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A very gloomy day today - after a couple of weeks of beautiful weather, it is back to reality (i.e. clouds, rain, humidity etc.). I do not really mind rain - in fact, I am quite glad it is raining, beacuse I will not need to water plants on the balcony (yay!) - but I hate the greyness that (sometimes) comes with it. I feel deflated. And I get a bit sad, especially when thinking of my friends in Poland, with whom I do not keep in touch as much as I would like to. I used to be really close with them and now I feel more and more disconnected from their lives. Like I somehow stop existing for them. I guess it works both ways, but it is more intense for me (I am here 'alone' and they are there together).
Well, that is the price you pay for your life choices.
Found this on Elk Head, an outcropping of rock at the end of a bluff in Trinidad. It was all the way up to the edge of the rock and clearly got hit with spray pretty frequently, yet managed to stay alive somehow. Not usually a fan of Hasselblad style square crops, but it was the only thing that really worked with this shot. Anyway, I liked it.
The city of Barcelona must have received the light of Christian faith very early on. The martyrdoms of Saint Eulalia and Saint Cucuphas during the Diocletianic Persecution bear witness to the existence of Christians in Barcelona at least by the late 3rd and early 4th centuries.
Unfortunately, we have no historically proven records of the ecclesiastical organization of our dioceses until 343, when Bishop Praetextatus of Barcelona and another five bishops of Hispania attended the Council of Sardica to ratify the provisions set forth in the Ecumenical Council of Nicea (325) as to the divinity of Jesus Christ.
Certain solidly grounded conjectures lead us to believe that Barcelona already had an Episcopal temple or Cathedral at that time, which would be used soon thereafter for pastoral ministry by other key bishops of our diocese: Saint Pacian (390), Lampius (400), Nundinarius (461), Nebridius (540), Ugne (599), Severus (633), Quiricus (656), Idalici (688), Laülf (693), Frodoí (890), etc. In the year 599 our Cathedral appears in a document dedicating it to the Holy Cross (Second Council of Barcelona).
Recent excavations of the substrata of the Carrer dels Comtes of Barcelona (which currently runs along the Eastern wall of the Cathedral) brought to light a building comprising three naves separated by two series of white marble columns. This undoubtedly identifies with the paleo-Christian basilica constructed in the 4th century and ennobled by subsequent bishops over seven centuries despite the difficulties caused by the Arian fight.
That early basilica solemnly housed the relics of Saint Eulalia in one of its chapels, hidden to avoid profanation by the Arab invaders of our peninsula (711). In 877 they were miraculously discovered at the temple of Santa María de les Arenes (or Santa María del Mar).
The primitive Cathedral, profoundly affected when the Arab chieftain Almanzor burned and destroyed the city, remained standing until 1046, when the Count of Barcelona, Ramon Berenguer the Old and his wife Almodis, together with Bishop Guislabert, commenced construction of another Cathedral, called the Romanesque Cathedral. That second Cathedral was consecrated o sn 18 November 1058 by the Archbishop Wilfred of Narbonne.
The Gothic Cathedral we have today was built on the foundations of the primitive paleo-Christian basilica and the subsequent Romanesque Cathedral. Construction commenced on 1 May 1298 during the mandate of Bishop Bernardo Pelegrí and the reign of King James II of Aragon, the Just, and was virtually completed by the mid-15th century, under the mandate of Bishop Francisco Clemente Sapera and the rule of King Alfonso V of Aragon.
Three distinct periods can be defined within the 150 years of construction: in the first, the building was planned and the apse and radial chapels were built, as were the presbytery - with its altar and crypt- and the pseudo transept; afterward, the three naves, with their respective lateral chapels, were extended back to the choir; finally, construction of the basilica continued to the façade, which was later closed with a simple wall (1417). The Cloister was finished in 1448.
At the end of the 19th century, the Barcelona industrialist Manuel Girona Agrafel offered to undertake the work on the façade and on the two side towers, in keeping with the plans drawn up by the architect Josep O. Mestres and inspired by the initial 15th-century project. Mr Girona's children finalized their father's work in 1913 on completion of the cimborio.
The parish came into existence following the decision of the Diocesan Council, in the fall of 1998, following the repeated insistence of the faithful from the Drumul Taberei neighborhood, who were disappointed by the lack of places of worship in this neighborhood.
Thus, at the initiative of the priest Nicolae Burlan, a disassembled wooden church was brought from the Vicovul de Jos commune in Suceava county and reassembled on a plot of land belonging to the Ministry of National Defense located in Brașov Street, no. 21C, sector 6.
