for us might against it and even I'll also destroy it. My subject today as you know ladies and gentlemen is Andre Malraux and the art. I'm not Andre Malraux, I believe one or two persons today not in this audience but in Baltimore thought I was. I wish I were, because the subject is a very huge one on Andre Malraux and the invitation is speaking faster than anyone as in France or even perhaps in the world. I'm sure that you can think probably about something like 30 times faster than I ever could even if I tried. But I myself try to speak as slowly as I can except sometimes I guess they are little carried away because as you know one hour is short and life of course is long and art is even longer but still there is so much to say that life can never quite cope with art. Well, I'm not he, but if I may right away in the beginning can (inaudible 0:06:33.8) I have great admiration for him. I have read and re-read him. I have written on him. I have got the pleasure of the honor, single honor indeed because he is one of the greatest men alive I think in the present world to meet him and to talk with him about the art and a few other things. And I shall try today to present his views on the art as he perhaps himself would like them to be presented that is somewhat imperiously, somewhat ending magical in the sky which is sometimes even more so of course in Malraux or language that in mind somewhat they're entering and sometimes on what imperious. But also jumping from one idea to another to try and explain to this audience here what Malraux has done for the knowledge the understanding and the level of the art in the modern world. What he has done indeed is extremely important. No book on the 20th century has exercised such a wide influence and that that's such a powerful impact upon the average common uncommon man and the books that Malraux has written on the art. That used to be called (inaudible 0:07:35.8) psychology of art and we have thus translated. Then there was this second book The Voices of Silence, which has sold probably if that means anything better than any book on art ever did and he had the book, I repeat, is certainly not easy to read The Metamorphosis of the God. Then a book on Goya which is probably his masterpiece but less well known than some of the others. Then a book which is mostly made of essays borrowed from other persons and quoted in (inaudible 0:08:01.0) anthropology and a number of other statements which he has lately proclaimed also on the art. What he has also contended, is that we should try today and realize that only perhaps through the art can we produce a more universal humanism than in the past ever did. Not only perhaps through the art are we capable of understanding the fact and taking the whole of the past as a range and as a realm and only perhaps through the art also are we able. Not really and simply to effect that kind of wordily of our humanism which means embracing the past and prolonging it into the future but only through the art would he content, can we also today realize or reflect this sort of unity and universality of man in space and not only in time, that is only through the art perhaps can we really understand the art of India and the art of Gandhara, British Roman, or Greco-Roman, Buddhist or the art of Indo-China, the (inaudible 0:09:00.2) statues or the art of China or the art of Africa or the art of South America. He is definitely very controversial man and some of the views which I shall endorse today since one I think has to identify oneself with one subject in order to treat it wordily or to be sure controversial views and as I said very imperious but always (inaudible 0:09:20.4) further. The great advantage of Malraux which is shared by a number of other men and not only Frenchmen is that it is very hard to refute him. It is hard to refute or to confute him first because he is very illogical and when Frenchmen do decide to be illogical they certainly can hate the famous French logic far worse or far better shall I say than the men of any other culture. Not only that but also because Malraux lives his ideas with a great deal of fire and a great deal of glowing intensity. And you may refute the ideas one after the other but that is not relevant. You cannot refute and destroy the personality of the warm, ardent, glowing personality which shines behind the books that he has written on art. He is also a man of great courage because he has gone to art history it isn't really art history he has gone to writing on the art and about the art and about himself and the art because he's perpetual subject like the subject of when a Frenchmen of course he's I and the art and I and god and I and run around, and I and the art of Greece. But he has spoken about himself if you like and also about the art not only with understanding and indeed with a very wide and often a very precise culture but he has always also considered that art should not be considered and treated in isolation. And this is the assumption on which I shall proceed today that art is not to be sure just really the mirror of a culture behind it. But that art cannot be totally be lost from something much older than it which is the culture behind which is the soul of the people behind it as we call it. Art is not only a record of the past but a man like Malraux himself who is an artist in his own way he is also an anticipator of the future, a prophet of the past as we call it in French but also a prophet of the future, a genuine prophet and even more than that. He is a man who through the understanding and there's probably going to be understanding of the art can be also perhaps one of those very few source who can help us frame a new world, change life in the famous phrase of (inaudible 0:11:22.2) which has hunted most Frenchmen since (inaudible 0:11:26.6) of change (inaudible 0:11:28.6) to change man through a great deal of hope that has been the goal of Malraux perpetually. He has gone through the art as most of you know because he has been written about in the New York and many other popular or semi popular or smart or semi smart magazines. As you probably (inaudible 0:11:44.5) Andre Malraux has gone to the art after living a life which was to a great extent a life of action and adventure far more indeed than the life of his color or than the life of an Historian. He knows history, he's obsessed by history as the only other man he admires most today in the world that his goal is obsessed also by history. But to him the real aim of the man today is to use that history in order to jump forward and use it as a kind of platform from which they can probably prolong history even farther at the present time. The life of Malraux which I shall not hear take time to somewhat it could be too easy and it probably is to a known was indeed the life of action and adventure, what pleasures so he find in life is Shakespeare somewhere in (inaudible 0:12:31.2) what pleasures so he find in life if we lock it from action and adventure very early in his life. And Malraux was even then when he was in school in Paris interested already in the art and anthropology and in the past that he decided that that culture had to be lived first. And as he says somewhere in one of his characters he says in one of his books, one of his novels, "ideas are to be lived, and not merely thought." Well, he decided that he had to (inaudible 0:12:56.5) and not merely think or rethink or rehash his ideas and he wouldn't have to Indo-China to China and elsewhere, he took part in two, three, four roles, luckily for him the century caught up with him. And whenever he wanted the world to appear or the world right away appear it was the Spanish civil war, it was war of 1939, he enters now for a new sort of wordily purely cultural one to appear to help him continue to be a hero after the dangerous age of 60 or 62 which I think he has reached this very year. The life of Malraux then is alive of a man of action who has reflected most ardently and most intensively while he was in the midst of action and not when he was in his study quite looking up all kinds of big folios and quotes about the art. It is the life of a man and his writings on art are the writings of a man who perhaps more acutely than any man alive to the many country of the world that I know of realize the fact that we live today in a stage of crisis. More so perhaps than ever in the past the man, mankind should has always been in the mood in any condition of crisis but the great difference is that today we know that we're living through a crisis we are all obsessed by the famous phrase going by WH, the English poet the age of anxiety and we know also that desperately we have to try and find some ways of meeting the challenge of the time and going beyond perhaps that crisis which anguishes so very many of us. Malraux realized that very early and he put the essence of that in the message which he imparted to us through his novel some of them being among the five or six greatest novels probably of our century the 20th. But he realized also that we have to go beyond that and that we cannot (inaudible 0:14:44.9) and the complacency which was that of our Victorian ancestors and there were plenty of Victorians in France if they were not in Victoria even in the 19th century. That man cannot or can no longer expect that he can find himself in (inaudible 0:14:59.0) and in serenity. He's got to accept action, he's got to accept the crisis around him and to Malraux the crisis are the crisis that we all know about that is we live in age of revolutions, we live in an age of wars and we live also in (inaudible 0:15:15.1) all that and Malraux opened his (inaudible 0:15:17.3). We live also in an age in which we know that the great things said that also can probably only be accomplished on the verge of disintegration and with the constant threat of death around us. Like the (inaudible 0:15:32.6), like many Romans, like some of the Greeks before us, we know today that the greatest cultures are probably the Jewish, the Greek, the French, the American in the present time, the German for (inaudible 0:15:42.0) that is the cultures which are ambivalent as it were and always drawn between the death motive as Fred would call it or (inaudible 0:15:50.9) and the creative, the creative instinct, the urge to create all what Fred would call (inaudible 0:15:56.4) that is the tendency of the drive on the country to have loved to have energy and to have creativeness. Not only the cultures which know that they are always doing or trying to do something on the verge of a big (inaudible 0:16:08.1) gaping in front of them and to wish they're always ready to fall and afraid to fall only those cultures perhaps can afford to leave to us and great heritage of art which the world today needs more perhaps than ever before. Malraux himself has lived in that age of crisis. He has realized that man according to the famous sentence sent forward in the second chapter of the (inaudible 0:16:30.5) I think it