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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.”
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.
“The world is not dialectical -- it is sworn to extremes, not to equilibrium, sworn to radical antagonism, not to reconciliation or synthesis. This is also the principle of evil.”
Jean Baudrillard
This image (or other media file) is in the public domain because its copyright has expired.
This applies to the United States, Canada, the European Union and those countries with a copyright term of life of the author plus 70 years
This image was designed and uploaded as an illustration for the flickr censorship campaign that happened globally in June 2007. Of interest is that a 'variety 'of tags have been removed by Flickr. I think Flickr/Yahoo actually provides a fine service, and have to deal with quite a few political hurdels.
The fact that its a paid service, should allow you to post what you want (you can put a safety level on the photos) as well as view what you want...freedom of speech is a right which should be exercised with responsibility :D
be unruly even if under good emperors
music:
youtu.be/TmDkzVvherk?si=eC1eY3LbPaqYqHOZ
Portishead - Only You
youtu.be/wyUSfuL9dxY?si=CxSvJx7W6LzY1Z4r
Forest Swords - Panic (Official Video)
.
youtu.be/YD-yg0bpF7A?si=YQOlgrzeDuKMeN4F
Twilight of American Democracy: Mapping A Democratic Breakdown in the USA, with Bernard E. Harcourt
youtu.be/i6TaQD_4pfY?si=rmjTgFU7NoTOlbzA
Hegel and the Heritage Foundation: Family Resemblance and New Beginnings [Full Intro to Hegel 13/13]
Hegelian self-consciousness through the master-slave dialectic
Hegelian self-consciousness is the state where a being recognizes itself as a distinct, independent entity through its interaction with and acknowledgment by another self-conscious being. It is a dynamic process of self-reflection mediated by the "other" (another person or an object). For Hegel, a purely isolated consciousness cannot achieve true self-consciousness; recognition from another is necessary for one's existence to be affirmed, leading to the development of a unified, self-aware self.
Hegel's Master-Slave dialectic describes how self-consciousness develops through a life-or-death struggle for recognition between two individuals, leading to a reversal where the slave, through labor and engagement with the world, achieves a more profound and independent sense of self than the master, who remains dependent and dependent on the servant for sustenance and affirmation.
youtu.be/Da6cbuAfnbA?si=cDtz3SFrBZri_s4f
I, CLAUDIUS - 'Lost your stutter, too, I see' ( + ̂ )
youtu.be/bKz-HtOPvjE?si=3RoK3jCCflelHB_r
Hegel: the master-servant dialectic
youtu.be/9Dqyq-UjoVA?si=shtyiOKOfR3gCcxr
Hegel: Philosophy of world history and spirit
How do freedom, reason, passion, the state, and ethical life fit into the world-historical process?
youtu.be/EpFFyQ7rv8Q?si=VjFoh2I-oq5HQgmr
Mary Beard and Why America Isn’t Rome (And Why That Matters) | The David Frum Show
youtu.be/5i5mDO6ai_c?si=9He2nMD7lhDsyP_f
Rulers and Power | Mary Beard and David Mitchell
self-consciousness
unruly
I hope Americans never get to have a good emperor
forsan et haec olim meminisse iuvabit
perhaps even these things will be good to remember one day
Vincit qui se vincit
Felicior Augusto, melior Traiano
what have the romans ever done for us?
they believed in the republic... that's why they were killed
youtu.be/FeCTilEwRmY?si=oAHndul3fLoE3P-8
Claudius gets some valuable advice.
.
.
photo:
Portrait of Trajan
Venice, National Archaeological Museum
Inv. N. 5
Marble, 57 cm
Roman Imperial period
legate of Domenico Grimani, 1523
www.meravigliedivenezia.it/en/virtual-objects/MAN_128.html
National Archaeological Museum of Venice
Ritratto di Traiano
Venezia, Museo Archeologico Nazionale
Inv. N. 5
Marmo, h cm 57
Epoca romana imperiale
Legato di Domenico Grimani, 1523
www.meravigliedivenezia.it/it/oggetti-virtuali/MAN_128.html
Museo Archeologico Nazionale di Venezia
Do we need a master to self-actualize?
No, you do not need a "master" to self-actualize; it is an individual journey to realize one's full potential, and a master can be an unnecessary intermediary. Maslow's theory views self-actualization as an innate desire to become the best version of oneself, a process achievable by anyone through personal growth, self-acceptance, and engaging in fulfilling work that aligns with their aptitudes.
Understanding Self-Actualization
An inherent need: Self-actualization is a fundamental drive to fulfill one's potential.
An individual journey: The path to self-actualization is unique for each person and is not defined by external success, fame, or status.
A process, not an endpoint: It's a continuous journey of personal growth, not a final state of perfection.
What is Required for Self-Actualization?
