View allAll Photos Tagged Dissonance
It is always the whole human person that interacts with the world, but when the interaction aims at knowing, we speak of the intellect. When desire stands in the foreground, we speak of the will. The intellect sifts out what is true; the will reaches out for what is good. But there is a third dimension to reality: beauty. Our whole being resonates with what is beautiful, like a crystal lampshade that reverberates every time you hit a C-sharp on the piano. Where this feeling of resonance (or, in other situations, dissonance) marks our interaction with the world, we speak of the emotions. How joyfully the emotions reverberate with the beauty of our mystical experience! The more they respond, the more we will celebrate that experience. We may remember the day and the hour and celebrate it year after year. We may go back to the garden bench where the singing of that thrush swept us off our feet. We may never hear the bird again, but a ritual has been established, a kind of pilgrimage has been undertaken to a personal holy place. Ritual, too, is an element of every religion. And every ritual in the world celebrates in one form or another belonging—pointing toward that ultimate belonging we experience in moments of mystical awareness.
-The way of silence : engaging the sacred in daily life / Brother David Steindl-Rast
What fascinates me here is the dissonance. This is a room designed to evoke the comforts of home or a high-end hotel. But the details betray the fallacy. Look at the wire under the lamp on the left, the lampshade askance on the right. There's no proud homemaker here, no housekeeper trained to turn on the musak and put a chocolate on the pillow. Whoever cleans here also takes out the bedpans. It's an institution, where maintaining a room inhabited by anxiety, hope, and the inexorable realities of sickness and death is just in a day's work. And paradoxically, that very indifference instills a certain serenity.
Nooks and crannies of the city.
I've shown you this backyard before. But the city is changing and evolving (though not always successfully).
I returned to this place to find that the space is closed by a new, white building (the old buildings, the right and left sides of the frame, are intended for renovation). Today, I feel this sight as a certain dissonance that fits perfectly into the many contrasts of my city.
A second site with an idiosyncratic evolution to monolithic sarcophagi can be found around 100km south east.
I shall describe these groups as "living necropoli".
A concept of a 'living necropolis' accepts that the archaeological record of monolithic sarcophagi includes examples from prehistory. The idea expects history to create new examples and overwrite and appropriate pre existing examples and therefore accepts that interpretation is complex.
The concept of the 'living necropolis' includes an a priori that the first ages of metal had a spiritual impact on society with the move away from knapping and polishing to fire and casting and polishing exerting a spiritual dissonance for those schooled on bringing stone tools to life for the earth spirits. Proving a loyalty to the earth spirits despite using tools that had been cast resulting in people carving anthropomorphic 'casts' in sacred outcrops and sleeping in them either as a community or as a pilgrim.
The 'living' side of the necropolis comes from the fact that living people slept in the monolithic pits; perhaps with wicker and leather 'lids'.
The 'living' side of the necropolis comes from the fact that some rare sites included the "Piedra de Los Moros" expanded the logic by carving down the sarcophagi and building often interconnecting rooms for several persons, to a point when the 'living necropolis' was as alive as a small village, functional and adapted to the environment and local population.
A person who dies in their living sarcophagi may stay within. Here sand, clay and perhaps special treatments may have accompanied the body into its skeleton and vestiges before a stone lid of permanence and qualitative definition was placed over. This would explain why stone lids are far rarer than the monolithic sarcophagi in sites that have the 'signatures' of prehistory.
Living in proximity with bodies is the life in a presbyter, the life in many an Iron age town down to first Neolithic villages - for example Ba'ja where burials were under floor and in-house. As the logical possibility of anthropomorphic 'casts' / 'monolithic sarcophagi' being used for dead bodies exists from an early date, the term necropolis has some meaning, which is why I chose the title 'Living Necropolis'.
The following statement may sound incongruous but does work: 'I am of the opinion that the 'living necropolis' of the Piedra de Los Moros' was not used for the dead, and that burials were outside of the site'.
Monolithic sarcophagi can be seen categorised with megaliths in Portugal, they are found under Roman remains, in Etruscan Italy, far from churches, aside cups and basins and over or next to finds from as far back as the late Neolithic.
As the forms are carved from solid stone, an example that falls into disuse may be reappropriated for a rural function such as grain storage. After several hundred years it is even possible that a grain storage silo is carved into rock that is in part inspired by this heritage, even if this example is too elevated, to large and too precarious to have ever had this facility as an original idea. This needs to be said as a range of curved man made cavities exists in the local area with similarities and differences.
