Vortex.
I’m caught up in one.
My time of travel is upon me.

How will this affect the blog? The development and improvements to it and the daily responsibility of posting a fresh one?
 do not know.

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Today is Thursday, August 30
This is my 142nd consecutive daily posting.
Time is 6.29 and the weather in Philadelphia is lovely.
Today’s dinner is dependent on many factors not in place yet.
 

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Photo of the Day
 

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Let’s Play a Game
It’s a directed-association game.
We give you a concept.

Next week, Thursday, Sept 6, the concept of the posting will focus on posturing; posing.
You know who you are; you have an audience; you want to convey an attitude: you pose.

What associations do you make with that concept?

Pick a movie.
What movie might you recommend to parallel that post?
Why does this movie resonate with you?
Or an
Encyclopedia Entries
What aspect of posturing can use an in-depth explanation?
or a
Word of the Day
What is a good word in this area that behooves us to define?
Sometimes common words can bear definition.
Or a
Thumbnail Biography
What famous person do you associate with posturing.

Share your associations through the structure of the blog: 
At the magazine, we’ll choose some and publish them on the day of the posting.
Come.
Play.
Let's have some fun.

Send responses to domcapossela@hotmail.com

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Encyclopediacs.

Who were Scylla and Charybdis?

Find the answer just before today’s Post below.
Give yourself partial credits for partial answers.

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Thumbnail Biography:
Henry Fuseli RA (7 February 1741 – 17 April 1825) was a Swiss painter, draughtsman and writer on art who spent much of his life in Britain.
Many of his works, such as The Nightmare, deal with supernatural subject-matter.
He painted works for John Boydell's Shakespeare Gallery, and created his own "Milton Gallery". He held the posts of Professor of Painting and Keeper at the Royal Academy.
His style had a considerable influence on many younger British artists, including William Blake.

As a painter, Fuseli favored the supernatural.
He pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting.
In this theory he was confirmed by the study of Michelangelo's works and the marble statues of the Monte Cavallo, which, when at Rome, he liked to contemplate in the evening, relieved against a murky sky or illuminated by lightning.

Describing his style, the 1911 edition of the Encyclopedia Britannica said that:

His figures are full of life and earnestness, and seem to have an object in view which they follow with intensity.
Like Rubens he excelled in the art of setting his figures in motion.
Though the lofty and terrible was his proper sphere, Fuseli had a fine perception of the ludicrous.

The grotesque humor of his fairy scenes, especially those taken from A Midsummer-Night's Dream, is in its way not less remarkable than the poetic power of his more ambitious works.

Though not noted as a colorist, Fuseli was described as a master of light and shadow.

Rather than setting out his palette methodically in the manner of most painters, he merely distributed the colors across it randomly.
He often used his pigments in the form of a dry powder, which he hastily combined on the end of his brush with oil, or turpentine, or gold size, regardless of the quantity, and depending on accident for the general effect.
This recklessness may perhaps be explained by the fact that he did not paint in oil until the age of 25.

Fuseli painted more than 200 pictures, but he exhibited only a small number of them.
His earliest painting represented "Joseph interpreting the Dreams of the Baker and Butler"; the first to excite particular attention was The Nightmare, exhibited in 1782.
He painted two versions, shown in the Nightmare article.

Themes seen in The Nightmare were repeated in his 1796 painting, Night-Hag visiting the Lapland Witches.

His sketches or designs numbered about 800; they have admirable qualities of invention and design, and are frequently superior to his paintings.

In his drawings, as in his paintings, his method included deliberately exaggerating the proportions of the human body and throwing his figures into contorted attitudes.
One technique involved setting down arbitrary points on a sheet, which then became the extreme points of the various limbs.
Notable examples of these drawings were made in concert with George Richmond when the two artists were together in Rome.

He rarely drew the figure from life, basing his art on study of the antique and Michelangelo.
He produced no landscapes—"Damn Nature! she always puts me out," was his characteristic exclamation—and painted only two portraits.

