Monday, December 20, 2010
Thursday, December 16, 2010
Southpark Fishsticks Episode Quotes
Autumn Astrology The decline of scientific discourse on the stars by Copernicus to the present day
Price € 18.00
Odradek
Editions Book - 220 Pages
Size: 13.5 x21
Year: 2010
Astrology is a practice with amazing ability to change and adaptation as scientific matter managed to survive for a while even the earthquake resulted from the heliocentric theory of Copernicus and Galileo discovered the telescope. Its decline was slow because, although the theoretical model was in crisis, the operations is not affected.
Kepler thought that astrology might be reformed, and in the second half of the seventeenth century a number of astrologers seek to adapt their art to the new experimental science.
Even in the eighteenth century - in full Enlightenment - astrology was a weak residual survival in the field of medicine and meteorology. Later, as a science, astrology was completely discredited and survived mainly in the popular almanacs.
But already in the nineteenth century occultism and was recovered in the next century, the first studies on the symbolism and myth in art history and then by Jungian thought. Everything came together in thought New Age, in which astrology has a role alongside other alternative disciplines and value millenarian.
How legitimate science, however, was unable to recover. For centuries it was considered insignificant and left aside by astronomers and scientists, or fought with rhetorical weapons. Surprisingly, only in the last century have been put in place a series of studies that have demonstrated "scientifically" that astrology is not a science. But maybe it was wasted effort: the reasons for the success of this practice are not only logical and rational and not measured in terms of effectiveness.
It follows that can be classified as "easy to guess" those who have predicted that this will pseudo-science with us much longer.
Andrea Albini (Pavia, 1962) at the Technical University of Pavia, assigned to the study of engineering materials. Author of a number of scientific papers, is also involved in popularizing science and has worked with national newspapers and magazines on topics of history of science and technology. And technical-scientific Cicap (Italian Committee for the Investigation of Claims of the Paranormal).
WHAT'S NEW IN THIS CATEGORY
The Birth of Astrology
Pluto and the Evolution of the Soul
How to stay healthy with the Medical Astrology
Branko Astrological Calendar 2011
The Only Astrology Book You referred Really Need
Names & Zodiac Signs
Love & Zodiac Signs
Astroguida
Horoscope 2011
Against Saturn 
Price € 18.00
Odradek
Editions Book - 220 Pages
Size: 13.5 x21
Year: 2010
Astrology is a practice with amazing ability to change and adaptation as scientific matter managed to survive for a while even the earthquake resulted from the heliocentric theory of Copernicus and Galileo discovered the telescope. Its decline was slow because, although the theoretical model was in crisis, the operations is not affected.
Kepler thought that astrology might be reformed, and in the second half of the seventeenth century a number of astrologers seek to adapt their art to the new experimental science.
Even in the eighteenth century - in full Enlightenment - astrology was a weak residual survival in the field of medicine and meteorology. Later, as a science, astrology was completely discredited and survived mainly in the popular almanacs.
But already in the nineteenth century occultism and was recovered in the next century, the first studies on the symbolism and myth in art history and then by Jungian thought. Everything came together in thought New Age, in which astrology has a role alongside other alternative disciplines and value millenarian.
How legitimate science, however, was unable to recover. For centuries it was considered insignificant and left aside by astronomers and scientists, or fought with rhetorical weapons. Surprisingly, only in the last century have been put in place a series of studies that have demonstrated "scientifically" that astrology is not a science. But maybe it was wasted effort: the reasons for the success of this practice are not only logical and rational and not measured in terms of effectiveness.
It follows that can be classified as "easy to guess" those who have predicted that this will pseudo-science with us much longer.
Andrea Albini (Pavia, 1962) at the Technical University of Pavia, assigned to the study of engineering materials. Author of a number of scientific papers, is also involved in popularizing science and has worked with national newspapers and magazines on topics of history of science and technology. And technical-scientific Cicap (Italian Committee for the Investigation of Claims of the Paranormal).
WHAT'S NEW IN THIS CATEGORY
The Birth of Astrology
Pluto and the Evolution of the Soul
How to stay healthy with the Medical Astrology
Branko Astrological Calendar 2011
The Only Astrology Book You referred Really Need
Names & Zodiac Signs
Love & Zodiac Signs
Astroguida
Horoscope 2011
Against Saturn
How Do You Mount An Itouch On A Wheelchair
The Mystery of Death in traditional
Price € 22.00
Itinera
Projects Book - 202 Pages
Size: 16x24
Year: 2010
This book describes a way of thinking and living the life experiences distantissimo widespread in the West.
very different from what is commonly fabled here, the approach of the Indians to death is not informed in a fatalistic attitude. On the contrary, life is conducted with the desire to achieve a "good death", which concludes a long and satisfying life.
But death is not opposed to life. Death is a brief moment of exit from the current condition of existence and at the same time, is a birth to another kind of way. So death is comparable to the birth rather than to life, as it is in use in the West.
The book is therefore of the problems affecting the conception, birth and development of the human being, its decay and death.
The point of observation of these phenomena is based on research that the author has made in the course of forty years in the social reality of India today. Has found that over the centuries and millenniums the attitude of Indians towards death is not changed much, and this allowed him to refer to the ancient Sanskrit texts, following the interpretative key that today priests Hindu religion is invoked as an explanation, and scientific mystery of departure.
Along with speculative interpretations of great depth, the book contains a description of the rituals that accompany the dying person to cross the threshold of death. The story of the experience of death and feelings during the agony s'accompagna beliefs about the trip that takes the soul of the deceased to reach the heaven of the ancestors, the dangers are in the early days after his death, attacks witchcraft and the risk of becoming a lost soul, a revenant, a vampire. Following is the opinion of Yama, the god of the underworld and the achievement of perpetual abode of the dead. But this does not end with the imaginary Indian posthumously at the end of the world of men, the dead, the last living together, begin the first of an indefinite series of migrations into new worlds, with births and deaths are continuing at a rebirth in doubly dead, always looking for that liberation that will allow elected to leave the perpetual becoming, and to identify Being, the Supreme Deity.
