View allAll Photos Tagged Dialectics
cleaned my office for the first time in three years and i can finally walk across the floor again. now if only somebody would call me.
...are we really that important, Bass Point
“…the immanent dialectic of this unity accords to each individual phenomenon the essence appropriate to it depending on its distance from the centre and its relative importance to the problem” – Lukacs
Holga 120PC, Ektar
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. Mostly all of the houses are bright and colourful.
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.
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.
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
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.
503CX, CF 4.0/50 FLE, Kodak Portra 400 VC, V600, Affinity Photo
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Portugal, Óbidos, St. Mary's church, Portal
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
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
---
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.
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.”
Conversations with John Scotus Eriugena
======================================
Annotations of Eriugena’s PERIPHYSION
(Book I) - by Marten Kuilman Jzn (2026)
--------------------------------------------------------------
Nutritor (Master) - ER
Alumnus (Disciple) - MK
MK. It took me seventy-eight years before I was able to read your book. And I had good reasons to wait that long: your book is hardly readable for anybody who does not have the same all-out devotion for God as you have. And furthermore: who has the courage to spend, in this day and age, so much valuable time on your monumental work published around 867 AD? Do me a favor. We live in a time of split-seconds, take it or leave it.
ER. Well, young man, it is nice meeting you. Certainly there is a considerable time gap between my writing and your reading. Over a thousand years might seem to you a long time but as the Scriptures say: ‘’All things were made in the twinkling of an eye’’ (V; 889C). Million years in place and time is just a blink. So we can talk to each other as brothers. I am eager to know what you have to say about my work. Where do we start?
MK. First of all, let me congratulate you with the enormous effort to put your thoughts together in your book called ‘Periphyseon. The Division of Nature’. It must be, under circumstances which are incomparable with my situation, a gigantic proof of persistence to write everything down the way you did. You left your beloved Ireland about 848 AD to become a scholar at the court school of Charles the Bald. The royal palace school was a dynamic environment and you probably had a reasonable comfortable life, but still: Reading material was hard to come in the early 860s.
ER. Well. The Word of God can be heard by anybody who is prepared to do so.
MK: You are turning the pages of a handwritten manuscript of parchment, while I am watching You-tube films on my Smartphone.
ER: Excuse me, but I do not understand this comparison. What are you talking about?
MK: It is something which comes to mind: we live as human beings in a different time and places. You conversed in Latin and was able to read the old Greek language, while I was having my first computer in the year 2000, with wordproseccors called WordStar (later WordPerfect and thereafter Word). Our tools to collect knowledge were different and our outlook has a different scope.
ER: It does not have to be an obstruction if our means to collect knowledge are different. All important is the foundation of our beliefs.
MK: You have to excuse me that I could not read the original version in Latin. And also that I read your great book in the English language, while Dutch is my native language. However it is my impression that the translation by John J. O’Meara and I.P Sheldon- Williams (1987) is of a high standard and a formidable piece of work in its own right. Monumental. But some scholars delved deeper in the history of your manuscript and found out that there were probably other monks in the scriptorium involved, who have been altering and messing around with your work.
ER. If you say so, it’s not my problem.
MK. Don’t mind me saying, but you are putting the boot in right from the start. Your first and fundamental division consists of those that are and those that are not (I, 441A). Wauww. That is very basic indeed. Your focus is directly on the two-fold division: being or not being. Fine, there is not against it, since the two-fold is the most simple one. Elementary in animal life, split decisions of life or death. And then you move directly on the first page of Book I to a four division of Nature. And that is where we met.
Before we continue, I have something elementary to say: maybe we should look at the DIVISION itself, that means the first act of dividing. What division did you choose in the first place? Because that is where it all begins. You have your GOD, I have my DIVISION. Your opening bit is, as a Deus ex Machina, a hefty TWO-division. But remember that the ‘’first division’’ could also consist of a higher order. For instance, like a THREE or FOUR-division. And I can tell you, dear Scotus, that a choice of the initial division makes all the different in the world. I will tell you later about it. God and Division are two different things, but might be – in a marvelous way – also be the same. Only the stories which are subsequently told are different.
ER. Wait a moment, I have my four division as well, also right in the beginning of my First Book: ‘’the division of Nature by means of four differences results in four species’’(I,442A).
