Alphabet of weight

A - armchair / air

B - bubble / bag

C - concrete

D - drop

E - elephant

F - feather

G - giant

H - heart

I - ice / idea

J - jacket

K - kevlar

L - leaf

M - music

N - nucleus

O - object / obstacle

P - pack

Q - quarrel

R - rock / rain

S - stone / step

T - table

U- unattached / unpleasant

V - vapour

X - xilophone (sound)

Y - yacht

Z - zephyr

The weight of culture

Culture can be a heavy weapon that breaks the chains of ignorance and makes the mood light as a feather.

A heavy chain

Life is a heavy burden

Balloons

Up is a Pixar's movie.
In this movie a lot of balloons make the heavy house of the protagonist like a light flying object.

Weapon

The Heavy Movie

The elephant and the feather

Dumbo is a Disney's movie, where an elephant can fly thanks to the lightness of a magical feather...

Weight of Heroes

Spiderman is fast and agile, he has the lightness of an insect, while Hulk is strong and heavy as a rock!

Iron butterflies

In-A-Gadda-Da-Vida, honey, don't you know that I love you? In-A-Gadda-Da-Vida, baby, don't you know that I'll always be true? Oh, won't you come with me and take my hand? Oh, won't you come with me and walk this land? Please take my hand! -Repeat- ~solos~ -Repeat-

See the videoclip of their most famous song:

http://www.youtube.com/watch?v=2Ee2tnk46Wo

A colombian artist

Fernando Botero Angulo (born April 19, 1932) is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on. He came to national prominence when he won the first prize at the Salón de Artistas Colombianos in 1958. Working most of the year in Paris, in the last three decades he has achieved international recognition for his paintings, drawings and sculpture, with exhibitions across the world. His art is collected by major museums, corporations and private collectors. In 2005, his series of drawings and paintings entitled Abu Ghraib, which was exhibited first in Europe, expressed his outrage at abuses during the Iraq Warand concentrated on the dignity of the victims. The exhibit was featured at two United States venues in 2007.


Style

While his work includes still-lifes and landscapes, Botero has concentrated on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them.

Botero explains his use of these "large people", as they are often called by critics, in the following way:

"An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."

Botero is an abstract artist in the most fundamental sense, choosing colors, shapes, and proportions based on intuitive aesthetic thinking. Though he spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world.

In 2004 Botero exhibited a series of 27 drawings and 23 paintings dealing with the violence in Colombia from the drug cartels. He donated the works to the National Museum of Colombia, where they were first exhibited.

In 2005 Botero gained considerable attention for his Abu Ghraib series, which was exhibited first in Europe. He based the works on reports of United States forces' abuses of prisoners at Abu Ghraib prison during the Iraq War. Beginning with an idea he had on a plane journey, Botero produced more than 85 paintings and 100 drawings in exploring this concept and "painting out the poison." The series was exhibited at two United States locations in 2007, including Washington, DC. Botero said he would not sell any of the works, but would donate them to museums.

In 2008 he exhibited the works of his The Circus collection, featuring 20 works in oil and watercolor. In a 2010 interview, Botero said that he was ready for other subjects: "After all this, I always return to the simplest things: still lifes."

http://en.wikipedia.org/wiki/Fernando_Botero

Communication: Craft, Industrial, Information

In craft society communication was represented by art and architecture.

In industrial society communication was represented by books and newspapers.

Now in information society communication is represented by Internet.

Unbearable lightness

The Unbearable Lightness of Being (1984), by Milan Kundera, is a philosophical novel about two men, two women, a dog, and their lives in the Prague Spring of the Czechoslovak Communist period in 1968. Although written in 1982, the novel was not published until two years later, in France. The Czech: Nesnesitelná lehkost bytí andFrench: l'Insoutenable légèreté de l'être titles are more common worldwide.

Philosophical underpinnings

Challenging Friedrich Nietzsche’s concept of eternal recurrence (the idea that the universe and its events have already occurred and will recur ad infinitum), the story’s thematic meditations posit the alternative; that each person has only one life to live, and that which occurs in life occurs only once and never again — thus the “lightness” of being. In contrast, the concept of eternal recurrence imposes a “heaviness” on our lives and on the decisions we make (to borrow from Nietzsche's metaphor, it gives them "weight"). Nietzsche believed this heaviness could be either a tremendous burden or great benefit depending on the individual's perspective.

The German expression Einmal ist keinmal encapsulates “lightness,” the concept of which is well expressed in the quote: “what happens but once, might as well not have happened at all. If we have only one life to live, we might as well not have lived at all.” Following this logic, life is insignificant, and decisions do not matter, and are thus rendered light, because they do not cause personal suffering. Yet the insignificance of decisions — our being — causes us great suffering, perceived as the unbearable lightness of being consequent to one’s awareness of life occurring once and never again; thus no one person’s actions are universally significant. This insignificance is existentially unbearable when it is considered that people want their lives to have transcendent meaning.

The "unbearable lightness" in the title also refers to the lightness of love and sex, which are themes of the novel. Kundera portrays love as fleeting, haphazard and perhaps based on endless strings of coincidences, despite holding such significance for humans.

http://en.wikipedia.org/wiki/The_Unbearable_Lightness_of_Being

A heavy hole captures light

Black holes are the heaviest of the universe, they attract all nearby matter, capturing the light in.

Heavy and light populations

Macao is the most populated state in the world with 16.068 people per km²

Groenlandia is the least populated in the world with 0,03 people per km²


http://it.wikipedia.org/wiki/Lista_di_stati_per_densit%C3%A0_di_popolazione

A heavy dinner!

In this spot heavy refers to a difficult to digest meal!


http://s.edizionibe.it/90/files/2010/05/Brioschi-campagna-stampa.jpg

Light fluid

In this object the concept of heavy and light is represented by the work of fluid with its weight.
Hot fluid become light and go up, while cold one become heavy and go down.