is but I'm not quite sure which anyway in the famous phrase of (inaudible 0:16:36.8) that man has got to work out his salvation in fear and trembling. And there was plenty of fear and trembling in Malraux. He has now as becomes a man with beyond middle age becomes absolute to secure in his own ideas. A little took the trace on times and to assertive in some of his propositions but there is a great deal still to be derived from his example and the way he has -- in which he has lived those ideas. Very early, Malraux realized that in order to preserve the broaden humanism which we all want to do today or to (inaudible 0:17:10.1) to our successes in order to broaden that humanism which would take us away from the Greco-Roman Mediterranean fixation which might embrace not only the hole of the past but also geographically speaking as it were are looking at the area of mankind which might be applicable to the men of Asia, to the men of Africa, to the men of South America and Central America and elsewhere in order to achieve or to advance a few steps if it can be only that towards the new humanism that we need today to brush aside quite a number of the myth of the eye rolls by which mankind has lived in the past and we've got to propose and perhaps to forge new ones. Briefly speaking, and I should come to the realm of the art very promptly, briefly speaking, some of the sentences which Malraux I think will like us to use when we discuss his ideas would be these that the first thing which has happened in the 17th mostly in the 18th century and which today is central to the realization of all of us when we look at history is the death of the absolute or in the forward the death of the disappearance of the absolute. There are still many people to be sure perhaps nominated at least more people than before who believe in their religion in our case in the Christians or in the Jew their Christian tradition. But most of us do not live our religion as we did in the past. Many of us really believe so (inaudible 0:18:31.6) or even if we do believe eagerly and sincerely what has happened is that today we can no longer be convinced that this is the absolute for us and that all the other people are wrong. As you know one of the profound phenomena affecting mordancy relation is that neither the Americans nor the French today nor the British nor anyone else can profoundly and securely continue to believe that their way of life American or French way is the only one that is valid and they can ignore the rest. We do no longer believe in other words in absolute our civilization is no longer wrapped up say in religion of Christianity as it could be in the middle Asia where everything work and play and games and so on, we're always on the (inaudible 0:19:15.2) around the church. We live today in the age of the relative which has been the absolute in a sense of history which means that we cannot be dramatic missionaries any longer. And we live today in an age therefore where we well know that we have got to embrace also the rest of mankind and spread what we think is most precious in our own cultural heritage to the peoples of Asia, Africa and elsewhere. We secondly, do also today accept the fact what it seems to be a fact that we can no longer believe as we did in the past or as ancestors did from the 17th century on in what Malraux would call I believe the myth of progress. We can no longer fondly accept the fact and for a time it appear to be the fact that the most silence we know them of technological development we know, the more mechanization of our lives we affect and more happiness also we're spreading around ourselves. As you all know that big great respectable idea of progress has crumbled down before our very eyes and no one else has expressed the crumbling down so well as Malraux in some of his books on art. And even magnificent lecture which he gave on the (inaudible 0:20:20.3) in 1945-46 after the end of World War II. We can no longer believe that we can progress continuing along the same path which our ancestors and our predecessors had followed. We know today that probably progress can only bring workforce catastrophes to mankind. We have in other words to adapt new forces which need not necessarily be scientific probably not even technological and which we may well find in fact in the realm of artistic creation we've got to adapt those new sources of forces in order to survive or in order in fact to know what to do with our lives. And thirdly, we can no longer also believe as our ancestors those who had read standards read in the black and those who had read Belzac and those who had read the American novels and the American proclamations of the 19th century which followed in the steps of those French novels. We can no longer believe that the idea of life is merely to succeed. We know in fact I think it is Robert Stevenson who once going to phrase that the business of life is not to succeed but to continue to fade, he said in good spirit or sometimes indeed in very gloomy spirit. In other words, we cannot replace the collective myth of progress by the myth of success or personal individual success. Young people are well aware of this in the universities and elsewhere. We know that success in fact brings nothing but the said room which is depicted in American fiction and American drama that of the salesman and so on probably even more tragically than anywhere else. We don't want that kind of success which is trying to save our souls or perhaps our bodies but in fact sell our source at the same time. And eventually indeed just find ourselves merely in presence of a profound inanity or emptiness inside us. We are searching on all sides and what Malraux is trying to do after he's got such great success Goncourt prize and others in his novels and in his other works, and also in the political field. He is still trying and discover those new sources for mankind in the art and especially painting but also sculpture but also architecture, music he has said very little about, modern painting I may say between parentheses he had said very little about and he is not probably such an acute critic of very modern or contemporary painting as he was of the past. But certainly the art of the past years embrace with the tremendous knowledge and the knowledge which is always instinct with fire and with recreation. This obviously (inaudible 0:22:44.1) to saying that Malraux is no conventional art critic and why should he be. Malraux does not take the trouble; he is much too impatient the Frenchmen to do that. He does not take the trouble to analyze paintings very carefully or to replace them in the historical setting. He is not concerned with that. What he does, is to consider most of the great artist of the past as if they were characters in a novel by Malraux and to push them around each way and play with them not as if they were puppets, because they have got some flesh and bones and blood and all the rest that's needed. But to play around with them he sees the old past of art history as a momentous, gigantic drama or tragedy in which Malraux would be a sort of god or dummy god to (inaudible 0:23:27.3) he is the god and Malraux shall we say the puppet and the dummy god behind pulling perhaps the few with us or was which (inaudible 0:23:34.8). What we have in his books is therefore, I repeat, the adjective something very peremptory which imposes upon us something very unclear, and it is a sort of rejoicing occasion for Americans who see the Frenchmen can be unclear and when they decide to beat they can beat even American on the graduates of the game. Not only that, but there is in that and clarity of Malraux the crystallization of a greater deal of profound and condensed thinking. He expresses himself not logically and coherently but through an avalanche literally of anxious pregnant interrogations which are his but also which are ways of the modern man. Meanwhile, if he does not interpret the works of art as carefully as a professor or a museum curator might attempt to do. He does definitely something else which is he uses all those illustrations drawn from the art of the past to illuminate his own thesis and that thesis is, I repeat that, which is certainly a way of listening to him and discussing that the modern man who lives the problems of modern man probably more intensely than any other writer of whom I at least might know. It is very hard after all I said you realize to try on some of the ideas of Malraux but you don't expect that from me. I shall do with him as I think he will like probably to be dealt with that is since he is not here present in the room to protest I shall dismiss some of his ideas I shall borrow some others and I shall stress here or put a special emphasis upon those which I think are especially relevant to this audience or if you write to us today in America in 1964. I borrow merely the titles or the subtitles of the most important of Malraux's work the Voices of Silence. And I shall try to present them to you with if I miss (inaudible 0:25:18.3) if I'm not being modest. But also I hope with certain fidelity to the profound spirit and to the essence of what Malraux is trying or is trying to say. Naturally, I shall not insist upon objections and there are many art critics have presented them in this country and elsewhere. But I'm profoundly convinced that what a man says which is wrong or negative if you like does not matter, it would eventually be buried away. That the essential is to see on the country the positive side, the credit side of a great man's message and this is the only thing that matters let us forget about the other pettiness' that we might bring in a more (inaudible 0:25:55.9) discussion of Malraux if there could ever be time for it. The first subtitle that he has coined which has remained very famous or it did which applies especially with in a room like this is the famous phrase of the imaginary museum translated somewhat clearly and not very correctly into English as museum without walls. This amounts to this, museums according to Malraux and to many others are indeed one of the very great phenomenon of our age than modern times. As you know, the word of course is Greek and it was a temple or a building devoted to the muses hence museum but was today it is no longer nearly temple for the muses but it is indeed the true cathedral perhaps of modern civilization. It is in many cities of America and in more and more cities of Holland, Belgium, Scandinavia and France, ourselves. It is perhaps the building in which indeed the heart of those civilizations beats most ardently. Museums are a great phenomenon not only because many people do they going to them, because we spend so much money and so much care upon them and so much discrimination also but for other reasons because in those museums the art of the past is there, it is there, number one isolated. And in some ways there for weekend sometimes forget momentarily of course about the context and the surrounding and