Sumud (Arabic: صمود‎) meaning "steadfastness" or "steadfast perseverance" is an ideological theme and political strategy that first emerged among the Palestinian people through the experience of the dialectic of oppression and resistance in the wake of the 1967 Six-Day War. This noun is derived from a verb meaning "arrange, adorn, lay up, save".

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Balata Camp (Arabic: مخيم بلاطة‎) is a Palestinian refugee camp established in the northern West Bank in 1950, adjacent to the city of Nablus. It is the largest refugee camp in the West Bank. Balata Camp is densely populated with 30,000 residents in an area of 0.25 square kilometers.

Lest we forget: South Africa is among the most unequal societies in the world The. unemployment rate hovers around the 30% mark, and many people live in poverty. This is a picture of some homes in the Cato Crest informal settlement or 'favela'.

The source of inspiration: Museo del Novecento, Florence.

Francesca Banchelli - Silent dogs go away.

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DUEL – FRANCESCA BANCHELLI. I cani silenzosi se ne vanno via 11 Luglio 2020 - 12 Ottobre 2020

 

curated by Sergio Risaliti and Eva Francioli

 

Francesca Banchelli (Montevarchi, Arezzo 1981) is the protagonist of the eighth show in the DUEL series, where artists active on the international scene are invited to engage in a dialectic duel with the permanent collection of the Museo Novecento. The exhibition I cani silenziosi se ne vanno via (The Silent Dogs Slip Away) stems from and develops around the dialogue with a painting by Scipione (Gino Bonichi) entitled Apocalisse (Apocalypse) chosen by Banchelli before the world was hit by the pandemic. Today her choice resonates as a presage or a lucky intuition, revealing the capacity of some artists to perceive and, sometimes, to anticipate current events. Banchelli has a very precise idea about the function of art, which in certain respects resembles that of Scipione. Indeed, she is convinced of the necessity of the work, which shows itself to the world as epiphany and as an unescapable instrument of knowledge. In the creations both of Banchelli and Scipione, the investigation of reality gives way to authentic visions, combining reflection on the primordial nature of human beings with the creation of possible future scenarios.

 

The work of Francesca Banchelli (Montevarchi, Arezzo, 1981) is characterized by a great versatility. She is fascinated by the uncertainty of time, the relationship between human beings and the dialogue with animals and nature. In her works she investigates the complexity of the ‘event’ by experimenting different languages: from performance to painting, from video to drawing, from dance to sculpture, often organized within large installations.

 

I cani silenziosi se ne vanno via centres on the theme of the fugitive, investigated at length by Banchelli in recent years. Solitary figures or small communities set out and meet, physically or ideally, in order to conceive a new beginning, starting from something that has been interrupted or destroyed.

 

Planned months ago, the exhibition has acquired new meaning today. The first solo show by the Tuscan artist in an Italian museum, it is opening at a time when the whole of society seems to be reawakening. The desire to restart is the pervasive feeling, but Banchelli reminds us that we must come to terms with a complex reality characterized by various crises: from the economic and financial one, which is widening inequality and reducing people to poverty, to the racial and social crises that are shining the spotlight back onto unhealed sores.

 

Project supported by the Exhibit Program | Directorate-General for Contemporary Creativity of the Italian Ministry of Cultural Heritage and Activities and Tourism.

doesn't relate, I just really love this song. My aunt got me an iTunes gift card for my birthday and I went ahead and bought a bunch of songs that had been sitting in my shopping cart for a while. Including Fleet Foxes, by Fleet Foxes, which is amazing.

 

I think I'm joining a music club if Dialecticals doesn't whip itself back into shape.

 

Speaking of school, I shouldn't be online right now. I have to take six tests in three days, and not complain to anyone about it, because after all, I did take an eight day vacation. BACK TO WORK.

 

I'm addicted to film. Every image comes out so much more epheral than I could ever expect from digital.

 

Canon AE-1 | Kodak Gold | ISO 200

The Tragedy of Uniformization: Toward a Dialogic of Freedom

In the image the figure of "Miss Chain sawing" embodies the height of "mutilating thought." What we see here is the transformation of an icon of emancipation into a force of reduction, which, under the guise of promoting an abstract freedom, proceeds with the methodical ablation of cultural specificities.

This dynamic illustrates what I call the "barbarism of unity": in wanting to carve up the world according to a single template, this "chainsaw" transforms the concrete richness of cultures into a lifeless transparency. The world, sliced into such thin pieces that it loses its substance, becomes the stage for a pathology of reason that, by seeking to simplify reality, destroys it.

The dialogic, far from being a mere concept, compels us to conceive of a unity that does not negate diversity. We are faced with an inseparable antagonism:

* The need for a freedom that serves as a shared value for all humanity.

* The vital necessity of preserving the roots, mores, and legacies that constitute the unique genius of every culture.

The suffering expressed in **image**—that feeling of a "hidden and insupportable thorn"—testifies to the fact that freedom imposed from the outside, without regard for the singularity of social fabrics, does not liberate: it alienates. To ensure the intellectual and spiritual richness of future generations, we must replace this "chainsaw" logic with an ethics of reliance. It is not a matter of rejecting the universal, but of reconstructing it from within diversity, so that every culture, while remaining itself, can participate in the co-construction of a pluralistic humanity. True emancipation does not lie in the transparency of the void, but in the density of the encounter.

**Suggested Title:** *The Dialectic of the Chainsaw: For an Ethics of Reliance Against the Barbarism of the Uniform*

Complex thinking is an epistemological concept proposed by the philosopher and sociologist Edgar Morin. It is not reduced to science or philosophy, but would allow their communication by operating the shuttle from one to the other[ref. needed]. The complex way of thinking can be useful in addressing organizational, social and political problems. Thought that confronts uncertainty can illuminate strategies in a world that has become uncertain. The first formulation of complex thought dates from 1982 in Morin's book Science with conscience: In the age of Miss Chain Sawing, city planning is no longer a local craft of building with place. It has become the sharp edge of a planetary dialogic: the chainsaw that simultaneously severs the old chains of rooted territories and carves new, standardized wounds into their living flesh. Globalization does not float above cities - it lands inside them, slicing neighborhoods into transparent fragments where local memory, biodiversity, and social thickness are rendered visible only as obstacles to flow. Yet the territory answers back. Every cut produces resistance, every standardized master plan generates its own underground metabolisms. Miss Chain Sawing is therefore not a villain nor a savior; she is the ambiguous operator of our time - the one who makes visible the wound through which territory and globalization ceaselessly remake each other. She cuts the chains of the old world... and the living fabric of the new one. A dialogic inquiry into how globalization slices cities into transparent pieces.

 

In the spirit of Edgar Morin's complex thought, the encounter between Miss Chain Sawing and urban planning reveals far more than a technical conflict over land use or zoning codes. It exposes a living dialogic - that ceaseless, creative, and often painful interplay between two antagonistic yet inseparable logics: the thick, rooted, auto-eco-organizing fabric of territory on one side, and the thin, accelerating, homogenizing flows of planetary globalization on the other.

 

Miss Chain Sawing is not a simple villain nor a heroic liberator. She is the ambiguous operator of our time. In one hand she wields the chainsaw that severs the heavy, rusted chains of obsolete structures, colonial legacies, and rigid hierarchies. In the other, the same blade slices through the living tissue of neighborhoods, memories, and ecological relations that still hold cities together. The image that haunts this inquiry makes the wound visible: Lady Liberty's severed head rests upon a body cut into transparent slices, countries rendered so thin they no longer conceal the global flows passing through them. Below lies the gaping skull - the death mask of urban diversity - while the saw works relentlessly. City planning, in its dominant contemporary form, has become the privileged instrument of this cutting.

 

Globalization does not hover abstractly above cities. It lands inside them, demanding legibility, liquidity, and speed. Master plans financed by international capital, smart-city platforms designed in distant laboratories, real-estate algorithms that treat neighborhoods as data points - all require territories to be rendered transparent. History fabrics are sélectionned into developable plots. into endless soy fields now turns living cities into portfolios of assets. Urban planning, when captured by this planetary grammar, ceases to be the art of composing with place and becomes the art of making place disappear into the smooth space of global circulation.

 

Yet the dialogic refuses one-way reduction. Territory answers back. Every cut produces its own counter-movements: informal settlements that re-weave social tissue, urban gardens that restore ecological memory, community land trusts that withdraw land from speculative transparency, tactical occupations that slow the chainsaw. These are not mere resistances; they are expressions of the territory's own auto-organizing intelligence asserting itself within the very wound globalization has opened. The part contains the whole: a single neighborhood that refuses to become transparent can reveal the entire logic of planetary urbanization and, at the same time, prefigure other possible cities.

 

This ongoing mutation transforms the very meaning of freedom. The liberty once symbolized by Lady Liberty - freedom of movement, of enterprise, of individual choice - is increasingly experienced in the sliced city as a new form of enclosure. For those displaced by redevelopment, for those whose daily rhythms are dictated by global real-estate cycles, for those whose cultural and ecological attachments are declared obstacles to progress, the promise of freedom rings hollow. A hidden thorn lodges in the collective flesh: the knowledge that the chains being cut were sometimes also the fragile bonds. that still connected people to place, to memory, to each other. This thorn makes us harsh - toward one another, toward the future, toward any symbol that claims to represent emancipation while participating in the slicing.

 

Miss Chain Sawing therefore stands at the crossroads of a possible metamorphosis. The same blade that wounds can, under different hands and different intentions, become the tool that carefully prunes dead wood while protecting the living cambium. Urban planning could shift from chainsaw to grafting knife - not erasing the dialogic tension between territory and globalization, but learning to work with it. This would require abandoning the dream of total transparency and total control. It would mean recognizing that every master plan is also a master cut, and that the health of a city lies in its capacity to maintain thickness, opacity, and unpredictability even while remaining open to planetary exchanges. fr.wikipedia.org/wiki/Pens%C3%A9e_complexe

 

The inquiry remains open. The saw continues its work. Whether it ultimately severs the last living connections or helps birth new, more complex forms of urban autonomy depends on how we inhabitants, planners, citizens, and thinkers - choose to grasp the handle. In the dialogic between territory and globalization, there is no final victory, only the permanent, uncertain work of recomposing what the blade has divided. Complexity characterizes the behavior of a system or model whose components interact in multiple ways and follow local rules, leading to non-linearity, randomness, collective dynamics, hierarchy, and emergence.[1][2]

 

The term is generally used to characterize something with many parts where those parts interact with each other in multiple ways, culminating in a higher order of emergence greater than the sum of its parts. The study of these complex linkages at various scales is the main goal of complex systems theory.

 

The intuitive criterion of complexity can be formulated as follows: a system would be more complex if more parts could be distinguished, and if more connections between them existed.[3]

 

As of 2010, a number of approaches to characterizing complexity have been used in science; Zayed et al.[4] reflect many of these. Neil Johnson states that "even among scientists, there is no unique definition of complexity – and the scientific notion has traditionally been conveyed using particular examples..." Ultimately Johnson adopts the definition of "complexity science" as "the study of the phenomena which emerge from a collection of interacting objects. en.wikipedia.org/wiki/Complexity

 

Edgar Morin (/mɔːˈræn/; French: [ɛdɡaʁ mɔʁɛ̃]; né Nahoum; 8 July 1921 – 29 May 2026) was a French philosopher and sociologist of the theory of information who has been recognised for his work on complexity and "complex thought" (pensée complexe),[9] and for his scholarly contributions to such diverse fields as media studies, politics, sociology, visual anthropology, ecology, education, and systems biology. He held two bachelors degrees, one in history and geography and one in law, and never did a Ph.D.[10] en.wikipedia.org/wiki/Edgar_Morin

The dark eye that beholdeth ruin in every dawn is oft not guided by reason, but by the passing weather of the soul. When grief sitteth heavy upon the breast, when Fortune turneth her wheel against us, the world appeareth clothed in shadows, and every path seemeth to lead unto despair. Such is pessimism: a child of temperament, born of melancholy and nourished by fear.

 

Yet optimism springeth from another source. It is no blind merriment, nor a foolish denial of sorrow's presence. Rather, it is the sovereign act of the spirit. It beholdeth the storm and nameth it storm; it seeth the wound and knoweth it wound. Yet still it resolveth to advance. It saith, "Though the heavens rage and the earth tremble beneath my feet, I shall not yield my purpose."

 

For the pessimist asketh, "What if all should fail?" and, fearing the answer, remaineth still. The optimist asketh the selfsame question, yet answereth, "Then let me strive nevertheless." Thus is optimism not the gift of happy circumstance, but the courage of deliberate choice.