Many interesting anecdotes of Fuseli, and his relations to contemporary artists, are given in his Life by John Knowles (1831).
He influenced the art of Fortunato Duranti.
 

Thank you, Wikipedia

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Reader's Comment
A recent post highlighted variations to the Marinara Sauce pages prompting this response from Sally.

Hi, Dom,

That seafood marinara photo is one beautiful image.  I wish I were there to eat it up!

With regards to leftovers, many years ago, I was working at a summer camp and  came home on my day off.  My younger brother Dana was at the house, my parents away all summer at our Maine house, and we looked into the refrigerator to see what to have for supper.  It was packed with leftovers - half a slice of meatloaf, a piece of bacon, a quarter cup of canned peaches, some boiled potatoes, green beans, a boiled egg, some limp summer squash - a little of this, a little of that.  Too much of any one item to throw away, too little to constitute a serving.  We surveyed the mess in dismay for a moment, then Dana said, "When it gets this bad, we ought to have a yard sale."

Sally M. Chetwynd
 

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Movie Details
The Odyssey is a 1997 American fantasy–adventure television miniseries based on the ancient Greek epic poem by Homer, the Odyssey.
Directed by Andrei Konchalovsky, the miniseries aired in two parts beginning on May 18, 1997 on NBC.

The series won the award for "Outstanding Directing for a Miniseries or a Special".
It was filmed in Malta, Turkey, parts of England, and many other places around the Mediterranean, where the story takes place.
The cast includes Armand Assante, Greta Scacchi, Irene Papas, Isabella Rossellini, Bernadette Peters, Eric Roberts, Geraldine Chaplin, Christopher Lee and Vanessa Williams.

Part 1
Odysseus (Armand Assante), the king of the ancient Greek kingdom of Ithaca, is called to service in the Trojan War after the birth of his son Telemachus, much to the dismay of his wife Queen Penelope (Greta Scacchi). Odysseus is worried that he may not return, and tells Penelope that she should remarry by the time Telemachus is a man if he does not return.

The war lasts ten years, during which Greece's best soldier, Achilles (Richard Trewett), is killed and the Greeks avenge him by using a giant horse to sneak inside and destroy the city of Troy. Laocoön (Heathcote Williams) tries to warn the Trojans of a vision of this, but is suddenly devoured by a sea monster. On the way back, Odysseus' ego gets the best of him and he tells the gods that he did it himself, which angers Poseidon (voiced by Miles Anderson) so much that he promises to make Odysseus' journey home to Penelope nearly impossible, mentioning that it was he who sent the sea monster to devour Laocoön.

Odysseus and his men initially stop on an island dominated by one-eyed giants, the Cyclopes. A Cyclops named Polyphemus (Reid Asato) traps them in his cave intending to eat them, but Odysseus gets him drunk on wine, causing him to pass out. Then, he sharpens a tree branch into a stake and blinds the Cyclops, allowing them to escape by hiding under sheep skins when he removes the heavy stone door. Polyphemus screams for help, but Odysseus had tricked him into stating that his name was "Nobody", so the Cyclops is shouting that nobody has tricked him, arousing no suspicion. Odysseus and his men escape, but Odysseus taunts the Cyclops who asks his father Poseidon to avenge him. This makes Odysseus' journey home harder.

Odysseus travels to an island where Aeolus (Michael J. Pollard) provides him with a bag of wind to help him home, instructing him to open it when he gets close to Ithaca. One of his men opens it prematurely blowing them off course. Next, they stop at the island of Circe (Bernadette Peters), a beautiful witch, who turns his men into animals and blackmails him into sleeping with her. Odysseus is told of Circe's magic by Hermes (Freddy Douglas), who helps him avoid being transformed as well. Circe tells him to go to the Underworld next, and only then does Odysseus realize that he has actually been tricked by Circe, who put a spell on him so he stayed on the island for five years instead of five days. Odysseus digs his ship out of the sand and tide and sails to the Underworld.

