View allAll Photos Tagged Dialectics
I came across this scene while exploring the Brewster projects with friends in 2012 when in Detroit. Brewster Projects was a public housing project that had some very notable residents: Diana Ross, Mary Wilson, Florence Ballard, Loni Love, Smokey Robinson, and Etterlene DeBarge, who were on the Motown label located just down the street. Fredrick Douglass was a famous abolitionist, and the housing complex was named after him and was located on Brewster Street.
The area was abandoned in 2008, four years before I shot this; however, demolition had not started. The only thing left today is the activity centre, which was a part of the whole complex. Detroit is more about exploring tensions such as this and less about the ruins of the failed industry of the 1970's and 1980s. Detroit has so many interesting and thought-provoking contradictions like this, no matter where you drive, I really feel it's one of the most interesting cities in the world to see.
Finding Dora lynched on the courts (this was not set up in any way, nor is it AI) was a strange sight. A lovable, innocent child's character was symbolically taken out in a city that represents the pinnacle of American utopia turned dystopia. America has an obsession with everything shiny, new, and innocent, and these things exist right next to the rot, where you can see both at the same time. Beautiful and progressive or Damaged and backward. Everything is bigger, shinier, faster as long as you are going forward. There is no totality, just distracting fragments that no longer coalesce. The one thing that feels constant today is how ready people are to doom scroll into the next nightmare.
Detroit is unique in this regard; it's probably the one place you could clearly teach Hegel's dialectical method with easy success. I really wonder what someone like Hegel would think of this city - or the times we even currently live in.
"Detroit gives a sense of epoch of civilization in a way that you don't get in cities like New York. It's obvious when looking at it that what doesn't work." - Grace Lee Boggs
Detroit is the one city where I was able to bridge my images with Hegelian philosophy, which I learned over 20 years ago.
Kathy Toth
kathytoth.ca
www.flickr.com/photos/artiquated/albums/
Date: August 04, 2012
Location: Brewster Douglass Projects, Detroit, MI.
Print Sizes: 8" x 10", 11" x 14" and 16" x 24"
This image was originally known as "Dora does Detroit" in some of my early prints and "Phenomenology of Detroit" later.
Get the balance Right
jeanne
Greenday
Dialectic Movement
Vernissage
4[07_09]
KATA*LOGUE: www.in.situ.net.au/download/dialecticmovements/catalogue.pdf
Pessi and Illusia is classic Finnish troll story from 1944 by Yrjö Kokko
This fantasy novel, which describes the friendship and love between a troll and an elf, was written while the author was on the frontline in 1944. It can be read as an allegory of war. War problems are mirrored in the relationship between pessimistic troll Pessi and optimistic elf Illusia, who comes from the land of the rainbow.
Illusia stays so long on earth that the sun sets and she can’t see the rainbow anymore. The next few days are so dry that the rainbow never appears. Then comes a spider that envies Illusia’s famous father, Illusion, and bits off Illusia’s wings. Now she can never get back on the rainbow...
The central topic is the relationship between nature and humans, as well as that between children and the war. Novel raises the problem of the dialectic of Good and Evil, of weak and strong, by resorting to the law of nature, where the stronger beings always dominate the weak ones. This problem is still of importance today and will continue to be so.
Traditionally the egg symbolised the world and perfection. Eggs continue the dialectic between soft and hard and evoke intrauterine memories. Eggs form part of a series of works that Salvador Dalí painted in 1932 with the same theme: soft fried eggs. These eggs reminded the artist of eyes and even of a woman’s breasts. However, from 1940 onwards, Dalí’s work took a turn and it seems that eggs then referred to the artist’s rebirth. The idea of Salvador Dalí’s rebirth is present in the eggs he used to decorate the outside of his house at Portlligat and Torre Galatea, at the Dalí Theatre-Museum in Figueres.
503CX, 4.0/50 FLE, Kodak Portra 400 VC, V600, Affinity Photo
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Portugal, Óbidos, St. Mary's church, Portal
Vanitas painting including frame , size about 40 X 50 cm. (used a little photoshop to make up for a bad picture.