A site on the scale of Los Moros required a rich skill set of stone carvers. Removing megaliths from the ground and fashioning their surfaces also required a rich and similar broad skill set. As the Neolithic faded and moulds replaced knapping and megaliths atrophied, did some of the mindset reframe to work with anthropomorphic casts coupling new believers with old ways? Did the act of cutting stones for new drystone Castros seem inconclusive for some people; did building with a repetition of smaller stones seem to lack permanence and conclusion?
AJM 19.12.22
Take 2 Polaroid SX-70, cut the edges with a saw, glue them together, put a cold filter and warm filter, couple the two triggers, you get a bipolaroid camera! :-)
Fisher Funeral Chapel & Cremation Services
914 Columbia St.
Lafayette IN 47901
Sean Lutes - Preserve Historic Lafayette
March 26, 2022
The Castle Cottage of Helen Gougar ⚜️⚜️⚜️
One of the Old City's few Romanesque Revival structures is also one of its most historically significant. March is Women's History Month, and what better way to celebrate it than a story of the Old City's very own suffragist and shaker mover Helen Gougar and her grand "Castle Cottage"?
Helen Gougar was born in a village in Michigan in 1843, and in 1860 she moved to Lafayette with her brothers and uncles. Lafayette in 1860 was a rapidly growing city, with layers of success built upon the river ports, canals, and now railroads, causing the Old City's population to swell from 6,000 in 1850 to nearly 10,000 by the time Helen arrived.
Helen took up work as a teacher and quickly found success, becoming a local principal in 1863, only 3 years after arriving in the city. But this was not enough for the hungry mind of Helen, and after her marriage in 1863 to John Gougar, a successful local attorney, Helen took up the task of being his legal apprentice. She took this pursuit of knowledge so seriously that she left her position as a principal to focus entirely on this effort.
Soon she was writing columns in the Lafayette Courier, and even started her own Lafayette paper, the "Our Herald" by the 1880's. By the 1870's she took on the matter of Suffrage, extending the vote to Women. Gougar was converted to the cause of women’s suffrage upon learning about the death of a mother of four in 1878 from domestic violence. Though Gougar had been “praying away the evil,” incidents like that convinced her that it would be more effective to “vote it away." Gougar did not shy away from the injustice nor fell to the weight of discouragement such circumstances must have presented, but rather pushed forward.
She became a national figure for suffragists, and in the 1890's sued the county for her right to vote in the 1894 election, the case ultimately leading to the Indiana State Supreme Court. Though she did not win her case, she paved the way for those after her, even being admitted to the Tippecanoe Bar in 1895.
By the 1890's, Helen Gougar and her husband, John, had accumulated enough wealth to construct a new grand home in the heart of the Old City at 10th and Columbia. An old canal era wood frame house was pulled down to make way for the Romanesque Revival (a style inspired by the early Medieval architecture of Europe) edifice in 1896. The red brick and stone structure was deemed one of the finest homes in the city, and earned the nickname "Castle Cottage." The home was noted not only for its architecture, but the handsome parlor for maids and servants constructed in the rear of the home, a sign of a truly "progressive" family to treat the maids to such a dignified space.
In 1907 Helen Gougar died. Her husband John would pass many years later in 1925. Though Helen did not live to see the 19th Amendment (which gives women the right to vote) ratified, John did and could see the ultimate fruits of the labor of suffragists like Helen.
The Old City has always been a welcome home for the thinker, the philosopher, the artist, the shaker and mover. Here cognitive dissonance finds no home where the city's ancestors found solace from their relentless Muses either through the bottom of a bottle or fierce community effort, or, in many cases, both.
Shortly after the death of John, the house was sold to undertakers who converted the home into a funeral parlor. It remains a funeral parlor to this day. In recent years the owners at Fisher Funeral Home had Castle Cottage made a protected structure, and have worked diligently to maintain, restore, and care for the important landmark in our Old City so that it can continue to inspire for generations to come.
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Contributing Property - St. Mary Historic District - NRHP - 01000622
Plain and simple, we hated fellow Americans less before the advent of right-wing media.
Kaleidoscopic image of sparks flying.
Window and Wall in Summer Light. © Copyright 2021 G Dan Mitchell – all rights reserved.
High summer light falls across the walls of a building with white window frames.
There are still more of the pandemic photographs — the “postcards from pandemia” — that I have made from time to time since our world changed back in March of 2020. During that time I did a lot of urban walking in a several mile radius of my home, and I always carry a camera when I walk. On many walks the camera remained in my bag, but every so often some element of this area would catch my attention and the camera would come out, I’d make a few exposures, and then I’d continue walking.
