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SILENT REVOLUTION - SYMBOL - Rovingian Council by Daniel Arrhakis (2026)
Rovingian Council - The Silent Revolution
The philosophy of the Rovingian Council's "silent revolution" describes a model of metapolitical resistance, where the focus of change shifts from the collective to the individual. By prioritizing internal dominance over external institutional conflict, this framework suggests that systemic power becomes obsolete when it no longer finds anchorage in the psychology of the governed.
Central Mechanisms of the Silent Revolution
- Decoupling of Systems: Through Immunity through Integrity, the individual ceases to provide the "emotional fuel" (fear or submission) necessary for the functioning of hierarchical structures.
- Incremental Subversion: The Discreet Approach avoids the "rebound effect" of violent revolutions, which often replace one tyranny with another, promoting instead a gradual and irreversible cultural change through personal conduct.
- Psychological Neutrality: Active indifference serves as a defensive barrier; By refusing to participate in the dialectic of hatred or polarization, the individual deprives the systemic control mechanisms of their influence.
- Ethical Infrastructure: Applied Humanism and Practical Equality transfer values from the abstract to the physical. These practices create parallel social microstructures based on sharing and protection, instead of competition and segregation.
- Intellectual Autonomy/Sovereignty of Conscience: The defense of freedom of thought serves as the last and impenetrable bastion against totalitarian control and external propaganda.
Ultimately, this philosophy posits that a decentralized revolution is inevitable if a sufficient number of individuals achieve individual coherence, autonomy, and Sovereignty of Conscience, given that a system cannot govern a population that has collectively recovered its internal authority.
The Rovingian Council proposes that the best way to combat the shadows of totalitarianism and the oppression of reason is through the strengthening of the individual spirit. When the individual is sovereign and peaceful, the authoritarian system loses its ability to control them through fear.
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Conselho Rovingiano - A Revolução Silenciosa
A filosofia da revolução silenciosa do Conselho Rovingiano descreve um modelo de resistência metapolítica, onde o foco da mudança se desloca do coletivo para o indivíduo. Ao priorizar a dominância interna em detrimento do conflito institucional externo, esta estrutura sugere que o poder sistémico se torna obsoleto quando deixa de encontrar ancoragem na psicologia dos governados.
Mecanismos Centrais da Revolução Silenciosa
- Desacoplamento de Sistemas: Através da Imunidade através da Integridade, o indivíduo deixa de fornecer o "combustível emocional" (medo ou submissão) necessário ao funcionamento das estruturas hierárquicas.
- Subversão Incremental: A Abordagem Discreta evita o "efeito rebound" das revoluções violentas, que substituem frequentemente uma tirania por outra, promovendo, em vez disso, uma mudança cultural gradual e irreversível através da conduta pessoal.
- Neutralidade Psicológica: A indiferença ativa serve como barreira defensiva; ao recusar-se a participar na dialética do ódio ou da polarização, o indivíduo priva os mecanismos de controlo sistémico da sua influência.
- Infraestrutura Ética: O Humanismo Aplicado e a Igualdade Prática transferem valores do abstrato para o físico. Estas práticas criam microestruturas sociais paralelas baseadas na partilha e na proteção, em vez da competição e da segregação.
- Autonomia Intelectual/Soberania da Consciência: A defesa da liberdade de pensamento serve como último e impenetrável bastião contra o controlo totalitário e a propaganda externa.
Em última análise, esta filosofia postula que uma revolução descentralizada é inevitável se um número suficiente de indivíduos alcançar a coerência individual, a autonomia e a Soberania da Consciência, dado que um sistema não pode governar uma população que recuperou coletivamente a sua autoridade interna.
O Conselho Rovingiano propõe que a melhor forma de combater as sombras do totalitarismo e a opressão da razão é através do fortalecimento do espírito individual. Quando o indivíduo é soberano e pacífico, o sistema autoritário perde a sua capacidade de o controlar através do medo.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
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emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
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Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Gnosticism is an esoteric system of theology that claims salvation can be obtained through gnosis (secret knowledge). It consists of various religious, philosophical and mythological sources that are mixed with esoteric wisdom derived from magical, alchemical and astrological traditions, including the early treatises of the Corpus Hermeticum. Gnostics subverted Christian doctrine through their reinterpretations of Scripture. They believed that the material world was created by a demiurge (lesser god), and that through secret knowledge they could escape the bonds of this earthly prison.
Critics of Gnosticism from the ancient world noted that Gnosticism led to immorality and the forsaking of traditional moral values: Gnostics reside in the heights beyond every power, free to do anything, without any fear. Indeed, their gnosis trumped that of the ignorant demiurge who created the world.