MK. This statement is exactly the reason why I came across your book some forty years ago. It proofs the point that you only notice something if you know what to look for. I was searching for four-divisions and starting to realized that they are of four types – as it should be for a four-fold thinker:
1. An unnoticed four-division (FF),
2. The idea of a FF,
3. The established FF and
4. The functional FF.
ER. Can you give me an example of this statement.
MK. Certainly. You know about the Four Elements in Nature?
ER. Yes. Everybody knows that they are Earth, Water, Air and Fire. The old Greek philosophers gave the elements characteristics as found in nature: the solid earth, the flow of water, the burning energy of fire and the elusiveness of air. Over the years other properties were given to the various elements. Aristoteles gave a scheme of fire (both hot and dry), air (hot and wet), water (cold and wet) and earth (cold and dry) (Note 2). Later aether was added as a fifth element or quintessence. Its place belonged to the heavenly bodies and moved in circles. It is common knowledge.
MK. It seems that many people mention the elements in a random way, not thinking of any structural connection. You can call that the unnoticed FF (1). Then some ideas might linger to give their sequence a meaning by way of some measurement (FF2). The classical ordering is more specific: earth, water, air to fire, indicating a position from ‘’heavy’’ to ‘’light, or the other way around. ‘’Weight’’ becomes the measuring rod for ordering (FF3). We have to realize that this measuring takes place in a linear, two-fold environment with an upward or downwards scale. Finally the ordering in a FOURFOLD environment results in another sequence again: Fire, Air, Earth and Water. The leading agent for ordering in this case is related to the values of distance between the communication partners in a communication ruled by the fourfold.
ER. That sounds rather complicated to me.
MK. I have a lot to explain what the real four-fold way of thinking is all about. We will come to that later. For now it will be sufficient to say that any four-division (FF) is a four-division in itself. Aristotle used the parameters of temperature (hot/cold) and humidity (wet/dry) to organize the elements. You use the elements of CREATION as a measuring stick for the Division of Nature. Fine. Everybody is allowed to put the emphasis on subjects that are closest to one’s interests. Aristotle studied a physical world, you preferred a celebration of the creation of your God and I had a deep-seated urge to see the world in terms of shifting divisions expressed in VISIBILITY. Are you still with me? What I am trying to say is this: a sequence of (four) things can be a reference to a type of (division) thinking.
ER. You surprise me. I have never looked at the sequence of the elements in that way.
MK. You opened your book, soon after the two-division, with a four division of Nature by means of four differences resulting in four species (I, 442A)
that which creates and is not created; or better: is not created and creates
that which is created and creates;
that which is created and does not create;
that which is neither created nor creates.
‘’Within these four there are two pairs of opposites. For the third is the opposite of the first, the fourth of the second (but he fourth is classed among the impossibles’’ (I, 442A). I have altered the first species in order to make the division between creation (I-II) and not-creation (III-IV) more clear. The fourth species is ‘’impossible’’, which makes it an odd member in a generation sequence. The Alumnus is perplexed for good reasons. You referred the question to later and gives the Alumnus the choice to start with (another) species. And you steered the line of thinking to the first and fundamental division “And it would be wise and correct to do so”(I.443A). Why would you do that?
ER. I think it is important to start at the early beginning, rather than start at the end. It is only after an overview that everything becomes clear, and the species between beginning and end providing the material to realize what is going on in creation.
MK. This approach is, you must be aware, pretty dualistic. Greek philosophers have called it dialectic. Returning to what I said above: your type of division is based on dialectics and therefore in the realm of the two-division and NOT in the four-division. It could be seen as manipulations with a pair (being and non-being). In my four-fold approach the pairs have been eradicated and replaced by a four-some. And above all: there is no beginning and end. You envisage the creation as a linear process with God at the beginning and God at the end. But how these two ends meet? From God to God in a straight line or in another way? What makes you run the spiritual gauntlet of opposition rather than experiencing the everlasting, unrestrained surrender along a cyclic path? We can make it straight, over a short distance, but in in my view the fullness of Time and Space would better be understood and envisaged in the geometric figure of the CIRCLE. Would you agree with me?
ER. I said: God is in all things: the end shall be brought back to the beginning, and the outcome of all things shall be related to their origin, which is God (I, 929).