Index:
• Introduction • General policy of Indian human being (purusha) and the individual man (manusya) •
beings and their individual compound
• Hierarchies of beings
• Nature and quality of conception and intrauterine life • Being
human being from birth to maturity
• The 'embodiment of the human
• The decline toward death
• Psychosomatic agony and rituals of comfort
• funeral rites and destruction of the corpse
• The way to become ancestor
• Other forms of funeral rites funeral
• Architecture • The travel posthumous
• In the United
of Death • The post-mortem of the initiated and the path towards liberation
Found in Life and
death
Eastern Traditions
WHAT'S NEW IN THIS CATEGORY
I'm with you
Thinking Michele
We and Death
purring Oscar
front of the door Shadow
Life Death
The Mind Beyond Death
The Beyond - The Places of the Soul
Life After Death
Ms. Holle 
Price € 22.00
Itinera
Projects Book - 202 Pages
Size: 16x24
Year: 2010
This book describes a way of thinking and living the life experiences distantissimo widespread in the West.
very different from what is commonly fabled here, the approach of the Indians to death is not informed in a fatalistic attitude. On the contrary, life is conducted with the desire to achieve a "good death", which concludes a long and satisfying life.
But death is not opposed to life. Death is a brief moment of exit from the current condition of existence and at the same time, is a birth to another kind of way. So death is comparable to the birth rather than to life, as it is in use in the West.
The book is therefore of the problems affecting the conception, birth and development of the human being, its decay and death.
The point of observation of these phenomena is based on research that the author has made in the course of forty years in the social reality of India today. Has found that over the centuries and millenniums the attitude of Indians towards death is not changed much, and this allowed him to refer to the ancient Sanskrit texts, following the interpretative key that today priests Hindu religion is invoked as an explanation, and scientific mystery of departure.
Along with speculative interpretations of great depth, the book contains a description of the rituals that accompany the dying person to cross the threshold of death. The story of the experience of death and feelings during the agony s'accompagna beliefs about the trip that takes the soul of the deceased to reach the heaven of the ancestors, the dangers are in the early days after his death, attacks witchcraft and the risk of becoming a lost soul, a revenant, a vampire. Following is the opinion of Yama, the god of the underworld and the achievement of perpetual abode of the dead. But this does not end with the imaginary Indian posthumously at the end of the world of men, the dead, the last living together, begin the first of an indefinite series of migrations into new worlds, with births and deaths are continuing at a rebirth in doubly dead, always looking for that liberation that will allow elected to leave the perpetual becoming, and to identify Being, the Supreme Deity.
Index:
• Introduction • General policy of Indian human being (purusha) and the individual man (manusya) •
beings and their individual compound
• Hierarchies of beings
• Nature and quality of conception and intrauterine life • Being
human being from birth to maturity
• The 'embodiment of the human
• The decline toward death
• Psychosomatic agony and rituals of comfort
• funeral rites and destruction of the corpse
• The way to become ancestor
• Other forms of funeral rites funeral
• Architecture • The travel posthumous
• In the United
of Death • The post-mortem of the initiated and the path towards liberation
Found in Life and
death
Eastern Traditions
WHAT'S NEW IN THIS CATEGORY
I'm with you
Thinking Michele
We and Death
purring Oscar
front of the door Shadow
Life Death
The Mind Beyond Death
The Beyond - The Places of the Soul
Life After Death
Ms. Holle
Wednesday, December 15, 2010
Monday, December 13, 2010
Dunk Tank Design Instructions
The Vera Question Lives GI Gurdjieff: a living call
Price € 22.00
Libreria Editrice Psyche
Book - 250 Pages
Size: 15x21
Year: 2010
This book is the testimony of the spiritual journey of Henri Tracol. The meeting with GI Gurdjieff was crucial for him and encouraged him to develop a true influence received.
Henri Tracol claims that Gurdjieff's teaching is essentially practical: rather than a theoretical response provides a method.
This teaching "asks the man, first of all, the need for understanding, the man must not do nothing without understanding, must ensure himself of the truth of what he said. "
Henri Tracol stayed with Gurdjieff for a decade until his death in 1949. Together with others, did live this teaching in Europe and America.
Found in
Georges Gurdjieff
spiritual Masters
OF THE AUTHOR OF "The real question Lives"
The real question Lives
WHAT'S NEW IN THIS CATEGORY
PD Ouspensky - The Genius in the Shadow of Gurdjieff
A Heart Without Limits
real life
Servants of Love
Beelzebub's Tales to His Grandson
Antenna Man
Around awakened to itself
The Diary of Madame égout Pour Sweet
The Unknowable Gurdjieff
Back to the Present 
Price € 22.00 Libreria Editrice Psyche
Book - 250 Pages
Size: 15x21
Year: 2010
This book is the testimony of the spiritual journey of Henri Tracol. The meeting with GI Gurdjieff was crucial for him and encouraged him to develop a true influence received.
Henri Tracol claims that Gurdjieff's teaching is essentially practical: rather than a theoretical response provides a method.
This teaching "asks the man, first of all, the need for understanding, the man must not do nothing without understanding, must ensure himself of the truth of what he said. "
Henri Tracol stayed with Gurdjieff for a decade until his death in 1949. Together with others, did live this teaching in Europe and America.