we can contemplate the art of the past as if it were present which is as you know the great advantage of the many phase all we say the sciences that what was great remains great. And in the past the very best of the best is always alive for us and it is there in the museum springing to life before us and for us. But, and this is point two, in the museum also we can today do what the past could not do when there were no museums and when they go back to the 18th century and that to Napoleon where he ransacked all the glories of Europe in order to bring them to the loom before museums existed we could not do. As we do today with museums that is confront in a museum, the art of the present with the art of the past or the art of one culture with the art of another culture. Today we just oppose in a museum sometimes pictures and statues which come from all sorts of regions of the world and they are very contrast is a very pregnant and profound lesson for many of us. In other words, we realize that our soul and very narrow tradition which went back to the middle ages and to the Greeks he's certainly not the only one and we should also if we are going as I intimated earlier to spread our humanism to the other nations and the other continents, we realize that we have also today to fall as to those civilization of Asia, of Africa, of South America of pre historic civilization and so on. Fourthly or thirdly, I forget which, the museum today also enables us to extend artistic taste long before our own time in our own place. The aim of (inaudible 0:28:53.6) our aim if you like that of all of us we try to be cultured as always been to be broader than the men who I'll ask are merely the unfortunate citizens of one country and the one time. The advantage of a museum and the advantage of knowing languages of reading about all the countries is that we can become the citizens of several ages of history and of several countries on cultures at the same time. Well, this has been made possible by museums today more so than ever before. And we should take advantage of it, with what Malraux calls the imaginary museum that is the museum which is made up of photographs and the color photography especially is making easier and easier and more and more remarkable as time goes on. Since we cannot of course have museums in every city and in every school, we can replace that to some extent. Malraux there probably exaggerates but to some sizeable extent we can replace that by the magical museum which is illustrations which is reproductions. A number of things which for instance both (inaudible 0:29:52.0) they can have access too. It is amazing to think that broadly he never went even to the south of France, he never went to Italy, he never went to Spain, he practically never saw any Goya, he never saw any (inaudible 0:30:06.2). He was in Belgium for a while but he never went to Holland, in sculpture which is the one thing that (inaudible 0:30:12.5) in fact failed to understand in the realm of art. He had never seen any Greek sculpture at that time neither the Venus of Milo nor the Victory of Samothrace were in the row. His knowledge was very limited, while today if that is an advantage and he did not very surely won, but if it be an advantage of all almost (inaudible 0:30:31.2) can have access to one of that almost right away. Says, I had never seen the art of Italy either, and many of the great men of the past van Gogh himself lived in Provence. He never went even to Italy. They are heritage as it will and what they had access to was extremely limited compared to what we have today. More of this later because it danger looks as you well know and are very abundant. But the fact is that we have today mass media, we have today illustrations we have today art magazines as we never had. And if we don't use them well it is our fault and not the fault of the media which are around us. And finally, I propose the imaginary museum, a museum without walls, Malraux makes the point with a great deal of force from this that the advantage of a museum is that we can there reinterpret the art of the past through the present, that history as never been of course a dead affair as Carla himself asserted in the famous sentence. His trade never was and never should be something to be bottled up in lighted bottles and put about or put aside in cabinets. It should be something instinct with life and with further indeed and with imaginative beauty. And the museum has allowed us on the present time to do that very thing. In other words, in the museums many of us starting from the art of our own time which is often the art of the youth of a country or the culture is best (inaudible 0:31:51.5) to we can rediscover the past and find out the past far from being dead not only is alive but that also it is a profoundly stimulating incitement to more creation. That indeed some of the very great things we have today we're achieving the feel to the art have been done through an imaginative vision of the past. We must imagine that which we know says Shelly at the end of a famous pros in writing the defense of poetry where we can try through museums we imagine that which we know. And to put imagination therefore on the new (inaudible 0:32:27.6) to what we know of the past. It is in fact that because of for instance the universal genius, the destructive devilish genius in many ways is probably the one man who enables us to understand say Michelangelo with whom he has in some ways many points in contact or in common. It is in fact that through Picasso and some of his friends, we have been able to rediscover Negro Art and Negro masts. It is in fact that (inaudible 0:32:52.8) for instance that very great draftsman we have also been able to re-understand and reinterpret some of the (inaudible 0:32:59.5) and the hideous French phrase of still lives of (inaudible 0:33:02.4). It is in fact that a little earlier if you like some paintings by (inaudible 0:33:06.5) enabled us to understand Goya better or to understand the art of the 18th century better as Malraux also enabled us to understand (inaudible 0:33:15.8) better so the very most stimulating discoveries of our time indeed have been the discovery of the (inaudible 0:33:21.3) art of Greece of the (inaudible 0:33:23.1). It has been the rediscovery of the (inaudible 0:33:25.3) Egyptian art that to the fiery of the (inaudible 0:33:29.2) for instance. It has been rediscovery or in fact rediscovery of Somalian art. And those great discoveries have totally renovated as you are well aware modern architecture, modern sculpture indeed and the great deal also on modern painting are whole visual of the past in other words is constantly fluid and changing before our very eyes. History is not bad, I repeat, and the modern view of history is constantly changing and that is why we always rewrite history all of us because it is like a code or like a gray we call it in French and you do also in English is sort of a cipher if you like which we put over the past. And all of a sudden every 10 or 15 years new meanings flash upon us because with the code we read some lines and we reinterpret them in a different way. And the past therefore brings in or takes on as it will a new life and the new meaningfulness and even the new significance according to the codes which we apply to it and all of a sudden those new flashes which would derive from it. Thus it is, that Malraux uses his trade not to be only use it as a kind of perpetual memento (inaudible 0:34:35.7) remember that that well dust in the bible. But he applies the example or the lesson rather of again his master who was niche in a famous writing which is called the Use and Abuse of History that unless we know how to history and to bring it to life and to use it as a rediscovery of life around us. History is nothing but a dead burden which tends indeed to crush us. The second subtitle that Malraux has used and which he has used again in the second volume is the word metamorphosis in the singular or rather in the plural the metamorphosis of the gods he calls it in his second great book on art or he had called it earlier the Metamorphosis of Apollo. Apollo of course being the sun god, the god of life and also the god of poetry and also the god of the art. The notion, as you know, that the divine does not change and that the gods only (inaudible 0:35:28.4) his notion which was more or less destroyed by the philosophy of Hegel and many followers of Hegel in the last century, the use of (inaudible 0:35:37.9) is a line not a very good line of not a very good poetry which is the gods themselves die but great art, sovereign art and perpetually our life. Well, we have learnt in the last century that even our own idea of god is continually changing around us and that probably again borrowing from Hegel and they thought were not the divine is not behind us creating the world once for all in a sort of static and rather constricted way but the divine is in front of us and we always driving towards it. Malraux takes that from there and he continues showing that, at our present stage to the intimidation when most absolutes are dead or dying we have to acknowledge the fact that every art nearly perpetuates a certain vision which men imposes upon these gods or rather a certain image of god which is that that man in certain cultures frames for himself and passes on to posterity behind him. I shall try and explain -- express myself a little more clearly. In the past, and say up to about the 16th or shall we say more precisely perhaps the 17th century a work of art was not merely a work of art and not certainly an able garland of beauty woven around life but it was what Malraux calls somewhere a means of access to the divine. In other words, when (inaudible 0:36:57.4) painted say his frescoes in the Chapel of the Arena at Padua near the station, when Frangelico painted the Cross between the Two Thieves at the entrance of one of the first rooms in the San Marco Convent in Florence, when Jan van Eyck painted the portrait of the (inaudible 0:37:15.0) painted that magnificent Last Judgment which is in (inaudible 0:37:20.9) and so many other cases might be brought here. When those painters in middle Asia painted gods or saints or last judgment or anything else to them it was the reality, for them for Van Eyck's a Madonna was a Madonna. Indeed she was the Madonna. A French painter who also wrote in Canadian (inaudible 0:37:40.5) said somewhere that before we paint we have to realize that the painting primarily before everything else is a flat surface with colors arranged in the French (inaudible 0:37:51.2) combine in a certain order. This is although more recent was a profoundly religious painter, a very modern conception certainly not that of our predecessors in the past up to the 17th century. At that time, I repeat when they painted it was because those paintings represented something sacred for them art as we like to say it in French philosophy was sacralised and art was indeed a process