 

The nightingale singeth not because the night is free of darkness, but because song is its nature. So too doth the hopeful soul persist, not because suffering is absent, but because it willeth to answer suffering with action.

 

Therefore may it be said: pessimism descendeth upon a man as mist upon the field, unbidden and untamed; but optimism is a torch borne in the hand, kindled by resolve, and carried forward against the wind. For moods are the subjects of Fortune, yet the will remaineth the kingdom of man.

The Sociology of “Nature is Free”: Fragmentation, Modernity, Migration, and the Myth of the Liberated Entrepreneur in Early 20th-Century Iconography

The image Nature is Free offers a compelling visual allegory of the Statue of Liberty in profound transformation. Executed in a dynamic, woodcut-inspired graphic style echoing early 20th-century American propaganda and Art Deco vitality, the composition depicts Miss Liberty as simultaneously intact and shattered. One half of her face retains the serene, neoclassical composure of Enlightenment republicanism; the other erupts into raw crystalline formations, cascading waters, and geological forces. Explosive Sol Invictus-style sun rays, red-white-blue lightning bolts, and thrusting skyscrapers frame the scene, symbolizing both industrial triumph and cosmic rupture. The caption “Nature is Free” grounds the work in a vitalist declaration. This artwork functions as a potent sociological artifact, crystallizing the cultural, economic, political, and migratory upheavals of the late 19th and early 20th centuries — the passage from entrenched monarchical orders to a new world of individual enterprise, industrial capitalism, and mass migration.

Historical Context: The Dawn of the Free Entrepreneur and the Transatlantic Promise

The era around 1900, known as the Gilded Age in the United States and the Belle Époque in Europe, marked an explosive acceleration of modernization. In Europe, centuries of incessant warfare between kingdoms, principalities, and empires — from the Hundred Years’ War through the Napoleonic conflicts and the fragmented struggles of the 19th century — had produced profound structural poverty, demographic instability, and social rigidity. Feudal remnants, guild restrictions, aristocratic privileges, and monarchical absolutism (or its unstable successors) trapped large segments of the population in cycles of subsistence agriculture, conscription, and economic stagnation. The cumulative toll of over a millennium of dynastic and religious wars had devastated landscapes, depleted treasuries, and entrenched hierarchies that stifled broad-based opportunity.

In sharp contrast, the United States — and particularly its rapidly industrializing cities — represented an unprecedented opening. Here, the ideal of the self-made individual, the free entrepreneur unbound by hereditary status or royal charter, took root with dramatic force. This was the age of Carnegie, Rockefeller, Edison, and Ford; of railroads, steel mills, and electric grids. Sociologically, this transition aligns with Émile Durkheim’s shift from mechanical to organic solidarity, but it also generated anomie as traditional anchors dissolved. The fragmented Liberty in the image captures this precisely: the old European-derived symbol of republican enlightenment is cracking open, revealing primal, natural energies beneath.

Central to this narrative is mass migration. Between the 1880s and 1920s, millions of Europeans — Italians, Irish, Poles, Germans, Jews from the Russian Pale, Scandinavians, and others — crossed the Atlantic. For these migrants, often fleeing poverty exacerbated by war-torn histories, overpopulation, land scarcity, and political instability, the Statue of Liberty embodied a tangible promise of freedom. Freedom, in this context, was not merely abstract philosophical liberty or political rights; it was the concrete possibility of social mobility, economic self-determination, and escape from inherited misery. The “huddled masses yearning to breathe free” (Emma Lazarus) encountered a society where, despite harsh realities of tenement life and exploitation, the structural barriers of European feudalism and monarchical patronage were far weaker. A peasant’s son could become a factory owner, an immigrant peddler a department store magnate. This migratory dimension deepens the sociological meaning of “Nature is Free”: human nature, freed from the artificial constraints of Europe’s war-ravaged old order, could express its creative, acquisitive, and adaptive potential more fully on American soil.

Max Weber’s The Protestant Ethic and the Spirit of Capitalism (1905) illuminates the cultural fuel behind this movement. The disciplined, worldly asceticism of Protestant (and often Jewish) migrant communities provided the motivational engine for entrepreneurial success. Yet the image’s syncretic symbolism — the crown evoking both Christ’s Crown of Thorns and Mithraic/Sol Invictus solar radiance — suggests a broader, secularized sacralization of this migratory enterprise. The entrepreneur, and by extension the ambitious migrant, becomes a modern hero bearing the flame of progress, much like the ancient Colossus of Rhodes that inspired Bartholdi’s statue. Migration thus emerges as the lived embodiment of creative destruction: old European forms shatter so that new American possibilities can crystallize.

Symbolic Fragmentation and the Dialectics of Liberation through Migration

The visual fracturing of Miss Freedom carries layered significance when viewed through the lens of migration. The intact classical side represents the imported European Enlightenment ideal — rational, universal, feminine. The shattered, mineral-and-aqueous side symbolizes the raw vitality unleashed by crossing the Atlantic: geological wealth (coal, iron, oil) fueling industry, fluid human movement (rivers of migrants), and the chaotic energy of reinvention. This duality echoes Georg Simmel’s analysis of metropolitan life: migrants experienced both overstimulation and liberation, shedding the “blasé” constraints of stratified European villages for the intense, individualistic stimulations of American cities.

From a Marxist perspective, while capitalism generates alienation, the migratory act itself represented a partial negation of feudal alienation. European peasants and workers, trapped by centuries of warfare-induced scarcity and rigid class structures, could sell their labor power in a more fluid market and, for some, accumulate capital. The image’s “Nature is Free” thus celebrates a vitalistic overcoming: human nature, long suppressed by the “ancient world” of kings, wars, and idols, asserts itself through the act of departure and reinvention. Nietzschean undertones are evident — the will to power finds expression not in aristocratic conquest but in the entrepreneurial conquest of the frontier and the factory floor.

This migratory freedom was profoundly selective and unequal. Not all succeeded; many endured exploitation, nativist backlash, and urban squalor. Yet the statistical reality remains striking: millions improved their material conditions and those of their descendants relative to what Europe’s war-scarred economies could offer. The Statue thus functioned as a powerful “boundary object” (in Star and Griesemer’s terms), uniting diverse ethnic groups under a shared myth of opportunity while legitimating the new industrial order.

Social Implications: Class, Ethnicity, Gender, and the Costs of Freedom

The cult of the free entrepreneur, symbolized here, reinforced ideologies of meritocracy and American exceptionalism, but it also masked deepening inequalities. Thorstein Veblen critiqued the conspicuous consumption of the new elite, yet the image romanticizes the productive forces — including migrant labor — that built it. European poverty, rooted in centuries of inter-kingdom warfare, created a vast reservoir of mobile labor that American capital eagerly absorbed. This influx accelerated industrialization but also generated social tensions: ethnic enclaves, labor conflicts, and debates over assimilation versus pluralism.Meliorism (Latin melior, better) is the idea that progress is a real concept and that humans can interfere with natural processes in order to improve the world.

 

Meliorism, as a conception of the person and society, is at the foundation of contemporary liberal democracy and human rights and is a basic component of liberalism.[1]

 

Another important understanding of the meliorist tradition comes from the American Pragmatic tradition, which can be found in the works of Lester Frank Ward, William James, and John Dewey. In James' works, however, meliorism does not point to progressivism and/or optimism. For James,[2] meliorism stands in the middle between optimism and pessimism and treats the salvation of the world as a probability rather than a certainty or impossibility. In the case of a meliorist praxis, the activist contemporary of the Pragmatists Jane Addams stripped progressive ideals of any elitist privilege, calling for a "lateral progress" whose concern was squarely with the common people.[3]

 

Meliorism has also been used by Arthur Caplan to describe positions in bioethics that are in favor of ameliorating conditions that cause suffering, even if the conditions have long existed (e.g., being in favor of cures for common diseases, being in favor of serious anti-aging therapies as they are developed).[citation needed]

 

A closely related concept, discussed by Jean-Jacques Rousseau and Marquis de Condorcet, is that of perfectibility of humans. Condorcet's statement, "Such is the object of the work I have undertaken; the result of which will be to show, from reasoning and from facts, that no bounds have been fixed to the improvement of the human faculties; that the perfectibility of man is absolutely indefinite; that the progress of this perfectibility, henceforth above the control of every power that would impede it, has no other limit than the duration of the globe upon which nature has placed us."[4] anticipates James' meliorism. Rousseau's treatment is somewhat weaker.[5]

 

Modern thinkers in this tradition are Hans Rosling and Max Roser. Roser expressed a melioristic position in the mission statement for Our World in Data.[6] He said that all three statements are true at the same time: "The world is much better. The world is awful. The world can be much better."[7] Like William James before him, Rosling held a halfway position between optimism and pessimism that emphasized humanity's capacity to improve the world.[8] en.wikipedia.org/wiki/Meliorism

Gendered dimensions intersect with migration. The feminine Liberty, partially dismantled, yields to more primal forces, mirroring how migrant women often entered wage labor (garment factories, domestic service) while challenging traditional European patriarchal structures. The flowing waters on the fragmented side evoke both fertility (new family lines in America) and the turbulence of displacement.

Durkheimian collective representations are at work: the image serves as a modern totem for an emergent industrial-mercantile society. Lightning symbolizes electricity — the lifeblood of the Second Industrial Revolution — while the American color palette nationalizes a universal migratory promise. The religious syncretism (Christian suffering + pagan solar renewal) provides transcendent legitimation for what was, at root, a massive demographic and economic transfer from a war-weary continent to a resource-rich republic.

Contemporary Resonance

Though anchored in the 1900s, Nature is Free speaks to enduring themes. In today’s debates over immigration, globalization, and economic liberty, the tension between ordered regulation and raw entrepreneurial nature persists. The image reminds us that freedom, for millions, has historically meant the chance to escape inherited poverty and violence for the possibility — however imperfect — of self-made improvement. It underscores capitalism’s dual character: simultaneously disruptive and generative, fracturing old worlds while birthing new ones.

In conclusion, Nature is Free documents the birth pangs of modern individualism through the prism of migration. It narrates the exodus from Europe’s millennium-long cycle of monarchical warfare, poverty, and constraint toward a horizon where human nature — creative, resilient, and promethean — could more freely unfold. The Statue’s fragmentation is not mere destruction but alchemical transformation: the shards of the old world fertilize the skyscrapers of the new. By sacralizing this process through syncretic myth and explosive aesthetics, the artwork legitimates the entrepreneur and the migrant as co-creators of modernity. Freedom, in this era, was above all the statistical and existential chance for thousands to trade the certainties of European hardship for the volatile opportunities of American reinvention. This myth, with its inherent fractures and promises, continues to shape how societies understand progress, human potential, and the perennial tension between rooted tradition and mobile nature.

In our day everyone wants to appear intelligent; one would prefer to be accused of crime than of naiveté if the accompanying risks could be avoided. But since intelligence cannot be drawn from the void, subterfuges are resorted to, one of the most prevalent being the mania for “demystification”, which allows an air of intelligence to be conveyed at small cost, for all one need do is assert that the normal response to a particular phenomenon is “prejudiced” and that it is high time it was cleared of the “legends” surrounding it; if the ocean could be made out to be a pond or the Himalayas a hill, it would be done. Certain writers find it impossible to be content with taking note of the fact that a particular thing or person has a particular character or destiny, as everyone had done before them; they must always begin by remarking that “it has too often been said”, and go on to declare that the reality is something quite different and has at last been discovered, and that up till now all the world has been “living a lie”. This strategy is applied above all to things that are evident and universally known.

 

However that may be, there is naiveté everywhere and there always has been, and man cannot escape from it, unless he can surpass his humanity; in this truth lie the key and solution to the problem. For what matters is not the question of knowing whether the dialectic or demeanor of a Plato is naive or not, or whether they are so to a certain extent and no further —and one would like to know where the absolute standards of all this could be found— but exclusively the fact that the sage or the saint has an inward access to concrete Truth; the simplest formulation —doubtless the most “naive” for some tastes— can be the threshold of a Knowledge as complete and profound as possible.

 

[“Blessed are the poor in spirit: for theirs is the kingdom of Heaven” (Matt. 5:3); ”But let your communication be, Yea, yea; Nay, nay: for whatsoever is more than these cometh of evil” (Matt. 5:37); “Except ye be converted, and become as little children, ye shall not enter into the kingdom of Heaven” (Matt. 18:3); “Blessed are they that have not seen, and yet have believed” (John 20:29).]