Part 2
Arriving at the Underworld, Tiresias (Christopher Lee) torments Odysseus, recognizing his courage and wit, but criticizes his ego and foolishness. After Odysseus sacrifices a goat into the River Styx, Tiresias tells him that the only way home will take him past a treacherous isle where the monsters Scylla and Charybdis live. As he is running in terror from the underworld, he meets his mother Anticlea (Irene Papas), who committed suicide due to the pain of losing her son. She informs him that back on Ithaca there are multiple suitors, including Eurymachus (Eric Roberts), vying with each other to marry Penelope for her money and power.

Odysseus' boat nears the isle of Scylla and Charybdis. Scylla's six serpentine heads wreak havoc on the crew, killing many. Everyone but Odysseus is killed when Charybdis creates a whirlpool and destroys his ship. Odysseus arrives on the island where Calypso (Vanessa Williams) lives and becomes her prisoner. Meanwhile, Odysseus' now 15-year-old son Telemachus (Alan Stenson) tries to find his father and is told by Athena (Isabella Rossellini) to travel to Sparta and seek out one of his former comrades that fought with him. When Telemachus finds Menelaus (Nicholas Clay), one of Odysseus' comrades, he learns that he doesn't know what happened to Odysseus but believes him to be dead.

Two years later, Hermes arrives, telling Calypso to release Odysseus, and she provides him with a raft to get to Ithaca. Another storm causes problems for Odysseus as he calls out to Poseidon. Poseidon reminds Odysseus about what he said the day he left Troy, and to remember his place as a mere mortal. The next morning, Odysseus washes ashore and is found by some Phaeacians girls. With help from Phaeacian King Alcinous (Jeroen Krabbé), they help Odysseus back to Ithaca. They deliver him at night while he is fast asleep, to a hidden harbor on Ithaca. Upon awakening the next morning, he finds himself on Ithaca where is reunited with Telemachus. Using a peasant disguise provided by Athena, Odysseus meets up with Penelope where she decides to hold a contest to find the person who can string Odysseus' bow. After Odysseus wins the contest, Athena lifts his disguise and Odysseus is assisted by Telemachus in slaying Eurymachus and the suitors. Once the suitors are dead, Odysseus reunites with Penelope.
 

Thank you, Wikipedia

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Word of the Day

vortex
a mass of whirling fluid or air, especially a whirlpool or whirlwind.
"we were caught in a vortex of water"

synonyms: whirlwind · whirlpool · gyre · maelstrom · eddy · swirl · swirling · countercurrent · counterflow · Charybdis

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Answer for Encyclopediacs
Scylla and Charybdis were mythical sea monsters noted by Homer; Greek mythology sited them on opposite sides of the Strait of Messina between Sicily and the Italian mainland.

Scylla was rationalized as a rock shoal (described as a six-headed sea monster) on the Italian side of the strait and Charybdis was a whirlpool off the coast of Sicily.

They were regarded as maritime hazards located close enough to each other that they posed an inescapable threat to passing sailors; avoiding Charybdis meant passing too close to Scylla and vice versa.

According to Homer, Odysseus was forced to choose which monster to confront while passing through the strait; he opted to pass by Scylla and lose only a few sailors, rather than risk the loss of his entire ship in the whirlpool.

Because of such stories, having to navigate between the two hazards eventually entered idiomatic use.

Another equivalent English seafaring phrase is, "Between a rock and a hard place".

The Latin line incidit in scyllam cupiens vitare charybdim (he runs into Scylla, wishing to avoid Charybdis) had earlier become proverbial, with a meaning much the same as jumping from the frying pan into the fire.

Erasmus recorded it as an ancient proverb in his Adagia, although the earliest known instance is in the Alexandreis, a 12th-century Latin epic poem by Walter of Châtillon

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TODAY’S POST

Well today is not a good example of what the daily post will be.
Most of the day spent packing, driving to Philadelphia, 7 hours for us, and then having dinner with Melissa and Howard, left little time for me to get a post ready.
Sorry.
Not going to try to rush it through and produce something boring.
Tomorrow.
Love you
Dom