of sacralisation turning something into something which was sacred for us. Plastic art was therefore a means of exceeding to our gods and of praying to them in a kind of profoundness into with. Art was an assertion an acclamation of the faith of the men of that age. All that has gone and probably never will come back even in the religious art of today. The one who is I won't say the (inaudible 0:38:42.1) is one of the greatest man of course who ever lived and he went for (inaudible 0:38:46.1) to attend the greatest admiration was Leonardo. For all we know and very probably he was not at all a believer but in the famous painting The Last Supper which is in that little Chapel in Milan which miraculously has escaped all the restrictions there was Santa Maria delle Grazie in that Chapel in that Last Supper which he did there. He seems to have done, what Malraux, recalls somewhere is sublime romance without any faith behind it if you like but this is a very complicated problem into which I will not enter with a total lack of artistic sincerity. And yet it is of course a very great painting because it substituted for the sincerity of faith of which he probably was totally divine the sincerity of the artist creating something which he feels at the moment when he is creating it. Many more examples could be added, the most typical one of course would be in the 17th century with the Dutch painters. The Dutch painters were the first tourist as we say in French (inaudible 0:39:42.2) that is we turned arts from something sacred into something profane. One of the writers here a number of years ago called that apples and Madonnas, apples of course replacing Madonnas and replacing them for good in fact in the history of art. From that time on the 17th century especially with the dust the artist did not try when they painted to exceed to the divine what they did was merely to take a subject the metamorphosis if you like they have gods into something far more human. Malraux as you see plays a great deal of attention as well he should unlike through the relationship between art and religion something which disturbs so many of us whether we are or we are not believers of the present time because many of us feel that fear and anxiety on account of our loss of that sort of unanimous spirit or unanimous spirit which our ancestors seem to have entertained with each other and maybe on gods. The only exception and Malraux has magnificent pages he used in that subject we are the Greeks. He has a development on the Greeks which is wordily of the great outcries of admiration for Greece in the last century for the Greece miracle as Malraux has called it in a famous passage receding his play on the (inaudible 0:40:51.7) he admires the Greek miracle because we're the Greeks. We are not always man of very good taste, we know today that there are statues (inaudible 0:41:00.1) and probably which occurs profoundly today if we saw them as they were sculpted. We know today that there was bad taste and sometimes even vulgarity among the Greeks. But we also know that they did reach something in presenting their gods which we are human in realizing that gods we're creations of men as (inaudible 0:41:17.8) and later on even Plato asserted or the first time perhaps the Greeks a standard to something which in the famous beautiful lines of Keats, in the second counter of apiarian would be called the top of sovereignty. The look that they have got as if they were friends of men and they realize to quote again or to new to the famous lines of Keats that how does he say in that second (inaudible 0:41:41.3) for today all (inaudible 0:41:43.1) and to envision circumstance or come that is the top of sovereignty. For the first time there were men who in their best representatives in art and philosophy and literature we're not afraid of the gods and of the revolutions and superstitions behind them who ascended to a sort of top of sovereignty making art for the first time autonomous. The Greek artist was the first one who made art independent of religion. He is also the first who discovered that beautiful gesture on which Malraux has done the developments which is the smile. If you're good at smiles to elevate the creators of the smile (inaudible 0:42:21.6) we're the Greeks in the beautiful (inaudible 0:42:26.1) or young girls of the Aphrodite's in the little museum at the back of the Aphrodite's. For the first time then the man embracing women rather or woman if you like facing man for the first time woman and the young girl especially discovered the meaningfulness of that slight pouting of the lips which is a welcome which is spreading joy around which is a kind of charity around and nobody beautifying of life forgetting about the absolutes and the fear which the gods for a long time had instilled into the minds of man. Next to that Malraux goes to the problem which is the central most anguishing problem perhaps of the modern world and nowhere more anguishing indeed than it is in the United States of the present time. All of us in the academic world, all of us who visit museums, all of us and even those who are today in the state department or the topping Washington (inaudible 0:43:16.0) of the American achievements and well might they be are extremely worried about one thing, and that one thing is do we have today creators equal to those of the past. Do we in America 190 million, do we in France of 48 million men today, do we have relatively or even absolutely speaking a number of creative spirit, imaginative creators equal to those when we had when America's 5 or 10 million people at the time of Jefferson and Hamilton and Marshal and so on or as France has say a romantic period or even in the age which we call the age of (inaudible 0:43:50.9) or even in the age when (inaudible 0:43:53.2) museum was founded that tremendously creative era of '99, 1914 in Western Europe. It is indeed a very anguishing problem because we know more and more as we advance that unless we can see arising from our own myth, the sufficient number of creators, the imaginative interpreters of the present on prophets preparing the future for us and democracies unless we find those. And for us educators unless we succeed in training those we may well indeed see the doom of our own civilization and the world museums and the libraries in which we try to keep the best of our past civilization. Malraux has turned around the problem he was a creator himself. He has tried to arouse also the sense of creation among his own friends and his ciphers in France and elsewhere. As we go today everywhere and he has studied there for in the third big section of big volume of his book recreating process, what does he mean to be creative in which we talk so much and so deeply is there are not some trouble to differentiating our efforts of creation and is in that question of advise propounding graining us the fact that we know too much. Go to in a famous sentence after having begun an epic poem on the subject of (inaudible 0:45:05.4) gave it up and he said in a sentence which is indeed very saddening for some of us so called scholars only faulty knowledge is creative. That perhaps when we know too much indeed we can no longer create. Thus also (inaudible 0:45:16.9) in the use and abuse of history one of those considerations to which I alluded above. Malraux has not given us recipes and we haven't found in spite of all the foundation help from the subject in America, we haven't yet found of course secure recipes to find to discern future creators or even to help them develop. But what is done is to try to extend this some of the creators of the past and to realize what were the few common elements which most of them seem to have had when they created if ever those most independent of all spirits can be reduced to any common denominator. The point on which he insist most and on which myself I put some stress briefly is the following; that the creator in literature or in the arts and perhaps elsewhere very seldom is the hand that go straight to nature and decided to imitate nature and starts from nature in order to create a work of art that that romantic concept of creation and they should probably be buried away and forgotten forever, The creator in most cases many of us know that in literature is the man who starts from other books done by predecessors earlier poems, earlier novels, earlier books of philosophy and a sense as it were on that sort of (inaudible 0:46:30.5) in order to create themselves something which eventually will differ from what the past has done. The same is true of most painters of worst architects or worst sculptures hence of course the great value of education to the knowledge of the past in order to push that knowledge of the past further. It is not the ignorant man starting from zero or from scratch who creates most on best. He is the man who realizing what he owns to the past as the man of the Renaissance realize (inaudible 0:46:59.8) and the others what they could owe to the goldsmith with which they learn their own art or the elements of their art from them and go further and perhaps jump higher. In other words, most artists begin and this is almost (inaudible 0:47:12.1) that Malraux has proposed to (inaudible 0:47:14.3) already proposed it in another way for literature in a famous lecture on tradition and (inaudible 0:47:18.7) and the individual talent that would be this. That most writers begin with prestige or imitations, sometimes they did (inaudible 0:47:28.8) of imitations of the past and for quite a few years distinct themselves into the past. Then all of a sudden one good day as we say in French they decide enough of that. (inaudible 0:47:36.9) the Swiss German painter in effect the sentence confesses himself in his letters that that is the way we want to create. That after a certain time after having himself started with imitation he decided I think he (inaudible 0:47:50.4) in its present state this is not the only possible world and the possible universe. And when a young painter has said that he tries to create that universe which has not yet been portrayed or imitated by predecessors and he creates his own view of the world. A more famous example Malraux does quote and (inaudible 0:48:10.2) is of course that of courage. It may be a legend, but it's one of those very significant legends we should be true when (inaudible 0:48:18.6) saw after having practiced himself as (inaudible 0:48:21.3) for a quite long time and learnt his trade and his technique, he calls I or the famous painting by Raphael called the St. Cecilia Listening to Music which is now I believe in (inaudible 0:48:31.4) in Bologna, Italy. And he explained in the famous phrase, (inaudible 0:48:35.0) and I too I'm a painter. And that very day he said "well, I shall be also if not like Raphael as bad as I said I shall be Napoleon or nothing or (inaudible 0:48:45.8) or someone. I shall create something in the future which would be different from what I've done thus far and from