A sprig of grass, discarded pliers, and boulders, found on the shore of Swiftcurrent Lake, Glacier National Park, Montana
503CX, CF 4.0/50 FLE, Kodak Portra 400 VC, V600, Affinity Photo
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Portugal, Óbidos, St. Mary's church, Portal
book
Pleasures by B. Brecht
"First look from morning's window
The rediscovered book
Fascinated faces
Snow, the change of the seasons
The newspaper
The dog
Dialectics
Showering, swimming
Old music
Comfortable shoes
Comprehension
New music
Writing, planting
Traveling
Singing
Being friendly"
...or natural dialectics ;-)
We wouldn`t exist without our sun, but how could the sun show it`s magic power without the existence of flora and fauna ;-)
Several layers to accomplish a painterly finish including a canvas.
After PP I added a flare.
Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.
Manarola was celebrated in paintings by the artists Llewelyn Lloyd (1879-1949) ("I ponti di Manarola" [:The Bridges of Manarola, 1904] and "Tramonto a Manarola" [:Sunset at Manarola, 1904] and Antonio Discovolo (1874–1956).
From Wikipedia, the free encyclopedia
Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.
Manarola was celebrated in paintings by the artists Llewelyn Lloyd (1879-1949) ("I ponti di Manarola" [:The Bridges of Manarola, 1904] and "Tramonto a Manarola" [:Sunset at Manarola, 1904] and Antonio Discovolo (1874–1956).
From Wikipedia, the free encyclopedia
la Dialettica, rappresentata da una vecchia che stringe con la mano dei serpenti, simbolo di ingegno e astuzia
Gentile da Fabriano (Fabriano, 1370 around - Rome, September 1427) - Room of the liberal Arts and the Planets (1411-1412) - Palazzo Trinci, Foligno
the Dialectic, represented by an old woman clutching with the hand of snakes, symbol of ingenuity and cunning
Wikipedia: The Cinque Terre (Italian pronunciation: [ˌtʃinkwe ˈtɛrːe]) is a rugged portion of coast on the Italian Riviera. It is in the Liguria region of Italy, to the west of the city of La Spezia. "The Five Lands" is composed of five villages: Monterosso al Mare, Vernazza, Corniglia, Manarola, and Riomaggiore. The coastline, the five villages, and the surrounding hillsides are all part of the Cinque Terre National Park and is a UNESCO World Heritage Site. Over the centuries, people have carefully built terraces on the rugged, steep landscape right up to the cliffs that overlook the sea. Part of its charm is the lack of visible corporate development. Paths, trains and boats connect the villages, and cars cannot reach them from the outside. The Cinque Terre area is a very popular tourist destination. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town.
Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns. Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town. Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. Manarola is one of the five villages. Mostly all of the houses are bright and colourful. Manarola was celebrated in paintings by the artists Llewelyn Lloyd (1879-1949) ("I ponti di Manarola" [:The Bridges of Manarola, 1904] and "Tramonto a Manarola" [:Sunset at Manarola, 1904] and Antonio Discovolo (1874–1956).
Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.
Manarola was celebrated in paintings by the artists Llewelyn Lloyd (1879-1949) ("I ponti di Manarola" [:The Bridges of Manarola, 1904] and "Tramonto a Manarola" [:Sunset at Manarola, 1904] and Antonio Discovolo (1874–1956).
From Wikipedia, the free encyclopedia
In Explore: Highest position: 152 on Saturday, November 14, 2015.
Manarola. Cinque Terre.
Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.
I am pleased to announce that my work titled "Self-portrait With Mirrors" from "The Art Of Reflection" series has been selected for in person judging, and curated into the 32nd Annual "No Big Heads", national juried self-portrait competition of limited size at the University of Alaska Anchorage. It will be exhibited along with twenty-eight other self-portraits at the Hugh McPeck Gallery in Anchorage, Alaska, U.S.A. from October 12th through November 3rd, 2017.
I'm thrilled to see my work among award winners with a Honorable Mention from the Juror.
ABOUT THE COMPETITION
The No Big Heads Self Portrait Exhibition is open to all artists. Works must be no larger than 12 inches by 12 inches in any direction, including framing and hanging materials.
JUROR: Christina Seely
Interested in human understandings of time and the natural world, Christina Seely’s expedition based work explores global systems, both built and natural, and finds its home in the conversation between the photographic image and our contemporary relationship with the planet.
Embedded in the work is a dialectic between the surface documentation of representative media and the complex reality that lies beyond that surface – how beauty can suggest the simple and ideal while both subtly reflecting and obscuring an often darker more complicated truth.
An experiential examination of our relationship to time and the natural world makes up the root of her practice. While the work culminates in photographic, textual, collaborative and performative translations it is guided by both the potentials of the photographic medium as an artistic tool and its deconstruction as a dominating cultural syntax.