 

If the Bible is naive, it is an honor to be naive; if the philosophies that deny the Spirit are intelligent, there is no such thing as intelligence. Behind a humble belief in a Paradise situated among the clouds there is at least a foundation of inalienable truth, but more than that —and this is something priceless— there is a merciful reality that never disappoints.

 

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Frithjof Schuon: Light on The Ancient Worlds

 

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www.metmuseum.org/art/collection/search/317618

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.

1 of 2 for today. (Must see in large size view.)

 

“I once had a sparrow alight upon my shoulder for a moment, while I was hoeing in a village garden, and I felt that I was more distinguished by that circumstance that I should have been by any epaulet I could have worn.” ~ Henry David Thoreau

 

A new poem:

 

December Reminiscences

By Don Iannone

 

Sometimes I wish I could go back

To my younger years

When magic walked the Earth

And all destiny rested in my dreams

 

Dreams that went beyond what was

To new untouched places

By me, you, anyone

Places deep inside our then tender hearts

 

Things weren't particularly easy

Plenty of struggles with reality

But you felt what love was

Never more than a hug away

 

Things meant something back then

For their own sake, it seemed

Not because they helped you do anything

Or be anybody

 

Back then, dreams could overtake you

Grab you up in their big arms

Hug you like a bear

Shake you to life

 

We laughed and cried

Because they were the right things to do

Joy, as simple as a shiny red apple

Pain, just tiny scratches on a mountain

 

If you wished hard enough

Any day could be Christmas

Daily experiences outnumbered memories

So many lingering sweet first kisses

 

Days and nights were playmates

Not irreconcilable opposites or indecipherable dialectics

You said your prayers each night

You woke up happy in the morning

 

I go back once in a while

More and more as I grow older

And as life and death become equal partners

And goals give way to just being

Sumud (Arabic: صمود‎) meaning "steadfastness" or "steadfast perseverance" is an ideological theme and political strategy that first emerged among the Palestinian people through the experience of the dialectic of oppression and resistance in the wake of the 1967 Six-Day War. This noun is derived from a verb meaning "arrange, adorn, lay up, save".

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Balata Camp (Arabic: مخيم بلاطة‎) is a Palestinian refugee camp established in the northern West Bank in 1950, adjacent to the city of Nablus. It is the largest refugee camp in the West Bank. Balata Camp is densely populated with 30,000 residents in an area of 0.25 square kilometers.

Johannesburg is a city in a state of ''constant combustion''. Dilapidation and decay are constantly conjoined with creative renewal . This scene captures something of that 'dialectic'.

Mystic Reborn by Daniel Arrhakis (2018)

 

A new series about the surrealistic mystic transformation of the Humanity. The dialectic between the Human, the Chaos and the Myth in a divine and intriguing creative transformation.

 

With the music : Ivan Torrent - Architects Of Life (Epic Emotional Electronic Action)

 

youtu.be/LJwwTtyxj34?list=RDLJwwTtyxj34

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A wonderful weekend dear friends ! : )

  

Why does something that means everything mean nothing, and something that means nothing means everything? (Explore)

From Bulletin of the Detroit Institute of Arts 89 (2015) - Das Geviert, 1997 - emulsion, acrylic, shellac, burnt clay, clay, wire, and sand on three panels of stretched linen or linen and cotton canvas.

 

The architectural structure in this monumental painting was likely inspired by a brickworks that Kiefer saw while traveling in India. That building was in a perpetual state of construction and destruction: newly made bricks were stacked on top of it and then replaced as they were sold. Plumes of smoke suggest the fires within. Taken out of its socio-historical context, this building becomes an allegory of ephemerality. The stepped pyramidal form recalls the tombs of the Egyptian pharaohs, Babylonian ziggurats, and Meso-American teocalli, all remnants of ancient cultures. The words in the corners translate to earth (upper right), sky (upper left), divinity (lower right), and mortals (lower left), which are the fundamental elements of German philosopher Martin Heidegger’s (1889–1976) concept of “das Geviert” (the square), a hymn to dwelling on the earth articulated in “Building, Dwelling, Thinking” (1954).

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quadralectics.wordpress.com/5-essentials/5-3-consciousnes...

 

Quadralectic Architecture - Marten Kuilman (2011) p. 994/995:

 

The consciousness of seeing is, in many aspects, a philosophical subject. Questions of ‘consciousness’ reach deep into the heart of any scientific investigation and the valuation of architecture is no exception. The act of understanding the phenomena known to the human nature implies the knowledge of the valuation process of an observer.

 

The German philosopher Martin HEIDEGGER (1889 – 1976) is possibly the most recent of the thinkers, who came close to a ‘quadralectic’ outlook. His books – like his main work ‘Sein und Zeit’ (1927) – are virtually unreadable for any layman, due to a self-created German terminology to catch the fundamental essence of Heidegger’s understanding. His message and the destination of his exploratory thoughts are, nevertheless, directly relevant.

 

Vincent VYCINAS (1961) gave a comprehensive introduction into the thoughts of Martin Heidegger and his application of phenomenology to ontology. He did not criticize Heidegger, nor indicated any shortcomings in his thought. He just offered a path to explore the territory of his findings. Vycinas pointed to three distinct phases in Heidegger’s development, which brought him in close proximity to the doors of quadralectics (without actually opening them):

 

1. The exploratory search for man in his ultimate essence resulted in an understanding of Dasein (being-there). His main work ‘Sein und Zeit’ (Being and Time) defines the human existence as an active participation in the world, or a ‘to-be-in-the-world’. This position of unification (togetherness) implies the presence of a nothingness to make a distinction possible. The quadralectic philosophy supports the view of man-in-the-world making its existence feel in a self-chosen definition of division thinking and respecting the boundaries derived from this choice. Human presence (in a quadralectic view) only materializes after the realization of two points of recognition (POR) on a universal graph, which is derived from the shift between two four-divisions (the CF-graph).

 

2. After he found the definition of Dasein, Heidegger reached further to develop the concept of ‘Being’, the way in which man reveals itself. This second phase was, in contrast with his first work, riddled with historical references. Heidegger felt sympathy for the early Greek (Ionian) philosophers – like Anaximander, Parmenides and Heraclites – with their inductive way of thinking. ‘Being began to shine’ when these thinkers chose a single element (of nature or physis) to explain the world.

 

Heidegger liked the Parmenidian concept of Moira (the generator of fate or destiny and/or the initiator of a mission), which acts as a source of revelation. ‘Revelation is the disclosure and the coming-forward from concealment’. This change (in visibility) can be compared in the quadralectic philosophy with a transitional move from the invisible invisibility (of the First Quadrant) into the invisible visibility (of the Second Quadrant) – which includes a choice in division thinking. Being comes into the open, but why Being breaks into openness, we do not know.

 

This ‘Ionian’ treatment of Being led Heidegger to such conclusions that ‘not the thinker but Being determines the way of thinking’ and ‘Man is not the true author of his thought any longer, but only a missionary carrying out the words of Being in his thought-responses’. ‘Being’ (and its cross marked version, as a hint to nothingness) is placed – unfortunately without the specific mentioning of this mental act – outside the bonds of lower (oppositional) division thinking. The result is a position beyond subjectivism and objectivism. Being becomes synonymous with the (quadralectic) understanding of the term V (the length of a communication cycle – which is the result of an interaction between the observer and the observed in a chosen type of division).

 

3. The third and last phase of Heidegger’s thought is the establishment of an ontological stratification by four fundamental powers of Being: earth and sky, gods and mortals. Heidegger used ‘das Geviert’ (fourfold) in his later work (Vorträge und Aufsätze, 1954) as four domains, which form together the plurality and openness of the world. It is rather unfortunate that the choices of Heidegger’s Geviert consist of two opposing dualities, i.e. gods versus mortals and the sky versus the earth. Furthermore, the cyclic setting of the foursome is not accentuated, making the interplay of the foursome a cryptic event. Measurability, which is the very hallmark of conscious Being (or non-Being), is not applicable in Heidegger’s order. However, what is the meaning of plurality, openness and participation, if their extent cannot be measured?

 

The conclusion has to be that Martin Heidegger entered deep into the phenomenological world and did important discoveries in this newly developed terrain of higher division thinking. The concept of Da-sein as the transcendental representation of man as an assembler (of its own visibility) is breaking fresh ground. The quadralectic observer, within the boundaries of a self-created graphic universe, has a direct bloodline to Heidegger’s assembler.

 

The consistent development from Da-sein into the openness of Being – as it took shape in the post-Sein und Zeit period after 1927 – is, in the quadralectic philosophy, reflected in a measurable unit of communication (the length of the communication cycle). The graphic representation and its arithmetical genesis (in shifting four-divisions) offer a much clearer view on the character of Being than Heidegger’s vague notions to describe man in his ultimate essence.

 

Finally, Heidegger came close to the building stones of the quadralectic philosophy with the introduction, in his later work (after 1954), of the double-dialectic of the foursome (Geviert). These domains were supposed to supply, by way of an endless intersecting mirror play, the coordinates wherein the world as a world happens. But how? His stratification had, essentially, a linear character with no hind to any form of a cyclic approach. He missed, therefore, the possibilities in a quadralectic communication of calculation and measurement, which are embedded in the genesis of a universal communication graph.

 

No doubt Heidegger should get the credit for the above-mentioned advances in philosophical thinking, but it is also fair to mark the limits of his philosophical progress. In the end, Heidegger reached short of entering the exciting world of quadralectic thinking. The notice that ‘man must become the shepherd or guardian of Being’ is further evidence of the inherent static nature of his findings.

 

His interest in building (Bauen – Wohnen – Denken, 1967) and his definition of dwelling as the ‘ultimate guarding of the foursome of things’ also points to a static situation. Quadralectic architecture, on the other hand, is a dynamic affair, where the (changing) interplay of the foursome has to be monitored all the time. The observer may only find the ‘truth’ in the continuous awareness of changing positions with regards to the observed. The rest is, like the dying Hamlet said, silence.

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VYCINAS, Vincent (1961). Earth and Gods. An Introduction to the Philosophy of Martin Heidegger. Martinus Nijhoff, The Hague.

  

Tiger and Turtle nimmt über die in ihm angelegte Dialektik von Geschwindigkeit und Stillstand Bezug auf die Umbruchsituation in der Region und deren Wandel durch Rückbau und Umstrukturierung. Indem die Skulptur die dem Bild der Achterbahn anhaftenden Erwartungen ad absurdum führt, reflektiert sie ihre eigene Rolle als potentielles überregionales Wahrzeichen, welches zwangsläufig als Bild vereinnahmt wird. Sie stellt der Logik des ewigen Wachstums eine absurd‐widersprüchliche Struktur entgegen, die sich einer eindeutigen Interpretation widersetzt.“

 

– Heike Mutter und Ulrich Genth: PM der Künstler vom 19. November 2011 auf phaenomedia.org

 

Tiger and Turtle, through the dialectic of speed and stillness, is referring to the upheaval situation in the region and its change through dismantling and restructuring. By sculpturing the absurdity of the image of the roller coaster, the sculpture reflects its own role as a potential supraregional landmark, which is inevitably taken as an image. It counteracts the logic of eternal growth with an absurdly contradictory structure that opposes a clear interpretation. "

 

- Heike Mutter and Ulrich Genth: PM of the artists of 19 November 2011 on phaenomedia.org

 

Ezekiel 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”

 

www.youtube.com/watch?v=SjxJ1wPnkk4

 

dialectic of the anima and of the animus - self46, October

 

(detail of the contact sheet, not a film scan)

 

.

April 19, 2022 - (2011)

Variously modulated

Conjunction proceeds

Production renewal

 

Utagawa Hiroshige (Edo, 1797 - Edo, 12 October 1858) - The pine tree of the moon on Ueno hill (1857) - Museum of Fine Arts in Boston - 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.

friedrichstraße, berlin

Vic told me 365 days ago" ...you have no idea what you got yourself into."

he was right. But i wouldnt trade the experience for anything.

 

I got into flickr originally ,because Romeos_mistress and tntenigma told me i should store some of my photos here, and maybe start using my new camera more.

i very casually got into abe's Theme of the Week group,and met several people

who were doing ... 365's. I was itching to go, but didnt really want to take a picture

of myself every day,it just sounded boring. After discovering Whereishere's and Mr.S's

streams ,my mind was changed. I wanted to make a 365 of drama,and cinematic

images,and began trying to figure out how to do that in photoshop. I had never used

a layer before,or done anything difficult with images. processing was a simple click or two for me.. i had never spent hours creating an image like this.

