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2005 Nissan Frontier Review
Pros & Cons
- Class-leading V6 engine, larger size for improved passenger and cargo room, innovative bed features, advanced off-road systems.
- Fewer model options than competitors, average interior materials.
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Edmunds' Expert Review
Thanks to its Titan underpinnings and powerful V6, the new Frontier is right up there with the compact pickup class leaders in terms of performance, comfort and utility.
Vehicle overview
Nissan has been building trucks for the U.S. market since 1958. Now in its eighth generation of pickup offerings, the company's 2005 Frontier is the first all-new model since the pickup's last major redesign in 1998. Bigger, more powerful and bulging with muscular new lines, the 2005 Frontier now sports the big-truck swagger of the Titan full-size. Its grille is nearly identical to the bigger truck, while its exaggerated fender flares give it even more curves at each corner. The Frontier shares a number of significant features with the Titan, including an innovative spray-in bedliner, Utili-track bed channel tie-down system and fully boxed, all-steel frame. The new Frontier's wheelbase is nearly 10 inches longer than the old Frontier's for improved ride comfort and stability. The 2005 Frontier shares its suspension layout and many component designs with the Titan, including a double-wishbone front suspension and leaf spring rear suspension. The Frontier Crew Cab is identical in length to the extended-cab (King Cab) version, but a larger rear-seating area and forward-hinged rear doors make it a more flexible vehicle for family use -- at the expense of some bed space. The bed measures just under 58.6 inches in length and 61.4 inches in width -- gains of a couple of inches in either direction compared to the standard-bed version of the old crew cab. Interior storage space is also an important consideration when you're buying a pickup, and both the King and Crew Cab feature reconfigurable rear seats. Note that the new Frontier is not available in a regular-cab version. In a sign that Nissan is serious about dominating the compact truck market, the Frontier's top engine is a 4.0-liter V6 with 265 horsepower and 284 pound-feet of torque. With that kind of power onboard, the Frontier boasts a maximum tow rating of over 5,500 pounds, according to Nissan. A 2.5-liter DOHC inline four-cylinder engine is standard on the base Frontier King Cab model. Inside the cabs, ergonomics and materials quality are much improved over the '04 Frontier. Also offered are supplemental front-seat side-impact airbags and available supplemental curtain airbags for side-impact and rollover protection for front and rear outboard passengers. With a tough new look, innovative features and big horsepower under the hood, the new Frontier should provide serious competition for the new trucks from Dodge and Toyota. This is good news for compact pickup buyers, who now have plenty of worthy candidates to test-drive when it comes time to shop.
2005 Nissan Frontier models
The Frontier comes in two body styles -- extended cab (known as King Cab) and crew cab. Available trim levels include the base S model and uplevel SE. The base S comes with only basic amenities, along with front bucket seats and folding rear jump seats. The SE adds more features, including air conditioning; a CD stereo; power windows, locks and mirrors; alloy wheels; and cruise control. Leather upholstery and a 300-watt Rockford Fosgate stereo are optional. Compared to the King Cab, the Crew Cab has a larger cabin with expanded rear-seat accommodations as well as a pair of conventional rear doors that offer easier access to those seats.
2005 Highlights
Performance & mpg
A 2.5-liter DOHC inline four-cylinder engine is standard on the base Frontier King Cab model. A 4.0-liter V6, which produces a stout 265 hp and 284 lb-ft of torque, is standard in all other models. The V6 design includes Continuous Valve Timing Control (C-VTC) and Nissan variable Induction Control System (NICS). Transmission choices include a standard six-speed manual gearbox and an optional five-speed automatic. Frontier 4x4 models include a shift-on-the-fly four-wheel-drive system with 2Hi/4Hi/4Lo modes operated by an electronically controlled, part-time transfer case.
Four-wheel disc antilock brakes are standard on all Frontiers. Optional are front-seat side-impact airbags and curtain airbags that provide side-impact and rollover protection for front and rear outboard passengers. The Frontier has not yet been crash tested.
The newfound power of the V6 Frontier is a far cry from the wheezy engines of last year's model. Step on the throttle in this truck and you get instant results, thanks to plenty of low-end torque and well-tuned transmissions. Ride and handling is improved as well; although, it's still a bit bouncy as you might expect from a compact truck. Advanced off-road systems like downhill assist control and hill start assist make off-road models capable performers in the rough stuff.
The Frontier's cabin offers straightforward controls, comfortable front seats and an attractive design. The larger overall size results in much improved passenger room, but the overall materials quality is still average. Like the Titan, the Frontier offers a utility bed package that includes a factory-applied spray-in bedliner and the Utili-track tie-down system. The Utili-track system provides cargo hauling flexibility through the use of five special "C" cross-section rails mounted in the bed (two channels in the bed floor, and one each on the bed side rails and the bed header panel). Removable utility cleats slide into the channels, providing a wide range of attachment points for securing cargo. In addition to the tie-down cleats, a full range of accessories are offered for use with the channel system, including bed dividers, sliding cargo trays, modular storage units and bike racks.
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Errata Editions On-Press: Day Five
This will probably be my last day of printing and I do not feel relieved but a bit sad. There will be a lot about this place to miss when I leave tomorrow. The batphone scaring the hell out of me as I nod off asleep. The giggles I get from the passing women as I speed walk to a press check. The smell of the inks and the headaches they induce. The lunches with Alice and Iris as we sit in uncomfortable silence trying to connect cultures.
I've learned so much in such a short time that my head is swimming with new information. I've learned to love the process even with the stress. I implore all young bookmakers to go on press when they are printing your work. I do not see how you can regret it. Anyway, the phone is ringing...
9:30 pm. Checked three of Sophie's sheets and they are looking really good. This book gave us so much trouble scanning and finding the correct screening strategy that to see a finished stack with good color balance and no problems feels more of an accomplishment than the others. Tomorrow we will be finishing the rest probably taking us into the night.
11:20 pm. We were supposed to be stopping early but now I get to approve of the dustjackets. I just approved the sheet but I think it reveals a bad decision on my part. Each jacket shows the cover of the original book and I have allowed the age and wear to those originals to be evident. I did not photoshop the images to try to make the books seem "new again" so to speak. This series is going to show some very old books that will show wear and tear so I thought 'OK, let it show to a certain degree.' Part of the charm of older books is seeing that they are effected by time and use.
Well, I am still holding to that notion but the copy of the Killip book that we used to scan the cover has some yellowing to the left edge, which at full size looks fine, but at the reduced size starts to look more like a printing mistake than a sign of age. I was thinking we could adjust the levels to minimize it but all of the color balances of the other covers would have been effected because they are all in the same adjustment line on the sheet. I had no real alternative that wouldn't have involved a lot of time and expense. I just thought 'To err is human. Perfection is divine, and, Use photoshop next time a-hole,' and I signed off on it. The first blemish. Baby's got four toes on one foot.
Meanwhile back at my guest house, I got so worked up about the Killip dustjacket because: a) It's the friggin' cover image, and b) that meant that the Special Edition tip-on is going to have the same damn problem. As I was beating myself up over being so stupid, the phone rang for the check of the tip-ons.
I made my way to the press check with my stomach full of acid imagining the litany of embarrassing complaints I would hear from people who buy the books and when I rounded the corner and saw the sheet I couldn't believe my eyes -- same color balances and levels but the difference in paper stock made the left edge aging much less apparent in the tip-on. I almost couldn't see it at first. So one minute I am upset and the next excited again.
Note: If we sell out and do a second printing of the Killip trade edition I am going to photoshop out the aging color on the jacket. That one change will be what determines the "true" first edition from the later. Ha! I can already see what will no doubt be the hilarious ABE listings.
10:56 am. I've had some sleep but now that I am allowed to, I can't. Went to bed at around 2:30 am only to wake at three hours later with no chance of getting back to sleep. Its like an addiction.
I was told we'd be printing by 9:00 am but I have now heard that the first check of the day will be at around 11:30, right before lunch. I am anxious to continue the good work on Sophie's book that we started yesterday. I am afraid of losing momentum in my ability to make judgments.
11:56 am. Just returned from the first check of the day and I realize now why I have had a headache all morning, the sample finals and "make-ready" sheets I have been gathering over the past few days have made my guest room smell like a print shop. The ink is laid on so thick on the make-ready's that they'll probably reek for months.
For those of you who will eventually do this you'll find the computer driven press communication amazing. Basically, at the workstation there is a large inclined table with a daylight balanced hood for viewing the sheets. At the front of that table is a long string of green level indicators accessible by touchpad. The sheet is put onto the table and moved left until it hits a "stop" which keeps it in place. This lines up the sheet with the keypad and the line of color bars printed on the top of your sheets. You use those color bars to measure the individual CMYK densities with a densitometer.
If you look at the 2nd photo you'll see how the sheet can be broken up into separate rows. For every green adjustment line on the control board on the front of the table, corrections can be made for that individual little strip of the sheet extending from top to bottom. My sheet size could be broken up into about twenty rows. So, if an image or part of an image in a row needs a correction then you can adjust just for that. The control is incredible. I imagined before going on press that one change effects the whole sheet. The catch is though that adjustments can only run from top to the bottom of the sheet and not horizontally and whatever you adjust effects all else in the line.
6:02 pm. I am happy to announce that the first four titles in the Books on Books series are finished being printed. I was called to the pressroom for one last check which needed NO CORRECTIONS. The pressman nailed it first attempt. I signed them and asked Alice to hold up a sheet with the printer for a quick snap. I grabbed my stuff to leave and then I realized...
I'm locked out of my guest quarters again.

