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Construido en el año 2011 según el proyecto del Estudio Barozzi Veiga, en un privilegiado emplazamiento en primera línea frente a la Playa de Las Delicias de Águilas (Murcia), el auditorio "Infanta Doña Elena" se engloba en una innovadora tipología muy extendida en la arquitectura española de los últimos años, en la que se pretende establecer una relación de la arquitectura con las particularidades del lugar concreto de su emplazamiento.
El Estudio Barozzi Veiga desarrolla así una dialéctica, sobria y potente reflexión entre lo artificial y lo natural, configurando el proyecto en función de la tensión de los espacios que lo rodean: por un lado, hacia la ciudad (artificio) el edificio muestra una imagen ordenada y diáfana; por otro, hacia el mar (naturaleza, paisaje) se comporta de manera más orgánica, para lo que curva sus superficies, simulando la forma de una ola o evocando a una vela al viento...
El resultado es pues la original construcción que puede contemplarse en la imagen, con una volumetría facetada esculpida en planos cóncavos con enormes ventanales con vistas al mar, todo ello en un brillante blanco que reluce al sol y que responde perfectamente a esas tensiones paisajísticas de su privilegiado emplazamiento.
Tomada con la veterana cámara compacta de mi esposa, una Panasonic Lumix DMC TZ-10, que era lo único que tenía a mano para fotografiar en la playa 😃
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-English:
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This elegantly sculpted and strikingly curvaceous project by Estudio Barozzi Veiga was built in 2011 on a privileged site in front of "Las Delicias" beach of Águilas (Murcia, Spain). The Auditorium and Congress Palace "Infanta Doña Elena" is included within an innovative very widespread tendency in Spanish architecture in the last years, which try to relate architecture to the specific particularities and singularities of its location site.
In the architect's own words, the project is a natural response to the particular stimulus, offered by the location. On one hand the need to respect the urban tissue that grows inside, on the other, the one’s to preserve the expressive hue of the natural landscape.
It is through this contrast, that we define and articulate tensions that allow the project to organize itself while a coherent response to the constraints of place. The building is a dialectic reflection, simple but at the same time strong, between the urban artificiality and the organic naturalness.
Thus, the building results in a large mass, shaped in function of the tensions that proceeds from the different characters of the spaces surround it. Tangent to the town, the facades are clean, orderly, and paused, while tangent to the sea, the facades translate the surrounding space and the configuration offered by the landscape and geography, through large and concave surfaces, that provides a direct and intensive relation with the surrounding natural environment.
Taken with my wife's veteran compact camera, a Panasonic Lumix DMC TZ-10, which was the only thing on hand to shoot on the beach 😃
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.
(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 . .
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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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 )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
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
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!
**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.
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.”
“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.
mixed media on multi media vellum
61.5 x 76 cm
2013
Private collection
私人收藏
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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
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.”
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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).
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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.”
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.
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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).
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Passion (emotion)
"Heat of the moment" redirects here. For other uses, see Heat of the Moment (disambiguation).
Frederick Goodall's Passionate Encounter
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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.
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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.]
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.
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.
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?”
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
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
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More Iceland here :
“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.
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
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.
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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.
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.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.
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
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.
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.
Osservando questa immagine, mi trovo di fronte a una scena che si costruisce attraverso l’essenzialità del contrasto. Le silhouettes degli uccelli e dei rami, ridotte a puri segni neri su uno sfondo di luce assoluta, mi appaiono come tracce grafiche, quasi incisioni che emergono da uno spazio sospeso. È come se la realtà fosse stata distillata fino alla sua architettura più minimale.
Mi colpisce in particolare il dialogo tra l’immobilità dei rami e la libertà del volo. Da un lato, l’intreccio vegetale, nervoso e quasi fratturato, sembra trattenere un’energia compressa; dall’altro, le due figure in aria la oltrepassano, attraversando quel reticolo con un gesto naturale e fluido. In questo contrasto leggo una tensione poetica: un incontro tra ciò che è radicato e ciò che è in transito.
Per me, la forza della composizione sta proprio in questa dialettica tra statico e dinamico, tra forma e vuoto. Ogni silhouette diventa un simbolo, ogni spazio bianco un campo di possibilità. La fotografia si trasforma così in un esercizio di sottrazione che mette in risalto l’essenza del movimento e la delicatezza dei rapporti visivi, invitandomi a contemplare non solo ciò che si vede, ma ciò che suggerisce.