what I've done in the past. (inaudible 0:48:53.5) makes a great deal of idea similar to this one and calls it in a world with sometimes as frighten Americans we need not frighten them revolt. That the first move and the first move should be move the revolt against what we receded us that placid acceptance and conformity of course the greatest to in the creation. All to those men is in other words a means of self release we know it anyone who has read that wonderful correspondence of (inaudible 0:49:20.0) which is so rich and so heart rending, (inaudible 0:49:21.5) also in revelations about what we may call (inaudible 0:49:26.8) the creative process would realize that. For (inaudible 0:49:31.9) painting was of course his self release. And he said somewhere in the famous sentence I can do because I do, I can do without (inaudible 0:49:38.8) including the god and including my faith. And he was the son of a (inaudible 0:49:41.7) pastor but there is one thing which I cannot do without and that is my art and many others (inaudible 0:49:47.8) said that in similar or parallel terms for literate creation. We know very well that indeed there is a certain time when an artist all of a sudden discovers that what's been done up to know does not satisfy him. We know that (inaudible 0:50:01.3) 1913 all of a sudden entered his studio when three women had put in the wrong place or rather upside down in a certain painting that he'd been working on the day before. That painting all of a sudden that required a totally new quality and new value and subject of course didn't count anymore since it was all upside down but there was a beauty in it which comes in scale never been aware of and that was the creation of probably the whole movement of modern abstract art of which (inaudible 0:50:29.8) is responsible and indeed one of the (inaudible 0:50:33.4). In other words the artist has at a certain time find the themes or the subject as we call it somewhat clumsily which will inspire him with the most ardent desire of painting. Malraux has wonderful commentaries which I wish I could take time to read here to you the time would be lacking on the process for instance in (inaudible 0:50:52.6) or in analyzing some paintings over the two. The beautiful woman weighing (inaudible 0:50:57.5) as if she were wearing soul literally with the gravity in the picture of woman, beautifully sacred as it were as almost no painter has attempted before (inaudible 0:51:07.2) or in the case of course of the two who Malraux also has done a great deal to promote. He had been discovered earlier by a German museum curator but that magnificent painting of (inaudible 0:51:18.9) which we call in France the prisoner some people call it Jove and his wife or another one which is I think in the museum at Detroit in this country and which is sent Irene Weeping over the wounds or over the death rather of St. Sebastian perhaps the most moving of all the (inaudible 0:51:35.8) we have and analyzing those in his imperious briefly has he like to do it shows that we have for instance in that man the two of what I think Malraux calls the sole great interpreter of the part of darkness of the share of darkness which is in all of us. And indeed not only (inaudible 0:51:52.8) sort of play between shadow and light but an interpreter of the mystery of darkness of the mystery of light which is what Malraux himself has attempted. And analyzing those painters and some others some of these favorite examples he goes on to show that in that liberation of the artist in that revolt against the past there must be a desire to conquer. A great artist is always a conqueror of his medium of himself of his public eventually and the world of new difficulties which spring out before him. A case in point is of course a comparison, many people have attempted it between Van Gogh himself and (inaudible 0:52:28.3) was an extremely skillful artist in Holland who eventually as you know was discovered and condemned and who did paintings which were sober in much like Van Gogh that before they were all pretty. But why deep down is (inaudible 0:52:42.9) is not of the same greatness of the same statue of Van Gogh, why, it is for us to laugh at the art critics to the whole of them we're fool. But obviously the one reason which (inaudible 0:52:54.7) able then to discern is this that there is not in (inaudible 0:52:58.8) that sense of portraying, the sense of difficulty, that sense of conquest, every minute of it were to same difference if you like as between an artist with on the screen in the movies and an artist who is in the live theatre flesh and blood and real who everyone knows whether it's a he or she that he or she has got to phrase the audience to conquer the audience which may cope, which may yawn, which may be bored to conquer himself or herself also in some moods. In other words, a constant struggle against life around and all the strangeness and the uncertainties of like. And Malraux concludes that we have of course today we all know that to try and make it possible for greater and more creators in our myths that if our civilization is going to leave any testimonials of itself to the future ages it has indeed to be representing by some creators who also will be dynamic interpreters of the present and profits of the future, that art is not an adjunct as we all know. It is indeed far more universal than technology than anything in science. It is found literally in all cultures and civilization from the nearly is pre-historic to our present time. It is the one thing by which a civilization survives and in one of those great parts of peak as it were sentences that Malraux likes to indulge he says this, I shall now quote him literally, how strange is this far flowing world of art, so tragedian yet eternal which if it is not doomed to repeat itself but if it was to renew itself stand in such constant need of man, god needs man as the writer a famous French once had that to borrow another language that we demand in some ways very similar to Malraux that (inaudible 0:54:37.0) philosopher (inaudible 0:54:38.6) a scientist as well as an artist. We have to yet realize that we must pass from the realm of the biosphere to the low sphere. That is to the realm of the spirit. The greatness today which confronts us and constitutes for us such a challenge is that man today has to think the world a new and to transform the world into art in order to know the world. And Malraux again explains and here allow me to quote him again briefly and literally between the (inaudible 0:55:07.6) world of man and the absolute world of god, a third world today is created and art stands at its service. The last section of those great books of Malraux in art is entitled in English The Aftermath of the Absolute. The French title of course is more correct and it was (inaudible 0:55:25.7) of the Absolute. (inaudible 0:55:26.6) being the change that you receive when you changed the big coin. If you like it is the (inaudible 0:55:34.8) or the substitute for the absolute. As I said earlier, we have to confess whether we have faith or not that the absolutes probably are dead and none of us today would again undertake a crusade to spread absolutes to China, to Asia, to (inaudible 0:55:49.5), to Africa, they can't go anywhere in the world. We don�t have enough confidence in our own beliefs and in the fact that we're right in order to (inaudible 0:55:57.7) another by the arms or by any other way. The absolutes therefore are dead. But long live that even if that sort of god if you like on divine is that the artist today to take up again what I said earlier is no longer a man who annexes the world to himself as it were or to religion in order to gain people to faith. He is no longer a man who tries I would say the anonymous painter of the theatre of (inaudible 0:56:21.6) has attempted. He is no longer (inaudible 0:56:27.5) had attempted. The artist is no longer a man who tries to soul faith or any sort of faith or giving a message by his art. He does paint apples or today in fact squares and circles instead of Madonna's and so what. The fact is that we have today lost a kind of security that we use to have about ourselves. I don't need to turn this into a (inaudible 0:56:47.9) although that today happens to be Sunday. We have lost that security that we had about our unconscious and also conscious on account of psychoanalysis on Fred again in the years 1910-1913. As soon as we almost had recovered from (inaudible 0:57:01.1) we had to discover there was another man again in Switzerland for of course was from Vienna and that man was (inaudible 0:57:06.1) and that he taught us that even if we think we have transcended on those complexes and the business in us there are still looking in us all kinds of inheritances of ancestral myth and therefore we defend something which may have happened thousands of years behind us. We are not sure and up to date to create that kind of art which was that if you like the crucifix or the art of (inaudible 0:57:29.3) as the past did. Today what the painting said is in the terms of (inaudible 0:57:34.2) Picasso and also of (inaudible 0:57:37.9) frescoes like those of (inaudible 0:57:37.8). But again that shows really that man today lives in a dismal strange isolation a lonely creature in the lonely crowd of the present time. He has to accept that and he has to follow up the consequences, which is to start from nothing. If abstract art today does the window so very many of us and sometimes annoy us it is because it has broken with the past in order perhaps to join up with the past again in the future which lies today in front of it. But many of us realize all the painters of my own generation that realize that unless this started again from zero from the square in the case of (inaudible 0:58:14.9) the German American painter. Unless they started from the circle in the case of (inaudible 0:58:21.7) a greater painter I think in those I just mentioned or in sculpture from the egg as (inaudible 0:58:27.2) did, or from scrap metal. Some of the greatest sculptures of our time Gonzales and Picasso and David Smith in America have done, and there are German (inaudible 0:58:37.1) also in England. Unless again we start from zero we shall not find that kind of new sincerity which art today wants to find. We want something which does not betray which is not merely a legacy or a prestige of the past but which has a sort of new authenticity. (inaudible 0:58:53.2) himself would something of a Dutch puritans mentality said somewhere in that modern art which he reduced almost one line. More room, he says, we have lost god there or a subject but more room is left for the divine and it is indeed a very seminal sentence. Perhaps more room is left for the divine in that sort of art. There is probably I think Malraux says that somewhere, the religious (inaudible 0:59:17.8) in a disguised way which is let's say in the smile on the face of a child painted by (inaudible 0:59:23.8) or even on the curve of a back