subset: commoncrawl


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What types of audio formats stored in the USB devices can I playback with the unit?
Types of audio formats that is supported by the unit.
See below for the formats.
*Files with copyright protection cannot be played back.
|Specifications for USB devices
|Supported Bit rate: (MPEG 1 Audio Layer-3) 32-320 kbps, VBR
Sampling frequency: (MPEG 1 Audio Layer-3) 32/44.1/48 khz
|Supported Bit rate: 48-192 kbps, VBR
Sampling frequency: 44.1khz
|Supported Bit rate: 48-320 kbps,
Sampling frequency: 44.1khz
*Files with copyright protection cannot be played back.


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"Hill Fire: Knee Deep" based on the stories of the late Arnold DyreBy GWEN SISSON,
- 271169 reads
This weekend, the Montgomery County Arts Council will present a special play inspired by the life of a special man.
"Knee Deep" is a story based on Home Is Where the Heart Is and Home Again - two books written by Arnold Douglas Dyre. This is a fun-loving play about Dyre's memories of growing up in rural Mississippi and his vivid recollections of a mischievous young boy as he finds his place in a world filled with four sisters.
"Knee Deep" will be performed at 7 p.m. Friday and Saturday with Sunday matinee set for 2 p.m. at the Montgomery County Performing Arts Center.
Last year, Arnold Dyre passed away. He was a familiar face with many Hill Fire fans. He played various roles in the past few years. He was also a prolific writer and the Spring Hill Fire program is inspired by his book and his weekly columns in The Grenada Star newspaper.
"Arnold Dyre had a natural talent when it came to storytelling," said Nanette Laster, editor of The Grenada Star. "What he did best, I think, was to tell his stories so they related to others of his generation. Those of us who grew up in 'Smalltown, Miss.,' could relate to childhoods of simple times and things — like fishing for fun or climbing the big hill at Duck Hill. Arnold was truly gifted, and we miss that gift."
Paula McCaulla of the Montgomery County Arts Council said she was a life-long friend of Dyre.
"He and I attended Vacation Bible School at Nations Baptist Church when we were youngsters," McCaulla said. "He was a joy to work with in Hill Fire and always so witty."
Bonnie Corley Locke said she always loved his columns in the Grenada paper.
"I did not know him personally, but through his columns I felt like I did," Locke said. "He felt like a member of the family. I grieved for him when he lost his wife. I was happy for him when he seemed to be coming out of the darkness. I really miss his columns."
Elizabeth Eldridge, chief writer of the original Hill Fire play, said she had discussed incorporating some of Dyre's stories in the annual play, but the timing was never right. When Dyre passed last year, the group decided it was the perfect time to honor their friend.
"This play has such special meaning," Eldridge said. "Writing it was a labor of love for this man and his family. He had so many adventures during his lifetime and wrote about them so vividly that bringing his words to life was nearly effortless."
Eldridge said she hopes that" this is not the last that we'll see of Arnold Douglas and his delightful family. There are so many more stories to tell."
Last fall, Eldridge said they were blessed to be introduced to a very talented young man who came on board with Hill Fire for the very first time to take on the lead role of Arnold Douglas Dyre.
"Peyton Willoughby has taken the character of Arnold Douglas and made it his," Eldridge said. "He has literally stolen the hearts of his fellow cast members. And during this run, Peyton is having the time of his life sharing the stage with his father, Timothy Willoughby."
"We have many talented comedians in this cast who have such perfect timing and the ability to drive a punch line," Eldridge said.
Among the cast members this spring includes: Stevie Myers, Bootsie Weed, Kimberly Wilkerson, Carolyn Swanson, Sara Evans, Olene Boggan, Vanessa Miller, Grant Wilson and Dan Myers. The cast also includes a fantastic group of young people. Leigh Ansley, Gracie Kilburn, Santania Newman, Vivian Avant, Ty'Landis Newman, Aiden Kilburn, and Addi Wade. And bringing the rooster to life, Payton Avant, and the chickens, Alexis Armstrong, Riley Armstrong, Riley Brook Rainey, and Anna Franklin.
For tickets and/or additional information, contact the Performing Arts Center at (662) 310-0199.


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Covid-19 for people living with HIV
With persons living with HIV voicing their concerns regarding COVID-19, especially if their immunocompromised status makes them more vulnerable to the coronavirus, the AIDS Society of the Philippines provides the following advice for prevention.
By AIDS Society of the Philippines
How can Persons Living with HIV protect themselves from COVID-19?
Recently, persons living with HIV have been voicing their concerns regarding COVID-19, especially if their immunocompromised status makes them more vulnerable to the coronavirus. The AIDS Society of the Philippines acknowledges and empathizes with the key affected population, and provides the following advice for prevention.
Adhere to ARV regimen
Continue to faithfully take your anti-retrovirals (ARVs) and ensure you have enough supply of ARVs. Reach out to your treatment hub, primary care facility, or community-based organization so they can help expedite your ARV refill despite the community quarantine in NCR. Call them to set an appointment before you visit.
Maintain a strong immune system
Continue to maintain a strong immune system with proper diet and enough sleep. Currently, there is no COVID-19 data specifically about persons who are immunocompromised. However, Dr. John Brooks from the HIV/AIDS Division of the CDC said publicly that, most likely, the risk for severe illness will be greater for persons at lower CD4 cell counts and those who aren't virally suppressed.
Follow general precautions vs. COVID-19
Continue to follow DOH and WHO advice in COVID-19 prevention. This includes frequent handwashing, practicing cough hygiene, avoid touching the mouth, eyes, and nose, social distancing (maintain 3 feet distance), working from home, going out as little as possible, and seeking medical care when you have fever, cough, or difficulty breathing.
If you have been exposed to a Person Under Investigation or Person Under Monitoring (PUI and PUM) for COVID-19, contact your treatment hub or primary care facility to request for advice. Home quarantine will likely be required, even without symptoms. If symptoms appear, visit your nearest government hospital for triaging and indicate the presence of co-morbidities.
Keep in touch with friends and family
Continue to take care of your mental health by reaching out and staying in touch with friends, family members, and support groups remotely or through the Internet. Social distancing doesn't mean social isolation. But advise family and friends that due to your status, you have to limit your exposure to others. Finally, encourage other PLHIV and fellow Filipinos.
We stand with you in this difficult time. Stay strong—we will get through this together.
It's 2020, time to teach teens 'safe' sexting
This is not about encouraging sexting behaviors, any more than sex education is about encouraging teens to have sex. It simply recognizes the reality that young people are sexually curious, and some will experiment with various behaviors with or without informed guidance, and sexting is no exception.
Preaching sexual abstinence to youth was popular for a number of decades, but research repeatedly found that such educational messages fell short in their intended goals. Simply telling youth not to have sex failed to delay the initiation of sex, prevent pregnancies, or stop the spread of sexually-transmitted diseases. Since the advent of photo- and video-sharing via phones, children have received similar fear-based messages to discourage sexting – the sending or receiving of sexually explicit or sexually suggestive images (photos or video) usually via mobile devices. Unfortunately, messages of sexting abstinence don't seem to be reducing the prevalence of adolescents sharing nudes.
Consequently, in a new paper published in the Journal of Adolescent Health, researchers from Florida Atlantic University and the University of Wisconsin-Eau Claire, say that it is time to teach youth "safe" sexting.
"The truth is that adolescents have always experimented with their sexuality, and some are now doing so via sexting," said Sameer Hinduja, Ph.D., co-author and a professor in the School of Criminology and Criminal Justice within FAU's College for Design and Social Inquiry, and co-director of the Cyberbullying Research Center. "We need to move beyond abstinence-only, fear-based sexting education or, worse yet, no education at all. Instead, we should give students the knowledge they need to make informed decisions when being intimate with others, something even they acknowledge is needed."
Hinduja and co-author Justin Patchin, Ph.D., a professor of criminal justice at the University of Wisconsin-Eau Claire and co-director of the Cyberbullying Research Center, acknowledge that although participating in sexting is never 100 percent "safe" (just like engaging in sex), empowering youth with strategies to reduce possible resultant harm seems prudent.
Hinduja and Patchin collected (unpublished) data in April 2019 from a national sample of nearly 5,000 youth between the ages of 12 and 17, and found that 14 percent had sent and 23 percent had received sexually explicit images. These figures represent an increase of 13 percent for sending and 22 percent for receiving from what they previously found in 2016.
The authors do want youth to understand that those who sext open themselves up to possible significant and long-term consequences, such as humiliation, extortion, victimization, school sanction, reputational damage, and even criminal charges. But they also want youth who are going to do it anyway to exercise wisdom and discretion to prevent avoidable fallout.
"This is not about encouraging sexting behaviors, any more than sex education is about encouraging teens to have sex," said Hinduja. "It simply recognizes the reality that young people are sexually curious, and some will experiment with various behaviors with or without informed guidance, and sexting is no exception."
Hinduja and Patchin provide suggested themes encapsulated in 10 specific, actionable messages that adults can share with adolescents in certain formal or informal contexts after weighing their developmental and sexual maturity.
- If someone sends you a sext, do not send it to — or show — anyone else. This could be considered nonconsensual sharing of pornography, and there are laws prohibiting it and which outline serious penalties (especially if the image portrays a minor).
- If you send someone a sext, make sure you know and fully trust them. "Catfishing"– where someone sets up a fictitious profile or pretends to be someone else to lure you into a fraudulent romantic relationship (and, often, to send sexts) — happens more often than you think. You can, of course, never really know if they will share it with others or post it online, but do not send photos or video to people you do not know well.