AWARDS
$1000 for Best of Show
$1000 in other cash prizes
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NB.
All artist accepted into the exhibition were announced on October 11th after Christina Seely's lecture in Arts room 150.
The Opening reception was held on October 12th, 2017.
I got the acceptance notification only on October 13th by e-mail.
A colourful Halloween Tribute for the 31st Oct 2024
The juxtaposition of dominant reds with intense blues and biting yellows is not merely a chromatic exercise but an intentional invocation of in depth physical dynamics.
The red, historically emblematic of revolutionary zeal, is here transmuted into an image of territorial encroachment, symbolizing the blood of land workers who toiled here in harsh conditions.
The compositional tension between this red and the contrasting yellow and blue functions as a visual dialectic, evoking the material conflicts of occupation and sovereignty that are as much corporeal as they are ideological.
Viewed from Etzel Pass. The two pointy mountains to the left are Grosser Mythen (left) and Kleiner Mythen (right).
"The Grosser Mythen (also Grosse Mythe) is a mountain in the Schwyzer Alps of Central Switzerland. The mountain lies in the canton of Schwyz, to the east of the town of Schwyz, and to the south of the village of Alpthal in the valley of the river Alp.
It is accessible from the Holzegg by a hiking trail which is opened during the summer months only. Geologically the Mythen is a penninic Klippe.
The name is pronounced [ˈmiːtən]; it is in origin the plural referring to the Grosser and Kleiner Mythen collectively, each of which had the name Mythe (feminine) in the singular. The name is unrelated to the now-homographic German word for "myth"; Weibel (1973) derives it from Latin meta "cone, pyramid". Until the late 19th century, the name of the mountain was still feminine, die Grosse Mythe; after c. 1870, the masculine gender became increasingly common in written German although dialectically the feminine remains current.
The Schwyz Alps (German: Schwyzer Alpen) are a mountain range in Switzerland. They form part of the North-Eastern Swiss Alps and are bordered by the Glarus Alps to the east, the Appenzell Alps to the north-east, the Emmental Alps in the west, and the Uri Alps to the south-west. The Klausen Pass is the highest point between the Schwyz Alps and the Glarus Alps.
The Schwyzer Alps extend beyond the boundaries of the canton of Schwyz, including parts of the cantons of Glarus, Luzern, Uri and Zug. The highest point in the Schwyzer Alps is the Glärnisch, at an elevation of 2,915 metres (9,564 ft), which actually lies within the canton of Glarus. Just south of the Glärnisch is the Bös Fulen, the highest point in the canton of Schwyz." - info from Wikipedia.
During the summer of 2018 I went on my first ever cycling tour. On my own I cycled from Strasbourg, France to Geneva, Switzerland passing through the major cities of Switzerland. In total I cycled 1,185 km over the course of 16 days and took more than 8,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Música (abrir en nueva pestaña) / Music (Open link in new tab): Mike Oldfield - Jewel in the Crown.
(Please see English text below)
Construido en el año 2011 según el proyecto del Estudio Barozzi Veiga, en un privilegiado emplazamiento en primera línea frente a la Playa de Las Delicias de Águilas (Murcia), el auditorio "Infanta Doña Elena" se engloba en una innovadora tipología muy extendida en la arquitectura española de los últimos años, en la que se pretende establecer una relación de la arquitectura con las particularidades del lugar concreto de su emplazamiento.
El Estudio Barozzi Veiga desarrolla así una dialéctica, sobria y potente reflexión entre lo artificial y lo natural, configurando el proyecto en función de la tensión de los espacios que lo rodean: por un lado, hacia la ciudad (artificio) el edificio muestra una imagen ordenada y diáfana; por otro, hacia el mar (naturaleza, paisaje) se comporta de manera más orgánica, para lo que curva sus superficies, simulando la forma de una ola.
El resultado es pues la original construcción que puede contemplarse en la imagen, con una volumetría facetada esculpida en planos cóncavos con enormes ventanales con vistas al mar, todo ello en un brillante blanco que reluce al sol y que responde perfectamente a esas tensiones paisajísticas de su privilegiado emplazamiento.
-English:
This elegantly sculpted and strikingly curvaceous project by Estudio Barozzi Veiga was built in 2011 on a privileged site in front of "Las Delicias" beach of Águilas (Murcia, Spain). The Auditorium and Congress Palace "Infanta Doña Elena" is included within an innovative very widespread tendency in Spanish architecture in the last years, which tries to relate architecture to the specific particularities and singularities of its location site.