of one of those nude woman painted by (inaudible 0:59:27.4) there is a sort of substitute for the divine there of (inaudible 0:59:31.3) absolutely, of the absolute which is perhaps our own type of divinity until eventually we can do something perhaps greatest starting from there but at least not repeating the mistakes or the platitudinous imitations which were transmitted to us by our ancestors. You know that what Malraux finds is that, we have today to discover indeed the kind of substitute for the absolute. Malraux, I interrogated him on that and he smiled. I should admit that he never would find it in tradition or religion and never would he go back to that. He was brought up of course like those Frenchmen as a catholic. But instead of that art for many of us today is a sort of new religion and the only one perhaps which will give in a meaning to the world what he calls a victory against faith, against human destiny using the phrase which is that also one of his novels have title, one of his novels and which of course comes from (inaudible 1:00:22.4). Each of these masterpieces he says at the end of his Voices of Silence, each of these masterpieces is a purification of the world. But their common message is that of their existence and the victory of each individual artist over his servitude's, spreading like rivers and the sea of time implements art internal victory over human destiny. Art is a revolt against man's fate and his very fond of its sentence, which he repeats several times, 'art not only is a victory against our servitude's and the fatalities which always try to crush us'. But art also to Malraux and to many of us who share those views today since Malraux is a deliverance. The only liberation perhaps spiritual liberation which are age conscribed for and new and forth. And again, I shall quote Malraux, 'the holy (inaudible 1:01:12.9) when it is the history of genius could be the history of a deliverance for history attempts to transform faith into consciousness', a sentence which recalls Karl Marx. For history attempts to transform faith into consciousness and art attempts to transform faith into freedom that is that obsession which was that of the Greeks of (inaudible 1:01:36.0) of some fatality shaping our ends. Shakespeare also says somewhere that can stop perhaps if we take refuge into the realm of art which is the only realm of the internal. Or again to mention Shakespeare in the famous lines of Hotspur dying in the first part of Henry the IV time has it stopped for time for (inaudible 1:01:53.8) life and life times full. Perhaps the greatest line that Shakespeare ever wrote. And time which takes (inaudible 1:02:01.4) of all the world must have it stopped. Well in art perhaps time must have it stopped and thus have it stopped. We can forget about the past or rather we can utilize the past truly more intensely and more (inaudible 1:02:14.4) into the future. That religious fervor of which I spoke has passed there and Malraux continues that only perhaps if he endows the world today with a new significance can modern artist really be worthy of what we expect of him and what he should also expect of himself. He says elsewhere and this should bring me soon to my conclusion, true art and true cultures relate man to duration sometimes to eternity and turn that into something else and the most favored denizen of the universe founded on (inaudible 1:02:45.1) each hero saint or sage stands for a victory over the human condition. In other words, and this is beautiful of Malraux to have said it perhaps the first and the most (inaudible 1:02:56.8) vociferously even because he is the predecessor of the existentialist far more basking into the absurdity of like, far more accepting the great message which perhaps was that of Shakespeare which in any case is that of Macbeth at the beginning of the fifth act of that greatest award tragedies that life has no meaning whatever as you know, a walking idiot and so on stresses wide upon the stage. And that everything is purely meaningless and absurd far from accepting these other very pessimistic statement of Shakespeare. When we are born we cry that we have come to this great stage of fools, all that we are nothing but flies to wanting gods of little boys. Instead of all that there is a meaning to it which you can extract from our sense of history, the only thing which distinguishes man from animals which is the awareness of a past or remembrance of a past. And the other thing which distinguishes man also from animals which is to know that we're going to die and to create therefore something which may transcend death. This in the terms of Malraux is the aim of all artistic culture today both for creators and for those who enjoy and admire artistic creation. It is even if god is there the Enochian famous terminology to be today what Shakespeare again and to finish with him and this year which is that in his for centenary to be today ENDS ABRUPTLY.
|Publisher (Electronic Version)
|Archives and Manuscripts Collections, The Baltimore Museum of Art;
|Holding Institution
|Baltimore Museum of Art;
|Date Original
|Date Digital
|Digital reproduction of one sound tape reel, 1 hour, 04 minutes, 14 seconds
|Audiovisual Collection, AV.RR.05.B
|Coverage (Time Period)
|Permission to reproduce this item is required and may be subject to copyright, fees, and other legal restrictions. For more information, please contact: E. Kirkbride Miller Art Research Library, Baltimore Museum of Art, 10 Art Museum Drive, Baltimore, MD 21218, (443) 573-1778, firstname.lastname@example.com

subset: commoncrawl


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Nepal and Himalayas have been the synonym words for Nepal enjoys the pride of having 8 out of 10 highest peaks of the world! We don't have only mountains but our unique geography has given us green hills and valleys, rivers, subtropical forests and flat lands all adding beauty to our country. Apart from geographical diversity, we have incredible cultural diversity within the boundary of our small Himalayan Kingdom . We have a number of ethnic groups, each with their own languages, cultures, and costumes, all living in perfect harmony.
The best way to experience unbeatable combination of natural beauty and cultural riches of Nepal is to walk through terrain. One can walk along the beaten trails or virgin tracks. Either way you are in for an experience of a lifetime. Along with rhododendron forests, isolated hamlets, small mountain villages, birds, animals, temples, monasteries (Gomba) breathtaking landscape of unsurpassable mountain ranges, you will also encounter friendly people of different cultures and traditional rural life.
The great Mountains with unsurpassable splendor, crystal clear streams and brooks, the high current of rivers, colorful species of flowers, birds and animals, abundance of greenery and forests with much more hidden beauty and mystery with unavoidable adventure and fun will be waiting for you.
The medieval arts and architecture in the temples and palaces, monasteries and stupas are another attraction to the visitors of cultural thirst.
|Tour in Nepal
|Trekking in Nepal
|Expedition in Nepal
|Peak Climbing in Nepal
- Nepal Hindu Circuit Package
- Muktinath Excursion Tour
- Muktinath by Helicopter
- Kathmandu Cultural Tour
- Muktinath-Pashupatinath Tour (Fixed weekly schedule)
- Damodar Kund Tour
- Kathmandu-Pokhara-Muktinath-Chitwan Tour
- KTM/Pokhara/Chitwan Tour
- Kathmandu/Chitwan Tour
- Lumbini Tour Packages
- Honeymoon Tour Packages
- Nepal Volunteer Services
- Nepal Information
- Api Himal Peak
- Cholaste Peak
- Chulu West Peak
- Churen Himal Peak
- Gyajikhang Peak
- Himlung Peak
- Kang Guru Peak
- Kanjirowa Peak
- Kirantchuli Peak
- Kumbhakarna Peak
- Mera Peak
- Naya Kanga Peak
- Putha Himchuli Peak
- Ramdun-Go Peak
- Singu Chuli Peak
- Sitachuchura Peak
- Telicho Peak
- Thamserku Peak
- Tharpachuli Peak
- Tripura Himchuli Peak
- Twache - Amadablam Peak


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Mark Daniel Nelson
Mark Daniel Nelson approaches painting and teaching in much the same way: He strives to simplify and organize information until it reaches its most potent, elemental form. A student of both representational and non-objective painting, Nelson regularly fuses seemingly incongruous approaches to create new and unexpected results. "I strive for two things," the artist states in his characteristically blunt manner, "impact and beauty. Eliminate the unnecessary parts and you're left with much more powerful, beautiful modes of expression." Mark Daniel Nelson is represented by Maxwell Alexander Gallery in Culver City, California, Gallery 1261 in Denver, CO and Jack Meier Gallery in Houston, TX. He has taught extensively in Art History, Human Anatomy, Drawing and Painting across the US.


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Tensleep Preserve ponderosa pine chronology
This chronology includes 16 ring width series from 12 ponderosa pines along the northern rim of Cook's Canyon. Sample depth in 1600 is 6 series from 3 trees, and cross dating is currently unreliable before 1700. The oldest tree has an inner ring date of 1504. The shortest series is 245 years. This chronology is preliminary, and will require additional sampling to improve its length, common signal strength, and cross dating.
Each ring width series was detrended using a negative exponential curve or straight line of 0 or negative slope. The green line below is a 25 year cubic smoothing spline which highlights low-frequency trends in the mean chronology.
The correlation of the 20th century portion of this chronology with Wyoming division 4 June precipitation and temperature and with May-July temperature and precipitation at several meteorological stations suggests that the entire chronology will be a good a proxy for regional drought stress and precipitation.
A conspicuous period of stressed growth occurred in the 1890s in these ponderosa pines. This period is exaggerated in the chronology because most of the series are missing one or more rings in that decade.
There is similarity in low-frequency variation between this chronology and the Trapper and Inferno chronologies (see Synthesis).


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OpenPSA 9.0 RC3 Released
Next stop: 9.0 stable!
Over the Hill
Heads up, everyone! 9.0 is almost upon us
Going Native
A small update on midgard-portable
The Big One
All the roads lead to this
Arrivals and Departures
Where did all the code go?
Welcome to Shell
Who needs Webservers when you have the CLI?


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Storms batter the east coast of Australia with rain, wind, lightning and hail.
A YOUNG Toowoomba man is lucky to be alive after being plucked from floodwaters by a police officer at Clifton yesterday.
THE rain doesn't seem to have deterred many campers this Christmas weekend.
WARWICK emergency services are on full alert today as persistent rain continues to push up levels in the Condamine River.