- Do not send images to someone who you are not certain would like to see it (make sure you receive textual consent that they are interested). Sending unsolicited explicit images to others could also lead to criminal charges.
- Consider boudoir pictures. Boudoir is a genre of photography that involves suggestion rather than explicitness. Instead of nudes, send photos that strategically cover the most private of private parts. They can still be intimate and flirty but lack the obvious nudity that could get you in trouble.
- Never include your face. Of course, this is so that images are not immediately identifiable as yours but also because certain social media sites have sophisticated facial recognition algorithms that automatically tag you in any pictures you would want to stay private.
- Make sure the images do not include tattoos, birthmarks, scars, or other features that could connect them to you. In addition, remove all jewelry before sharing. Also, consider your surroundings. Bedroom pictures could, for example, include wall art or furniture that others recognize.
- Turn your device's location services off for all of your social media apps, make sure your photos are not automatically tagged with your location or username, and delete any meta-data digitally attached to the image.
- If you are being pressured or threatened to send nude photos, collect evidence when possible. Having digital evidence (such as screenshots of text messages) of any maliciousness or threats of sextortion will help law enforcement in their investigation and prosecution (if necessary) and social media sites in their flagging and deletion of accounts.
- Use apps that provide the capability for sent images to be automatically and securely deleted after a certain amount of time. You can never guarantee that a screenshot was not taken, nor that another device was not used to capture the image without you being notified, but using specialized apps can decrease the chance of distribution.
- Be sure to promptly delete any explicit photos or videos from your device. This applies to images you take of yourself and images received from someone else. Having images stored on your device increases the likelihood that someone — a parent, the police, a hacker — will find them. Possessing nude images of minors may have criminal implications. In 2015, for example, a North Carolina teen was charged with possessing child pornography, although the image on his phone was of himself.
Literary Pieces
Posteng Bato
Elmo Ellezo writes about the apathy of those who have more in life, even if – by choosing to lend a hand – they can help effect changes in other people's lives.
Ni Elmo Ellezo
May mga taong umangat lang sa buhay,
parang naging katulad ng bahay na bato ang puso.
Kasing tigas at wala ng pakiramdam sa iba.
Parang bato,
posteng bato na naghihiwalay sa kanilang sa sarili
sa reyalidad ng malawak na mundo.
Bingi sa mga ingay sa labas.
Binulag ng mga bakod at posteng bato,
ayaw tumanaw sa kabilang bahagi ng mundo.
Gwardyado, akala moy kaaway ang mundo,
Ayaw makibahagi oh umambag sa mga walang laman ang kaldero
Ayaw makipagkapwa tao.
Naka-kandado pati ang kanilang mga puso.
Tanging paraan na silay mamulat ay delubyo.
Kapag tinumbahan na ng mga posteng bato.
Kapag binaha na katulad ng mga nakatira sa estero.
Kapag nagutom, namatayan na katulad ng mga ordinaryong tao.
Anong klaseng mundo ang nililikha nitong mga posteng bato.
Mga kaaway ang mahihirap at walang tiwala sa kapwa tao.
Makasariling pag uugali at walang pakialam sa mundo.
Sana maibalik ang aking pagkabata.
Walang mga poste at bakod na naghihiwalay sa sinasabi kong kapwa.
Kung saan ang daigdig ay pinagsasaluhan ng lahat.
May pagkakaugnay ugnay, tiwala at pakikipag kapwa.
Munti kong panalangin ay mawasak ang mga posteng bato.
Mga posteng batong isinasara ng bakal at mga kandado.
Mga posteng batong nagpapamanhid sa kalagayan ng dumadaing na mundo.
Ang posteng batong naglilikha ng taong bato ang puso.
Being LGBTQ+ means nothing
Being unaware of and deviant from what that community is intentionally fighting for clearly does not make us a part of it. We have to realize that our identity does not really matter as much as what we actually say, do or stand for.
We've heard it all before — a woman who still espouses misogyny, Filipinos who can be insulting towards their own skin color, a devout Christian who has little knowledge about the Bible and the history of Christianity, a gay person who is against the rights of other LGBTQ+ folks. These seemingly self-contradictories show that our identity is nothing but superficiality.
Our identity does not hold the substance of what we're all about.
Having a certain identity does not follow that we know all there is to understand about it.
More importantly, it does not immediately give us the authority or credibility to speak on behalf of a larger group we supposedly belong to. Otherwise, we only cause much harm and misinformation.
What does a community mean? Fumbling through the dictionary, we would find similar definitions that basically sum up as "a group of people sharing a commonality of interests, attitudes, characteristics, values, goals – even history – and living in a particular location or within a greater area". Applying this to the so-called LGBTQ+ community, since LGBTQ+ persons obviously do not live in the same quarters or have exactly the same lived experiences (hence the need for the acronym with a plus sign), we need to take only the spirit of the word — that is, a community is a social state of more than skin-deep commonality.
People who label themselves as LGBTQ's do not see the whole picture if they go against equality and the principle that human rights must be bestowed to all regardless of gender, sexual orientation, race, nationality, physical appearance and so forth. Such people who proclaim they are "part of the LGBTQ+ community but…" are merely disruptive tumors. They are not part of the community but only a part of the problem, which is compounded by ignorance, indifference, hate and discrimination.
So before we open our mouths and ascribe to some sort of community or identity, let's be truly certain first that we know what it's all about. Being unaware of and deviant from what that community is intentionally fighting for clearly does not make us a part of it. We have to realize that our identity does not really matter as much as what we actually say, do or stand for.
Literary Pieces
Babae. Lesbiyana.
"Babae po ako. Ngunit babae rin ang gusto ko. Pang-lalake man ang kilos at anyo. Sa babae pa rin naman ako nagbabanyo."
Pilit kong iniisip
Kung inisip ko at pinilit
Kung nagbago ba ang ihip
Ng hangin noong ako'y isang paslit
Ang paghanga sa kapwa babae
Ang kilos, lakad at pananalita
Na animo'y lalake
Na nagsimula noong ako'y bata
Tinanong ako kung ako ba'y humanga
Sa mga guwapo at pogi
At ang sagot ko'y oo nga
Pagtangi ay sa babae lagi
Ni minsa'y hindi kinilig
Kahit na noong panahong
Maliit pa ang mga bisig
Suot ay bestida at hindi lontang maong
Matagal na proseso
Matagal na nilihim
Hindi umasenso
Dahil sa sariling paninimdim
Hanggang ako'y namulat
At seryosong nagkagusto
At sinimulang isulat
Nilahad, ipinusta pati pamato
Wala naman kasing nagturo
Naramdaman na lang
Tapos para akong tuliro
Noong ako'y pitong taong gulang
Kaibigan ko siya
Sa ikalawang baitang
Kapag kasama'y masaya
Kapag naka-akbay ay lutang
Marami nang napusuan
Panahon na ang lumipas
Gusto'y babae pa rin naman
Sa pagkatorpe'y walang kupas
Madalas sakin ay tinatanong
Kahit hanggang opisina
Siguro sila'y hilong talilong
Kung Ma'am o Sir ang itatawag twina
Babae po ako
Ngunit babae rin ang gusto ko
Pang-lalake man ang kilos at anyo
Sa babae pa rin naman ako nagbabanyo
Lesbiyana kung ako'y tawagin
Tomboy sa kanto namin
Ate sa kapatid ko
Tita sa mga pamangkin ko
Eto ang aking SOGIE
Lesbiyana – Sexual Orientation
Babae – Gender Identity
Butch/masculine – Gender Expression
Hindi napipilit ang puso
Kusang tumitibok sa ritmo
Hindi ito parang damit na nakiki-uso
Hindi sinisino kahit amo
Masarap sanang maging malaya magmahal
Malaya sa mga matang mapanghusga
Malimit pang nasasabihan ng hangal
Madalas pang tumanggap ng pang-aalipusta
Pantay-pantay na karapatan
Dinggin sana ang aming hiling
Hindi espesyal ang aming panawagan
Sugat ng diskriminasyo'y laging nasasaling
Lungkot ay aking ramdam
Kapag hindi niyo maintidihan
Sana hindi niyo maranasan
Ang araw-araw naming pinagdadaanan
Kapag maganda o guwapo sa paningin
Sayang ang palaging sinasabi sa amin
Pero bakit sayang ang sasabihin?
Ano bang nasayang sa amin?
Isa po akong babae
Mahigit apat na pung taong gulang na
Mukha lang pong lalake
Isa pong lesbiyana
Salvation our God is extending
"With a SOGIE Law enforced, the sensibilities of some (they cannot claim to represent the majority) will be offended as has happened in legislation on women's rights. But the tradeoff will be LGBTQ+ individuals participating more meaningfully in national development. The Philippines would foster a culture of nonviolence, and I think God would be smiling down on us."
By Koko Alviar
The SOGIE Equality Bill is not against religious freedom. If anything, it will help us recapture the diversity of beliefs in our country.
I am Vaughn Alviar, from the Iglesia Filipina Independiente, a liberational Church that has interpreted Scripture in light of facts and God's commissioning for charity and liberation. The Church coopted me some time in 2015 to help the Supreme Council of Bishops articulate a statement that wanted to affirm LGBTIQ+ individuals, "Our Common Humanity, Our Shared Dignity." It was approved in February 7, 2017.
Incidentally, I am a homosexual cisgender male son of a heterosexual cisgender male priest. I say these belatedly because they have never negatively affected my craft as a writer and my practice as a good Christian, although I will not deny knowledge of my SOGIE has affected the perception of what I am capable of doing.