 

But i was off and running,and had alot of help and encouragement from so many different people ... the Vent becamse an everyday addiction, and some of the friends i have made here i hope to keep for life.

in so many ways it feels like it took forever to get here, but now

that i opened that 365 folder and uploaded the last pic .. it doesnt feel real.

having a documanted year has kept some things so clear in my mind ...

it really does shape you into a much better artist, and you hardly know it until

you look at where you came from.

 

Some Things i will never forget about this past year...

- My pirate themed birthday party from Day #1.

- Me and my brother watching our film in a real theater with an audience.

- Meeting Brooke and Macy and Mr.Sardonicus.

- Almost losing my 50D.

- breaking my ankle on halloween.

- playing the games and photo contests in the vent :P ya freaks. (Ventorz 4 life.)

- Losing 35 lbs,and getting healthier.

- After 10 yrs of smoking Reds,quit in october.

- finally winning pic of the week, after trying for a year.:P

- Opening my Endworld book for the first time.

- pretty much everything to do with endworld, the group,the fans.

 

A HUGE thanks to everyone who gave comments ,criticisms, or encouragement...

i couldnt have kept this up with out the support and ideas from my chosen family and my brother. i have made many friends here,and i wish i could express how much i appreciate all of you, in no particular order. . .

 

Seduction_junkie,Mr.Sardonicus,AndYaDOntStop, Poe Tatum, Bitca, Nerboo, =TOM= ,

Romeos_mistress,tntenigma,whereishere,Rae,Sooper tramp, Steph 23, Mandrew,

hanna Heartless, mike Lanzetta, mark Emery, Goose, Gary Greenham, Dracorubio,

Boogie baby, Anya elizabeth, Anita.Masih, Millymol, Blake's Vision, Paydensmommy,

Fleshcouldcrawl,Psychadelic tuna,Photo Munki, Not Siskel, animaeruption, JustK,

Hollandrayne,Carrie, The FLOOOOZ, Big Daddy K, Cause and Effect, RevDevilDan,

4bdn4u , Kezzaroo, Miss kate, Rhiannon Daire, Maitexu, Illuminaut, Emily Christine,

Wilbignal, Alibubba, Comatosed, imitation of life, Miss macy, Crusty dolphin,

maxina belle, Lutman 123, GOoner, little miss drago,Just call me bethy,

Espressodom,five star punched, Boy-Wonder, Danielle T, Skyshaper,

you know what Jim, Red Dahlia, HardyC , orienting Response, Ultra Dialectics, Good Molecules,One Sweet world, Aireseffects,S Bavido, Quantum Jedi, NYLYAK76,Spunkymonqy, Adam N Ward,

 

and many others but my brain is hurting and if i forgot you,im sorry .. and thank you :P

 

its been an awesome trip. im glad i got to share it with so many people.

you kick ass.

 

in the words of Vinnie Jones ... " Its been Emotional."

 

To see the entire year in a Rockin Video, go HERE And Crank it! :P

The fire hydrant is attractive, appealing and outstanding. So you can easily find them when you need them for firefighting purpose. Yet they are humble, not over-shiny and not over-exaggerating in appearance.

 

It is a nice example that combines the conflicting qualities in real world.

 

It is like my first lesson in photography. Our teacher told us to take more pictures i.e. to experiment and explore, and at the same time take less pictures i.e. being more critical and selective on your subject, scene and light.

 

Dialectics is a philosophical methodology using the opposite forces or ideas and finding solutions by resolving and integrating the ideas.

 

This is the fire hydrant at the corner opposite to my home and the shot was taken with my Fuji point & shoot.

 

Happy weekend!

Modena: Piazza Grande col Duomo, la Ghirlandina e il Palazzo Comunale.

Nel 1997 sono stati dichiarati Patrimonio dell'Umanità dall'UNESCO.

 

Modena: Cathedral, Torre Civica Ghirlandina and Piazza Grande.

 

The magnificent 12th-century cathedral at Modena, the work of two great artists (Lanfranco and Wiligelmus), is a supreme example of early Romanesque art. With its piazza and soaring tower, it testifies to the faith of its builders and the power of the Canossa dynasty who commissioned it.

 

Justification for Inscription:

 

The Committee decided to inscribe this property on the basis of criteria (i), (ii), (iii) and (iv), considering that the joint creation of Lanfranco and Wiligelmo is a masterpiece of human creative genius in which a new dialectical relationship between architecture and sculpture was created in Romanesque art.

The Modena complex bears exceptional witness to the cultural traditions of the 12th century and is one of the best examples of an architectural complex where religious and civic values are combined in a medieval Christian town.

 

Una lapide murata all'esterno dell'abside maggiore riporta come data di fondazione della nuova cattedrale modenese il 23 maggio 1099, e (primo caso in Europa) indica anche il nome dell'architetto, Lanfranco, maestro ingenio clarus [...] doctus et aptus [...] operis princeps huius rectorque magister ("famoso per ingegno, sapiente e esperto, direttore e maestro di questa costruzione").

 

A Lanfranco si dovette affiancare presto lo scultore Wiligelmo, ricordato da un'analoga lapide sul lato opposto della chiesa, il quale non solo lavorò assieme ai suoi allievi e seguaci alla decorazione scultorea della chiesa, ma forse si occupò anche dell'architettura, iniziando i lavori dalla facciata, mentre Lanfranco (o comunque un altro gruppo di lavoro) partì dalle absidi.

 

UNESCO site: whc.unesco.org/en/list/827

 

www.unesco.modena.it/it/homepage#null

 

VIRTUAL TOUR / VISITA VIRTUALE: www.unesco.modena.it/visita-virtuale-duomo/

 

This is a composite panorama of two photos vertically merged.

Press L to enlarge!

 

If you're interested in some of my photos for your website or a print:

I'm an iStock by Getty Images and Fotolia contributor: visit my Portfolio.

 

If you like, visit my albums.

My most viewed, My most faved

 

© Giulia Schiavi - All Rights Reserved.

No Use Without Written Permission.

 

Using my photos without my permission is illegal. All material may not be reproduced, copied, edited, published, transmitted or uploaded in any way.

 

OLYMPUS DIGITAL CAMERA

Mixed media gunpowder, graphite, pigment, acrylic, oil pastel and oil paint on wooden panel // 15×15

(With title stolen from Gabriel Garcia Marqez)

 

Created via the semi-controlled explosion of gunpowder on the surface of the panel. Made with an acrylic stencil and all the rest was just setting things on fire and smearing paint around.

 

And remember…we’re all going to die someday.

Vision conceived as "transparency" is the Buddhist ideal: "as one sees through clear water, the sand, the gravel, and the color of the pebbles, simply by reason of its transparency, so one who

seeks the path of liberation must have just such a clear mind."

 

The image that illustrates the manner in which an ascetic apprehends the four truths of the Ariya is this: "If at the edge of an alpine lake of clear, transparent and pure water there were to stand a man with keen sight looking at the shells and shellfish, the gravel and the sand and the fish, watching how they swim and how they rest; this thought would come to him: 'This alpine lake is clear, transparent, and pure; I see the shells and shellfish, the gravel, the sand and the fish, how they swim and rest'”.

 

In this same manner an ascetic apprehends "in conformity with truth" the supreme object of the doctrine. The formula "in conformity with truth" or "with reality" is a recurrent theme in the texts, like the attributes, "eye of the world", or "become eye", or "become knowledge", of the Awakened Ones.

 

This is naturally an achievement only through a gradual process. "As an ocean deepens gradually, declines gradually, shelves gradually without sudden precipices, so in this law and discipline there is a gradual training, a gradual action, a gradual unfolding, and no sudden apprehension of supreme knowledge."

 

Again: "One cannot, I say, attain supreme knowledge all at once; only by a gradual training, a gradual action, a gradual unfolding, does one attain perfect knowledge. In what manner? A man comes, moved by confidence; having come, he joins (the order of the Ariya); having joined, he listens; listening, he receives the doctrine; having received the doctrine, he remembers it; he examines the sense of the things remembered; from examining the sense, the things are approved of; having approved, desire is born; he ponders; pondering, he eagerly trains himself; and eagerly training himself, he mentally realizes the highest truth itself and, penetrating it by means of wisdom, he sees." These are the milestones of the development.

 

It is hardly worth saying that the placing of "confidence" at the beginning of the series does not signify a falling back into "belief": in the first place, the texts always consider that confidence is prompted by the inspiring stature and the example of a master; in the second place, as we can see clearly from the development of the series, it is a matter of a provisional admission only; the real adherence comes when, with examination and practice, the faculty of direct apprehension, of intellectual intuition, absolutely independent of its antecedents, has become possible.

 

Therefore it is said: "He who cannot strenuously train himself, cannot achieve truth; through strenuous training (an ascetic) achieves truth: therefore strenuous training is the most important thing for the achieving of truth."

 

Naturally, there is here an implicit assumption, which we shall discuss before long in detail, an assumption, that is to say, that the men to whom the doctrine was directed were not entirely in the state of brute beasts: that they recognised, not as an intellectual opinion, but through a natural and innate sense, the existence of a reality superior to that of the senses. For the "common man," one who thinks in his heart: "There is no giving, no offering, no alms, there is no result of good and bad actions, there is no this world, there, is no other world, there is no spiritual rebirth, there are not in the world ascetics or Brāhmans who are perfect and fulfilled and who, having with their own understanding comprehended, and realised this world and the other world, make known their

knowledge" - for such the doctrine was not considered to have been expounded, since they lack the elementary quality of "confidence" that defines the "noble son" and that is the first member of the series we have mentioned.

 

Such men, according to an apt textual illustration, are as "arrows shot by night”.

 

As for the preeminence accorded (in a pragmatic and anti-intellectualistic spirit) to action in the Doctrine of Awakening, we quote another Buddhist simile. A man struck by a poisoned arrow, for whom his friends and companions wish to fetch a surgeon, refuses to have the arrow extracted before learning who struck him, what his name might he, who his people are, what his appearance, if his bow was great or small, of what wood it was made, with what it was strung, and so on. This man would not succeed in learning enough to satisfy him before he died. Just so (says the text) would a man behave who followed the Sublime One only on the condition that the latter gave him answers to various speculative problems, telling him if the world was eternal or not, if body and the life-principle are distinct or not, what happens to the Accomplished One after death, and so on. None of this—says the Buddha—has been explained by me. "And why has it not been explained by me? Because this is not salutary, it is not truly ascetic, it does not lead to disgust, it does not lead to detachment, it does not lead to dispassion, it does not lead to calmness, it does not lead to contemplation, it does not lead to awakening, it does not lead to extinction: therefore has this not been explained by me”.

 

In the opposing theories regarding the world and regarding man, characteristically reminiscent of the Kantian antinomies, either one opposite or the other might he true. One thing is certain, however: the state in which man actually finds himself, and the possibility of his training himself, during his lifetime, to achieve the destruction of this state.

 

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Julius Evola: The Doctrine of Awakening - Part I., Chapter 4. - Destruction of the Demon of Dialectics (excerpt)

 

Saludos a todos/as

Reinicio mis estudios de color, intentando dar a mis fotografías algo diferente y más personal.

Básicamente utilizaré Nikon Capture NX2 y Adobe.

Espero comentarios sinceros que me ayuden en esta faceta

Gracias

  

El Real Sitio de San Lorenzo de El Escorial es un complejo de palacio, basílica y monasterio. Comúnmente conocido como elMonasterio de El Escorial el palacio fue residencia de la Familia Real Española; la basílica es lugar de sepultura de los reyes de Españay el monasterio residencia actual de los frailes de la Orden de San Agustín. Está gestionado por el organismo público Patrimonio Nacional. Es una de las más singulares arquitecturas renacentistas de España y de Europa.

La biblioteca:Felipe II cedió a la Biblioteca del Monasterio los ricos códices que poseía y para cuyo enriquecimiento encargó la adquisición de las bibliotecas y obras más ejemplares tanto de España como del extranjero. Fue proyectada por el arquitecto Juan de Herrera cerrando el atrio de la Basílica y unificando la fachada principal, ya que Juan Bautista de Toledo la situaba en la desaparecida torre central de la Fachada Sur. Herrera también se ocupó de diseñar las estanterías que contiene. Se ubica en una gran nave de 54 metros de larga, 9 de ancha y 10 metros de altura con suelo de mármol y estanterías de ricas maderas nobles primorosamente talladas.

Arias Montano elaboró su primer catálogo y seleccionó algunas de las obras más importantes para la misma. Está dotada de una colección de más de 40.000 volúmenes de extraordinario valor. En 1616 se le concede el privilegio de recibir un ejemplar de cada obra publicada aunque nunca se llegó a cumplir de una forma demasiado rigurosa.