Joachim of Fiore was a mystic and theologian who believed that he had been granted the gift of spiritual understanding. He created a Trinitarian (dialectical) system of history. Then came Paracelsus, a physician and alchemist, who created a panvitalistic system. Afterward came Giordano Bruno, a philosopher, occultist and messianic figure, who created his own Hermetic religious system. Next came Jacob Boehme, a mystic and theologian, who created a system that was centered on the dialectical unity of opposites. Some consider Boehme to be the inventor of modern dialectic.
Like Paracelsus and Bruno, Boehme considered the imagination as a vital means of accessing the spiritual world. Bruno said that the imagination is “the sole gate to all internal affections and the link of links.” Indeed, one feature of Renaissance Gnosticism was the magical power of Imagination. Paracelsus asked, “What else is Imagination, but a sun in man which acts throughout his circle?” This circle refers to a “dialectical process of separation and reconciliation which occurred throughout the circle of being.”
The gnostic traditions of the Renaissance contributed to the dawn of the modern scientific mindset. With the scientific advances of the seventeenth and eighteenth centuries came expectations of a new age of unlimited advances that would produce unparalleled achievements of excellence. Francis Bacon’s reformation of the scientific method also had elements of Renaissance Gnosticism. “In another gnostic key, Bacon presented himself as the restorer of man’s lost Adamic status; in the impending new age, he wrote, ‘a blessed race of Heroes or Supermen… will overcome the immeasurable helplessness and poverty of the human race, which cause it more destruction then all giants, monsters and tyrants, and will make you peaceful, happy, prosperous and secure.”
Galileo Galilei’s mathematical work was also “marked by a similar assurance that it would yield superhuman knowledge and power.” Many of the Great mathematical and scientific thinkers of the seventeenth century were influenced by Renaissance traditions of esoteric thinking. The Enlightenment also had strands of gnostic traditions that came out of Renaissance culture. The Romantic and Idealist movements also had these gnostic strands.
Georg Wilhelm Friedrich Hegel, the famous German philosopher, has had a profound influence on the Western intellectual tradition. Hegel also created his own Gnostic system. During Hegel’s lifetime, a German scholar (Ferdinand Christian Baur) argued that Hegel’s philosophical system was a modern-day version of the early Gnostic heresies—specifically those of the second-century Valentinians. Gerald Hanratty claimed that Hegel’s vision of material nature as ‘self-alienated’ or ‘fallen’ Spirit follows the same train of thought as the early Valentinian Gnostics. He said that Hegel replicated the Valentinian gnosis when he claimed that the attainment of the goal of absolute knowledge coincided with the completion of Spirit’s self-development. He stated that Hegel’s attribution of ‘fallenness,’ ‘self-alienation’ or ‘negation’ to the life of Spirit, lined up with the theological concepts of the Valentinian Gnostics. Hegel, in his gnostic reconstruction of the Christian Trinity, created a triadic dialectical process: Thesis, Antithesis, and Synthesis. “The Phenomenology of Mind, which was completed in 1807, was Hegel’s first attempt to expound his essentially gnostic viewpoint in a detailed and systematic form.”
When Hegel associated “the first man, Adam, with the ‘moving Spirit’ of God, and with the second man or the eternal Logos,” it was just another spin on a gnostic theme.
Hegel’s system incorporated ideas from the speculative mysticism of Meister Eckhart, the late-medieval mystic, theologian and philosopher, who reinterpreted the incarnation of Christ: “Why did God become man? So that I might be born the same God.” And, “In my eternal birth all things were born, and I was cause of myself and of all things. If I had willed it, neither I nor any things would have come to be. And if I myself were not, God would not be either. That God is ‘God,’ of this I am the cause. If I were not, God would not be ‘God.’” Hegel’s ideas laid the ground for the mystical atheism of the Young Hegelians, which laid the foundations for Marxism. Ludwig Feuerbach, a young Hegelian, in his usage of “‘anthropology,’ referred to man’s knowledge of himself, not as an individual, but rather as a ‘universal’ or ‘species’ being. It was due to this consciousness of himself as a universal or species being that man transcended his limitations and achieved an awareness of an unconditioned or infinite nature.” Then came Karl Marx with his species being—his socialist man/communist man. Communism: heaven on earth! In communism, Marx sought the deification of the collective species—mankind as a collective superbeing. Just think, Marx modeled his ideas of science and philosophy on Hegel, the greatest of the speculative gnostics. Therefore, it’s no surprise that Marx himself was a speculative gnostic. “Marxism is a circular theory of Man’s self-creation.”