In the architect's own words, the project is a natural response to the particular stimulus, offered by the location. On one hand the need to respect the urban tissue that growths inside, on the other, the one’s to preserve the expressive hue of the natural landscape.
It is through this contrast, that we define and articulate tensions that allow the project to organize itself while a coherent response to the constraints of place. The building is a dialectic reflection, simple but at the same time strong, between the urban artificiality and the organic naturalness.
Thus, the building results in a large mass, shaped in function of the tensions that proceeds from the different character of the spaces surround it. Tangent to the town, the facades are clean, orderly and paused, while tangent to the sea, the facades translate the surrounding space and the configuration offered by the landscape and geography, through large and concave surfaces, that provides a direct and intensive relation with the surrounding natural environment.
Imagen protegida por Plaghunter / Image protected by Plaghunter
© Francisco García Ríos 2015- All Rights Reserved / Reservados todos los derechos.
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Psalm 22:16 “For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet.”
“A bill introduced by Representative Josh Gottheimer in the House on April 13 would require Apple, Google, and every other operating system vendor to verify the age of anyone setting up a new device in the United States.”
“The legislation, H.R. 8250, travels under the friendlier name of the Parents Decide Act, and it is among the most aggressive surveillance mandates ever proposed for American consumer technology.”
“Buried in the definitions is a mandate that reaches every laptop, console, smart TV, and car infotainment system in the country.”
reclaimthenet.org/us-bill-mandates-on-device-age-verifica...
The devil’s dialectic: problem, reaction, solution. The dialectic always centralizes power, it never gives more freedom. Age verification is just a way of implementing a digital ID surveillance system, which will centralize data—data equals control, control equals power, and power equals tyranny.
Galatians 5:1 “For freedom Christ has set us free; stand firm therefore, and do not submit again to a yoke of slavery.”
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably a dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages of the Cinque Terre. Most of the houses are bright and colourful. Manarola was celebrated in paintings by Antonio Discovolo (1874–1956).
Tiger and Turtle nimmt über die in ihm angelegte Dialektik von Geschwindigkeit und Stillstand Bezug auf die Umbruchsituation in der Region und deren Wandel durch Rückbau und Umstrukturierung. Indem die Skulptur die dem Bild der Achterbahn anhaftenden Erwartungen ad absurdum führt, reflektiert sie ihre eigene Rolle als potentielles überregionales Wahrzeichen, welches zwangsläufig als Bild vereinnahmt wird. Sie stellt der Logik des ewigen Wachstums eine absurd‐widersprüchliche Struktur entgegen, die sich einer eindeutigen Interpretation widersetzt.“
– Heike Mutter und Ulrich Genth: PM der Künstler vom 19. November 2011 auf phaenomedia.org
Tiger and Turtle, through the dialectic of speed and stillness, is referring to the upheaval situation in the region and its change through dismantling and restructuring. By sculpturing the absurdity of the image of the roller coaster, the sculpture reflects its own role as a potential supraregional landmark, which is inevitably taken as an image. It counteracts the logic of eternal growth with an absurdly contradictory structure that opposes a clear interpretation. "
- Heike Mutter and Ulrich Genth: PM of the artists of 19 November 2011 on phaenomedia.org
Ezekiel 31:15 “This is what the Lord GOD says: ‘On the day that it descended into Sheol, I shut down its water supplies, covered over its deep water, and shut down its rivers. As a result its abundant water sources dried up, and I caused Lebanon to mourn for it. All the trees of the field wilted because of it.’”
“The United States Military just entered the Great State of California and, under Emergency Powers, TURNED ON THE WATER flowing abundantly from the Pacific Northwest, and beyond. The days of putting a Fake Environmental argument, over the PEOPLE, are OVER. Enjoy the water, California!!!” –
Donald J. Trump
Shutting off the water: this is the United Nations’ Agenda 21—sustainable development—in action in California. You know their dialectic: problem, reaction, solution. Their manufactured problem (PSYOP)—the boogeyman in the closet—is climate change. Their solution: net-zero. They will cut off fossil fuels and lock me away in my 15-munite city neighbourhood (gulag archipelago): good-bye freedom of movement. They will silence my pro-fossil fuel speech, labeling it as mal-dis-mis information: good-bye free speech. Then comes the climate lockdowns: good-bye freedom of assembly. The end result: I will own nothing and be happy. All of us will be equally poor. Equality for all! Anti-civilization…anti-human…woohoo!