Instead of a master, the focus should be on personal development:
Self-awareness and acceptance: Understanding and accepting yourself is a crucial first step.
Personal growth: This involves continuous learning, developing skills, and working on relationships.
Fulfillment: Engaging in activities that align with your intrinsic values and aptitudes brings a sense of fulfillment.
Mindfulness and presence: Living in the moment and letting go of self-doubt can foster progress.
Purpose and authenticity: Living a life aligned with your inner truth and purpose is key to self-actualization.
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
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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
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)
------------------------------------
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
----
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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Thierry Geoffroy / Colonel
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Institutional Critique
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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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Author: Ángel Manuel Rodríguez
What biblical symbolism is associated with the four cardinal directions?
Cardinal compass points in the Bible are rich in meaning. Knowing their symbolism can help interpret some biblical passages. We often orient ourselves by facing north. In the ancient world the point of orientation was east. The east was before them, the west behind, the south to the right, and the north to the left. The future wasn’t in front, but behind, that is to say invisible. 1. The East: The importance of the east as the main point of orientation may be related to the rising of the sun and its importance in the religions of the ancient Near East. In the Bible its symbolism emerges for the first time in Genesis. The Garden of Eden was placed in the East (chap. 2:8), and its entrance faced the east (chap. 3:24). After sinning, Adam and Eve left the garden and went toward the east (chap. 3:24). This eastward movement continued with Cain (chap. 4:16) and culminated in the movement of the human race toward the east (chap. 11:2-4). Within this context the east is symbolically ambivalent. The garden placed there symbolized safety and security. After sin, when it was the direction of the exile, it represented a condition of alienation from God. It was also the place of the wilderness, from which destructive winds came, threatening life (Ps. 48:7; Eze. 27:26). To the prophets the east was a symbol of Babylonian exile and the saving presence of God. He traveled to Babylon and ultimately redeemed His people (Eze. 10:18, 19; 11:22, 23). The east became a place where God intervened on behalf of His people, bringing them salvation (cf. Rev. 16:12). 2. The West: The west symbolizes both negative and positive elements. To the west of the land was the sea, representing evil and death (Dan. 7:2, 3). In fact, the term “sea” often referred to the west (Num. 3:23). It is also the place of darkness because that’s where the sun sets (Ps. 104:19, 20). The positive meaning is its association with the Israelite tabernacle/Temple. Although it faced east, access to it required movement toward the west. In that sense the west pointed toward restored unity with God; a return to the Garden of Eden. When the Israelites traveled to and worshipped in the Temple they faced the west and had the rising sun behind them. This movement to the west began with Abram, who left the east and went to Canaan in the west in obedience to God (Gen. 11:31). It is a symbol of divine blessing. Once the exiles were liberated from their enemies in the east, they traveled west, to the land of Israel. In that journey, the Lord Himself traveled with them (Eze. 43:2-5). 3. The North: Bible students have suggested that the north is a symbol of the permanent or the eternal, perhaps because the polar stars were permanently visible in the sky. It is the place of God’s celestial dwelling (Isa. 14:13) and from which His glory descends (Job 37:22) with blessings or judgments (Eze. 1:4). He is the true King of the North. But the north—represented by the left hand—is also a symbol of disaster. The enemy of God’s people came from the north (Jer. 1:14, 15; Eze. 38:6), bringing destruction. In a sense, the enemy was the false king of the north who tried to usurp God’s role and is finally destroyed by the Lord (Zeph. 2:12; Dan. 11:21-45).
4. The South: The south is primarily a negative symbol. But the fact that it is represented by the right hand makes it also a positive one. It is negative because to the south of Israel was the wilderness, a region where life does not prosper (Isa. 30:6). To the south was Egypt, which opposed God’s power and oppressed His people. But the south was also the place where the Lord appeared to Moses, went with Him to Egypt, liberated His people, and appeared to them on Mount Sinai (e.g., Deut. 33:2). The ambivalent nature of the symbols of the four cardinal directions seems based on the fact that evil was perceived to be present everywhere and that God’s saving presence was always accessible to His people from any corner of the world (Ps. 139:7-12). In a sense they pointed beyond the points of the compass to the cosmic conflict between good and evil. Copyright: Copyright © Biblical Research Institute General Conference of Seventh-day Adventists® The Four Symbols were given human names after Daoism became popular. The Azure Dragon has the name Meng Zhang (孟章), the Vermilion Bird was called Ling Guang (陵光), the White Tiger Jian Bing (監兵), and the Black Turtle Zhi Ming (執明). In 1987, a tomb was found at Xishuipo (西水坡) in Puyang, Henan. There were some clam shells and bones forming the images of the Azure Dragon, the White Tiger, and the Big Dipper. It is believed that the tomb belongs to the Neolithic Age, dating to about 6,000 years ago. The Rongcheng Shi manuscript recovered in 1994 gives five directions rather than four and places the animals quite differently: Yu the Great gave banners to his people marking the north with a bird, the south with a snake, the east with the sun, the west with the moon, and the center with a bear.