Friedrich Nietzsche came up with the most striking version of modern mystical atheism. Eckhart’s ideas definitely influenced Nietzsche’s mystical atheism. Joseph Bernhart wrote: “More than any other mystic, willingly or unwillingly, Eckhart was the herald of the divinization of man or—what amounts to the same thing—the humanization of God. The transition from Eckhart’s position to that of Nietzsche was not only theoretically possible, it actually occurred as the outcome of an identifiable historical development.” We can see the divinization of man with Nietzsche’s superman. We also see the same with Marx and his socialist man, the Soviets with their new Soviet man, the Nazi’s with their Aryan race, and our age with transhumanism. The seeds of mystical atheism produced the twentieth-century totalitarian movements of fascism and communism, which caused the suffering of hundreds of millions of people.
Not only is there a Gnostic element to Hegel, but also a Hermetic element. I used the book ‘Studies in Gnosticism and in the Philosophy of Religion’ for this first part on Hegel and Gnosticism. Now I will use the book ‘Hegel and the Hermetic Tradition’ for this next part on Hegel and Hermeticism. It would be favourable to do this in two write-ups, but Hegel is too boring. If you wish to do a deep dive into these topics, then read the books cited above. The occult is intertwined with various esoteric ideas. Therefore, some of the names listed in this Hermetic section will sound familiar. Now, let’s examine Hegel’s system from a Hermetic standpoint.
Hermeticism is an esoteric religious tradition based on the teachings of Hermes Trismegistus (Hermes, Thrice Great), a figure that embodies the Greek god Hermes and the Egyptian god Thoth. His writings are called the Corpus Hermeticum. It “emphasizes the belief that esoteric knowledge brings oneness with God and the idea of Prisca theologia, a doctrine stating that a single, true theology is in all religions (all religions are equal).” If all religions are equal, then why not merge them into a one-world religion?
There are many similarities between Hegelian philosophy and the Hermetic tradition. Hegel drew on various themes and concepts from Jacob Boehme. Boehme was inspired by Paracelsus, and by the Kabbala, alchemy, and Hermetic theosophy. Ferdinand Christian Bauer, a Protestant theologian in Hegel’s day, said this about Boehme: he was a modern Gnostic, and Hegel is Boehme’s intellectual heir, which makes him a Gnostic.
Hegel’s writings incorporate many other Hermetic elements. “These include, in broad strokes, a Masonic subtext of ‘initiation mysticism’ in the Phenomenology of Spirit; a Boehmean subtext to the Phenomenology’s famous preface; a Kabbalistic-Boehmean-Lullian influence on the Logic; alchemical-Paracelsian elements in the Philosophy of Nature; an influence of Kabbalistic and Joachimite millennialism on Hegel’s doctrine of Objective Spirit and theory of world history; alchemical and Rosicrucian images in the Philosophy of Right; an influence of the Hermetic tradition of pansophia on the system as a whole; an endorsement of the Hermetic belief in philosophia perennis; and the use of perennial Hermetic symbolic forms (such as the triangle, the circle, and the square) as structural, architectonic devices.” Hegel’s use of these symbols was similar to the Hermetic “memory magic” of Bruno and Boehme.
Proclus was the first major philosopher who showed signs of Hermetic influence. Hegel became interested in the dialectic and triadic forms that Proclus had created. Some of Hegel’s language has a striking resemblance to that of mystic Meister Eckhart. Eckhart claimed that when all creatures pronounce God’s name, He comes into being. Therefore, God needs mankind to complete the circle of His being. Moreover, we too are the Son, thus we possess a divine spark within us. Hegel also drew on an alchemist called Paracelsus, who had created a Hermetic system, in composing his Philosophy of Nature. Hegel also devoted a section of his Lectures on the History of Philosophy to a man named Giordano Bruno. Bruno’s views on cosmology and theology got him burned at the stake. Imagination plays an important role in esotericism, including Hermetic thought: “Imagination is the divine process of bringing forth images and forms, through which the cosmos is created and experienced.” As stated previously, Bruno’s ideas also involved Imagination.
Ehregott Daniel Colberg, a Lutheran theologian, spoke against Boehme and Paracelsus, and against astrology, alchemy, and mysticism. He saw one thing in common with all of them: the desire of man to make himself God. Boehme was discovered by Schelling, Hegel, Franz von Baader, and many others. Franz von Baader was one of the most significant and influential Hermeticists of the nineteenth century. “Hegel was an avid reader of Baader and even stated in print that he and Baader shared the goal of translating Boehme’s theosophy into ‘scientific’ terms.” Johann Wolfgang von Goethe’s alchemical color-theory also had a great influence on Hegel’s Naturphilosophie.
A man named Friedrich Christoph Oetinger combined various theosophic ideas, such as the Hermetic and panvitalistic systems of Bruno and Paracelsus, the Kabbalah, Rosicrucianism, and Boehme’s theology. “Oetinger identifies the fully realized God with the Geist and treats Geist as what he calls an Intensum. An Intensum is a complex whole, which cannot be divided into separable pieces. …Oetinger holds, in a manner identical to Hegel, that in the case of an Intensum such as Geist, the whole is immanent in every part.” Oetinger’s ideas have many similarities to those of Hegel’s.