I’m now not quite certain where this subject is, exactly. The style of construction is common in older neighborhoods around here. One thing that appeals to me about a photograph like this one is that it can be about many different things. On one hand it is a visual record of the urban architecture of a certain time and place. But it also, to me at least, also a little study in composition and forms, mainly rectangles. It also is a kind of minimalism, consisting of really only three colors — the dark windows, the blue wall, and the white window frame. There are two slightly mysterious elements that create visual dissonance for me. One is the diagonal shadow — really the only line in the scene that isn’t a perfect vertical or horizontal — that comes from some unknown and unseen source outside the frame. Another is that slightly dark and mysterious shaded area near the upper left.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
Today marks the 17th anniversary of Final Fantasy X. So the game is now just as old as Tidus and Yuna are when they embark on their journey to save Spira.
This build has been a passion project of mine for quite some time now. In fact, ever since I first played with LEGO as a kid I wanted to build a dragon. Because dragons are just friggin awesome :D
Additionally I always wanted to build something from Final Fantasy and especially something from FFX. The world of Spira is doomed and depressed and yet all its characters and creatures are colourful and magical. Something about this dissonance resonates with me, which is one of the reasons why I love the designs of FFX so much. And none of the creatures in the Final Fantasy universe is as well-known and beloved as the mighty Bahamut.
The FFX version of Bahamut is particularly unique. He has four wings instead of two and the bright colours and the gold give a nice contrast to his dark blue body.
I've known for years that this is the version of Bahamut I want to recreate and I am very excited to finally be able to show him.
Because the colours used for him are completely different than the ones I used in my MOCs before, I first collected different shades to find the right ones. Becoming familiar with the purple and gold and learning their limitations took quite a long time. I built a few prototypes for his head over the years and in November last year I had the feeling I found the right one.
So I printed out a picture of the body to scale to my LEGO head and immediately realised that this MOC would be much bigger than I initially thought :D
In fact: This became my biggest built so far with more than 10.000 LEGO bricks used. He is over 0,6 meters high and has a wingspan of almost 1 meter.
Also, he is entirely built with only LEGO bricks.
I worked on him for the past 6 months, which is why I only managed to make a few other small builds in that time.
I hope it was worth the wait and you guys enjoy the result! :)
#ALAD120 Ion Dissonance - The Death of One Man is A Tragedy, The Death of 10,000 is A Statistic
This is my everyday project for 2010. Taking one lyric from a song every day and creating art or taking a photo inspired from that lyric.
Follow Me At alyricaday.tumblr.com/
Highbrow Assaults.
Des tons foncés trahissant des conceptions repérées des dimensions qui détruisent des exemples dissonance des navires des fous qui tentent de fausser des vues,
vage sehnsüchte gigantische verbindungen schrumpfung bedeutung verschwommene vorschriften heimträume romantische effekte phantomaugen,
возникающие выпуклое зеркало светящиеся открытия репрезентативные перспективы структурные искажения сложные сильные детали,
دورات رائعة تغيرات سينمائية تصطدم بالرموز ثلاثية الأبعاد ثورية غنائية رائعة تخمر المونتاج,
continuus dolor dis elit turpis amet vacua dominico partes revolventium serie formulae,
toirt buaidh air tàlantan iomairtean bàrdachd clasaigeach a tha a 'toirt droch bhuaidh air ceistean iongantach freagairtean snasail,
riflessioni angosciose anni artistici sovrapposizione spettatori leggenda contemporanea domande limitate frammenti magici,
ダンス・トーン無限の陰影賑やかな表面巨匠の舞台舞台舞台演出重大な地平の崩壊角ショッキングゴシック時代.
Steve.D.Hammond.
Anybody else old enough to remember when people raked their leaves and burned them and the aroma of leaf smoke was sweet in the autumn air? Now everyboy uses leafblowers and what do we get? Noise pollution and gas fumes. Bah! And now that I'm looking at it, I see that this dissonant image is a whole lot prettier than the sound of the leafblowers I've been hearing all day.
Didn't have much time with Randi for this shoot, I had plans, she had plans, it was more hanging out than shooting, talking a bit about cameras, about camera tricks, about the young kids near us putting up some graffiti and quite possibly partaking in illegal substances.
My sister watched us shoot, which I found discomforting. Something about the fact that she specifically wanted to Watch, something about that kept me from going All In, kept me self-conscious and too in my head.
And this meant I didn't experiment like I like, didn't take chances like I like. Maybe there was pressure to make it a performance, to bring out the ol' Lou O' Bedlam suit.
Which I see now, thinking about it, that's a suit that's no longer necessary with Randi. We've hung out enough, talked enough, shot enough, I can leave all that at home.
Bit of dissonance, then, my sister comes expecting the show, but when I work with Randi, I like to leave the show behind.
More and more, I like to leave the show behind.