I am more than my SOGIE; in fact we in the LGBTQ+ community are all more than our SOGIE. Unfortunately, people have seen the physical manifestations of it and felt they could see right through us, judge and discriminate us. My classmates from Day Care in Sanchez Mira, Cagayan, to university in Baguio City had always criticized my being effeminate and emotional, my not being manly. Despite all these, I had the will power to prove my value in my communities and circles. I can't say the same for many others, whose chances were impaired by abuses far worse than I've experienced and who didn't belong to families that earned well enough to send them to good schools or who disowned them – sometimes because of the faith they profess.
Being LGBTQ+ is a choice, we are told. But, given all the disadvantages laid out before us (per the United Nations Office of the High Commissioner for Human Rights, LGBTQ+ people experience more poverty, hunger, joblessness and depression than our heterosexual, cisgender counterparts), what would we benefit from choosing to be minoritized? Having to prove we are good, capable and beneficial workers, or hiding how we express ourselves to conform with straight environments, these are definitely burdens. Our siblings in the faith have claimed that the law sees us equally, but our lived experiences and jurisprudence claim we are not. Thus, vulnerable sectors need the State to help us claim equity, aid us in reminding everyone that we are human too, and enable us to fight back when our rights are abused.
It has also been claimed that a law protecting LGBTQ+ persons against discrimination would negate Christians' freedom of religion. It is a preposterous claim that insults the very spirit of "freedom of religion": that individuals will not be force-fed belief systems; and that we are all free to hold beliefs – or not – and to conduct ourselves accordingly, except when we harm others. If anything, many people, driven by their "Christian" beliefs, harmed LGBTIQ+ individuals without provocation.
While they lift from the Bible, the holy book cannot be seen as a definitive guide to what must be social convention. It has, in fact, been used to stall important laws to end slavery, and to uphold the rights of persons with disability and women.
For example:
"I permit no woman to teach or have authority over men; she is to keep silent." (Timothy 2:11)
"Whosoever … hath any blemish, let him not approach to offer the bread of his God. For whatsoever man he be that hath a blemish, he shall not approach: a blind man, or a lame, or he that hath a flat nose, or anything superfluous, Or a man that is brokenfooted, or brokenhanded, Or crookback, or a dwarf, or that hath a blemish in his eye, or be scurvy, or scabbed, or hath his stones broken … He shall not go in unto the vail, nor come nigh unto the altar, because he hath a blemish; that he profane not my sanctuaries." (Leviticus 21:17-23)
"Slaves, obey your earthly masters with deep respect and fear. Serve them sincerely as you would serve Christ." (Ephesians 6:5)
With verses inapplicable in our time, how do we know for sure that verses chastising LGBTIQ+ individuals should still apply? In the laws enacted for women, children, senior citizens, persons with disability, among others, the justification was unequal treatment on the ground, in real life, despite the Constitutional guarantee of equality that our other siblings cite. The drawback was sensibilities getting hurt; the reward has been greater empowerment and participation in society for those sectors. We need our guarantee, too.
Another case in point: If two people are equally passionate about Bible-based beliefs, do we have objective criteria to judge which person is more righteous?
Here is an example: A cisgender man has been a top employee for years. He is the breadwinner for his family, encouraged by 1 Timothy 5:8: "But if anyone does not provide for his relatives, and especially for members of his household, he has denied the faith and is worse than an unbeliever." One day, he comes out as homosexual and discloses he has a boyfriend. The heterosexual cisgender owner, who comes from a conservative background, fires the person, because of Romans 1:26-27: "Because of this, God gave them over to shameful lusts. Even their women exchanged natural sexual relations for unnatural ones. In the same way the men also abandoned natural relations with women and were inflamed with lust for one another."
Who's to say that the business owner holds the right understanding of faith? What if the homosexual man goes to church more often? Doesn't that make him better? The law must declare that productivity trumps sexual orientation.
One thing I've observed among people of faith who decide not to support the SOGIE Bill is self-righteousness – a confidence that they are to be seen as authoritative, the voice of a majority. In doing so, they downplay other peoples' faith, among these that which LGBTQ+ individuals have forged from their lived experiences of discrimination and resilience.
While some traditions will scoff at the justness of the ordained going to protests, the Aglipayan faith believes it is a legitimate expression of Christian witness. We believe that the best way to fulfill our duty to establish heaven on earth is the full realization of human rights for all – and LGBTQ+ rights are human rights. Thus, the crusade for equality on the basis of SOGIE falls within our fight for equity, along with our advocacy for peace talks, economic equity, genuine land reform and more.
Another Christian community is the Metropolitan Community Church, which has a presence in the Philippines. It casts more importance on love, genuine relationships and nondiscrimination than on punishment and fear. Many of their members are victims of SOGIE-based discrimination even in their own Christian homes, or are people living with HIV who have the added burden of stigma. One member told me that her family attends a Church that has a ministry helping LGBTQ+ individuals possessed by the devil – she worships with her family in the morning, is occasionally prayed for; she worships at MCC in the afternoon, is welcomed fully as a gender-nonconforming woman. There has to be a policy to guard LGBTQ+ lives against torturous conversion rituals if and when they occur. The SOGIE Bill has that.
The above instances illustrate that a single religion on its own has variations and pluralities. But, if regardless of this, lawmakers side with the more conservative Christian belief that tends to put LGBTQ+ lives in the way of harm and indignity, what compels the State other than to reward the conservatives and, thus, violate the Church-State separation?
As faithful Christians, too, we stand on the passage of the SOGIE Law because we believe God wants us to exist in a community of love, and because it will permeate our lives beyond Church. "We love the sinner not the sin," some anti-SOGIE Christians say, in an attempt to deem the law irrelevant. If we do love the sinner, however, shouldn't we recognize the person of that sinner who has the secular, universal right to a job, education and healthcare, among others. None of these are about "the homosexual act."
It is a shame that some religious have led crusades based on falsehoods: from alleging we do not need the SOGIE Equality Bill because the law already pronounces equality; to criticizing our advocacy as an issue of restrooms and third spaces only; to misleading people that the SOGIE Equality Bill will allow same-sex marriage; to stretching religious freedom – weaponizing it to homogenize the nation when the measure actually protects diversity.
The "definition of terms" in the proposed bills says that bad behavior – discrimination, stigma, hate crime and marginalization – will warrant punishment. Some religious are worried that LGBTIQ+ individuals will be empowered to file cases of discrimination simply because we "felt discriminated." But suing should be within our rights as citizens, and with wisdom the courts should be able to decide which ones are nuisance and which ones bear sense.
In IFI, the statement has affirmed and validated the faithfulness of LGBTQ+ members, some of whom serve as ordained ministers. Through it, the faithful have been oriented on SOGIE and SOGIE-based discrimination; began to openly discuss sexuality, mental health and sexual harassment; and revisited the situation of women as part of the greater gender minority in a patriarchal society. We are now more equipped to counsel LGBTQ+ individuals and people living with HIV. The Church became more inclusive.
At the end of "Our Common Humanity, Our Shared Dignity," the SCB stated a hope that our small act could spark bigger changes leading to greater inclusion for outcasts. The more accepting parents, you will note, express worry for their LGBTQ+ children based not on the worldview of conservative Churches but on the question: "How will you be in this world that is harsh on LGBTQ+ individuals?"
While some LGBTQ+ people are born to parents who are unequipped and would abandon their children, some are born to parents who are ready to understand and nurture them, and would worry that the world at large is not hospitable. Let's lessen the legitimate fears by enacting a safeguard.
While the SOGIE Bill languishes, men could be raping homosexual and bisexual women to "convert them," gay guys could be looking for their next boxing match or Miss Gay (for visibility and extra income), brilliant transgender individuals could be flying out to find career advancement elsewhere.
With the SOGIE Law enforced, the sensibilities of some (they cannot claim to represent the majority) will be offended as has happened in legislation on women's rights, but the tradeoff will be LGBTQ+ individuals participating more meaningfully in national development. With the SOGIE Law, there will be no special LGBT bonuses or leaves, just jobs and schools and communities that value us as humans, and that hone and harness our skills as citizens.
The Philippines would foster a culture of nonviolence, and I think God would be smiling down on us.
On social media, there's a viral post saying SOGIE means "Satanic Organization of Godless people who are Inspired of Evil", which is so grammatically wrong. To me, it means "Salvation Our God Is Extending" – and I should enjoy a Constitutional guarantee to claim you can't tell me I'm wrong. That is freedom of religion for you.
'Members of LGBTQIA community should be afforded the same protection that others enjoy'
An open letter to Bro. Eddie Villanueva, now a politician, who continues to claim he supports equality but is fighting against the protection of LGBTQIA people from discrimination.
Sir, I am Posit Bo, a proud member of the LGBTQIA+ and PLHIV community in the Philippines. I was once a follower of your faith; I am still a believer of the Almighty God but no longer of your faith.
This letter is made as rebuttal of your privilege speech against the SOGIE Equality Bill. This is not intended to convince you and your group to vote for the proposed law; but rather, a letter that aims to see a future where there can be mutual respect.
You raised two constitutionally supported arguments against the SOGIE Equality Bill, to wit: (a) it imperils academic freedom, and (b) it endangers freedom of speech and religion.
You cited Article XIV, Section 5, par (2), of the 1987 Constitution, which states that: "Academic freedom shall be enjoyed in all institutions of higher learning." This provision's meaning can be viewed from two perspectives, namely: (a) Freedom of a Faculty member, and (b) Freedom of an academic institution of higher learning.