Cardinal directions in Chinese language: their cultural, social and symbolic meanings.Introduction In his discussions of dominant Ndembu ritual symbols, Victor Turner points out that one major property of symbols is polarization of meanings. That is to say symbols possess two clearly different poles of meanings - the physical and physiological (the sensory pole), and the abstract and ideological (the ideological pole) (Turner, 1967, p.28). At the sensory pole, the meanings represent "the natural and physiological phenomena and processes" and "arouse desires and feelings." At the ideological pole, the meanings represent "components of the moral and social orders, to principles of social organization, to kinds of corporate grouping, and to the norms and values inherent in structural relationships" (Turner, 1967, p.28).
The same kind of polarization of meanings can be detected in cardinal directions of the Chinese symbolic system. However, Turner did not focus his discussions on the interrelations between the sensory and the ideological poles of symbolic meanings. Durkheim's and Mauss's Primitive Classification represented one school of thought on this issue. They argued that the origin of logical classification was a result and an aspect of social classification (Durkheim and Mauss, 1963, p.84). In the case of cardinal directions, more evidence has indicated that the sensory pole of meanings determines the ideological pole rather than the other way around. In this article the author first applies etymological method to study the meanings of direction words in Chinese language. The author believes such analyses help to understand how directions have been perceived in the history of the written language. The latter part of the article discusses how cardinal directions and other orientation concepts are used as part of traditional Chinese symbolic system. Following Jung's definitions of "signs" vs. "symbols" (Turner, 1963), we can say the directional words are signs of the known meanings of directions, whereas directions and other orientation concepts are symbols of the unknown universe.Etymological studies of directional words allow us to trace the evolution of the Chinese characters, whose hieroglyphic nature is particularly conservatory of the ideological evolution of the words. The etymological data are mostly collected from a variety of well-recognized dictionaries and online dictionary sites in both English and Chinese. The semantic units in Chinese language arc words and characters. However, graphemes and phonemes of the characters have been studied in some cases in order to understand the origin of meanings. In addition, idioms and phrases are also informational sources as it usually takes a long time for them to be established. Hence, they are used to trace ancient meanings of the words as well. Space and time are two of the most fundamental concepts in all cultures, the essential reality of human life. Like the air we breathe and the water we drink every day, they are the daily necessity we could never do without but usually take for granted. Perception of space and time defines the essence of a culture's worldview, which differs in geography and in periods of history. It is especially so in Chinese culture, as cardinal directions have become an integrative part of its symbolic classification system that defines the physical and the social reality. Studying perception of space and time would allow us to tap into the depth of a culture's worldview. The Chinese Characters Before starting the discussions of the direction words, the author would like to give a brief introduction of some major etymological and linguistic principles of the Chinese writing system. This will provide the theoretical foundation for some later discussions. If we are to divide the writing systems in the world into three types: the logographic system (in which the minimal complete unit is a logogram), the syllabic system (in which the minimal complete unit is a syllable) and the alphabetic system (in which the minimal complete unit is an alphabet) (Writing system, Wikipedia), the Chinese writing system is a typical logographic system. According to Shuowen Jiezi, one of the earliest and most well recognized etymological dictionaries in Chinese, the ancient Chinese characters can be divided into six different categories in terms of how they were developed or formed (Xu, Shuowen Jiezi online; Shuowen Jiezi, Wikipedia; Zhongwen.com, online). The first category is the pictographs (xiangxing, [??]) (1), which are direct graphical depiction of the objects they denote. Examples include [??] (ri; the archaic form [??]) meaning the sun. The second category is ideographs (zhishi, [??]; or xiangshi, [??]) that represent abstract notions. For instance, the concepts of "above" and "below" are expressed as (shang, [??]) and (xia, [??]). They use signs like the dashes and dots to express abstract ideas. The third category is called logical aggregates (huiyi, [??]; or xiangyi, [??]) in which two or more parts are combined to indicate the meanings. One example would be the character for brightness (ming, [??]), which is a combination of the characters of the sun ([??]) and the moon (yue, [??]). The fourth group is phonetic complexes (xingsheng, [??] or xiangsheng, [??]), which are composed of phonetics that are indicative of the pronunciation and radicals that are indicative of the semantic category. An example of this category is (bei, [??]), which means the back of the body. It is a combination of a phonetics (bei, [??]) and a radical (yue, [??]), which indicates flesh. The fifth type of characters is called transferences (zhuanzhu, [??]) in which more abstract and complicated meanings are derived from the original concrete meanings of words. For an example, the word [??] (bei, the back of the body) gradually adopts the meanings of "turn one's back" and "betray and desert somebody or something." The last principle that Chinese characters developed is false borrowing (jiajie, [??]) in which words take on totally unrelated meanings from the original either intentionally or accidentally. There are two major writing systems used by Chinese language speakers in modern days. One of them is the simplified writing system currently used in Mainland China, which has been adopted as the standard writing system of the People's Republic of China since 1956. The other is the traditional and comparatively more complex writing system that is used by Chinese language speakers in Taiwan, Hong Kong, Macau and other Chinese diasporas around the world. The simplified Chinese is a further evolution over the traditional Chinese, and is therefore less preservatory of the original meanings. All Chinese characters used in this article are simplified unless stated otherwise. Direction Words in Chinese Cardinal directions are some of those abstract concepts that do not lend themselves easily to pictorial representations. In Chinese, the meanings of direction words are mostly combinations of graphemes and phonemes, although some parts of the words are pictographs. The author believes the relations between the formation and the meaning of the direction words could be of cultural significance and indicative of some cognitive characteristics of the culture. Traditionally there are three sets of orientation terms in Chinese culture: si mian and ba fang , which are two-dimensional' and liu he , which is three-dimensional. Si mian, literally four sides, designates the four cardinal directions and is sometimes thought of as including a fifth point, the center. Ba fang, on the other hand, denotes eight directions, the four cardinal compass points plus northeast, southwest, northwest and southeast. In addition to the two dimensional systems is the three dimensional concept of liu he, which literally means unity of six. It is the four cardinal directions and up (heaven) and down (earth) and is used to refer to the universe.
The simplified Chinese characters for the five cardinal points are (east, south, west, north and the middle) or (east, west, south, north and the middle), in the particular orders of the five. (dong, the east). is the simplified character for the east that is currently used in mainland China. The script no longer shows its original connections with the meaning of east. However, its comparatively older form does. is an example of a logical aggregate, which can be broken up into two graphemes - (ri, the sun) and (mu, a tree). The combination of the two pictographs depicts vividly the sun rising behind a tree (Karlgren, 1923, p.324; Xu, Shuowen Jiezi online; zhongwen.com, online). In contemporary Chinese there are at least three characters that are formed by different combinations of the same two graphemes (the sun) and] (a tree). In addition to the cardinal direction word (the east), the other two are (gao ) and (yao). The character (gao) represents the sun above a tree, hence its meaning being bright and being high. (yao), which is the sun below a tree, means being deep and far, losing contact with somebody. Its more archaic meaning is darkness as implied by the combination of the graphemes. The two examples prove that the relative positions between the pictorial components of (the sun) and (a tree) is significantly indicative of the semantic meanings of the characters. In the character (the east) the position of the sun is between the root and the top of the tree, indicating the sun is rising. The composition of the logogram strongly indicates that the concept of east in the language is associated with the observation of the sun's movements in the environment. (xi, the west). The ancient form of this character is , showing a bird roosting on its nest (Karlgren, 1923, p.234; Xu, Shuowen Jiezi online; zhongwen. com, online). According to Shuowen Jiezi, the pictograph indicates that "when the sun is in the west, the birds perch over the nest" (Xu, Shuowen Jiezi online). The explicit meanings of the script are "being at home" and "being at rest." In Chinese idioms "birds returns to their nests" is usually associated with the meanings of dusk and sunset. Here the concept of sunset is borrowed to indicate the concept of the direction of sunset, the west. It is the concept of time that makes the logical link between this pictograph and its directional meaning. In many civilizations, the movements of celestial bodies define the concepts of time and space. Ancient people must have observed how the movement of the sun influences things in their environment. The sun creates days and nights, light and shadow, the seasons, and cycle of life, which all have great impact on people's livelihood. Records from all early civilizations show that ancient people established the first measurements of passage of time based on the movements of celestial bodies. For an example, the ancient Chinese read the positions of the shadow of a dial to tell the hours of a day. Our current 365 days solar calendar relies on the movements of the sun. The earliest Egyptian calendar depended on the movements of the moon. The Mayans of the Central America developed their 260 days calendar according to the movements of the Sun, the Moon and the Venus. In Chinese, the spatial division of east and west both contain some implications of time. East is connected to the beginning of a day, a year, and a life, whereas west to the end of work, a day, and a life. The Chinese character for the sun also means a day, daytime, and years. It also appears in many compound words and idioms with indications of time. Connecting east with sunrise and dawn and west with sunset and evening are common in many other languages as well. The English word east comes from Eastre, the name of a pagan dawn goddess whose festival was celebrated at vernal equinox almost at the same time as the Christian Easter (Weiner, 1989, p.36; Flexner and Hawk, vol. 5, 1993, p.615; Webster, 2002, p.716). In Latin and Greek among some other old Indo-European languages, the stem for east means