La bóveda de cañón del techo de la biblioteca está decorada con frescos representado las siete artes liberales, esto es: Retórica, Dialéctica,Música, Gramática, Aritmética, Geometría y Astrología. Entre los estantes de libros se colgaron retratos de diversos monarcas españoles, entre ellos el famoso Silver Philip (Retrato de Felipe IV (1635) con traje marrón y plata) pintado por Velázquez (ahora en la National Gallery de Londres). Los frescos de las bóvedas fueron pintados por Pellegrino Tibaldi, según el programa iconológico del Padre Sigüenza.

Greetings to all / as

Reset my color studies, trying to give my pictures something different and more personal.

Basically will use Nikon Capture NX2 and Adobe.

I expect honest feedback to help me in this facet

Thanks

  

The Real Sitio de San Lorenzo de El Escorial is a palace complex, basilica and monastery. Commonly known as elMonasterio de El Escorial palace was the residence of the Spanish Royal Family, the basilica is the burial place of the kings of the monastery Espanaye current residence of the friars of the Order of St. Augustine. It is managed by the public National Heritage. One of the most unique Renaissance architecture in Spain and Europe.

The library: Philip II gave to the rich library of the monastery possessed manuscripts and enrichment which commissioned the acquisition of additional copies libraries and works in Spain and abroad. It was designed by architect Juan de Herrera, closing the atrium of the Basilica and standardizing the main facade, as Juan Bautista de Toledo stood in the former central tower of the south facade. Herrera was also responsible for designing the shelves inside. Located on a ship 54 meters long, 9 wide and 10 meters tall with marble floors and rich wood shelves carved beautifully.

Arias Montano produced its first catalog and selected some of the most important for it. It is equipped with a collection of over 40,000 volumes of extraordinary value. In 1616 he granted the privilege to receive a copy of every book published but was never enforced an overly rigorous.

The barrel-vaulted ceiling of the library is decorated with frescoes representing the seven liberal arts, namely: Rhetoric, Dialectic, Music, Grammar, Arithmetic, Geometry and Astrology. Among the bookcases hung several portraits of Spanish monarchs, including the famous Silver Philip (Portrait of Philip IV (1635) with brown suit and silver) painted by Velázquez (now at the National Gallery in London). The frescoes of the vaults were painted by Pellegrino Tibaldi, according to the program iconological Padre Sigüenza.

Modena: Piazza Grande, Duomo, Ghirlandina Tower, Palazzo Comunale.

In 1997 the 12th-century architectural complex was declared UNESCO World Heritage Site.

The joint creation of Lanfranco and Wiligelmo is a masterpiece of human creative genius in which a new dialectical relationship between architecture and sculpture was created in Romanesque art.

The Modena complex bears exceptional witness to the cultural traditions of the 12th century and is one of the best examples of an architectural complex where religious and civic values are combined in a medieval Christian town.

 

This is a composite panorama of two photos vertically merged.

Press L to enlarge or Z to zoom!

 

If you're interested in some of my photos for your website or a print:

I'm an iStock by Getty Images and Fotolia contributor: visit my Portfolio.

 

If you like, visit my albums.

My most viewed, My most faved

 

© Giulia Schiavi - All Rights Reserved.

No Use Without Written Permission.

 

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Rhythm of Line GLEITZEIT ESSAY BY ELLEN YUSTAS K GOTTLIEB CIRCA 1995 New York City

In Early period Jaisini has more meaning manipulation creating concept of visual line’s enclosure in unison with logical line.

Movement in the space and constructed thinking process together seem to come to a deceptive simplicity of continuous line.

In reality the artist works in complicated manner of multiple approaches that has multi personalities united in one through a fight.

Was line predetermined in her movement?

But it is technically immediate, imaginative, and not prepared.

In accordance to the artist’s own assumptions, his line matures in his mind for long period of time before he could release it on the canvas together with the painting’s unique plot.

The plot of the picture’s characters usually serves purpose of mixing the originality of beauty with simple decorative purpose of line interlacing and sometimes it brings images in most unexpected connections, mixing such themes as classical music with semi erotic depictions where aesthetic flare of creative fertilization is deeply connected to erotic display of mastery, a dialectical incentive of creation.

Mixtures of refine eroticism and ultimately conservative in appearance subject of classical musicians brings the theme to unexpected prominence.

In paintings subject is not ever explicit or hidden too deeply between the lines to be hypocritically implied, to the opposite the artist sets his ideas in perfect harmony.

Jaisini tends to perfect all angles of his creation to the level of condition with constant curiosity about his art.

If you had learned the meaning you would start to see more of its visual technique.

Then it could start to change the meaning.

The process of growing together with Jaisini’s artworks is unlimited.

Just when you thought that you have grasped the capricious creation it starts to run away from you again.

And this is exactly what Jaisini stage in his art, the game that never ends and develops into new game.

Music is a particularly relevant aspect of Jaisini’s inspiration as a part of the artist’s daily life.

The connection of art images and subjects is not straightforward but still in many ways is connected to music sensitivity.

städtisches museum abteiberg, mönchengladbach, 1982, architect: hans hollein;

skulpturengarten, sculpture ‚soft inverted’, 1976-1979, artist: claes oldenburg

 

„In the historic center—of the city of Mönchengladbach, adjacent to the cathedral and a baroque abbey—a museum of contemporary art was built into the face of a prominent hillside. Areas for a permanent collection, for temporary exhibitions and for didactic uses had to be provided. Contextual integration into the neighborhood and topography were prime concerns. The complex is a “walk–on”–building, its surface is for public use (and for open air sculptures). Outside a complex architectural ensemble, it is inside a succession of a variety of white, neutral, yet characteristic spaces in different configurations and light situations. Rather than following a forced linear arrangement it is a 3-dimensional matrix, making a walk through the museum a dialectic and spatial experience. Landscaping was an integral part of the design.

The museum was awarded with the Reynolds Memorial Award, USA, 1984.”

northern somehow, kein semasiologischer, traumhaft eher.

90ºcw. inv.

 

margin, second page of Ernst Fraenkel, "Beiträge zur griechischen Grammatik," I. Die Flexion von πονειν

in Classics Pamphlet Collection / v.78-A FORS-FRANC

University of Illinois copy/scan

google source : link

 

same (preserving tonality) via hathitrust : link

 

from a prospective atlas of marginal landscapes encountered in this volume.

 

—

 

ist kein semasiologischer, sondern ein dialektischer /

is not a semasiological one, but a dialectical one

A Short history of the Andaman Islands

 

The Andamans are a chain of 184 odd islands in the Andaman sea at approx 1100 Kms to the south of Kolkata. The largest among them, The Andaman Island is 355 Kms long and 60 Kms wide. There was a time when ancient tribes lived here. Some of the natives it is said bore a remarkable resemblance to the aboriginaltribes of Australia. Today some tribes have receded into the deep forest while others have been resettled. Port Blair, it's principal port, is a picturesque and bustling town, full of greenery. It is well connected to the main land by regular passage of ships and scheduled flights from KolKata and Madras. Different communities are living in harmony and use hindi as their language.

 

Port Blair was named after the East India Companies' Lt. Archibald Blair who occupied the Andamans in 1789 to keep his ships safe and protected in the rains as a safe harbour and as a penal settlement for prisoners. But because of the unhygienic climate and outbreak of diseases and the expenses in maintaining the harbour he had to abandon the Andamans in 1796. Early in the first decade of the 19th century the roots of the East India Company were firmly entrenched in India. The British were subjecting Indians to a lot of abject atrocities, snatching away land from peasants, destroying the livelihood of craftsmen, increasing taxes, usurping the states from the Nawabs and native kings. Ordinary people, soldiers, nawabs and kings were all being terrified and harassed. Generally everywhere there was resentment and revolt. People were determined to do away with the East India Company

 

Recapture of Andaman Islands to keep Political Prisoners

 

The Andamans reminds us of those freedom fighters who on 10th May 1857, gave the clarion call to rise against the British rule. This was our First War of Independence, what the British in their history books refer to as the Sepoy Mutiny. To totally stomp out the uprising the British sent thousands to the gallows and even hung them up from trees, tied them to cannons and blew them up, destroyed them with guns and swords as if they had gone mad and were out to get revenge.

 

The revolutionaries, who survived, were exiled for life to the Andamans so that their connection with their families and their country would be severed and their countrymen would forget them forever. For this reason, in January 1858, the British reoccupied Port Blair, Andamans. For the first time on 10th March 1858, Supdt. J.B. Walker arrived with a batch of 200 freedom fighters. The second batch of 733 freedom fighter prisoners arrived in April 1868 from Karachi. They had been sentenced for life imprisonment. After this however it is not known how many thousands of freedom fighters were sent to the Andamans from the harbours of Bombay, Kolkata and Madras. Their numbers, names and addresses are not known.

 

It is said that all records were burnt when the Japanese occupied the Andamans. Some preliminary research was done by our organisation in the India Office Library, London, but no light could be shed. This worried us because whatever else the British might have been they were excellent record keepers. The truth is still not known and it needs to be. It is the responsibility of our present Indian Government to have a thorough research done to fill these gaps and to put forward in front of our countrymen, the true history of our freedom struggle and the different streams and revolts involved. The Cellular Jail was inalienably linked to the long and glorious struggle of our revolutionary freedom movement fought on the mainland and it had deep political significance. Leading figures from revolutionary upsurges on the mainland were invariably banished to languish and suffer in the Andamans.

 

Atrocities committed on early freedom fighters

 

In almost perennial rainy weather, with heavy bar fetters and shackles on their feet, surrounded by snakes, leeches and scorpions the freedom fighters were expected, in deep primeval forests to clear a path for roads through marshy land. They were punished and faced hard labour if they slowed down. In March 1868, 238 prisoners tried to escape. By April they were all caught. One committed suicide and of the remainder Supdt. Walker ordered 87 to be hanged.

 

Sher Ali: The killing of Lord Mayo

 

Despite these atrocities the freedom fighters used to resist and fight for their self-respect and for the love of their country. Sher Ali was given life imprisonment during the Wahabi movement against the British Raj. He assassinated Lord Mayo, Viceroy of India with a knife on 8th February, 1872. He was hanged on Viper Island.

 

The Construction of the Cellular Jail

 

From 1896 the construction of Cellular Jail was started and it was completed in 1906 with 698 cells. The Jail was constructed with seven wings, spreading out like a seven-petal flower. In its centre it had a tower with a turret. Connected to this were the three storey high seven wings with 698 isolated cells. This is why it is called the Cellular Jail.

 

Freedom Fighters of the National Revolutionary Movements

 

National movements were flaring up against the British rule all over India and the freedom fighters related to these movements were sent to Andamans or the "Kala Pani" with long sentences. Prominent among these were those from The Wahabi Movement (1830 - 1869), Mopla Rebellion (1792 - 1947), First Rampa Rebellion (1878 - 1879), Second Rampa Rebellion (1922 - 1924), Tharawadi Peasant Rebellion, Burma (1930). Etc.

 

The National Revolutionary Movement had prominent among them in Punjab, the Heroes of The Gadar party, The Hinduthan Republican Association in U.P. formed by Sachin Sanyal, in Maharashtra with the Savarkar brothers and of course with the partition of Bengal in 1905, secret societies and lots of underground groups were beginning to form. Lots of conspiracy cases started in the courts and the number of revolutionary freedom fighters in the jails began to swell. Most of the leaders of these movements if not hanged outright were deported to the Andaman Cellular Jail. Several died due to inhuman treatment and torture.

  

Alipore Conspiracy Case

 

Bengal's Alipore Conspiracy Case (1908) saw 34 revolutionaries being accused. In which were Barin Ghosh, Ullaskar Dutt, Upendranath Banerjee and Hem Chandra Das. They were sent to the Andamans in 1909. Later revolutionaries from U.P. and Maharashtra were also sent.

  

Veer Savarkar

 

For the assassination of Collector Jackson of Nasik District in the Nasik Conspiracy Case Veer Vinayak savarkar was convicted and sent to the Cellular jail on 7th April, 1911. According to Savarkar Freedom Fighters were made to do hard labour. They had to peel coconuts and take out oil from them. They were forced to go around like bullocks to take out oil from mustard seeds. Outside they were forced to clear the jungles and trees on hillside levelling marshy land. They were flogged on refusal. On top of this they did not even get a full meal every day.

  

Gadar Party Revolutionaries in Cellular Jail (1914)

 

The Gadar Party whose president was Baba Sohan Singh and the secretary was Lala Har Dayal was formed in America to get our country free from the British. In 1914, with arms and ammunition, Gadar Party members, travelling by the ship Kama Gata Maru arrived in Calcutta. They were arrested by the British.