Certainly, faculty members have the freedom to discuss subjects with the responsibility not to discuss matters not related to the subject matter and with respect to the opinions of others. In the same manner, the academic institutions per se are given the freedom to decide what is the best manner to attain its aims and objectives.
You seem to fear that religious academic institutions being compelled to accept LGBTQIA+ students or employees, against the institution's dogma on gender.
Under Section 5(c) of Senate Bill 159, it has two portions, to wit: (a) it declares discriminatory when educational or training institution refuses admission by reason of SOGIE, and (b) the right of educational and training institutions in determining qualifications for admission shall be duly upheld.
It is clear under the second portion of the aforementioned provision that religious institution's right to determine qualification for admission shall be duly upheld. Compulsion to admit against dogma on gender by religious institutions cannot be feared when in the Bill itself it is protected, not to mention, in our very own Constitution as you cited, Sir.
The bill cannot obviously be made to circumvent the Constitutional guarantees as it echoes the very essence of this Constitution that is – Equality. Moreover, I would like to believe that in proposing this law, the case of Ateneo de Manila v. Capulong, was taken into consideration, wherein the Court beautifully fleshed out the concept of academic freedom. The Court held that: "Academic institutions are free to determine for itself on academic grounds who may teach, what may be taught, how it shall be taught, and who may be admitted to study." The Court further held in Isabelo Jr. v. Perpetual Help College of Rizal that: a school of higher learning has the discretion to admit or not to admit students. The Court further stated that: Admission is not a right but merely a privilege.
No, Sir. Religious academic institutions cannot be compelled to admit LGBTQIA+ students or employees. As these juridical entities are protected under our Constitution based on the very law you cited. But the likes of KJ T. Lorenzana and the students of Bulacan State University are not protected against discrimination based on SOGIE in a secular educational institution; no, they are not protected for this particular kind of discrimination, not even by the Constitution. While sectarian institutions enjoy protection under our Constitution, what about the protection of the LGBTQIA+ students and employees who have been and still are being discriminated in secular educational institutions.
The LGBTQIA+ community, more than the letters, consists of individuals, of humans who should be afforded an equivalent amount of reasonable protection that you enjoy in professing your religious beliefs, protection against any form of discrimination without engendering violation of constitutional guarantees.
There are three principal parts of the Constitutional provision for Religious freedom under Article III, Section 5 of the 1987 Constitution.
First, the NON-ESTABLISHMENT Clause: No law shall be made respecting the establishment, or prohibiting the free exercise thereof.
The SOGIE Equality Bill does not establish LGBTQIA+ community as a religion, neither does SOGIE Awareness prohibit the free exercise of any religion, including yours. Hence, the proposed law does not violate the non-establishment clause.
Second, the FREE EXERCISE Clause: The free exercise and enjoyment of religious profession and worship, without discrimination or preference, shall forever be allowed.
The SOGIE Equality Bill is in fact adherent to religious sensitivities that despite of it being both a secular and social legislation, the proponents had the basic human decency to hear sectarian opinion on issues of a marginalized community on account of being exposed to daily discrimination of all forms.
There are two aspects of religious freedom, which are as follows: (a) Freedom to believe; and (b) freedom to act on one's belief. The freedom to believe is absolute but the freedom to act on one's belief is not absolute. The freedom to act may be regulated if its actualization clashes with accepted norms of social behavior and established order of decency.
Therefore, you can absolutely believe that being an LGBTQIA+ is a sin in view of your religion as a part of your freedom. But to act upon it by spreading or imposing such belief upon nonbelievers or believers of a different sect may be regulated.
Status quo dictates that freedom to exercise can be regulated; unfortunately, even if it could be regulated, Christians have continuously condemned this community. Our community has been continuously ridiculed for no reason, discriminated for being diverse, and hated for merely loving; we, suffer all these, based on your religious beliefs. While we suffer, you continuously enjoy being guarded by your religious freedom.
This is the saddest part of our reality: Family and friends who exercises christian faith act upon their religious belief on gender through: sharing hate messages; treating us indifferently; laughing at our struggles; and being considered as an abomination. While you are guarded by your religious freedom, why does it have to be at our expense? When you speak of equality it must be uttered in fairness to everyone and not at the expense of others.
The SOGIE Equality Bill does not force upon people to become a member of the LGBTQIA+ community neither does it influence people to change dogma on gender; but this merely seeks to spread awareness and understanding of an existing community, which should neither be treated differently but your fair equal.
Lastly, Sir, finally now that you are elected, as a member of the House of Representatives of the 18th Congress, I would like to congratulate you. You are indeed an inspiration to the LGBTQIA+ community, just like you did, no matter how long and how many failed attempts there may be, we will never say it's over 'til it is done.
In James Imbong etc. v. Hon. Paquito Ochoa, Jr. et al., the court held that: the state cannot meddle in the internal affairs of the church. On the other hand, the church cannot impose its beliefs and convictions on the state and the rest of the citizenry. It cannot demand that the nation follow its beliefs, even if it sincerely believes that they are good for the country.
Sir, there would be no confusion even if you both act for both the state and the church by simply applying the time-honored State policy under Article II Section 6 of the 1987 Constitution, that the separation of church and state shall be inviolable. Inside your church, you are your peoples Pastor. You don't preach to them matters of legislation; but instead your bible. While in the House of Representatives, you are to act as a legislator not as a Pastor. Sir, in your privilege speech you interjected a biblical passage. I would like to humbly remind you that you now belong in a Secular institution. Inside the very 'august chamber' to where you belong, are muslims; agnostic; and heck may be even atheist congress(wo)man, who are being alienated by your interjection. Sir, you do not merely answer to your representation but to the entire secular electorate.
I could not still imagine a day where we can live harmoniously even in diversity, when there's no willingness to reach a compromise, taking into consideration: fairness and respect for everyone regardless of gender, age, race, ethnicity, color or religion. Religious freedom is a fundamental right under our constitution, it will forever be guarded and no legislation can circumvent this constitutional guarantee. You have exemplified in your privilege speech, that in the exercise of your religious freedom, there can be three options: (a) purvey discrimination based on scriptures; (b) exhaust available laws without state intervention in protecting a minority and marginalized group; and (c) when there is no law available, blame it on our SOGIE.
It was once said that we cannot normalize the culture of LGBTQIA+ despite its historical precedent being a cultural norm pre-colonial year of the Philippines; therefore, this being the case, incidents of discrimination by reason of SOGIE in the workplace and educational institutions may rise in the absence of any law that prohibits it. This is the very reason why an anti-discrimination policy should be enacted not by reason of entitlement but by reason of being exposed in an everyday struggle to surpass all forms of SOGIE-related discrimination.
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How can I do "Time Machine" from my Mac OS X 10.6.4 to my Window share drive? I'd also prefer to encrypt my image, so it's "safe" just in case :-)
In order to create a Time Machine backup to an unsupported drive (pretty much anything that's not formatted HFS+) you need to run the following Terminal command:
defaults write com.apple.systempreferences TMShowUnsupportedNetworkVolumes 1
Your share will now show up as a valid Time Machine destination in the Time Machine Preference Pane.
Time Machine will then create a disk image on that drive that will act just like a HFS+ drive for Time Machines purposes (hard linking, etc.). One advantage of using a disk image over using the entire drive is that you can limit the size it will grow to of the disk image using Disk Utility.
Be sure to check Louis Gerbarg's answer as well for why it's unsupported and you have to jump through a hoop to enable it.
There are various hacks to setup a diskimage on the share, which I am sure other people will describe in depth. Having said that DO NOT USE SMB TO STORE TIME MACHINE BACKUPS.
Guaranteeing writes on a disk image backed over a network store is complicated. Apple had reliability issues with Time Machine over AFP for years, and they controlled the entire stack. In order to guarantee write ordering and write stability (which are necessary in order for Time Machine to work in the presence of intermittent networking, such as walking out or range of the base station or putting the machine to sleep midbackup and waking it up out of range) Time Machine depends on features specific to AFP (For those interested, those are published as part of the Time Machine Network Server Requirements).
If you want to backup to a Windows Machine you should probably get a copy of ExtremeZ-IP, if it is a linux box running SAMBA you should install netatalk.
I did not test this solution, but looks someone did a little write up for this: OSX Timemachine and Samba/Windows share « Hupio's Weblog
Unfortunately, I don't believe you can. From the Time Machine help docs:
Time Machine can't back up to an external disk connected to an AirPort Extreme, or to an iPod, iDisk, or disk formatted for Windows.
EDIT: Ignore this answer. As mentioned in comments, Apple's own documentation is out of date.
That documentation is slightly dated, recent updates to the AirPort Extreme do allow a USB drive to be plugged in and used as a Time Machine storage device. AirPort Extreme + 1 TB USB disk = cheaper and just as effective (I've used one for recovery, worked fine) Time Capsule :) – David Aug 19 '10 at 15:28
Even if the disk is Windows-formatted? Huh. News to me! – Scott Aug 19 '10 at 15:42
true, I actually used to use an external USB drive to do time machine in the past, but now I need to make it to work w/ Windows share and I know it's possible to do – alexus Aug 19 '10 at 15:42
@Scottie: Well, not a Windows formatted disk. The relevant part of the documentation likely still applies, but the external disk on the AirPort Extreme part is dated. – David Aug 19 '10 at 16:07
@Scottie - Also bear in mind that when backing up to a "Windows share" the true format of the disk (Windows NTFS, FAT32, EXT3, etc) becomes irrelevant. – muddybulldog Aug 19 '10 at 17:52


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001. As I've mentioned already this week I've been pretty ill. I still don't know whats wrong with me so I'm going back to my Mum's for a week or two tomorrow to relax and take some time off from the city. I'll take my bloggy stuff with me, including my Tripod so hopefully I'll be able to keep blogging while I'm away but I'm not really promising anything. This blog is really taking a turn for the worse at the moment and it's making me worry even more about making stuff for it. Argh! I just wish I had focus!