Observing this image, I find myself before a scene constructed through the essentiality of contrast. The silhouettes of the birds and branches, reduced to pure black marks against an expanse of absolute light, appear to me as graphic traces, almost engravings emerging from a suspended space. It is as if reality had been distilled down to its most minimal architecture.
What strikes me most is the dialogue between the stillness of the branches and the freedom of flight. On one side, the vegetal tangle—nervous and almost fractured—seems to hold a compressed energy; on the other, the two figures in the air surpass it, crossing that lattice with a natural and fluid gesture. In this contrast, I read a poetic tension: an encounter between what is rooted and what is in transit.
For me, the strength of the composition lies precisely in this dialectic between the static and the dynamic, between form and void. Each silhouette becomes a symbol, every white space a field of possibility. The photograph thus becomes an exercise in subtraction that highlights the essence of movement and the delicacy of visual relationships, inviting me to contemplate not only what is seen, but what is suggested.
Cinque Terre. Italy.
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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
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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
Do not let the grass grow on the path of friendship
Friendship is a relationship between two or more people who hold mutual affection for each other.[1] Friendship is a stronger form of interpersonal bond than an acquaintanceship. The study of friendship has been studied in academic fields such as sociology, social psychology, anthropology, and philosophy. Various academic theories of friendship have been proposed, including social exchange theory, equity theory, relational dialectics, and attachment styles.
Although there are many forms of friendship, some of which may vary from place to place, certain characteristics are present in many types of friendship. Such characteristics include sympathy, empathy, honesty, altruism, mutual understanding and compassion, enjoyment of each other's company, trust, and the ability to be oneself, express one's feelings, and make mistakes without fear of judgment from the friend. While there is no practical limit on what types of people can form a friendship, friends tend to share common backgrounds, occupations, or interests, and have similar demographics.
Self-awareness does not arise inwardly.
It becomes real only when the self appears as object.
Consciousness is not private. It is formed through projection, confrontation, and recognition.
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Cliff diving in the Cinque Terre National Park Manarola, Italy.
ABOUT THE CINQUE TERRE:
The Cinque Terre is a rugged portion of coast on the Italian Riviera. It is in the Liguria region of Italy, to the west of the city of La Spezia. "The Five Lands" is composed of five villages: Monterosso al Mare, Vernazza, Corniglia, Manarola, and Riomaggiore. The coastline, the five villages, and the surrounding hillsides are all part of the Cinque Terre National Park and is a UNESCO World Heritage Site.
Over centuries, people have carefully built terraces on the rugged, steep landscape right up to the cliffs that overlook the sea. Part of its charm is the lack of visible corporate development. Paths, trains and boats connect the villages, and cars cannot reach them from the outside. The Cinque Terre is a very popular tourist destination.
In 1998 the Italian Ministry for the Environment set up the Protected natural marine area Cinque Terre to protect the natural environment and to promote socio-economical development compatible with the natural landscape of the area. In 1999 the Parco Nazionale delle Cinque Terre was set up to conserve the ecological balance, protect the landscape, and safeguard the anthropological values of the location. Nevertheless, the dwindling interest in cultivation and maintenance of the terrace walls posed a long-term threat to the site, which was for this reason included in the 2000 and 2002 World Monuments Watch by the World Monuments Fund. The organization secured grants from American Express to support a study of the conservation of Cinque Terre. Following the study, a site management plan was created.
ABOUT MANAROLA:
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.
The fishing village of Manarola at the Riviera di Levante, Cinque Terre, Liguria, Italy
Some background information:
Manarola is a picturesque fishing village in the province of La Spezia. It is the second-smallest of the five Cinque Terre villages and the second village one meets when travelling north from the harbour city of La Spezia. Manarola has about 450 residents and a train station at the Genoa-Pisa railway.
The village is most likely the oldest of the five Cinque Terre villages. Its church San Lorenzo dates from 1160. The name "Manarola" is probably a dialectical evolution of the Latin, "magna rota", which means "large wheel", in reference to the mill wheel in the settlement. Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned. References from Roman writings already mention the high quality of the wine produced in the region.
Manarola’s neighbouring villages are Riomaggiore to the south and Corniglia to the north. The villages of Manarola and Riomaggiore are connected with each other by a trail along the coastline, the so-called Via dell'Amore (in English "Trail of Love"). The trail's name was inspired by the fact that it provided an easy connection for young lovers who lived in the two small towns, and who were previously separated by the mountainous terrain. In 2012, a rockslide injured four tourists and caused the trail to be shut down for repairs. Until the date we were there, it still hadn’t been completely re-opened, although it is one of the most important tourist attractions in the area and is an integral part of the Cinque Terre National Park.
The Cinque Terre (in English "Five Lands") is a rugged portion of coast on the Italian Riviera. It is located in the region Liguria, in the northwest of Italy and comprises the five villages of Monterosso al Mare, Vernazza, Corniglia, Manarola, and Riomaggiore (from north to south), that are situated at the coastline and nestlled to the coastal rocks. The coastline, the five villages, and the surrounding hillsides are all part of the Cinque Terre National Park. Together with the nearby more southerly situated harbour town of Porto Venere, the five villages were declared a UNESCO World Heritage Site in 1997. In its explanation the UNESCO described the Cinque Terre as a "particularly scenic coastal area with small towns built among the steep rugged terrain". Not just since then the Cinque Terre area is a very popular tourist destination.
Over the centuries, people have carefully built terraces on the rugged, steep landscape right up to the cliffs that overlook the sea. Part of its charm is the lack of visible corporate development. Paths, trains and boats connect the villages, and cars cannot reach them from the outside.
The first historical documents on Cinque Terre date back to the 11th century. Manarola, Monterosso and Vernazza sprang up first, while the other two villages grew later, under military and political supremacy of the Republic of Genoa. In the 16th century, to oppose the attacks of Turk forces, the inhabitants reinforced the old forts and built new defense towers. From the year 1600, Cinque Terre experienced a decline which reversed only in the 19th century, thanks to the construction of the Military Arsenal of La Spezia and the building of the railway line between Genoa and La Spezia. The railway allowed the inhabitants to escape their isolation, but also brought about abandonment of traditional activities. The consequence was an increase in poverty which pushed many to emigrate abroad, at least up to the 1970s, when the development of tourism brought back wealth.
In all five villages fishing always contributed to the sustenance of the residents, but only in Monterosso al Mare, fishing was used as the village’s main industry. In the other four villages the locals mainly lived off vineyards and olive cultivation Hence, the mountainsides of the Cinque Terre are heavily terraced and are used to cultivate grapes, olives, citrus fruits and cactus pears.
Given its location on the Mediterranean Sea, seafood is plentiful in the local cuisine. Anchovies of Monterosso are a local specialty designated with a Protected Designation of Origin status from the European Union. The Cinque Terre area, and the region of Liguria, as a whole, is known for pesto, a sauce made from basil leaves, garlic, salt, olive oil, pine nuts and pecorino cheese. And Focaccia is a particularly common locally baked bread product. Finally, Farinata, a typical snack found in bakeries and pizzerias, is a savoury and crunchy pancake made from a base of chick pea flour.
The grapes of the Cinque Terre are used to produce two locally made wines. The eponymous Cinque Terre and the Sciachetrà are both made using Bosco, Albarola, and Vermentino grapes. In addition to wines, other popular local drinks include grappa, a brandy made with the pomace left from winemaking, and limoncello, a sweet liqueur flavored with lemons.
Ezekiel 38:2 “Son of man, set your face toward Gog, of the land of Magog, the chief prince of Meshech and Tubal, and prophesy against him.”
It’s interesting to watch as the road is being paved towards the fulfillment of Bible prophecy. We won’t see it yet, but the battle of Gog and Magog is not too far off.
It’s no shock they’ve called this Israel’s 9/11! The New World Order dialectic: problem, reaction, solution.
“The Taliban is much better positioned to wage major offensives in the Middle East thanks to Joe Biden’s strategically inept withdrawal from Afghanistan in 2021 which saw $86 billion in abandoned military equipment fall into the hands of the jihadist group.”
“Obama administration acknowledges $1.7B transfer to Iran was all cash.” (Hamas is an Iranian proxy)
“Iran can produce enough fissile material for a nuclear bomb in less than two weeks, the United States warned.”
None of this stuff is by accident! Just ask blackface Trudeau (along with all parliament [political theater/actors/puppets/controlled opposition]) and Zelensky about honouring a nazi with a standing ovation in the Canadian Parliament! The apple doesn’t fall far from the tree. Birds of a feather flock together.
WEF - Klaus Schwab (founder of The World Economic Forum): “We penetrate the cabinets”