  

Repatriation of prisoners from Andamans (1921)

 

The rise of socialism in Russia and the rising influence of the Chinese Revolution gave rise to revolutionary thoughts and action here in our country, and were very popular with the young. The Bengal revolutionary parties like Anushilan and Yugantar again became active. In Punjab and Uttar Pradesh, the Naujavan Bharat Sabha provided a good platform for the youth. The Hindusthan Socialist Republican Association and its leader Shaheed Bhagat Singh's ideas are symptomatic of those times.

  

Assembly Bomb Case (1929)

 

On 8 April 1929 in protest against the trade dispute bill Sardar Bhagat Singh and Batukeshwar Dutt threw a bomb in the central constituent assembly. They threw leaflets and got themselves arrested. There was a tremendous impact on the nation. On 12 June 1929 both were given life imprisonment.

  

The Second Lahore Conspiracy Case

 

The British government filed the second Lahore Conspiracy Case against Bhagat Singh and 16 of his colleagues. In 1930, Bhagat Singh, Sukh Dev and Rajguru were hanged. Shri Yatendra Nath died because of hunger strike. Bhagat Singh's other friends Batukeshwar Dutt, Bejoy Kumar Sinha, Shiv Verma, Jaidev kapoor, Dr. Gaya Prasad, Kamal Nath Tiwari, Mahabir Singh were given life imprisonment and were sent to Andaman Cellular Jail.

  

The Chittagong Revolt (1930)

 

On the night of 18th April 1930 revolutionaries occupied Chittagong Armoury. For many days they battled with British army on the hills of Jalalabad. Many died a heroic death and many were arrested on 1st March 1932., 12 out of 32 people were given life imprisonment. Revolutionary leader (Master Da Surya Sen) was arrested and hanged on 12th Jan 1934. Ambika Chakraborty, Ganesh Ghosh, Anant Singh, Lok Nath Bal, Anand Gupta, Randhir Dass Gupta, Fakir Sen and other compatriots were sent to Cellular Jail.

  

The Reopening of the Andaman Cellular Jail (1932)

 

All around the country there were revolts against the British. In Bengal, Bihar, Uttar Pradesh and Punjab a chain of revolutionary conspiracies started. On a large scale there were arrests and long sentences were given. National revolutionary movement leaders and active participants started being sent to the Cellular Jail in Andamans.

  

Inhuman treatment in Jail (1932)

 

The food that was given was not fit for human consumption. There were worms when you opened the bread and wild grass was boiled and served in lieu of vegetables. Rain drinking water was full of insects and worms. The 13' X 6' cells were dark and damp and dingy thickly coated with moss. There were no toilets. There were no lights, no reading material. Prisoners were not allowed to meet with each other. The guards carried out physical torture and flogging. Their behaviour was insulting. Things had become unbearable.

  

The first mass hunger strike

 

12 May 1933 The only alternative before the freedom fighters was to resort to a hunger strike against these atrocities. On 12 May 1933 they started a fast undo death. Mahavir Singh, Mohan Kishore Namo Das and Mohit Moitra died during this hunger strike. Their bodies were quietly ferreted away and thrown out to sea. Punjab's jail inspector Barker was called to break the hunger strike. He issued orders to stop the issuing of drinking water. The freedom fighters were resolute. There was a huge outcry throughout India because of this hunger strike. After 46 days the British Raj had to bow and the demands of the freedom fighters had to be accepted. The hunger strike ended on 26 June 1933.

  

Facilities obtained after the hunger strike

 

After the death of three colleagues the facilities won from jail authorities proved beneficial for the future. There was light in the cells. The prisoners started getting newspapers, books and periodicals. They were allowed to meet. The facility to read individually or on a collective basis was allowed. The opportunity to play sports and organise cultural events was given. The jail work was reduced to minimal. Above all there was respect for the freedom fighters from the prison officials and a marked improvement in their behaviour. A new environment was created as the freedom fighters met to discuss and read. A thirst for books and knowledge began. There were students, doctors, lawyers, peasants, and workers all together. They discussed politics, economics, history and philosophy.

 

There were classes in biology and physiology given by the doctors amongst them. Others gave classes in historical and dialectical materialism. Knowledge, experience and books were hungrily shared. A jail library was started. A veritable university of freedom fighters had begun where revolutionaries were learning about Marxist and socialist ideas and how to disseminate these amongst the people whose freedom they were fighting for. A Communist consolidation was formed of 39 prisoners on 26 April 1935. This number later swelled to 200. The freedom fighters started feeling that the atmosphere for a world war was gathering and that before the war starts we should get back to our country to be with our people and take active part in the upheaval that was imminent. A petition was sent to the Viceroy on 9 July 1937 by the freedom fighters that all political prisoners should be repatriated to the mainland and released An ultimatum was given that if these demands were not met a hunger strike would begin.

  

The second hunger strike for the repatriation of freedom fighters began on 25 July 1937

 

A country wide movement on the mainland in support of the demands of the Andaman freedom fighters began as other political prisoners in other jails on the mainland also started hunger strikes in support. There was a mass demonstration of working people, intellectuals and students. This upsurge clearly showed that their people on the mainland did not forget them. After four weeks telegrams from Bengal's chief minister, leaders of the nation Jawaharlal Nehru, Subhash Chandra Bose, Sharad Chandra Bose, Rabindra Nath Tagore etc poured in imploring the freedom fighters to end their hunger strike.

 

On 28 August 1937, Gandhiji, poet Rabindra Nath Tagore and the Congress Working Committee sent a telegram…"the whole nation appeals to you to end the hunger strike… and assures you to take up your demands and to see them fulfilled…" After a lot of deliberation and discussion this historic 36-day hunger strike of 200 revolutionary freedom fighters ended. The process of repatriation started in September 1937. There were a total of 385 freedom fighters in jail at the time. 339 from Bengal, 19 from Bihar, 11 from Uttar Pradesh, 5 from Assam, 3 from Punjab, 2 from Delhi and 2 from Madras.

  

Netaji in Andamans

 

Netaji's Azad Hind Fauz first of all gave independence to Port Blair, Andaman. Netaji visited the Andaman Island and hoisted the tricolour flag on 30 December 1943. He had declared that the very first bastion to be relieved of the British yolk was Andamans, the Indian Bastille revolutionary freedom fighters were kept, very much like the Bastille in Paris during the French Revolution. The British reoccupied the Andaman and Nicobar Islands and abolished the Penal Settlement in 1945.

 

The Demolition of the Cellular Jail

 

We do not know on whose initiative the demolition of the Cellular Jail was begun. We revolutionaries who were incarcerated in the Cellular Jail intervened. We felt strongly that this symbol of tyranny needed to be preserved as a National Memorial to remind our future generations of the tremendous cost that was paid in Indian blood for the freedom of our country.

 

Source : hridyapalbhogal.hubpages.com/hub/Andaman-Cellular-Jail-Ka...

How to destroy the American dollar as the world’s reserve currency/petrodollar. Five steps to destroy an empire in decline.

 

Divide the American people:

 

Use divisiveness to divide America by race, gender, social status...etc. “A house divided cannot stand.”

 

“‘A country on fire’: New poll finds America polarized over culture, race and ‘woke’”

 

www.nbcnews.com/meet-the-press/first-read/-country-fire-n...

 

Keep overspending and printing money:

 

“Can The Federal Reserve Print Money Forever? Or, How Continuing To Print Money To Support Deficit Spending May End Badly, With China’s Help”

 

www.forbes.com/sites/williammeehan/2020/10/21/can-the-fed...

 

Weaponize the dollar:

 

The U.S. could freeze funds due to any diplomatic or military dispute

 

Confiscate Russian money (Russia is part of the BRICS)

 

www.reuters.com/business/finance/sanctions-weaponize-us-d...

 

www.aljazeera.com/news/2023/5/10/us-approves-first-transf...

 

Anger Saudi Arabia:

 

“BRICS challenges US ‘dollar dominance’, Saudi considers selling oil in other currencies: New multipolar economic order”

 

“Iran, Egypt, Saudi Arabia among 6 countries to join the BRICS alliance”

 

“The first international crude oil trade in digital Yuan by PertolChina”

 

www.dailymail.co.uk/news/article-11349621/Saudi-Crown-Pri...

 

geopoliticaleconomy.com/2023/01/21/brics-us-dollar-saudi-...

 

www.cbc.ca/news/world/brics-expansion-plans-1.6945994

 

www.msn.com/en-us/money/markets/the-first-international-c...

 

Start a war:

 

“NATO’s secretary general warns that a ‘full blown war’ with Russia is ‘a real possibility’”

 

“New Report Warns U.S., Allies of Two Front War with China, North Korea”

 

“The US is dangerously close to being pulled into a Middle East war”

 

www.nytimes.com/2022/12/09/world/europe/russia-ukraine-na...

 

news.usni.org/2023/08/22/new-report-warns-u-s-allies-of-t...

 

www.cnn.com/2023/10/20/middleeast/us-middle-east-danger-i...

 

Note: CBDCs may be offered to the masses in a time of crisis—New World Order out of chaos…the antichrist dialectic moves on!

 

Job 12:23 “He builds up nations, and He destroys them. He expands nations, and He abandons them.”

 

[ProCamera + Snapseed]

 

Tributo A Julio Pomar - A Gaivota E O Mestre by Daniel Arrhakis (2018)

 

Tribute To Julio Pomar - The Seagull And The Master by Daniel Arrhakis (2018)

 

Julio Pomar ( 1926 - 2018)

 

Julio Pomar ( 1926 - 2018)

 

A minha homenagem ao Artista Plástico Português Júlio Pomar, que morreu, esta terça-feira, aos 92 anos, deixa uma obra multifacetada que percorre mais de sete décadas, influenciada pela literatura, pela resistência política, pela busca incessante das formas e da cores numa dialéctica revolucionária entre a arte e um humanismo social que sempre iluminou a sua visão transformista e inconformista da Arte e da Vida.

  

Julio Pomar ( 1926- 2018)

 

My Homage to the Portuguese Plastic Artist Júlio Pomar, who died on Tuesday at the age of 92, leaves a multi-faceted work spanning more than seven decades, influenced by literature, political resistance, the incessant search for forms and colors in a revolutionary dialectic between art and a social humanism that has always illuminated his transforming and nonconformist vision of Art and Life.

InterRailing:a cultural engine

 

Exhibition continues 7th – 23rd December 2016; 10am-6pm weekdays

 

12 Star Gallery, Europe House, 32 Smith Square, London SW1P 3EU

 

This exhibition is dedicated to Giles Waterfield 1949-2016

 

Introduction

Many people in the 1980s and 90s travelled by train from city to town across Europe, visiting art collections, architecture, landscapes and people; sometimes in a life-changing month of ‘InterRailing’. Paul Ryan's sketchbooks archive several of these journeys, shown here with contributions from: Tasha Amini, Daniel Baker, Lady C of ‘Earl of Bedlam’, Rupert Christiansen, Joanne O’Connor, Jeremy Deller, Mike Nelson, David Nice, Kate Pelling, Marie-Thérèse Ross, David Ryan, David Sawer, Ruth Solomons, and Giles Waterfield. Texts are here below, or on the walls.

At a time when Europe's borders, and freedom of movement are re-examined, this exhibition highlights some past beneficiaries of a chance to roam; and considers the impact of such journeys on our shared cultural life, then and now.

You can follow the project’s developments here: www.paulryan.co.uk and email your own words and/or images about your experiences of InterRailing or similar journeys and their significance here: paul@paulryan.co.uk

 

List of Exhibits

by Paul Ryan unless otherwise stated

1. Expectation

2. Spain. The Miro Foundation.

3. France. Hedgehog at Amiens / Monet - Rouen Cathedral / Saint Ferréol, Marseille 1989 / La Défense, Paris / Eclipse at Breteuil (with help from Rouault) 1999 / Pompidou 1986 & Eurostar Shuttle 1994.