Later, interventions were made at the City Hall of the Capital, which ceded a 3000 square meter plot of land for the purpose of building a church and which was given in exchange to the Ministry of National Defense for the equivalent area on which the wooden church is already located.
The wooden church was consecrated by His Holiness Teodosie Snagoveanul, Vicar Bishop of the Archdiocese of Bucharest at that time, on July 26, 1998.
The shrine of the church is Saint Pious Parascheva, (in Greek "paraschevi" means "Friday") whom Orthodox Christianity celebrates on October 14 and whose Holy Relics are in the Metropolitan Cathedral of Iași.
Since the wooden church proved inadequate for the more than 1,000 believers from various neighborhoods who regularly participate in the Holy services, the decision was made to build a brick church, of larger dimensions absolutely necessary for a neighborhood like Drumul Taberei.
The plan of the new church belonging to the architect Florin Bucur Crăciun is in the form of an inscribed Greek cross.
From an architectural point of view, it fits into the style prefigured by the churches "Sfânta Sofia" in Constantinople and "Sfântul Nicolae Domnesc" in Curtea de Argeș.
A large central hemispherical dome dominates the spatial composition of the edifice.
A wide porch with six free and two engaged columns precedes the entrance.
Access to the church is through a portal with an arched frame, made of finely carved stone.
The vault is made up of 25 semi-arches, resting at the ends on two metal caisson rings, with other intermediate rings unfolding between them.
The covering of the altar, similar to the apses of the proscomidiary and the diaconicon, is made by a cone connected to a semi-cylinder.
On the opposite side, on the first floor, there is the cage which is accessed by stairs placed inside, in the northwest and southwest corners of the building, which also lead to the two balconies.
A Gandhi stencil in preparation in my workshop.
flickr.com/groups/constructingcoexistence/
Picture by Olivier Horen :
Existence of four letter words in the genetic code that controls the makeup and amount of all proteins, ultimately affecting the cell's ability to divide, was first demonstrated conclusively by Dr. Yourno and his colleagues.
c.1973
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les Beechnois sans doute parmi les plus anciens défenseurs de la nature sont prêts à sacrifier leur existence pour se porter au secours d'un animal en danger
The two Kurdish women started their Existence March from Norway to Turkey. They walk out of solidarity to civilians suffering by the wars in the Middle East and want to solve these conflicts peacefully.
I spend forty hours every week of my life at this work station. I consider my work desk as my dog house and the telephone as my leash. My cubical plays a role of my existence. I used window and florescence lighting.
The egoic mind is completely conditioned by the past. One of the most basic mind structures through which the ego comes into existence is identification.
When I was seeing people as a counselor and spiritual teacher, I would visit a woman twice a week whose body was riddled with cancer. She was a schoolteacher in her midforties and had been given no more than a few months to live by her doctors.
Sometimes a few words were spoken during those visits, but mostly we would sit together in silence, and as we did, she had her first glimpses of the stillness within her self that she never knew existed during her busy life as a schoolteacher.
One day, however, I arrived to find her in a state of great distress and anger. “ What happened?” I asked. Her diamond ring, of great monetary as well as sentimental value, had disappeared, and she was sure it had been stolen by the woman who came to look after her for a few hours everyday. She said she didn’t understand how anybody could be so callous and heartless as to do this to her. She asked me whether she should confront the woman or whether it would be better to call the police immediately. I said I couldn’t tell her what to do, but asked her to find out how important a ring or anything else was at this point in her life. “ You don’t understand”, she said. “ This was my grandmother’s ring. I used to wear it every day until I got ill and my hands became too swollen. It’s more than just a ring to me. How can I not be upset?”
The quickness of her response and the anger and defensiveness in her voice were indications that she had not yet become present enough to look within and to disentangle her reaction from the event and observe them both. Her anger and defensiveness were signs that the ego was still speaking through her. I said, “ I am going to ask you a few questions, but instead of answering them now, see if you can find the answers within you. I will pause briefly after each question. When an answer comes, it may not necessarily come in the form of words. “ She said she was ready to listen. I asked: “ Do you realize that you will have to let go of the ring at some point, perhaps quite soon? How much more time do you need before you will be ready to let go of it? Will you become less when you let go of it? Has who you are become diminished by the loss?” There were a few minutes of silence after the last question.
When she started speaking again, there was a smile on her face, and she seemed at peace. “ The last question made me realize something important. First I went to my mind for an answer and my mind said, ‘Yes, of course you have been diminished’. Then I asked myself the question again, ‘ Has who I am become diminished?’ This time I tried to feel rather than think the answer. And suddenly I could feel my I Am-ness. I have never felt that before. If I can feel the I Am so strongly, the who I am hasn’t been diminished at all. I can still feel it now, something peaceful but very alive”.