For the umpteenth time this year, I found myself standing on the edge of a monstrous storm system with the sun shining brightly over my shoulder. I just love the dissonance projected in scenes like this. The foreground suggests the tranquility of a summer afternoon while the background looms ominously overhead. It's a very distinct boundary line and standing there in real life, it's as if these two things can't possibly coexist. You are seeing it with your eyes yet still there is a sense of disbelief. Simply experiencing this is enough to satisfy my natural curiosity and yen for excitement. However that often does not translate visually in terms of a photo. It's best when there is some sort of context in which to showcase the dichotomy. This is where fate tends to play a role as storms and lighting such as this usually pop up with little warning. Here I found myself near an Amish schoolhouse. I've photographed this before and was taken with the simple and very austere nature of the building. It resembles a bunker of sorts, a look accentuated by the gray paint and absence of large windows. The only apparent concession to frivolity seems to be the volleyball net and even that looks rather forlorn. Yet as I stood here, a bunker seemed like exactly the place to be. I crouched down in a drainage ditch in order to include as much sky as possible. I waited for the sun to emerge from behind a cloud. And when it did, the entire landscape lit up, particularly the sign which gleamed against the dark clouds. Snap went the shutter and this is the resulting image.
Away from futuristic CW for a moment, to Central (and more traditional) London. A fine example - except for the added* upward extension: questionable in style for the situation but, luckily, 'invisible' to most passers-by...
* this might not be added but a standalone modern building in a nearby street behind - in which case, my apologies to any architect/s involved :)
Today marks the 17th anniversary of Final Fantasy X. So the game is now just as old as Tidus and Yuna are when they embark on their journey to save Spira.
This build has been a passion project of mine for quite some time now. In fact, ever since I first played with LEGO as a kid I wanted to build a dragon. Because dragons are just friggin awesome :D
Additionally I always wanted to build something from Final Fantasy and especially something from FFX. The world of Spira is doomed and depressed and yet all its characters and creatures are colourful and magical. Something about this dissonance resonates with me, which is one of the reasons why I love the designs of FFX so much. And none of the creatures in the Final Fantasy universe is as well-known and beloved as the mighty Bahamut.
The FFX version of Bahamut is particularly unique. He has four wings instead of two and the bright colours and the gold give a nice contrast to his dark blue body.
I've known for years that this is the version of Bahamut I want to recreate and I am very excited to finally be able to show him.
Because the colours used for him are completely different than the ones I used in my MOCs before, I first collected different shades to find the right ones. Becoming familiar with the purple and gold and learning their limitations took quite a long time. I built a few prototypes for his head over the years and in November last year I had the feeling I found the right one.
So I printed out a picture of the body to scale to my LEGO head and immediately realised that this MOC would be much bigger than I initially thought :D
In fact: This became my biggest built so far with more than 10.000 LEGO bricks used. He is over 0,6 meters high and has a wingspan of almost 1 meter.
Also, he is entirely built with only LEGO bricks.
I worked on him for the past 6 months, which is why I only managed to make a few other small builds in that time.
I hope it was worth the wait and you guys enjoy the result! :)
Camille Norment’s Rapture, a strange, tense installation that takes the piercing, resonant tones of the glass harmonica as a starting point to explore the duality of violence and peace, action and repose at the Nordic Pavilion. Featuring the otherworldly space of the pavilion prominently, the architecture is adorned with speakers playing a churning, high-pitched composition, in contrast with broken glass and debris littered across the rooms of the show.
the Oslo-based artist works with the glass armonica – an 18th-century instrument invented by Benjamin franklin that creates ethereal music from the touch of fingers on glass and water – and a chorus of 12 female voices. weaving these elements together within the pavilion itself, Norment creates an immersive, multi-sensory space, which reflects upon the history of sound, contemporary concepts of consonance and dissonance, and the water, glass and light of Venice.
‘rapture’ reflects on how the body can be defined and potentiated by sound, with the pavilion speaking of the tensions between harmony and dissonance. if, as the Norwegian experimental composer Arne Nordheim said, ‘music lives in the span between poetry and catastrophe’, the visitor to the Nordic pavilion walks into a sculptural and sonic installation torn between these two ideas, a space between a body in trauma and a body in rapture.
See the trees from the forest and in this case, see the leaves from the tree!
Or risk getting hopelessly lost.
It’s a curious thing, why some Nikon users typically hate other brands such as Canon and especially Sony so much.
Nikon certainly has a much longer history than Sony so many Nikon users are typically long term dyed-in-the-wool fanatics and some of them tend to associate the Nikon brand to their self worth. These people will spread vicious untruths about other brands while obnoxiously defend any less than positive comments about their brand totem, no matter how factual it is. In fact, the Nikon mirrorless Z mount users in gear forums will even turn against Nikon DSLR F mount users, making cannibals look like saints!