Found in
Georges Gurdjieff
spiritual Masters
OF THE AUTHOR OF "The real question Lives"
The real question Lives
WHAT'S NEW IN THIS CATEGORY
PD Ouspensky - The Genius in the Shadow of Gurdjieff
A Heart Without Limits
real life
Servants of Love
Beelzebub's Tales to His Grandson
Antenna Man
Around awakened to itself
The Diary of Madame égout Pour Sweet
The Unknowable Gurdjieff
Back to the Present
What Kind Of Weave Does Myamme Wear
Tarot and the Tree of Life One way cabalistic, astrological and esoteric understanding of archetypes
OF THE AUTHOR OF "The Tarot and the Tree of Life "
WHAT'S NEW IN THIS CATEGORY
Kabbalah
The Voice of the Body
Kabbalah Sefer ha Zohar - The Book of Splendor
Kabbalah - New Perspectives
Kabbalah Revealed
The Cabala - Cards for Meditation
the royal
Practical Kabbalah
Kabbalah and the Spiritual Laws for the happy couple 
Price € 28.00
Psyche 2
Book - 432 Pages
Size: 15x21
Year: 2010
The concern that motivates this work is to provide, as possible, an original visual, less obvious - and certainly unorthodox - the tight connections, developed in the esoteric world, including the symbolism of the Tarot and the Tree of Life, the heart and center of that area of \u200b\u200bJewish mysticism known as Kabbalah.
Symbols, like myths, describing the way dell'autotrasformazione for this lie outside of time, and remain current and viable in every moment of history, available to the "Gold Digger, spiritual." It is the untapped potential of every conscience to make living, practical and useful symbols, because consciousness itself is to have them adopted, as a matrix of archetypal language.
The work is part of the Necklace The Wisdom of the Kabbalah, which aims to collect the works of Italian authors and dedicated to research cabalistic, and translations of ancient and modern texts that are part of the corpus of the matter. In this book the author proposes to revise the meaning of the archetypes of the Tarot in accordance with a broader perspective that crosses paths cabalistic, astrological and esoteric.
Psyche 2
Book - 432 Pages
Size: 15x21
Year: 2010
The concern that motivates this work is to provide, as possible, an original visual, less obvious - and certainly unorthodox - the tight connections, developed in the esoteric world, including the symbolism of the Tarot and the Tree of Life, the heart and center of that area of \u200b\u200bJewish mysticism known as Kabbalah.
Symbols, like myths, describing the way dell'autotrasformazione for this lie outside of time, and remain current and viable in every moment of history, available to the "Gold Digger, spiritual." It is the untapped potential of every conscience to make living, practical and useful symbols, because consciousness itself is to have them adopted, as a matrix of archetypal language.
The work is part of the Necklace The Wisdom of the Kabbalah, which aims to collect the works of Italian authors and dedicated to research cabalistic, and translations of ancient and modern texts that are part of the corpus of the matter. In this book the author proposes to revise the meaning of the archetypes of the Tarot in accordance with a broader perspective that crosses paths cabalistic, astrological and esoteric.
OF THE AUTHOR OF "The Tarot and the Tree of Life "
WHAT'S NEW IN THIS CATEGORY
Kabbalah
The Voice of the Body
Kabbalah Sefer ha Zohar - The Book of Splendor
Kabbalah - New Perspectives
Kabbalah Revealed
The Cabala - Cards for Meditation
the royal
Practical Kabbalah
Kabbalah and the Spiritual Laws for the happy couple
Thursday, December 9, 2010
Bumps On Back Of Tongue More Condition_symptoms
The Magic Sword of Moses The Book of sublime magic of the ancient spirits of the four kingdoms, revealed by Moses to the Lord's elect.
Price € 75.00
Rebis Publishing Book - Page 90
Size: 21.5 x30
Year: 2010
with all the secrets to dominate the Armada Heavenly and force obedience to the most terrible legions of demons through Portentoso Name Divine, infallible Word of Power and Wonderful Virtues of the Angels.
Formulas with the wonders of the Command, the High Mysterious Prayer, the miraculous incantations and invocations to achieve Mystic Charms and Talismans Magic Seals of the Book of Spirits and 150 for the first time revealed.
First Italian edition large format one of the rarest and most sought after works of magic exist, dating from the fourth century AD, in luxury as a two-color printing on special paper, bound in cloth with all precious impressions and gold trim, made only 500 numbered copies.
This very interesting and fascinating magic book was published for the first time in 1896 in London in an edition that has become impossible to find today, unfortunately, incomplete. The work was received with considerable enthusiasm in occult circles of the time, as was the first translation from Hebrew of a legendary esoteric text, believed to be irretrievably lost for centuries, a tradition which passed down orally from one era to unknown underground had secretly told virtue and miraculous powers.
Edition English has many gaps, both in part about the text itself, as in the strictly operating on the magical seals that fit necessarily work. The lack of power of the leading names of the Angels and Spirits responsible use of the Magic Sword of Moses, and above all of the necessary seals traditionally used to activate this particular genre of books considered authentic 'Guides to Spells' made it virtually impossible to set on this publication piano magic.
After a long period of intensive bibliographic research, however, we managed to find an important manuscript from the archives of confidential Initiate an Order American, which, besides the missing parts of the text, even the precious 'Code of the Secret Order', or Key Operational Work, consisting of practice in a particular code need to be able to decrypt encrypted and then correctly interpret the long list of Names on the volume and especially to complete the exact spelling of the Seals corresponding to the Angels of the 'sword', which are essential to activate the book.
This beautiful manuscript version has finally been translated and published in a superb dignity issue directed to the most demanding lovers of rare works of magic and we are particularly proud that the legendary 'Magic Sword of Moses' appears to first time in the world in its entirety right here in Italy, the magical land where the golden arcane traditions never extinguished.