dawn (Weiner, vol. 5, 1989, p.36). In English "go west" means "to die." There is exactly the same phrase in Chinese that means exactly the same thing. (nan, the south). is composed of a radical [??] and a phonetic [??] (Karlgren, 1923, p.203; Xu, Shuowen Jiezi online; zhongwen.com, online). The archaic form of [??] (bo) is [??], a picture of lianas indicating abundant and tangled vegetation. Living in the North hemisphere, ancient Chinese have observed that the southern side of a mountain, a tree, and a house receives more sunshine than the northern side. Vegetation is therefore more flourishing and abundant on the southern side. South is the direction where vegetation grows more luxuriantly. The phonetics [??], pronounced as (ren), is used as the phonetic in several other tree names (Karlgren, 1923, p.203). (bei, the north). The older form of this character is which indicates two persons positioned back to back (Karlgren, 1923, p.216; Xu, Shuowen Jiezi online; zhongwen.com, online). The picture strongly points to the meaning of back. In modern Chinese, another phonetic complex (bei) is used for the meaning of the back of human body, in which [??] (north) functions as the phonetic and ((flesh) as the radical. In some dictionaries the word it has two pronunciations, bei and bei (Guoyu Cidian, online; Xu, Shuowen Jiezi online). The meaning associated with the first pronunciation is "an equivalence to the back of human body." North and back in Chinese share the same pronunciation and the same meaning in archaic Chinese. The meaning associated with the second pronunciation can be an adjective "being disagreeable and harsh," or a verb "to flee," or "to be defeated, to turn back on." The pictograph of north is linked to the observer-centered concept of back. In Chinese, back means being opposite to front, being the back of or being in the shadow. North is linked to back in all three senses. North is opposite to the sun and the south. That is why it is in the shadow and darkness. This is similar to the back of a person. In Chinese culture, the north side of a building is usually its back, for gates and doors are opened on the south to receive more sunshine. Light and shadow are the major dichotomous concepts associated with north and south in Chinese. The characters of north and south indicate that north is the shadowed side whereas south is the lit side. The geography and landscape of the country stresses the dichotomous divisions. All major rivers and mountains in China run west-and-eastward, which divide the land into parallel stripes. The ancient Chinese have learned to tell directions by looking at the positions of light and shadow. The saying goes "the shadowed side of a mountain is north and the shadowed side of a river is south." The two characters for being in shadow and being lighted by the sunlight are (shadow; Yin) and (light; Yang) respectively. The two words are also used for the dialectic philosophical concepts of yin-yang, which classify things, phenomena, and their traits into dichotomy in many eastern cultures. The two concepts are often represented by two signs,--(a broken line, yin)--(a solid line, yang). The symbols are stacked together to create eight trigrams like . Legend has it that one ancient Chinese king developed the eight trigrams into a system of sixty-four hexagrams to represent different processes in divination. His theory was written in a well-known book, Yi Jin (I Ching), another classic work of the ancient Chinese symbolic system. (the middle or the center, zhong). The ideograph could be interpreted as a vertical line bisecting an enclosure or an arrow hitting the center of a target (Karlgren, 1923, p.360; Xu, Shuowen Jiezi online; zhongwen.com, online). It denotes the meaning of the center or in between.
The fact that the concept of the center or the middle is depicted by an ideograph instead of a pictograph indicates to some extent that it is comparatively more abstract than the other four cardinal directions. A boundary is required before the center could be defined. Limited geographical boundary was not uncommon among ancient people who had no efficient way of transportation to travel widely. The center is a concept relative to the periphery. When the center or the middle is present, the four directions become the relative periphery or the frontiers. In Chinese, China means the Middle Kingdom. The name comes from the country's geographical position in early history when the core territory was surrounded by frontiers on all directions. The Five Elements System In addition to the Yin-Yang and the eight diagrams, another major part of the primitive Chinese symbolic system is the Five Elements System (Wu Xing, Wikipedia). The five elements refer to metal, wood, water, fire and earth. Each of these elements is matched to many other aspects of the material world (See table 1). For example, five planets, five colors, seasons of the year, organs of the body, sense organs, flavors, and animals to mention just a few. The four cardinal directions plus a center are an integral part of the system, which is critical and widely applied in many areas of traditional Chinese culture. Traditional Chinese medicine is one area in which the Five Elements System plays a pivotal role. Five major blood circulation organs, five major digestion organs, and other parts of the human bodies are corresponded with the five elements based on similar attributes. Things belonging to the same category are considered as related with each other. For an example, patients suffering from liver problem usually have weaker sight, crave sour food, are easy to get angry, sometimes show unhealthy dark greenness in skin tone and more likely fall victim of the disease in springtime.The Five Elements System is also a fairly sophisticated symbolic system that uses the concrete relationships between the five material elements in nature to represent and explain the abstract interactions and relationships of all phenomena . In general the system