Tag Archive: forest



eternal summer haiku de l’été éternel – sweet cat passed away = chère chatte trépassée

sweet cat passed away,
you dash through heaven’s forests –
my wee free spirit

free spirit 620

chère chatte trépassée
dans les forêts du ciel –
pet’t esprit libre

Richard Vallance

in memory of my beloved Maine Coon chat, Argentée
à la mémoire de ma Maine Coon chérie, Argentée 


summer haiku d’été – your birthday in Japanese kanji, for Régis Auffray = ton anniversaire en kanji japonais, pour Régis Auffray

the forest wishes
in so many whispers
upon shooting stars

shooting stars 620

le bois fait son voeu
sur les étoiles filantes
en chuchotements

Richard Vallance

The day kanji for the 13th. day = whisper and the 8th. month = star

Le kanji du treizième jour du mois, c’est le chuchotement , et celui pour le huitième mois, c’est l’étoile.   

Canadian Spirit Voices


Canadian Spirit Voices

Canadian Spirit Voices 620

On Spirit Lake the voices flew 
across the coves where forests grew, 
tossing the fragrance of the sun 
over the pines where spirits run. 
Where spirits ran, they run today, 
ancestors' voices up the spruce, 
where paddlers camp but never stay 
where eagles eye the rummaging moose, 
where wolves and bears are born again 
only to see their spring cubs slain, 
where we encamped and they stormed in 
and killed the last of our last kin. 
    Can you imagine what a surprise 
    when they see clarity in our dark eyes? 

Richard Vallance



summer haiku d’été – just after dusk =  au crépuscule

just after dusk
our run-away campfire
licks its next tree

campfire haiku 620

après le crépuscule
notre feu de camp ardent
lèche les arbres

Richard Vallance


summer haiku d’été – striking Canoe Lake = sur le Lac Canoe

striking Canoe Lake
lightning springs to life
from your oil palette

tom thomson 1915 - lightning, canoe lake, 1915 620

sur le Lac Canoe
quel coup d’éclair né
de ta palette

Richard Vallance 


summer haiku d’été – the Milky Way = la voie lactée

sprinkled on our tent
the Milky Way masked
by eerie green light

milky way 620

la voie lactée
masquée par la lumière verte
de notre tente

Richard Vallance 


winter haiku d’hiver – pine and spruce forest = les pins et sapins

the ice-encrusted
pine and spruce forest
silvered by sunlight

ice-encrusted forest 620

la glace argentée
sur les pins et sapins
en plein soleil

Richard Vallance

It should be obvious by now that one of my favourite winter season words or kigo is “silver”, which in not a Japanese kigo at all. But I have firmly established it as a Canadian winter kigo.

It est enfin bien évident que l’un des mots-saisons ou mots d’hiver que j’utilise souvent, c’est le mot « argent », qui n’est guère un kigo japonais. Mais je l’ai nettement établi comme kigo canadien d’hiver.    



winter haiku – half-frozen stream = ruisseau peu gelé

half-frozen stream
wending through the woods –
brushed oil

half frozen stream 620

ruisseau peu gelé
serpente à travers le bois –
peinture à l’huile

Richard Vallance

original photo © by Regis Auffray, special oil painting effects by Richard Vallance

photo originalle © par Regis Auffray, effets spéciaux de peinture à l’huile par Richard Vallance
 

summer haiku d’été – the buddhist monk = le moine bouddhiste

the buddhist monk
roaming the greenwood mountains
is the forest

buddhist monk forest

le moine bouddhiste
qui erre dans les montagnes vertes
est la forêt

Richard Vallance


spring haiku de printemps – fiddleheads =têtes de violon 

fiddleheads
in a rain shower –
water music

fiddleheads haiku

têtes de violon 
dans la pluie légère –
« water music »

Richard Vallance

- based on the Water Music suite by George Frederick Handel (1685-1759).
Fiddleheads blossom in late April and early May in Canada.
- basé sur le « Water Music » par George Frederick Handel (1685-1759).
Au Canada les têtes de violon fleurissent vers la fin d’avril et au début de mai.   