In this post-Christian era, the rise of nihilism will lead to an authoritarian system that revolves around surveillance and data: digital IDs, biometrics, digital currencies, and social credit scores. Nihilistic Darwinism will ensue, resulting in genocide: “Maintain humanity under 500,000,000 in perpetual balance with nature.” People already accept social Darwinism: euthanasia and abortion. What about covid? Oh, I guess you are too dumb to understand that one! What happened during covid was an eye-opener. Nowadays people lack moral fortitude. They are fearful and cowardly. They can be easily whipped up into an authoritarian mode. They have lost all commonsense and discernment. Their consciences have been seared.
Deconstructing the moral foundations of the West will only destroy it. When this happens, you can kiss democracy and free market capitalism good-bye! At the moment, we only have a resemblance—a counterfeit—of the two. We, however, will soon lose both. Once gone, they will be lost forever—the boot on the face of humanity. As for me: my hope is in the Lord Jesus Christ! God’s moral laws are perfect! If you disagree, you are a sinner…buahahaha!
"In this stillness that is at the same time movement, in this darkness that is at the same time light, change is found not in the realm of ideas but in the energizing desire that is realized through precipitation. Desire tends towards its own realization and change takes place when the desire for it shatters the bounds of the possible, breaking the dialectical equilibrium holding together the framework of what is existent. It is at such moments that the imaginary flows into the real and overwhelms it, inundating it until it has been absorbed."
Michael Richardson
503CX, CF 4.0/50 FLE, Kodak Portra 400 VC, V600, Affinity Photo
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Portugal, Óbidos, St. Mary's church, Portal
Logic can either operate as part of an intellection, or else, on the contrary, put itself at the service of an error; moreover unintelligence can diminish or even nullify logic, so that philosophy can in fact become the vehicle of almost anything: it can be an Aristotelianism carrying ontological insights, just as it can degenerate into an "existentialism" in which logic has become a mere shadow of itself, a blind and unreal operation.
Indeed, what can be said of a "metaphysic" which idiotically posits man at the centre of the Real, like a sack of coal, and which operates with such blatantly subjective and conjectural concepts as "worry" and "anguish"? When unintelligence (and the variety we mean here is in no wise incompatible with what passes for intelligence in "worldly" circles) and passion prostitute logic, it is impossible to escape from that mental satanism which is so frequently to be found in contemporary thought.
The validity of a logical demonstration thus depends on the knowledge which we, as demonstrators, have of the subject in view, and it is evidently wrong to take as our starting-point not this direct knowledge but pure and simple logic.
When man has no "visionary" knowledge of Being, and merely "thinks" with his "brain" instead of "seeing" with his "heart", all his logic is useless to him, because it starts out from an initial fallacy. Moreover, the validity of a demonstration must be distinguished from its dialectical efficacy; the latter evidently depends on the intuitive disposition available for the recognition of truth when demonstrated, and therefore on an intellectual capacity.
Logic is nothing but the science of mental co-ordination and of arriving at rational conclusions; it cannot, therefore, attain the transcendent through its own resources; a supralogical -not an illogical- dialectic, based on symbolism and analogy, and therefore descriptive rather than ratiocinative, may be harder for some people to assimilate, but it conforms more closely to transcendent Reality.
Contemporary philosophy, on the other hand, really amounts to a decapitated logic: what is intellectually evident it calls "prejudice"; wishing to free itself from servitude to the mental, it sinks into infralogic; shutting itself off from the intellectual light above, it exposes itself to the obscurity of the lowest "subconscious" beneath.
Philosophic scepticism takes itself for a healthy attitude and for an absence of "prejudices", whereas it is in fact something completely artificial; it proceeds, not from real knowledge, but from sheer ignorance, and for this reason it is as alien to intelligence as it is to reality.
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Frithjof Schuon
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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
Here Paola appears in a old shed carrying a pair of baby booties with a hydraulic cart, in a metaphor about the weight - even if composed of love - of the responsibility of raising a child.
On the same diagonal line of life appears very discreetly the Darwin´s book "The Origin of Species" which reflects our dialectical-materialist view of motherhood.
The mother-to-be is heading toward the light, which is her naturally way.
She is also naked, but not completely because of boots, which also metaphorically ironizes the hypocritical view of pregnant woman.
The main focus is on the wall in the background, representing the aridity of the pregnant woman's walk.