Why such extreme cult-like behavior? Psychologically, these people are likely too deep into their brand totem and cannot accept that other brands have caught up or even surpassed their beloved brand with better features, options and performance. To deal with this internal cognitive dissonance, they can only put down the other brands just to assuage their bruised ego, especially when they lacked the means to switch brands.
It’s hence also clear why Nikon Z-ealot influencers don’t express any dislike/falsehoods against Panasonic or Olympus.
The rampant fallacies that these Nikon Z-ealots have perpetuated over the years;
(1) Sony E mount diameter is too small hence it’s not feasible to make fast f1.2 lenses and IBIS effectiveness is limited as the degree the sensor can shift is also limited by the smaller mount. Yet Sony released the FE 50mm f1.2 GM that is smaller, lighter (by 30%) and cheaper than the Z 50mm f1.2 S. The new Sony A7R5 has 8 stops IBIS, which is impossible and fake news if one believes the Nikon Z-ealots.
(2) Sony has terrible color science, Nikon Z-ealots sprouting this falsehood likely either never shoot RAW or have very rudimentary post-processing ability and
(3) Nikon Z lenses are superior because of the large mount. This has been well and truly trashed because the Z lenses mostly tend to be bulkier, heavier and more expensive without really being better!
A recent incident when the mirrorless Sigma 14-24mm f2.8 DN ($1,400) was shown to be matching the performance of Nikon’s Z 14-24mm f2.8 S ($2,500). Nikon Z-ealot influencers expressed extreme consternation and simply resorted to reject the test outright and tried to discredit the test even though none of them have ever used the Sigma. Those who shot Sony or Panasonic already knew how good the Sigma 14-24mm f2.8 DN is as it has been available in E and L mount since 2019. This shows how biased and delusional these Nikon Z-ealot influencers are, they simply chose to think that their brand totem is superior regardless of how good competitive brands are, such biases and delusion really make their overtly enthusiastic opinions of Nikon products utterly suspect.
Nikon mirrorless Z is rather poor value due to their diminishing market share; flic.kr/p/2kUAhdS. It’s little wonder that their Z-ealot influencers are getting increasingly desperate. This fact has been laid bare when Nikon released the rebadged Z 28-75mm f2.8 with a 50% premium based on the Tamron 1st Gen lens and it’s even 33% more expensive than the current Tamron Gen 2 version!
Update
======
Nikon continues to lose market share, contrary to the claims of Nikon Z-ealot fanbois obviously afflicted with severe tunnel vision sprouting misinformation about other brands at every opportunity.
Digital camera 2021 global market share as reported by Japanese Techno System Research;
Canon. … 45.8% (-2.1%)
Sony … 27.0% (+4.9%)
Nikon … 11.3% (-2.4%)
Fujifilm. … 5.9% (+0.3%)
Panasonic … 4.4% (±0.0%)
Source: vdata.nikkei.com/newsgraphics/share-ranking/#/year/latest...
The same report last year had Nikon losing -4.9% market share. www.digitalcameraworld.com/news/camera-market-share-canon...
Over a span of 2 years from 2020 and 2021, Nikon lost nearly 40% of their market share (from 18.6% down to 11.3%) in a declining market, no wonder the Nikon influencers are desperate! Bear in mind that Nikon still has a fair bit of DSLR in their portfolio, if we subtract this. their mirrorless market share is even smaller!
Such a small market share also means a much less active secondary market.
As expected, Nikon influencers are frantically passing around their Kool-aid, claiming silly pseudo Finance theory that market share doesn't affect revenue or profit. Problem with a small market share and especially a fast shrinking one is that the important fixed and semi-fixed costs such as R&D can't be spread out to enough units and this is likely why we see releases like the rebadged Nikon Z 28-75mm f2.8 at a +50% extra premium!
In Nikon's case, less is worse and as per Warren Buffett; Only when the tide goes out do you discover who's been swimming naked!
Cognitive Dissonance.
Tone mapped version of the previous shot in my photostream.
I realise this wont be to everyone's taste. How much PP is too much? How much PP is not enough?
Which do you prefer?
© All my images are copyright. Please respect copyright.
Thank you.
“It's a funny old world - a man's lucky if he gets out of it alive.”
- W. C. Fields
“If you are content with the old world, try to preserve it, it is very sick and cannot hold out much longer. But if you cannot bear to live in everlasting dissonance between your beliefs and your life, thinking one thing and doing another, get out of”
- Leo Nikolaevich Tolstoy
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In God We Trust…buhahaha!