002. I made a video called The Great Expectations Tag which I uploaded tonight on my Youtube Channel. I've been a bit quiet on the Youtube front because my iMovie just won't export the videos I've already made. It's driving me crazy so I don't know why it's being such a pain! It's a really cool styling one I made about two weeks ago but I just cant get it to work! So frustrating as I'm so proud of it and spent a while working on it!
003. I cant wait for January to be over, it's always the month where I have no money, no motivation and no desire to get out of my bed. Today we went and played in the snow and went to the Death exhibition and the Wellcome Collection. I highly recommend going if you're looking for a quirky and free exhibition in London. Me, Dal and Matt all then went for dinner at Vapianos, another place I highly recommend in Central London and then came home to sleep and defrost. Currently sitting under a huge pillow fort trying to think about what I need to pack to go home as well as thinking what products I need to take with me!
004. It's my year anniversary since I moved to London today! Oh how time flies when you're having fun! I've had a strange ol' year and not really done half the things I intended to do when I took this massive risk on moving to the big city. However for some reason I cant imagine living anywhere else. I take for granted so much that I live in one of the most inspiring cities in the world and I really need to do more with my time here!


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Voyage 8. "ALL MUSIC IS THRACIAN AND ASIAN"
Περιήγηση 8η. "ΘΡΑΚΙΑ ΚΑΙ ΑΣΙΑΤΙΣ Η ΜΟΥΣΙΚΗ"
…"and all music is thought to be Thracian and Asian." (Strabo)
AN APOPHTHEGM such as the above by the famous historian and geographer on the prevailing opinion in his time (64 BCE – 24 CE) about the Thracian and Asian origin of all music – hence also its instruments – actually recurs again and again like a leitmotiv and also as a reminder to all those who start from the Thracian Orpheus' lyre and end up to General Makryiannes' tambourás…
"In Tsakoniá one comes upon the most ancient Tsakonian dance that is characterized by its Apollonian paeonic rhythm of five beats, the snake-like cycling, circling, folding and unfolding of the dance company, with their coryphaeus [leader] dancing around them and sometimes opposite the second dancer, reminding us of a Pythic nomos [Pythian law or canon] of dance and music (Apollo's battle against Python),(a) and not of Theseus and Ariadne's imaginary threads, as it is usually proclaimed thoughtlessly and irresponsibly by Athenian dance companies."
As long as one is preoccupied with the ancients' exaltation, that is, as long as he is just a… carrier of the "virus", there is no big problem. What happens, however, if he becomes symptomatic and possessed by "ancestor-mania"? The result is more than obvious in the above citation from a text on a record with Songs of the Peloponnese, issued by the Society for the Dissemination of National Music, and written by Simon Karas himself – despite his admittedly immense and invaluable contribution on this subject.
Such were the claims put forward in all seriousness from both sides, as if it mattered much whether the Tsakonian dance reminded us of a Pythic nomos or if it reenacted, faithfully or not, the escape from the Labyrinth, while the… Minotaur was anything but dead, and Karas pointed his finger at him immediately afterwards:
"In the once resounding with musical instruments Peloponnese", he complained, "you have a problem if you try to find musical instruments worthy of their names. Much labour and effort was needed on our part in order to find a clarino [folk clarinet], a violin, or a laouto [folk lute] in entire prefectures, and on many occasions to transport musicians many kilometres away so that they could match with others and form a company."
This "Pythic nomos" mentality made Karas claim that almost all folk instruments played today or allegedly used in the past in Greece were Hellenic in origin. In a similar text on a record with Songs of Constantinople and the Sea of Marmara, he wrote:
"The psaltery qanun together with the ancient Greek and Byzantine thambura [tambur], thanks to the former's many latches [mandals] and the latter's many [movable] frets, were the instruments used in the teaching of the theory of musical modes (echoe) and intervals in the past."
The term psaltery was general in ancient Hellas, had no relation with the religious psalms and referred to all string instruments played directly with the fingers without a plectrum. Included in the same category were, among others, the nabla, simicium and trígonon (harp). As a rule, they were multi-string instruments, some of them not "psalteries" for they were played with a plectrum. The most impressive of the latter was perhaps the sambuca that was more than one metre high and looked like a homonymous siege engine.
It seems that the instruments of this numerous family, especially those with many strings, did not differ much – at least for the non-connoisseurs – and thus many people confused them. However, some of them were played upright evolving into the harp, while others were used horizontally and ended up as the qanun and santur. These instruments were known and in use in Greece before it became… Greece, that is, since the (pre-Hellenic) early Bronze Age of the 3rd millennium BCE. The clearest proof is the Harpist (Trígonon player) of Keros, a beautiful Cycladic figurine dating back to 2800-2300 BCE.
Despite these instruments' long history in the Greek world, Plato and some other philosophers condemned them as unmanly, while Aristotle's pupil, Aristoxenus of Tarentum, the so-called Musician, a most important figure in the area of music theory in ancient Hellas, one of the pioneers of musicology, as we would say today, described them as έκφυλα, that is alien – in the word's literal sense and not the metaphorical that's been left to us (degenerate).
Of course, what's interesting here is not a moral evaluation but the origin of these instruments. There is enough evidence, albeit unclear, that seems to point to an Asian or Thracian origin (what Strabo has said). More tangible are the archeological finds with a plethora of depictions of harpists excavated in the Near East – mainly in Egypt and Mesopotamia. The Harpist of Keros is unique, but only as an exquisite work of visual art…
The name of a similar instrument called phoenix, originating probably in Phoenicia, points to the same direction. But the mentality peculiar to a good number of Modern Greeks was also widespread in ancient Hellas. Thus, the Delian poet Semus, based on the well-known saying and established notion that "there's no place like home", claimed that the phoenix was so called because its arms were constructed of Delian "phoenix" (palm tree in Greek). What we get, indeed, out of this claim is that in his time the islet was not only inhabited and not barren as it is today, but instead covered with vegetation including palm trees!
Based on the same "logic", it was argued that another multi-string instrument, the epigónion, was so named after its inventor, Epigonus of Ambracia, a musician of the 6th century BCE. It took an expert of musicology such as Curt Sachs to bring forth the apparent etymology of the word (επί = on + γόνυ = knee) as the musician placed the instrument on his/her knee(s).
Qanun, on the other hand, was the name of the monochord, an instrument with just one string, used mostly by music theorists to determine the mathematical relations of sounds (from κανών = rule, in Hellenic), usually called as the Pythagorean qanun, for its invention was attributed to Pythagoras. The great Samian philosopher, mathematician and music theorist of the 6th century BCE, however, before going to the Occident to set up his school in Crotone of Magna Graecia, had travelled around a lot in the Orient and become familiar with the achievements of the Assyro–Babylonians and Egyptians in the above areas.
Pollux, who has instructed us about the origin of the tríchordon (pandura), says now that this simple instrument, the monochord, has been an Arab invention. On his part, Nicomachus of Gerasa, a Pythagorean mathematician and music theorist of the 2nd century CE, writes that the monochord is often called phánduros – that is, pandura. It is not known if the monochord qanun was the starting point of an evolution that led to the tanbur and quanun. But anyway that's how we have come full circle back to the tríchordon, the ancestor of the thambura and the rest of the lutes with long necks we have already seen (see Voyage 6).
"The santur, a multi-string pectis, is structured on tempered semitones", Karas goes on… bombarding us while he presents the instruments accompanying the Songs of Constantinople and the Sea of Marmara. "The oud, a fretless medieval guitar, with its tuning based on the 'sýstêma ametábolon' of antiquity (a tone and three or four synêmména tetrachords), shows its Hellenic origin. The laouto, an ancient Greek and Byzantine mágadis (its double strings conform to 'diapason'), is tuned in fifths."
The fact that the santur is played with tempered intervals in Hellas, as in the rest of Europe – that is, with "alien" and artificial intervals that meet the requirements of European polyphony and not of the Greek "national music" – would at least be expected to frustrate Karas. But he's just passed by… Note that in the instrument's cradle, Iran, the so-called "100-string" santur is tuned according to the intervals of the modes to be played.(b)
The pectis and mágadis, which Karas identified with the santur and laouto respectively, were two similar multi-string psalteries of Lydian or Thracian origin. If we trust Aristoxenus, "they were one and the same instrument". They said that the first musician to use the pectis was the Lesbian Sappho (around 630-570 BCE). Living in the 4th century BCE, in the same culture that had brought forth these instruments, Aristoxenus had the reliable information, but also the "legitimate right", to identify these instruments. Where did Karas of the 20th century CE find this right? He obviously acted arbitrarily trying to defend Hellas' "national interest"!
For the same reasons – that is, in order to demonstrate the "unbroken continuity" between ancient and modern Greece – Karas identified the oud with the medieval guitar. The Asian (Assyrian) cithara (kithara) is already known to us together with its genealogical tree (see Voyage 4). The sad truth is that, in the sense that Karas wished for, neither the cithara-guitar nor the oud or laouto were Hellenic. The latter, in fact, etymologically and organologically, comes from the Arabic oud (al oud > laoud) – which in turn also originates in Persia…
Claiming that this instrument had a Greek character (and denying that this character had been Arabo-Persian), Karas invoked its "tuning based on the 'sýstêma ametábolon' with synêmména tetrachords"(c) – presenting the reader with something impressively grandiose and sufficiently incomprehensible! Personally, I think that these systems confuse, rather than enlighten, the ordinary music lovers. So I suggest that we pass them by. But the same does not apply to diapason.