From the chapter on 'Secret of the Magic Sword of Moses', on the direct use of seals, talismans and their applications, are some extracts are useful for understanding the operational value of this magnificent text:
"To join a man and a woman as if they were one, to defeat evil spirits, demons and Satan, to invoke the angels to come down to us against the possession, against any disease, to invoke the spirits, to make business successful, for free from any evil spell to win forever the heart of a person, to make your trip lucky to win friends and advantages, to communicate with a deceased person in a dream, to destroy the evil and attacks a neighbor, to expose the pitfalls in order to enhance the reputation against evil influences, to charm, to stop the enemies, to name a guardian angel, to consult one of the principles of heaven so that he may teach us all that you want to know, to protect the house from thieves, to protect themselves in any location, etc. . etc. ".
Found in
Esoteric
Magic
OF THE AUTHOR OF "The Magic Sword of Moses"
Initiation to the magic of fairies
Magic purifying
Magic Secret - Volume 3
of The Sibyl Fortuna
Ancient Egyptian Construction
WHAT'S NEW IN THIS CATEGORY
The Secret Teachings of Martines De Pasqualis
The Lodges of St. John
The Book of Magic Seven Dragons
That is the initiatory journey of the 33 Degrees of Wisdom
I Am Immortal
Hermeticism and Alchemy
The Voice of the Body
Initiation
The bond between the living and the dead
The Jewel in the Lotus 
Price € 75.00
Rebis Publishing Book - Page 90
Size: 21.5 x30
Year: 2010
with all the secrets to dominate the Armada Heavenly and force obedience to the most terrible legions of demons through Portentoso Name Divine, infallible Word of Power and Wonderful Virtues of the Angels.
Formulas with the wonders of the Command, the High Mysterious Prayer, the miraculous incantations and invocations to achieve Mystic Charms and Talismans Magic Seals of the Book of Spirits and 150 for the first time revealed.
First Italian edition large format one of the rarest and most sought after works of magic exist, dating from the fourth century AD, in luxury as a two-color printing on special paper, bound in cloth with all precious impressions and gold trim, made only 500 numbered copies.
This very interesting and fascinating magic book was published for the first time in 1896 in London in an edition that has become impossible to find today, unfortunately, incomplete. The work was received with considerable enthusiasm in occult circles of the time, as was the first translation from Hebrew of a legendary esoteric text, believed to be irretrievably lost for centuries, a tradition which passed down orally from one era to unknown underground had secretly told virtue and miraculous powers.
Edition English has many gaps, both in part about the text itself, as in the strictly operating on the magical seals that fit necessarily work. The lack of power of the leading names of the Angels and Spirits responsible use of the Magic Sword of Moses, and above all of the necessary seals traditionally used to activate this particular genre of books considered authentic 'Guides to Spells' made it virtually impossible to set on this publication piano magic.
After a long period of intensive bibliographic research, however, we managed to find an important manuscript from the archives of confidential Initiate an Order American, which, besides the missing parts of the text, even the precious 'Code of the Secret Order', or Key Operational Work, consisting of practice in a particular code need to be able to decrypt encrypted and then correctly interpret the long list of Names on the volume and especially to complete the exact spelling of the Seals corresponding to the Angels of the 'sword', which are essential to activate the book.
This beautiful manuscript version has finally been translated and published in a superb dignity issue directed to the most demanding lovers of rare works of magic and we are particularly proud that the legendary 'Magic Sword of Moses' appears to first time in the world in its entirety right here in Italy, the magical land where the golden arcane traditions never extinguished.
From the chapter on 'Secret of the Magic Sword of Moses', on the direct use of seals, talismans and their applications, are some extracts are useful for understanding the operational value of this magnificent text:
"To join a man and a woman as if they were one, to defeat evil spirits, demons and Satan, to invoke the angels to come down to us against the possession, against any disease, to invoke the spirits, to make business successful, for free from any evil spell to win forever the heart of a person, to make your trip lucky to win friends and advantages, to communicate with a deceased person in a dream, to destroy the evil and attacks a neighbor, to expose the pitfalls in order to enhance the reputation against evil influences, to charm, to stop the enemies, to name a guardian angel, to consult one of the principles of heaven so that he may teach us all that you want to know, to protect the house from thieves, to protect themselves in any location, etc. . etc. ".
Found in
Esoteric
Magic
OF THE AUTHOR OF "The Magic Sword of Moses"
Initiation to the magic of fairies
Magic purifying
Magic Secret - Volume 3
of The Sibyl Fortuna
Ancient Egyptian Construction
WHAT'S NEW IN THIS CATEGORY
The Secret Teachings of Martines De Pasqualis
The Lodges of St. John
The Book of Magic Seven Dragons
That is the initiatory journey of the 33 Degrees of Wisdom
I Am Immortal
Hermeticism and Alchemy
The Voice of the Body
Initiation
The bond between the living and the dead
The Jewel in the Lotus
Stages Of Cancer More Condition_symptoms
A Magical Summer with Grandma Malva
Price € 14.03 instead of 16.50 15% discount
Aural
Editions Book - 370 Pages
Year: 2010
The result of the magical fairy-tale magic bestseller written by Michael Chiarello with great love for life, for nature and our potential.
In the first book you spoke of delightful tales told by Malva Grandma, Grandma extraordinary, wise, loving and genuine personality.
Here, in "A Magical Summer with Grandma mauve, we continue to review the wonderful adventures and experiences of Michael in contact with Nature and his own being. Impossible not to get involved in this magical, enchanting beauty of this book that teaches us that we create our reality, this is the true magic and the legacy and our birthright.