CHINCHILLA residents will spend Christmas wondering just how badly the town will be flooded.
Pets & Animals
TERRIFIED screams are becoming a common occurrence through the streets of Rockhampton lately as an ugly menace explodes in great numbers.


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Foreign travel rules: duties performed partly overseas: seafarers
Section 370 ITEPA 2003 (Case C)
This page is concerned with the application of the foreign travel rules to employees who perform the duties of their employment on a vessel. Certain journeys may qualify for a deduction under Section 370 ITEPA 2003 provided the conditions in Section 370(1) have been met and the circumstances fall within Case C in Section 370(5).
The employee must:
- be resident in the United Kingdom (see EIM34010) and
the employee's taxable earnings must include an amount in respect of:
- the provision of travel facilities for a journey made by the employee, or
- the reimbursement of expenses incurred by the employee on such a journey.
Circumstances falling within Case C:
- the duties of the employment are performed partly outside the United Kingdom
- those duties are performed on a vessel
- the journey is between a place in the United Kingdom and a place outside the United Kingdom where duties of the employment are performed
- the duties performed outside the United Kingdom can only be performed there and
- the journey is made wholly and exclusively for the purpose of performing those duties, or those duties and other duties of the employment, or returning after performing them.
Where seafarers' duties are performed (Section 372 ITEPA 2003)
Section 372 provides special rules for deciding where duties of an employment on a vessel are performed for the purposes of the deductions allowed by Section 370 (employee's travel where duties performed abroad) and Section 371 (visiting spouse's, civil partner's or child's travel where duties performed abroad). Whether duties performed on a vessel are performed in or outside the United Kingdom should be determined without regard to the rules in Section 40(2) ITEPA 2003 that treat certain duties as performed in the United Kingdom (see EIM40206).
The condition in Section 370 (Case C) that the duties of employment are performed partly outside the United Kingdom can therefore be tested by reference to the actual place where the duties are performed. Where employment duties are performed on a vessel located outside of United Kingdom territorial waters, then the condition will be satisfied.
The same applies to the condition in Section 371 that the employee must be absent from the United Kingdom for a continuous period of at least 60 days for the purpose of performing the duties of one or more employments. Days that an employee spends performing duties on a vessel located outside of United Kingdom territorial waters may therefore be taken into account when determining whether there is a continuous period of at least 60 days.
Summary of deductions to be allowed
Where the employer provides travel facilities or reimburses expenses to enable a seafarer to perform duties outside the UK, the seafarer will be entitled to deductions in respect of:
- travelling expenses between home and the vessel at the beginning or end of any voyage and
- interim visits home.
The seafarer also qualifies for deductions in respect of the travelling expenses of the family where the additional conditions described at EIM34050are satisfied.


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Hotels in Dirt-Muncha, Russia
Search & Compare Dirt-Muncha Hotels
Save more with Secret Prices
Get instant savings with Secret Prices
Best hotels in Dirt-Muncha
Where to stay in Dirt-MunchaWhether traveling for business or pleasure, Dirt-Muncha can comfortably accommodate you. There are Dirt-Muncha accommodations with discounts of up to 10%. We have room prices starting at 53 USD per night.
How to get to Dirt-MunchaFly into Naberevnye Chelny (NBC-Begishevo), 12.2 mi (19.6 km) from the heart of Dirt-Muncha.
When to visit Dirt-MunchaWondering what time of year to travel or what clothes to pack? Here are some average seasonal norms to help you plan your vacation:
Seasonal temperature averages
- • January-March: 38°F day, 1°F night
- • April-June: 75°F day, 24°F night
- • July-September: 76°F day, 39°F night
- • October-December: 50°F day, 7°F night
- • January-March: 0.16 inches
- • April-June: 0.24 inches
- • July-September: 0.39 inches
- • October-December: 0.24 inches


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Arcadian Functor
occasional meanderings in physics' brave new world
About Me
- Name: Kea
- Location: New Zealand
Marni D. Sheppeard
Saturday, April 26, 2008
5 Comments:
- Doug said...
Hi Kea,
I think that the Terminator also said "I'll be back", in numerous films with slight variations?
I think the Beattles also had a song with this title.
Welcome back.
- Bee said...
Lovely, I like that version :-) Thanks for the link.
- Kea said...
Hi Doug and Bee. I was in fact thinking of the Terminator!
- CarlBrannen said...
Back in physics grad school, we had this professor who was well known to be completely unable to do even the simplest arithemtic. However, he was a brilliant lecturer on higher math.
So whenever we decided that he had given us enough theory for the day, and was starting to overflow our input buffers, we'd ask him to do a particular example.
Now that I think of it, there was another professor, from when I was in math grad school, who could be derailed by asking him what his favorite things were. The answers were a certain type of cigar, a certain form of alcohol, and a subject which is avoided by family newspapers. The class would be disrupted because his discussion on these subjects would last until the bell rang, and then on until the next class arrived to take over the room.
I'm sure that your customers mean you no insult by making assumptions about your math skills. Nor am I at all sure that there is a way to drop the information that you have a PhD in math without reducing your effectiveness. Let it be a surprise, a little secret about the restaurant that is known by the long term customers only.
- Kea said...
Carl, I wouldn't dream of telling the customers that I have a PhD in theoretical physics! And my workmates really aren't that interested in discussing it. As it happens, I'm not that great at arithmetic, although I'm good enough to be efficient and accurate in a busy restaurant setting. More to the point, whether about arithmetic or the day's weather (the topic is irrelevant) condescension is sometimes painfully apparent, and as a good professional I say nothing ... and laugh internally, because it is rather funny ... but it is also one of many, many constant reminders of my gender which I suspect you are not used to experiencing.


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In a major makeover plan for the much-stressed Central Railway (CR) suburban system, the management is studying an ambitious Rs 20,000 crore plan improve services including acquisition of 150 new rakes and introduction of additional routes and adequate parking lines.
Akhil Agrawal, General Manager, Central Railway, has reportedly said that he is studying the report of a committee on improving the suburban services and will take an appropriate decision. The committee was formed at the instance of Railway Minister Suresh Prabhu, who was shocked after a video clip of an accidental death near Thane went viral, notes that ten people die daily on CR tracks and the basic reason for this is the huge demand-supply gap.
The committee cautioned that the situation with the existing stock can be explosive by 2030 as the number of casualties will multiply manifold due to open doors on the trains, the committee cautions and stresses that CR trains need air-conditioning and door closures much before the Western Railway.
The Central Railway is known to have taken various steps like increasing frequency of trains, introducing 12 coach rakes which resulted in fall in deaths on tracks due to various reasons over the past eight months to 1,414 as compared to the figure of 2,187 over the previous year.


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Tour Dates
Experience the ultimate predator viewing, with the ultimate predator photographer. Greg du Toit is an award winning professional wildlife photographer and predators are one of his specialities. Photographing them in a new light is another. If you are looking for a unique point of view with regards to large mammals, predators and action based photography: Greg is the guide for you.
We have composed this itinerary to meet the exact needs of a premier predator safari. Combining Mashatu's open ruggedness- perfect for leopard- and Mala Mala's notoriety on the big cat front you will have access to the best there is to offer on a big cat photo experience. Adding the services of Greg du Toit completes the ultimate predator focussed trip you can expect. Being a Premier C4 Photo Safaris tour, there will be only three photographers on this trip.
The intention is to keep the group intimate so that you can get the ultimate tutorship and attention from your professional photographer. Enhancing your experience, improving your images and enjoying the company you are travelling with.
Meet and greet at O.R. Tambo International Airport in Johannesburg. An Airlink representative will take you to the scheduled flight (early afternoon) to Mala Mala. On arrival at the airstrip at Mala Mala you will be transferred to Mala Mala Main Camp for 4 nights stay.
Mala Mala Game Reserve lies strategically sandwiched between the Kruger National Park and the Sabi Sand Wildtuin. The unfenced borders between Mala Mala and the Kruger National Park on one side, and the Sabi Sand Wildtuin on the other allow animals to migrate unhindered to the perennial Sand River which flows north to south through Mala Mala for 20 kilometres (13 miles). This well-preserved wilderness is a "honey-pot" to the most sought-after wildlife species, as well as a host of smaller creatures. Mala Mala's accommodation is discreet, classic and elegant African opulence.