Glenn Magee said this: “Hegel rejects a transcendent Absolute and claims to have achieved Absolute Knowing. By Greek standards, Hegel is undeniably guilty of hubris. His Absolute is Spirit or Idea come to consciousness of itself through the activity of speculation: the divine (the Absolute) cannot be without humanity. It is man who ‘actualizes’ God, and thus man becomes, if not God, then certainly a demigod. …He employs mythic circumscription, and uses concepts in a quasi-aesthetic manner, but by closing the circle he turns mytho-poetic circumscription into an absolute science.”
Glenn Magee also states that Hegel’s Encyclopedia delivers what its title promises: “an ‘encirclement’ of the whole of Being. It is thus the true encyclopedia. …setting the stage for the coming of the Age of the Holy Spirit and the end of history. …It is the recovery of the Wisdom of Adam—the intimate knowledge Adam had of God ‘in Himself,’ ‘in His eternal essence’—and thus the vindication of the nostalgia of the Kabbalists, of Agrippa, Boehme, Bacon, Jungius, Leibniz, Helmont, and others.”
Hegel’s theory of history is comparable to Joachim’s as far as being Trinitarian. Unlike Joachim, however, Hegel does not use the Trinity for making predictions concerning the future. Hegel, instead, uses it to make sense of the past. It is Karl Marx who is the modern disciple of Joachim, not Hegel. The Order of Sophianic Marxists said, “The core of Marx’s philosophy—which, one might say, coincides with the core of Gnosticism/Hermeticism—is the central place given to humanity’s self-activity or self-actualization. Marx (like Hermeticists generally) construes the act of perfection as man’s task, his work.” Cyril Smith states that “Marx takes the side of the heretics and Hermetics… he knows that humanity is collectively self-creating.”
Hegel’s system is a Gnostic-Hermetic system. The system of Karl Marx is also a Gnostic-Hermetic system. Wokeism, with its social(ist) justice, is a repackaging of these Gnostic-Hermetic ideas through the Frankfurt School of Critical Theory. Wokeism is neo-Marxism (Cultural Marxism). They swapped out economics for culture. Now they’re trying to seize the means of cultural production, in order to destroy capitalism. Therefore, they must subvert politics, education, entertainment, arts, and faith. Instead of sowing dissent among the proletariat, the neo-Marxists are sowing dissent among the minorities. Wokeism is totalitarian socialism, which is based on identity. Oppressed vs. oppressor: what oppressed minority group do you identify with? Neo-Marxism has produced Critical Race Theory and Queer theory. “Transgenderism is a return to the religion of Gnosticism, in its latest iteration as 21st-century Wokeism.”
I have linked transgenderism, in the past, to cults that centered around ancient gods. “Transgender refers to people who transcend biological gender.” With Gnosticism, salvation comes from the inside. From within, you must find your true identity. ‘You must find yourself.’ A demiurge (lesser god) created the world. Therefore, salvation means escaping the physical world, because it’s flawed—it’s a mistake. The body belongs to this material world, and so it’s no good. The body is the prison of the true self—the true spirit within. Transgenders are trapped in the wrong body. They are imprisoned by a gender binary. Their gender identity, the real them, trumps biology. They can ‘imagine’ their identity, and it will come to pass (so to speak). Due to being imprisoned in a defective world and trapped in the wrong body, they must seek salvation through gnosis (esoteric knowledge). Indeed, there should be no distinction between male and female, because the gender binary is part of this corrupt world. Michael Cook says that “transgenderism is a materialist reworking of the euphoria of escaping from the ‘trap’ of sexuality. The Skoptsy [a Russian Gnostic sect] believed that before the Fall, in the garden of Eden, Adam and Eve were not gendered; a sexed body was a punishment for eating the apple. Salvation lay in restoring this Edenic state, even at the cost of extreme mutilation. Similarly, according to trans ideology, salvation—trans joy or gender euphoria—is found by living in accordance with one’s true gender, even if it requires mastectomies, castration, and lifelong infertility.” Eric Voegelin remarked, “Not until the gnostic revolt of the Roman era do Prometheus, Cain, Eve, and the serpent become symbols of man’s deliverance from the power of the tyrannical god of this world.”
“When you make the male and the female one and the same, so that the male is not male and the female is not female… then you will enter the kingdom.” ‒ The (Gnostic) Gospel of Thomas
Like transgenderism, transhumanism is Gnostic in nature. In fact, “transgenderism is the stepping-stone to transhumanism.” Furthermore, transhumanists will evolve into genderless posthumans. In Gnosticism, liberation is presented as transcending one’s mortal limitations. Is the merging of man and machine really perfection? Would we not become imprisoned by our own technologies? “Anti-realism is the belief that reality is a matter of perception, that reality exists only in the mind. It is the philosophical foundation for Marxist critical pedagogy, which uses the Hegelian dialectical process to reject objective reality and embrace subjective reality.”