The cryptocracy (illuminati) are manipulating the minds of the masses. They use Revelation of the Method to program the group mind—the collective consciousness. Indeed, humanity must be prepared for the New Luciferian Age. They initiate you into group think—mass formation psychosis. It is a rite of passage in which you acceptance their plans for humanity. Welcome to the group! They use open and subliminal messages in order to condition society. They use their esoteric knowledge (the so-called deep secrets of Satan; Revelation 2:24 NIV) to move you toward their goals. They push society into every nook and cranny of immorality and filth. In the end this immorality dehumanizes society, thus breaking it down. They have dehumanized and killed millions of the unborn. In Canada they have been pushing Medically Assisted Suicides for ever expanding reasons, as they continually decrease the legal age and time limits. The value of life continually decreases. That’s why, when speaking about the (soon coming) Tribulation Period, the Bible says: “I saw the souls of those who had been beheaded because of their testimony about Jesus and because of the word of God.”
The transhumanist tiptoe, the luciferian tiptoe—both will come to fruition under the Antichrist. You will be able to become a super human (a god) when transhumanism is normalized and openly accepted. You will be able to openly live out your lusts when luciferianism is normalized and openly practiced. At that time ritualistic orgies, rape, and human sacrifice will be done out in the public square.
Revelation 9:21 “Furthermore, they did not repent of their murder, sorcery, sexual immorality, and theft.”
Many people will take the Mark of the Beast (like many took the jab), because they have been demoralized. This ritualistic programming leads the public down a predetermined road, with a predetermined outcome; this not only dehumanizes us, but it also demoralizes us. Demoralized people end up being weak cowards. These people try to stay center of the road, as the road moves farther and farther down the road of depravity. This means: center also moves farther down the road—dragging you along with it. These people try to be virtuously nonjudgmental, yet they are immoral. They won’t stand up and speak for the truth, because they might get called a bad name. They don’t want to sacrifice their comfort or reputation to fight for the truth.
James 4:17 “So then, if we do not do the good we know we should do, we are guilty of sin.”
All such people have been unknowingly programmed into these symbolic ritual ceremonies. Yes, indeed! Satan, through the esoteric cryptocracy, has planted his seed, and his harvest is soon ripe.
Matthew 13:25 “But while everyone was sleeping, his enemy came and sowed WEEDS among the wheat, and went away.”
“We can differentiate between types of initiations in two ways: types and functions.”
This is one of the reasons for/functions of initiations:
“It reveals a world open to the trans-human, a world that, in our philosophical terminology, we should call transcendental.” (Wikipedia: Initiation; read what it says under the subtitle: Psychological)
One day you will be initiated (baptized) into transhumanism (the Beast—666).
When Jesus Christ returns, He will say, “Collect the WEEDS and tie them in bundles to be burned; then gather the wheat and bring it into my barn.”
BTW Covid was an initiation into the Great Reset, and the Great Reset (Build Back Better) is a transitioning into the New World Order—2030: you’ll own nothing, and you’ll be happy (Just think: a nuclear war would fast track their Great Reset agenda). Do you see how covid has charged society thus far? The authoritarian tiptoe! Look at what’s currently happening in China. Do you get it? Do you choose to see it, or do you turn a blind eye and willfully fall into the trap of ritualistic cognitive dissonance (evil)?
Evil gains more of a foothold as wickedness increases, thus normalizing it.
Truth and freedom go hand in hand: if you lose one, you lose the other.
Authoritarianism thrives on lies and control.
If we trust in God, we will walk in His light.
John 8:12 “Then Jesus spoke to them again, saying, ‘I am the light of the world! The one who follows me will never walk in darkness, but will have the light of life.’”
In God we trust?
I came to Moscow for a short stay. I keep writing that I had to leave Moscow because there was a risk of arrest. I was already arrested once—just for twelve days—for my political position, and after that the police often checked on me. I had to leave. But in Moscow I have my son, my mother, my brother with cancer, my nephews, and my husband. I cannot avoid coming here.
Yes, I have a second phone that I use when crossing the border. I stopped posting anything on social media condemning the war. Yes, I am afraid. And I feel shame that I cannot influence the situation. At the same time, I understand that people living under a dictatorship cannot overthrow the dictator. No one has invented factories for disposing of dictators yet. History shows that overthrowing a dictator is basically impossible. Only time can help.
At the same time, I feel good in Moscow because my loved ones are nearby. I don’t miss Israel yet. I consider my experience of emigration very valuable. I think it is possible at the same time to:
— hate the war and feel ashamed that it continues
— and still feel alive, composed, and “in my place” in Moscow.
I am also aware that I could be arrested here at any time. The chance is small, but the repressive machinery in Russia is running at full speed. Many arrests, many people in prison. But I hope I’ll get through it.
Moscow is beautiful. There are many tourists from Arab countries and China. There is a certain dissonance in this. And as a photographer and journalist, I keep taking pictures. Who will judge me?