The mágadis, as well as other multi-string instruments, had its strings in double courses tuned in octaves (e.g. RE-re) that the ancients called "διὰ πασῶν" (diá pasôn). The verb "μαγαδίζειν" (mágadis style) denoted a technique of playing a melody in octaves. This is the way the Arabs play the qanun nowadays. According to some writers, the term mágadis (which also defined a kind of aulos) came from the word magás, meaning the bridge of a string instrument. The historian Duris, however, attributed it to a Thracian musician called Magdis.
The ancient Hellenic musical term diapason is just one of all those the Westerners adopted to develop and give prestige to their music. Once the delightful daughter of the Muses, the Greek Μουσική, became… cosmopolitan passing to most languages of the world, it was natural that she would be accompanied by her terminology – but with the original meaning of the terms altered more or less. A well-known "victim" of this adoption is harmony. Consulting a musical dictionary you are about to read:
"Harmony: two or more notes sounding together; the vertical dimension of music. It appears around the 9th century CE, when we have the first polyphonic compositions. Until then music is monophonic, that is, based on a melody with no harmony at all…"!(d)
How comes, you wonder, that the ancient Hellenes invented a term for something that they did not have?(!) Searching for an answer, you conclude that harmony for them was any of the several arrangements of notes within an octave, in a system where its parts were connected in such a way as to form a perfect whole (hence harmony) – that is, it was the mode, echos, 'route', maqam, dastgāh, raga. Thus, harmony in modal music is not about notes sounding together, but refers to the relationship of any note with those that have preceded it and the others that follow, in a system structured dynamically and horizontally rather than statically and vertically.
Harmony for the ancient Hellenes was any arrangement of notes within an octave. In modal music it refers to the relationship of any note with those that have preceded it and the others that follow.
Polyphony appears whenever there is no space for microtones.
But not even polyphony originated in the Occident. We have seen that polyphony is nothing unique. Just think of how many kinds of polyphony are still practiced in the area centered on the Balkans e.g. in Epirus and Albania, in Thrace (Greek, Bulgarian or Turkish), also on the Caucasus Caucasus (Georgia and elsewhere in the area), or in Corsica and Sardinia, and far more in other regions of the world. Polyphony appears whenever there is no space for microtones in music. It's been inconceivable in the Anatolian music due to the diversity of its intervals, but natural in the Epirotic music and any other based on the pentatonic – that is, the most ancient of the scales, with five degrees (instead of seven) and whole tones without semitones.
The term diapason is related to harmony and derives from the phrase "ἡ διὰ πασῶν τῶν χορδῶν συμφωνία" (the accord through all the notes). That is, it was the eighth, "ἡ καλλίστη συμφωνία" (the best accord), according to Aristoxenus. Later on, the term diapason replaced that of harmony. For the Byzantines it was "ἡ διαοκτώ ἢ δι' ὀγδόης ἁρμονία" (the harmony through the octave). Today diapason is also a tuning fork or any standard pitch used for tuning.
It could certainly be maintained that not even the concept of music remained unchanged – indeed, this development took place in ancient Greek times. Music as a term appeared for the first time in the 5th century BCE in Pindar's poetry (Olympian Victory Odes and Hymns) and later in Herodotus' and Thucydides' Histories. For a long time this term denoted the combined spiritual and mental performance especially in the letters and arts. As Plato says in The Republic, the body needs exercise while the soul needs music. A "narrower" definition of the term was lyric poetry, that is, poetry with music, melos (melody). Besides, at that time poetry without music was unthinkable.
The two arts became independent in the 4th century BCE. It was then that the two terms acquired their current meaning. Previously, of course, poetry denoted creation, construction (ποιεῖν = to create, make). With the special meaning of artistic creation it was first used by Simonides of Ceos (6th-5th century); a poet was thought to be a composer of music. The word music was perhaps invented by Lasus of Hermione (6th century), who was among the first artists that combined the qualities of a musician and a musicologist, having dealt with both the art and science of music.
As for the perception of music, there were two schools: the Pythagorean and the Aristoxenian. Pythagoras disapproved of the appraisal of music through the senses (hearing). The merit of this art, he used to say, is because we can perceive it through the intellect (mind). Aristoxenus, on his part, supported a dual scientific principle: on the one hand, he based himself on the sense of hearing to perceive and appraise the pitch, intervals, etc; and on the other hand he relied on the intellect in order to distinguish the mechanisms of sounds.
After all these "digressions" (which have been, in part, the… purpose of this Voyage), let's have a look at some instruments with "negative specifications", according to Karas. Surprisingly he turned against the cümbüş, or "djimbisi", as he "Hellenized" it, describing it as a "mixobarbarian [half-barbarian] combination of an Occidental banjo, laouto and oud", and also complained because "it's been replacing the oud (the medieval, ancient-style guitar)"… But the only Occidental feature on the cümbüş is its soundboard (the metallic soundboard of the banjo). Nevertheless, it makes no big difference the way the sound of an instrument is amplified. Its basic part is the neck and the intervals produced by the fingerboard – and the cümbüş is normally fretless: that is, even subtle changes in pitch are possible, as if we play an oud, or a violin. So why such fury?
Additionally, in another outright arbitrariness in the table of contents on a record with Songs of Thasos, Lemnos and Samothrace, Karas renamed the (distasteful to him) bouzouki to… tambourás. Ironically, the producers of a disc with Cretan songs have done… exactly the opposite for commercial reasons, renaming Stelios Foustalieris' tambourás, the bulgarí, to bouzouki! Why this masquerade? Is it really possible to safeguard any national character with such… "transvestite" disguise?
Thus, according to Karas, the cümbüş is "mixobarbarian" – which reminds me that in ancient Greece, only one out of the four basic "harmonies" (modes) was Hellenic in origin: the Dorian. Two of them, the Lydian and Phrygian, were "barbarian" by birth (coming from Lydia and Phrygia), while the fourth was… "mixobarbarian": it was the Mixolydian – created, according to Aristoxenus, by Sappho, from whom the tragedians received it, for the pathos of this harmony was appropriate to their plays. As Plutarch commented: "the mixolydian is pathetic, in harmony with the tragedies". Let alone the etymological origin of the word cümbüş that, according to some claims, is the… unquestionably ancient Greek symposium!
In ancient Greece only one out of the four basic modes was Hellenic in origin: the Dorian. The Lydian and Phrygian were "barbarian" by birth, while the fourth was… "mixobarbarian" (half-barbarian): it was the Mixolydian.
All the above, however, are "details" when speaking of Karas, whom I was fortunate enough to enjoy at work during the 3rd and – what a pity! – last musicological symposium in Delphi in 1988. I can assure you he was an excellent teacher; a real master, and not… yalanci (fake), such as those "tambourás masters" who might have been his pupils (see Voyage 6). That's why I insist on my criticism, targeting them rather than him. He's been indeed a so-called "teacher of the nation" in the field of Greek traditional music – even though this music has never been "national", as he claimed in the title of his society. It's absolutely certain that when Karas spoke of "national music", he did not mean… ethnic! So let's have a look in brief at the relationship between music and nation.
MUSIC is as old as we are: it's innate in humans. Nations, on the other hand, appeared somewhat recently in history not in order to fulfill some human needs, as music does, but rather for economic and political reasons. I mean, of course, nation states and not ethnicities, which are something different, formed since ancient times, deriving from different human clans and tribes. Therefore, there are no national characteristics in music. Essentially, there is no Hellenic, Turkish, Bulgarian, etc music. When we use national attributes we simply mean that a piece e.g. has Greek lyrics, if it is a song, or that its composer is Greek. In fact, far too many "Hellenic" songs have actually nothing to do with local traditional music genres (they could be described as rock, tango, mambo, etc), no matter if they have Greek lyrics or composers.
There are no national characteristics in music.
Too many "Hellenic" songs have nothing to do with local tradition,
no matter if they have Greek lyrics or composers.
Folk music is not national but ethnic. Erudite music is multinational.
Folk music is born as an idiom in areas smaller than the present nation states, under conditions of agricultural natural economy – areas which are generally divided among neighbouring nation states (e.g. Thrace is divided into three). The pace of its development, as well as the inflow of outside influence, is determined by the geography of each region. That's how musical idioms are articulated. A "problem" arises due to the lack of racial "purity" in these areas, as they are inhabited by people of various ethnicities, each one with its own peculiarities, which are gradually digested into a common idiom, though they retain certain autonomy. As we have seen (see Voyage 4), the more the ethnicities, the richer the idioms. Therefore, folk music is not national but ethnic.
Erudite music, on the other hand, has been a collective effort of elite musicians streaming into the metropolises of multinational empires. Because of the involvement of artists from several nationalities or ethnicities, each with another background, this music is mostly multinational (or transnational, but never international). This applies even to the classical music of Europe, although, broadly speaking, national borders had been drawn there before the period of its great acme.
"National schools", in conclusion, appear much later employing ethnic sound colours but also erudite music forms. Therefore, there is no national character even in "national schools". A good example is Modest Mussorgsky's celebrated suite Pictures at an Exhibition, one of the masterpieces of Russian "national school": it was orchestrated in an exemplary fashion by Maurice Ravel, one of the pioneers of French "national school", and in this form it became a favourite all over the world. Moreover, the half-Basque Ravel, born in a town near Spain, composed many works based on Spanish "national school"…
In the final analysis, we should not care much about the alleged national character or origin of music or its instruments. Such thoughts distract our attention from the essence of the matter, which is music itself. After all, who can trace its evolution? Who was the first person who noticed that a tense bowstring produces a sound? Who then found that the sound is amplified if there is something hollow to function as a soundboard?
