View allAll Photos Tagged Dialectics
.
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 😃
.
-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 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 😃
Imagen protegida por Plaghunter / Image protected by Plaghunter
©2020 Francisco García Ríos- All Rights Reserved / Reservados todos los derechos.
Utagawa Hiroshige (Edo, 1797 - Edo, 12 October 1858) The Kinryūsan temple at Asakusa in snow (around 1848-49) - Boston Museum of Fine Arts - exhibition “Hokusai, Hiroshige, Hasui: Journey through a Changing Japan” - Pinacoteca Agnelli, Turin
Assieme a Hokusai è considerato uno tra i principali paesaggisti giapponesi dell'Ottocento e fra i più celebri rappresentanti della corrente artistica Ukiyo-e. La produzione artistica di Hiroshige annovera diversi generi, tra cui stampe di attori, guerrieri, cortigiane, ma l'oggetto principale della sua arte fu la natura nelle sue molteplici espressioni. La contemplazione della natura e la successiva rappresentazione in chiave morfologicamente armonica, è ciò che distingue Hiroshige dagli altri pittori-incisori del suo tempo, creando una dialettica tra il finito e l'infinito, ossia il sentimento umano scaturente dall'ascolto quasi religioso della natura e il respiro del cosmo. Nell'arco di tutta la sua vita Hiroshige creò circa 400 incisioni. La serie più famosa di Hiroshige è "Le 100 vedute famose di Edo". Hiroshige ebbe straordinaria influenza sulla pittura europea di fine Ottocento. Principalmente tale influenza si manifestò sull'impressionismo e post-impressionismo, venendo imitato da diversi artisti, tra cui Claude Monet e Vincent van Gogh.
Together with Hokusai he is considered one of the main Japanese landscape painters of the nineteenth century and among the most famous representatives of the Ukiyo-e artistic movement. Hiroshige's artistic production includes several genres, including prints of actors, warriors, courtesans, but the main object of his art was nature in its multiple expressions. The contemplation of nature and the subsequent morphologically harmonic representation is what distinguishes Hiroshige from the other painters-engravers of his time, creating a dialectic between the finite and the infinite, that is the human feeling arising from the almost religious listening of nature and the breath of the cosmos. Throughout his life Hiroshige created about 400 engravings. Hiroshige's most famous series is "Edo's 100 Famous Views". Hiroshige had extraordinary influence on European painting of the late nineteenth century. Mainly this influence manifested itself on impressionism and post-impressionism, being imitated by several artists, including Claude Monet and Vincent van Gogh.
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. -Wiki
(en) : bullet holes setting over a scrimpy domestic desert inspiring three paille-en-queue a resilient conjecture about the bigote and manichean dialectic between the tabernacle and the trash can . .
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
The observation method could not start from language without admitting this principled truth that, in what can situate as Real, the language does not appear as making hole. It is from this notion, hole function, that the language operates his grip on the Real. (...) There is no truth as such possible without to hollow out the Real.
La méthode d'observation ne saurait partir du langage sans admettre cette vérité principielle que, dans ce qu'on peut situer comme Réel, le langage n'apparaisse pas comme faisant trou. C'est de cette notion, fonction de trou, que le langage opère sa prise sur le Réel. (...) Il n'y a de vérité comme telle possible que d'évider le Réel.
( Jacques Lacan, Le sinthome )
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
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.”
The dark eye that beholdeth ruin in every dawn is oft not guided by reason, but by the passing weather of the soul. When grief sitteth heavy upon the breast, when Fortune turneth her wheel against us, the world appeareth clothed in shadows, and every path seemeth to lead unto despair. Such is pessimism: a child of temperament, born of melancholy and nourished by fear.
Yet optimism springeth from another source. It is no blind merriment, nor a foolish denial of sorrow's presence. Rather, it is the sovereign act of the spirit. It beholdeth the storm and nameth it storm; it seeth the wound and knoweth it wound. Yet still it resolveth to advance. It saith, "Though the heavens rage and the earth tremble beneath my feet, I shall not yield my purpose."
For the pessimist asketh, "What if all should fail?" and, fearing the answer, remaineth still. The optimist asketh the selfsame question, yet answereth, "Then let me strive nevertheless." Thus is optimism not the gift of happy circumstance, but the courage of deliberate choice.
The nightingale singeth not because the night is free of darkness, but because song is its nature. So too doth the hopeful soul persist, not because suffering is absent, but because it willeth to answer suffering with action.
Therefore may it be said: pessimism descendeth upon a man as mist upon the field, unbidden and untamed; but optimism is a torch borne in the hand, kindled by resolve, and carried forward against the wind. For moods are the subjects of Fortune, yet the will remaineth the kingdom of man.
The Sociology of “Nature is Free”: Fragmentation, Modernity, Migration, and the Myth of the Liberated Entrepreneur in Early 20th-Century Iconography
The image Nature is Free offers a compelling visual allegory of the Statue of Liberty in profound transformation. Executed in a dynamic, woodcut-inspired graphic style echoing early 20th-century American propaganda and Art Deco vitality, the composition depicts Miss Liberty as simultaneously intact and shattered. One half of her face retains the serene, neoclassical composure of Enlightenment republicanism; the other erupts into raw crystalline formations, cascading waters, and geological forces. Explosive Sol Invictus-style sun rays, red-white-blue lightning bolts, and thrusting skyscrapers frame the scene, symbolizing both industrial triumph and cosmic rupture. The caption “Nature is Free” grounds the work in a vitalist declaration. This artwork functions as a potent sociological artifact, crystallizing the cultural, economic, political, and migratory upheavals of the late 19th and early 20th centuries — the passage from entrenched monarchical orders to a new world of individual enterprise, industrial capitalism, and mass migration.
Historical Context: The Dawn of the Free Entrepreneur and the Transatlantic Promise
The era around 1900, known as the Gilded Age in the United States and the Belle Époque in Europe, marked an explosive acceleration of modernization. In Europe, centuries of incessant warfare between kingdoms, principalities, and empires — from the Hundred Years’ War through the Napoleonic conflicts and the fragmented struggles of the 19th century — had produced profound structural poverty, demographic instability, and social rigidity. Feudal remnants, guild restrictions, aristocratic privileges, and monarchical absolutism (or its unstable successors) trapped large segments of the population in cycles of subsistence agriculture, conscription, and economic stagnation. The cumulative toll of over a millennium of dynastic and religious wars had devastated landscapes, depleted treasuries, and entrenched hierarchies that stifled broad-based opportunity.
In sharp contrast, the United States — and particularly its rapidly industrializing cities — represented an unprecedented opening. Here, the ideal of the self-made individual, the free entrepreneur unbound by hereditary status or royal charter, took root with dramatic force. This was the age of Carnegie, Rockefeller, Edison, and Ford; of railroads, steel mills, and electric grids. Sociologically, this transition aligns with Émile Durkheim’s shift from mechanical to organic solidarity, but it also generated anomie as traditional anchors dissolved. The fragmented Liberty in the image captures this precisely: the old European-derived symbol of republican enlightenment is cracking open, revealing primal, natural energies beneath.
Central to this narrative is mass migration. Between the 1880s and 1920s, millions of Europeans — Italians, Irish, Poles, Germans, Jews from the Russian Pale, Scandinavians, and others — crossed the Atlantic. For these migrants, often fleeing poverty exacerbated by war-torn histories, overpopulation, land scarcity, and political instability, the Statue of Liberty embodied a tangible promise of freedom. Freedom, in this context, was not merely abstract philosophical liberty or political rights; it was the concrete possibility of social mobility, economic self-determination, and escape from inherited misery. The “huddled masses yearning to breathe free” (Emma Lazarus) encountered a society where, despite harsh realities of tenement life and exploitation, the structural barriers of European feudalism and monarchical patronage were far weaker. A peasant’s son could become a factory owner, an immigrant peddler a department store magnate. This migratory dimension deepens the sociological meaning of “Nature is Free”: human nature, freed from the artificial constraints of Europe’s war-ravaged old order, could express its creative, acquisitive, and adaptive potential more fully on American soil.
Max Weber’s The Protestant Ethic and the Spirit of Capitalism (1905) illuminates the cultural fuel behind this movement. The disciplined, worldly asceticism of Protestant (and often Jewish) migrant communities provided the motivational engine for entrepreneurial success. Yet the image’s syncretic symbolism — the crown evoking both Christ’s Crown of Thorns and Mithraic/Sol Invictus solar radiance — suggests a broader, secularized sacralization of this migratory enterprise. The entrepreneur, and by extension the ambitious migrant, becomes a modern hero bearing the flame of progress, much like the ancient Colossus of Rhodes that inspired Bartholdi’s statue. Migration thus emerges as the lived embodiment of creative destruction: old European forms shatter so that new American possibilities can crystallize.
Symbolic Fragmentation and the Dialectics of Liberation through Migration
The visual fracturing of Miss Freedom carries layered significance when viewed through the lens of migration. The intact classical side represents the imported European Enlightenment ideal — rational, universal, feminine. The shattered, mineral-and-aqueous side symbolizes the raw vitality unleashed by crossing the Atlantic: geological wealth (coal, iron, oil) fueling industry, fluid human movement (rivers of migrants), and the chaotic energy of reinvention. This duality echoes Georg Simmel’s analysis of metropolitan life: migrants experienced both overstimulation and liberation, shedding the “blasé” constraints of stratified European villages for the intense, individualistic stimulations of American cities.
From a Marxist perspective, while capitalism generates alienation, the migratory act itself represented a partial negation of feudal alienation. European peasants and workers, trapped by centuries of warfare-induced scarcity and rigid class structures, could sell their labor power in a more fluid market and, for some, accumulate capital. The image’s “Nature is Free” thus celebrates a vitalistic overcoming: human nature, long suppressed by the “ancient world” of kings, wars, and idols, asserts itself through the act of departure and reinvention. Nietzschean undertones are evident — the will to power finds expression not in aristocratic conquest but in the entrepreneurial conquest of the frontier and the factory floor.