Some transhumanists hope to someday upload human consciousness to computers. The brain is connected to the body through various systems. Can a machine replicate all the functions and senses that occur in conjunction with our brains and the various parts of our bodies? Will there be a loss of human sensations and emotions? “Transhumanism is eugenics in disguise.” In the evolutionist framework of transhumanism, man is not created in the image of God; he is a “meaningless by-product of greater evolutionary processes.” Technognosticism: man becomes data in a computer-simulated world. “We will experience technosalvation through virtual bodies in the worlds we create.” Data? Virtual bodies? So basically, you’re just dead! Humanity, then, devolves into a digital simulation.
Murray Rothbard made this statement: “To Marx, religion was only one of the problems. The entire world of man (the Menschenwelt) was alienating, and had to be radically overthrown, root and branch. Only apocalyptic destruction of this world of man would permit true human nature to be realized. Only then would the existing un-man (Unmensch) truly become man (Mensch). As Marx thundered in the fourth of his ‘theses on Feuerbach,’ ‘One must proceed to destroy the “earthly family” as it is both ‘in theory and in practice.’”
I have seen some common threads in the various books I’ve read over the past two years: 1) We have been kicked out of the Garden of Eden, so we either need to get back to Eden or create our own Eden. 2) Society (particularly Christianity) has imposed rules on us. Our true nature must be restored to what it was in the past, when we had the freedom to do as we pleased, like when we were hunter-gatherers. 3) We must fix or recreate man, society, and the world (they want to be the saviours of man and the world). 4) We can be either like God or be a god. 5) First, we use our ‘imagination’ to create the world we desire; second, we work towards our goal; and third, it will come to pass.
All these threads/ideas have been exposed in this write-up. It’s not hard to see that the occult is tied to philosophy, the Enlightenment, liberalism, psychology, and modern science. “Some have said,” an old preacher remarked. “You think there’s a demon hiding behind every bush.” He declared, “No! I believe there are two demons behind every bush.”
When using the word post-postmodernism, I mean two things. First: I am speaking about the neo-Marxism of the Frankfurt School, which went through the dialectic with postmodernism, and in turn produced wokeism. This wokeism will evolve towards sustainability and climate change, because the powers that be need to introduce the Green Economy, which will revolve around carbon footprints and carbon credits. It will also evolve towards (universal) human rights, because the powers that be need to introduce a one-world government. Wokeism will go through the dialectic with a universal spiritual movement, because the powers that be need a one-world religion. A one-world religion will need a god to unite the people (global citizens) together to live under a one-world government. As the Georgia Guidestones stated, humanity must be united with a new language. A one-world government will need a one-world language. Some transhumanists have mentioned creating a future language for humanity, using some sort of computer code. Does this not remind you of the Tower of Babel? They are trying to undo what happened at the Garden of Eden and the Tower of Babel. A one-world government must push for world peace and unity. In turn, they will say, all religions must also come together to promote world peace and unity. Wokeism, with its sustainability, climate change, and human rights, will go through the dialectic with this religious message of world peace and unity in order to produce Antichristism. Indeed, the Antichrist will declare himself to be God. His contribution to the world will be a religious, political, authoritarian system that will supposedly be heaven on earth.
Second: I am referring to the post-postmodern era. “Post-postmodernism seeks to temper reason with faith.” This post-postmodern era will be a spiritual era, in which humanity collectively embraces transhumanism. This will happen through the Mark of the Beast system. All transhumans will worship the Beast (Antichrist). He will be the man-god of the one-world government. Like Babel, their attempts to fully implement this one-world government will fail.
Cash is a product of this corrupt world, and it’s hard to track. In the digital world, digital currencies can be efficiently tracked. This will supposedly fight corruption. Indeed, society must transcend cash. Yet the Beast’s Gnostic currency ‘666’ or ‘god’s money,’ will replace the flawed systems of the various digital currencies. The Beast system will centralize all currency and data into one system, creating a perfect currency system.
The whore in Revelation, which embodies all false religions and spiritual beliefs, is symbolic of the one-world religion. The Antichrist will destroy this one-world religion, and he will declare that he is god. Those with gnosis will worship the Beast, and they will transcend to the godhood of transhumanism. You will own nothing—not even your body—yet you’ll be happy. (The communist utopia: you will own nothing and be happy). Indeed, you will be a patented entity of the Beast. Hegel was the man-god of his system, Marx was the man-god of his system, the transhumanist thinks that he will be the man-god of his system, and Satan thinks that he will be the god of his system, yet all these systems will fail! In the end, Jesus Christ will be King of kings and Lord of lords.