specifies four kinds of relationships. Two of the four relationships create a positive balance state. They are called generating (mothering) relationship (Sheng), and restraining or counterbalancing (fathering) relationships (Ke, . The other two exist when there is a negative out-of-balance state either because one element is too strong or too weak. In a restraining relationship, if the restraining element overpowers and hence over-limits the restrained element, there is an over-restraining relationship (Cheng, . On the other hand, if the restrained overpowers the restraining, it could not be contained but instead controls the restraining element. This would break the balance of the system and create a humiliating relationship (Wu) The picture illustrates the four relationships among the five elements. Clockwise, each element in the circle is generated by the previous element and in turn generates the following one, restricts the third one and is restrained by the fourth one. For instance, fire is fueled (created) by wood, creates earth (ashes), melts (restrains) metal, and is extinguished (restrained) by water. Orders of Cardinal Directions The juxtaposition of the four Chinese cardinal directions, sometimes five, is an idiom in itself, a synonym to "everywhere" and "direction." This idiom has two forms, east-south-west-north and east-west-south-north. When present, the word for the middle is the last character in both arrangements. The orders of the four cardinal directions are different from that in English, which is usually north, south, east and west. Statistically speaking, there are twenty-four permutations for four cardinal directions. It is culturally significant that only one or two orders are used. It is not known why these particular orders exist to the exclusion of the other possibilities. The first order is clockwise starting from the east, which happens to imitate the movement of the sun in the sky. It represents a continuous cycle in both time and space. In the ancient Chinese classificatory system, the directions are matched with the seasons, east to spring, south to summer, west to autumn, and north to winter. The clockwise order of the cardinal directions also coincides with the chronological order of the four seasons. Again, space and time are inseparable from each other. East, a spatial concept standing out originally as the place where the sun rises, takes on the meaning of a start in time. The day starts at the east. The east wind from the seas brings warmth and rain, an indication of the advent of spring. Spring is taken as the beginning of a year, which starts the annual farming cycle. The Chinese New Year is called the Spring Festival. The matching between directions and seasons results in substitution between the two sets of concepts. East wind is almost a synonym of spring wind, spring fanning is called east activities, and East Emperor is a literate alias of the god of spring. Correspondingly, west harvest means autumn harvest, and west wind usually refers to autumn wind that sweeps away leaves from the trees. The matching is certainly related to China's geographical and climatic situations. Warm and damp wind comes from the east and the south, and cold and dry wind from the north and the west. The former brings spring, the latter the winter. It's interesting to compare the Chinese classification with a similar one in the Zuni culture. The Zuni also attributes seasons, colors and animals to spatial divisions (Durkheim and Mauss, 1963, p.43). They also add the center to the four cardinal directions, and have zenith and nadir in their basic spatial divisions. Also like the Chinese, the Zuni associate winter with north, and fire and summer with south. This is reasonable as both peoples live in the northern hemisphere. However, the Zuni "attributed water, the spring and its damp breezes, to the west; ... the earth, seeds, the frosts which bring the seeds to maturity and end the year, to the east." (Durkheim and Mauss, 1963, p.43) This is exactly the opposite to the Chinese's. For the Zuni, who lived in Zuni Pueblo, New Mexico, damp breezes and rain come from the west and frosts come from the east. The differences and similarities of the two systems provide strong evidence for how people's perceptions of spatial divisions are shaped by their environments. In the second Chinese order the cardinal directions are organized into two dimensions: east-west and south-north. The east-west dimension always comes before the south-north dimension in such an order. Southeast and Northwest are * Eastsouth and * Westnorth in Chinese. [??] (east-west) also means things in Chinese. That is because, as is explained in an ancient Chinese book, "things are produced in the four cardinal regions but are called briefly as east-west; that's similar to history being called briefly as spring-autumn though it records four seasons." (Guoyu Cidian, Online) In this case east and west stand for all the four cardinal points. This points to the comparative prominence of the east-west axis over the north-south axis. Within the axis, east always comes before west and south before north. Chinese has plenty of idioms with the structures of "east ... west ..." and "south ... north. ..." There are exceptions, of course, but the proportion is too small to be cognitively significant. The comparatively more dominant status of east and south can also be understood from a political and economic perspective. Due to its geographical features, the western parts of the country were mainly deserts and barren plateaus, and the north was associated with bitterly cold weather and infertile frozen lands while in the southeast parts the fertile rice fields that were the grain barn of the country. The north and the west were important only in terms of military defense. In a culture with a long history of agricultural civilization, it is understandable that the east and the south were more preferred and more important economically, politically, and culturally.