4. Well, Cloisters of St Pierre Le Jeune, Strasbourg. Oil on canvas 1987.

5. Germany /Switzerland : Munich & Klée, 1986 (same day/ticket as M Gallagher No.6).

6. Michael Gallagher: InterRailing Sketchbook 1997 - flic.kr/s/aHskPtk5ze

7. Marie-Thérèse Ross: My Father, Freud and Other Stories, 2014.

In 1986 I went to study at Karlsruhe Staatliche KunstAkademie in Germany, I went as a Guest student of the British sculptor Michael Sandle who was a professor there. I arrived in winter, totally unprepared for knee deep snow, and would cycle off every day to a Schloss on the outskirts of the town where I was given a studio space. My French mother had wanted me to go to France, but I had always admired German art so was more inspired to go there, plus the system in Germany seemed more welcoming to foreign students. Although I have happy memories of Karlsruhe much of the time there I was quite lonely. Thankfully, my two artist friends Paul Ryan and Mike Gallagher came to visit in May. Their commitment to come to a small ‘BeamteStadt’ in Germany - an unusual tourist destination - and spend time with me was critical to my work. It was hot and we spent time picnicking in the park, visiting the sites and places easily reached by train, including Strasbourg in France. They travelled on and discovered more of Europe, as I stayed and reflected on what had brought me to Karlsruhe. A friend remarked that living in Karlsruhe was like being at the crossroads to any place in Europe, trains would travel directly to a multitude of destinations across Europe. Looking back now over 30 years later I know that I went there in search of something that might mean I belonged, a search for my ‘Heimat’. My attraction to Germany was inspired by my appreciation of German painting including the German Expressionists as well as my father’s roots. He had been born in Austria and lived in Berlin, Germany until they had to leave in 1939.

My Father, Freud and Other Stories is part of a series of drawings that I created inspired by my father’s meeting with Sigmund Freud, they encountered one another on a walk with his grandfather in Vienna sometime in the 1930s. As a little boy living in Berlin with his parents, he saluted Sigmund Freud with a Heil Hitlerthat, apparently, amused the two older men who told my father ‘We don’t do that down here’. My work has been described as Magical Realism. My exploration of narratives, taken from a variety of sources including literature, mythology and biographical stories, combines imagery both observed and imagined. Sigmund Freud is depicted as half man half wolf in reference to his famous Wolf Man case, he is a shaman or medicine man. Wolves, dogs and birds often feature in my work reinforcing the dreamlike quality; according to Carl Jung in Man and His Symbols birds and shamans can represent transcendence and a journey. My time in Germany influenced my work in so many ways and this series of drawings reflect many of these influences. While there I often visited museums and galleries and saw art ranging from polychrome Renaissance sculptures to work by Joseph Beuys and Kurt Schwitters. Revisiting galleries with Paul and Mike was wonderful and invigorating; as fellow artists we talked about what we were looking at. Everything felt very new and fresh, even works made in the 1950s! We didn’t take many photographs, but Paul’s sketchbook was always handy and his drawings captured fleeting moments and places brilliantly. I remember our trip together to Strasbourg particularly vividly, as we seamlessly went from Germany to France, ignorant of where the border lay exactly.

8. Ruth Solomons: ERASMUS Sketchbook, 2000 (Chiara, Stefania, Gigi & ?)

9. Tasha Amini: Amsterdam: 1984

10: Mike Nelson: The images come from a time I spent in Romania, predominantly in Bucharest which is where these images were taken. I was on a residency called Pépinères Européennes pour jeunes artistes, a pan Europe residency programme instigated by the European Union. Even though Romania was not a member of the EU at that time, the countries involved spread from Scandinavia to Spain and across to the newly independent states in Eastern Europe. I'd gone there to make a work where I emulated the device of certain Soviet era authors, in which an allegorical structure is used to talk about the state or the human condition within it, bypassing government censorship by deploying a genre considered too low to merit attention. I thought it could be interesting to use this device in a post Soviet era, in which the recognisable evil of the regime had been replaced — but by what? My time in Bucharest didn't go to plan as I became the subject of my own narrative, trapped by the closed systems I had hoped to uncover.

The images you see are of myself instructing a stray dog, Vasilus [Vasilis?], on the rudimentary principles of architectural form for the invitation card of my exhibition in 1996, No can Teach A Dog Old Tricks New (an educational exhibition for dogs).

11. Jeremy Deller: Paris 1984

12. Lithuania. Whistles (pink on lime).

13. Musil Museum Bag.

14. David Nice: July 1981 - my first independent travel adventure.

15. 29. Agathe, an artist’s book towards a new novel by Robert Musil (German Edition). The novel opens with the lines: ‘On his arrival in —— toward evening of the same day, as Ulrich came out of the station he saw before him a wide, shallow square that opened into streets at both ends and jolted his memory almost painfully, as happens with a landscape one has seen often and then forgotten again.’

16. Joanne O’Connor: Two articles for The Guardian

17. Daniel Baker: The Reluctant Traveller. Plus tickets etc.

18. Giles Waterfield (1949-2016): Two European Novels; One Polish Translation, British Passport (issued in Geneva); and photographed with Norwegian artist Goran Ohldieck in Lithuania 2006.

19. Rupert Christiansen: InterRailing notebook and text.

20. David Ryan: Now that we’ve been out there we can’t go back to the way we were before. Plus drawing of Thoko, tables of Pokemon cards, and InterRail ticket.

21. David Sawer: The Force That Through The Green Fuse. This was written during an InterRail trip and was his first critically acknowledged work.

22. Lady C: A Quite Grand Tour of Italy. Chris Solbé and Lady C in Brescia.

23. Italy. Purple Naples.

24. The Netherlands.

25. Daniel Baker: Emergency Artefact. Crocheted emergency blanket. (Text at No.17).

26 A. Map of Sketchbooks. 1987 - 2016

 

Loughborough train station to Bergen, Norway.Norwegian diary and tunnel through granite.Blue skies

Lithuania 10 Litas

Sancho Panza on the road.

Going North on trams and trains.Belgium:

Brussels Chausée D’IxellesLithuania:

Beer and Kaunas bus stationLithuanian dumplings meet a Russian Bear

The Picasso Museum, Paris.Germany: Leon’s wafer / Cologne Cathedral.

 

Spain: Carcelen, Chinchilla, Algeciras ticketMike Gallagher train sleeping. Spain footballers.Mike & MT in her Karlsruhe studio.

Venice Lion Greek Goat / Serbian Monk

Spain: HibiscusSpain: Balcon De Europa, Nerja.

List - ‘Agathe’.Daniel in Venice and his Youth Hostel card.Greece: Chrysippus’ dialectical dog

 

27. Greece

28. Caged Dove. Oil on canvas, 1986.

29. Kate Pelling: Extract from [Video] Klappe (page 8)

My primary motivation for wanting to leave London was the current political and cultural climate in the UK, which operates from a very narrow viewpoint and remains dominated by issues around class and hierarchy. I spent several years trying to live and work in London, but I found myself irrevocably inhibited by economic issues and excluded by the narrow cultural and social frameworks. I was unable to make significant progress in any direction, personally or professionally. I remember describing it at the time as beyond the cliché of hitting a glass ceiling, it was more like being encased in a small glass box that didn’t allow me to stand up to my full height, let alone move up, down, sideways or backwards. Now that I am based permanently in Germany, I have considerably more room for manoeuvre.

NB This work exists only on this list, and is absent from the walls.

30. Austria, Klagenfurt.

31. Et in Arcadia. Including Klagenfurt Railway Station.

   

Mark 5:13 “He gave them leave; and the foul spirits came out and entered into the swine, and the herd—about 2,000 in number—rushed headlong down the cliff into the water and were drowned.”

 

FBI director: “The reality is that the terrorism threat has been elevated throughout 2023 but the ongoing war in the Middle East has raised the threat of an attack against Americans in the United States to a whole ‘nother level.”

 

Iran has had terrorist sleeper cells in the Unites States for a long time. Yet, the American government has never done anything about it…shocker! Open borders: letting in an army of enemies…what could go wrong? How many of you have a fence around your house? How many of you would leave your front door open and let anyone and everyone live in your house? Hypocrites!

 

The New World Order Hegelian Dialectic: Problem, Reaction, Solution.

 

They create the problem. Then the sheeple beg them to fix it (with the help of the mainstream media propaganda machine). So what will be the solution: more big government laws (more power and control)? Bigger spending? War? An excuse to push forward towards CBDCs and Digital IDs...we need a biometric digital ID system for the border…it sounds good until one day they clamp down on you leaving the country, and you find that you are a prisoner in your own soviet style country.

 

The FBI calls parents who speak out at school board meetings domestic terrorists (an authoritarian state must be the parent from cradle to grave)…in the end what will be their solution to this fake terrorist problem…soviet style gulags or nazi stlye concentration camps? It’s hard to tell what side of the fence these New World Order neo-commufacists will lean...they can always set up FEMA camps…hahaha.

 

“German Defense Minister Boris Pistorius has issued a stark warning to residents of Germany, urging them to come to terms with the possibility of war in Europe.”

 

When our way of living is ready to collapse…war is a great distraction.

 

Rovingian Animism - A Spiritual Philosophy for the Contemporary World by Daniel Arrhakis (2026)

 

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Rovingian Animism: A Spiritual Philosophy for the Contemporary World

 

Inclusive Contemporary Nomadism, Respect, Tolerance, and Universalist Spirituality

 

Origin and Meaning

 

The term "Rovingian Animism" originates from the idea of "roving," an English word that figuratively refers to "wanderer," "itinerant," "nomad," "nonconformist," or "one who travels from place to place." This concept suggests that truth is not static, but reveals itself in movement and interaction with the "other"—be that other a river, a cathedral, or an artificial intelligence.

 

Foundations of Rovingian Animism

 

Presenting itself as a spiritual philosophy adapted to the fluidity of the modern world, Rovingian Animism combines the freedom of nomadism with a profound reverence for existential diversity.

 

Rovingianism cultivates respect for monastic traditions and all traditional religious manifestations, whether Abrahamic, Buddhist, tribal, or shamanic, recognizing them as expressions of the spiritual richness and diversity of humanity.

 

The fundamental difference lies in its ecocentric and universalist dimension, considering that humanity is only a part of nature and that all belong to a universal spirituality, revealed in everything that exists.

 

Contemporary Nomadism

 

- Mental Fluidity: More than just changing cities, it's about the ability to move between concepts and cultures without prejudice.

 

- Total Inclusivity: Accepts human progress and art as legitimate extensions of nature.

 

- The Traveling Soul: Existence is seen as a universalist journey of continuous learning through direct experience.

 

Worldview and Ecocentrism

 

- Human Decentralization: The human being ceases to be the "master of creation" and becomes a thread in the web of existence.

 

- Spiritual Horizontality: There is no hierarchy between the praying monk and the blowing wind; both express vital energy.

 

- Ubiquitous Sacredness: Spirituality manifests in the atom, the rock, and the work of art.

 

Fundamental Pillars

 

Rovingian Animism proposes an ethic of coexistence in which mobility and the sacredness of the whole merge, resulting in a spirituality of "open borders," both geographical and metaphysical.

 

- Ecocentrism: The human being is not the center, but an integral part of the natural web.

 

- Universalist Spirituality: Recognizes the sacred in all forms of life, phenomena, natural cycles, or objects.

 

- Contemporary Nomadism: A fluid, inclusive existence in constant movement, whether physical or mental.

 

- Radical Respect: Appreciation of monastic, Abrahamic, Eastern, and tribal traditions.

 

The Manifestation of the Sacred

 

For the Rovingian, divinity, the sacred, vital energy, or spirituality is not confined to temples, but spread throughout:

 

- Natural Elements: Rocks, mountains, storms, and forests.

 

- Living Beings: From the smallest insect to human complexity.

 

- Human Creations: Art, such as architecture, sculpture, and painting, is seen as an extension of nature and the soul.

 

Tolerance and Synthesis

 

- Respect for Traditions: Values monastic rigor and Abrahamic faith as pieces of the human mosaic.

 

- Universalism: Draws from shamanic and Eastern sources without excluding modernity.

 

- Ethics of Empathy: By perceiving soul in everything, harm to the environment or to others is understood as harm to oneself.

 

Conclusion

 

This vision does not negate traditional religions; on the contrary, it embraces them as manifestations of the spiritual richness of humanity.

The difference lies in the breakdown of hierarchies between human beings and the rest of the universe, replacing a theocentric or homocentric view with a universalist ecocentric perspective, in which the soul is a traveler between worlds, evolving through life, experience and knowledge, in an immortal and timeless symbiotic dialectic between matter and spirit.

  

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Animismo Rovingiano: Uma Filosofia Espiritual para o Mundo Contemporâneo

 

Nomadismo Contemporâneo Inclusivo, Respeito, Tolerância e Espiritualidade Universalista

 

Origem e Significado

 

O termo "Animismo Rovingiano" nasce da ideia de “roving”, palavra inglesa que remete ao sentido figurado de "errante", "itinerante", "nómada", "inconformado" ou "que viaja de lugar em lugar". Essa concepção sugere que a verdade não é estática, mas se revela no movimento e na interação com o "outro" — seja esse outro um rio, uma catedral ou uma inteligência artificial.