Michael Chiarelli - He lives in perfect harmony immersed in what he calls one of the most magical city in the world. His natural gifts are: Channelling and Clairvoyance, Clairaudience and foresight. She is passionate about esoteric sciences and an expert in magic arts is valued and known healer. Operator of Reiki, Cranio Sacral Balancing, EFT expert trainer, operator Orion Theta Healing DNA1-2 °. Music-therapist with a passion for Ethnomusicology, singer and musician. Great expert in folk song. Guide tracks individual and group acts to achieve internal growth.
Found in
Magic
Tales esoteric background
OF THE AUTHOR OF "A Magical Summer with Grandma mauve
A Magical Summer with Grandma Malva
fabled Magic
WHAT'S NEW IN THIS CATEGORY
The Magic Sword of Moses
The Magic Book of the Seven Dragons
How to protect against black magic
L 'Art of Magic
Amulets and Talismans Filters
Secrets of Magic
The Book of Shadows
White Magic and Black
Introduction to Hermetic doctrine
Cosmos Synergies Vibrational 
Price € 14.03 instead of 16.50 15% discount
Aural
Editions Book - 370 Pages
Year: 2010
The result of the magical fairy-tale magic bestseller written by Michael Chiarello with great love for life, for nature and our potential.
In the first book you spoke of delightful tales told by Malva Grandma, Grandma extraordinary, wise, loving and genuine personality.
Here, in "A Magical Summer with Grandma mauve, we continue to review the wonderful adventures and experiences of Michael in contact with Nature and his own being. Impossible not to get involved in this magical, enchanting beauty of this book that teaches us that we create our reality, this is the true magic and the legacy and our birthright.
Michael Chiarelli - He lives in perfect harmony immersed in what he calls one of the most magical city in the world. His natural gifts are: Channelling and Clairvoyance, Clairaudience and foresight. She is passionate about esoteric sciences and an expert in magic arts is valued and known healer. Operator of Reiki, Cranio Sacral Balancing, EFT expert trainer, operator Orion Theta Healing DNA1-2 °. Music-therapist with a passion for Ethnomusicology, singer and musician. Great expert in folk song. Guide tracks individual and group acts to achieve internal growth.
Found in
Magic
Tales esoteric background
OF THE AUTHOR OF "A Magical Summer with Grandma mauve
A Magical Summer with Grandma Malva
fabled Magic
WHAT'S NEW IN THIS CATEGORY
The Magic Sword of Moses
The Magic Book of the Seven Dragons
How to protect against black magic
L 'Art of Magic
Amulets and Talismans Filters
Secrets of Magic
The Book of Shadows
White Magic and Black
Introduction to Hermetic doctrine
Cosmos Synergies Vibrational
Thursday, April 1, 2010
South Park Human Papilloma Virus
looking for ... I would ... courage ...
Affectionate and sweet is the caress of the hand while looking the soul of a sculpture an ancient gesture that helped us in childhood to discover the complexity of life that ran around us, with its mysterious objects.
So in front of a stone, a marble sculpture in bronze, iron, the hand is drawn, almost invited to go through each floor, touching every corner, palpable forms, smooth with the palm of your hand curves.
This is what I always happen, and this is my aspiration in this direction should be my quest: to capture the one hand, tentacle controlled by thought and desire of man, to look forward to feeling.
Try to increase our feelings in meeting our passion is so an act of courage, otherwise it remains an unconscious instinctive gesture that anyone can afford to do.
Franco Beanies 
Affectionate and sweet is the caress of the hand while looking the soul of a sculpture an ancient gesture that helped us in childhood to discover the complexity of life that ran around us, with its mysterious objects.
So in front of a stone, a marble sculpture in bronze, iron, the hand is drawn, almost invited to go through each floor, touching every corner, palpable forms, smooth with the palm of your hand curves.
This is what I always happen, and this is my aspiration in this direction should be my quest: to capture the one hand, tentacle controlled by thought and desire of man, to look forward to feeling.
Try to increase our feelings in meeting our passion is so an act of courage, otherwise it remains an unconscious instinctive gesture that anyone can afford to do.
Franco Beanies
Friday, March 26, 2010
Salvage Metric Motorcycles
material choice, designed and carved sculptures of Franco Beanies
Luisa Berretti
The sculpture is the art of creating, the form, for images, using the technique of carving a raw material or even assembling together different materials.
The sculpture is also a project to connect, to link among themselves various aspects of emotional, aesthetic and cultural to provide an opportunity for knowledge and reflection on a variety of problems including a relationship with the territory where the artist works.
The choice of material, therefore, is important and essential to convey emotion, to express a concept, an idea to fix. How
operating process, first the idea, then, slowly, this, calling, it's you who chooses what material manifestation.
The sculptor Marino Mazzacurati about wrote: "... you can not create a work of art in an area other than where it was thought, because thought creates in itself the features existing in matter itself, features that are nontransferable and translatable to another "(Moments of marble, p. 272).
traditional materials, used largely in the past, new materials, the sculptor has always tried to speak to him in a manner using suitable materials depending on the time preference, age, fashion, or otherwise. Beanies
Franco was introduced to sculpture by himself. Initially, the wood, then the "stone of the Arno" (Columbine, limestone, sandstone). Forge iron has attracted to the immediacy of the final result, but the charm of the fusion of metal (bronze, aluminum, brass, gold, silver) then led him to artistic and finally in sculpture. Difficult, complex and reasoned it was approaching to marble.
Not wanting to deal with the sculpture of caps here in the formal sense and style, as others have already written (see 1991 and Franco F. Beanies Beanies 2004), this exhibition hosted at the exteriors and interiors of the Villa Medici of Cerreto Guidi, I would take another aspect of the sculpture of this artist, with a question: but what they mean to Franco Beanies material of his sculpture?