Social Orders of Cardinal Directions Facing south adopts cultural and social significance over time in ancient China. The general pattern of traditional Chinese building complexes and room arrangements look like a square, with the front gates facing the south in order to be warmed and lighted by the sun. This pattern can be seen in residential houses, palaces and temples. The southern side of buildings has front gates, doors and wide open windows. On the north side, there are merely walls and small windows. In a building complex the main rooms face south with the wings facing east and west. There are back doors on the north sides of buildings in a complex, but they are for convenience of connection between rows of buildings. Some units do have doors facing north, but these are called the reversed houses (daoxia) (Cao, 1996, pp.29-59) and are considered atypical. The arrangement of furniture is confined and determined by this architectural pattern and so is the order of seating. In this way the practicality of facing south becomes symbolically important.
The north seat that faces south is reserved for persons with the highest social status. In the imperial court the emperor's "dragon chair" was not only significantly elevated but also invariably facing south. Court officials stood underneath his feet on the east and the west sides of the hall. Because the emperors' thrones always faced south, the phrase "facing south" came to be used as a proper noun designating an emperor. "To face south" means to become the emperor or the king. Accordingly, to face north meant to be a subject of an emperor or a king. Being bright was an adjective to praise the rule of a good emperor. As the saying goes "a good emperor faces south to listen to the discussions of national affairs and rules brightly." Such seating arrangements were copied in military and civil courts at all levels, in schools, and even in family lineages. The person who dominated the group took the north seat that was usually elevated but not as significantly as was the imperial throne. In military and civil courts it was for the official with the highest rank. In a lineage this south-facing seat was reserved for the eldest and most influential male or female member of the lineage. In schools the south-facing chair was for the teacher. The expression "facing north to somebody/something" was a figurative expression meaning to submit oneself as a subordinate, or, in the context of schools, to be a student. The phrase "the white-haired still face the north" indicates an old person who is still a student. The person with the second highest rank was positioned on the east side. The individual ranked third in the gathering was located on the west side facing the second ranking person. Then, back and forth, east and west, all the way down through for all present. In Chinese, the east is a synonym of the host whereas the west also means the guest. Custom had it that when the host and his guests entered a house, the host used the eastern stairway while the guest entered by the stairway on the west. Hence, the host is called "dong dao" (east road). The landlord is "fang dong" (east of the house); the master, "dong jia" (east family); and the hotel owner, "dian dong" (east of the hotel). To be one's treat is "zuo dong" (being the east) in Chinese. In "xi xi" (west seat) and "xi bin" (west guest, west is related to the meaning of guest. This usage, still prevailing in contemporary common language, can be traced back to an ancient custom that the host sat on the east and the guest on the west. In the system the relative spatial concepts of left and right are also interwoven with the absolute system of directions and became substitutes for east and west. The Chinese characters for left and right are [??] (zuo) and [??] (you). In older manuscripts, these are written as and . The two icons represent a hand facing different directions. Thus left and right are related to the two hands and indirectly to the two sides of the body. This substitution is no longer active in contemporary Chinese culture. However, traces of this tradition are still found in a few idioms and place names. "You di" (right lands) means west lands. "Shan zo" (left of the mountains) and "shan you" (to the right of the mountains) refers to Shandong and Shanxi provinces that are located on the east and the west sides of the Taihang Mountains respectively. In like fashion "he you" and "jiang you" (both meaning to the right of the river) designate the area west of the Huanghe River (the Yellow River) in the first case and to the west of Changjiang River (the Yangtze River) in the second. Conversely, "he zo" and "jiang zo" (both meaning to the left of the river) are the areas east of these two rivers. Like east and west, left and right are also social status indicators. Facing south, the right side is the east and the left side the west. The right seat was considered more respectable than the left one. "Lu zo" (left side of the street) is equivalent to the other side of the tracks in Anglo culture of North America. In older times, the wealthy lived on the right side of the street and the poor inhabited the left. "You xing" (right surnames), "You qi" (right relatives) and "You zhi" (right positions) referred to the aristocracy, the imperial families and the high-ranking official positions (Contemporary Chinese Dictionary, 1996). The right has also taken on the meaning of being better as is in the idiom "no one is on his right," which means no one is better than he. An exception to the prominence of right is encountered in carriage where the person with the highest social status occupies the seat on the left. That is the source of the idiom "waiting with the left seat empty," which is a signal of showing respect to someone not yet present. Another pair of directional concepts are up and down. The two characters for up and down are [??] (shang) (Karlgren, 1923, p.251) and [??] (xia) (Karlgren, 1923, p.69). They are iconic signs. The long dash, the base line, represents the horizon (zhongwen.com, online). The short stroke to the right is above the horizon for shang and below it for xia. Up symbolizes high social status and down the reverse. To reinforce the imperial authority, feudal rulers elevated their thrones in the audience halls. Last but not least, the cultural significance of [??] (zhong, the center or the middle). The long history of highly centralized feudal regime stressed the cultural significance of centralization in the