autumn haiku d’automne = misty forest – forêt brumeuse


autumn haiku d’automne = misty forest – forêt brumeuse

flashlight forest

misty forest
rustling leaves  –
wobbly flashlight

 forêt brumeuse
bruissement des feuilles –
torche * oscillant

Richard Vallance

d’habitude « torche électrique » mais cette expression est trop longue dans un haiku.






winter haiku d’hiver = northern lights = aurore boréale

northern lights620



northern lights
over forest paths
phantom wolves

l’aurore boréale
sur les sentiers forestiers
loups fantômes

Richard Vallance


two winter haiku = deux haikus d’hiver


two winter haiku = deux haikus d’hiver

snowflakes brushing
white pine hills ...
forest dreams

pins blancs frôlés 
de flocons de neige ...
rêves forestiers

haiku snow white pines620

snowflakes brushing
wolves’ ear tufts ...
forest dreams

touffes des loups frôlées
de flocons de neige ...
rêves forestiers

haiku snow wolves620

Richard Vallance


Some more astounding photos of Argentée in the woods in Ottawa:

NCC and Argentee

The first 2 photos in the first series of 3 are of the National Capital Commission Parkway, which is forest land running straight through the heart of Ottawa for 40 kilometres (25 miles for Americans). In the third photo we see Argentée sitting in the grass on top of the cliff you see in the first photo.

In the second series of 4 photos, you see Argentée in the grass again, and in the last photo you can see her merrily dragging me back home along the forest path. That is why she is in fact a forest cat. It is her breed. And she knows exactly where she is going.

Argentee in the woods

 


The pristine beauty of Canada. Lac Philippe. Only 40 km. outside Ottawa, the Capital City:

101_0095

101_0114

101_0115

101_0101

101_0094

The most beautiful and one of the most peaceful countries on Earth. The entire country looks like this! Impressive eh!


Alan Turing & Michael Ventris: a Comparison of their Handwriting

I have always been deeply fascinated by Alan Turing and Michael Ventris alike, and for obvious reasons. Primarily, these are two geniuses cut from pretty much the same cloth. The one, Alan Turing, was a cryptologist who lead the team at Bletchley Park, England, during World War II in deciphering the German military’s Enigma Code, while the other, Michael Ventris, an architect by profession, and a decipherment expert by choice, deciphered Mycenaean Linear B in 1952.

Here are their portraits. Click on each one to ENLARGE:

Alan Turing portrait


Michael Ventris Linear B grid AMINISO

Having just recently watched the splendid movie, The Imitation Game, with great pleasure and with an eye to learning as much more as I possibly could about one of my two heroes (Alan Turing), I decided to embark on an odyssey to discover more about each of these geniuses of the twentieth century. I begin my investigation of their lives, their personalities and their astounding achievements with a comparison of their handwriting. I was really curious to see whether there was anything in common with their handwriting, however you wish to approach it. It takes a graphologist, a specialist in handwriting analysis, to make any real sense of such a comparison. But for my own reasons, which pertain to a better understanding of the personalities and accomplishments of both of my heroes, I would like to make a few observations of my own on their handwriting, however amateurish.      

Here we have samples of their handwriting, first that of Alan Turing: Click to ENLARGE 

Alan Turing handwriting sample

and secondly, that of Michael Ventris: Click to ENLARGE

Michael Ventris handwriting letter 18 june 1952

A few personal observations:

Scanning through the samples of their handwriting, I of course was looking for patterns, if any could be found. I think I found a few which may prove of some interest to many of you who visit our blog, whether you be an aficionado or expert in graphology, cryptography, the decipherment of ancient language scripts or perhaps someone just interested in writing, codes, computer languages or anything of a similar ilk.