Wood returns as tree presence and becomes the second all-new idea and filtered by the mind of the sculptor, in TWO TREES (2007) [No 14], where our national walnut, clear in itself, is filled with dark veins, clear and contrasting, engraved on the surface rough cuts and decided to create intense chiaroscuro effects, trees are made more realistic by the nodes that appear here and there on the trunks tapered.
From the trunk of a tree, the artist reveals, "the strength to lift, a chisel, another tree, TREE (2002) [No 15]: the work is growing poplar wood, and recall the old chestnut trees, giant, carved into the smooth surface of the body into several parts, which suggests a close relationship, and induces the desire to caress the surface with rising hand up on the branches and leaves cut more hours now less recognized.
And yet, by assembling together several parts, was born WOOD (2005) [No 13], four trees, fir wood, carved strokes clear and focused, have rough surfaces, natural wood and cracks have widened and enhanced nodes are dark on light wood. Here the poetic humanized tree, which occurs in the sculptures of caps, it is evident in the branches, and comes to call, arms stretched wide open and up.
As if to demonstrate the non-universality of the statement by Vasari about the wood, according to the author, can not have the "plumpness and softness of the marble and bronze, is the "number" of women-ENVIRONMENT: that of 2004 [No 23] Wood of hornbeam and sweet-smelling cypress, one of the same year and mahogany wood of hornbeam [No 24], and another, 2002 [No 28], only hornbeam wood. Three women, formally different from each other: one that portrays, which is another show, but with reserve, the other still lying, more loose and free, and all have the same polished surface, the wood grain and create their faces and soft bodies pictorial effects. The play of curvilinear shapes between the tangled hair and the environment "cut" in which they are always present and is characteristic of the works of caps this period. The presence of an environment in mahogany, and then a contrasting color with hornbeam in which the woman is made, means that this gives the breath and depth, the combination of darker color, but also for the rough surface in contrast with that smooth the figure, and the lines that look like waves that ideally could go on forever.
In Tuscany and Florence in particular, commemorative monuments in Carrara marble, has always been the protagonists in the streets and cemeteries, where the marble is "furnishings", and placed relegated - I mean the cultural influences of many - marble in an area of \u200b\u200breverent awe in the first case, and cool detachment in the second.
why not just start talking with Franco Beanies marble, but with the stone. Only when he realizes that to be found another way of expression, the first figures are born, not shiny, "glossy", but smooth, "purged" with the abrasive stone to great success, to bring out the exact color.
For Caps, today (but since its "discovery"), the choice of the block is a part of and attendance at Carrara quarries and marble deposits. Is there a piece rather than another is revealed / reveals to his attention, he asks availability. He carefully checks, asking for the source, the goodness of the grain (and especially that it is not a "cottaròn") and then it does cut the wire. Already has in mind the sculpture in the block ... Michelangelo as enunciated in the Rime "He has the great artist no idea / what marble itself is not circonscriva / with its supercar, and only one comes / the hand that obeys the intellect" (Rime, 151 vv . 1-4).
Speaking of marble sculptures of Beanies is natural to follow a chronological order, as in the exhibition are works made of this material over a period of time ranging from 1985 to 2006.
In the three marble sculptures created in 1985 approached another material, steel steel: the titles are Woman with Flowers (Carrara marble and stainless steel) [No 10] MAN IN DIFFICULT ENVIRONMENT (Carrara marble, stainless steel and yellow Siena) [No 12] and human-environment (especially No. 5) (statuary marble and stainless steel) [No 11].
In the sculpture of Beanies, stainless steel, artificial material and technology, presence of modernity, "live" as opposed to marble, natural materials and traditional excellence. The stainless steel, which reflects a particular light, sharp, as entrusted to the use of daily-use, serves to delimit portions of the environment is where our analysis, the dating of a work today.
Sometimes stainless steel is the basis of his work-environment that brings the memory to a forced and difficult environment, as in 'Men in difficult environments, consisting of tubular elements that allude to the exhaust pipes of cars, the same as those wrapped vertically now, and not horizontally, from the yellow Siena marble ... and the work's title says it all.
In Woman with flowers, we find the woman who portrays himself, defends itself, it covers, and beside her a flower. The flower, pevsneriana memory, is the synthesis of two opposing semicircular. The effect, which wants to be artificial and formulaic, is sharp. And finally
Man-Environment (part n. 5); that the presence of stainless tank crushes more the effect of a clenched fist in the arm "eradicated" by the constant and repetitive tragic message.
Although the topics covered by caps remain the same over the years (the woman / man, the environment, the tree) the search for new plastics solutions and formal is constant, and is also expressed, but not only, in ability to combine different possible situations in an environment of multi-colored. As can be seen in the two sculptures of 1988 both entitled Woman-ENVIRONMENT, a white marble statuary and yellow Siena [No 7], the other in Carrara marble statuary and ordinary [No 8], but also in the other two-WOMEN'S ENVIRONMENT, one of 2001 statuary marble and black portoro [No 25], the other in 2004 in marble statuary and Calacata [No 5]. These works have in common the fact of presenting the female figure made of marble statuary, which, white, contrasts with the environment fully, achieved in just a colored marble and always different. The veining of the marble, the color spot, and the shadows that form in the space of environments tangled and moved the stop light that affects differently on each of these sculptures and is reflected in the crystal structure and homogeneous white, I dare say "hot" marble.