Such discoveries are as old as man. So they should have taken place in Africa, the cradle of the human race. What does this mean? That music and its instruments are African-born? Of course not! It just means that in various periods of time, in several areas of the world, we can observe the emergence of the same instruments more or less, for they are based on the same natural laws.
In various times and spaces we observe the emergence of the same instruments more or less for they are based on the same natural laws.
Thus, all such "national" claims have ulterior motives, because music is also older than ownership, not only than nations. Besides, things are very simple – provided that we've got rid of the blinders of "ancestor-mania", and that sense, even if it's common, has prevailed:
"We say that a musical instrument belongs to the folk tradition of a country when its people have sung with this instrument their aspirations and sorrows, especially in times-watersheds in their history," Phoebus Anogianakis writes with simplicity and clarity, cutting the… Gordian Knot, and bringing us down to earth from the nebulae of the ancients' exaltation, and at the same time giving us the key so as to go deeper into the subject.
"Ethnomusicology recognizes that an instrument belongs to the folk tradition of a country based on this criterion. What we are mainly interested in is if this musical instrument has been loved and widely used by the people of this country, and also made by local craftsmen or by the local folk musicians themselves – no matter if this instrument has come from outside, from another country, nearby or distant."
Only based on the above approach, therefore, we can say that the lyre and cithara, the mágadis and tríchordon, were Greek instruments. Because, in truth, all instruments used in ancient Hellas were imported from the Orient – except one: an instrument we know for sure that was invented by Greeks, not during the Classical but in the Hellenistic period and, moreover, outside Greece, in Alexandria, Egypt, the largest centre of Hellenism in the post-classical era. Ironically, this unique instrument with a "Greek patent" is not in use in Hellas anymore and has since been glorified in the hands of some Westerners – prominently those of Johann Sebastian Bach…
All instruments used in ancient Hellas were imported from the Orient
– except the hydraulis (pipe organ) that was invented by Greeks
but is not in use in Hellas anymore…
This instrument was the hydraulis, the water organ, today's pipe organ, in its embryonic form. Its inventor was the Alexandrian engineer Ctesibius in the 3rd century BCE. Sometimes the invention is attributed to his contemporary Archimedes, though latter's contribution should have been indirect, due to the achievements of his ingenious mind, as he was the most important figure in the realm of science in the ancient world. Quite rightly these Greek scientists are thought of as the spiritual fathers of Leonardo da Vinci and so many other inventive minds of Europe from the Renaissance onwards.
Ctesibius apparently based himself on the hydraulic inventions and applications of the Syracusan, mainly on Archimedean hydraulic clocks. Along with hydraulics, Ctesibius studied pneumatics – the science dealing with pneuma, that is, air, and its several applications.(e) In fact, he is considered as the… pneumatic (spiritual) father of this science, as he proved what others had already observed: that invisible air, gas, is something material.
Along with hydraulics, Ctesibius studied pneumatics – the science dealing with pneuma, that is, air, gas.
Let me remark en passant that the rapid decline of the Greek language, due to the decline of Hellenism, in parallel with the spread – or rather: the imposition – of Christianity, had as a result a decline also in the semantics of ancient terms such as pneuma (breath), where only connotations contrasting with matter (i.e. mind, intellect, soul) have survived. The ancient pneuma, you see, was lost as soon as it turned into… "Holy Pneuma (Spirit or Ghost)"! In spite of all the Alexandrian treatises on pneumatics, there is no such entry in Modern Greek dictionaries…(f)
Well, what pneumatics anyway? After all, no work of Ctesibius has survived. The opposite is true in the case of a later engineer whose work is partly extant – although he remains similarly inconspicuous among the Hellenes. He was an Alexandrian, as well, called Hero(n), and lived sometime between the 3rd century BCE and the 1st century CE. Apart from his numerous wonderful inventions – e.g. his aeolipile or steam engine, a windwheel, and also gates that opened automatically – he perfected Ctesibius' water organ based on the principles of pneumatics. However, if the Modern Greeks hear his name by chance and wish to learn more about him, they are obliged to consult foreign publications, since his treatises have never been published in modern Hellas…
The work of the Alexandrian engineers could not go unnoticed in Rome or Constantinople that were great powers. Among other inventions the Byzantine scientists admired Hero's "automata" and perfected them. There were several such mechanisms in the palaces (golden plane trees with singing birds, lions and other wild animals roaring while turning their necks, griffins flapping their wings, etc) in order to impress foreign visitors.
The hydraulic organ was equally impressive; thus the musical instrument ended up… diplomatic. In the 8th century, the Byzantine emperor Constantine V, the so-called… Copronymus,(g) donated an organ to the Frankish king Pepin the… Short – the instrument is now known all over the world by the Greek term organ (meaning instrument among other things) – and what followed is common knowledge more or less. You can see the potential impact of gifts exchanged between "Blue bloods" on the history of music: no matter if diplomacy has never promoted culture, politics influences its development – as a rule negatively.
Political history, however, developed in another direction. Despite the Byzantine gifts to the Occident, the underlying Schism between the Churches was formalized,(h) the Holy See declared a "holy war" against the "infidels" (probably under the sound of… pipe organs), and that's how the Crusades began leading to the first fall of Constantinople, since the Orthodox Christians were included among the "infidels" – or else among the "heretics" who are always… worse than the "infidels"! The control of the Orient necessitated the overthrow of "Romanía" and the division of the booty between the Frankish plunderers and their Venetian instigators.
It was the beginning of the end, a crucial turning point, a development that left its indelible stamp on the history of not only the Mediterranean, or even Europe, but also the whole world, because since then everything changed. It marked the end of the epoch that began in the Near East during the Neolithic era, with the birth of civilization, and the Mediterranean as the epicentre of history. Mare nostrum was de facto marginalized. Its fortunes would since be governed by non-Mediterranean powers.
As usual, the perpetrators made sure of their "absolution" through their propaganda that even their victims reproduce – perhaps because perpetrators and victims are now "allies", "partners"! Whitewashing first became grotesque (with all those… "Crusades for peace" that constitute the zenith of hypocrisy) and then macabre – as soon as bombs started falling in the first… "Humanitarian war" in history, even without the consent of the United Nations!
Let's open our dictionaries again: the Crusaders have been "Medieval warriors who took part in the campaigns of Western Christians against people of another faith mainly for the liberation of the Holy Land"! Who from? Who else but the "infidels", the Muslims. The Greek lexicographers and others do not seem to bother at all that these lands have been equally holy for Islam, or that the Muslims are rather more religious than the Christians. I honestly cannot understand how comes that Greek historians portray the Crusaders as "liberators" of Jerusalem in 1099, and at the same time as "conquerors" of Constantinople in 1204…
Crusaders: "liberators" of Jerusalem, but "conquerors" of Constantinople!
Whitewashing first became grotesque (with all those… "Crusades for peace") and then macabre – as soon as bombs started falling in the first… "Humanitarian war" in history!
We may have deviated from our path, but in essence our subject dealt not so much with the Thracian or Asian origin of music, as with the futility of the ancients' exaltation, and especially of "ancestor-mania", which is nothing but empty words. See, for example, the hydraulis we were lucky to excavate at Dion:(i) It was initially announced that the instrument was polyphonic. Doesn't this mean that the music of late antiquity was also polyphonic? Was there a thorough research in advance, or such a conclusion was reported lightheartedly? The aim was to restore the instrument or to revamp it in the font of European polyphony?
Can we possibly assume that the ancient musicians we see depicted so often with diaulos (double aulos) played in… thirds?(j) Or that on the multi-reed syrinx (Pan pipe) they could play… chords? It is inconceivable to me that the hydraulis can be suitable for… Bach's Toccata and Fugue, exactly as we fail to perform pieces of modal music on the pipe organ. Each instrument is made based on the specifications of the kind of music which is prescribed for.
"Big deal", is the cynical answer. Some… Jurassic Park enthusiasts seem determined to make up for the water organ's lost time, mastering the repertoire of the pipe organ and also composing new music especially for the hydraulis. And what we do is to put the blame solely on such… cloners!


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Sale 1201 Lot 434 Jan 18, 2020 10:00 AM Sold for $168
Mid 19th century, walnut. Scalloped, tiered and graduated shelves. Shelves dovetailed into sides. Early finish. 32"h. 25.5"w. 9.75"d.
Estimate $300-600
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Yom Kippur was winding down yesterday, the last of the sun's rays fading from the stained glass windows in the temple; my feet tired from standing during the Neilah service, my thoughts turned to the menu for the break-the-fast party my sister-in-law makes every year. It's a dairy party, bagels, lox, cream cheese and an array of salads brought by friends and neighbors. I contributed vegetable lasagna and this Apple Cake with Caramel. [click to continue…]
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More about this red octopus acrylic painting
It's important to note that this listing is for an ORIGINAL PAINTING and NOT a print. This illustrative red acrylic octopus painting was created using 100% high-quality acrylic paints on stretched cavas. It comes with an artist's certificate of authenticity.
More about the Artist
Naked Eye Studio is a team of Artists in Austin, TX. This painting is done by Rea. She recieved her Bachelors degree in Art from the University of Washington, where she studied fine art techniques in oil painting, acrylic painting, printmaking, and others. She has been painting and selling work for over a decade and one of her favorite subject matters is abstract skull paintings.
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