The ochre-coloured buildings of Mala Mala Main Camp are clustered amid shady trees and manicured lawns overlooking the Sand River. The individually decorated, spacious and comfortable rooms under traditional thatching offer spectacular views of the river and the wild- and bird life that are attracted to the water for refreshment and refuge from the hot African sun. The rooms are equipped with "his-and-hers" bathrooms, 24 hour temperature control, insect proofing, direct dial telephones, a mini-bar and a mini-safe. Despite the comfort offered, Mala Mala retains an authentic bushveld camp atmosphere, where the attention to detail for which Mala Mala is world-famous shines through.
After you last game drive and breakfast at Mala Mala you will be taken back to the airstrip for you flight transfer (midday) to Mashatu Game Reserve. A Mashatu representative will meet you at the airstrip and transfer you to Mashatu Main Lodge for your 4 nights stay.
Mashatu Game Reserve is a wholly preserved and untainted wilderness in eastern Botswana, at the confluence of the Limpopo and Shashe Rivers. The ample plains range from savannah, to riverine forests, marshland, and sandstone outcrops.
Mashatu, "Land of Giants" takes its name from the locally-sacrosanct Mashatu tree and the giants that roam the terrain. As one of the largest private game reserve in southern Africa, Mashatu is, at 25 000 ha (75 000 acres), a fitting setting for the world's largest land mammal (the elephant) - with the largest herds on privately owned land on earth. Mashatu also provides sanctuary to the world's tallest mammal (the giraffe); the world's largest antelope (the eland); the world's largest bird (the ostrich) and of course, the world's heaviest flying bird (the kori bustard). Add the lion, the king of the beasts and the iconic baobab - and you have Africa's Big Seven.
After an early morning game and breakfast you will be transferred back to the airstrip for your scheduled flight back to O.R. Tambo International Airport, South Africa, in time for your international flights home. This is the end of the safari.
Mala Mala Game Reserve is the Safari Industry's blueprint to the luxury photographic safari. In existence since 1927, this massive thriving tract of land produces the most exciting wildlife experience this side of the equator. Mala Mala Game Reserve is the largest private Big Five game reserve in South Africa. Comprising 13 300 ha (33 000 acres), Mala Mala shares a 19 km (12 mile) unfenced border with the world-renowned Kruger National Park, and lies strategically sandwiched between the National Park and the Sabi Sand Reserve.
Mala Mala Cuisine
South African Cuisine. The breakfasts usually consist of cereals and a hot English breakfast. Buffet lunches are usually light with a variety of salads and always a meat option. Dinners are traditional English affairs usually with a soup starter and freshly baked camp bread. The main course will usually be a roast of sorts, with vegetables. Dessert is usually a simple affair consisting of fruit or a baked pudding.
For the client who is accustomed to luxury, this camp will meet every expectation. 14 luxury suites lie along the camp's perimeter, and are designed to allow absolute privacy and a communion with the bush and its inhabitants. Each of the air-conditioned suites at Mashatu Main Lodge is tastefully decorated, and includes impressive black and white prints of Africa's most beautiful animals. A double bed and an extra-large single bed, together with a seating area that includes a single day bed, comfortably accommodates families with younger children.
The ample en-suite bathroom with both bath and shower facilities and a separate W.C. complete the well-appointed suites. This is the ideal camp for the family traveller. A large swimming pool is a focal point where visitors cool down and relax between game activities. The Discovery Room is the portal through which curious visitors get a glimpse of another world – one that existed long before the appearance of man. The animal specimens and relics will fascinate and educate visitors of all ages, as will the resident crocodiles – both great and small.
30% deposit confirms your booking
Maximum of 3
Meet and greet at O.R. Tambo International Airport in Johannesburg. An Airlink representative will take you to the scheduled flight (early afternoon) to Mala Mala. On arrival at the airstrip at Mala Mala you will be transferred to Mala Mala Main Camp for 4 nights stay.
After your last game drive and breakfast at Mala Mala you will be taken back to the airstrip for your flight transfer (midday) to Mashatu Game Reserve. A Mashatu representative will meet you at the airstrip and transfer you to Mashatu Main Lodge for your 4 nights stay.
After an early morning gamedrive and breakfast you will be transferred back to the airstrip for your scheduled flight back to O.R. Tambo International Airport, South Africa, in time for your international flights home. This is the end of the safari.
"Firstly, I think wed forgotten just what a great guide Greg is. His wildlife and photographic experience are incontrovertible, but its the fact that he devotes his time and efforts to us as clients, and give as much information and help as you want. He is also so good at directing the drivers to the ideal photographic spot for each sighting. His seminars during the day, may theoretically be stuff we should know, but there is always something to learn, and he explains and talks very well. We were also lucky to have Mala Malas photo car, which works very well with its bean bag supports, and of course, a row each there and in Mashatu. Its difficult to find any complaints about the accommodation etc in both MalaMala and Mashatu - theyre really both excellent, and both guides, Roan and Bashi were excellent too. Flying between them is a great luxury after our times of driving up to Mashatu, but as you know the luggage was the only issue on that front. It was frustrating that really there was plenty of space on all 3 flights for us to have taken the 2 extra small bags we had, but Fed Air were obviously keen that we left them behind. Many many thanks for organising Herman to come and sort us out afterwards - that was a great relief, otherwise we would have had the hassle and cost of arranging a taxi to Fed Air and back, while worrying about the time. So much appreciated. Mala Mala was strangely devoid of leopards after all the hype that everyone gives it, but the lions provided substantial compensation, as well as lots of other wildlife, so I think we came back with decent shots once weve found to look at them! "Michael Parker & Lisa Poncent
"We booked our recent trip through C4 Images travelling with Greg Du Toit to South Africa Mala Mala and Botswana Mashatu for a Predator workshop. We loved every minute ten out of ten on all levels. We had some amazing sightings cheetahs on a hill silhouetted by a magnificent sunrise, eleven leopard sightings including some with kills, the incredible hide at Mashatu waterhole with so many elephants coming into drink, a week-old rhino with its mother, sable, buffalo and, of course, lions were all that we came to Africa to see and photograph. Finding a leopard with her cubs playing outside the thicket on our last morning was about the best sighting one could get. Thank you to Minette for her great organisation and communication."Georgie and Dave Smith
"Our safari exceeded our expectations! Gregs companionship, leadership instruction was outstanding. It was clear that C4 engaged the best drivers in Bashi and Roan.jpgy amazed us in their ability to find wildlife the lengths to which they go to ensure we were in the right spot. We appreciated Gregs bush school where he reiterated basic photography techniques. Gregs reminders of the starting point settings while on location was also very helpful. We also had great fun photographing predators by spotlight flash. Mashatu was outstanding in all respects. Mala Mala is excellent too. Thee variety quantity of wildlife could not be bettered! "Tom and Pam Holmes
"Our safari exceeded our expectations! Greg Du Toits companionship, leadership instruction was outstanding. It was clear that he engaged the best drivers in Bashi and Roan.They amazed us in their ability to find wildlife the lengths to which they go to ensure we were in the right spot. We appreciated Gregs bush school where he reiterated basic photography techniques. Gregs reminders of the starting point settings while on location was also very helpful. We also had great fun photographing predators by spotlight flash. Greg even taught us to photograph the night sky. Mashatu and Mala Mala were outstanding in all aspects. The variety quantity of wildlife could not be bettered! We greatly appreciated Vernon Swanepoel in Sossusvlei. Vernon is very adept at dealing with the park bureaucracy. He also willingly shared his in depth knowledge of natural human history. At the end of 3 days we had our fill of dune photography from the road so on the 4th day we took two walks into the dunes for a closer look.jpgs was fun showed a very different side of the Namib Valley. We were pleasantly surprised at the amount of wildlife we saw in the dunes oryx, jackal, springbok, ostrich many bird species. We even saw a bat eared fox family an aardwolf. Of course the photo opportunities were much better on safari. Shems recommendations assistance for our independent travel were invaluable. He even helped us obtain a rented ball head because Pam left hers at home. If hopefully when we return to Africa, we will certainly choose C4 and Greg Du Toit again."Tom and Pam Holmes
"Just a short note to Shem and Team, thanks to all for the way you all are willing to share your photographic and other knowledge with all who go on your workshopssafaris. I have been on a few and never been disappointed, starting with the admin and organising of the trip to getting back home with loads of knowledge and great images. Thanks all at c4 you can be truly proud....Margaret Olivier 31st October 2014"Margaret Olivier
"This was our most amazing safari ever, never before did we have so many, and such fantastic photo opportunities. A big thank you to Greg for getting us from average to good photographers, teaching us where to focus, to read the light and see with our eyes and heart."Astrid Juerg Bluemel