I BONSAI: in that of 2003, peach flowers and marble Calacata [No 18], another in 2004, marble statuary and Calacata [No 17], and the Landscape (2004), Professor of Carrara marble and bardiglio [No 19], all different colored marbles and carefully chosen - in the first two works, to put everything in harmony with nature - in the third, to form and oppose the environment and the tree. Here then the search yields more highly naturalistic, sculpture-WOMEN'S INTERNAL ENVIRONMENT (1992) in that gray-veined marble ordinary - Carrara [No 20], with the result that the woman become one with the chair as if the forms and also the emotional and environmental reasons were now inseparable in the two parties to a transaction of the composition - the human environment and the object attribute -.
"Marble is a subject with meaning, not a passive support, dominated, as are the metals and plastics melted and poured into molds set. The marble resists or breaks when it is subjected to the 'programs' of forms, volumes, contradicting its morphology. Each block of marble hides the wonders to discover, to reveal the edge of a meeting where, as partner of the artist who calls, asks availability and patience "(John Joppa, Sculpture in Marble Work, p. 55).
You certainly can share these thoughts and these statements are nothing more than the modern transliteration of their own thoughts of Renaissance Platonism in which the Michelangelo himself had grown up: "He has no concept of the great artist / c'un marble itself not circonscriva / with its supercar, and only one comes / the hand that obeys the intellect" (Rime, 151, 1 - 4).
But if this is just the marble, not less Caps sought bronze in the ability to make the light does not always allow that marble.
E 'with the enthusiasm of years ago that the artist is back foundry in order to achieve a light, almost passable, olive-sized. Through the technique of casting "lost wax" with its cast and vents, risers and clay by kneading, and then the chisel and coatings, all contributes to the completion of that eloquent work. The tree, hence the Tuscan olive, embodies the memory of a place, traditions and customs of the people who live there and who lived, of everything that has happened and changed.
The answer to my original question? We provide the same sculptor: "... because we all work these materials? "... To ..." the knowledge of many techniques for making "... maybe ..." at the expense of a greater production of sculpture. But research is also this: the ability to let the story breathe, dialogue, and say without giving all conclusions. " 
Luisa Berretti
The sculpture is the art of creating, the form, for images, using the technique of carving a raw material or even assembling together different materials.
The sculpture is also a project to connect, to link among themselves various aspects of emotional, aesthetic and cultural to provide an opportunity for knowledge and reflection on a variety of problems including a relationship with the territory where the artist works.
The choice of material, therefore, is important and essential to convey emotion, to express a concept, an idea to fix. How
operating process, first the idea, then, slowly, this, calling, it's you who chooses what material manifestation.
The sculptor Marino Mazzacurati about wrote: "... you can not create a work of art in an area other than where it was thought, because thought creates in itself the features existing in matter itself, features that are nontransferable and translatable to another "(Moments of marble, p. 272).
traditional materials, used largely in the past, new materials, the sculptor has always tried to speak to him in a manner using suitable materials depending on the time preference, age, fashion, or otherwise. Beanies
Franco was introduced to sculpture by himself. Initially, the wood, then the "stone of the Arno" (Columbine, limestone, sandstone). Forge iron has attracted to the immediacy of the final result, but the charm of the fusion of metal (bronze, aluminum, brass, gold, silver) then led him to artistic and finally in sculpture. Difficult, complex and reasoned it was approaching to marble.
Not wanting to deal with the sculpture of caps here in the formal sense and style, as others have already written (see 1991 and Franco F. Beanies Beanies 2004), this exhibition hosted at the exteriors and interiors of the Villa Medici of Cerreto Guidi, I would take another aspect of the sculpture of this artist, with a question: but what they mean to Franco Beanies material of his sculpture?
Wood returns as tree presence and becomes the second all-new idea and filtered by the mind of the sculptor, in TWO TREES (2007) [No 14], where our national walnut, clear in itself, is filled with dark veins, clear and contrasting, engraved on the surface rough cuts and decided to create intense chiaroscuro effects, trees are made more realistic by the nodes that appear here and there on the trunks tapered.
From the trunk of a tree, the artist reveals, "the strength to lift, a chisel, another tree, TREE (2002) [No 15]: the work is growing poplar wood, and recall the old chestnut trees, giant, carved into the smooth surface of the body into several parts, which suggests a close relationship, and induces the desire to caress the surface with rising hand up on the branches and leaves cut more hours now less recognized.
And yet, by assembling together several parts, was born WOOD (2005) [No 13], four trees, fir wood, carved strokes clear and focused, have rough surfaces, natural wood and cracks have widened and enhanced nodes are dark on light wood. Here the poetic humanized tree, which occurs in the sculptures of caps, it is evident in the branches, and comes to call, arms stretched wide open and up.
As if to demonstrate the non-universality of the statement by Vasari about the wood, according to the author, can not have the "plumpness and softness of the marble and bronze, is the "number" of women-ENVIRONMENT: that of 2004 [No 23] Wood of hornbeam and sweet-smelling cypress, one of the same year and mahogany wood of hornbeam [No 24], and another, 2002 [No 28], only hornbeam wood. Three women, formally different from each other: one that portrays, which is another show, but with reserve, the other still lying, more loose and free, and all have the same polished surface, the wood grain and create their faces and soft bodies pictorial effects. The play of curvilinear shapes between the tangled hair and the environment "cut" in which they are always present and is characteristic of the works of caps this period. The presence of an environment in mahogany, and then a contrasting color with hornbeam in which the woman is made, means that this gives the breath and depth, the combination of darker color, but also for the rough surface in contrast with that smooth the figure, and the lines that look like waves that ideally could go on forever.
In Tuscany and Florence in particular, commemorative monuments in Carrara marble, has always been the protagonists in the streets and cemeteries, where the marble is "furnishings", and placed relegated - I mean the cultural influences of many - marble in an area of \u200b\u200breverent awe in the first case, and cool detachment in the second.
why not just start talking with Franco Beanies marble, but with the stone. Only when he realizes that to be found another way of expression, the first figures are born, not shiny, "glossy", but smooth, "purged" with the abrasive stone to great success, to bring out the exact color.