Revelation 17:14 “These will wage war against the Lamb, and the Lamb will overcome them, because He is Lord of lords and King of kings, and those who are with Him are the called and chosen and faithful.”
I added Hermeticism to this write-up, because I could. I hope to write more articles about Gnosticism and how it is intertwined with our society. God Bless!
Your existence depends on a sequence
of infinite decisions
about grass. There is no shortage
in these fields, only variety
in texture, sweetness. You saunter
apparently at random, doodling
in green. The track of your slow day
would draw on acres
vast dialectical zig-zags,
loops, wheels and varying ontological angles
(Sarah Day)
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Fabulous texture by Ro-Stock
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
From "All That Is Solid Melts Into Air" exhibition in Mechelen, B.
21.03.09 - 21.06.09
"All That Is Solid Melts Into Air is organised by the Antwerp museum of contemporary art MuHKA as part of a large-scale, city-wide program of events, exhibitions and projects devoted to the question of the role of the spiritual and the status of spiritual experience in contemporary ‘post-secular’ society.
The focal point of All That Is Solid Melts Into Air is an attempt to articulate, in five distinct chapters, the seeming or real paradox of what could be called a materialist spirituality – the fundamental dialectic of spirit (animus) and matter that is one of the defining features of what is commonly called ‘art’, or ‘culture’ more generally.
Five exhibitions, curated by MuHKA's team of curators and comprising close to a hundred artists in total, seek to shed light on art's timeless quest for the added value of the spiritual that lurks within the materiality of the world."
Team of curators: Edwin Carels, Bart De Baere, Liliane De Wachter, Dieter Roelstraete, Grant Watson / Project coordinator: Robert Ghesquière / Coproduction: MuHKA & MMMechelen vzw in collaboration with Cultuurcentrum Mechelen /
Links :
www.stadsvisioenen.be/en_0/details.asp?recid=233
www.muhka.be/press.php?project_id=2807&subbase=actuee...
Isa Genzken :
alternative title : Master-Slave dialectic over 38° N
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Studies of the day:
Men are wrong in what they think themselves free, a belief that consists only in this, that they are conscious of their actions and ignorant of the causes that determine them.
Les hommes se trompent en ce qu’ils se croient libres, opinion qui consiste en cela seul qu’ils sont conscients de leurs actes, et ignorants des causes qui les déterminent.
( Baruch Spinoza, Eth. II-35, scolie )
Just as monstrous and mutant algae invade the lagoon of Venice, so our television screens are populated, saturated, by ‘degenerate’ images and statements. In the field of social ecology, men like Donald Trump are permitted to proliferate freely, like another species of algae, taking over entire districts of New York and Atlantic City; he ‘redevelops’ by raising rents, thereby driving out tens of thousands of poor families, most of whom are condemned to homelessness, becoming the equivalent of the dead fish of environmental ecology.
De même que les algues mutantes et monstrueuses envahissent la lagune de Venise, de même les écrans de télévision sont saturés d’une population d’images et d’énoncés "dégénérés". Une autre espèce d’algue relevant, cette fois, de l’écologie sociale consiste en cette liberté de prolifération qui est laissée à des hommes comme Donald Trump qui s’empare de quartiers entiers de New York, d’Atlantic City, etc. pour les "rénover", en augmentant les loyers et refouler, par la même occasion, des dizaines de milliers de familles pauvres, dont la plupart sont condamnées à devenir "homeless", l’équivalent ici des poissons morts de l’écologie environnementale.
( Félix Guattari, Three Ecologies, 1989 )
__________________________________________________
Poem of the day:
And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.
. . /. .
Et la mort n’aura point d’empire,
Les morts, nus, se verront unis
À l’homme dans le vent et à la lune d’ouest ;
Leurs os, rongés à blanc, leurs os blancs disparus,
Ils auront, coude et pieds, des étoiles pour lest ;
Ils seront sains d’esprits, bien que fous devenus,
Bien qu’immergés en mer, rejaillissant du bas ;
Si meurent les amants, l’amour, lui, ne meurt pas,
Et la mort n’aura point d’empire.
. . /. .
( Dylan Thomas - Twenty-Five Poems, 1936 )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
The sharpened image quality of the release is quite striking, but what really jumps out at me is how dark everything is. This is no longer the brightly-lit, low-contrast, flat-colored material that we thought it was. Is this really what the original source material looked like? Visually, a moody tone shift seems to be imposed on the material. The contrast with what we've been seeing for so long in rebroadcasts is so great that I sort of wonder if they overcompensated while regrading for the release. I guess I have a sort of cognitive dissonance thing happening. :laugh: The contrast between bright, syndicated Batman 66 and dark DVD Batman 66 is so great that I'm looking for a Hegelian dialectic sort of truth, somewhere in the middle.