“ That is the joy of Being” I said. “ You can only feel it when you get out of your head. Being must be felt. It can’t be thought. The ego doesn’t know about it because thought is what it consists of. The ring was really in your head as a thought that you confused with the sense of I am. You thought the I Am or a part of it was in the ring.
“ Whatever the ego seeks and gets attached to are substitutes for the Being that it cannot feel. You can value and care for things, but whenever you get attached to them, you will know it’s the ego. And you are never really attached to a thing but to a thought that has ‘I’, ‘me’, or ‘mine’ in it. Whenever you completely accept a loss, you go beyond ego, and who you are, the I Am which is consciousness itself, emerges”.
She said, “ Now I understand something Jesus said that never made much sense to me before: “ If someone takes your shirt, let him have your coat as well’”.
“ That’s right’, I said. It doesn´t mean you should never lock your door. All it means is that sometimes letting things go is an act of far greater power than defending or hanging on”.
In the last few weeks of her life as her body became weaker, she became more and more radiant, as if light were shining through her. She gave many of her possessions away, some to the woman she tought had stolen the ring, and with each thing she gave away, her joy deepened. When her mother called me to let me know she had passed away, she also mentioned that after her death they found her ring in the medicine cabinet in the bathroom. Did the woman return the ring, or had it been there all the time? Nobody will ever know. One thing we do know: Life will give you whatever experience is most helpful for the evolution of your consciousness. How do you know this is the experience you need? Because this is the experience you are having at this moment.
( Eckhart Tolle)
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Loretta Quinn
Bronze sculpture on granite plinth, 1993
Cnr Swanston St & Flinders La (Melway ref. 2F, G5)
Born in Hobart, Loretta Quinn studied sculpture at the Tasmanian School of Art and the Victorian College of the Arts. The City of Melbourne commissioned Quinn to create Beyond the Ocean of Existence as part of the Swanston Walk redevelopment in 1992; the sculpture was unveiled the following year. The city also commissioned Quinn’s Within Three Worlds, located in Princes Park.
Beyond the Ocean of Existence demonstrates Quinn’s reflective approach, and it is a work replete with religious references. There is a sense of ‘folk religion’ in much of her art, and whether the symbols derive from the mystery of a Latin mass or the animist universe, a Celtic myth or a Japanese garden, she says they are ‘visual references to which others will relate’.
A patinated bronze sculpture, Beyond the Ocean of Existence comprises a single large ball surrounded by eight bronze coils. A series of smaller balls and lengths of column, both triangular and circular in cross-section, surmount these coils. At the sculpture’s top is a stylised angel. The work is a mounted on a granite plinth of dressed and polished blocks.
Photograph by Louis Porter
157/365 6/8/2015
For some reason the letter "I" was omitted from this embroidered alphabet. If the letter I does not exist then do I exist? An existential question.
iPhone 4S processed with VSCOcam with a5 preset.
The record on the existence of Košice dating from 1230 in connected with that on the existence of the rectory church. In the process of the settlement's transformation from a rural community into a town, all its periods of success and failures had been reflected on St. Elizabeth's Cathedral. According to historic data the present-day cathedral was built on the site of an edifice of older date which was consecrated to St. Elisabeth as well. It was referred to in the document of Pope Martin V of the year 1283 and in the letter of 1290, which stated that Eger bishop Andrew II exempted Košice parish from the dean's sphere of jurisdiction.
This medieval monument was built in the High Gothic style between 1378 and 1508 in several stages on the site of a parish church that burned down in 1370, in memory of Saint Elisabeth of Hungary, the patrona of all armed mercenaries and also Portugal.
The cathedral was often damaged by calamities (1556) and underwent numerous restorations. The most extensive restoration works took place in the years 1877-1896 by the drafts of Imre Steindl. The northern tower was completed in 1775, while the southern, Matthias tower in 1904. During the last phase of the restoration a crypt was built under the northern nave of the cathedral. In 1906 the remains of Francis II Rákóczi and his friends from Rodosto were buried there.
This gorgeous little house has ceased to be. Plowed under in the name of progress. We remember.
Process notes:
Three passes during scanning. One produced an image with only highlight information and just a small amount of midtone detail. This image looked very dark. Second image was for midtones. Highlights were completely blown out in this image and also no shadow detail. The third image was made to show only shadow detail. This was a very bright image, with no details in the highlights at all.
Arranged as layers in Photoshop, Highlight image on top, Multiply 50% opacity. Shadow image in the middle, Multiply 75% opacity. Midtone image on bottom, Normal 100% opacity.
I used a Levels layer on top of all of that to make final adjustments to the overall dark levels.