Light air

In this object the concept of heavy and light is represented by the work of air with its weight.
Hot air become light and go up, while cold one become heavy and go down.

Weighing of the Heart

The ancient Egyptians believed that, when they died, they would be judged on their behaviour during their lifetime before they could be granted a place in the Afterlife. This judgement ceremony was called "Weighing of the Heart" and was recorded in Chapter 125 of the funerar text known as the "Book of the Dead".

The ceremony was believed to have taken place before Osiris, the chief god of the dead and Afterlife, and a tribunal of 43 dieties. Standing before the tribunal the deceased was asked to name each of the divine judges and swear that he or she had not committed any offences, ranging from raising the voice to stealing. This was the "negative confession". If found innocent, the deceased was declared "true of voice" and allowed to proceed into the Afterlife.
The proceedings were recorded by Thoth, the scribe of the gods, and the deity of wisdom. Thoth was often dipicted as a human with an ibis head, writing on a scroll of papyrus. His other animal form, the baboon, was often depicted sitting on the pivot of the scales of justice.
The symbolic ritual that accompanied this ritual was the weighing of the heart of the deceased on a pair of enormous scales. It was weighed against the principle of truth and justice ( known as maat ) represented by a feather, the symbol of the goddess of truth, order and justice, Maat. If the heart balanced against the feather then the deceased would be granted a place in theFields of Hetep and Iaru. If it was heavy with the weight of wrongdoings, the balance would sink and the heart would be grabbed and devoured by a terrifying beast that sat ready and waiting by the scales. This beast was Ammit, "the gobbler", a composite animal with the head of a crocodile, the front legs and body of lion or leopard, and the back legs of a hippopotamus.
The ancient Egyptians considered the heart to be the centre of thought, memory and emotion. It was thus associated with interlect and personality and was considered the most important organ in the body. It was deemed to be essential for rebirth into the Afterlife. Unlike the other internal organs, it was never removed and embalmed separately, because its presence in the body was crucial.
If the deceased was found to have done wrong and the heart weighed down the scales, he or she was not though to enter a place of tourment like hell, but to cease to exist at all. This idea would have terrified the ancient Egyptians. However, for those who could afford to include Chapter 125 of the Book of the Dead in their tombs, it was almost guaranteed that they would pass successfully into the Afterlife. This is because the Egyptians believed in the magical qualities of the actual writings and illustrations in funerary texts. By depicting the heart balancing in the scales against the feather of Maat they ensured that would be the favourable outcome. The entire ceremony was, after all, symbolic.
Following the Weighing of the Heart, the organ was returned to its owner. To make quite sure that this did happen, Chapters 26-29 of the Book of the Dead were spells to ensure that the heart was returned and this it could never be removed again.


http://www.egyptian-scarabs.co.uk/weighing_of_the_heart.htm

Synonyms Light

Light (adj.)

Sense 1:

light (vs. heavy)
lightweightairybuoyant, floatylighter-than-airlow-density(predicate)

Sense 2:

light (vs. dark), light-colored
palepalishpastelpowdery

Sense 3:

light (vs. heavy)
light-armed, lightly-armed

Sense 4:

light (vs. heavy)
fooling, casual

Sense 5:

unaccented, light, weak
unstressed (vs. stressed)

Sense 6:

light
digestible (vs. indigestible)

Sense 7:

light
loose (vs. compact)

Sense 8:

clean, clear, light, unclouded
pure (vs. impure)

Sense 9:

light, lightsome, tripping
light-footed (vs. heavy-footed)

Sense 10:

light
undemanding (vs. demanding)

Sense 11:

light (vs. heavy)
easy, gentle, soft

Sense 12:

light
thin (vs. thick)

Sense 13:

light
light-duty (vs. heavy-duty)

Sense 14:

light, lite, low-cal, calorie-free
nonfat (vs. fatty), fat-free, fatless

Sense 15:

easy, light, loose, promiscuous, sluttish, wanton
unchaste (vs. chaste)
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Synonyms Heavy

Heavy (adj.)

Sense 1:

heavy (vs. light)
densedoughy, soggyheavier-than-airheftymassivenon-buoyantponderous

Sense 2:

heavy (vs. light)
harsh

Sense 3:

heavy (vs. light)
burdensome, onerous, taxingdistressing, distressful, disturbing, perturbing, troubling, worrisome, worryingleaden, weightedoppressiveweighty

Sense 4:

fleshy, heavy, overweight
fat (vs. thin)

Sense 5:

heavy (vs. light)
big

Sense 6:

dense, heavy, impenetrable
thick (vs. thin)

Sense 7:

heavy
thick (vs. thin)

Sense 8:

big(prenominal), heavy(prenominal)
intemperate (vs. temperate)

Sense 9:

heavy, sonorous
full (vs. thin)

Sense 10:

intemperate, hard, heavy
indulgent (vs. nonindulgent)

Sense 10:

grave, grievous, heavy, weighty
important (vs. unimportant), of import

Sense 11:

heavy, lumbering, ponderous
heavy-footed (vs. light-footed)

Sense 12:

heavy
indigestible (vs. digestible)

Sense 13:

heavy, weighed down
full (vs. empty)

Sense 14:

heavy, labored, laboured
effortful (vs. effortless)

Sense 15:

arduous, backbreaking, grueling, gruelling, hard, heavy, laborious, operose, punishing, toilsome
effortful (vs. effortless)

Sense 16:

heavy, leaden
dull (vs. lively)

Sense 17:

big(predicate), enceinte, expectant, gravid, great(predicate), large(predicate), heavy(predicate), with child(predicate)
pregnant (vs. nonpregnant)

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