Rhythm of Line
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.
The immediate execution of Show Must Go On with the soundtrack of a song gave an impulse to conceive a concept of creation and destruction in the unusual visual image.
The conjunction of self-destructive meaning of true creativity and moment of elation often turns dreadfully in artist’s personal situation.
Jaisini’s paintings reveal a general tendency observed in almost every component of style he uses, the self-conscious rhythm of line that could be just as expressive as musical rhythm.
Rhythm has importance applied to musical composition but not to cacophonic sounds.
Same with the line with meaningful rhythm applied to significant composition.
The rule of content in Jaisini’s art is not the final.
The artist creates content to make see the form and reduce content in a process.
Content could be associated with human attributes.
For Jaisini content is a tool to express in art evolution of mind returning to beginning when line was a primary definition of childishness and purity.
The overall process of formalization of this line takes many stages but is rewarding as never before.
A style is new in its complexity mastering graphical with visual, logical with emotional and communicative ability.
Jaisini uses dialogue as a conveyor of meaning through lines it contain as in theatrical performance but following artistic tendency to train the viewer’s eye to enjoy color, tone, plasticity of line, composition with development of all the elements of painting to the point of great significance to add complexity to the context, to highlight visual with textual and otherwise.
The created web of signification and intertextual references is even more complex then artist might think in beginning of his work.
With development of his style Jaisini had realized the further complexity to stage a painting as a play.
The idea in his pictures can’t be controlled but is in the middle of a meaning’s vortex some of which is external and allows endless interpretation as if it was musical.
Logic can either operate as part of an intellection, or else, on the contrary, put itself at the service of an error; moreover unintelligence can diminish or even nullify logic, so that philosophy can in fact become the vehicle of almost anything: it can be an Aristotelianism carrying ontological insights, just as it can degenerate into an "existentialism" in which logic has become a mere shadow of itself, a blind and unreal operation.
Indeed, what can be said of a "metaphysic" which idiotically posits man at the centre of the Real, like a sack of coal, and which operates with such blatantly subjective and conjectural concepts as "worry" and "anguish"? When unintelligence (and the variety we mean here is in no wise incompatible with what passes for intelligence in "worldly" circles) and passion prostitute logic, it is impossible to escape from that mental satanism which is so frequently to be found in contemporary thought.
The validity of a logical demonstration thus depends on the knowledge which we, as demonstrators, have of the subject in view, and it is evidently wrong to take as our starting-point not this direct knowledge but pure and simple logic.
When man has no "visionary" knowledge of Being, and merely "thinks" with his "brain" instead of "seeing" with his "heart", all his logic is useless to him, because it starts out from an initial fallacy. Moreover, the validity of a demonstration must be distinguished from its dialectical efficacy; the latter evidently depends on the intuitive disposition available for the recognition of truth when demonstrated, and therefore on an intellectual capacity.
Logic is nothing but the science of mental co-ordination and of arriving at rational conclusions; it cannot, therefore, attain the transcendent through its own resources; a supralogical -not an illogical- dialectic, based on symbolism and analogy, and therefore descriptive rather than ratiocinative, may be harder for some people to assimilate, but it conforms more closely to transcendent Reality.
Contemporary philosophy, on the other hand, really amounts to a decapitated logic: what is intellectually evident it calls "prejudice"; wishing to free itself from servitude to the mental, it sinks into infralogic; shutting itself off from the intellectual light above, it exposes itself to the obscurity of the lowest "subconscious" beneath.
Philosophic scepticism takes itself for a healthy attitude and for an absence of "prejudices", whereas it is in fact something completely artificial; it proceeds, not from real knowledge, but from sheer ignorance, and for this reason it is as alien to intelligence as it is to reality.
---
Frithjof Schuon
---
Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
Manarola (Manaèa in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Mostly all of the houses are bright and colourful.
In this picture the San Lorenzo night, august 10th 2011
© All rights reserved. Don't download or use this image without my explicit permission
1 Timothy 1:6 “From which some have been turned away, giving themselves to foolish talking.”
Science magazine:
“Is it time for a more subtle view on the ultimate taboo: cannibalism?”
For a good laugh, read this article/propaganda. These commies are taking the lust of the flesh to new heights….bahahahaha!!
www.newscientist.com/article/mg26134783-600-is-it-time-fo...
Now, let’s take a look at my “scientific” neoMarxist/postmodern dialectical “climate model” to see what their dialectic will accomplish: fornication to homosexuality to transgenderism to pedophilia to bestiality to necrophilia to cannibalism to savagery to destruction.
World Economic Forum (WEF): “Degrowth” broadly means shrinking rather than growing economies “humanity”.