Horizontal and Vertical Strokes:

1. The first thing I noticed were the similarities and differences between the way each of our geniuses wrote the word, “the”. While the manner in which each of them writes “the” is obviously different, what strikes me is that in both cases, the letter “t” is firmly stroked in both the vertical and horizontal planes. The second thing that struck me was that both Turing and Ventris wrote the horizontal t bar with an emphatic stroke that appears, at least to me, to betray the workings of a mathematically oriented mind. In effect, their “t”s are strikingly similar. But this observation in and of itself is not enough to point to anything remotely conclusive.
2. However, if we can observe the same decisive vertical () and horizontal (|) strokes in other letter formations, there might be something to this. Observation of Alan Turing’s lower-case “l” reveals that it is remarkably similar to that of Michael Ventris, although the Ventris “l” is always a single decisive stroke, with no loop in it, whereas Turing waffles between the single stroke and the open loop “l”. While their “f”s look very unalike at first glance, once again, that decisive horizontal stroke makes its appearance. Yet again, in the letter “b”, though Turing has it closed and Ventris has it open, the decisive stroke, in this case vertical, re-appears. So I am fairly convinced we have something here indicative of their mathematical genius. Only a graphologist would be in a position to forward this observation as a hypothesis.

Circular and Semi-Circular Strokes:

3. Observing now the manner in which each individual writes curves (i.e. circular and semi-circular strokes), upon examining their letter “s”, we discover that both of them write “s” almost exactly alike! The most striking thing about the way in which they both write “s” is that they flatten out the curves in such a manner that they appear almost linear. The one difference I noticed turns out to be Alan Turing’s more decisive slant in his “s”, but that suggests to me that, if anything, his penchant for mathematical thought processes is even more marked than that of Michael Ventris. It is merely a difference in emphasis rather than in kind. In other words, the difference is just a secondary trait, over-ridden by the primary characteristic of the semi-circle flattened almost to the linear. But once again, we have to ask ourselves, does this handwriting trait re-appear in other letters consisting in whole or in part of various avatars of the circle and semi-circle? 
4. Let’s see. Turning to the letter “b”, we notice right away that the almost complete circle in this letter appears strikingly similar in both writers. This observation serves to reinforce our previous one, where we drew attention to the remarkable similarities in the linear characteristics of the same letter. Their “c”s are almost identical. However, in the case of the vowel “a”, while the left side looks very similar, Turing always ends his “a”s with a curve, whereas the same letter as Ventris writes it terminates with another of those decisive strokes, this time vertically. So in this instance, it is Ventris who resorts to the more mathematical stoke, not Turing. Six of one, half a dozen of the other.

Overall Observations:

While the handwriting styles of Alan Turing and Michael Ventris do not look very much alike when we take a look, prime facie, at a complete sample overall, in toto, closer examination reveals a number of striking similarities, all of them geometrical, arising from the disposition of linear strokes (horizontal & vertical) and from circular and semi-circular strokes. In both cases, the handwriting of each of these individual geniuses gives a real sense of the mathematical and logical bent of their intellects. Or at least as it appears to me. Here the old saying of not being able to see the forest for the trees is reversed. If we merely look at the forest alone, i.e. the complete sample of the handwriting of either Alan Turing or Michael Ventris, without zeroing in on particular characteristics (the trees), we miss the salient traits which circumscribe their less obvious, but notable similarities. General observation of any phenomenon, let alone handwriting, without taking redundant, recurring specific prime characteristics squarely into account, inexorably leads to false conclusions.

Yet, for all of this, and in spite of the apparently convincing explicit observations I have made on the handwriting styles of Alan Turing and Michael Ventris, I am no graphologist, so it is probably best we take what I say with a grain of salt. Still, the exercise was worth my trouble. I am never one to pass up such a challenge.

Be it as it may, I sincerely believe that a full-fledged professional graphological analysis of the handwriting of our two genius decipherers is bound to reveal something revelatory of the very process of decipherment itself, as a mental and cognitive construct. I leave it to you, professional graphologists. Of course, this very premise can be extrapolated and generalized to any field of research, linguistic, technological or scientific, let alone the decipherment of military codes or of ancient language scripts. 

Many more fascinating posts on the lives and achievements of Alan Turing and Michael Ventris to come! 

Richard


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