"Świat ma tylko dwa piętra"
(Eng. The World Is Just Two Stories Tall)
/second interpretation/
inspired by the poem "Dissonance" of H. Poświatowska
English translation by Marek Lugowski
---
świat jest taki mały
świat ma tylko dwa piętra
na wyższym jesteś tylko ty
oddychasz ciężko
obok stoi wieczność
ciemna
mozolnie po schodach
idę w długiej koszuli
ocieram usta
ciepłą wilgotną ręką
zakrywam usta
za mną
idzie wieczność
obydwie
stajemy pod twoimi drzwiami
z czołem opartym
bezgłose
jak rozpięty na strunie krzyk
łapczywie chwytamy oddech
liczymy raz... dwa... trzy...
świat ma tylko dwa piętra
tyko dwa
nieduże
z krążącymi gwiazdami świat
-- -- -- -- -- -- -- -- -- -- -- -- -- --
dlaczego tak trudno umrzeć?
---
the world is so small
the world is just two stories tall
you are on the upper one
you breathe heavily
nearby stands eternity
dark
I take the steps laboriously
walking in a long shirt
I wipe off my mouth
with a warm damp hand
I cover my mouth
behind me
walks eternity
we both
pause at your door
with foreheads leaning
voiceless
like a scream tent-pitched on a steel string
we greedily catch our breath
counting one... two... three...
the world is just two stories tall
just two
pretty tiny
a world with stars circling
-- -- -- -- -- -- -- -- -- -- -- -- -- --
why is dying so hard?
---
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My photographs do not belong to the public domain.
© All rights reserved
A phantom dissonance;
The quiet storm erupts the eminence...
Of sickness born
A hopeless scenario of apathy unleashed,
A dreadful travesty captured and revealed...
Shown under a cloak of loud indifference,
Where the human stain kisses the pestilence
Jan Garbarek (born 4 March 1947) is a Norwegian jazz saxophonist, who is also active in classical music and world music.
Garbarek's style incorporates a sharp-edged tone, long, keening, sustained notes, and generous use of silence. He began his recording career in the late 1960s, notably featuring on recordings by the American jazz composer George Russell (such as Electronic Sonata for Souls Loved by Nature). By 1973 he had turned his back on the harsh dissonances of avant-garde jazz, retaining only his tone from his previous approach. Garbarek gained wider recognition through his work with pianist Keith Jarrett's European Quartet which released the albums Belonging (1974), My Song (1977) and the live recordings Personal Mountains (1979), and Nude Ants (1979). He was also a featured soloist on Jarrett's orchestral works Luminessence (1974) and Arbour Zena (1975).
Soothing color scheme; quiet ripples in a bay; nature at work in a tidal zone; sunlit trees; modern architectural aesthetic; a rustic shed; a spot of bright red at a rule-of-thirds crossing; and the central geometric form playing Cubist or Escher-like tricks with 3D space in the picture plane .... What's not to like?
False Creek, Vancouver BC.
_9550P
Cognitive dissonance on an oxygen tank: Yes, Technically, O₂ is non-flammable. Still, it is a huge fire risk.
A true paradox: A seeming contraticrion between non-flammable and fire hazard.
One of very few cases, where 'inflammable' might be a good wording.
Crack in the Wall. © Copyright 2022 G Dan Mitchell.
A matrix of cracks in a very old cement wall.
Special Note: Patty and I are presenting a Silicon Valley Open Studios event on May 21 and 22. Look us up (Dan | Patty) or contact us for information. Visit us and see our prints!
This is (yet another!) photograph of a subject that was not my primary target when I went out to make pictures. That seems to be a theme recently. To recap, when I go to photograph some particular subject, I keep my eyes open for other subjects that may be lurking nearby. There’s almost always something else interesting in the vicinity waiting to be discovered.
We were photographing spring flowers at an extensive public garden surrounding a historic mansion. We entered, following our usual path along a walkway that skirts the perimeter of a large semi-enclosed area. Stairs led me into this place, and as I poked around I became interested in the weathering of the old concrete wall — now covered by moss in places and filled with cracks. Among other things, I was intrigued by the dissonance between the nearly random form of the crack and the linear interruption of the horizontal edge.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
Strobist: 580exII to the right of camera on light stand sticking out of window and aimed back through blinds. WL1600 in strip bank left of camera. Both triggered via pocket wizards.
Today marks the 17th anniversary of Final Fantasy X. So the game is now just as old as Tidus and Yuna are when they embark on their journey to save Spira.