For Caps, today (but since its "discovery"), the choice of the block is a part of and attendance at Carrara quarries and marble deposits. Is there a piece rather than another is revealed / reveals to his attention, he asks availability. He carefully checks, asking for the source, the goodness of the grain (and especially that it is not a "cottaròn") and then it does cut the wire. Already has in mind the sculpture in the block ... Michelangelo as enunciated in the Rime "He has the great artist no idea / what marble itself is not circonscriva / with its supercar, and only one comes / the hand that obeys the intellect" (Rime, 151 vv . 1-4).
Speaking of marble sculptures of Beanies is natural to follow a chronological order, as in the exhibition are works made of this material over a period of time ranging from 1985 to 2006.
In the three marble sculptures created in 1985 approached another material, steel steel: the titles are Woman with Flowers (Carrara marble and stainless steel) [No 10] MAN IN DIFFICULT ENVIRONMENT (Carrara marble, stainless steel and yellow Siena) [No 12] and human-environment (especially No. 5) (statuary marble and stainless steel) [No 11].
In the sculpture of Beanies, stainless steel, artificial material and technology, presence of modernity, "live" as opposed to marble, natural materials and traditional excellence. The stainless steel, which reflects a particular light, sharp, as entrusted to the use of daily-use, serves to delimit portions of the environment is where our analysis, the dating of a work today.
Sometimes stainless steel is the basis of his work-environment that brings the memory to a forced and difficult environment, as in 'Men in difficult environments, consisting of tubular elements that allude to the exhaust pipes of cars, the same as those wrapped vertically now, and not horizontally, from the yellow Siena marble ... and the work's title says it all.
In Woman with flowers, we find the woman who portrays himself, defends itself, it covers, and beside her a flower. The flower, pevsneriana memory, is the synthesis of two opposing semicircular. The effect, which wants to be artificial and formulaic, is sharp. And finally
Man-Environment (part n. 5); that the presence of stainless tank crushes more the effect of a clenched fist in the arm "eradicated" by the constant and repetitive tragic message.
Although the topics covered by caps remain the same over the years (the woman / man, the environment, the tree) the search for new plastics solutions and formal is constant, and is also expressed, but not only, in ability to combine different possible situations in an environment of multi-colored. As can be seen in the two sculptures of 1988 both entitled Woman-ENVIRONMENT, a white marble statuary and yellow Siena [No 7], the other in Carrara marble statuary and ordinary [No 8], but also in the other two-WOMEN'S ENVIRONMENT, one of 2001 statuary marble and black portoro [No 25], the other in 2004 in marble statuary and Calacata [No 5]. These works have in common the fact of presenting the female figure made of marble statuary, which, white, contrasts with the environment fully, achieved in just a colored marble and always different. The veining of the marble, the color spot, and the shadows that form in the space of environments tangled and moved the stop light that affects differently on each of these sculptures and is reflected in the crystal structure and homogeneous white, I dare say "hot" marble.
I BONSAI: in that of 2003, peach flowers and marble Calacata [No 18], another in 2004, marble statuary and Calacata [No 17], and the Landscape (2004), Professor of Carrara marble and bardiglio [No 19], all different colored marbles and carefully chosen - in the first two works, to put everything in harmony with nature - in the third, to form and oppose the environment and the tree. Here then the search yields more highly naturalistic, sculpture-WOMEN'S INTERNAL ENVIRONMENT (1992) in that gray-veined marble ordinary - Carrara [No 20], with the result that the woman become one with the chair as if the forms and also the emotional and environmental reasons were now inseparable in the two parties to a transaction of the composition - the human environment and the object attribute -.
"Marble is a subject with meaning, not a passive support, dominated, as are the metals and plastics melted and poured into molds set. The marble resists or breaks when it is subjected to the 'programs' of forms, volumes, contradicting its morphology. Each block of marble hides the wonders to discover, to reveal the edge of a meeting where, as partner of the artist who calls, asks availability and patience "(John Joppa, Sculpture in Marble Work, p. 55).
You certainly can share these thoughts and these statements are nothing more than the modern transliteration of their own thoughts of Renaissance Platonism in which the Michelangelo himself had grown up: "He has no concept of the great artist / c'un marble itself not circonscriva / with its supercar, and only one comes / the hand that obeys the intellect" (Rime, 151, 1 - 4).
But if this is just the marble, not less Caps sought bronze in the ability to make the light does not always allow that marble.
E 'with the enthusiasm of years ago that the artist is back foundry in order to achieve a light, almost passable, olive-sized. Through the technique of casting "lost wax" with its cast and vents, risers and clay by kneading, and then the chisel and coatings, all contributes to the completion of that eloquent work. The tree, hence the Tuscan olive, embodies the memory of a place, traditions and customs of the people who live there and who lived, of everything that has happened and changed.
The answer to my original question? We provide the same sculptor: "... because we all work these materials? "... To ..." the knowledge of many techniques for making "... maybe ..." at the expense of a greater production of sculpture. But research is also this: the ability to let the story breathe, dialogue, and say without giving all conclusions. "
Friday, February 5, 2010
Wedding Thank You For Appliance
Palace Performing Arts Center Ghibellino
Farinata Piazza degli Uberti 10 Empoli
February 6 to February 21 2010
Open from Tuesday to Sunday 17:00 to 19:30
"PATH"
Show painting, graphics and sculpture
Beanies Franco Alessandro Cianchi Samantha Fedeli
Opening Saturday, February 6, 16:30
www.alessandrofedeli.net samanthacianchi@libero.it www.francoberretti.it
info 3404679035
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