MK. But how, have you thought about that? In a straight line back in time again with no Beginning, Middle or End (I, 451D). The End is a Beginning: so to speak, like the poet T.S. Eliott said in his poem ‘’The Four Quartets (Book 2: East Cooker)
“What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from.”
ER. Well, I don’t know this man, but he seems to say the same as I do.
MK. The point is: what is the character of a recurrent movement? You understand Creation as a linear move from non-being to being, and back again. I see Visibility in a cyclic movement. The difference is a matter of scale: linear is limited, circular is widening. You extent your (linear) division to three (the Trinity), while I envisage a circular division to four.
ER. The sensible world rotates as well. The earth is a kind of centre, the other three elements namely , water, air and fire spin in unceasing rotation (I, 476A).
MK. But your motion ends in an immovable self-identical One (I, 476B). The discussion of the nature of motion (and any Return) is pushed to another (later) place. You prefer (on this matter) to follow the great Bishop of Nyasa and his book ‘On the Image’ rather than Plato in his ‘Timaeus’. Gregory saw in the visible world two extremes which are the contraries of one another (I, 477B). Why do you prefer that view?
ER. Because the Founder of the universe established the visible world of motion and rest as contraries. And the bodies are contained in their places: therefore body is one thing and place another (478C). And those who are bound by place and time are finite; but the eternal beatitude is infinite.
MK. It is, again, the opposition between finite and infinite which is your first interest. But what are you measuring in the first place?
ER. Everything which is. The number of things.
MK. You said that it is logical that things that are created appear prior to their creation (I, 482C). And I agree, but not in the same way you suggested. In my vision there is no (two) division between the limit-as-a-beginning and the infinite-as an end. In a cyclic setting they are the same. Creation can only happen when a way of division has been established. As long as there is no division there will be no creation – just unspecified motion. The very moment you decide on a beginning you have made a decision about the type of division.
ER. I never realized that in such a way.
MK. The point is that the primal division is often assumed to be a two-division – placing a point on a line and the line is broken in two parts. However, the primal division can also be of a higher order. It is just a matter of imagination and another way to approach reality.
ER. I recognize the Art of Dialectic in which the nature of all things is called by the wise the true contemplation of things (I, 486B). Every rational and intellectual nature observes three things: Essence, Power and Operation. They are immortal and immutable.
MK. My dear Scotus, you really take a short-cut here. Suddenly a three-division is brought up in the form of (immutable) characteristics, which are attributed to ‘true contemplation’. They are, like St Dionysius said, eternally associated with one another (I, 486C). You concluded that Essence cannot be defined, only that it is. In my view the answer to the question - ‘which is the Cause of all things’ - is short and simple: it is not God but the Division.
ER. My answer is already stated in my book (I, 489C): Nothing is more tedious than battling against stupidity. God is without limit and without form. Just like Matter, because it needs to be formed and limited from elsewhere, while in itself it is not form but something that can receive form (I, 500A).
MK. You keep us in the dark about the ‘elsewhere’ and you mention: ‘that something that can receive form’. You mention God as the initiator, but I believe that something within ourselves might be the source. And I also know what the source is: the act of Division. Without a clear view of the type of division men is lost. You call it the intellect, fine, but it is human intellect. We have to figure it out all by our self. In other words: decide upon the division right at the moment of any participation.
ER. I say it again that the trinity of our nature – essence, power and operation - is a unity. The triple understanding of things is established by the Creator.
MK. That is just an assumption, just like your statement that the first division of all things is into substances and accidents and the second division of accidents into substances (I, 508A). In other words: between what a thing is and what a thing appears to be and back. You sketch here the very outline of two-fold thinking. Nothing against it, but our thinking has moved on: the primary division is not a two-division (and/or its reverse) but a four-division, originating in a shift. The difference between what something is and what something appears is - in essence - born in oppositional thinking, and will stay there. Like you said: it can be carried almost to infinity. To extend the position to a three division (with Power and Operation added) is widening the scale, but does not change the limited (two-fold) way of thinking. The world of the Three Division is often used as a bridge between two- and four-division thinking and is suitable for those who are unable to grasp the higher form of division-thinking. Your conclusion ‘to speak elsewhere, while for the present, if you agree, let us continue with the subject we set ourselves’ is clear enough. Your conclusion of Book I is given in the advice to abandon all the sense and the operation of the intellect (..) having achieved a state of not-knowing. We have to restore the unity – as far as possible- of Him Who is above every essence and understanding. You really don’t seem to have an inkling of higher division-thinking. Your division of five chapters in your book (with a fuller discussion of these things) already proves that point. Questions like: did God create evil and vice can only exist in a limited frame of mind. Your statement that no motion can lack a beginning and an end is of the same order. Of course, there are beginning and ends, but they all depends on the choice of division thinking. You call the beginning and end (of motion) God, before and after nothing exists: More-than fullness-and-perfection. I would call it ‘the choice of division (thinking)’. Still, our ways of approach are not that different. While in your God to act and make is the same thing and He is above the notion of substance and accidents (524A). My outlook on creation is focused on the type of division only. Your God is my One Division and basically no division at all, but still extremely necessary to understand the Whole of things.
ER. It certainly is a different way of seeing. The whole and its parts are the result of a kind of intellectual contemplation of the universe, including God and creature. Book II (of the Periphyseon) gives a re-examining of the fourfold division of nature based on the forms of creation. I hope that we can continue our discussion about these matters, since I have the feeling that your ideas might contribute to a better understanding of each other. We are both concerned with Creation and the way it comes to us.
MK. I full agree and looking forwards to the sharing of our ideas.
End of Book I – Amsterdam, 27 July 2026
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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
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.
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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.
"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
I toasted my computer making this video. I am currently posting this from a Linux computer. I won’t be able to do much in the next while.
Many are the brainwashed, many are the sheep
Many are the zombies, many are asleep
Their socialist traditions are full of conceit
Their detestable religion of Marxism is on the creep
It attacks the brain like an antichrist parasite
It hides in the mind of the host; it has won the fight
Yes, the devil is in the details of the dialectic
darkness fills their soul; they are helpless, so pathetic
Many bow to the system; they will bow to the Beast
Many will take the Mark of their great high priest
Their spiritual contagion is full of deceit
They love their wicked ways, what they sow they will reap
It’s a mind virus, it holds them captive in its chains
Dawn of the living dead; they embrace their sin and stains
They adore the Image of the Beast in their romance
Nanobots flooding their veins; they are in a trance
Come for the ride, the world’s getting hazy
You cannot hide, the herd’s getting crazy
You must fight, be strong and steady
As prophesied, it’s going to get deadly
False peace, a rider on a white horse
Violence, a rider on a red horse
Famine, a rider on a black horse
Death and hell, riding on a pale horse
503CX, CF 4.0/50 FLE, Kodak Portra 400 VC, V600, Affinity Photo
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Portugal, Óbidos, St. Mary's church, Portal
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
Click here to Enlarge -
www.flickr.com/photos/42964440@N08/23792436626/in/photost...
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
The striking, large circular stained glass window at the Kitakyushu City Literature Museum in Japan, designed by the world-renowned architect Arata Isozaki.
The vibrant blue, red, and yellow geometric pattern interprets the cosmological views of the Edo-period philosopher Miura Baien.
Baien (1723–1789) created a unique cosmology called Jorigaku (the study of natural principles). Outlined in his masterwork Gengo (Deep Words), his system argues that the universe is an interconnected web of opposites. Everything in nature arises from paired concepts that merge into a unified whole.
Core Concepts of JorigakuJōri: The fundamental, organizing pattern or principle of nature.
Hankan Goitsu: A dialectical movement meaning "observing opposites to achieve unity".
Baien believed two opposing forces join to make a single reality.
Paired Binary Structure: All things exist as "one and one". Realizing truth requires looking past single-sided habits of thought.
Visualizing the Universe
Circular Diagrams: Baien mapped his ideas using over 200 circular and symmetrical diagrams (Gengo-zu).
New Lexicon: He invented over 200 paired Chinese characters (kanji) to describe physical and metaphysical relationships precisely.
Rationalism: He rejected blind obedience to old Chinese classics. He embraced realistic observation, influenced early Dutch learning, and studied medicine and astronomy.
The window serves as a central artistic feature within the facility, which shares a dynamic structural complex with the Kitakyushu Central Public Library.
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)