This build has been a passion project of mine for quite some time now. In fact, ever since I first played with LEGO as a kid I wanted to build a dragon. Because dragons are just friggin awesome :D
Additionally I always wanted to build something from Final Fantasy and especially something from FFX. The world of Spira is doomed and depressed and yet all its characters and creatures are colourful and magical. Something about this dissonance resonates with me, which is one of the reasons why I love the designs of FFX so much. And none of the creatures in the Final Fantasy universe is as well-known and beloved as the mighty Bahamut.
The FFX version of Bahamut is particularly unique. He has four wings instead of two and the bright colours and the gold give a nice contrast to his dark blue body.
I've known for years that this is the version of Bahamut I want to recreate and I am very excited to finally be able to show him.
Because the colours used for him are completely different than the ones I used in my MOCs before, I first collected different shades to find the right ones. Becoming familiar with the purple and gold and learning their limitations took quite a long time. I built a few prototypes for his head over the years and in November last year I had the feeling I found the right one.
So I printed out a picture of the body to scale to my LEGO head and immediately realised that this MOC would be much bigger than I initially thought :D
In fact: This became my biggest built so far with more than 10.000 LEGO bricks used. He is over 0,6 meters high and has a wingspan of almost 1 meter.
Also, he is entirely built with only LEGO bricks.
I worked on him for the past 6 months, which is why I only managed to make a few other small builds in that time.
I hope it was worth the wait and you guys enjoy the result! :)
How dies the Serpent? He has eaten - and lives,
And knows, and speaks, and reasons, and discerns,
Irrational till then. For us alone
Was death invented.
Image inspired by Mussorgsky's music "Pictures at an Exhibition"
I came to Moscow for a short stay. I keep writing that I had to leave Moscow because there was a risk of arrest. I was already arrested once—just for twelve days—for my political position, and after that the police often checked on me. I had to leave. But in Moscow I have my son, my mother, my brother with cancer, my nephews, and my husband. I cannot avoid coming here.
Yes, I have a second phone that I use when crossing the border. I stopped posting anything on social media condemning the war. Yes, I am afraid. And I feel shame that I cannot influence the situation. At the same time, I understand that people living under a dictatorship cannot overthrow the dictator. No one has invented factories for disposing of dictators yet. History shows that overthrowing a dictator is basically impossible. Only time can help.
At the same time, I feel good in Moscow because my loved ones are nearby. I don’t miss Israel yet. I consider my experience of emigration very valuable. I think it is possible at the same time to:
— hate the war and feel ashamed that it continues
— and still feel alive, composed, and “in my place” in Moscow.
I am also aware that I could be arrested here at any time. The chance is small, but the repressive machinery in Russia is running at full speed. Many arrests, many people in prison. But I hope I’ll get through it.
Moscow is beautiful. There are many tourists from Arab countries and China. There is a certain dissonance in this. And as a photographer and journalist, I keep taking pictures. Who will judge me?
Tune in to find my peace and solitude
These empty rooms spin, and I embrace the flaws of being human
The black and white... and sometimes the greys that stay for days
The in between times
The meantimes that make this song of life sing
Play, rest, repeat, read exactly what is written on the sheet
"Don't deviate," they say
But I will play what's best for me
I'll press the keys and pull the strings
Create a symphony that's mine
And I'll spend my life penning my song, my song
And the verses I write will speak for me
Good girls don't make history
So I may never be what you assume
Don't want your hooks or auto-tune
If I'm off-key then that's alright with me
Oh and maybe you will learn this when I'm gone
My song will carry on
Let go
I let my voice be heard, then listen for the echo
My own reverb is playing
Cause I'm a movement
There's dissonance, sometimes I make mistakes
Oh I'm human after all, I'm not your expectations
But play, rest, repeat, that's what they ask of me
Just stick to this melody and stay between the lines
But I'll play what's best for me
I'll ring the bells and crash the symbols
My harmonious design
And I'll spend my life penning my song, my song
And the verse I write will speak for me
Good girls don't make history
So I may never be what you assume
Don't want your hooks or auto-tune
If I'm off-key then that's alright with me
Oh and maybe you will learn this when I'm gone
My song will carry on
In my time here, I wanna be revered and remembered
Oh let them say I came, I conquered
So I won't fear and I can't blend in
You can't replace me and you cannot erase me
Cause my song will live on beyond time
And I'll spend my life penning my song, my song
And the verses I write will speak for me
Good girls don't make history
So I may never be what you assume
Don't want your hooks or auto-tune
If I'm off-key then that's alright with me
Oh and maybe you will learn this when I'm gone
My song will carry on
And I'll spend my life penning my song, my song
And the verse I write will speak for me
Good girls don't make history
So I may never be what you assume
Don't want your hooks or auto-tune
If I'm off-key then that's alright with me
Oh and maybe you will learn this when I'm gone
My song will carry on