culture. The centralized pattern of feudal political regime is clearly embodied in the design of the capital cities and the imperial palaces. Beijing and its Forbidden City, the best-preserved imperial capital and palace, best illustrates the idea of centralization. The old city of Beijing is a fortified square with well-aligned grids running along the two axis of north-south and east-west. The imperial palace, the Forbidden City, occupies the central area of the city proper. The major palaces inside the Forbidden City line up in a row, forming a north-to-south line dividing the city into two symmetrical parts of east and west. Being at the middle is also an important philosophical concept in Chinese culture. Confucianism highly advocates the doctrine of being at the middle, or not going to the extremes, in attitudes as well as in actions. Conclusion These etymological analyses of Chinese direction terms show how observation of the celestial bodies and their impact on natural environment underlies the initial ancient Chinese definition of the cardinal directions. Comparisons with similar primitive classification systems originating in different natural environments also provide some evidence of how perception of time and space are significantly determined by the geography and landscape of the motherland. The limitations and definitions by the environment gradually come to impact other aspects of ancient Chinese livelihood as the culture developed. For instance, the environmental influences helped to define the architectural styles and structures in ancient China, which over time influenced social behavioral norms. As directions were integrated as an important part of the symbolic system, they become dominant symbols in the culture, which can be seen in the usage of directional terms in a variety of idioms and phrases as well as in many areas of the traditional culture. Medicine and divinations are two examples. Data from the study provide further evidence to support Victor Turner's theory that symbols possess bipolar meanings - one clusters around the physical and concrete, and the other the abstract and ideological. Durkheim and Mauss refuted Frazer's argument that the social relations of mean are based on logical relations between things, and argued that it is the social relations that have provided the prototype for the latter. (Durkheim and Mauss, 1963, p.82) In their article Durkheim and Mauss stressed the role of social organizations and social relations in human cognition. They believed the essential cognitive characteristics underlying the primitive classification are the same as that of the modern scientific classification, which both result from human tendencies to unify knowledge, to know as social beings and groups, and to extend the unity of knowledge to the universe. (Durkheim and Mauss, 1963, pp.81-84) In the case of cardinal directions, the Chinese characters clearly indicate the influences of the natural phenomena on people's understanding of them. The ancient Chinese architectural styles and structures were influenced by the environment, which in turn influenced the social lives of people. However, the study does not intend to deny that human beings see things from their own perspectives and understand the universe within the limitations of their perceptions. The limitations also exist for any anthropological interpretation of cultures, just as Victor Turner discussed in Forest of Symbols. It is the case in this current study as well. Generally speaking, the modern views of orientation terms are not often the same as what was originally meant in antiquity. Our understanding of the direction concepts must have drifted away from the empirical perceptions of the ancient people. Therefore, when trying to make sense of why things become what they are, sometimes it is inevitable that our understanding is limited by our perception of here and now. This is a paradox for all anthropological studies of the "other" cultures (both culture of the others, and the other culture of ourselves). Ancient Chinese culture is baffling to modern Chinese who are confronted with a similar paradox - try to understand the perceptions of the ancient Chinese but have to do it from the perspective of a modern Chinese. In this article, the author uses the four cardinal direction words and the fifth, the centrum, to present an outline of the primitive Chinese classification system. Yet it must be said that the Chinese classification system is far more complicated than what can be explained in this essay. Concepts of the Yin-Yang dichotomy, the eight trigrams, and the Five Element System are all phenomena worthy of an independent study. However, as an interesting and inseparable part of the symbolic system, the orientation words help to show the interconnections between the several important concepts of the ancient Chinese symbolic system. COPYRIGHT 2009 Institute of General Semantics
Copyright 2009 Gale, Cengage Learning. All rights reserved.
SILENT REVOLUTION - SYMBOL - Rovingian Council by Daniel Arrhakis (2026)
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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.
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 :
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.
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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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 )
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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
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.
Gleetings ! Gravesend calling !
Let’s rock ! In Gravesend is a new super group, cor blimey ! Elvis Elvisimpersonator and two little piggies are getting it together in the country and they’re going heavy, like what The Tremeloes did in 1971. Rock and roll ! Then they’ll go prog and do noodling.
Donnie Ubidu is Sir Picanuper’s Minister Of Magnificent Music - Rock On Donnie ! – Yeah Yeah Yeah ! Tell us, Donnie !
“Yes, Pop Pickers ! This will be the biggest band what ever there was ! First single ‘Skin On My Chocolate Custard Blues’ out soon, but note the band will be undertaking a Silent Protest on account of DJT Silliness, also being Mysterious so I cannot and will not tell you their name…”
Bah ! Donnie is sacked and volunteers for dialectical reschooling. We’ll have no Diddy-wah-Diddy Remixes, here. Donnie is given his elevenses and settles down for an afternoon of pure pop perfection.
Walk Tall !