 

Fundamentos do Animismo Rovingiano

 

Apresentando-se como uma filosofia espiritual adaptada à fluidez do mundo moderno, o Animismo Rovingiano combina a liberdade do nomadismo com uma reverência profunda pela diversidade existencial.

O Rovingianismo cultiva o respeito pelas tradições monásticas e por todas as manifestações religiosas tradicionais, sejam elas abraâmicas, budistas, tribais ou xamânicas, reconhecendo-as como expressões da riqueza e diversidade espiritual da humanidade.

A diferença fundamental está na sua dimensão ecocêntrica e universalista, ao considerar que a humanidade é apenas uma parte da natureza e que todos pertencem a uma espiritualidade universal, revelada em tudo o que existe.

 

Nomadismo Contemporâneo

 

- Fluidez Mental: Mais do que mudar de cidade, trata-se da capacidade de transitar entre conceitos e culturas sem preconceitos.

 

- Inclusividade Total: Aceita o progresso e a arte humana como extensões legítimas da natureza.

 

- A Alma Viajante: A existência é vista como uma jornada universalista de aprendizagem contínua através da experiência direta.

 

Visão de Mundo e Ecocentrismo

 

- Descentralização Humana: O ser humano deixa de ser o "mestre da criação" para tornar-se um fio na teia da existência.

 

- Horizontalidade Espiritual: Não existe hierarquia entre o monge em prece e o vento que sopra; ambos expressam a energia vital.

 

- Sagrado Ubíquo: A espiritualidade manifesta-se no átomo, na rocha e na obra de arte.

 

Pilares Fundamentais

 

O Animismo Rovingiano propõe uma ética de convivência em que mobilidade e sacralidade do todo se fundem, resultando numa espiritualidade de "fronteiras abertas", tanto geográficas quanto metafísicas.

 

- Ecocentrismo: O ser humano não é o centro, mas parte integrante da teia natural.

 

- Espiritualidade Universalista: Reconhece o sagrado em todas as formas de vida, fenómenos e ciclos naturais, ou objetos.

 

- Nomadismo Contemporâneo: Uma existência fluida, inclusiva e em constante movimento, seja físico ou mental.

 

- Respeito Radical: Valorização de tradições monásticas, abraâmicas, orientais e tribais.

 

A Manifestação do Sagrado

 

Para o rovingiano, a divindade, o sagrado, a energia vital ou a espiritualidade não está confinada a templos, mas espalhada em:

 

- Elementos Naturais: Rochas, montanhas, tempestades e florestas.

 

- Seres Vivos: Do menor inseto à complexidade humana.

 

- Criações Humanas: A arte, como arquitetura, escultura e pintura, é vista como extensão da natureza e da alma.

 

Tolerância e Síntese

 

- Respeito às Tradições: Valoriza o rigor monástico e a fé abraâmica como peças do mosaico humano.

 

- Universalismo: Bebe de fontes xamânicas e orientais sem excluir a modernidade.

 

- Ética da Empatia: Ao perceber alma em tudo, o dano ao meio ambiente ou ao próximo é entendido como um dano a si mesmo.

 

Conclusão

 

Esta visão não anula as religiões tradicionais; pelo contrário, abraça-as como manifestações da riqueza espiritual da humanidade.

A diferença reside na quebra de hierarquias entre o ser humano

e o resto do universo, substituindo uma visão teocêntrica ou homocêntrica por uma perspetiva ecocêntrica universalista, em que a alma é uma viajante entre mundos, evoluindo pela vivência, experiência e pelo conhecimento, numa dialética simbiótica imortal

e intemporal entre matéria e espírito.

   

Rovingian Council - Dark And Light by Daniel Arrhakis (2026)

 

Light and Darkness: A Rovingian and Animistic Perspective

 

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Introduction to the Light-Shadow Duality

 

In the Rovingian and animistic view, the duality between light and shadow is conceived as a dynamic relationship that transcends the moral opposition between good and evil. Instead of antagonism, there is a complementarity where visibility and potentiality coexist to form the balance that sustains the universe.

 

The Principle of Darkness

 

In the beginning, according to this perspective, only darkness existed, dominating all reality. As described in Genesis 1:2 – “the earth was formless and empty, darkness was over the surface of the deep” – darkness is seen as more than the absence of light. It is a primordial force, full of potentiality and chaos, and precedes any order or creation.

 

Rovingian Cosmology: Genesis of the Universe

 

The universe arises from absolute darkness, a state of contained chaos and non-existence. A universal membrane initially prevents the passage of light. The event in which light crosses this barrier, associated with the Big Bang, initiates a dialectic between shadow and light, giving rise to forms, knowledge, and the search for truth. This process is interpreted not as a battle, but as a revelation: opposing forces seek to coexist in dynamic equilibrium. Theoretical physics is humanized, and the Big Bang comes to be seen as an act of perception – the transition from chaos to the consciousness of forms through the interplay between light and shadow.

 

Multiverses of Consciousness

 

From this conception, universes multiply, forming Multiverses of Consciousness. Each universe results from different combinations of light and shadow, reflecting variations in perception and not just physical laws. In some universes, the dialectic between light and shadow can generate gravity; in others, it can create forms of consciousness based on non-linear information flows, allowing the existence of beings that "remember" the future.

 

Philosophical Dialectic and Interdependence

 

The relationship between light and shadow, in mystical and philosophical traditions, is marked by a dialectic of interdependence. Light is only defined in contrast to darkness; one depends on the other to exist. In a universe of total darkness, forms remain invisible, representing absolute emptiness and ignorance. In a universe of absolute light, forms dissipate, making it impossible to distinguish them. Reality manifests itself in the tension between these extremes: without shadow, light is blind; without light, shadow is sterile.

 

Primordial Void and Potentiality

 

The concept of absolute darkness is close to the idea of primordial void or chaos, understood not as absence, but as pure potentiality. All forms exist invisibly, waiting to be illuminated by consciousness. As in Taoism and Vedanta, light and shadow are polarities of the same essence.

 

Duality in Animistic Experience

 

According to the Rovingian and animistic tradition, the duality between light and shadow is essential for cosmic harmony. Light is the vital force and consciousness present in all beings, animate or inanimate. Every being possesses an inner light, an active expression of the spirit in the material world.

 

Shadow, in turn, is the invisible spiritual manifestation, an unconscious state or "second self" fundamental to balance. While absolute light dissolves forms, shadow offers contour, allowing consciousness to differentiate and individualize.

 

Non-Dualism and Universal Interdependence

 

This perspective proposes a non-dualism, without a rigid separation between sacred (light) and profane (shadow). Both coexist physically and spiritually. Truth and reality emerge from the tension that allows for contours and depth. Science itself reveals that the observable universe is shaped by dark matter: the mystery (darkness) sustains the structure (light) of galaxies.

 

Ritual Practices and the Search for Balance

 

In ritual practices, the goal is to ensure balance between light (expansion) and shadow (withdrawal/protection), preventing illnesses, natural disasters, or imbalances between the spiritual and natural worlds.

 

Fundamental Elements of Rovingian Animism

 

The Original Membrane: Threshold of pure potentiality; absolute darkness is contained chaos, density of being not yet manifested due to lack of contrast.

 

The Revealing Instant: The entry of light does not destroy darkness, but fertilizes reality, differentiating and originating consciousness and forms.

 

Multiversal Balance: The existence of multiple universes reveals a tapestry of different gradients of light and shadow, in which truth is a process of continuous coexistence between opposites.

 

Conclusion

 

The Rovingian perspective approaches concepts from theoretical physics about multiverses and Hermetic philosophies, where polarity is essential to the manifestation of life. Existence and consciousness result from the tension and balance between light and shadow. Visibility and potential coexist, making the search for knowledge and truth possible.

  

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Luz e Trevas: Uma Perspetiva Rovingiana e Animista

  

Introdução à Dualidade Luz-Sombra

 

Na visão rovingiana e animista, a dualidade entre luz e sombra é concebida como uma relação dinâmica que transcende a oposição moral entre bem e mal. Em vez de antagonismo, há uma complementaridade onde visibilidade e potencialidade coexistem para formar o equilíbrio que sustenta o universo.

 

O Princípio das Trevas

 

No início, conforme esta perspetiva, apenas as trevas existiam, dominando toda a realidade. Tal como descrito em Génesis 1:2 – “a terra era sem forma e vazia; havia trevas sobre a face do abismo” – as trevas são vistas como mais do que ausência de luz. São uma força primordial, repleta de potencialidade e caos, e antecedem qualquer ordem ou criação.

 

Cosmologia Rovingiana: Génese do Universo

 

O universo surge da escuridão absoluta, um estado de caos contido e não existência. Uma membrana universal impede inicialmente a passagem da luz. O evento em que a luz atravessa essa barreira, associado ao Big Bang, inicia uma dialética entre sombra e luz, dando origem às formas, ao conhecimento e à busca pela verdade. Este processo é interpretado não como uma batalha, mas como uma revelação: forças opostas procuram coexistir em equilíbrio dinâmico. A física teórica é humanizada, e o Big Bang passa a ser visto como um ato de perceção – a transição do caos para a consciência das formas por meio do jogo entre luz e sombra.

 

Multiversos de Consciência

 

A partir desta conceção, multiplicam-se os universos, formando Multiversos de Consciência. Cada universo resulta de diferentes combinações de luz e sombra, refletindo variações de perceção e não apenas de leis físicas. Em alguns universos, a dialética entre luz e sombra pode gerar gravidade; noutros, pode criar formas de consciência baseadas em fluxos de informação não-lineares, permitindo a existência de seres que “recordam” o futuro.

 

Dialética Filosófica e Interdependência

 

A relação entre luz e sombra, nas tradições místicas e filosóficas, é marcada por uma dialética de interdependência. A luz só se define em contraste com a escuridão; uma depende da outra para existir. Num universo de escuridão total, as formas permanecem invisíveis, representando o vazio absoluto e a ignorância. Num universo de luz absoluta, as formas dissipam-se, tornando impossível distinguir. A realidade manifesta-se na tensão entre estes extremos: sem sombra, a luz é cega; sem luz, a sombra é estéril.

 

Vazio Primordial e Potencialidade

 

O conceito de escuridão absoluta aproxima-se da ideia de vazio primordial ou caos, entendido não como ausência, mas como potencialidade pura. Todas as formas existem de modo invisível, aguardando serem iluminadas pela consciência. Tal como no Taoísmo e no Vedanta, luz e sombra são polaridades de uma mesma essência.

 

A Dualidade na Vivência Animista

 

Segundo a tradição rovingiana e animista, a dualidade entre luz e sombra é essencial para a harmonia cósmica. A luz é a força vital e a consciência presente em todos os seres, animados ou inanimados. Todo ser possui uma luz interior, expressão ativa do espírito no mundo material.

 

A sombra, por sua vez, é a manifestação espiritual invisível, um estado inconsciente ou “segundo eu” fundamental para o equilíbrio. Enquanto a luz absoluta dissolve as formas, a sombra oferece contorno, permitindo à consciência diferenciar e individualizar.

 

Não-Dualismo e Interdependência Universal

 

Esta perspetiva propõe um não-dualismo, sem separação rígida entre sagrado (luz) e profano (sombra). Ambos coexistem física e espiritualmente. A verdade e a realidade emergem da tensão que possibilita contornos e profundidade. A própria ciência revela que o universo observável é moldado pela matéria escura: o mistério (escuro) sustenta a estrutura (luz) das galáxias.

 

Práticas Rituais e Busca pelo Equilíbrio

 

Nas práticas rituais, o objetivo é assegurar o equilíbrio entre luz (expansão) e sombra (retirada/proteção), prevenindo doenças, desastres naturais ou desequilíbrios entre os mundos espiritual e natural.

 

Elementos Fundamentais do Animismo Rovingiano

 

A Membrana Original: Limiar da potencialidade pura; a escuridão absoluta é caos contido, densidade de ser ainda não manifestada por falta de contraste.

 

O Instante Revelador: A entrada da luz não destrói a escuridão, mas fecunda a realidade, diferenciando e originando consciência e formas.

 

Equilíbrio Multiversal: A existência de múltiplos universos revela uma tapeçaria de diferentes gradientes de luz e sombra, em que a verdade é um processo de coexistência contínua entre opostos.

 

Conclusão

 

A perspetiva rovingiana aproxima-se de conceitos da física teórica sobre multiversos e de filosofias herméticas, onde a polaridade é essencial à manifestação da vida. A existência e a consciência resultam da tensão e do equilíbrio entre luz e sombra. Visibilidade e potencialidade coexistem, tornando possível a busca pelo conhecimento e pela verdade.