WEF: You’ll own nothing and be happy!
1 John 2:16 “For everything in the world—the lust of the flesh, the lust of the eyes, and the pride of life—comes not from the Father but from the world.”
alternative title : Master-Slave dialectic over 38° N
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
There is nothing, I say, that men can desire better to preserve their being than to agree with each other in all things, so that the spirits and the bodies of all compose, so to speak, one Spirit and one Body, to strive together to preserve their being, as far as they can, and to seek together, and each for oneself, the useful which is common to all. But (...) As men are subject to passions, it can not be said that they agree together in nature. (...) It is only as they live under the guidance of reason that men can agree together in nature.
Il n’est rien, dis-je, que les hommes puissent souhaiter de mieux pour conserver leur être que de se convenir tous en tout, en sorte que les Esprits et les Corps de tous composent pour ainsi dire un seul Esprit et un seul Corps, de s’efforcer tous ensemble de conserver leur être, autant qu’ils peuvent, et de chercher tous ensemble et chacun pour soi l’utile qui est commun à tous. Mais, (...) en tant que les hommes sont sujets aux passions, on ne peut pas dire qu'ils conviennent en nature. (...) C'est en tant seulement qu'ils vivent sous la conduite de la raison que les hommes peuvent convenir en nature.
( Baruch Spinoza, Eth. IV-18, IV-32..35 )
Just as monstrous and mutant algae invade the lagoon of Venice, so our television screens are populated, saturated, by ‘degenerate’ images and statements. In the field of social ecology, men like Donald Trump are permitted to proliferate freely, like another species of algae, taking over entire districts of New York and Atlantic City; he ‘redevelops’ by raising rents, thereby driving out tens of thousands of poor families, most of whom are condemned to homelessness, becoming the equivalent of the dead fish of environmental ecology.
De même que les algues mutantes et monstrueuses envahissent la lagune de Venise, de même les écrans de télévision sont saturés d’une population d’images et d’énoncés "dégénérés". Une autre espèce d’algue relevant, cette fois, de l’écologie sociale consiste en cette liberté de prolifération qui est laissée à des hommes comme Donald Trump qui s’empare de quartiers entiers de New York, d’Atlantic City, etc. pour les "rénover", en augmentant les loyers et refouler, par la même occasion, des dizaines de milliers de familles pauvres, dont la plupart sont condamnées à devenir "homeless", l’équivalent ici des poissons morts de l’écologie environnementale.
( Félix Guattari, Three Ecologies, 1989 )
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Poem of the day:
. . /. .
And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan’t crack;
And death shall have no dominion.
. . /. .
. . /. .
Et la mort n’aura point d’empire.
Sous les ondulations marines
Tout de leur long couchés nul vent ne les tuera ;
Vissés à l’échafaud, quand les chairs se déchirent,
Fixés même à la roue, ils ne craqueront pas,
La foi qu’ils ont en main pourra se désunir,
Et les diables cornus les traverser de pas ;
Pourfendus de partout, ils ne céderont pas,
Et la mort n’aura point d’empire.
. . /. .
( Dylan Thomas - Twenty-Five Poems, 1936 )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Teatro Comunale.
Dominata dalla cromia azzurra è la grande volta dove entro elaborate cornici esagonali sono raffigurate le figure simboliche delle sette arti liberali: Grammatica, Dialettica, Retorica, Aritmetica, Geometria, Astronomia e Musica.
Nei pennacchi delle finte vele si aprono dei tondi nei quali sono i busti a monocromo di grandi personaggi votati alle arti maggiori.
Al di là della cornice, che delimita lunette e tondi, il Venanzi è ricorso ad un alleggerimento cromatico attraverso un fondo digradante dall'azzurro al violaceo che raggiunge l'apice attorno al rosone ligneo traforato che, aprendosi in due parti, permette alla lumiera dorata di salire fin sopra la volta.
Il lampadario, disegnato a scheletro, è stato intagliato nella bottega di Francesco Pucci da uno dei suoi migliori allievi: Rinaldo Paioncini.
Teatro Comunale.
Dominated by the blue color is the large vault where the symbolic figures of the seven liberal arts are depicted within elaborate hexagonal frames: Grammar, Dialectics, Rhetoric, Arithmetic, Geometry, Astronomy and Music.
In the spandrels of the false sails there are roundels containing monochrome busts of great figures devoted to the major arts.
Beyond the frame, which delimits lunettes and roundels, Venanzi resorted to a chromatic lightening through a background sloping from blue to purple that reaches the apex around the perforated wooden rosette that, opening in two parts, allows the golden chandelier to rise up to the vault.
The chandelier, designed as a skeleton, was carved in Francesco Pucci's workshop by one of his best students: Rinaldo Paioncini.
.trashed-1743973682-IMG20241229170718m
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark