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Can't You See? by Mark A Lewis Photography

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www.markalewisphotography.com

erlage at ARTZUID 2025 Amsterdam

The 9th edition of the Amsterdam Sculpture Biennale ARTZUID takes place from 21 May to 21 September 2025. On Apollolaan and Minervalaan in Amsterdam-Zuid, 70 outdoor sculptures are being showcased of renowned artists and young talented artists.

This exhibition draws from top international artists and Dutch talent for the selection of sculptures and installations that can be seen this summer in Amsterdam. ARTZUID transforms the exhibition location into a surreal urban landscape in which figurative sculptures alternate with architectonic installations. They show a great variety in format and material. What unites them is their focus on the enigma of human existence; the wonder, the emotions and visions of being, the ambitions and fears about our place in the world. Artists such as Leiko Ikemura, Alicja Kwade and Neo Rauch invite the visitor to an exchange of thoughts about this, in a sensual conversation with the sculptures. Displayed is the upheaval of occupation, the fear of war and the spirit of resistance in the contributions of artists such as Magdalena Abakanowicz, Shinkichi Tajiri and Armando. Atelier van Lieshout refers to power and impotence, struggle and victimhood, in a group of figures around a rider on horseback. On the trail of ARTZUID this work is connected to the Indonesia-Netherland Monument on Apollolaan. These are just a few examples of the more than 60 works that populate ARTZUID. The architectural works by often young artists have a commitment and idealism reminiscent of architect H.P. Berlage and urban sculptor Hildo Krop. Both having been instrumental in developing the urban design of the neighbourhood home to ARTZUID. They stimulate visitors to think about the future of the urban community and seek answers to the question of what strategies are needed to create a sustainable and peaceful society

Participating artists ARTZUID 2025

Adam Colton (NL/GB), Arlene Shechet (USA), Art van Triest (NL), Atelier van Lieshout (NL), Alicja Kwade (PL), Armando (NL), Bart Lunenburg (NL), Bastienne Kramer (NL), Britte Koolen (NL), Carin Scholten (NL), Chris Peterson (NL), Cristobal Gabarron (ES), David Bade (CW), David Nash (GB), Erik Buijs (NL), Eiji Watanabe (JP), Esther Jiskoot (NL), Fiona Römpp (NL), Gavin Turk (GB), Helen Vergouwen (NL), Herbert Nouwens (NL) Henk Visch (NL), Hieke Luik (NL), Huub en Adelheid Kortekaas (NL), Isa van Lier (NL), Ilse Oelbers (NL), Iris Le Rütte (NL), Ivan Cremer (NL), Jaume Plensa (ES), Jean-Marie Appriou (FR), Katleen Vinck (BE), Klaas Gubbels (NL), Laura Schurink (NL), Leilah Babirye (USA), Lina Iris Viktor (USA), Leiko Ikemura (JP), Lotta Blokker (NL), Louise Schouwenberg (NL), Maja van Hall (NL), Marcel Pinas (SR), Maen Florin (BE), Magdalena Abakanowicz (PL), Marte Röling (NL), Marieke Bolhuis (NL), Margot Berkman (NL), Marion Verboom (FR), Micky Hoogendijk (NL), Nadia Naveau (BE), Natasja Alers (NL), Nel van Lith (NL), Nelson Carrilho (NL), Neo Rauch (DE), Paloma Varga Weisz (DE), Paul Goede (NL), Rachel Harrison (USA), Ricardo van Eyk (NL), Rob Schreefel (NL), Rob Voerman (NL), Ronald Westerhuis (NL),Ruud Kuijer (NL), Shinkichi Tajiri (USA), Sjef Voets (NL), Sokari Douglas Camp (GB), Stefan Rinck (DE), Tirzo Martha (CW), Tschabalala Self (USA), Tal R (DEN), Tony Cragg (GB), Wjm Kok (NL), Wouter van der Giessen (NL), Xavier Veilhan (FR), Yoshitomo Nara (JP)

Zipe #idealism by IDEALISM

Giulio Monteverde: Idealità e materialismo by dese

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Galleria Nazionale d'Arte Moderna.

_DSC9943-2 by Hans Jan Dürr

ARTZUID 2025 Amsterdam

Bread for the Future. Coöperatieve Productie- en Verbruiksvereeniging 'De Toekomst', Taco Mesdagplein 7, Groningen, The Netherlands by Rana Pipiens

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In August 1888 Ferdinand Jacobus Domela Nieuwenhuis (1846-1919), famous Dutch socialist politician, social anarchist and anti-militarist, in Groningen inaugurated the Cooperative Socialist Union 'De Toekomst' (=the Future). The original building was soon too small and a new one was commissioned for the Taco Mesdagplein where it arose in 1913. 'De Toekomst' was primarily a bakers' organisation (groninganus.wordpress.com/2008/07/07/de-toekomst-taco-mes...).

The set of sculpted figures gracing the gateway is by Arie Marinus van der Lee (1872-1959). It portrays social idealism. The two main figures symbolise (left) agriculture with a spade and (right) industry with a sledgehammer. The over-arching frieze shows the idealised world of socialist utopia with centrally two men clasping hands over a rising Sun.

calm. fitter. happier. more productive. by Livia Valentina Patta

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Fitter, happier, more productive, comfortable, not drinking too much

Regular exercise at the gym, 3 days a week

Getting on better with your associate employee contemporaries at ease

Eating well, no more microwave dinners and saturated fats

A patient better driver, a safer car, baby smiling in back seat

Sleeping well, no bad dreams, no paranoia

Careful to all animals, never washing spiders down the plughole

Keep in contact with old friends, enjoy a drink now and then

Will frequently check credit at moral bank, hole in wall

Favors for favors, fond but not in love

Charity standing orders on sundays ring road supermarket

No killing moths or putting boiling water on the ants

Car wash, also on sundays, no longer afraid of the dark or midday shadows

Nothing so ridiculously teenage and desperate nothing so childish

At a better pace, slower and more calculated, no chance of escape

Now self-employed, concerned, but powerless

An empowered and informed member of society, pragmatism not idealism

Will not cry in public, less chance of illness, tires that grip in the wet

Shot of baby strapped in back seat, a good memory still cries at a good film

Still kisses with saliva, no longer empty and frantic like a cat tied to a stick

Thats driven into frozen winter shit, the ability to laugh at weakness

Calm fitter, healthier and more productive a pig in a cage on antibiotics

Radiohead - Fitter Happier

sailing: it's all in the name by A n t o i n e t t e

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INTERESTING from Wikipedia:

"When first published, Don Quixote

was usually interpreted as a comic novel.

After the French Revolution, it was popular for its central ethic

that individuals can be right while society is quite wrong

and seen as disenchanting.

In the 19th century, it was seen as a social commentary,

but no one could easily tell "whose side Cervantes was on".

Many critics came to view the work as a tragedy in which

Don Quixote's idealism and nobility

are viewed by the post-chivalric world as insane,

and are defeated and rendered useless by common reality.

By the 20th century, the novel had come to occupy a canonical space as one of the foundations of modern literature."

ALSO from Wikipedia:

"Edith Grossman,

who wrote and published a highly acclaimed

English translation of the novel in 2003,

says that the book is mostly meant to move people into emotion using a systematic change of course,

on the verge of both tragedy and comedy at the same time.

The question is that Quixote has multiple interpretations
and how do I deal with that in my translation.
I'm going to answer your question by avoiding it, so when I first started reading the Quixote I thought it was the most tragic book in the world, and I would read it and weep.

As I grew older my skin grew thicker and so when I was working on the translation I was actually sitting at my computer and laughing out loud.

This is done as Cervantes did it by never letting the reader rest.

You are never certain that you truly got it. Because as soon as you think you understand something, Cervantes introduces something that contradicts your premise."

hmmmmm....what do you think!?!

Sounds like Cervanates and that guy in the White House

might have something in common!!!!!!!!!

Paul Robeson by Truus, Bob & Jan too!

British postcard. in the Picturegoer Series, London Films, no. 1049. Photo: London Films. Publicity still for Sanders of the River (Zoltan Korda, 1935).

Paul Robeson (1898-1976) was a handsome, eloquent, and highly charismatic actor and singer, who became one of the foremost interpreters of Eugene O'Neill's plays and one of the most treasured names in song during the first half of the twentieth century. With his powerful bass singing voice, Robeson made an evergreen of the song 'Old Man River'. He starred in The Emperor Jones (1933), the first film to feature an African American in a starring role. At the height of his popularity in the 1930s, Robeson became a major box office attraction in British films. In the USA, he courted disdain and public controversy for most of his career as a staunch Cold War-era advocate for human rights, as well as his very vocal support for Joseph Stalin and the Soviet invasion of Hungary in 1956. While the backlash of his civil rights activities and left-wing ideology left him embittered and practically ruined his career, he remains today a durable symbol of racial pride and consciousness.

Paul LeRoy Bustill Robeson was born in Princeton, New Jersey, in 1898. His siblings were William, Benjamin, Reeve, and Marian Robeson. Their father, William Drew Robeson, was a humble Presbyterian minister and former slave. In 1900, a disagreement between William and white financial supporters of the Witherspoon church arose with apparent racial undertones. William, who had the support of his entirely black congregation, resigned in 1901. The loss of his position forced him to work menial jobs. The young, impressionable Paul grew up singing spirituals in his father's church. He was only six when he and his four siblings, William, Benjamin, Reeve, Marian, lost their mother, Maria Louisa Bustill, a schoolteacher. She was nearly blind and died in a stove fire accident at home. His father then raised the family singlehandedly. Paul was a natural athlete and the tall, strapping high school fullback had no trouble earning a scholarship to prestigious Rutgers University in 1915. At the age of 17, he became only the third member of his race to be admitted at the time. He excelled in football, baseball, basketball, and track, and field, and was the class valedictorian. In his speech, he was already preaching idealism. Paul subsequently played professional football to earn money while attending Columbia University's law school, and also took part in amateur dramatics. During this time he met and married Eslanda Cardozo Goode in 1921. She eventually became his personal assistant. Following graduation, he obtained work at a New York law firm, but quit when a stenographer refused to copy a memo, telling him, "I never take diction from a n*****." His wife persuaded him to play Simon in Ridgely Torrence's 'Simon the Cyrenian' at the Harlem YMCA in 1921. This was followed by his Broadway debut the following year as Jim in Mary Hoyt Wiborg's play 'Taboo', a drama set in Africa, which also went to London. As a result, he was asked to join the Provincetown Players, a Greenwich Village theatre group that included in its membership playwright Eugene O'Neill. Gary Brumburgh at IMDb: "O'Neill personally asked Paul to star in his plays 'All God's Chillun Got Wings' and 'The Emperor Jones' in 1924. The reaction from both critics and audiences alike was electrifying...an actor was born." In 1925, he sang the first concert recital consisting solely of black spirituals, at the Greenwich Village Theatre in New York. That year, he also made his film debut starring in Body and Soul (Oscar Micheaux, 1925). Gary Brumburgh: "a rather murky melodrama that nevertheless was ahead of its time in its depictions of black characters. Although Robeson played a scurrilous, corrupt clergyman who takes advantage of his own people, his dynamic personality managed to shine through." Radio and recordings helped spread his name across foreign waters. His resonant bass was a major highlight in the London production of Jerome Kern's and Oscar Hammerstein II's 'Show Boat'. The role of Joe, the deckhand, was written for him, but because of schedule conflicts and Florenz Ziegfeld Jr.'s delay in putting on the show, he had been unable to star in the first stage production but played the role in London five months later. His rendition of "Ol' Man River" became the benchmark for all future performers of the song. In 1928, he made the second-ever recording of 'Ol' Man River'. (Bing Crosby did the first). Show Boat continued for 350 performances. At the time no U.S. company would hire Robeson and so, he remained in London to play the role of William Shakespeare's 'Othello' in 1930. Paul caused a slight stir by co-starring opposite a white actress, Peggy Ashcroft, who played Desdemona. After his wife Essie discovered Robeson had been having an affair with Ashcroft, she decided to seek a divorce and they split up. Around this time Robeson starred in the film Borderline (Kenneth MacPherson, 1930), a silent film that dealt strongly with racial themes. Stephen Bourne at BFI Screen-on-Line: "Black characters in American cinema of the period rarely moved beyond Al Jolson in blackface, or the dim-witted buffoons played by comedy actors like Stepin Fetchit. For the ambitious Robeson, there were hardly any opportunities to play challenging roles." In 1931, he returned to the stage in the O'Neill play 'The Hairy Ape'. The following year he appeared in a Broadway revival of 'Show Boat' again as Joe, to critical and popular acclaim. In the same production, Helen Morgan repeated her original 1927 performance as the half-caste role of Julie, but the white actress Tess Gardella played the role of Queenie in her customary blackface opposite Robeson. In 1932, Ashcroft and Robeson's relationship ended. Robeson and Essie reconciled, although their relationship was scarred permanently.

Throughout the 1930s, Paul Robeson spent most of his time singing and performing in England. He also was given the opportunity to recapture two of his greatest stage successes on film: The Emperor Jones (Dudley Murphy, 1933) and Show Boat (James Whale, 1936), with Irene Dunne, Helen Morgan, and Hattie McDaniel. His performance of 'Old Man River' in this film version of Show Boat became legendary, both for its quality and for Robeson’s purposeful changing of the lyrics "I'm tired of livin' and 'feared of dyin’" to the more activist "I must keep fightin' until I'm dying". In Britain, he played Bosambo in Sanders of the River (Zoltan Korda, 1935), which he felt would render a realistic view of colonial African culture. It made Robeson an international film star. Stephen Bourne: "When Robeson became a major star in British films in the mid-1930s, he negotiated for roles that projected a positive image of a black man, roles that broke away from one-dimensional and offensive racial stereotypes. But he often found himself in conflict with an industry that glorified the British Empire and colonialism. This was certainly the case with his first commercial film, Sanders of the River (d. Zoltan Korda, 1935), one of a cycle of imperial adventures produced by Alexander Korda for London Films."Robeson also appeared in such British films as Song of Freedom (J. Elder Wills, 1936), King Solomon's Mines (Robert Stevenson, Geoffrey Barkas, 1937), Jericho (Thornton Freeland, 1937), and The Proud Valley (Pen Tennyson, 1940), set in a Welsh coal-mining town. After returning to America, Robeson played a sharecropper in a segment of the Hollywood movie Tales of Manhattan (Julien Duvivier, 1942) but, after the film was released, he was criticised for perpetuating a racist stereotype. Robeson agreed with his critics and volunteered to join protestors outside cinemas where the film was being shown. He said he wouldn't make any more films until there were better roles for blacks. During the 1930s he gravitated strongly towards economics and politics with a burgeoning interest in social activism. In 1934 he made the first of several trips to the Soviet Union and outwardly extolled the Soviet way of life and his belief that it lacked racial bias, despite the Holodomor and the later Rootless Cosmopolitan Campaign. He was a popular figure in Wales where he became personally involved in their civil rights affairs, notably the Welsh miners. Developing a marked leftist ideology, he continued to criticize the blatant discrimination he found so prevalent in America. In 1939, he premiered Earl Robinson’s multi-ethnic cantata 'Ballad for Americans' on CBS radio, which he would eventually perform in twenty-five languages. In addition to his creative work, Robeson used his personal prominence to push for social and political reform. He supported the Spanish partisans against Franco’s fascist Nationalists in the Spanish Civil War, raised funds for refugees from Hitler’s Germany well before such activities were fashionable, and organized a coalition that challenged President Truman to support an anti-lynching law in 1945. The 1940s was a mixture of performance triumphs and poignant, political upheavals. While his title run in the musical drama 'John Henry' (1940), was short-lived, he earned widespread acclaim for his Broadway 'Othello' in 1943 opposite José Ferrer as Iago and Uta Hagen as Desdemona. This production is still the longest-running non-musical production of a Shakespeare play ever to be staged in the United States, due almost entirely to Robeson's enormous popularity. He appeared in a World War II-era U.S. Government War Department propaganda film, Easy to Get, aimed at combating the spread of venereal diseases among black soldiers. In the film, Robeson appears at the end in his capacity as a celebrity football star and singer to advise viewers to stay "clean". By this time, however, Robeson was being reviled by much of white America for his outspoken civil rights speeches against segregation and lynchings, particularly in the South. A founder of the Progressive Party, an independent political party, his outdoor concerts sometimes ignited violence and he was now a full-blown target for "Red Menace" agitators. In 1946, he denied under oath being a member of the Communist Party but steadfastly refused to refute the accusations under subsequent probes. His continued support for the Soviet Union became even more controversial after Stalin publicly turned against Israel in November 1948. As a result, his passport was withdrawn and he became engaged in legal battles for nearly a decade in order to retrieve it. Adding fuel to the fire was his only son's (Paul Jr.) marriage to a white woman in 1949 and his being awarded the Stalin Peace Prize in 1952. He was unable to receive it until 1958 when his passport was returned to him.

Paul Robeson was essentially blacklisted, and tainted press statements continued to hound him. He began performing less and less in America. Despite his growing scorn towards America, he never gave up his American citizenship although the anguish of it all led to a couple of suicide attempts, nervous breakdowns, and a dependency on drugs. Europe was a different story. The people continued to hold him in high regard as an artist above reproach. He had a command of about 20 languages and wound up giving his last acting performance in Tony Richardson's production of 'Othello' at Stratford-on-Avon in 1959. Although he did give a few interviews on television, he never played any dramatic or musical roles in that medium. In 1960, in what was his final concert performance in Great Britain, Robeson sang to raise money for the Movement for Colonial Freedom at the Royal Festival Hall. In October 1960, Robeson embarked on a two-month concert tour of Australia and New Zealand with Essie. While in Sydney, he became the first major artist to perform at the construction site of the future Sydney Opera House. Back in London, Robeson expressed a desire to return to the United States and participate in the civil rights movement, while his wife argued that he would be unsafe there and "unable to make any money" due to government harassment. His health suddenly took a turn for the worse and he finally returned to the United States in 1963. His poet/wife Eslanda Robeson died of cancer two years later. Double pneumonia and a kidney blockage in 1965 nearly killed Robeson too. Robeson moved in with his son's family in New York City. He remained in poor health for pretty much the rest of his life. His last years were spent in Harlem at his sister's house in near-total isolation, denying all interviews and public correspondence. At a Carnegie Hall tribute to mark his 75th birthday in 1973, he was unable to attend, but a taped message from him was played that said: "Though I have not been able to be active for several years, I want you to know that I am the same Paul, dedicated as ever to the worldwide cause of humanity for freedom, peace, and brotherhood." In 1976, Paul Robeson died at age 77 of complications from a stroke. He was interred in the Ferncliff Cemetery in Hartsdale, New York. Among his many honours: he was inducted into the College Football Hall of Fame in 1995; he received a Grammy Lifetime Achievement Award in 1998; was honored with a postage stamp during the 'Black Heritage' series, and both a Cultural Center at Penn State University and a high school in Brooklyn bear his name. In 1995 his autobiography 'Here I Stand' was published in England in 1958. His son, Paul Robeson Jr., also chronicled a book about his father, 'Undiscovered Paul Robeson: An Artist's Journey' in 2001. When appearing before HUAC, the Committee asked him why he didn't relocate to Russia. He replied: "Because my father was a slave, and my people died to build this country, and I am going to stay right here and have a part of it just like you."

Sources: Gary Brumburgh (IMDb), Stephen Bourne (BFI Screen-on-Line), Ronnie D. Lankford, Jr. (AllMusic), Find A Grave, Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

The Diary Of A Young Man ii by Thomas Noriega

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It would be nice to write about your young life once you reach a certain age;

Of how that arm seemed so strong that it could carry a sick man upon your shoulders;

Of how your smile melted a young woman’s heart;

Of how your idealism and pursuit of that golden dream were achieved;

The sacredness of love-making;

The loyalty of friendship;

The importance of family, especially your parents.

Of how all the experiences you have had shaped you into the person you are now.

~~~~

Back to my favorite genre...portraits! :)

~~~~

From my collection Doctors-Models, this is Antonio Umali, md

~~~~

On-Camera Nikon Flash with bounced light.

You learn.. by bellajo415 (slowly making my way back..)

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After a while you learn the subtle difference

Between holding a hand and chaining a soul,

And you learn that love doesn’t mean leaning

And company doesn’t mean security.

And you begin to learn that kisses aren’t contracts

And presents aren’t promises,

And you begin to accept your defeats

With your head up and your eyes open

With the grace of a woman, not the grief of a child,

And you learn to build all your roads on today

Because tomorrow’s ground is too uncertain for plans

And futures have a way of falling down in mid-flight.

After a while you learn…

That even sunshine burns if you get too much.

So you plant your garden and decorate your own soul,

Instead of waiting for someone to bring you flowers.

And you learn that you really can endure…

That you really are strong

And you really do have worth…

And you learn and learn…

With every good-bye you learn.

~Jorge Luis Borges

Pacific National Intermodal by westernthunderer

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Before open access rail was foistered on the nation by idealism gone mad (some will argue with me that it has brought many benefits too), rail freight in Queensland was provided by Queensland Railways (Rail). Then came Asciano's Pacific National that originally entered the intermodal (container) traffic business on the main North Coast line to Cairns. Their first locomotive fleet for this work was the PN class, identical to QR's 4000 class built by Walkers ( or whatever they were then called) at Maryborough. What one smart mouth Australian Premier would recently say was a result of Australian company's inability to construct good and reliable trains and locomotives, despite them and their their QR equivalents having been reliably hauling freight throughout Queensland for years now.

The PN class is still used in North Coast line freights and QR (now Aurizon) hauls intermodal freights for transport logistics group Linfox but has totally withdrawn from other intermodal traffic across Australia which it attempted to work successfully after open access. Apparently the financial return didn't match the commitment!

PN 002 powers south out of Rockhampton past the erstwhile Port Curtis Junction, now but a sign heading for Brisbane.

About the PN and 4000 class locos:-

The GT42CU AC is a model of diesel electric locomotives manufactured by EDi Rail, Maryborough between 1999 and 2005 under licence from Electro-Motive Diesel, for use on narrow gauge railways in Queensland.

In March 1998 Queensland Rail ordered 38 GT42CU ACs from Clyde Engineering.They were the first locomotives ordered from Clyde Engineering after its takeover by Evans Deakin Industries and were built at the latter's Maryborough factory.

Designated the 4000 class, the first was delivered in October 1999. After an extensive evaluation process the first entered service in May 2000 with all in service by May 2001.A further 11 were ordered in March 2003 and entered service in 2004/05.

They are primarily used on the Blackwater and Moura coal networks, and on phosphate trains between Mount Isa and Townsville. All were included in the transfer of Queensland Rail's freight business to QR National in July 2010.

In February 2004 Pacific National ordered 13 GT42CU ACs to commence operations in Queensland. Designated the PN class, they entered service in 2005 and are used on intermodal services on the North Coast line between Brisbane and Cairns.

The design evolved into the GT42CU ACe which has different computer system and traction motors.

_DSC9861 by Hans Jan Dürr

ARTZUID 2025 Amsterdam

Participating artists ARTZUID 2025

Brotherhood of Sleeping Car Porters by Thomas Cizauskas

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“A revolution is unfurling —America’s unfinished revolution. It is unfurling in lunch counters, buses, libraries, and schools —wherever the dignity and potential of men are denied. Youth and idealism are unfurling. Masses of Negroes are marching onto the stage of history and demanding their freedom now!”

– A. Philip Randolph (1889 – 1979)

Mural painted on metal shipping container in Pullman Yard

Atlanta (Kirkwood), Georgia, USA.

31 May 2023.

***************

▶ Pullman porters were men hired to work for the railroads as porters on sleeping cars: railway passenger cars that accommodate passengers in beds of one kind or another, for the purpose of sleeping.

☞ Pullman Company

Starting shortly after the American Civil War, [American engineer and industrialist]George Pullman sought out former slaves to work on his [eponymous] sleeper cars. Their job was to carry passengers’ baggage, shine shoes, set up and maintain the sleeping berths, and serve passengers. Pullman porters served American railroads from the late 1860s until the Pullman Company ceased operations on December 31, 1968, though some sleeping-car porters continued working on cars operated by the railroads themselves and, beginning in 1971, Amtrak. The term 'porter' has been superseded in modern American usage by 'sleeping car attendant.'

☞ Brotherhood of Sleeping Car Porters

Founded in 1925, the Brotherhood of Sleeping Car Porters (BSCP) was the first labor organization led by African Americans to receive a charter in the American Federation of Labor (AFL). The BSCP gathered a membership of 18,000 passenger railway workers across Canada, Mexico, and the United States. As a result of a decline in railway transportation in the 1960s, BSCP membership declined. It merged in 1978 with the Brotherhood of Railway and Airline Clerks (BRAC), now known as the Transportation Communications International Union.

☞ Civil Rights movement

The leaders of the BSCP —including A. Philip Randolph (its founder and first president)— became leaders in the Civil Rights Movement, especially concerning fair employment, and continued to play a significant role in the movement after it focused on the eradication of segregation in the United States. Randolph was the co-organizer (with Bayard Rustin) of the March on Washington for Jobs and Freedom, on August 28, 1963. At the march, final speaker Dr. Martin Luther King Jr., standing in front of the Lincoln Memorial, delivered his historic 'I Have a Dream' speech in which he called for an end to racism."

— Wikipedia.

***************

▶ "Pullman Yard is a former industrial complex in the Kirkwood neighborhood of Atlanta, Georgia, comprising a plot of 27 acres (11 ha) used by the Pratt Engineering Company from 1904 and the Pullman Company from 1926 to 1955. Southern Iron and Equipment Company purchased the yard in 1955 for train manufacture and repair. As of early 2022, the site is rented out for temporary events."

— Wikipedia.

***************

▶ Photo by Yours For Good Fermentables.com.

▶ For a larger image, type 'L' (without the quotation marks).

— Follow on Facebook: YoursForGoodFermentables.

— Follow on Instagram: @tcizauskas.

— Follow on Vero: @cizauskas.

▶ Camera: Olympus OM-D E-M10 II.

— Lens: Olympus M.14-42mm F3.5-5.6 II R.

— Olympus WCON-P-01 Wide Converter (11 mm focal length).

— Edit: Photoshop Elements 15, Nik Collection (2016).

▶ Commercial use requires explicit permission, as per Creative Commons.

Escape becomes the habit!!!!! by Eric Nelson

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169/365 First I am neither condemning nor condoning the use of chemicals, money, people, ideals, work, attention or any other mind, mood altering substance or event.

Over the years I can tell you that I have spilled more booze than most people have drank, tried most of the chemical substances both illegally and legally known to man and find myself, on occasion, indulging in some form of addictive behavior......(I have since left the drugs behind and I didn't inhale)

What is fascinating to me is my own denial of the very existence of addiction in my life...my addiction to attention, my addiction to things, my addiction to feeling certain ways about certain things, my addiction to work and winning, my addiction to Popsicles and my addiction to my own perspective and opinions.

I wonder, what would it "feel" like to be free of the bondage of all addiction? I believe I will never truly know the answer to this question, nor am I that committed to actually achieving such and enlightened way of life!

“Every form of addiction is bad, no matter whether the narcotic be alcohol or morphine or idealism.”

Idealism by Alexandre Eggermont

Lake in Sweden

www.aeggermont.com

Vanity-on-Wood (with idiosyncratic bubble) by Polette D'Arnu

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Vanité-sur-Bois (avec bulle idiosyncratique)

Faun playing with his younger brother by Gösta Knochenhauer

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Marble sculpture by Johannes Fritiof Kjellberg (1836-1885)

The sculpture is an example of how art in the mid 19th century was still dominated by idealism in the spirit of classicism, but moving towards more realistic depictions. The figures are portrayed as mythical nature spirits, with the little boy and the older brother looking tenderly at each other. The plaster model for the sculpture was exhibited at the Royal Swedish Academy of Fine Arts in 1866. The marble version was ordered by Nationalmuseum.

Source: Nationalmuseum, Stockholm

____________________________________

Faun lekande med sin yngre broder

Marmorskulptur av Johannes Fritiof Kjellberg (1836-1885)

Skulpturen är ett exempel på hur konsten vid 1800-talets mitt fortfarande dominerades av idealism i klassicismens anda, men rör sig mot mer verkliga skildringar. Figurerna är framställda som mytiska naturväsen. Samtidigt ser den lilla pojken och den äldre brodern ömsint på varandra. Gipsmodellen till skulpturen ställdes ut på Konstakademien 1866. Marmorversionen beställdes av Nationalmuseum.

Källa: Nationalmuseum, Stockholm

Teresa Wright by Truus, Bob & Jan too!

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Dutch postcard, 1947.

American actress Teresa Wright (1918-2005) was nominated twice for the Oscar for Best Supporting Actress: in 1941 for her debut work in The Little Foxes, and in 1942 for Mrs. Miniver, winning for the latter. That same year, she received a nomination for the Oscar for Best Actress for her performance in The Pride of the Yankees (1942), opposite Gary Cooper. She is also known for her performances in Alfred Hitchcock's Shadow of a Doubt (1943) and William Wyler's The Best Years of Our Lives (1946).

Muriel Teresa Wright was born in 1918, in Harlem, New York City. She was the daughter of Martha (née Espy) and Arthur Hendricksen Wright, an insurance agent. Her parents separated when she was young. She grew up in Maplewood, New Jersey, where she attended Columbia High School. After seeing Helen Hayes star in 'Victoria Regina' at the Broadhurst Theatre in New York City in 1936, Wright took an interest in acting and began playing leading roles in school plays. She earned a scholarship to the Wharf Theater in Provincetown, Massachusetts, where she was an apprentice for two summers. Following her high school graduation in 1938, she went to New York, shortened her name to Teresa Wright, and was hired as understudy to Dorothy McGuire and Martha Scott for the role of Emily in Thornton Wilder's stage production of 'Our Town' at Henry Miller's Theatre. She took over the role when Scott left for Hollywood to film the on-screen version of the play. In autumn 1939, Wright began a two-year appearance in the stage play 'Life with Father', playing the role of Mary Skinner. It was there that she was discovered by Samuel Goldwyn, who came to see her in the show she had been appearing in for almost a year. Goldwyn immediately hired the young actress for the role of Bette Davis' daughter in the adaptation of Lillian Hellman's The Little Foxes (William Wyler, 1941), signing her to a five-year Hollywood contract with the Goldwyn Studios.

In 1941, Teresa Wright was nominated for the Academy Award for Best Supporting Actress for her film début in The Little Foxes. The following year, she was nominated again, this time for Best Actress for The Pride of the Yankees (Sam Wood, 1943), in which she played opposite Gary Cooper as the wife of Lou Gehrig. That same year, she won the Oscar for Best Supporting Actress as the daughter-in-law of Greer Garson's character in the American romantic war drama Mrs. Miniver (William Wyler, 1942). Wright is the first out of only nine players who have been nominated in both categories in the same year. Her three Academy Award nominations and one Academy Award in her first three films are unique. She remains the only performer to have received Oscar nominations for her first three films. In 1943, Wright appeared in the acclaimed Universal film Shadow of a Doubt (Alfred Hitchcock, 1943), playing an innocent young woman who discovers her beloved uncle (Joseph Cotten) is a serial murderer. Hitchcock thought Wright was one of the most intelligent actors he had worked with, and through his direction brought out her vivacity, warmth, and youthful idealism—characteristics uncommon in Hitchcock's heroines. In 1946, Wright delivered another notable performance in The Best Years of Our Lives (William Wyler, 1946), an award-winning film about the adjustments of servicemen returning home after World War II. Four years later, she would appear in another story of war veterans, Fred The Men (Fred Zinnemann, 1950), which starred Marlon Brando in his film début. In 1947, Wright appeared in the Western Pursued (Raoul Walsh, 1947), opposite Robert Mitchum. The moody "Freudian Western" was written by her first husband Niven Busch. The following year, she starred with David Niven, Farley Granger, and Evelyn Keyes in Enchantment (Irving Reis, 1948), a story of two generations of lovers in parallel romances. Wright received glowing reviews for her performance. In December 1948, after rebelling against the studio system that brought her fame, Teresa Wright had a public falling out with Samuel Goldwyn, which resulted in the cancellation of Wright's contract with his studio.

In the 1950s, Teresa Wright appeared in several unsuccessful films, including The Capture (John Sturges, 1950), Something to Live For (George Stevens, 1952), California Conquest (Lew Landers, 1952), the Film Noir The Steel Trap (Andrew L. Stone, 1952) with Joseph Cotten, Count the Hours (Don Siegel, 1953), the comedy-drama The Actress (George Cukor, 1953), and the Western Track of the Cat (William A. Wellman, 1954), opposite Robert Mitchum again. Despite the poor box-office showing of these films, Wright was usually praised for her performances. Toward the end of the decade, Wright began to work more frequently in television and theatre. She received Emmy Award nominations for her performances in the Playhouse 90 original television version of The Miracle Worker (Arthur Penn, 1957) and in the Breck Sunday Showcase feature The Margaret Bourke-White Story (Alex March, 1960). In 1955 she played Doris Walker in The 20th Century-Fox Hour remake of the classic film, Miracle on 34th Street (George Seaton, 1947), opposite MacDonald Carey and Thomas Mitchell. In the 1960s, Wright returned to the New York stage appearing in three plays: 'Mary, Mary' (1962) at the Helen Hayes Theatre in the role of Mary McKellaway, 'I Never Sang for My Father' (1968) at the Longacre Theatre in the role of Alice, and 'Who's Happy Now?' (1969) at the Village South Theatre in the role of Mary Hallen. During this period, she also toured throughout the United States in stage productions of 'Mary, Mary' (1962), 'Tchin-Tchin' (1963) in the role of Pamela Pew-Picket, and 'The Locksmith' (1965) in the role of Katherine Butler Hathaway. In addition to her stage work, Wright made numerous television appearances throughout the decade, including episodes for The Alfred Hitchcock Hour (1964), Bonanza (1964), The Defenders (1964, 1965), and Playhouse (1969).

In 1975, Teresa Wright appeared in the Broadway revival of 'Death of a Salesman', and in 1980, appeared in the revival of 'Morning's at Seven', for which she won a Drama Desk Award as a member of the Outstanding Ensemble Performance. In 1989, she received her third Emmy Award nomination for her performance in the drama series Dolphin Cove. Her last television role was in an episode of the drama series Picket Fences (1996). Wright's later film appearances included a major role in Somewhere in Time (Jeannot Szwarc, 1980), the role of the grandmother in The Good Mother (Leonard Nimoy, 1988) with Diane Keaton, and the role of Miss Birdie in John Grisham's The Rainmaker (Francis Ford Coppola, 1997), with Matt Damon and Danny DeVito. In her last decade, Wright lived quietly in her New England home in the town of Bridgewater, Connecticut, in Litchfield County, appearing occasionally at film festivals and forums and at events associated with the New York Yankees. In 1996, she reminisced about Alfred Hitchcock at the Edinburgh International Film Festival, and in 2003, she appeared on the Academy Awards show in a segment honoring previous Oscar-winners. Teresa Wright died in 2005, of a heart attack at Yale-New Haven Hospital in Connecticut at the age of 86. She is buried in Evergreen Cemetery in New Haven. Wright was married to writer Niven Busch from 1942 to 1952. They had two children: a son, Niven Terence Busch (1944); and a daughter, Mary-Kelly Busch (1947). She married playwright Robert Anderson in 1959. They divorced in 1978 but maintained a close relationship until the end of her life. In 2016, 'A Girl's Got To Breathe: The Life of Teresa Wright', by Donald Spoto, was published in February 2016.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

oscar niemeyer (1907-2012) by Doctor Casino

19 5

This is not a great photo, and of course the United Nations building was a collaborative project, but when a great architect passes, one feels obliged to post something, and this is what I have at hand.

Niemeyer was the last of the heroic moderns, both in his forms and his ideals. Whatever the failings of the modernist ideal generally, and the UN complex specifically, the optimism comes through: here is a building which instantly stands out in the skyline of New York, through its simple refusal to glaze the short ends of the slab, instead cladding them in dazzling white stone. The gesture kicks the building symbolically loose of petty commercial concerns, and perhaps implies that it is only one member in a long, invisible series, an imaginary chain looping the globe to secure the fragile dreams of peace, freedom and prosperity for all the world. It would be easy to scoff at that idealism in 2012, but perhaps today is not the day. Rest in peace.

(Right: Queens-Midtown Tunnel Ventilation Building, circa 1939/40.)

_DSC9895 by Hans Jan Dürr

ARTZUID 2025 Amsterdam

Participating artists ARTZUID 2025

Act I: "Redemption" by General Frostingface

11 36

457th Systems

Official Mission Log: CC-1101, Senior Commander Falcon, assigned to overwatch of CT-1194, Major Rocc, and Nightmare Company. Nightmare Company is to escort Senior Commander CC-1101 to wreck of Republic medical frigate “Bloody Mary” in plains area of rural Bakura. Approx. 4 hours into hike to wreck, mission failed. Drone feed uploading:

CC-1101: This was part of our bombardment. I’m quite pleased with these results. I’ll assume you are as well, Major. I’ve read into your files. You seem to have a propensity for destruction, correct?

CT-1194: I quite do. I’ll assume this was an outlying droid base, correct?

CC-1101: No, this was from our strafing run. We can’t let the locals mess with our operations here, so we decided to place some warning shots.

CT-1194: Wait, this was civilian? I thought we were here to liberate this people.

CC-1101: Yeah, this was civilian, Rocc. We’re not here to liberate anyone. We need to clean up our image to fringe worlds. This needs to be perfectly operated. No civilians. Weapons free, all of that. I thought you’d be approving of something like this? Are you all the sudden soft?

CT-1194: No. I’m here for these people. I’m not here for ‘fringe planet politics’. I came here to do what is right, not to betray everything I thought we fought for.

CC-1101: What you thought we stood for? This is politics; this is war. We’re not fighting for idealism, we’re fighting for supremec-

Command: CC-1101- Status Change: To “KIA”

CT-1194: He made his choice. I’ve finally made mine. I’m finally redeeming myself for my past sins. But now I’ll give you three choices. Are you with me?

CT-2165: Yes. We all are. Always.

Command: CT-1194, “Nightmare” Company- Brand changed: To “Enemy”

___________________________________________________________

This is the first of my three-part Battle of Bakura storyline. Hope you enjoy, this build wasn’t much, but the next two will be much, much better.

Also, Merry Christmas everybody!

Idealism by Riccardo Cuppini

14 25

[...] I am an idealist. I don't know where I'm going but I'm on my way [...]

-- Quote by Carl Sandburg (American Historian, Poet and Novelist, 1878-1967)

Rome, Italy (May, 2008)

Life by Willy (Vilmos Zoltan Galyo) Thank you for one million views!

Life

A walk in solitude, a walk alone, a walk in everywhere, a long walk from and to you,

A walk far away from you, a walk for you and to you, a walk for us, a walk for life…

… a walk for the life, a walk for death…, a walk for eternal life.

Hm, a walk in the forest brings and makes everything forgotten, what isn’t forgetfulness, hm, because…

Because there are no mistakes in this life of the life of forest’s experience...

… because there is the true life, the true life that we cannot yet attain…

We can not get that, because our life creates many thunderstorms and storms…

… from our heart and soul…

Yes, that's right, we are irresponsible, we dig the pit of our death,

Because this is a good experience for us…, how to kill and destroyes.

Hm, interesting, walking in the forest and thinking about death and destruction,

Hm, the real devil and selfish affection, which attractively pushes from the high world to hell…,

… negative spiritual abstraction…

Walking in solitude, in the restless solitude, always gives and brings something new…

Yes, something new that had never been understood and experienced before…

Be it anything, existing, fictional, metaphysical riddle…

… everything comes from the other side, which is the riddle of life…

Hmm, a riddle? Why? Why? The riddle exists, so why would an unknown world and idealism…

… be intangible? Maybe that’s not part of life?

Hm, people only love things that are material, hm…, but not everyone…

Spirituality, materiality? Hm, both are very important, hm, but where is the balance? Where?

Who dictates the way to balance? Who? No one knows this anymore. Nobody. Our life… too much chaos…

… But there is hope, there is hope. It comes from the origin of life, hm, never give up, you will get again your life…

God will fix everything, be peaceful, and wait, the help is coming, you are in hands of God, the safety of your life, and you will never be lost…

… You are in your Creator and you in Him, s, your life became led again, don’t do anything by yourself…

… just believe in God…

“Man plans, God solves everything.”

Cyclone Scene 3 by James Paul Kneubuhl

The letter "A" mysteriously appears in the clouds. Lots of interesting words begin with this letter. Which one d'ya suppose the clouds had in mind?

POEM STORAGE LOCKER

HOMELAND INSECURITY

Remember the Weapons of Mass

Destruction? The ones they never

Found? There are those who’ll tell

You they still exist somewhere, but

It’s a secret. With all the technology

And good old American know-how

They still can’t tell us what became

Of those WMDs, their excuse for

Spilling all that blood. When they

Shrieked 'the sky is falling, let us

Save you', the whole country bent

Over and said 'as you wish'. Now,

As then,they don’t even need an

Excuse, never mind a court order –

To spy on you because they think

You’re interesting. Better not be

Too interesting. Better be a bland,

Dull, boring little drone, otherwise

If it’s a slow day they’ll aim all that

Technology at you just to find out,

In the name of public safety, who

An interesting person gets to sleep

With, and whether you’re concealing

A WMD between your sheets.

SHEEPDOG

When I come up with something

That seems halfway intelligent,

I try and put it into some form

I can share with you, because

Most of my day I’m just as

Speechless as everyone else.

I look at things and just go,

What the f—k. I feel like a

Sheepdog trying to keep my

Charges from falling prey to

The freedom that comes so

Naturally to them, and which

Wolves depend on. And who

Do they get mad at? The wolf?

No, me. Need I explain further

Why I’m mostly speechless?

BOOKS

What a sentimental dinosaur I

Must sound like, seriously sad

That the era of books seems to

Be ending. Global warming will

Mean fewer trees for paper, and

A cheap alternative to printing –

Texts right to your computer -

Already exists, so it’s really a

No-brainer. What paper that

Remains will be needed for

Toilet tissue, until computers

Can wipe our asses too.

SANTA

Consumerism and spirituality dance a

Mutually suspicious tango together

In December. Alas, my letter to Santa

Would reveal I’m just as materialistic

As anyone else. But if you were Santa,

I’d ask that you slide the benefit of a

Doubt down my chimney. And were

I to find even the smallest present of

Your trust under my tree, that would

Move me far more than any glittering

Bling from the mall. I’d put forgiveness

On my wish list, along with healing,

Acceptance and grace. If we could

Share the gift of understanding, then

I think we’d be getting closer to what

Christmas is all about.

JIMCARE

I know I should have asked you

First, but you're my doctor - that's

All there is to it. You've got the

Cure if you ever want to use it.

SKIN

My skin may be thick but it’s full

Of nerve endings. Honestly, my

Thoughts can’t all come from my

Well-ordered, logical brain, which

Actually prefers the comfortable,

Logical, practical, and reasonable.

Nope, my edgy thoughts must

Come from my skin when it rubs

Against poison plants or gets

Surly over weather variations or

Bristles at certain personalities.

My normal conversation wouldn’t

Resemble some of my more out

There observations, unless you

Were to listen to my skin.

CONFUSED WITH FOOD

Don’t you just wish sometimes

People were like food, existing

Just to please, just for your

Benefit, just for you well-being?

Don’t you love how food says,

Do anything you want with me.

Eat me hot, freeze me for later,

Spice me to your taste, bathe

Me in seasoning till I make

Your mouth water. Yum, yum,

Honey I’m home for dinner.

I believe I’ve illuminated the

Obesity epidemic spreading

Across America insidiously as

Communism in the ‘50s, but

Were I your food, I’d sincerely

Want to be a balanced meal,

Lots of what you like but also

Lots of what’s good for you.

WITCHY

If magic wands weren’t standard

Issue just for wicked witches, I’d

Wave one and say presto, abra

Cadabra, it’s all sorted out and

Everyone’s happy. All loose ends

Reconnected, all pressing questions

Answered or rendered irrelevant,

All with Heaven’s smiling approval

Because it’s done right. That’s what

I’d do if I had a magic wand. While

We’re at it, a broomstick in lieu of

Plane tickets would be great too.

MAGIC

You can’t rely on magic, but that

Doesn’t mean it’s not there. It’s

Fickle, it hides, it’s unreliable, it

Would make a lousy employee.

Even Wizards get wounded when

Their spells backfire. Magic won’t

Make you a superhero. Magic is

Best approached with a certain

Humility, maybe a willingness to

Nurture without a constant eye

Towards a desired harvest. Keep

A pleasant garden for magic. It

Holds dear safe places it can rest

Without demands put upon it.

Magic wants to help, but knows

Too much help can be more like

Harm. Still, who knows, when it

Wakes it could always sprinkle

Your day with unexpected grace.

KITCHEN

This house feels like a home

Because of the ones who

Were here with me over the

Years, many long passed on,

But the kitchen feels like

They’re still here. This is

Where they took care of

Life’s most basic business –

Food, drink, doing dishes,

And I still live by what I

Learned from them. Do we

Really have any choice about

Ideas of right or wrong

Drummed into our heads?

Is it anyone’s fault the ones

Doing the drumming had no

Way of knowing the world

Beyond their kitchen?

SEE

How do you really see someone?

Can you put on sunglasses to cut

Their glare without perceiving

Them as darker than they really

Are? Does what you see through

Rose colored glasses really have

A rose fragrance to go with it?

Can you put someone under a

Microscope in the name of science,

Analyze their germs in the hope of

Curing their sickness without

Catching it yourself? Different

Ways of seeing give you different

Images, but the word image is

Always close to the word imagine.

The truest way to see someone

Is the way they see themselves,

But how would I know what that

Is when I can only look from afar?

LITERALLY

When they say don’t love the world,

They really ought to qualify that as,

Don’t love the world of man. As for

Our planet, it needs all the love we

Can spare. The world of man is an

Abstraction, indicating our species

Considers itself separate from its

Own origins. Just because man

Invented language, our definitions

And dogmas don’t make us more

Than a luckier class of monkeys.

Like monkeys that discovered how

Bones made excellent weapons

And proceeded to hit each other

Over the head just because they

Could, our so-called discoveries

Have just as often been our own

Undoing as our salvation. Relative

To our species’ long tenure at this

Address, we only recently

“Discovered” that we live on a

Rock floating through space. Left

To our devices, we ruin our planet

As casually as an infant soils its

Diapers. Don’t love the world?

Hey, the world gave you a tongue

To say those words with. And this

Is what you give back?

LAUNDRY

Carelessly piled in rude proximity

To each other’s soils and smells,

Pelted with goo or white flake,

(Usually by a white flake), then

Drowned in darkness as the

Heartless machine’s waters turn

Hostile. It’s receding leaves us a

Crumpled, damp distortion of our

Once beautiful selves. And as a

Final indignity, we’re spun about

Violently for what seems like an

Eternity till we collapse in a

Bewildered heap. Is this what you

Have to go through to get clean?

Beware, housewives of America –

What goes around comes around.

Precious, I’m on to you by now –

You throw me in that torturous,

Spinning thing, but I know you’ll

Just make me dirty all over again.

ACKNOWLEDGE

How do you acknowledge all

That you know, all that you’ve

Felt, and all that you’ve thought

Without making it seem all of

That's more important than

Everything you’ve yet to know,

Yet to feel and yet to think?

Only by choice. Sometimes

Even the wise pretend that

Yesterday never happened,

While only the most foolish

Pretend tomorrow never will.

SCALE

Hope in change for the better,

Fear of change for the worse –

The scale starts out balanced

Equally, then we start moving

Around, acting, reacting, beliefs

And feelings and feelings start

Shifting from one side of the

Scale to the other. I wish I could

Weigh in just on the good side,

But I’m only part of the balance

And sometimes my choices

Put me on a different side than

I’d intended. I need someone

To jump on the good side with

Me. We could tip the scale, I

Know we could.

PISCES

There’s a built in flaw with words –

It’s nice to catch thoughts, but

Thoughts are life fish, they don’t

Have life unless they flow. Don’t

Take anything I share with you as

The last word. Thoughts need to

Be fluid, not frozen, not stuffed

Like trophies, not canned, labeled

And sold at competitive prices to

Stimulate the economy, not made

Into sandwiches nor marketed as

Fast food hamburger alternatives.

Think living fish, moving. Truth is,

Like the moods of the sea, one

Thought flows into another, then

Into another, ad infinitum, which

Is why what’s hurting us today

We often end up laughing about

Tomorrow, and vice versa.

BAD STUFF

Nobody wants to hear about the

Bad stuff, but it’s what makes the

Good stuff good by comparison.

How to stay off those subjects

When they’re part of what forms

The story, part of why things are

The way they are today? The bad

Stuff is like a horrible creature that

Emerges from the sewer at night.

The bad stuff will hurt you, and

You know very well it’s there but

Not how to talk about it. Yet it

Holds the key to unlock the

Reservoir of pain, let it empty

So something more joyful can

Fill it instead. The bad stuff is as

Ugly as sin. Have you got the

Guts to look it in the eye?

COOL AS ME

People cool as me never admit to

Needing someone. People cool as

Me are expected to act like if they

Want company there’s a menu of

Willing individuals only too happy

To comply, but mostly they just

Want privacy. People cool as me

Act like they’re married to their

Mission in life, regardless of how

Long ago we got a messy divorce

From it that we’ll forever be

Paying off. People cool as me are

Alone on Valentine’s Day, wishing

They had someone they could be

Themselves with, someone to

Hold in confidence, someone to

Enjoy the world with, someone

By their side to while away those

Lonely hours even the coolest

People can’t avoid.

VOICE

I found a voice, and dammit,

I’m gonna use it. Do I really

Have anything to say? Does

Anyone? Actually, I do have

Something to say, but it’s

Not something you’d say

Outright. It’s there between

The lines. And it’s not just

Having a voice that makes

Speaking worthwhile, it’s

Knowing there’s someone

Listening. You have more

Power than you realize –

You’re really the poem,

I’m just the voice.

SUPERHERO

Superhero, now we need you. Go

Make Russia mind its own business.

Throw their tanks back across the

Ukraine. Make them stop being

Such vodka brains. Superhero,

Scare off their armies, tell them go

Direct traffic in Communist Square,

Not invade other countries. Cause

Russians are weirdos with nothing

To lose and a chip on their shoulder

From way too much vodka and too

Much cold weather and no rock and

Roll and they’re mean to Pussy Riot

And Communism never worked

Anyway - no wonder they’re mad,

But when mad equals stupid, we

Need Superheroes for villains like

Godzilla and Russia under Putin.

WISH I KNEW WHAT TO BELIEVE

Wish I knew what to believe.

Is it just up to me? Would you

Leave such a crucial definition

To the village idiot? If nothing

Else, at least you’ll get an

Unusual perspective, but alas,

Not necessarily one that will

Change things much. Is it the

Acceptance of things as they

Are or the persistence in trying

To make things different that

Defines an idiot? Or is it both?

Someone said no, no, that’s all

Wrong, it’s all about where

You’re coming from. Well, I’ll

Have you know, I aspire to

Come from someplace clean,

Honest, honorable, true, but

All I know for sure is, I come

From my mom. Or so I’m told.

Wish I knew what to believe.

UNSOLVED MYSTERIES

Conspiracy theorists are already

Tweeting it was aliens took that

Plane from the sky. There’s a

New Bermuda Triangle up in the

Skies above Asia. Planes fly in but

Don’t come back out, or maybe

They all will in 500 years, when

The Triangle expunges the lot in

A single eruption, like a giant fart

In the time-space continuum.

Unsolved mysteries suggest too

Many possibilities, that’s why we

Don’t like them. If it wasn’t aliens

It could have been hungry clouds.

Or there’s a giant bird up there

Collecting planes the same way

Some of us collect butterflies. Or

The plane flew into a time warp

To 1000 years in the future, the

Planet of the Apes, where a fuzzy

Faced Sarah McLaughlin is on TV

This very minute singing “In The

Arms Of An Angel” on behalf of

The passengers and flight crew.

BEARS IN WINTER

Winter sends her message in

Such a cold way. We need to

Learn secrets of survival when

All turns to ice for awhile. Only

For awhile – in time even this

Freeze will melt so the water

Can flow again. For now, time

Out, red light, cease fire, halt

Till further notice, hunker down,

Carry on as usual – if you want

To freeze to death. Unlike the

Bears who have the right idea

And sleep through it, I’m awake,

Feeling every cold moment.

DEMANDING BASTARD

I guess I could get better pictures

If I used a fancier camera, but as

I’ll explain to anyone who’ll listen,

In my experience life goes by too

Fast to focus a fancy camera on it.

Fancy cameras are for when you

Have the luxury of subjects who’ll

Hold still for you. I need my quick

And dirty little point-and-shoot for

The kind of subjects I catch. I want

People living, not posing. What a

Demanding bastard I can be. Am I

Enough of a cunt yet that you’d

Consider me some kind of artist?

SHE HAD A TERRIBLE VISION

She had a terrible vision in the

Post office parking lot. She saw

Samoa fifty years from now,

When most Samoans will look

Like me, in denim instead of a

Lava lava, and worse still, part

White. All I did was get out of

My car and I gave this old lady

A terrible vision in the post

Office parking lot. I know I did.

It was written all over her face,

I felt her terror and sorrow,

And now I’m just as scared.

FREUDIAN SLIPPERS

Psychological mechanism, whether

You’re aware of it or not, it’s what

You do on impulse, without thinking,

Almost as if it did itself. Like when

You shut me out, not just once, but

Time and time again. Makes me

Wonder what you’re thinking, why

You believe that’s what I deserve.

When you spoke to me, is that the

Impression I gave? In my company,

Is that how I made you feel, like

Someone you need to shut out, not

Someone you need to open up to?

What you need to know is, I don’t

Have a clue. I take my cues from you,

But sometimes I wonder whether

You even know why you so naturally,

Spontaneously, automatically shut

Me out like you’re a vampire and

I’m sunlight.

ALL YOUR FAULT

Investigate, detective, analyze

The crime scene. Compile a

Profile of the perpetrator, try

Guessing their motive. Using

Wit and intuition, crack their

Puzzle, expose them in the

News, soothe public concerns

The criminals are taking over.

No, criminals are predictable

And secretly long to be caught.

They just crave the stimulation

Of knowing they’ve engaged a

Mind as brilliant as yours to

Figure them out. In fact, were

It not for you, detective, the

Criminals wouldn’t find crime

Even worth it.

PRODUCTS PROMISE

Does roll-on or spray keep you cool,

Calm and collected better when

Someone you care about gets you

Really upset? Can this glue can hold a

Relationship together? Which plastic

Container will best protect my heart

From being jostled and bruised?

Which of these scissors is quickest

For cutting through the bullshit? If

She drinks this cola, will she really

Open her happiness for me? Every

Single item in this store says made

In China. So what would Chinese

Buy if they were trying to connect

With someone special? Whatever

Looks most American? That would

Not quite explain overpopulation,

In China, unless their condoms are

About as reliable as their radios.

ROCK & ROLL

Old folks can’t rock & roll so well

Anymore on the dance floor, but

In their hearts the music never

Stops. When I say you rock me,

I mean you move me. I don’t

Know why, you just do, for or

Against my will, either way, and

I’d rather celebrate it than hate it.

We needn't drag each other through

Hell. Rock & roll has a dark side,

As does most things first intended

For a more Heavenly purpose. It’s

Just the way we feel each other’s

Rhythms, and when you and I find

Our groove, it’s like the angels

Are rocking out.

CIRCLE

In the days when Samoa was further

From the center of western society

Than most could even contemplate,

White men who saw it would jump

Ship and hide in her mountains. They

Thought they’d found Paradise, and

By comparison America or Europe

Was a hell they had no wish to ever

See again. Nowadays we don’t worry

Much about sailors jumping off ship,

More about locals trying to jump on.

Western society has always had some

Trying to escape from it, so now we’ve

Come full circle and some from here

Are trying to escape island society.

I guess your perception of Paradise

Depends a great deal on what you

Can compare it to. I wonder whether

Those longing to escape island society

For its first world counterpart could

Ever see Samoa the way it looked to

Those first eyes that knew enough to

Make that comparison so long ago.

FROM BABIES

Babies know joy instinctively, even

In the midst of the worst troubles

Going on around them. When adults

Aren’t causing pain under a misguided

Notion it will keep pain from being

Inflicted on them, they’re desperately

Trying to dull whatever pain still

Penetrates their armor, even though

Not feeling is just the same misery

In different makeup. With all the open

Pain warfare around us, it’s not as if

We’re unaware that others hurt too,

It’s more like we don’t care. Pain is

The currency of exchange between

Our bodies, minds and spirits. Spirit

Pain is the deepest hurt a person can

Feel, and many don’t realize how deep

Into darkness their spirit has sunk until

Something or someone unlocks the

Chains and their spirit can fly again.

Some say we take our sensitivity too

Seriously, but when we stop giving in

To the agitation of disquieting ideas,

These same sensitivities can make us

Sensitive to joy. This might take some

Re-learning, some remembering but

Luckily you can learn a lot from babies.

RECIPE

I speak to you in my mind and maybe

Occasionally say the right thing. We

Are more than just our ideas, way

More, but ideas shine a light on

What’s going on inside our walking

Balloons of flesh, blood and bones.

I put things together for you, like

A recipe, hoping my creation is to

Your taste. There’s a taste in my

Dreams, engages all the senses,

And I wake knowing there’s only

One real point in coming back from

Slumber at all. Whatever powers

I have of thought, speech or action,

I wish only that they be right for

Bringing you the recipe that comes

To me from somewhere inside.

NO WAY TO TREAT A GUEST

Goes by like a shadow outside the door.

Shiver. Ghosts don’t show up during the

Day – must mean this one couldn’t wait.

Is something urgently needed before it’s

Too late? Ok, I’m waiting, but I haven’t

Got all day. What is it you want me to

Realize? Is there something you hope

That I’ll recognize? I’m wide open to

Suggestions, but can you do more than

Just skirt the shadows of my awareness?

Uh oh, I think I’ve just insulted the ghost –

Spoke before thinking - you’re supposed

To be mysterious and it’s very special,

Very sacred, even very blessed in a way

That an entity from the other side would

Feels strongly enough about something

Here on this one to intervene. So here I

Sit, calm, clear, open. Seconds tick,

Nothing happens. Apprehension grows

I’ve insulted the ghost. I like to believe

I don’t intuit spirits when there really

Are none, but now there really isn’t.

No mysterious tingle, no strange noises,

No unusual signs. Not even a hint of what

It meant or what it wanted. It could be a

Misunderstanding, true, but there’s no

Mistaking the emptiness of feeling sure

Something came to me but wouldn’t stay.

MOON IN ARIES

My sun sign is Cancer, but my moon

Sign is Aries, which coincidentally the

Sun just went into. Man, my planets

Get kind of mixed up sometimes. I

Googled “moon in Aries” and was

Kind of horrified to find that what

It described wasn’t the person that

I am, but rather the person I try not

To be – impatient, inconsiderate,

Innocently self-centered, as in, why

Of course I’m the center of the

Universe. I’m Jim and your’re not!

No, no, I’ve consciously cultivated

Being kind when I can and even when

My first impulse is to kill dead. I take

Things very personally. Treat me like

Someone you want nothing to do with

And I will have a very, very hard time

Ever opening up to you. Treat me like

Your friendship is genuine, comes as

Naturally as breathing, and I’ll never

See you any other way. If I scare you,

Congratulations, your wits serve you

Well, but even celestial egomaniacs

Are capable of evolving. Honest.

MOTHER HEN

It’s really funny you feel threatened.

Hey Einstein, if I was capable of doing

Something crazy I already would have.

But my craziness takes the form of

Expression, and if anything I’m more

Of a threat to myself than anyone

Else, just like Van Gough caught a

Form of craziness that caused him to

Cut off his own ear and offer it to a

Prostitute, not as payment but as

Some kind of token. True story. Pure

Madness, but look at the paintings

That came out of him. As for me, I

Can say with about 95% confidence

My ear is safe. At heart I’m more of

A mother hen, taking care of other

People hella more than anyone takes

Care of me, but that’s my token, I

Just try and look after things. You’re

Not threatened, you just bring out

The part of me that wants to express.

PEACH

Aries is the time when impatience

Comes naturally – when it feels like

Whatever is supposed to happen

Should have happened already.

There may be a time and place for

Such a sentiment – it keeps things

From getting stagnant, shakes up

Our routines, reminds us that life

Needs to move, needs to feel new.

Once man feels the power of his

Actions to effect things, he thinks

Action is the answer to everything,

And inaction is worthy of contempt.

But what happens when you want a

Ripe peach right now, and the tree

Says sorry, it’s not ready yet? In a

Fit of impatience and contempt,

Should you take an axe and show

The tree who’s boss?

COLD ON A SUNNY DAY

Anxiety causes tension that affects

The body, weakens the immune

System. Anxiety can be like birds

Making noise, birds that feed on

Feelings, constantly announcing

Their presence, attracting even

More birds, making more noise.

Birds only know one song, but they

Give the performance their all. I’ve

Heard the same song interpreted

Many times, and you have to give

Them credit for staying faithful to

The original. It never changes, it’s

Constant as the color of the sky.

No one complains about the color

Of the sky, they just learn to see

It as beautiful. My immune system

Isn’t applauding the constancy,

But birds aren’t about to change

Their tune just because of me.

WHY IS THE DEVIL?

Why is the devil so attracted to this

Family? He must like our banter, the

Pomposity of our place in society

Echoed in our accents of faraway lands.

Why does Lucifer join us at our table

Every time the whole family’s in the

Same room? He must delight in seeing

Supposedly civilized community icons

Turn into savages after a few drinks,

Cutting and bashing each other with

Words instead of clubs, the nervy ones

Jockeying to establish dominance like

Apes forming a mating hierarchy. Why

Is God’s fallen angel always co-counsel

To our lawyers whenever our family

Mess inevitably winds up in court? The

Devil specializes in turning imported

Laws against the importers, reminding

Us that the higher the privilege, the

More prolonged the payment.

QUIET MONARCHY

America’s mainstream spirit lives

Under house arrest in the gated

Community where the quiet

Monarchy bide their time. Now

That they’ve captured the voice

Of the silent majority, have you

Noticed it’s endless variations on

The same commercial? The ads

Promoting our country as global

Cash register, moral arbitrator,

Cultural enforcer? America’s

Mainstream spirit sleeps in its

Comfortable prison, its dreams

Often tormented by the older

Ghost of American humanity and

Idealism. America’s mainstream

Spirit doesn’t mean to demonize

The excluded, but in celebrating

The included, well, that contrast

Just has to stand out somehow.

Like a golden vision of perpetual

Prosperity, at least for some, the

Rockets’ red glare shines forever

In the lights of Las Vegas, where

For every spent Elvis waiting to

Die one morning on the toilet, for

Every spent engine of industry like

Detroit waiting for the scrap heap,

There is one more diamond in the

Crown of America’s quiet monarchy.

QUIET ANARCHY

We all make our own choices, and

Mine have grown mellower with age

But once in awhile there’s still this

Quiet anarchy I feel, where I want

To just burn down everything and

Everyone who’s ever caused me to

Hurt, caused me to believe you’ve

Been dealing me cards all along

From a dirty deck, cause me to

Realize I’ll never succeed in any

Way unless I play a bullshit game

That feeds someone else’s control

And profit. See the old anarchist

Walking his dog with plastic gloves

And a paper bag. I have to clean up

My mess or else face a fine, while

You go scott free every time you

Take your glorious dump on me

And everyone else.

PUNISHMENT

Such a painful situation

You wish you could punish

Somebody for it. Wish you

Could cast the first stone,

Wish you could bear damning

Witness, wish you could join

The witch hunt, but you won’t.

Punishment might provide a

Pleasurable revenge, but don’t

Forget, in love it’s better to

Give than to receive. Can you

Say the same of punishment?

CONSISTENCY

I’m always wrong, but at least

The reason keeps changing.

One day I’m wrong cause of

This, next day I’m wrong cause

Of that, in a week I’ll be wrong

Cause of something else. I’m

The barometer or baseline by

Which you gauge what’s wrong.

If I’m always going to be wrong,

What can I do? Be wrong in

Creative ways, be wrong in

Original ways, be wrong in

Inspired ways, be wrong in

Ways that are at least true

To myself, be wrong in ways

An impartial observer might

Conclude are only wrong

Depending on one’s point of

View, which I’m sure you’ll

Immediately shift accordingly.

OIL AND VINEGAR

It isn’t someone whose faith

Blinds them that we need, it’s

Someone whose faith opens

Their eyes. And perfection

Isn’t what we should seek in

Another, but rather someone

Whose imperfections mix with

Our own like oil and vinegar

Rather than gasoline and fire.

Oil and vinegar are not terribly

Romantic, I know, but see how

Together they elevate the

Salad from bland to sublime.

GOING COWBOY

I don’t feel so at home on the

Range, where the deer and the

Antelope make territorial noises,

While my own thoughts about

Unclear boundaries compromise

The night’s quiet. Like a Hamlet

On horseback, the uncertainty of

A stalemate situation eats away

At my peace of mind. Any kind

Of move would be going cowboy,

Riding in with pistols blazing.

Might save the day, might just

Leave a big mess. Feels like a

Rescue is called for, though no

One is yelling help. It’s fine to

Go cowboy, follow no rules but

Your own, if you want to break

Free, but if you want to return,

You ride alone, trying to recall

The trail home on a dark night.

SPEECH DEFECT

Just a way to get a word in, talking

Without voices, without eye contact,

Just words symbolizing meaning,

Representing feelings, self-centered

By necessity because propaganda is

Always a distorted exchange, forever

Open to interpretation. Hardly the

Optimum way to communicate, but

The alternative is total silence, history

Interpreted in opposite ways, with no

Basis for agreement or understanding,

No common meaning because you

Can’t treat meaningfully someone

You don’t acknowledge even exists

Anymore. How strange to feel like a

Ghost in someone else’s world when

You’re not even dead yet.

COUNTRIES

American Samoa was born in 1900.

The Union of Soviet Socialist Republics

Was born in 1922. American Samoa,

Which is not quite America and not

Quite Samoa, is still trying to figure

Out what it is. The USSR, which was

A Union only by force, rape by any

Other name, Soviet and Socialist only

For as long as it was convenient, until

Its Republics grew strong enough to

Assert they wanted to be countries

Themselves, is also still trying to figure

Out what it is. I was born in the late

1950s, and I’m still trying to figure out

Who I am. You were born in the late

1980s, so if you haven’t figured out

Anything yet, that’s understandable

Given historical precedent.

COSTUMES

Costumes and uniforms, I’ll dress

The way I need to. One day one,

Another the next, any kind of

Outfit to please you. What we

Wear will make some kind of

Statement. It’s better, I guess,

Than walking ‘round naked. Put

On, put on, take off too. Same

Old me but the costume is new.

MR. FIXIT

Poor Mr. Fixit has forgotten about

All the things he can fix perfectly

To obsess on one thing he can’t

Quite figure out how to repair. Yes,

He says, I’m well aware there are

Things only God can fix, but if He’s

Not working through me then it

Must be due to some fault on my

Part. To find the solution within, I’ll

Purify myself. Friends say, Mr. Fixit,

If you were any more pure you’d be

Invisible. Friends say it’s turned

Into a battle of wills, of pride, of

Honor, of ego between Mr. Fixit

And the one thing he can’t fix. He

Knows they’ll never understand

How desperately motivation needs

A victory or else accomplishment

May as well be an accident. Besides,

He wonders, how can they say I’m

Overdoing it if I can’t get it done?

SWEETIE

Sweetie, I think your poetry

Is beautiful, just like you are.

You move me, always have.

Sweetie, I think you’re scared

Of me, and I can’t say I blame

You, but come on - compared

To Jesus, we all kind of suck.

THE DREADFUL PINK EYE

If you don’t want to catch the dreadful Pink Eye

Don’t look at someone like you wish they would die

Because if they suss that that’s what you think

They’ll punch both your eyes until they turn pink

Don’t antagonize with the things that you say

Or you’ll wear sunglasses all night and all day

Don’t provoke somebody to charge like a rhino

Or friends will all ask if you’re turning albino

MIDDLE AGED PRAYER

Age brings the same old problems,

Just with a more thoughtful response.

Still the same old choices soon as you

Wake. Always wishing things could be

Better for everyone, things could be

Fairer, things could be kinder, but the

World’s the way it is like a cookie

Crumbles the way it does, sort of by

Design but mostly at random. Lord,

Deliver us from randomness, except

When it brings something wonderful.

QUESTIONABLE CONDUCT

Opinions on what exactly constitutes

Questionable conduct will usually

Vary depending on who you ask and

Whatever/however their relation is

To the one whose conduct is called

Into question. If we all understood

Each other perfectly, no conduct

Would be questionable because

Whatever question there is would

Already be answered. Therefore,

To question another’s conduct is

Really to say you don’t understand.

As to the question of whether or

Not understanding is any business

Of yours… That actually explains a

Lot of suffering and violence. It

Could just as easily be, how dare

You not care, as how dare you

Interfere. It can be harder to act

Than to understand, but I still say

You’re worse off when it’s harder

To understand than to act.

fantasy by buZ blurr

15 3

Breakman of Monotony =

comicbook idealism stencil

02/52 by Ryan Kitching

15 10

We live in a world that begs for perfection. An ideal that is so tangible, that even the greatest linguistic scholars would prefer to study the meaning of love than tackle this futile topic.

The funny thing is, if I was to tell you that perfectionism was a disease, you'd laugh and tell me that it is either a half cocked idea for attention or an elitist copout.

I disagree with both of the aforementioned. Here's why:

What if there was an illness that stopped you getting out of bed because you you were afraid you weren't going to be good enough?

What if every time you picked up a paint brush, you put it back down?

What if you could never finish a piece of art because you simply didn't know which move to make?

What's if every relationship you were ever in failed because you tried to be the best possible person, FOR the other person?

These symptoms could be put on laziness, obsessiveness or many of the levels of psychotic delusions that are floating around.

Think again.

Imagine you couldn't get out of bed because of the stereotypical perspective of the world around you didn't include your body image, size or job description?

Imagine you picked up the brush and put it back down, because you were afraid that you would never complete it the way you saw it in your head?

What's if you were building a piece of furniture, and you couldn't finish it, because you were so afraid of the last piece that was being put in place was not right, and you had no way of making it right?

What if you were constantly fucking up in a relationship and never knowing why, even though you thought you were doing the best you could?

These are all symptoms of perfectionism.

We are human, we are not perfect, yet the society that we live in has an idea that we climb a certain threshold, like a checkpoint in a video game we become inexcusable for the past levels errors, if we should happen to make them in our current environment.

This is fucked up.

The desire for perfect is futile, because, who are you being perfect for? Whose idealism are you striving for?

How is John Banks, living in suburbia, shooting weddings for a multitude of clientele constantly booked?

He believes in his shit.

He believes in his work.

Imagine if you could change the whole idea of failing, into the new thought "fear of being perfect"?

Imagine if it was the erroneous thought that had somehow bord it's way into your head and manifested itself into a fear, constantly changing and altering your present mindset.

Imagine saying to yourself "I didn't fuck up, I just feared I couldn't do it perfectly and that scared me".

This is the real story.

We are all so very capable of so very much, but the thing is, there is only a few elements of the social spectrum that are accepted as the norm. At the moment.

You think Van Gough gave a fuck about his popularity? Because that's all that perfectionism is… a desire for popularity.

You want your product to be good and in this age, well liked? So you perfect it.

I wanna say, fuck that shit in the ass.

Too much is going un noticed and un done because the perfectionist ideals out there.

The perfectionists are setting the standards and the perfectionists aren't releasing the goods.

That's fucked up.

This needs to change.

This weeks 52, exhibits the way I see the world, or at least want to. My initial idea was to place one splash image, the one, second from the last. The crown of splashes.

The thing is, whilst I was doing this, set up on a 200X150mm X 2 sheet of melamine with a speed gun and a turkey baster strapped to a clothing rack, I realised JUST HOW MUCH FUN IT WAS.

My idea of capturing the perfect went out the window and became an adventure of capturing the moment. As many times as I could.

It's not worth being perfect. There is nothing to strive for if you are.

Numerology............10 000 000 views...What does seeing Numerology such as 11:11, 12:34, 1:11, 3:33… mean to me? by Hughes Songe

11 2

The passing of the 10,000,000 views in the joy of accomplishment to capture the thrill of creative effort. 3333 images are shown in the gallery and 20 are over 50,000 views. Most viewed image exceeds 300,000 views Numerology is naturally an interest that occurs during awakening because many individuals will find themselves starting to see repeated numerological sequences over and over, sometimes even to the point where these numbers begin to haunt them. The most common being 11:11 however the more you notice the more you see, numbers such as 12:34, 111, 1:33, 333, 444, 555, etc. begin to follow you everywhere you go. Many people believe they are simply “Angelic Numbers” or “Messages from the Angels” but in truth Numerology is a very complex system. Each number corresponds to the system of the Kabbalah and the Tarot. The way to understand each of the numerological sequences you have to study the tree of life, archetypes, geometry and various symbolism throughout ancient history. Each number is a point on the dimensional plane of the system of the mind. Numerology works in a way that triggers a subconscious archetypal response within your long term memory all going right back to processing numbers like a futuristic computer. Carl Jung has studied this concept of subconscious triggers extensively within his work such as Man and His Symbols. They are essentially mind relapse triggers that influence our long term memory and change our DNA. You could say they’re “upgrades” but what they are doing is triggering your subconscious mind into the act of remembrance of who you are.What does seeing Numerology such as 11:11, 12:34, 1:11, 3:33… mean to me?

In reality while there is much symbolism behind each number, the true meaning all comes down to what resonates with you most. They could be said these are “Codes” that unlock our dna strands and awaken old memories of who we used to be but they are honestly a trigger like a talisman. 11:11 is by far the most common as well as 111,222,333,444,555, etc. Any of the master numbers can/will start showing up repeatedly denoting a particular sequential message. It’s always good to pay attention to your thoughts at the particular time you see the number or look at what you are doing. Being conscious of our surroundings, what we’re doing or what is around us at the time such as a symbol can sometimes help to figure out the meaning behind the message of the number.

There are various theories out there for why numbers are displaying a particular message. Some of these include:

Binary DNA Activation – Reality is composed from numbers, our mind is similar to a computer which relies on binary codes (1’s and 0’s). These Numbers such as 11:11 are working as a form of binary that activates your dormant (junk) DNA.

11:11 Gateway/Portal – Also known as Stargates, 10.10. 10. 11.11.11 12.12.12 These are astrological alignments that are created during a specific date in time. They are most known for being an Energetic Gateway for others to Awaken and also known to create energetic shifts. It could also signify that “11:11 is the doorway between two worlds – between the 3rd dimensional and the 5th dimensional worlds” [ref]In5d All About 11:11[/ref]

Making a Wish – Many Teenagers used to play the game “make a wish it’s 11:11”, perhaps their subconscious knew more than they did about this mysterious phenomena.

Life Path Numbers – Life Path numbers are a different form of numerology but are connected to Symbolic interpretation. They are found by adding your birth date and birth year together into a single digit.

Angel or Spirit Guide Messages – The more popular theory by Doreen Virtue that Numerology is basically messages from your angels or spirit guides trying to communicate with you. These messages include similar sayings such as “you are on the right direction of your spiritual path” or “stay positive, you have nothing to fear in regards to your soul purpose”

Fibonacci Sequence/Golden Ratio – Our reality is made around the Golden Ratio even our bodies are composed from the beautiful sequence of Phi, perhaps the numbers are simply reminding us of who we are?

Global Consciousness – Cosmic consciousness, sometimes people just simply think that these numbers are here to tell us we are connected to one another.

Wake Up Call – The most popular interpretation, Wake up call to GLOBAL AWAKENING. Numerology is mainly noticed by people who are going through the process of a Spiritual/ Kundalini Awakening. These numbers could simply mean you are on the right track and they signify your own Awakening Journey.

Since Numerology is linked to archetypal symbolism, the most direct interpretation will always be the symbolic representation of the Number itself. The numbers are there to guide us but the most powerful meaning is the one you put in front of the symbol. What resonates with you?

The Master Numbers:

1010 – reality is a biogenetic experiment created from numbers

911 – 9=Endings. 11=DNA. 911=ending code of our DNA program in this reality.

111 – The vision, illumination, channel to the subconscious, insight without rational thought, the gateway

222 – Duality – Polarity – Reality is created by an electromagnetic energy grid. 2+2=2=6=Flower of Life

333 – Represents a higher octave of 9 = closure in 3D

444 – Represents a higher octave of 3 = 4d mastery of thought and illusion

555 – All elements(air, earth, water, fire, ether) combined is a sphenic number. In base 10, it is a repdigit, and because it is divisible by the sum of its digits, it is a Harshad number. It is also a Harshad number in binary, base 11, base 13 and hexadecimal. Represents 5D

666 – Creating the merkabah, star of david, aligning the elements and the senses together in understanding. the number of man elements of earth combined with spirit

777 – Spiritual divine connection (connected to crown chakra)

888 – Rebirth, infinity, paradise regained

999 – Karma codes ending, life cycles complete. It is the Triple Triad – Completion; fulfillment; attainment; beginning and the end; the whole number; a celestial and angelic number – the Earthly Paradise.

10 – Completion and back to the source energy field or universal cosmic consciousness. Ten is the number of the cosmos—-the paradigm of creation. The decad contains all numbers and therefore all things and possibilities. It is the radix or turning point of all counting.

The representation of all master numbers connects to the universal sequence of 369.

0 – Tree of life, zero point

3 – Density line, creation for all. 3d. creation, the triangle, the student, the third solution, the creation of a double charge, the progression through life.

6 – Perfect balance, which ideally transmit the will of God on earth. Heaven uniting with earth. double-builder 33, the power of the material world, balance

9 – Completion, whole creation, all thought, divine, full circle, bio-energy, complete creation, power, brilliance, triple connection and balance.

[mks_separator style=”dotted” height=”2″]The 11 is the most intuitive of all numbers. It represents illumination; a channel to the subconscious; insight without rational thought; and sensitivity, nervous energy, shyness,andimpracticality. It is a dreamer. The 11 has all the aspects of the 2, enhanced and charged with charisma, leadership, and inspiration. It is a number with inborn duality, which creates dynamism, inner conflict, andothercatalyses with its mere presence. It is a number that, when not focused on some goal beyond itself, can beturnedinward to create fears and phobias. The 11 walks the edge between greatness and self-destruction. Its potential for growth, stability, and personal power lies in its acceptance of intuitive understanding, and of spiritual truths. For the 11, such peace is not found so much in logic, but in faith. It is the psychic’s number.The 22 is the most powerful of all numbers. It is often called the Master Builder. The 22 can turn the most ambitious of dreams into reality. It is potentially the most successful of all numbers. It has many of the inspirational insights of the 11, combined with the practicality and methodical nature of the 4. It is unlimited, yet disciplined. It sees the archetype, and brings itdown to earth in some material form. It has big ideas, great plans, idealism, leadership, and enormous self-confidence. If not practical, the 22s waste their potential. Like the 11, the 22 can easily shrink from its own ambition, causing difficult interior pressures. Both the 11 and the 22 experience the pressure-cooker effect very strongly, particularly at an early age. It must work toward the realization of goals that are larger than personal ambition. The 22 serves the world in a practical way.The 33 is the most influential of all numbers. It is the Master Teacher. The 33 combines the 11 and the 22 and brings their potential to another level. When expressed to the fullest, the 33 lacks all personal ambition, and instead focuses its considerable abilities toward the spiritual uplifting of mankind. What makes the 33 especially impressive, is the high level of sincere devotion. This is shown in its determination to seek understanding and wisdom before preaching to others. The 33 in full force is extremely rare. [ref]Numerology: Key to Your Inner Self By Hanz Decoz[/ref]

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Numbers Their Culture and Their Meanings:

The Numbers explained Further Curiosity of Crystalinks [ref]Crystalinks.com A major thank you to Ellie who let us use her pages for reference[/ref]:

Zero

Zero is a powerful number which brings great transformational change, sometimes occurring in a profound manner. It has much intensity, so caution is needed wherever it appears to ensure that extremes are not encountered.

Zero represents the Cosmic Egg, the primordial Androgyne – the Plenum. Zero as an empty circle depicts both the nothingness of death and yet the totality of life contained within the circle. As an ellipse the two sides represent ascent and descent, evolution and involution.

Before the One (meaning the Source—not the number) there is only Void, or non-being; thought; the ultimate mystery, the incomprehensible Absolute. Begins with meanings such as, Non-existence; nothingness; the unmanifest; the unlimited; the eternal. The absence of all quality or quantity.

Cultural References

Taoism: It symbolizes the Void; non-being.

Buddhism: It is the Void and no-thingness.

Kabbalism: Boundless; Limitless Light; the Ain.

Pathagoras saw zero as the perfect. Zero is the Monad, the originator and container of All.

Islamic: Zero is the Divine Essence.

Zero Number connected to Fibonacci Numbers

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One (1)

1 (one) is a number, numeral, and the name of the glyph representing that number. It is the natural number following 0 and preceding 2. It represents a single entity. One is sometimes referred to as unity or unit as an adjective. For example, a line segment of “unit length” is a line segment of length 1. Is considered to be a primordial unity. The beginning. The Creator. It the First Cause or as some cultures refer, the First Mover. One is the sum of all possibilities. It is essence, the Center. One is referred to isolation. One springs forth, upsurges. It is seen as the number that gives cause to duality as multiplicity and back to final unity. Chinese: refer to one as Yang, masculine; celestial. It is seen as an auspicios number. One is The Monad. Christian : God the Father; the Godhead.

Hebrew: Adonai, the Lord, the Most High, the I am, hidden intelligence. Islamic: One refers to one as God as unity; the Absolute; self sufficient. Pathagorean: One as meaning Spirit; God, from which all things come. It is the very essence, the Monad. Taoism “Tao begets One, One begets Two, Two begets Three and Three begets all things.” [mks_separator style=”dotted” height=”2″]

Two (2)

Duality. Alteration; diversity; conflict; dependence. Two is a static condition. It is rooted, seen as balance (two sides); stability; reflection. Two are the opposite poles. Represents the dual nature of the human being. It is desire, since all that is manifest in duality is in pairs of opposites. As One represents a point, two represents a length. The Binary is the first number to recede from Unity, it also symbolizes sin which deviates from the first good and denotes the transitory and the corruptible.Two represents two-fold strength—that is symbolized by two of anything, usually in history, by animals in pairs. Cultural References In Alchemy, two are the opposites, sun and moon. King and Queen. Sulpher and quicksilver, at first antagonistic but finally resolved and united in the androgyne. Buddhist: see two as the duality of samsara; male and female. Two is theory and practice; wisdom and method. It is blind and the lame united to see the way and to walk it.

Chinese, two is Yin , feminine; terrestrial; inauspicious. Christian: Christ with two natures as God and human.

Revelation: Two is the number of witness. The disciples were sent out by two’s (Mark 6:7). Two witnesses are required to establish truth (Deu 17:6, John 8:17, 2 Cor 13:1). Examples in Revelation are the beast out of the earth who has two horns like a lamb but spoke like a dragon (13:11). He is the false prophet. However the two witnesses are the true prophets of God (11:3). Hebrew: Two is The life-force. In Qabalism wisdom and self-consciousness. Hindu: Two is duality, the shakta-shakti. Islamic: Two Spirit. Platonic: Plato says two is a digit without meaning as it implies relationship, which introduces the third factor. Pythagorean: Two is The Duad, the divided terrestrial being. Taoist says two is representative of The K’ua, the Two. Determinants, the yin-yang. Two is a weak yin number as it as no center. Duality. Alteration; diversity; conflict; dependence. Two is a static condition. It is rooted, seen as balance (two sides); stability; reflection. Two are the opposite poles. Represents the dual nature of the human being. It is desire, since all that is manifest in duality is in pairs of opposites. As One represents a point, two represents a length. The Binary is the first number to recede from Unity, it also symbolizes sin which deviates from the first good and denotes the transitory and the corruptible.Two represents two-fold strength—that is symbolized by two of anything, usually in history, by animals in pairs. Cultural References

In Alchemy, two are the opposites, sun and moon. King and Queen. Sulpher and quicksilver, at first antagonistic but finally resolved and united in the androgyne. Buddhist: see two as the duality of samsara; male and female. Two is theory and practice; wisdom and method. It is blind and the lame united to see the way and to walk it. Chinese, two is Yin , feminine; terrestrial; inauspicious. Christian: Christ with two natures as God and human. Revelation: Two is the number of witness. The disciples were sent out by two’s (Mark 6:7). Two witnesses are required to establish truth (Deu 17:6, John 8:17, 2 Cor 13:1). Examples in Revelation are the beast out of the earth who has two horns like a lamb but spoke like a dragon (13:11). He is the false prophet. However the two witnesses are the true prophets of God (11:3). Hebrew: Two is The life-force. In Qabalism wisdom and self-consciousness. Hindu: Two is duality, the shakta-shakti. Islamic: Two Spirit. Platonic: Plato says two is a digit without meaning as it implies relationship, which introduces the third factor. Pythagorean: Two is The Duad, the divided terrestrial being. Taoist says two is representative of The K’ua, the Two. Determinants, the yin-yang. Two is a weak yin number as it as no center [mks_separator style=”dotted” height=”2″]

Three (3). The third dimension – we do things in threes so they will manifest in our physical realm. It’s roots stem from the meaning of multiplicity. Creative power; growth. Three is a moving forward of energy, overcoming duality, expression, manifestation and synthesis. Three is the first number to which the meaning “all” was given. It is The Triad, being the number of the whole as it contains the beginning, a middle and an end. The power of three is universal and is the tripartide nature of the world as heaven, earth, and waters. It is human as body, soul and spirit. Notice the distinction that soul and spirit are not the same. They are not. Three is birth, life, death. It is the beginning, middle and end. Three is a complete cycle unto itself. It is past, present, future. The symbol of three is the triangle. Three interwoven circles or triangles can represent the indissoluble unity of the three persons of the trinity. Others symbols using three are: trident, fleur-de-lis, trefoil, trisula, thunderbolt, and trigrams. The astral or emotional body stays connected to the physically body for three days after death. There is scientific evidence that the brain, even when all other systems are failing takes three days to register complete shutdown. There are 3 phases to the moon. Lunar animals are often depcited as 3 legged.

Three is the heavenly number, representing soul, as four represents body. Together the two equal seven (3+4=7 ) and form the sacred hebdomad. The 3×4=12 representing the signs of the Zodiac and months of the year. Pythagorean three means completion. There are three wishes, genies have three wishes, three leprecons, three prince or princesses, three witches, three weird sisters among others. Cultural References Africa Ashanti: the moon goddess is three people, two black, and one white. Arabian, Pre-Islamic: the Manant is a threefold goddess representing the 3 Holy Virgins, Al-Itab, Al-Uzza, and Al-Manat. They are depicted as aniconic stelae, stones or pillars, or as pillars surmounted by doves. Buddhist: tradition the theme of 3 is represented by, The Tri-ratna, The Three Precious Jewels, and the Buddha, Dharma, Sangha.

Chinese: Sanctity; the auspicious number; the first odd, yang number….The moon toad, or bird, is three-legged. Celtic: Bridgit is threefold; there are the Three Blessed Ladies and innumerable Triads, often a threefold aspect of the same divinity. Christianity: Three represents the Trinity, the soul, the union of body and soul in human in the church. There were three gifts of the Magi to Christ as God-King-Sacrifice; three figures of transformation, temptations, denials by Peter (one of the 12 Apostles—- 12=3 (1+2=3). There were 3 crosses at Calvary, He died on The Hills, there were 3 days to the death process for Christ, and there were 3 appearances after his death. There were 3 Marys, and there are 3 qualities or theological virtutes being Faith, Hope, Love or more commonly known as Charity. The number 3 gives to the meaning the embracing Godhead – Father, Mother, Son/Daughter. Egyptian: Hermetic tradition, Thoth is the Thrice Great, ‘Trismegistus’. The Supreme Power. The opening line of the Emerald Tablets of Thoth the Atlantean. Tablet 11

Three is the mystery, come from the great one, Hear, and light on thee will dawn. In the primeval dwell three unities,Other than these none can exist. These are the equilibrium, source of creation,One God, One Truth, One Point of Freedom.Three come forth from the three of the balance, All Life, all Good, all Power.Three are the qualities of God in his light-home Infinite Power, Infinite Wisdom, Infinite Love. Three are the circles (or states) of Existence: The Circle of Light where dwells nothing but God, and only God can traverse it, The Circle of Chaos where all things by nature arise from Death, The Circle of Awareness where all things spring from Life. All things animate are of three states of existence, Chaos or death, liberty in humanity, and felicity of Heaven. There is an ancient wisdom that’s says; ‘Messages or events that come in three’s are worth noticing. ‘Whenever anything is mentioned three times it is a witness to us that these things are of utmost importance. Three symbolizes manifestation into the physical. It is the triangle – pyramid shape in the vesica pisces – see image below. The TV Show ‘Charmed’ deals the ‘Power of Three Sister Witches’, known as the Charmed Ones. Their job is to vanquish evil forces in their many forms and sometimes non-forms. knot The symbol to the side, called a Triquetra (tri-KET a Latin word meaning ‘three cornered’) appears on The Book Of Shadows.an ancient book of spells that assists these ‘Charmed Ones’ in dealing with the evil forces they are continually encountering. In some episodes so called evil and good must work together to bring balance to a situation. They cancel each other out in the end – poof – gone – disappeared! ‘Power of Three’ has to do with Alchemy. The Egyptian god Thoth or the Greek Hermes Trismegistus (Thrice Blessed or Thrice Great) are the progenitors of the Emerald Tablets describing the mysteries of Alchemy. The alchemy of three is demonstrated by its power of multiplicity. For example, in understanding the numbers – One gave rise to Two (1+1=2) and Two gave Rise to Three (2+1=3) and Three gave rise to all numbers (3+1=4, 3+2=5, 3+3=6, 3+4=7, 3+5=8 3+6=9). Thus in addition to being a number of good fortune, Three is also the number of multiplicity and alchemy among other things. Many believe the Triquetrais an ancient symbol of the female trinity, because it is composed of three interlaced yonic Vesica Pisces (a.k.a. PiscisSLatin for “Vessel of the Fish”) and is the most basic and important construction in Sacred Geometry, which is the architecture of the universe.

A Vesica is formed when the circumference of two identical circles each pass through the center of the other in effect creating a portal. ‘The Triquetra’ represents the ‘Power of Three’ or the threefold nature of existence i.e. body, mind and spirit; life, death and rebirth; past, present and future; beginning, middle and end; Sun, Moon and Earth; and the threefold co-creative process described as thought, word, and deed. Sphere=ovum Vesica Pisces – Oval opening of the penis The creation process as described in the Vedas is unfolding, maintaining, and concluding as in birth, life and death. There are innumerable trinities and triads throughout myth and religious traditions, such as the triple goddess; maiden, mother, crone. One example in Greek mythology is Kore, Demeter, Hecate. The Christian trinity is Father, Son and Holy Ghost. Vedic trinities include Brahma, Vishnu and Shiva with their consorts Saraswati, Lakshmi and Kali to name just a few. [mks_separator style=”dotted” height=”2″]

Four (4)

Four is the 4th dimension = time which is illusion. Four is seen as the first solid number. Spatial in scheme or order in manifestation.Static as opposed to the circular and the dynamic Wholeness; totality; completion; solid Earth; order

Rational – relativity and justice Symbol of measurement

Foundation The are four cardinal points; four seasons; four winds; four directions (as in North, South, East, West); four elements (Fire, Water, Air, Earth) in the western culture. There are four sides to a square; four arms to a cross. There are four rivers to Paradise, that formed a cross (the Garden of Eden was said to be within the four rivers). Within Paradise were four infernal regions, seas, and sacred mountains. There are four watches of the night and day, quarters of the moon. There are four quarters to the earth. There are four tetramorphs. The Divine Quaternity is in direct contrast to the Trinity. Four is a symbolic number used throughout in the Old Testament. The quaternary can be depicted as the quatrefoil as well as the square and the cross.Cultural References

Native American: As in other cultures, ceremonies and ritual acts are repeated in fours. The Native Amercican cultures have used the number 4 most frequently as in the four cardinal directions. The four winds are depicted by the symbol of the cross and by the symbol of the swastika. The swastika as some misbelieve was not created by Hitler. It was instead borrowed from the Native American and occult beliefs of which Hitler had great interests. Hitler derived his “insanity” of power from his misdirected interpretation and use of metaphysical principles. He used knowledge that his human consciousness couldn’t possibly understand and the use of this knowledge for personal gain is part of the imbalance that creates the chaos and karma. Buddhism: The Damba Tree of Life has four limbs and from its roots four sacred streams of Paradise that represent the the four boundless wishes of compassion, affection, love impartiality. It also represents the four directions of the heart as well. Chinese Buddism: there are four celestial guardians of cardinal points are Mo-li Ch’ing, the East, with the jade ring and spear; Virupaksha, the West, the Far-gazer, with the four-stringed quitar; Virudhaka, the South, with the umbrella of choas and darkness and earthquakes; Vaisravenna, the North, with the whips, leopard-skin bag, snake and pearl. Chinese: Four is the number of the Earth, symbolized by square. There are four streams of immortality. Four is even an number. It is Yin in polarity.

Christian: Four is the number representing the body, with three representing the soul. Again we see the theme of the four rivers in Paradise. There are four Gospels, Evangelists, chef arch-angels, chef-devils, four Fathers of the Church, Great Prophets. There are four cardinal virtues—prudence, fortitude, justice, temperance. The are four winds from which the One Spirit is said to come. There are four horsemen of the Apocalypse. Revelation: There four angels standing at the four corners of the Earth, holding back the four winds of the earth (Rev 7:1). The great multitude from every nation, tribe, people and language (four-fold description) – Rev 5:9 11:9 13:7 14:6 the four-fold description indicates that these people come from all over the earth. Egyptian: Four is the sacred number of Time, measurement of the sun. Four pillars support the vault of heaven. There are four canopic jars placed around the dead at the four corners guarded by the four sons of Horus who are associated with the cardinal points. In the Hermetic it is the divine quaternity. It represents God. Gnostic: belief in Barbelo, the Four-ness of God. Greek: Four is the sacred number of Hermes Hebrew: Four represents measuring; beneficence; intelligence. In the Kabbalah four is memory; four represents the four worlds of the Kabbalah.It also represents the four directions of space and the four levels of the hierarchical organism of the Torah. Hindu: Four is Totality; plenitude; perfection. Brahma, the Creator is four faced. The temple is based on the four sides of the square, symbolizing order and finality. There are four tattvas the four bodies bodies of human and kingdoms of nature which are animal, vegetable, mineral, mind. There are four yugas. Four is the winning throw of the dice. There are four castes and pairs of opposites. Islamic: tradition the four terms of the quaternary are the Principle which is Creator; Universal Spirit; Universal Soul; and the primordial matter. These correspond to the four worlds of Kabbalism. There are four angelic beings and four houses of death. There are four levels to the Bardo. Mayan culture four giants support the celestial roof. Four is seen as the number of support .Pythagorean: Four is Perfection; harmonious proportion; justice; the earth. Four is the number of the Pythagorean oath. Four and ten are divinities. The Tetraktys 1+2+3+4=10. Scandinavian: there are four rivers of milk flowing in Asgard.Sumero-Semitic: Four astral gods are indentified with the four cardinal points. Teutonic: four dwarfs support the world. Taoist: There are four celestial guardians, Li, with the pagoda; Ma, with the sword; Cho with two swords; Wen with a spiked club. [mks_separator style=”dotted” height=”2″] Five (5)

Five is the symbol of human microcosm. The number of the human being. Human forms—-the pentagon when arms and legs are out stretched. The pentagon is endless —-sharing the symbolism of perfection and power of the circle. Five is a circular number as it produces itself in its last digit when raised to its own power. The pentacle, like the circle symbolizes whole, the quincunx being the number of its center and the meeting point of heaven, earth, and the four cardinal points plus the center point. Five is also representative of the Godhead – Central Creator of the four fours plus itself equalling five. Five is the marriage of the hieros gamos as combination of feminine and the masculine. Feminine being even, as 2, in frequency and masculine being odd as 3 in frequency = 5. The number five symbolizes meditation; religion; versatility. It represents the five senses (taste, touch, smell, sight, hearing) everywhere except in the East. In the East there are six—-the extra being Mind. We find meanings to five in the five petaled flower, five pointed leaves—especially the ROSE. The Rose has much symbolism, but also the lily, vine, all of which represent the microcosm.

The five pointed star depicts individuality and spiritual aspiration, and education when it points upward. The five pointed star pointing downward represents witchcraft, and it is used in black magic. Noted: There is a very broad difference between witchcraft and black magic. The number five formed the first counting process from which all else came. Cultural References Alchemy: The five petaled flower and five pointed star symbolizing the quintessence.

Buddhist: belief the heart has four directions— the heart center makes five, symbolizing, universality. This idea is also symbolized by the Sacred Mountains surrounded by the four islands. There are five Dhyani Buddhas: Vairocana, the Brillant, who is represented by the wheel, the witness; Akshobhya, the Imperturbable, with vajra, the East and blue; Ratnasambhava, the Jewel-born, jewel, south, yellow; Amitabha, Boundless Light, lotus, West, red; Amoghasiddhi, Infallible Success, sword, North, green. Chinese: There are five elements. Five atmospheres; conditions; planets; sacred mountains; grains, colors, tastes, poisons; powerful charms; cardinal virtues; blessings; eternal ideas; relations to human kind. Christian: Five depicts human beings after the Fall in the Garden of Eden. There are five senses; five points to the cross; wounds of Christ; fishes feeding five thousand; and books of Moses. Egyptian: There are five crocodiles of the Nile. Graeco-Roman: Five is the nuptial number of love and union.. It is the number of Venus. Venus years are completed in groups of five. Apollo as god of light has five qualities: omniscience, omnipresence; omnipotence, eternity, and unity.

Hebrew: Five represents strength and severity; radical intelligence. In kabbala five represence fear. Hindu: Five is the quinary groups of the world; the five elements of the subtle and coarse states; their primary colors; of senses; five faces of Siva and the twice-five incarnations of Vishnu. Islamic: There are five pillars of religion; five Devine Presences; five fundamental dogmas; five actions; and five daily times of prayer. Parsee: Five is a significant number in Parsee and Mandaean rites – possibly connected with the five sacred intercalary days of light. Pythagorean: Hieros, gamos, the marriage of heaven, earth. It represents Apollo as God of light and his five qualities. Crystalinks: The Pentagram Pentagrams often show up on palms – hands [mks_separator style=”dotted” height=”2″]

Six (6) Six represents equilibrium; harmony – balance. It is the perfect number within the decad: 1+2+3=6. It is the most productive of all numbers. It symbolizes union of polarity, the hermaphrodite being represented by the two interlaced triangles, the upward- pointing as male, fire and the heavens, and the downward-pointing as female, the waters and the earth. Six is the symbol of luck; love; health; beauty; chance. It is a winning number at the throw of the dice in the West. There are six rays of the solar wheel and there are six interlaced triangles. There are six pointed stars or Seal of Solomon – and Star of David – Merkabah Cultural References;Chinese: Six represents Universe, with its four cardinal points and the Above and Below – making it a total of six directions. Chinese culture there are six senses: tastse, touch, smell, sight, hearing, the sixth being mind. The day and night each have six periods. Christian: Six is perfection; completion because man was created on the sixth day. Six is man’s number The most obvious use of this number is in the notorious passage containing 666. (Rev 13:18 NIV) This calls for wisdom. If anyone has insight, let him calculate the number of the beast, for it is man’s number. His number is 666. Hebrew: There are six days of creation. It symbolizes meditation and intelligence. Kabbalism: Six is creation, and beauty. Pythagorean: Luck Sumerian: Six days of creation

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Seven (7)

If 6 represents humanity then 7 – the center of the spiral is humanity’s connection to its source, god, Christ consciousness – or whatever name you prefer.

Seven is the number of the Universe. It is the three of the heavens (soul) combined with the four (body) of the earth; being the first number containing both the spiritual and the temporal. In looking over the list of meanings it doesn’t take long to figure out why the seven has become significant in metaphysical, religious and other spiritual doctrines – as seven represents the virginity of the Great Mother – feminine archetype – She who creates.

There are 7 ages of man ancient wonders of the world circles of Universe cosmic stages days of the week heavens hells

pillars of wisdom rays of the sun musical notes – sound as frequency plays a key roll in matters of Universe. There are over 80 octaves of frequency – each governing a specific manifestation in Universe. Cultural References In all cultures, myths and legends seven represents…completeness and totality macrocosm perfection plenty reintegration rest

security safety synthesis The writings about the seven-headed dragon appear throughout India, Persia, the Far East, especially Cambodia, but also Celtic and other Mediterranean myths. The seventh ray of the sun is the path by which the human beings pass from this world to the next. Seven days is the period for fasting and penitence. The seventh power of any number, both square and a cube and thus was given great importance. Alchemy – There are seven metals involved with the Work. Astrology: There are seven stars of the Great Bear which are indestructible. There are seven Pleiades— sometimes referred to as the, Seven Sisters. Buddhist: Seven is the number of ascent and of ascending to the higest; attaining the center. The seven steps of Buddha symbolize the ascent of the seven cosmic stages transcending time and space. The seven-storied prasada at Borobadur is a sacred mountain and axis mundi, culminating in the transcendent North, reaching the realm of Buddha. Chinese culture the meaning and symboligies are intertwined throughout in their myths and legends of fairies and animal spirits. Christian: Seven is idealogogy. God is represented by the seventh ray in the center of the six rays of creation. There are seven sacraments; gifts of spirit; the seven of 3+4 theological and cardinal virtues; deadly sins, tiers of Purgatory (in metaphysical belief this would be one of the lower astral planes – or in Buddhism, one of the Bardo planes). There are 7 councils of the early church – crystal spheres containing the planets – devils cast out by Christ – joys and sorrows of Mary the Blessed Virgin, mother of Jesus – liberal arts – major prophets – periods of fasting and penitence – seventh day after the six of creation In the Old Testament there are the seven altars of Baalam; oxen and rams for sacrifice; trumpets; circuits of Jericho; seven times Naaman bathed in the Jordan. Seven is the number of Samon’s bonds; the child raised by Elisha sneezed seven times. The Ark rested on the seventh month and the dove was sent out after seven days. The number seven is used 55 times in Revelation. It usually means fullness or completeness as in seven days of the week. God rested on the seventh day. Examples abound: seven churches, seven trumpets, seven seals, seven bowls, seven eyes etc etc. Egyptian mythology: There are seven Hathors as Fates and the priestesses of Hathor have seven jars in their seven tunics. Ra has seven hawks representing the seven Wise Ones. Six cows and a bull represent fertility. There are seven houses of the underworld, as depicted in Egyptian myths, with three times seven gates. Seven is the sacred number of Osiris. Graeco-Roman: Sacred to Apollo, whose lyre has seven strings, and to Athene/Minerva and Ares/Mars; Pan had seven pipes (again a reference to seven musical notes and frequency); there seven Wise Men of Greece. Hebrew tradition: Seven is the number of occult intelligence. There are seven Great Holy Days in the Jewish year; the Menorah has seven branches; the Temple took seven years to build; and there are seven pillars of wisdom. Hinduism there are Seven Jewels of the Brahmanas and seven gods before the floods and seven Wise Men saved from it. Islamic: The perfect number is seven. In Islamic tradition there are references to seven: heavens climates earths and seas

colors prophets (active powers) states or stations of the heart The Ka’aba is circumambulated seven times representing the seven attributes of God. Magic: There are seven knots in a cord for “spellbinding” and incantations are sevenfold. Certain orders of Brotherhood use theme of tying seven knots in their rope sash worn around their waist. Mithraic: The cave of Mithras has seven doors, seven altars, and a ladder with seven rungs depicting the seven grades of initiation into the mystery schools. Pythagorean: Seven is a cosmic number with three of heaven and four of the world. Sumero-Semitic: There are seven lunar divisions and days of the week. “Thou shalt shine with horns to determine six days and on the seventh with half a crown.”, the seventh thus becomes opposition to the sun and symbolizes darkness and balefulness and therefore is dangerous to undertake anything on the seventh day because that is the day of rest. We can see here the influence of this belief in other religious contexts. There are seven zones of earth; heavens, symbolized by the planes of ziggurat. There are seven branches to the Tree of Life each having seven leaves. Leaves are symbols of fertility, renewal and growth. There are seven gates of hell, seven demons of Tiamat and seven winds to destroy her—-interesting to note that in many belief systems it is said that the astral plane has seven levels to it—one sound on one of those levels is “wind”.

Seven is a mystic number traditionally associated with Venus and more recently with Neptune. It is the number of feelings and of instincts – of the Group Mind, of Love, whether that strange, indescribable but pervasive feeling of love is towards another person, a pet, oneself or one’s God. ‘Love’ embodies tremendous sexual energy, the emotions of which may be directed in various ways.

theawakenedstate.net/numerology/

Little Girl Sunshine by bellajo415 (slowly making my way back..)

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{new... new/old #twotakes}

My 'pull' in life is humanity, emotions, and connections. So when I think of old and new, I immediately go to energy within people. This girl's energy is all about 'new'!! New hope...new excitement...new wonder...everything is fresh to her. She has no life experience to draw on to jade, embitter or bias her. For me, to be around the purity and sheer exuberance of this energy is restorative, in that it refuels my idealism....gives me hope :)

_DSC9923 by Hans Jan Dürr

ARTZUID 2025 Amsterdam

Participating artists ARTZUID 2025

Stowe Landscape Gardens by Adrian Turner

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Designed by William Kent and completed in 1737, the Grade I listed Temple of Ancient Virtue was inspired by the Temple of Vesta at Tivoli. Lord Cobham's garden was essentially political with each monument making some sort of political statement as well as adding meaning to a landscape. This temple is a monument to four Ancient Greeks - Socrates, Homer, Lycurgus, Epaminondas - whose virtue and idealism was lacking in the politicians of Lord Cobham's day.

Blind idealism by Janne Räkköläinen

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Someone does not like the full text...

"Union & Liberty Forever: Reconstruction of the South" by J. L. Giles, after Horatio Bateman. Lithograph, 1867 by Leo Boudreau

Exhibit at the Smithsonian American Art Museum in Washington, D.C.

This allegorical lithograph, published two years after the end of the American Civil War, symbolically depicts the idealism of which President Lincoln spoke in the peroration of his second inaugural address:

“With malice toward none; with charity for all; with firmness in the right, as God gives us to see the right, let us strive on to finish the work we are in; to bind up the nation’s wounds; to care for him who shall have borne the battle, and for his widow, and his orphan – to do all which may achieve and cherish a just, and lasting peace, among ourselves, and with all nations.”

Warehouse, Dublin, Ireland 2015 by denebOne

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Serk21 (PES, KCR) – Idealism – Deneb

dormant idealisms by Riccardo Delfanti

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+ 1 in comment

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Manila: Seal of City of Manila (Jones Bridge) by Dico Calingal

The Seal of Manila comprises of the following (from manila.gov.ph/city-profile/)

1. The shield on which the various images are emblazoned and which carry the nation's colors signifies the valor, the blood, and the idealism with which Manila’s forces fought against invasion.

2. The beautiful pearl embedded in the shell symbolizes the character of Manila, a city that has transformed into hundred divergent cultures collected over the centuries from nationalities who landed on her shore into something essentially Filipino.

3. The sea lion, en garde, stands for the authority of the City Government – protective and defensive of Manila’s people & territory.

4. The waves of alternating azure and argent portray the Pasig River – a most important landmark whose length and path throughout the city chronicle the beginnings and the progress of Manila’s commerce & industry.

I took this photo during the time that Jones Bridge was still in "beautification" and they put the seal of Manila in the bottom of the lamp posts.

Medium: Canon EOS 4000D

Date Taken: November 2, 2019

Skatepark in Swords, Ireland 2016 by denebOne

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Deneb – Idealism

The stoutest-hearted men were lost by Squatbetty

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"The tragedy of the Somme battle was that the best soldiers, the stoutest-hearted men were lost; their numbers were replaceable, their spiritual worth never could be."

Unknown German Soldier

Not forgotten.

Karl Brullov - The Last Day of Pompeii (c.1830) by Pau NG

Karl Brullov - The Last Day of Pompeii (c.1830)

Briullov visited Pompeii in 1828 and made sketches depicting the AD 79 Vesuvius eruption. The painting received rapturous reviews at its exhibition in Rome and brought Briullov more acclaim than any other work during his lifetime. The first Russian artwork to cause such an interest abroad, it inspired an anthologic poem by Alexander Pushkin, and the novel The Last Days of Pompeii by Edward Bulwer-Lytton. It depicts a classical topic but exhibits characteristics of Romanticism as manifested in Russian art, including drama, realism tempered with idealism, interest in nature, and a fondness for historical subjects. A self portrait is in the upper left corner of the painting, under the steeple, but not easy to identify.

High Resolution:

commons.wikimedia.org/wiki/File:Karl_Brullov_-_The_Last_D...

Irrlichtelieren (Will-o’-the-wisping-around). Irrlicht Engine - A free open source 3D engine…Goethe invented the word and used it only once, in the student scene of Faust I. Derived from the noun Irrlicht (will-o'-the-wisp, or ignis fatuus), ... by Hughes Songe

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Welcome to the Irrlicht Engine

The Irrlicht Engine is an open source realtime 3D engine written in C++. It is cross-platform, using D3D, OpenGL and its own software renderers. OpenGL-ES2 and WebGL renderers are also in development. It is a stable library which has been worked on for nearly 2 decades. We've got a huge community and Irrlicht is used by hobbyists and professional companies alike. You can find enhancements for it all over the web, like alternative terrain renderers, portal renderers, exporters, world layers, tutorials, editors, language bindings and so on. And best of all: It's completely free.

irrlicht.sourceforge.io/

Irrlichtelieren (Will-o’-the-wisping-around)

Jane K. Brown

UNIVERSITY OF WASHINGTON

orcid.org/0000-0002-7527-1150

The lexeme Irrlichtelieren (will-o’-the-wisping-around, i.e. thinking outside the box) is Goethe’s neologism for a heterodox line of thought that displaces traditional methods of philosophy and science. Although the term occurs only once, in the student scene of Faust, Part One (FA 1.7:83.1917), the shifting value of will-o’-the-wisps in Faust and other works corresponds to the theories of scientific method Goethe advanced in essays of the 1790s and especially to the methodology of his Zur Farbenlehre (Theory of Color) of 1810. While in Goethe’s letters and in the devil’s language in Faust, will-o’-the-wisps betoken illusion, they develop in the course of Faust into symbols of the ineffable truth that Kantian metaphysics had effectively substituted for God. The ironic dialectic of the will-o’-the-wisps shapes Goethe’s views of pedagogy and scientific epistemology and his positions on the idealist subject/object dichotomy, on the relationships of nature and truth, on representation and knowledge, and on knowledge and community.

Introduction

Etymological Implications

Learning as Flitting Around

Subject-Object Relations

The Relationship of Nature and Truth

Representation as Knowledge

Knowledge and Community

Notes

Related Entries

Works Cited and Further Reading

Introduction

The neologism irrlichtelieren can be defined as: “An innovative and eccentric line of thought, [. . .] a lexical innovation [. . .] that configures the ‘improper’ imperative of Goethean thought [. . .] to displace the ‘proper’ way of doing philosophy (including logic, rationalist metaphysics, and transcendental idealism) by repurposing its traditional instruments of torture.”1 Goethe invented the word and used it only once, in the student scene of Faust I. Derived from the noun Irrlicht (will-o’-the-wisp, or ignis fatuus), it initially identifies the confused thinking of the student who has yet to learn logic,

Daß er bedächtiger so fortan

Hinschleiche die Gedankenbahn,

Und nicht etwa, die Kreuz und Quer,

Irrlichteliere hin und her. (FA 1.7:83.1914–17)2

So that he creep more circumspectly

along the train of thought

and not go will-o’-the-wisping

back and forth and here and there.

However, the use of will-o’-the-wisp in Faust transforms this apparent praise of logic into its opposite, so that “will-o’-the-wisping back and forth” comes to represent the epistemology actually promoted not only in Faust but also in Goethe’s essays on scientific methodology and optics from the 1790s and in his massive Zur Farbenlehre (Theory of Colors) of 1810. Derived from irren (erring), the central theme of Faust, where the Lord says “Es irrt der Mensch, so lang er strebt” (FA 1.7:27.317; man errs as long as he strives) and Licht (light), used consistently as an image for knowledge or truth in Goethe, as so often in the period, irrlichtelieren becomes a useful term for Goethe’s process of learning truth by trial and error. It engages a series of epistemological issues typical of the period: thinking outside the box, subject/object, the relation of nature and truth, the role of representation in knowledge, and the epistemology of community formation. Irrlichtelieren not only exemplifies Goethe’s tendency to heuristic rather than systematic thought (unlike that of his Romantic colleagues), but indeed embodies its own meaning—for will-o’-the-wisps and similar figures appear as characters in his (arguably) most characteristic works: Faust and the Märchen (Fairy Tale) of 1795. Furthermore, the word irrlichtelieren appears in Faust in the context of philosophical discourse when Mephistopheles is holding forth on the place of logic in the curriculum; similarly, in Faust II, a will-o’-wisp-like creature named Homunculus, seeking to become, is introduced in the context of implied questions of becoming in idealist philosophy as well as the philosophical-scientific discourse of classical antiquity invoked by the two pre-Socratics Anaxagoras and Thales. Yet because, unlike most of the terms in this lexicon, irrlichtelieren begins in Goethe’s poetic works as a metaphor that then becomes a personification, it emerges as a philosophical concept only in the metadiscourse of scholarly analysis.

Etymological Implications

The addition of “-ieren” to the word “Irrlicht” turns it into a verb, so that it means “to wisp around.” The combination of “will-o’-the-wisp” with the formal French suffix is intentionally frivolous, as is often the case with Goethe at his most ironic and most profound moments. In Goethe’s day, an Irrlicht was a still mysterious natural phenomenon (now understood as a natural fluorescence originating in the spontaneous combustion of gases from rotting matter in marshy places). Its entry into folklore, specifically as a mischievous nature spirit, is documented in Germany only beginning in the sixteenth century, when the Latin term ignis fatuus (silly flame) was invented by a German humanist to lend the long-existing German word intellectual credibility.3 Although Goethe was familiar with explanations for Irrlichter extending back to Paracelsus (1493–1541) and, beyond him, to the pre-Socratics, he used it as a scientific term only once, in a reference to two essays by his friend, the botanist and Romantic natural philosopher Christian Gottfried Nees von Esenbeck (1776–1858).4 Esenbeck considered both will-o’-the-wisps and falling stars to be entirely natural phenomena connected to a slime (Schleim), but in a tension typical of Romantic Naturphilosophie remained uncertain as to whether its effects were natural or supernatural. Sly allusions to Esenbeck are to be found in Faust via the presence of falling stars in the “Walpurgis Night’s Dream” and the sticky roses that torment Mephistopheles in act five of Faust II. Otherwise, Goethe used Irrlicht in his poetic works, essays, and correspondence always negatively, to refer to delusions.5 Thus, in Faust, “will-o’-the-wisp” emerges primarily from the mouth of Mephistopheles, the skeptical conjuror of illusions, and its ultimate significance as the best way to learn about truth arises from the fundamental irony inherent in the devil’s role in the play.

Learning as Flitting Around

Irrlichter are delusive because they constantly move around and because their light leads travelers astray. And yet, for the author of innumerable works about characters who wander aimlessly, wandering is a primary mode of being. Examples of such characters include Faust, for whom erring is the only path to salvation; the hero of Wilhelm Meisters Lehrjahre (1795/96; Wilhelm Meister’s Apprenticeship) and almost everyone in Wilhelm Meisters Wanderjahre (1829; Wilhelm Meister’s Journeyman Years); the indecisive traveler of Briefe aus der Schweiz (1808; Letters from Switzerland), who worries whether he should climb the Furka in winter; and the traveler in Italienische Reise (1816/17; Italian Journey), who hesitates to go to Sicily and decides not to go to Greece. In his autobiography, Dichtung und Wahrheit (1833; Poetry and Truth), Goethe regularly defines epochs of his life in terms of place and consistently features his own lack of agency in his choice of places. He, too, was a constant wanderer, even after he was more or less settled in Weimar.

Wandering is also the primary mode of scientific experimentation in the essays of the 1790s, where a “good experiment” (Goethe’s word is “Erfahrung [. . .] einer höhern Art”; FA 1.25:34) requires multiple observations of the same object from many different points of view (see, especially, “Der Versuch als Vermittler zwischen Objekt und Subjekt” of 1793). Indeed, the word Erfahrung contains the verb fahren (to travel). In this respect, Goethe was already ahead of Hegel, whose Phänomenologie was originally called “Die Wissenschaft der Erfahrung des Bewußtseins” (The Science of the Experience of Consciousness) and who emphasizes the notion of “dialektische Bewegung” (dialectical movement) at the heart of Erfahrung. Similarly, Part 1 of the Farbenlehre calls upon the reader to engage in several long series of observations, each of which ends with analogical amplifications of central observation rather than with a theoretical conclusion. Indeed, at the end of a Goethean experiment, the phenomenon “kann niemals isoliert werden” (FA 1.25:126; can never be isolated), the truth is to remain untouched in the unarticulated center of all the different observations. The same is still true in the Wanderjahre of the late 1820s, a text that both celebrates wandering and delights in the juxtaposition of seemingly contradictory points of view in its narratives and aphorisms. Indeed, Goethe’s cultivation of aphorism, as also his history of the science of color in the form of separate descriptions of scientists without an overarching narrative, reflect this same method of what, at first, seems to be random flitting. Irrlichterlieren is the freedom to attend to each detail carefully in itself before connecting it to others.

Subject-Object Relations

The experimental method Goethe described in the 1790s, when he was doing research in botany, anatomy, geology, and optics, when he was also absorbed in Kant’s Kritik der Urteilskraft (Critique of Judgment) and bringing scientists and philosophers (like Hegel) of the new idealist movement to the university at Jena had, as its explicit purpose, the mediation between subject and object. The multiperspectivism of “Der Versuch als Vermittler” (The Experiment as Mediator) arises from the need to keep scientific knowledge from imposing the subject on the object, the basic problem of idealism. Too much subjectivity causes the investigator to draw arbitrary and often unwarranted connections among phenomena and to become too attached to hypotheses, while too much objectivity reduces scientific knowledge to a mere collection of isolated facts (FA 1.25:31–33). Goethe resolves the problem with the term “Entäußerung,” renunciation, or, literally, withdrawal of one’s self to the outside. Goethe’s “experiment” escapes subjectivity but connects facts by multiplying and varying the conditions of observation. The quality of wandering now becomes flitting around outside of the box—that is, behaving like an Irrlicht flitting around outdoors. Similarly, Faust removes himself to the outside of his study and his identity with the aid of Mephistopheles, the invoker of will-o’-the-wisps in the play, while the world of the Märchen transcends itself through the mediation of actual will-o’-the-wisps visiting from abroad. Such is the model for Goethe’s epistemology.

The Relationship of Nature and Truth

In the Farbenlehre and repeatedly in the Wanderjahre Goethe asserts that the truth, the phenomenon (and later Urphänomen, or sometimes das Absolute), remains unknowable. Ringed about by observations, it is incommensurable, a secret to be respected, in some contexts to be reverenced, but to remain unviolated. Especially the Farbenlehre makes generous use of the terms “higher” and “highest” to rank insights and phenomena and does not hesitate to address transition points from the material to the spiritual/intellectual realm. Above all, the volume communicates the profound respect the scientist owes to the purity and essential impenetrability of the natural phenomenon. Just as in the earlier methodological essays, the phenomenon proper, which Goethe calls the “Urphänomen,” remains, to the end, a riddle at the center of all the scientist’s observations. Esenbeck’s theory of the mysterious slime that characterizes will-o’-the-wisps and falling stars is a similar mystery at the heart of a scientific explanation, leaving an opening to the realm of Geist (spirit/mind). The Irrlicht is Goethe’s image for this essential part of his epistemology. The Irrlicht can never be grasped, like the rainbow in the first scene of Faust II or the jewels scattered by Knabe Lenker (Boy Charioteer) in act two that turn to insects in the hand. In its inconstant motion, it escapes the control even of Mephistopheles in the Walpurgis Night of Faust I and it is repeatedly imagined in evanescent lights in Faust I and in a series of mysterious attractive figures in Faust II, such as Knabe Lenker, Homunculus, the angels of the burning roses in act five, and, finally, the rising Mater Gloriosa, always just out of reach at the very end of the play. In the Märchen the will-o’-the-wisps, having transubstantiated the green snake, restore the world to order and harmony and end by scattering gold, always in Goethe a symbol of the vital force of life, natura naturans. As folklore figures, will-o’-the-wisps are Goethe’s ideal image of Romantic natural supernaturalism, of the permeable, ungraspable boundary between nature and spirit, between the real and the ideal.

Representation as Knowledge

While the Absolute cannot be grasped directly, it can nevertheless be known through representations the mind stages for itself. The essay “Physik überhaupt” (1798; Physics in general) already introduces aesthetic terminology: the goal of Goethe’s series of observations is not to pin down the phenomenon but to understand it in a sequence or in a series of episodes. To present it, then, requires the condensing activity of the subject to represent aspects of the object “in einer stetigen Folge der Erscheinungen” (FA 1.25:126; in a regular series of appearances). “Aesthetic” is the appropriate term here, because all of Goethe’s poetic writing of the 1790s has episodic plots consisting of a series of experiences repeated from varied perspectives. The tripartite structure of the Farbenlehre similarly reflects Goethe’s basic principle of examining any phenomenon from several different points of view, both between and within parts, and his corresponding stylistic tendency toward episodic organization.

Yet, aesthetic terminology plays an even greater role in the epistemology of the Farbenlehre. Part 1 discusses the subject-object tension, for example, by focusing on “Begrenzung” (limitation) as the essential cause of color rather than Newton’s refraction. Color, like any other phenomenon, can only be recognized as such through its boundaries. Defining the edges of color or of light, then, transforms it into an image, a Bild (“Anzeige und Übersicht des goetheschen Werkes zur Farbenlehre,” FA 1.23.1:1045). Such framing equates to looking at the phenomenon from outside, a single perspective at a time, followed by connecting single observations into patterns in order to transform attentive looking into theorizing (FA 1.23.1:14), as already in the essays of the 1790s. But the consistent focus on the word Bild for what Goethe calls “theorizing” dominates this work (see also FA 1.23.1:12, 120). The foreword to the Farbenlehre compares understanding people’s inner (hidden) character through their deeds to understanding the nature of light through color: “Die Farben sind Taten des Lichts, Taten und Leiden” (FA 1.23.1:12; Colors are the deeds of light, what it does and what it endures). The comparison of human character to light has suddenly morphed into personification when colors become the deeds and sufferings of humanity. Colors have become actors, and indeed, given the Aristotelian atmosphere evoked by “Taten und Leiden,” tragic actors. Actors are images, personifications, representations, and not essences, but these “actors” are the realia of empirical observations. Reality is now something staged. Indeed, the first part of the Farbenlehre provides illustrations to enable the reader to repeat, to reenact, the “experiments” described in the text, and Goethe justifies this move by comparing his illustrations to a play performance, which requires spectacle, sound, and motion to be realized (FA 1.23.1:18–19). Theorizing is transformed into interpretation as observation of nature is equated to observation of a play on stage.

This dramatizing personification underpins Goethe’s understanding of light. The human eye, he asserts, does not see forms, but only light, dark, and color. He continues, “Das Auge hat sein Dasein dem Licht zu danken. Aus gleichgültigen thierischen Hülfsorganen ruft sich das Licht ein Organ hervor, das seines Gleichen werde; und so bildet sich das Auge am Lichte für’s Licht, damit das innere Licht dem äußeren entgegentrete” (FA 1.23.1:24; The eye owes its existence to light. From among the lesser ancillary organs of the animals, light calls forth one organ to be its like, and thus the eye is formed by the light and for the light so that the inner light may emerge to meet the outer light).6 Now light is the creator god calling forth the human eye, made in the god’s own image. From here it is but a step back to Faust, with its little erring lights, the will-o’-the-wisps, and Faust as, in effect, the erring human eye, looking at and wanting to experience the entire creation, a notion of experience as viewing already adumbrated at the end of the Vorspiel auf dem Theater (Prelude on the Stage) and in the final line of the first scene in Faust II, “Am farbigen Abglanz haben wir das Leben” (FA 1.7.206:4727; Life is ours in the colorful reflection). Indeed, the Irrlichter in Faust actually anticipate the trajectory of color and light in the Farbenlehre. They enter the play in Mephistopheles’ frivolous neologism, irrlichtelieren, and appear on stage as speaking actors in the Walpurgis Night and in the Walpurgis Night’s Dream, then as Knabe Lenker, Homunculus, and the impish angels in Faust II. Seeming at first to be delusions leading into error, they become images, then actors, who mirror for Faust and for us the presence in the world of the invisible and incommensurable truth that gives it meaning. The whole drama is nothing but plays within the play, and, in the end, it turns out that is all anyone can expect. In the final scene, Faust floats upward and onward apparently into the infinite, but in order to know that, to perceive the infinites, images are still necessary. Hence the baroque Catholic imagery that is obviously and uncomfortably not “real.” The final “chorus mysticus” (FA 1.7:464.12104–11) speaks of “Gleichnis” (parable), an extreme form of image, and then of dramatic action (“getan” [done], “Ereignis” [event]), exactly the way the Farbenlehre describes the representation of light in color. “Das Unzulängliche” (what is inadequate/unachievable) itself is transformed in the process. In Goethe’s day, this adjective meant “inadequate” but, in Goethe’s usage, becomes “unachievable”—a category of the object becomes a category of subjective striving. The play ends with the impossible riddle, “das ewig-Weibliche” (the eternal feminine). It is the Urphänomen, the phenomenon that underlies all our observations but remains alone as a riddle in the center.

Knowledge and Community

As Irrlichter are promoted from metaphor to personification in Faust, they become mediators, agents of cooperation. They take on bodies, and in the course of Faust II appear in the bodies of poetry, the vital spirit of life, in effect as Beauty in the form of Helen, and eventually as the angelic messengers of Divine Love. In the course of the play, they represent everything up a great chain of being from delusive nature to higher truth, to pure spirit. In the Märchen their ontological status engages the same totality, but not in such a clearly ordered hierarchy. In that tale, they become brighter and apparently more solid after substantial meals of gold, and as they scatter their energy in showers of gold coins they lose substance and even visibility. But the fact that they generously spend their golden substance is crucial. In both their getting and spending they enable the troubled inhabitants of the fairytale world to work together as a community and to restore their golden age of unity, peace, and prosperity. Their arrival signals the beginning of the restoration, and their departure its completion. They are the circulators of gold, of the vitality of nature and spirit; they are the light of this particular world, its erring light. As the mediators between spirit and nature, they also enable the establishment of human community, the injection of ideal order into an otherwise imperfect real world. Cooperation is also an essential element of Goethe’s scientific epistemology: scientific knowledge is built up one small piece at a time, whether as the process of repeated observations by a single individual or, at least as importantly, as the accumulation of observations by many individuals over long periods. The historical section of the Farbenlehre is longer than its theoretical section and polemic against Newton put together. Irrlichtelieren, as a unique mode of engagement with others, inspires a different kind of cooperative knowledge from the chains of tradition.

Nevertheless, it would be naive and most un-Goethean to regard this view as simple optimistic progressivism. Irrlichter are transient, evanescent phenomena. They may inspire social cohesion for the moment, as in the Märchen, but they are eternal wanderers, succeeded in the tale, to be sure, by other wanderers, but hardly guarantors of a permanent future outside of a fairy tale. Similarly, Faust’s utopian draining of swamps does not last forever in the real world of Faust, and Faust’s own vision of the future foresees them constantly recreated in a permanent struggle with the sea. And the sea is not only a force of destruction, but is also, in itself, a life-giving force. It, too, is a wanderer. It takes wanderers, the force of constant change, to promote social community but, like the visitors to the New World in the Wanderjahre, they always leave again.

Goethe’s early political ideal was Justus Möser’s federalism of small states. While he read political thinkers like Jean-Jacques Rousseau, Gaetano Filangieri, and Cesare Beccaria, he never favored large permanent systems. He loved Rome, center of the world, for the personal relationships and development it afforded him, but not as the great political center. Not the Aeneid, the great epic of the founding of the Roman Empire, excited him, but the Odyssey, in which the hero’s struggles increasingly have to do with escaping the lures of women to return to his small island home, when he must yet again depart on another journey to plant an oar in a place where journeying by sea and epic heroism are unknown. Goethe admired but did not celebrate Napoleon, and he juxtaposed to his demonic hero Faust the passive, bourgeois heroes Wilhelm Meister and the Hermann of Hermann und Dorothea (1797; Hermann and Dorothea). His politics favored the small-scale operations that allowed for variation, change, indeed the “frivolity” of will-o’-wisps. In a common cliché, Goethe is the last Renaissance man, the last universalist, which is another way of saying that his scientific and poetic epistemologies, or his epistemology and his poetology, are essentially linked, as in this anything but frivolous term irrlichtelieren.

Clark Muenzer, personal communication. See also Muenzer’s “Begriff” entry in this volume. ↩

All references to Faust are cited parenthetically by line number. All translations are my own unless otherwise indicated. ↩

See the entry “Irrlicht” in Handwörterbuch des deutschen Aberglaubens, ed. Hanns Bächtold-Stäubli and Eduard Hoffmann-Krayer (Berlin: de Gruyter, 1931-32). ↩

G. Schmid, “Irrlicht und Sternschnuppe,” Goethe 13 (1951): 268-89. ↩

See the entries “Irrlicht,” “irrlichtartig,” and “irrlichtelieren” in the Goethe-Wörterbuch, ed. Berlin-Brandenburgische Akademie der Wissenschaften, Deutsche Akademie der Wissenschaften zu Berlin, Akademie der Wissenschaften in Göttingen, and the Heidelberger Akademie der Wissenschaften (Stuttgart: Kohlhammer, 1978), 2:235-43. woerterbuchnetz.de/?sigle=GWB#0. ↩

Johann Wolfgang Goethe. Scientific Studies, trans. Douglas Miller (Suhrkamp: New York, 1988), 164. First sentence altered by JKB. ↩

goethe-lexicon.pitt.edu/GL/article/view/15

DT2-13961 Happy 2024 by Martin Hestermans

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A hearty, happy and healthy 2024! Hopefully positive '-isms' such as altruism and idealism will finally gain ground over negative '-isms' such as racism, speciesism, fanaticism, colonialism and hooliganism.

Everyday subjective idealism by apvg

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Or socks, which we expect are there but cannot see.

Idealism by Sebastian Glautec

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BIG On Black

Dualistic cosmology...Nondualism...the basic state, the sublime, buddhanature, original nature, spontaneous presence, the oneness of being, the ground of being by Hughes Songe

Dualism in cosmology is the moral, or spiritual belief that two fundamental concepts exist, which often oppose each other. It is an umbrella term that covers a diversity of views from various religions, including both traditional religions and scriptural religions.

Moral dualism is the belief of the great complement of, or conflict between, the benevolent and the malevolent. It simply implies that there are two moral opposites at work, independent of any interpretation of what might be "moral" and independent of how these may be represented. Moral opposites might, for example, exist in a worldview which has one god, more than one god, or none. By contrast, duotheism, bitheism or ditheism implies (at least) two gods. While bitheism implies harmony, ditheism implies rivalry and opposition, such as between good and evil, or light and dark, or summer and winter. For example, a ditheistic system could be one in which one god is a creator, and the other a destroyer. In theology, dualism can also refer to the relationship between the deity and creation or the deity and the universe (see theistic dualism). This form of dualism is a belief shared in certain traditions of Christianity and Hinduism.[1] Alternatively, in ontological dualism, the world is divided into two overarching categories. The opposition and combination of the universe's two basic principles of yin and yang is a large part of Chinese philosophy, and is an important feature of Taoism. It is also discussed in Confucianism.

Many myths and creation motifs with dualistic cosmologies have been described in ethnographic and anthropological literature. These motifs conceive the world as being created, organized, or influenced by two demiurges, culture heroes, or other mythological beings, who either compete with each other or have a complementary function in creating, arranging or influencing the world. There is a huge diversity of such cosmologies. In some cases, such as among the Chukchi, the beings collaborate rather than competing, and contribute to the creation in a coequal way. In many other instances the two beings are not of the same importance or power (sometimes, one of them is even characterized as gullible). Sometimes they can be contrasted as good versus evil.[2] They may be often believed to be twins or at least brothers.[3][4] Dualistic motifs in mythologies can be observed in all inhabited continents. Zolotaryov concludes that they cannot be explained by diffusion or borrowing, but are rather of convergent origin: they are related to a dualistic organization of society (moieties); in some cultures, this social organization may have ceased to exist, but mythology preserves the memory in more and more disguised ways.[5]

Moral dualism[edit]

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Moral dualism is the belief of the great complement or conflict between the benevolent and the malevolent. Like ditheism/bitheism (see below), moral dualism does not imply the absence of monist or monotheistic principles. Moral dualism simply implies that there are two moral opposites at work, independent of any interpretation of what might be "moral" and—unlike ditheism/bitheism—independent of how these may be represented.

For example, Mazdaism (Mazdean Zoroastrianism) is both dualistic and monotheistic (but not monist by definition) since in that philosophy God—the Creator—is purely good, and the antithesis—which is also uncreated–is an absolute one. Zurvanism (Zurvanite Zoroastrianism), Manichaeism, and Mandaeism are representative of dualistic and monist philosophies since each has a supreme and transcendental First Principle from which the two equal-but-opposite entities then emanate. This is also true for the lesser-known Christian gnostic religions, such as Bogomils, Catharism, and so on. More complex forms of monist dualism also exist, for instance in Hermeticism, where Nous "thought"—that is described to have created man—brings forth both good and evil, dependent on interpretation, whether it receives prompting from the God or from the Demon. Duality with pluralism is considered a logical fallacy.

History[edit]

Moral dualism began as a theological belief. Dualism was first seen implicitly in Egyptian religious beliefs by the contrast of the gods Set (disorder, death) and Osiris (order, life).[6] The first explicit conception of dualism came from the Ancient Persian religion of Zoroastrianism around the mid-fifth century BC. Zoroastrianism is a monotheistic religion that believes that Ahura Mazda is the eternal creator of all good things. Any violations of Ahura Mazda's order arise from druj, which is everything uncreated. From this comes a significant choice for humans to make. Either they fully participate in human life for Ahura Mazda or they do not and give druj power. Personal dualism is even more distinct in the beliefs of later religions.

The religious dualism of Christianity between good and evil is not a perfect dualism as God (good) will inevitably destroy Satan (evil). Early Christian dualism is largely based on Platonic Dualism (See: Neoplatonism and Christianity). There is also a personal dualism in Christianity with a soul-body distinction based on the idea of an immaterial Christian soul.[7]

Duotheism, bitheism, ditheism[edit]

When used with regards to multiple gods, dualism may refer to duotheism, bitheism, or ditheism. Although ditheism/bitheism imply moral dualism, they are not equivalent: ditheism/bitheism implies (at least) two gods, while moral dualism does not necessarily imply theism (theos = god) at all.

Both bitheism and ditheism imply a belief in two equally powerful gods with complementary or antonymous properties; however, while bitheism implies harmony, ditheism implies rivalry and opposition, such as between good and evil, bright and dark, or summer and winter. For example, a ditheistic system would be one in which one god is creative, the other is destructive (cf. theodicy). In the original conception of Zoroastrianism, for example, Ahura Mazda was the spirit of ultimate good, while Ahriman (Angra Mainyu) was the spirit of ultimate evil.

In a bitheistic system, by contrast, where the two deities are not in conflict or opposition, one could be male and the other female (cf. duotheism[clarification needed]). One well-known example of a bitheistic or duotheistic theology based on gender polarity is found in the neopagan religion of Wicca. In Wicca, dualism is represented in the belief of a god and a goddess as a dual partnership in ruling the universe. This is centered on the worship of a divine couple, the Moon Goddess and the Horned God, who are regarded as lovers. However, there is also a ditheistic theme within traditional Wicca, as the Horned God has dual aspects of bright and dark - relating to day/night, summer/winter - expressed as the Oak King and the Holly King, who in Wiccan myth and ritual are said to engage in battle twice a year for the hand of the Goddess, resulting in the changing seasons. (Within Wicca, bright and dark do not correspond to notions of "good" and "evil" but are aspects of the natural world, much like yin and yang in Taoism.)

Radical and mitigated dualism[edit]

Radical Dualism – or absolute Dualism which posits two co-equal divine forces.[8] Manichaeism conceives of two previously coexistent realms of light and darkness which become embroiled in conflict, owing to the chaotic actions of the latter. Subsequently, certain elements of the light became entrapped within darkness; the purpose of material creation is to enact the slow process of extraction of these individual elements, at the end of which the kingdom of light will prevail over darkness. Manicheanism likely inherits this dualistic mythology from Zoroastrianism, in which the eternal spirit Ahura Mazda is opposed by his antithesis, Angra Mainyu; the two are engaged in a cosmic struggle, the conclusion of which will likewise see Ahura Mazda triumphant. 'The Hymn of the Pearl' included the belief that the material world corresponds to some sort of malevolent intoxication brought about by the powers of darkness to keep elements of the light trapped inside it in a state of drunken distraction.

Mitigated Dualism – is where one of the two principles is in some way inferior to the other. Such classical Gnostic movements as the Sethians conceived of the material world as being created by a lesser divinity than the true God that was the object of their devotion. The spiritual world is conceived of as being radically different from the material world, co-extensive with the true God, and the true home of certain enlightened members of humanity; thus, these systems were expressive of a feeling of acute alienation within the world, and their resultant aim was to allow the soul to escape the constraints presented by the physical realm.[8]

However, bitheistic and ditheistic principles are not always so easily contrastable, for instance in a system where one god is the representative of summer and drought and the other of winter and rain/fertility (cf. the mythology of Persephone). Marcionism, an early Christian sect, held that the Old and New Testaments were the work of two opposing gods: both were First Principles, but of different religions.[9]

Theistic dualism[edit]

In theology, dualism can refer to the relationship between God and creation or God and the universe. This form of dualism is a belief shared in certain traditions of Christianity and Hinduism.[10][1]

In Christianity[edit]

The Cathars being expelled from Carcassonne in 1209. The Cathars were denounced as heretics by the Roman Catholic Church for their dualist beliefs.

The dualism between God and Creation has existed as a central belief in multiple historical sects and traditions of Christianity, including Marcionism, Catharism, Paulicianism, and other forms of Gnostic Christianity. Christian dualism refers to the belief that God and creation are distinct, but interrelated through an indivisible bond.[1] However, Gnosticism is a diverse, syncretistic religious movement consisting of various belief systems generally united in a belief in a distinction between a supreme, transcendent God and a blind, evil demiurge responsible for creating the material universe, thereby trapping the divine spark within matter.[11]

In sects like the Cathars and the Paulicians, this is a dualism between the material world, created by an evil god, and a moral god. Historians divide Christian dualism into absolute dualism, which held that the good and evil gods were equally powerful, and mitigated dualism, which held that material evil was subordinate to the spiritual good.[12] The belief, by Christian theologians who adhere to a libertarian or compatibilist view of free will, that free will separates humankind from God has also been characterized as a form of dualism.[1] The theologian Leroy Stephens Rouner compares the dualism of Christianity with the dualism that exists in Zoroastrianism and the Samkhya tradition of Hinduism. The theological use of the word dualism dates back to 1700, in a book that describes the dualism between good and evil.[1]

The tolerance of dualism ranges widely among the different Christian traditions. As a monotheistic religion, the conflict between dualism and monism has existed in Christianity since its inception.[13] The 1912 Catholic Encyclopedia describes that, in the Catholic Church, "the dualistic hypothesis of an eternal world existing side by side with God was of course rejected" by the thirteenth century, but mind–body dualism was not.[14] The problem of evil is difficult to reconcile with absolute monism, and has prompted some Christian sects to veer towards dualism. Gnostic forms of Christianity were more dualistic, and some Gnostic traditions posited that the Devil was separate from God as an independent deity.[13] The Christian dualists of the Byzantine Empire, the Paulicians, were seen as Manichean heretics by Byzantine theologians. This tradition of Christian dualism, founded by Constantine-Silvanus, argued that the universe was created through evil and separate from a moral God.[15]

The Cathars, a Christian sect in southern France, believed that there was a dualism between two gods, one representing good and the other representing evil. Whether or not the Cathari possessed direct historical influence from ancient Gnosticism is a matter of dispute, as the basic conceptions of Gnostic cosmology are to be found in Cathar beliefs (most distinctly in their notion of a lesser creator god), though unlike the second century Gnostics, they did not apparently place any special relevance upon knowledge (gnosis) as an effective salvific force. In any case, the Roman Catholic Church denounced the Cathars as heretics, and sought to crush the movement in the 13th century. The Albigensian Crusade was initiated by Pope Innocent III in 1208 to remove the Cathars from Languedoc in France, where they were known as Albigesians. The Inquisition, which began in 1233 under Pope Gregory IX, also targeted the Cathars.[16]

In Hinduism[edit]

The Dvaita Vedanta school of Indian philosophy espouses a dualism between God and the universe by theorizing the existence of two separate realities. The first and the more important reality is that of Shiva or Shakti or Vishnu or Brahman. Shiva or Shakti or Vishnu is the supreme Self, God, the absolute truth of the universe, the independent reality. The second reality is that of dependent but equally real universe that exists with its own separate essence. Everything that is composed of the second reality, such as individual soul (Jiva), matter, etc. exist with their own separate reality. The distinguishing factor of this philosophy as opposed to Advaita Vedanta (monistic conclusion of Vedas) is that God takes on a personal role and is seen as a real eternal entity that governs and controls the universe.[17][better source needed] Because the existence of individuals is grounded in the divine, they are depicted as reflections, images or even shadows of the divine, but never in any way identical with the divine. Salvation therefore is described as the realization that all finite reality is essentially dependent on the Supreme.[18]

Ontological dualism[edit]

The yin and yang symbolizes the duality in nature and all things in the Taoist religion.

Alternatively, dualism can mean the tendency of humans to perceive and understand the world as being divided into two overarching categories. In this sense, it is dualistic when one perceives a tree as a thing separate from everything surrounding it. This form of ontological dualism exists in Taoism and Confucianism, beliefs that divide the universe into the complementary oppositions of yin and yang.[19] In traditions such as classical Hinduism (Samkhya, Yoga, Vaisheshika and the later Vedanta schools, which accepted the theory of Gunas), Zen Buddhism or Islamic Sufism, a key to enlightenment is "transcending" this sort of dualistic thinking, without merely substituting dualism with monism or pluralism.

In Chinese philosophy[edit]

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The opposition and combination of the universe's two basic principles of yin and yang is a large part of Chinese philosophy, and is an important feature of Taoism, both as a philosophy and as a religion, although the concept developed much earlier. Some argue that yin and yang were originally an earth and sky god, respectively.[20] As one of the oldest principles in Chinese philosophy, yin and yang are also discussed in Confucianism, but to a lesser extent.

Some of the common associations with yang and yin, respectively, are: male and female, light and dark, active and passive, motion and stillness. Some scholars believe that the two ideas may have originally referred to two opposite sides of a mountain, facing towards and away from the sun.[20] The yin and yang symbol in actuality has very little to do with Western dualism; instead it represents the philosophy of balance, where two opposites co-exist in harmony and are able to transmute into each other. In the yin-yang symbol there is a dot of yin in yang and a dot of yang in yin. In Taoism, this symbolizes the inter-connectedness of the opposite forces as different aspects of Tao, the First Principle. Contrast is needed to create a distinguishable reality, without which we would experience nothingness. Therefore, the independent principles of yin and yang are actually dependent on one another for each other's distinguishable existence.

The complementary dualistic concept seen in yin and yang represent the reciprocal interaction throughout nature, related to a feedback loop, where opposing forces do not exchange in opposition but instead exchange reciprocally to promote stabilization similar to homeostasis. An underlying principle in Taoism states that within every independent entity lies a part of its opposite. Within sickness lies health and vice versa. This is because all opposites are manifestations of the single Tao, and are therefore not independent from one another, but rather a variation of the same unifying force throughout all of nature.

In traditional religions[edit]

Samoyed peoples[edit]

In a Nenets myth, Num and Nga collaborate and compete with each other, creating land,[21] there are also other myths about competing-collaborating demiurges.[22]

Comparative studies of Kets and neighboring peoples[edit]

Among others, also dualistic myths were investigated in researches which tried to compare the mythologies of Siberian peoples and settle the problem of their origins. Vyacheslav Ivanov and Vladimir Toporov compared the mythology of Ket people with those of speakers of Uralic languages, assuming in the studies, that there are modelling semiotic systems in the compared mythologies; and they have also made typological comparisons.[23][24] Among others, from possibly Uralic mythological analogies, those of Ob-Ugric peoples[25] and Samoyedic peoples[26] are mentioned. Some other discussed analogies (similar folklore motifs, and purely typological considerations, certain binary pairs in symbolics) may be related to dualistic organization of society—some of such dualistic features can be found at these compared peoples.[27] It must be admitted that, for Kets, neither dualistic organization of society[28] nor cosmological dualism[29] has been researched thoroughly: if such features existed at all, they have either weakened or remained largely undiscovered;[28] although there are some reports on division into two exogamous patrilinear moieties,[30] folklore on conflicts of mythological figures, and also on cooperation of two beings in creating the land:[29] the diving of the water fowl.[31] If we include dualistic cosmologies meant in broad sense, not restricted to certain concrete motifs, then we find that they are much more widespread, they exist not only among some Siberian peoples, but there are examples in each inhabited continent.[32]

Chukchi[edit]

A Chukchi myth and its variations report the creation of the world; in some variations, it is achieved by the collaboration of several beings (birds, collaborating in a coequal way; or the creator and the raven, collaborating in a coequal way; or the creator alone, using the birds only as assistants).[33][34]

Fuegians[edit]

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