This migratory freedom was profoundly selective and unequal. Not all succeeded; many endured exploitation, nativist backlash, and urban squalor. Yet the statistical reality remains striking: millions improved their material conditions and those of their descendants relative to what Europe’s war-scarred economies could offer. The Statue thus functioned as a powerful “boundary object” (in Star and Griesemer’s terms), uniting diverse ethnic groups under a shared myth of opportunity while legitimating the new industrial order.
Social Implications: Class, Ethnicity, Gender, and the Costs of Freedom
The cult of the free entrepreneur, symbolized here, reinforced ideologies of meritocracy and American exceptionalism, but it also masked deepening inequalities. Thorstein Veblen critiqued the conspicuous consumption of the new elite, yet the image romanticizes the productive forces — including migrant labor — that built it. European poverty, rooted in centuries of inter-kingdom warfare, created a vast reservoir of mobile labor that American capital eagerly absorbed. This influx accelerated industrialization but also generated social tensions: ethnic enclaves, labor conflicts, and debates over assimilation versus pluralism.Meliorism (Latin melior, better) is the idea that progress is a real concept and that humans can interfere with natural processes in order to improve the world.
Meliorism, as a conception of the person and society, is at the foundation of contemporary liberal democracy and human rights and is a basic component of liberalism.[1]
Another important understanding of the meliorist tradition comes from the American Pragmatic tradition, which can be found in the works of Lester Frank Ward, William James, and John Dewey. In James' works, however, meliorism does not point to progressivism and/or optimism. For James,[2] meliorism stands in the middle between optimism and pessimism and treats the salvation of the world as a probability rather than a certainty or impossibility. In the case of a meliorist praxis, the activist contemporary of the Pragmatists Jane Addams stripped progressive ideals of any elitist privilege, calling for a "lateral progress" whose concern was squarely with the common people.[3]
Meliorism has also been used by Arthur Caplan to describe positions in bioethics that are in favor of ameliorating conditions that cause suffering, even if the conditions have long existed (e.g., being in favor of cures for common diseases, being in favor of serious anti-aging therapies as they are developed).[citation needed]
A closely related concept, discussed by Jean-Jacques Rousseau and Marquis de Condorcet, is that of perfectibility of humans. Condorcet's statement, "Such is the object of the work I have undertaken; the result of which will be to show, from reasoning and from facts, that no bounds have been fixed to the improvement of the human faculties; that the perfectibility of man is absolutely indefinite; that the progress of this perfectibility, henceforth above the control of every power that would impede it, has no other limit than the duration of the globe upon which nature has placed us."[4] anticipates James' meliorism. Rousseau's treatment is somewhat weaker.[5]
Modern thinkers in this tradition are Hans Rosling and Max Roser. Roser expressed a melioristic position in the mission statement for Our World in Data.[6] He said that all three statements are true at the same time: "The world is much better. The world is awful. The world can be much better."[7] Like William James before him, Rosling held a halfway position between optimism and pessimism that emphasized humanity's capacity to improve the world.[8] en.wikipedia.org/wiki/Meliorism
Gendered dimensions intersect with migration. The feminine Liberty, partially dismantled, yields to more primal forces, mirroring how migrant women often entered wage labor (garment factories, domestic service) while challenging traditional European patriarchal structures. The flowing waters on the fragmented side evoke both fertility (new family lines in America) and the turbulence of displacement.
Durkheimian collective representations are at work: the image serves as a modern totem for an emergent industrial-mercantile society. Lightning symbolizes electricity — the lifeblood of the Second Industrial Revolution — while the American color palette nationalizes a universal migratory promise. The religious syncretism (Christian suffering + pagan solar renewal) provides transcendent legitimation for what was, at root, a massive demographic and economic transfer from a war-weary continent to a resource-rich republic.
Contemporary Resonance
Though anchored in the 1900s, Nature is Free speaks to enduring themes. In today’s debates over immigration, globalization, and economic liberty, the tension between ordered regulation and raw entrepreneurial nature persists. The image reminds us that freedom, for millions, has historically meant the chance to escape inherited poverty and violence for the possibility — however imperfect — of self-made improvement. It underscores capitalism’s dual character: simultaneously disruptive and generative, fracturing old worlds while birthing new ones.
In conclusion, Nature is Free documents the birth pangs of modern individualism through the prism of migration. It narrates the exodus from Europe’s millennium-long cycle of monarchical warfare, poverty, and constraint toward a horizon where human nature — creative, resilient, and promethean — could more freely unfold. The Statue’s fragmentation is not mere destruction but alchemical transformation: the shards of the old world fertilize the skyscrapers of the new. By sacralizing this process through syncretic myth and explosive aesthetics, the artwork legitimates the entrepreneur and the migrant as co-creators of modernity. Freedom, in this era, was above all the statistical and existential chance for thousands to trade the certainties of European hardship for the volatile opportunities of American reinvention. This myth, with its inherent fractures and promises, continues to shape how societies understand progress, human potential, and the perennial tension between rooted tradition and mobile nature.
Wokeism is a socialist religious awakening, a cult enlightenment.
Wokism in the West has many similarities to the Struggle Sessions in Maoist China during the Cultural Revolution. This Western neo-Maoism is a softer cultural revolution than what happened in China. However, in the end, it will get violent too.
Diversity training is like a Chinese revolution Struggle Session. Apologize for being white. Apologise for having some sort of (fake) hidden racism. Renounce yourself! Apologize! Bow and take a knee! Can anyone say: brain washing? It’s like your being demoralised in a mentally abusive relationship. If you let this psychological abuse continue, you will end up becoming a shell of yourself. Character assassination anyone? Like cracks in a dam, these communist tactics will wreak havoc on your mind. Anything you say or do will be used against you in the court of the radicalized mob—the woke Red Guards. Though they accuse you of fake crimes and fake problems, don’t let them bully you. Get out of that abusive relationship. These radicalized people are full of bitterness and hate, because they themselves are compromised.
Schools have become rededication camps, brainwashing the students with Critical Race Theory and Gender Theory. The youth were the revolutionaries, the Red Guards in the Chinese Cultural Revolution. The oppressed vs the oppressors! Let’s purge society of the Four Olds: Old Culture, Old Ideas, Old Habits, and Old Customs. We must destroy you, so that we can mold you into a woke Marxist revolutionary. Let’s riot, burn and loot! Let’s tear down historical statues! We must destroy your democratic system, so that we can install our authoritarian system.
“You have been trained to hate, allegedly in the name of stopping hate.” You have been radicalized, you have become activists. You are change agents, useful idiots who we will be disposed of when you have served your purposes. As the dialectic moves on, you will one day become a liability—utterly disposable. The dialectic: “Manufacture the conflict, use the conflict, and move history with the conflict through our kind of social alchemy” (problem, reaction, solution).
What if a stranger came up to your children and talked to them about sexual issues, and then told your children not to tell you (the parent) what they said? It’s our little secret!!! Wouldn’t you tell your children to stay away from bad people (predators) like them, because they are creeps and perverts? So why is it appropriate for schools and teachers to tell your children not to tell you (the parents) about the sexual indoctrination they are receiving? Why are they trying to hide what they are doing with your children? Hormone blockers anyone!?! The fact that they have to hide these things says it all! With the blatant loss of commonsense these days, there are many people who don’t care to understand what sexual grooming is. It’s no different then promoting adult sexual fetishes (adult entertainment) to children. Come on children, let’s watch a grown man dress up as a woman and dance in a sexual manner—it’s good for you. These deviants are not only grooming our children to be used for their future sexual desires (LGBTQ + Pedophiles: they will continue to add to the “plus”, because the Hegelian Dialectic is ever moving forward and expanding), they are also grooming our children to be the next Red Guards (who will enforce the latest and greatest thing in woke-Marxism [Cultural Marxism; Cultural Revolution]). Any kind of abuse, including sexual abuse, can be used in trauma-based mind control. Perverting the minds of the child: how could this not go wrong? “Give me just one generation of youth, and I’ll transform the whole world.” “Bad things happen when good people pretend nothing is wrong.” “Bad things happen if good people do nothing.” “The only thing necessary for the triumph of evil is for good men to do nothing.”
A school board in Quebec spent $1,600 dollars for a drag queen conference in school. Overcrowded classrooms…who cares! Teacher shortages…who cares! Reading, writing, and arithmetic…who cares! Exposing children to perverted adult fetishes…two thumbs up, we’ve got the money!! Children aren’t legally old enough to drive. Children aren’t legally old enough to vote. They aren’t legally old enough to buy alcohol. They aren’t legally old enough to go to the bar. They aren’t legally old enough to get a tattoo. They aren’t legally old enough to walk into a porn shop and buy porn. They aren’t legally old enough to go to a strip club…but hey…they can watch transvestites dance around like strippers…it’s perfectly legal…it’s perfectly fine…it’s perfectly normal…it’s perfectly moral. And if you disagree with us grooming your children, then you are an non-inclusive bigot! Woohoo…the inclusiveness of the non-inclusive bigots (bullies)! Wokeism: hypocrisy at its finest!! Are these woke neo-Maoist’s going to have an Anti-Rightist Campaign too…buhahaha!!
As any normal sane person can see, the world is turning upside down. Authoritarianism is coming, and when it fully blossoms it will have a leader—the antichrist. As with all authoritarianism, there will be lots of brutality, death and murder. The hallmark of this coming techno-authoritarianism will be this: it will behead its enemies.
“I also saw the people who had been beheaded because of their testimony about Jesus and because of God’s word, who had not worshiped the Beast or his Image, and who had not accepted the Mark on their foreheads or their hands.”
“Brother will betray brother to death, and a father his child. Children will rise up against parents and have them put to death.”
This authoritarian regime will be full of murder, sexual immorality, occultism, and theft.
“And they did not repent of their murders, nor of their sorceries, nor of their sexual immorality, nor of their thefts.”
As the Bible warns: it will be the worst time the world will ever see!
“For then there will be great distress, unequaled from the beginning of the world until now—and never to be equaled again. If those days had not been cut short, no one would survive, but for the sake of the elect those days will be shortened.”
You are being deceived/socially engineered/groomed for this coming authoritarianism. Soon we will each have a Biometric Digital ID that will be connected to a Social Credit Score and linked to a Central Bank Digital Currency and a Digital Wallet. After this stuff is fully implemented, they will eventually come out with a smartchip (666). Once you accept this smartchip your eternity will be sealed.
“And the smoke of their torment will go up forever and ever. There is no rest day or night for those who worship the Beast and his Image, or anyone who receives the Mark of his name.”
“As it was in the days of Noah, so it will be at the coming of the Son of Man.”
“Now the earth was corrupt in God’s sight and was full of violence. God saw how corrupt the earth had become, for all the people on earth had corrupted their ways.”
Sin is mental illness, and Jesus is the cure!
Here’s a new Disney show about a girl who inherits a human-sacrificing, blood-drinking cult whose logo has the all-seeing eye:
Took several shots, hard to be sure of orthogonality and visibility of dark words against dark background. Shopkeeper emerged, with a skeptical look. I explained, in English (with relevant gestures),
“I know a woman …
(eyes averted, gathering a memory)
Whose husband is very robust …
(Chest puffed up).
She wears a t-shirt, which reads …
(Dragging a finger across my chest)
‘Dibs on the Cowboy’.
This is for her.”
We exchanged smiles.”
And for you!
“Tie A String Around the World”, the theme of the Philippines Pavilion, revolves around the concept of the Philippines as a tropical heterotopia, a real space of crises where utopia – the myth of civilization and the project of progress – is simultaneously represented, negotiated and/or subverted. Emerging from the desire to explore, problematise, and understand the political, economic, social, cultural, and environmental contexts of the late 20th century up to the 21st century that engendered both the development and devastation of the nation and the gathering and dispersal of its peoples through contemporary visual practice, the Philippine Pavilion in Venice signifies not necessarily suspension and fragmentation, but a dialectical dynamism.
Mussolini: “Fascism should more appropriately be called Corporatism because it is a merger of state and corporate power.” Fascism: public private partnerships. Public private partnerships: governments, corporations and non-governmental organizations working together to implement the New World Order agenda. What the government isn’t able to implement into society, the corporations and non-governmental organizations are able to implement. When they all work together, they can implement their goals faster and easier.
“It’s a communist redistribution scheme being run by a Fascist corporatism in an oligarchical structure where the technocrats who run the oligarchy at the administrative level are called stakeholders or stakeholder representatives.”
Entryism: diversity, equity, and inclusion. It’s a war of Identities (race, gender, sexuality), in which no one can be reconciled (there’s no middle ground)—the oppressed vs the oppressor—divide and conquer. This neo-communist theology has intertwined itself with our culture. It’s in politics (Identity politics/Identity Marxism), schools (critical race theory, gender theory), the workplace, and in the church. It’s in libraries, in books and magazines, and in drag queen story events. It’s on tv, on the internet, and on social media. It’s in sports (bow the knee—black lives matter; wear the rainbow flag). It’s in women’s sports (your neo-Marxist intersectional feminism is now going through the Hegelian Dialectic meat grinder, and it’s becoming trans-inclusive—biologic women are now being replaced. Trans-inclusive feminism, here we come!). There’s a reason why neo-Marxism is also called Cultural Marxism, because it’s at war with our culture, our civilization, and our freedom.
The government is in partnership with Big Tech, Big Business, and Big Media to increasingly censor speech, in order to combat any supposed misinformation and disinformation against the state narrative. They will use Artificial Intelligence and Machine Learning technology to monitor all actions and conversations. This is the natural course of a totalitarian state. Communists and fascists love to censor speech they don’t like.
In the Tribulation Period the world will fall under neo-commufascism (antichristism). That is why no one will be able to buy or sell without the Mark of the Beast (666). This techno-commufascist system (Beast system) will be a dystopian nightmare. It will be tied to a Smartchip Digital ID, a Central Bank Digital Currency, and a Social Credit Score System. You will be docked points on your Social Credit Score if you don’t support the latest greatest woke/antichrist thing: pedophilia, zoophilia, bestiality, necrophilia, cannibalism. Why does the illuminati want to degrade society? Because it’s easier to control a depraved society. A depraved society hates the truth, so it chooses to live a lie. When you live a total lie, you can be totally controlled. Society won’t fight for the truth, so it will become enslaved. All those who take the Mark of the Beast will spend eternity in hell. Enjoy your techno-commufascism, you neo-commufascist pagans! As the satanic principle goes: order out of chaos.
John 10:10 “The thief (satan) comes to steal, kill, and destroy. I (Jesus) have come so that you might have life, and have it more abundantly.”
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
mixed media on multi media vellum
61.5 x 76 cm
2013
Private collection
私人收藏
-
南美館(Tainan Museum of Fine Arts)月訊
2016年6月號
林葆靈
曾於2011獲得金車新銳油畫獎首獎的林葆靈，由流動的光影描繪細節模糊、彷彿轉瞬即逝的地景，藉此投射自身內心感受，以及微帶神秘的精神氛圍。象徵現代文明進步的人造光，被使用在能夠帶給人們幸福感的遊樂園設施上，猶如閃爍發光的夢想實現之地；然而人造光雖能帶來希望與繁華, 背後卻奠基在環境與資源的消耗·以及商業消費的美化包裝，故而如同光和影的對立辯證，林葆靈也在作品中試圓呈現令人百感交集的複雜情感。
作品雖為平面繪畫，但林葆靈在兩個層面試圖突破繪畫既有的陳規與限制，其一，他選擇使用製圖膠片取代傳統畫布，由不易親水的塑膠材料所製成的製圖膠片，表面吸附顏料的效果較弱，再加上藝術家將顏料稀釋，故而顏料極易於膠片表面上自由流動，打破了受限於由尺規所構成的直線、曲線線條；其二，林葆靈借助攝影能夠捕捉肉眼所無法觀察到的景物細節以及光的軌跡等視點，來獲得作品中的主題畫面，除了取得遺漏的真實之外·也將流逝的時間記憶，與處理空間層次的繪畫相為結合。
林葆靈/有摩天輪的夜景III(局部)
複合媒材、製圖膠片 61 x 76cm 2013
Tainan Museum of Fine Arts Newsletter
June 2016 Issue
LIN Bao Ling
LIN Bao Ling, the recipient of the first prize of 2011 King Car Emerging Artist Oil Painting Award, depicts landscapes with blurred details and fleeting moments through the use of flowing light and shadows. In doing so, he projects his inner emotions and a subtly mysterious atmosphere. The artificial light that symbolizes the progress of modern civilization is used in amusement park facilities that bring people a sense of happiness, resembling a shimmering dreamland of realization. However, while artificial light can bring hope and prosperity, it is founded on the consumption of the environment and resources, as well as the embellishment of commercial consumption. Thus, like the dialectical opposition of light and shadow, Lin attempts to present complex emotions that leave a lasting impression in his works.
Although his works are flat paintings, Bao Ling attempts to break through the conventions and limitations of traditional painting on two levels. First, he chooses to use drafting film instead of traditional canvas. The non-hydrophilic plastic material of the drafting film results in a weaker absorption of pigments on its surface. Combined with the artist's dilution of the pigments, the colors easily flow freely on the film's surface, breaking the restrictions of straight and curved lines formed by rulers. Second, Bao Ling utilizes photography to capture details of objects and the trajectory of light that the naked eye cannot observe, obtaining the thematic images in his works. This not only captures the omitted reality but also combines the fleeting memories of time and the treatment of spatial levels in his paintings.
LIN Bao Ling / "Nocturne with Ferris Wheel III" (detail)
Mixed media, drafting film 61 x 76 cm 2013
English translated by ChatGPT
russellmoreton.blogspot.co.uk/
cultural-discourse.com/on-jannis-kounellis/
Complex SPatiaLITies
www.powershow.com/view/3d894d-OTJiY/Henri_Lefebvre_The_Pr...
ASPERITIES : Julia Kent
Let’s believe the dialectical faith of wokeism (woke Marxism), let’s join their dialectical cult! Since society is full of injustice and inequality, let’s tear it down and rebuilt it into a communist utopia—let’s Build Back Better. Let’s awaken to a higher consciousness, let’s awaken to a critical consciousness (critical Marxism)—to negative thinking (capitalism is bad). You’re a racist (a capitalist). The system (capitalism) is systemically racist. Let’s awaken the inner activist, let’s awaken the communist revolutionary. What will all this evolve into? It will evolve into the abolishment of private property. Communism: you will own nothing and be happy. Communism: equality for all! Communism: it’s for the greater good! Communism: the ends justify the means: murder, starvation, and the gulags! Marxism causes tribalism and division, because it’s intolerant of everything it doesn’t like. Get your reeducation: diversity, equity, and inclusion. DEI (diversity, equity, and inclusion): a precursor to a Social Credit Score System. ESG (Environmental, Social and Governance): a Social Credit Score System for companies (Can anybody say: Bud Light!). The Green Transition: equality (poverty) for all! Climate communism: climate justice, climate equity, climate sustainability, climate lockdowns! Sustainability: the road to a good global citizen consciousness!
The fifth tenet of the Communist Manifesto: “Centralization of credit in the hands of the state, by means of a national bank with State capital and an exclusive monopoly.” Three cheers for central banking…not! Lenin: “The best way to destroy the capitalist system is to debauch the currency.” Three cheers for fait money…not! Stakeholder Capitalism is Fascism. Why do you think the (WEF) World Economic Fascists like to talk about Stakeholder Capitalism? The Free Market is the enemy of Stakeholder Capitalism. Grover Cleveland: “Corporations, which should be the carefully restrained creatures of the law and the servants of the people, are fast becoming the people’s masters.” Say what: corporate personhood? So, that’s nothing, the coming New World Order will obtain Beasthood—666 worship the Beast. The Metaverse Beastsystem: techno-spiritualism in which humanity will be free from the limitations of mind, body, and soul; a techno-spirit of oneness with the universe—universal collectivism: Mystery Babylon, Babylon the Great, and the Tower of Babel—antichristism.
Here is a report by Oxford University and Imperial College London for the UK Government:
Flying (page 6):
2020-2029: “All airports except Heathrow, Glasgow and Belfast close with transfers by rail.”
2030-2049: “All remaining airports close.”
Food (page 6):
2020-2029: “National consumption of beef and lamb drops by 50%, along with reduction in frozen ready meals and air-freighted food imports.”
2030-2049: “Beef and lamb phased out, along with all imports not transported by train; fertiliser use greatly reduced.”
Tacitus: “The more numerous the laws, the more corrupt the state.”
www.ukfires.org/wp-content/uploads/2019/11/Absolute-Zero-...
The NWO commies at the United Nations have outlined an agenda to decriminalise ‘consensual sex’ between adults and minors in a report titled: “The 8 March Principles for a Human Rights-Based Approach to Criminal Law Proscribing Conduct Associated with Sex Reproduction, Drug Use, HIV, Homelessness and Poverty.”
Principle 16-Consensual Sexual Conduct (page 22-23):
“Moreover, sexual conduct involving persons below the domestically prescribed minimum age of consent to sex may be consensual in fact, if not in law. In this context, the enforcement of criminal law should reflect the rights and capacity of persons under 18 years of age to make decisions about engaging in consensual sexual conduct and their right to be heard in matters concerning them. Pursuant to their evolving capacities and progressive autonomy persons under 18 years of age should participate in decisions affecting them, with due regard to their age, maturity and best interests, and with specific attention to non-discrimination guarantees.”
Mark my words: pedophilia will one day become normalized (a human right).
share-netinternational.org/wp-content/uploads/2023/03/8-M...
2 Timothy 3:13 “Evil people and impostors will become worse, deceiving and being deceived.”
Daniel 11:36 “Then the king (the Antichrist) will do exactly as he pleases; he will exalt himself and magnify himself above every god and will speak astounding and disgusting things against the God of gods and he will prosper until the indignation is finished, for that which is determined [by God] will be done.”
Rahmen und Bezugsrahmen ...
does this work together ... ?
color-key but no fake, life is more surprising than all your fantasies ...
red curls like blazing flames ...
she's on fire ... she is burning ...
See waht Wiki says ...
Passion (emotion)
"Heat of the moment" redirects here. For other uses, see Heat of the Moment (disambiguation).
Frederick Goodall's Passionate Encounter
Part of a series on
Emotions
AcceptanceAffectionAmusementAngerAngstAnguishAnnoyanceAnticipationAnxietyApathyArousalAweBoredomConfidenceContemptContentmentCourageCuriosityDepressionDesireDisappointmentDisgustDistrustDoubtEcstasyEmbarrassmentEmpathyEnthusiasmEnvyEuphoriaFaithFearFrustrationGratificationGratitudeGreedGriefGuiltHappinessHatredHopeHorrorHostilityHumiliationInterestJealousyJoyKindnessLonelinessLoveLustNostalgiaOutragePanicPassionPityPleasurePrideRageRegretRejectionRemorseResentmentSadnessSelf-pityShameShockShynessSocial connectionSorrowSufferingSurpriseTrustWonderWorry
vte
Together.png
Relationships
(Outline)
Types
Activities
Endings
Emotions and feelings
AffinityAttachmentIntimacyJealousyLimerenceLove PlatonicunconditionalPassionSexuality
Practices
Abuse
vte
Passion (Greek πάσχω "to suffer, to be acted on" and Late Latin (chiefly Christian) passio "passion; suffering" (from Latin pati "to suffer"; participle: passus)) is a feeling of intense enthusiasm towards or compelling desire for someone or something. Passion can range from eager interest in or admiration for an idea, proposal, or cause; to enthusiastic enjoyment of an interest or activity; to strong attraction, excitement, or emotion towards a person. It is particularly used in the context of romance or sexual desire, though it generally implies a deeper or more encompassing emotion than that implied by the term lust.
Denis Diderot (1713-1784) describes passions as
"penchants, inclinations, desires and aversions carried to a certain degree of intensity, combined with an indistinct sensation of pleasure or pain, occasioned or accompanied by some irregular movement of the blood and animal spirits, are what we call passions. They can be so strong as to inhibit all practice of personal freedom, a state in which the soul is in some sense rendered passive; whence the name passions. This inclination or so-called disposition of the soul, is born of the opinion we hold that a great good or a great evil is contained in an object which in and of itself arouses passion".
Diderot further breaks down pleasure and pain, which he sees as the guiding principles of passion, into four major categories:
Pleasures and pains of the senses
Pleasures of the mind or of the imagination
Our perfection or our imperfection of virtues or vices
Pleasures and pains in the happiness or misfortunes of others
Modern pop-psychologies and employers tend to favor and even encourage the expression of a "passion"; previous generations sometimes expressed more nuanced viewpoints.[
Emotion
The standard definition for emotion is a "Natural instinctive state of mind deriving from one's circumstances, mood, or relationships with others".
Emotion, William James describes emotions as "corporeal reverberations such as surprise, curiosity, rapture, fear, anger, lust, greed and the like." These are all feelings that affect our mental perception. Our body is placed into this latter state, which is caused by one's mental affection. This state gives signals to our body which cause bodily expressions.
The philosopher Robert Solomon developed his own theory and definition of emotion. His view is that emotion is not a bodily state, but instead a type of judge. "It is necessary that we choose our emotions, in much the same way that we choose our actions" With regard to the relationship between emotion and our rational will, Solomon believes that people are responsible for their emotions. Emotions are rational and purposive, just as actions are. "We choose an emotion much as we choose a course of action."
Recent studies, also traditional studies have placed emotions to be a physiological disturbance. William James takes such consciousness of emotion to be not a choice but a physical occurrence rather than a disturbance. It is an occurrence that happens outside of our control, and our bodies are just affected by these emotions. We produce these actions based on the instinctive state that these feelings lead us towards.
This concept of emotion was derived from passion. Emotions were created as a category within passion.
Reason
Strong Desire for something: In whatever context, if someone desires for something and that desire has some strong feeling or emotion is defined in terms of passion. Passion has no boundary, being passionate about something which is boundless can be sometimes dangerous, In which person forget about everything and is fully determined towards the particular thing-(Sanyukta)
In his wake, Stoics like Epictetus emphasized that "the most important and especially pressing field of study is that which has to do with the stronger emotions...sorrows, lamentations, envies...passions which make it impossible for us even to listen to reason".
The Stoic tradition still lay behind Hamlet's plea to "Give me that man That is not passion's slave, and I will wear him In my heart's core", or Erasmus's lament that "Jupiter has bestowed far more passion than reason – you could calculate the ratio as 24 to one". It was only with the Romantic movement that a valorisation of passion over reason took hold in the Western tradition: "the more Passion there is, the better the Poetry".
The recent concerns of emotional intelligence have been to find a synthesis of the two forces—something that "turns the old understanding of the tension between reason and feeling on its head: it is not that we want to do away with emotion and put reason in its place, as Erasmus had it, but instead find the intelligent balance of the two".
"Descartes' Error"
Antonio Damasio studied what ensued when something "severed ties between the lower centres of the emotional brain...and the thinking abilities of the neocortex". He found that while "emotions and feelings can cause havoc in the processes of reasoning...the absence of emotion and feeling is no less damaging"; and was led to "the counter-intuitive position that feelings are typically indispensable for rational decisions".
The passions, he concluded, "have a say on how the rest of the brain and cognition go about their business. Their influence is immense...[providing] a frame of reference – as opposed to Descartes' error...the Cartesian idea of a disembodied mind".
In marriage
A tension or dialectic between marriage and passion can be traced back in Western society at least as far as the Middle Ages, and the emergence of the cult of courtly love. Denis de Rougemont has argued that 'since its origins in the twelfth century, passionate love was constituted in opposition to marriage'.
Stacey Oliker writes that while "Puritanism prepared the ground for a marital love ideology by prescribing love in marriage", only from the eighteenth century has "romantic love ideology resolved the Puritan antagonism between passion and reason" in a marital context. (Note though that Saint Paul spoke of loving one's wife in Ephesians 5.)
Intellectual passions
George Bernard Shaw "insists that there are passions far more exciting than the physical ones...'intellectual passion, mathematical passion, passion for discovery and exploration: the mightiest of all passions'". His contemporary, Sigmund Freud, argued for a continuity (not a contrast) between the two, physical and intellectual, and commended the way "Leonardo had energetically sublimated his sexual passions into the passion for independent scientific research".
As a motivation in an occupation
There are different reasons individuals are motivated in an occupation. These may include a passion for the occupation, for a firm, or for an activity. When Canadian managers or professionals score as passionate about their occupation they tend to be less obsessive about their behavior while on their job, resulting in more work being done and more work satisfaction. These same individuals have higher levels of psychological well-being. When people genuinely enjoy their profession and are motivated by their passion, they tend to be more satisfied with their work and more psychologically healthy.[citation needed] When managers or professionals are unsatisfied with their profession they tend to also be dissatisfied with their family relationships and to experience psychological distress.
Other reasons people are more satisfied when they are motivated by their passion for their occupation include the effects of intrinsic and external motivations. When Canadian managers or professionals do a job to satisfy others, they tend to have lower levels of satisfaction and psychological health. Also, these same individuals have shown they are motivated by several beliefs and fears concerning other people.
Thirdly, though some individuals believe one should not work extreme hours, many prefer it because of how passionate they are about the occupation. On the other hand, this may also put a strain on family relationships and friendships.
The balance of the two is something that is hard to achieve and it is always hard to satisfy both parties.
_MG_5889_pt_ck2
From the Artist's Statement:
My work explores the relationship between multiculturalism and UFO sightings. With influences as diverse as Kafka and Francis Bacon, new combinations are crafted from both opaque and transparent structures.
Ever since I was a teenager I have been fascinated by the endless oscillation of meaning. Yearning is manipulated into a dialectic of power, creating a sense of dread and the dawn of a new understanding.
As an Artist, I have been compelled to represent the ephemeral nature of the moment. What starts out as hope soon becomes corrupted into a manifesto of lust, leaving only a sense of decadence and the possibility of a new beginning.
As temporal derivatives become reconfigured through frantic and repetitive practice, the viewer is left with a tribute to the possibilities of our era.
Short on inspiration? Join We're Here!
I didn’t really understand Sartre’s “Nausea” in high school, but it struck a chord. Decades later, my Scholar reports that Existentialism is considered just another European school by American academia, not particularly central to modern Philosophy. So it goes.
Happy Thoughtful Thursday!
Utagawa Hiroshige (Edo, 1797 - Edo, 12 October 1858) - Kamata. The Plum Garden (1857) - Boston Museum of Fine Arts - exhibition “Hokusai, Hiroshige, Hasui. Journey to changing Japan ”Pinacoteca Agnelli, Turin
Assieme a Hokusai è considerato uno tra i principali paesaggisti giapponesi dell'Ottocento e fra i più celebri rappresentanti della corrente artistica Ukiyo-e. La produzione artistica di Hiroshige annovera diversi generi, tra cui stampe di attori, guerrieri, cortigiane, ma l'oggetto principale della sua arte fu la natura nelle sue molteplici espressioni. La contemplazione della natura e la successiva rappresentazione in chiave morfologicamente armonica, è ciò che distingue Hiroshige dagli altri pittori-incisori del suo tempo, creando una dialettica tra il finito e l'infinito, ossia il sentimento umano scaturente dall'ascolto quasi religioso della natura e il respiro del cosmo. Nell'arco di tutta la sua vita Hiroshige creò circa 400 incisioni. La serie più famosa di Hiroshige è "Le 100 vedute famose di Edo". Hiroshige ebbe straordinaria influenza sulla pittura europea di fine Ottocento. Principalmente tale influenza si manifestò sull'impressionismo e post-impressionismo, venendo imitato da diversi artisti, tra cui Claude Monet e Vincent van Gogh.
Together with Hokusai he is considered one of the main Japanese landscape painters of the nineteenth century and among the most famous representatives of the Ukiyo-e artistic movement. Hiroshige's artistic production includes several genres, including prints of actors, warriors, courtesans, but the main object of his art was nature in its multiple expressions. The contemplation of nature and the subsequent morphologically harmonic representation is what distinguishes Hiroshige from the other painters-engravers of his time, creating a dialectic between the finite and the infinite, that is the human feeling arising from the almost religious listening of nature and the breath of the cosmos. Throughout his life Hiroshige created about 400 engravings. Hiroshige's most famous series is "Edo's 100 Famous Views". Hiroshige had extraordinary influence on European painting of the late nineteenth century. Mainly this influence manifested itself on impressionism and post-impressionism, being imitated by several artists, including Claude Monet and Vincent van Gogh.
I mentioned yesterday the first great split in the Christian Church between East and West, and how ikons played a role in that. The second great division took place in the Western Church. It started when a Dominican monk in Germany named Martin Luther (1483-1546) had an epiphany. I can't possibly go into details here, but suffice to say his theological emphasis on faith being the means to salvation and not works became the major theme of the Protestant Reformation. The Lutheran Church exists all over the world to this day.
Now Luther was no radical, politically or even theologically. He felt he was merely calling the Roman Church back to its true New Testament roots. But his excommunication at the Diet of Worms (that is always funny in English, sorry to my German friends) in 1521 signaled a division that would continue to splinter to this very day. Lutherans are not afraid of retaining some of the aesthetic symbols of faith that the Roman Church cherishes, and the crucifix is certainly the most potent of these.
But after Luther came even more attacks on the Western Church. The Iconoclasts, the best known being the followers of the Genevan lawyer and theologian, John Calvin (1509-1564), have become better known to us as Puritans. But there were many radical groups agitating for all sorts of theological and political change.
One of those changes was the absolute denial of the sanctity of artistic symbols of faith: Ikons, statues, stained glass windows and the most potent of all the Crucifix. Churches throughout Europe were stripped bare and whitewashed, stained glass windows smashed, and crucifixes burnt.
Now for someone without any understanding of the Christian traditions (and there are a growing number of such people), the Crucifix is a bizarre symbol at best, and a fashion icon at worst. But to the true believer this is no empty symbol. Either it means the world, or it is a throwback to the enslavement of the church. Those in the latter category of Protestants prefer an empty cross, symbolising Jesus' resurrection from death.
Either/or thinking is the bane of Western logic! Why are not both positions true? (Dialectic thinking). Well, one such theologian emerged in the 20th century. His name was Karl Barth (1886-1968), he was a Swiss in the Calvinist tradition, but trained under the finest theological minds of the age. His "Church Dogmatics" runs for 13 volumes (unfinished), and in it he tried to build bridges between all the divisions of the Christian Church. I was so impressed by his work as a student I immediately identified myself for years as a "Barthian".
When Karl Barth died at his desk, writing his theology, he was listening to his beloved Mozart on the record player and above his desk was a Crucifix. Not bad for a Reformed theologian. Barth was certainly no Puritan.
[NOTE: The lighting on this Crucifix is all completely natural sunlight coming through three small windows - hence you'll see three shadows.]
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
Rovingian Council - Nomad Monks - A Supported Search by Daniel Arrhakis (2025)
A Supported Search
Although nomadic monks undertake a necessary journey of individual and often solitary discovery, they frequently have the support of others who accompany them.
Expedition and study groups often consist of two or more companions, and in the early stages may be larger groups supported by more experienced members.
Individual searching is supported by a closeness that mutually respects each other's necessary contemplative space, like a friend who remains vigilant but takes pride in their companions.
Close when necessary and distant when needed in a relational dialectic of mutual learning and discovery but also of respect for the individuality and spirituality of each one.
______________________________________________________
Uma Busca Assistida
Embora os monges nómadas empreendam uma viagem necessária de descoberta individual e, muitas vezes, solitária, contam frequentemente com o apoio de outros que os acompanham.
Os grupos de expedição e de estudo são geralmente compostos por dois ou mais companheiros e, nas fases iniciais, podem ser grupos maiores apoiados por membros mais experientes.
A busca individual é sustentada por uma proximidade que respeita mutuamente o espaço contemplativo necessário de cada um, como um amigo que permanece vigilante, mas se orgulha dos seus companheiros.
Próximo quando necessário e distante quando preciso, numa dialética relacional de aprendizagem e descoberta mútuas, mas também de respeito pela individualidade e espiritualidade de cada um.
**Socrates — a documented, contextual biography**
Socrates (Athens, c. 470/469 BC – Athens, 399 BC) is one of the decisive figures of Western thought. Paradoxically, he is also one of the hardest to define historically: he left no writings, and everything we know about him comes from indirect testimony, shaped by different intentions—defence, satire, philosophical interpretation. The main sources are Plato and Xenophon (both his disciples), while Aristophanes portrayed him in satirical form. For this reason, any biography of Socrates is also a critical comparison between conflicting portraits.
**Origins, private life, and public presence**
Socrates was an Athenian citizen. Ancient tradition describes him as living simply—often in relative poverty—and as having an unusual public role: he spoke in the streets, in meeting places, in gymnasia, questioning citizens of every kind (politicians, craftsmen, poets, and especially young men of the elite). He founded no institutional “school” like Plato’s Academy, and he presented no written system. His work was living dialogue.
Regarding family life, ancient sources mention his wife Xanthippe and children. These details remain secondary in philosophical texts, but they recur in tradition. What matters most historically is that Socrates appears as a man rooted in the city: not a hermit, but someone who made the polis the stage of his ethical mission.
**The method and what made him uniquely dangerous**
Socrates’ uniqueness lies not in a written doctrine but in a practice: the pursuit of truth through relentless questioning, refutation, and careful definition. Modern scholarship often calls this style the “Socratic method” (elenchus): Socrates tests another person’s beliefs until contradictions and self-deceptions are exposed. This was not intellectual sport. It was a moral operation, because it forced people to choose between truth and comfortable illusion.
In Plato’s dialogues, Socrates insists that his strength is a kind of “negative knowledge”: knowing that he does not know, and therefore refusing easy certainties. That is precisely what made him politically explosive: a citizen trained to reason cannot be governed through slogans, fear, or prestige.
**Religion, the daimonion, and the accusation of impiety**
Socrates is often misunderstood as simply “atheist.” The sources rather describe his experience of the daimonion—an inner voice or divine sign that restrained him from actions he considered wrong. This element contributed to suspicion in a highly sensitive religious and political context, because it could be interpreted as introducing “new divinities” or deviating from civic cults.
**Historical background: a wounded Athens, scapegoats, and political fear**
The trial of 399 BC took place in a traumatized Athens: the city had been defeated in the Peloponnesian War and had passed through internal crises and political violence. In such climates societies look for scapegoats and tighten control over anything perceived as threatening order and cohesion. This context is crucial for understanding how a philosopher could become “dangerous.”
In addition, certain figures associated with Socrates’ circle carried politically compromising associations for Athenian memory. Modern reconstructions often consider this an important background factor, even though the indictment itself was formally religious and moral.
**The trial: charges, accusers, and condemnation**
The formal charges were two: (1) impiety (asebeia)—not recognizing the gods of the city and/or introducing new divinities; (2) corrupting the youth. In the best-known accounts, the accusers are Meletus, Anytus, and Lycon (as presented in Plato’s tradition). Socrates delivered his defence (the “Apology” in Plato and also in Xenophon) and was found guilty by a citizen jury. Ancient and modern reconstructions agree on a key fact: his death was not accidental, but a legal death sentence within Athenian procedure.
**Hemlock: imposed by the State, accepted by him**
The hemlock was the method of execution and therefore imposed by the State. Socrates did not “choose death” as a free suicide: he chose not to escape and not to renounce his life’s coherence. His death is therefore both a juridical-political execution and an ethical act of integrity—accepting the consequences of one’s life without surrendering to fear.
**Historical significance: what changes after Socrates**
Socrates became a point of no return. After him, philosophy in the West increasingly defined itself as care of the soul, moral responsibility, and the search for truth—not merely as rhetorical technique or speculation. Through Plato and Xenophon, Socrates also became a permanent symbol: the man who, in front of power, refused to abandon the duty to question.
I publish this series of figures to awaken consciences and to remember how many people died defending truth, justice, and the rights of the oppressed. I want to highlight the injustices that still exist and show young people that the only thing we can do is to fight, because evil still rules and continues to target those who try to make a difference. This series is an invitation to remember, reflect, and never accept injustice.
ayiram arthangal
We're performing in the short+sweet dance festival at KLPAC - and just got our first review by Voize - What clearly worked that night were dialectical arrangements such as the Bharatnatyam ensemble by two dancers to the tune of the Blue Danube.
Woohoo
“Tie A String Around the World”, the theme of the Philippines Pavilion, revolves around the concept of the Philippines as a tropical heterotopia, a real space of crises where utopia – the myth of civilization and the project of progress – is simultaneously represented, negotiated and/or subverted. Emerging from the desire to explore, problematise, and understand the political, economic, social, cultural, and environmental contexts of the late 20th century up to the 21st century that engendered both the development and devastation of the nation and the gathering and dispersal of its peoples through contemporary visual practice, the Philippine Pavilion in Venice signifies not necessarily suspension and fragmentation, but a dialectical dynamism.
Minimalism in blue.
In France between 1947 and 1948, Yves Klein conceived his Monotone Symphony (1949, formally The Monotone-Silence Symphony) that consisted of a single 20-minute sustained chord followed by a 20-minute silence – a precedent to both La Monte Young's drone music and John Cage's 4′33″. Although Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950, his first public showing was the publication of the Artist's book Yves: Peintures in November 1954.
Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.
Artist and critic Thomas Lawson noted in his 1981 Artforum essay Last Exit: Painting, minimalism did not reject Clement Greenberg's claims about modernist painting's reduction to surface and materials so much as take his claims literally. According to Lawson minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such. Also taking exception to this claim was Clement Greenberg himself; in his 1978 postscript to his essay Modernist Painting he disavowed this incorrect interpretation of what he said; Greenberg wrote:
There have been some further constructions of what I wrote that go over into preposterousness: That I regard flatness and the inclosing of flatness not just as the limiting conditions of pictorial art, but as criteria of aesthetic quality in pictorial art; that the further a work advances the self-definition of an art, the better that work is bound to be. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article.
In contrast to the previous decade's more subjective Abstract Expressionists, with the exceptions of Barnett Newman and Ad Reinhardt; minimalists were also influenced by composers John Cage and LaMonte Young, poet William Carlos Williams, and the landscape architect Frederick Law Olmsted. They very explicitly stated that their art was not about self-expression, and unlike the previous decade's more subjective philosophy about art making theirs was 'objective'. In general, minimalism's features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.
Robert Morris, a theorist and artist, wrote a three part essay, "Notes on Sculpture 1-3", originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. These essays paid great attention to the idea of the gestalt - "parts... bound together in such a way that they create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects", originally published in Artforum, 1969, continuing on to say that "indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing." The general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism.
One of the first artists specifically associated with minimalism was the painter, Frank Stella, four of whose early "black paintings" were included in the 1959 show, 16 Americans, organized by Dorothy Miller at the Museum of Modern Art in New York. The width of the stripes in Frank Stellas's black paintings were often determined by the dimensions of the lumber used for stretchers, visible as the depth of the painting when viewed from the side, used to construct the supportive chassis upon which the canvas was stretched. The decisions about structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a "given" feature of the physical construction of the support. In the show catalog, Carl Andre noted, "Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting." These reductive works were in sharp contrast to the energy-filled and apparently highly subjective and emotionally charged paintings of Willem de Kooning or Franz Kline and, in terms of precedent among the previous generation of abstract expressionists, leaned more toward the less gestural, often somber, color field paintings of Barnett Newman and Mark Rothko. Although Stella received immediate attention from the MoMA show, artists including Kenneth Noland, Gene Davis, Robert Motherwell and Robert Ryman had also begun to explore stripes, monochromatic and Hard-edge formats from the late 50s through the 1960s.
Because of a tendency in minimal art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter, and ended as a creator of objects. His seminal essay, "Specific Objects" (published in Arts Yearbook 8, 1965), was a touchstone of theory for the formation of minimalist aesthetics. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work of George Earl Ortman, who had concretized and distilled painting's forms into blunt, tough, philosophically charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd.
This movement was heavily criticised by modernist formalist art critics and historians. Some critics thought minimal art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by critic Clement Greenberg, arguably the dominant American critic of painting in the period leading up to the 1960s. The most notable critique of minimalism was produced by Michael Fried, a formalist critic, who objected to the work on the basis of its "theatricality". In Art and Objecthood(published in Artforum in June 1967) he declared that the minimal work of art, particularly minimal sculpture, was based on an engagement with the physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type of spectacle, in which the artifice of the act observation and the viewer's participation in the work were unveiled. Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event outside of the artwork as a failure of minimal art. Fried's essay was immediately challenged by postminimalist and earth artist Robert Smithson in a letter to the editor in the October issue of Artforum. Smithson stated the following: "What Fried fears most is the consciousness of what he is doing—namely being himself theatrical."
In addition to the already mentioned Robert Morris, Frank Stella, Carl Andre, Robert Ryman and Donald Judd other minimal artists include: Robert Mangold, Larry Bell, Dan Flavin, Sol LeWitt, Charles Hinman, Ronald Bladen, Paul Mogensen, Ronald Davis, David Novros, Brice Marden, Blinky Palermo, Agnes Martin, Jo Baer, John McCracken, Ad Reinhardt, Fred Sandback, Richard Serra, Tony Smith, Patricia Johanson, and Anne Truitt.
Ad Reinhardt, actually an artist of the Abstract Expressionist generation, but one whose reductive nearly all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art:
The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature.
more candids here
www.flickr.com/photos/23502939@N02/albums/72157622769131641
More Iceland here :
Don’t eat meat, eat bugs! Larva fat to replace butter…woohoo! Humans can’t digest Chitin…but hey, if you love cancer, chow down. Let’s put mRNA vaccines in lettuce—for the soft cull. Death rates rising! Cancer rates rising! The New York Times: “A Taste for Cannibalism?” “Soylent Green is people!” Eat green, eat healthy! But don’t drink the water, unless it’s recycled sewage! Don’t breath, unless you pay a carbon tax. Save the planet, get rid of oil and gas! Say no to cars, stay home. Net-zero emissions for you! Woohoo, let’s become a third world dump, let’s become utterly impoverished. Let’s embrace this dystopian nightmare. War, Famine, and plague—BABY! The Georgia Guidestones, the American Stonehenge of paganism: “Maintain humanity under 500,000,000 in perpetual balance with nature.” That sounds like an excellent idea! Will you choose euthanasia to save the planet? It’s for the greater good! Sorry: I’m an individualist, not a collectivist. The devil’s gospel is depopulation. But God said, “Be fruitful and multiply.” Remember: you can’t save your soul, how much less the planet. They worship the earth as an idol! But I worship the creator, not the created.
The Hegelian Dialectic is a satanic apparatus. Order out of chaos is a satanic principle. Satanic theology: the Hegelian Dialectic—Thesis, Antithesis, Synthesis. The New World Order Hegelian Dialectic: Problem, Reaction, Solution—order out of chaos. Climate change, climate change! WEATHER AND CLIMATE MODIFICATION—Report of the SPECIAL COMMISSION ON WEATHER MODIFICATION—NATIONAL SCIENCE FOUNDATION. A global technocratic superstate—let’s microchip the people…it’s what’s best for the planet! Take the devils bait, and you’ll become a devil worshipping transhuman. Then, just as Adam and Eve were thrown out of the Garden of Eden, you too will be thrown out of the paradise of Heaven. Indeed, the Hegelian Dialectic rolls on. It will roll on towards global authoritarianism, and an Antichrist—666 the globalist utopia realized. Will they obtain Godhood in their utopia? Nope! They will never be omnipotent, omniscient, or omnipresent—they will try to accomplish this with their technology, but they will fail miserably. L-O-S-E-R-S! Thesis, Antithesis, Synthesis, and the false trinity: Dragon, Beast, and False Prophet—a satanic cult. Become a new socialist man, a new creation of the Beast—a transhuman who has taken another bite of the apple. When you do this, you’ll become more enlightened, and your eyes will be opened. Why are you trying to replicate man’s original sin? It’s because you too are rebelling against God! However, eating the apple means that you will surely die, how much more when you attempt to steal another bite. “The smoke of their torment will rise forever and ever, and they will have no relief day or night, for they have worshiped the Beast and his Image and have accepted the Mark of his name.” Indeed, with judgment comes heat!
A third of the earth was burned up, a third of the trees were burned up, and all green grass was burned up. And something like a great burning mountain and a great blazing star fell into the waters. A third of the sun, a third of the moon, and a third of the stars were darkened. A third of the day had no light, and likewise a third of the night. Then the shaft of the bottomless pit was opened, and billows of smoke arose. Out of the dense haze came demonic locusts. They had tails and stingers like scorpions. They covered the land, they swarmed the sky! Both land and sky were black with locusts. There was no place to escape. They were everywhere! They were in every house, in every room. They were in the food, they were in the water. They aggressively stung without mercy! The pain of their sting was like that of a scorpion. The land was burned by fire—now it’s your turn to burn with pain. You will be stung both day and night. You will seek death, but you will not find it. You will long to die, but death will elude you. If bugs are what you want, then bugs are what you’ll get. However, I’d advise you not to consume such bugs. Bon Appétit! And if climate change is what you want, then climate change is what you’ll get. Enjoy the heat! “The sun was allowed to scorch people with fire. They were seared by the intense heat and they cursed the name of God.” Enjoy your judgment of fire: “A third of mankind was killed by the three plagues of fire, smoke and sulfur that came out of their mouths.” And just think: this is only the tip of the iceberg! It sucks to be you! Enjoy your dystopian bliss!
The hunger of Moloch, the god of child sacrifice, is never satisfied. Like the Mayan gods, he needs endless victims to devour. But who would sacrifice the children—the future? Planned Parenthood: the ones who also sell baby parts? Would this killing of the unborn be a modern-day sacrifice to Moloch? How about the sexual grooming of children? More woke sacrifices to Moloch? How about the slow normalizing of pedophilia? Is this the next sacrifice to Moloch? How about school books that depict pornographic sex acts between children and adults? Is this a type of sacrifice to Moloch? How about drag queen story hour in libraries? Is that also a sacrifice to Moloch? How about mother’s bringing their babies to watch drag queens dancing in a sexual manner? Could this be a sacrifice to Moloch? How about a drag queen shaking his booty in front of children, as parents give their children money to stuff in the grown man’s thong? Is this a sacrifice to Moloch too? How about allowing men/boys in the ladies/girls change rooms and washrooms? Is this also a sacrifice to Moloch? How about giving teenagers puberty blockers? Is this another sacrifice on the altar of Moloch? How about giving teenagers sex reassignment surgery? Is this yet another sacrifice to Moloch? Those who pervert the minds of children are evil and wicked! Common sense tells us that a child’s brain is not wired for this kind of sexual deviance. But as evil becomes more normalized, common sense goes out the window. The satanic hegelian dialectic continues to go round and round as society slowly goes down the toilet. The Bible is proved right again and again: people are sinners, and they follow the perversions of their evil/woke minds!
Life will continue to become less and less sacred until one day “being human” is considered a vile/useless thing. Eventually these hard-hearted people will sacrifice their humanity on the altar of transhumanism. They will count their freedom as nothing, happily embracing their enslavement. They will receive a 666-smartchip implant, and they will bring their children to get one too. In doing this they will reject their Creator, and their humanity, degrading themselves in the most despicable way. During this time, every kind of perversion and satanic ritual will be practiced in public. Transhumans will be controlled/programmed entities (zombies) who will bow down to worship Moloch—the Image of the Beast. The people of the world will sacrifice their future to the Beast. They will be slaves of the Beast. But remember this: the Beast is never satisfied! He will devour all that you have, even your very soul.
Mark 8:36 “What does it profit a man to gain the whole world, yet forfeit his soul?”
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
Brot und Unterhaltung - wörtlich: Pane et Circensi
annona et spectaculis - Brot-Getreide und Schauspiele
Brave Beautiful World
langes Laugengebäck mit Pfeffer oder Käse
«pan y circo»
Esta frase se origina en Roma en la Sátira X del poeta romano Juvenal (circa 100 A. D.).
Panem et circenses
(letteralmente «pane e [giochi] circensi»)
è una locuzione latina, usata nell'antica Roma per sintetizzare le aspirazioni della plebe, o, in epoca contemporanea, in riferimento a strategie politiche demagogiche.
L'espressione Panem et Circenses alludeva ad un meccanismo di potere influentissimo sul popolo romano, era la formula del benessere popolare e quindi politico;
un vero bozzo/strumento in mano al potere per far cessare i malumori delle masse, che con il tempo ebbero voce proprio nei luoghi dello spettacolo.
Questa locuzione ("Panem et Circenses") viene anche usata per indicare il modo di parlare nell'età romana.
Kaiser Trajan( 98 bis 117 nach Christus), dieser habe Massenunterhaltungen besonders gepflegt, in der festen Meinung:
„dass das römische Volk insbesondere durch zwei Dinge, Getreide und Schauspiele, sich im Bann halten lasse“ (populum Romanum duabus praecipue rebus, annona et spectaculis, teneri)
Der Ausdruck bezeichnet auch heute noch die Strategie politischer (oder industrieller) Machthaber, das Volk mit Wahlgeschenken und eindrucksvoll inszenierten Großereignissen von wirtschaftlichen oder politischen Problemen abzulenken. Das Wortpaar Brot und Spiele kritisiert eine abgestumpfte Gesellschaft, deren Interesse über elementare Bedürfnisse und „niedere Gelüste“ nicht hinausgeht.
-
In a political context, the phrase means to generate public approval, not by excellence in public service or public policy, but by diversion, distraction or by satisfying the most immediate or base requirements of a populace — by offering a palliative: for example food (bread) or entertainment (circuses).
The Frankfurt School
In 1944 Theodor Adorno and Max Horkheimer
released the book Dialectic of Enlightenment (German: Dialektik der Aufklärung).
One chapter in this work, "The Culture Industry: Enlightenment as Mass Deception", would become hugely influential and a key element in the bibliography of what became known as the Frankfurt School of Critical Theory.
The book echoed the themes of Juvenal in the modern context of America's 1940s media landscape. Horkheimer and Adorno discussed the culture industry;[8] they argued that entertainment is business and that culture had become commodified. The media audience, which consists of the people, would get accustomed to a certain type of content and demand more of the same, influence over the consumers would thus be established by the entertainment industry. The effect of these cultural products being distributed would be a mass culture designed to preserve the status quo of society.
This paralleled Juvenal's thoughts on bread and circuses as an entertainment industry preserving the status quo of Roman society by distracting the common people.
-
.fr
Panem et circenses (littéralement « pain et jeux du cirque », souvent traduite par « Du pain et des jeux ») est une expression latine utilisée dans la Rome antique.
It was freezing that day. I was walking in a well known public parc in the north of Brussels. Frost was covering the grass while the sun was shining. I came about a wooden bench looking for a support where I could drop my backpack. I then noticed a kind of dialectic struggle between bluish frost in the shade and white melting frost in the sun exposed part of the bench.
after posting three films about how Hegelian dialectic is a tool exploited through the media to further the agendas of the ruling class and their minions, YouTube removed my channel.
for years I've been struggling through their bullshit war against their content providers . what great potential squandered.
Well. poor. I'm gone.
but I still have a presence here : m.youtube.com/user/GomersRevenge/videos
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
“But as for certain truth, no man has known it,
Nor will he know it; neither of the Gods
Nor yet of all the things of which I speak.
And even if by chance he were to utter
The perfect truth, he would himself not know it;
For all is but a woven web of guesses.” [Parmenides]
On this photograph from the Ross Bridge art there is just so much that can be said. I will provide links to further detailed historical information if you wish to pursue it - otherwise I might be writing for a week.
In the previous photograph showing both William Kermode (a strong Aboriginal sympathiser) and the dog, I will just add that Kermode is on the seventh stone up from the right hand side of the central arch of the north face of the bridge. The dog is on the ninth. Do you remember the pattern that Herbert employed for Mary Witherington, Jorgenson, etc. that we saw yesterday? None of these carved stones is placed on the bridge haphazardly. Each stone is exactly where Herbert wants it in his symbolic scheme.
The overall theme is I believe an "iconography of renewal". By using typological opposites Herbert is engaged in a dialectical struggle between the forces of "darkness" and the forces of "light". The more I look at the bridge, the more I believe this theory is correct in describing Herbert's vision (a development from the work of Greener and Laird in 1971), even if we may quibble over some of the symbolic detail.
Now in this photograph we are looking at a reversal of the pattern employed in the previous arch. And there is a good reason for this. The badly eroded face we see here (I've tagged the photo to make it easier to see) is that of an indigenous person. It may well represent Herbert's idealised form of an Aboriginal chieftain. It is the seventh stone up from the base of the arch next to the one that has Kermode's portrait. A dog figure is also here at the ninth stone up.
Now, on the other side (and in our next picture) we'll see Herbert's typological opposite: Lt. Gov. George Arthur. In arch one and arch two of the north face, Herbert's pattern is "bad guys to the left", "good guys to the right". All that is reversed on this third arch. And there is a very good reason for this which I think helps confirm my theory. It's the exception that often confirms the rule.
You see sensitive as Daniel Herbert was, there is no way he would place his friend William Kermode next to his enemy George Arthur. Rather, he'd have him alongside the Aboriginal person (at the same height in the bridge). So Herbert makes a reasonable switch, but the principle of typological opposites remains. I hope you can follow that, but when it all clicks into place the whole picture of what Herbert is trying to achieve makes complete sense. I think this is where my theory fills in the gaps in Greener and Laird (1971).
So now a brief discussion of why the Aboriginal issue is at the heart of the matter. Historian Henry Reynolds has written extensively on the subject of the "Black War" and what he calls in a challenging book, "The Fate of a Free People" (Penguin, 1995). Indigenous lawyer Michael Mansell has written a fine review and you can read it here: www.austlii.edu.au/au/journals/PolemicUSyd/1995/11.pdf
The Black War is a term given to the period 1804-1830, but intensified in the 1820s when the settlers with the support of the colonial government removed indigenous people from their lands. www.britannica.com/event/Black-War
This culminated in a clergyman, George Augustus Robinson setting out to mitigate the conflict and find a solution. His plan was to re-establish the surviving indigenous people on what is now Flinders Island. adb.anu.edu.au/biography/robinson-george-augustus-2596
It is a sad fact of history, however, that only a few hundred were ever resettled, the rest having died from disease or conflict.
But by far the most infamous stage of the conflict was the establishment by Lt. Gov. George Arthur (a military Colonel as we will see in the next photograph), of the "Black Line". We saw yesterday how Jorgen Jorgenson was a part of this, and it led to the capture and deaths of many indigenous people. The purpose was simple. To eradicate any opposition and clear the lands. No wonder many of the Scottish highlander free settlers in Ross were sympathetic to the Aboriginal cause, their history told them all about land clearances.
The Tragedy of Uniformization: Toward a Dialogic of Freedom
In the image the figure of "Miss Chain sawing" embodies the height of "mutilating thought." What we see here is the transformation of an icon of emancipation into a force of reduction, which, under the guise of promoting an abstract freedom, proceeds with the methodical ablation of cultural specificities.
This dynamic illustrates what I call the "barbarism of unity": in wanting to carve up the world according to a single template, this "chainsaw" transforms the concrete richness of cultures into a lifeless transparency. The world, sliced into such thin pieces that it loses its substance, becomes the stage for a pathology of reason that, by seeking to simplify reality, destroys it.
The dialogic, far from being a mere concept, compels us to conceive of a unity that does not negate diversity. We are faced with an inseparable antagonism:
* The need for a freedom that serves as a shared value for all humanity.
* The vital necessity of preserving the roots, mores, and legacies that constitute the unique genius of every culture.
The suffering expressed in **image**—that feeling of a "hidden and insupportable thorn"—testifies to the fact that freedom imposed from the outside, without regard for the singularity of social fabrics, does not liberate: it alienates. To ensure the intellectual and spiritual richness of future generations, we must replace this "chainsaw" logic with an ethics of reliance. It is not a matter of rejecting the universal, but of reconstructing it from within diversity, so that every culture, while remaining itself, can participate in the co-construction of a pluralistic humanity. True emancipation does not lie in the transparency of the void, but in the density of the encounter.
**Suggested Title:** *The Dialectic of the Chainsaw: For an Ethics of Reliance Against the Barbarism of the Uniform*
Complex thinking is an epistemological concept proposed by the philosopher and sociologist Edgar Morin. It is not reduced to science or philosophy, but would allow their communication by operating the shuttle from one to the other[ref. needed]. The complex way of thinking can be useful in addressing organizational, social and political problems. Thought that confronts uncertainty can illuminate strategies in a world that has become uncertain. The first formulation of complex thought dates from 1982 in Morin's book Science with conscience: In the age of Miss Chain Sawing, city planning is no longer a local craft of building with place. It has become the sharp edge of a planetary dialogic: the chainsaw that simultaneously severs the old chains of rooted territories and carves new, standardized wounds into their living flesh. Globalization does not float above cities - it lands inside them, slicing neighborhoods into transparent fragments where local memory, biodiversity, and social thickness are rendered visible only as obstacles to flow. Yet the territory answers back. Every cut produces resistance, every standardized master plan generates its own underground metabolisms. Miss Chain Sawing is therefore not a villain nor a savior; she is the ambiguous operator of our time - the one who makes visible the wound through which territory and globalization ceaselessly remake each other. She cuts the chains of the old world... and the living fabric of the new one. A dialogic inquiry into how globalization slices cities into transparent pieces.
In the spirit of Edgar Morin's complex thought, the encounter between Miss Chain Sawing and urban planning reveals far more than a technical conflict over land use or zoning codes. It exposes a living dialogic - that ceaseless, creative, and often painful interplay between two antagonistic yet inseparable logics: the thick, rooted, auto-eco-organizing fabric of territory on one side, and the thin, accelerating, homogenizing flows of planetary globalization on the other.
Miss Chain Sawing is not a simple villain nor a heroic liberator. She is the ambiguous operator of our time. In one hand she wields the chainsaw that severs the heavy, rusted chains of obsolete structures, colonial legacies, and rigid hierarchies. In the other, the same blade slices through the living tissue of neighborhoods, memories, and ecological relations that still hold cities together. The image that haunts this inquiry makes the wound visible: Lady Liberty's severed head rests upon a body cut into transparent slices, countries rendered so thin they no longer conceal the global flows passing through them. Below lies the gaping skull - the death mask of urban diversity - while the saw works relentlessly. City planning, in its dominant contemporary form, has become the privileged instrument of this cutting.
Globalization does not hover abstractly above cities. It lands inside them, demanding legibility, liquidity, and speed. Master plans financed by international capital, smart-city platforms designed in distant laboratories, real-estate algorithms that treat neighborhoods as data points - all require territories to be rendered transparent. History fabrics are sélectionned into developable plots. into endless soy fields now turns living cities into portfolios of assets. Urban planning, when captured by this planetary grammar, ceases to be the art of composing with place and becomes the art of making place disappear into the smooth space of global circulation.
Yet the dialogic refuses one-way reduction. Territory answers back. Every cut produces its own counter-movements: informal settlements that re-weave social tissue, urban gardens that restore ecological memory, community land trusts that withdraw land from speculative transparency, tactical occupations that slow the chainsaw. These are not mere resistances; they are expressions of the territory's own auto-organizing intelligence asserting itself within the very wound globalization has opened. The part contains the whole: a single neighborhood that refuses to become transparent can reveal the entire logic of planetary urbanization and, at the same time, prefigure other possible cities.
This ongoing mutation transforms the very meaning of freedom. The liberty once symbolized by Lady Liberty - freedom of movement, of enterprise, of individual choice - is increasingly experienced in the sliced city as a new form of enclosure. For those displaced by redevelopment, for those whose daily rhythms are dictated by global real-estate cycles, for those whose cultural and ecological attachments are declared obstacles to progress, the promise of freedom rings hollow. A hidden thorn lodges in the collective flesh: the knowledge that the chains being cut were sometimes also the fragile bonds. that still connected people to place, to memory, to each other. This thorn makes us harsh - toward one another, toward the future, toward any symbol that claims to represent emancipation while participating in the slicing.
Miss Chain Sawing therefore stands at the crossroads of a possible metamorphosis. The same blade that wounds can, under different hands and different intentions, become the tool that carefully prunes dead wood while protecting the living cambium. Urban planning could shift from chainsaw to grafting knife - not erasing the dialogic tension between territory and globalization, but learning to work with it. This would require abandoning the dream of total transparency and total control. It would mean recognizing that every master plan is also a master cut, and that the health of a city lies in its capacity to maintain thickness, opacity, and unpredictability even while remaining open to planetary exchanges. fr.wikipedia.org/wiki/Pens%C3%A9e_complexe
The inquiry remains open. The saw continues its work. Whether it ultimately severs the last living connections or helps birth new, more complex forms of urban autonomy depends on how we inhabitants, planners, citizens, and thinkers - choose to grasp the handle. In the dialogic between territory and globalization, there is no final victory, only the permanent, uncertain work of recomposing what the blade has divided. Complexity characterizes the behavior of a system or model whose components interact in multiple ways and follow local rules, leading to non-linearity, randomness, collective dynamics, hierarchy, and emergence.[1][2]
The term is generally used to characterize something with many parts where those parts interact with each other in multiple ways, culminating in a higher order of emergence greater than the sum of its parts. The study of these complex linkages at various scales is the main goal of complex systems theory.
The intuitive criterion of complexity can be formulated as follows: a system would be more complex if more parts could be distinguished, and if more connections between them existed.[3]
As of 2010, a number of approaches to characterizing complexity have been used in science; Zayed et al.[4] reflect many of these. Neil Johnson states that "even among scientists, there is no unique definition of complexity – and the scientific notion has traditionally been conveyed using particular examples..." Ultimately Johnson adopts the definition of "complexity science" as "the study of the phenomena which emerge from a collection of interacting objects. en.wikipedia.org/wiki/Complexity
Edgar Morin (/mɔːˈræn/; French: [ɛdɡaʁ mɔʁɛ̃]; né Nahoum; 8 July 1921 – 29 May 2026) was a French philosopher and sociologist of the theory of information who has been recognised for his work on complexity and "complex thought" (pensée complexe),[9] and for his scholarly contributions to such diverse fields as media studies, politics, sociology, visual anthropology, ecology, education, and systems biology. He held two bachelors degrees, one in history and geography and one in law, and never did a Ph.D.[10] en.wikipedia.org/wiki/Edgar_Morin
Cinque Terre. Italy.
Check it out my Portfolio: GETTY IMAGES
Maybe you like this: / Facebook / 500px
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 (Manaèa 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 5 other islands. Mostly all of the houses are bright and colourful.
If you'd like to visit Cinque Terre, and you're looking for a good and tipycal accomodation, ask HERE and tell you're a friend of mine
© All rights reserved. Don't downoad or use this image without my explicit permission
MANAROLA (Manaèa nel dialetto locale) è un antico borgo della Riviera ligure di levante, frazione del comune di Riomaggiore, in provincia della Spezia, e costituisce una delle Cinque Terre.
È stato recensito come uno dei borghi liguri più belli d'Italia, nonchè Patrimonio Mondiale dell'Umanità dall'UNESCO.
Il Santo patrono è San Lorenzo, che si festeggia il 10 agosto, con una processione che porta la reliquia dalla Chiesa, situata nella parte alta del paese, fino al mare, dove viene posta su una imbarcazione e compie un giro nella baia come buon auspicio per i naviganti ed i pescatori.
Nel periodo invernale sulla collina si accende un grandissimo presepe luminoso, creato da Mario Andreoli, un ferroviere in pensione, con materiali di scarto e di recupero.
E' un luogo dove è difficile vivere, ma dove ogni volta che ti guardi intorno ti senti privilegiato.
© All rights reserved. Don't downoad or use this image without my explicit permission
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
Highgate Cemetery, London
The memorialisation of Karl Marx at the Highgate Cemetery is fascinating. There is this famous tomb, which was erected by the Communist Party in the 1950s.
And then there is the original grave of Marx, modest and almost unknown (or, at least, less valorised and much less visited).
The remains of Marx were disinterred and moved from the original grave to the tomb site in 1954.