The picture has no colors, because gestation is not a colorful phase for women, despite the male vision preaching the opposite; it is a complicated time in a woman's life, with difficulty walking, nausea, hormonal changes, medical monitoring and anxiety - both in relation to childbirth and the health of her child.
Manarola, Italy
Cinque Terre
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The one thing I really liked about visiting Cinque Terre was all the available places to take incredible shots both by land and from the water. On our last day in the Cinque Terre region we saw all the villages by boat sailing down along the coast.
Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful. Manarola was celebrated in paintings by Antonio Discovolo (1874-1956). - From Wikipedia
The ancient Porta Ticinese is one of the three medieval gates of the city that still exist in modern Milan, together with the medieval Porta Nuova in Manzoni street and the Pusterla di Sant'Ambrogio. Originally built in the twelfth century, the structure of Porta Ticinese was restored in 1861 by Camillo Boito, who inserted two lateral arches next to the only original access.
The medieval Porta Ticinese is sited near the Basilica of Saint Lawrence and the homonymous Saint Lawrence columns. Among the city's population it was commonly referred to as "Porta Cicca" or "porta Snesa". The first is the adaptation of the Spanish word "chica", meaning little girl, since the gate was the only one having just one access, whereas the latter is a dialectical form of its name.
There is another gate also called "Porta Ticinese" in the same district of Milan. This other gate is more recent, having been originally built in the 16th century and then replaced in the 19th century.
Preparing for a macro/still life series of these fallen Croton leaves in bright morning light, with my usual Fujifilm gear—X-S10, 70-300mm, 2X TC. Waiting for the glass to warm up so I can wipe off the condensate. Maybe some of the resulting shots will get posted, eventually.
Happy Mono Monday!
23 Aug 2021; 10:30 CDT; B&W conversion in post
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Construido en el año 2011 según el proyecto del Estudio Barozzi Veiga, en un privilegiado emplazamiento en primera línea frente a la Playa de Las Delicias de Águilas (Murcia), el auditorio "Infanta Doña Elena" se engloba en una innovadora tipología muy extendida en la arquitectura española de los últimos años, en la que se pretende establecer una relación de la arquitectura con las particularidades del lugar concreto de su emplazamiento.
El Estudio Barozzi Veiga desarrolla así una dialéctica, sobria y potente reflexión entre lo artificial y lo natural, configurando el proyecto en función de la tensión de los espacios que lo rodean: por un lado, hacia la ciudad (artificio) el edificio muestra una imagen ordenada y diáfana; por otro, hacia el mar (naturaleza, paisaje) se comporta de manera más orgánica, para lo que curva sus superficies, simulando la forma de una ola o evocando a una vela al viento...
El resultado es pues la original construcción que puede contemplarse en la imagen, con una volumetría facetada esculpida en planos cóncavos con enormes ventanales con vistas al mar, todo ello en un brillante blanco que reluce al sol y que responde perfectamente a esas tensiones paisajísticas de su privilegiado emplazamiento.
Tomada con la veterana cámara compacta de mi esposa, una Panasonic Lumix DMC TZ-10, que era lo único que tenía a mano para fotografiar en la playa 😃
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-English:
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This elegantly sculpted and strikingly curvaceous project by Estudio Barozzi Veiga was built in 2011 on a privileged site in front of "Las Delicias" beach of Águilas (Murcia, Spain). The Auditorium and Congress Palace "Infanta Doña Elena" is included within an innovative very widespread tendency in Spanish architecture in the last years, which try to relate architecture to the specific particularities and singularities of its location site.
In the architect's own words, the project is a natural response to the particular stimulus, offered by the location. On one hand the need to respect the urban tissue that grows inside, on the other, the one’s to preserve the expressive hue of the natural landscape.
It is through this contrast, that we define and articulate tensions that allow the project to organize itself while a coherent response to the constraints of place. The building is a dialectic reflection, simple but at the same time strong, between the urban artificiality and the organic naturalness.
Thus, the building results in a large mass, shaped in function of the tensions that proceeds from the different characters of the spaces surround it. Tangent to the town, the facades are clean, orderly, and paused, while tangent to the sea, the facades translate the surrounding space and the configuration offered by the landscape and geography, through large and concave surfaces, that provides a direct and intensive relation with the surrounding natural environment.
Taken with my wife's veteran compact camera, a Panasonic Lumix DMC TZ-10, which was the only thing on hand to shoot on the beach 😃
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©2020 Francisco García Ríos- All Rights Reserved / Reservados todos los derechos.