My new collaboration project with ConstructiviST Solo @ UWA UTSA Art Collab

  

This exhibit is a collaborative project that began with a conversation about circles as they are part of the human experience in distinct contexts: mathematics, mechanics, and as metaphor in various cultural settings.

 

By no means is this exhibit intended to be comprehensive; it can't be. However, we hope that the visitor will come to the recognition that there is an overarching interconnectedness not only between science, technology, engineering, and mathematics, but that this interconnectedness, this fabric of that which is and that which makes up the human experience, very much also includes the social and behavioral domains.

 

ConstructiviST Solo

In the crisp autumn air, a busy bee diligently gathers nectar from flower to flower.

Its hard work brings the flowers to life with shimmering petals and sweet fragrances, a celebration of nature's bounty. A reminder of the interconnectedness of all living creatures, the bee plays a vital role in the ecosystem, ensuring the continuation of the cycle of life.

Ubuntu is an ancient African word meaning ‘humanity to others’. It also means ‘I am what I am because of who we all are’.

  

Ubuntu is the essence of being human. Ubuntu speaks particularly about the fact that you can't exist as a human being in isolation. It speaks about our interconnectedness. You can't be human all by yourself, and when you have this quality "Ubuntu" you are known for your generosity.

  

We think of ourselves far too frequently as just individuals, separated from one another, whereas you are connected and what you do affects the whole world. When you do well, it spreads out; it is for the whole of humanity..

  

(***This strange mix of tiger ASIAN and this child AFRICAN has a behind meaning maybe only to me. As I lived in Asia and Africa and learned so much in these two places, UBUNTU)

  

#UBUNTU

  

Photo: Wellington Arruda

This sculpture (Bird Wrap by Canadian artist Ivan Eyre), is one of the Vancouver BC 2014-2016 Biennale outdoor installations. It is located in Thornton Park across from Pacific Central Station (Transportation Centre).

 

BIRD WRAP:

Over the course of Ivan Eyre’s celebrated career, he has returned time and again to certain graphic motifs, a visual shorthand through which he explores deeply personal notions of self and identity. Central among these motifs is The Birdman, a figure Eyre remembers studying through “scores of drawn self-portraits with bird headdresses [which] became regular subjects in the studio.”

Translating this figure into three-dimensional form represents a significant conceptual leap for Eyre, who first garnered critical acclaim as a painter. The rendering of a man cloaked in the visage of a bird stands 2.4 meters high, welcoming visitors to Thornton Park as it towers above. Eyre has always drawn deeply from legend and archetype, and indeed this uneasy union of man and beast harkens back to timeless mythological creatures, as well as to the great bronzes of antiquity and more recent masterworks of abstraction.

Bird Wrap serves as one of the first major works installed as part of the Vancouver Biennale

 

IVAN EYRE:

Ivan Kenneth Eyre was born in Tullymet, Saskatchewan in 1935. Mentored by Ernest Lindner and Eli Bornstein, Eyre graduated with a Bachelor of Fine Art from the University of Manitoba in 1957 and spent the following year at the University of North Dakota. Eyre was appointed Full Professor (Painting and Drawing) at the University of Manitoba where he worked until his retirement in 1993.

For more than five decades Eyre has produced an incredible body of work comprised of paintings, sculptures and drawings. Most commonly known for his paintings, Eyre has painted figurative work, still lifes, personal mythologies, figure silhouette/landscapes, portraits, and panoramic landscapes.

Ivan Eyre is considered a living national treasure. Eyre was elected a member of the Royal Canadian Academy in 1974. He received the Queen’s Silver and Gold Jubilee medals, the University of Manitoba Alumni Jubilee award, and the Order of Manitoba.

In 2010, the McMichael Canadian Art Collection in Kleinburg, Ontario unveiled a sculpture garden consisting of 9 large scale bronze sculptures produced by him. In 1998, the Pavilion Museum was opened at Assiniboine Park in Winnipeg where the entire third floor was dedicated as the Ivan Eyre Gallery. Eyre gifted 200 paintings, 5000 drawings and 16 sculptures to the museum, which are on display.

Eyre’s artwork has been exhibited in more than 65 solo and 250 group exhibitions across Canada and around the world. His works have been acquired by numerous public, private, and corporate art collections throughout Canada. Over 33 museums and galleries have shared some 420 paintings and over 3000 works on paper.

Institutions exhibiting Eyre’s artwork include the National Gallery of Canada in Ottawa, the 49th Parallel Gallery in New York City, the Frankfurter Kunstkabinett in Frankfurt, Germany, the Canadian Cultural Centre in Paris, Canada House in London, UK. Currently his artwork is on display at the Canadian Embassy in Washington, D.C.

 

VANCOUVER 2014-2016 BIENNALE:

The 3rd Vancouver Biennale exhibition began Spring 2014. We’re expanding to new cities, broadening our program to include a wider range of artistic disciplines, and inviting an unprecedented mix of famous and emerging artists from around the world to participate in a two-year celebration of great contemporary art, freely accessible to people where they live, work, play and transit.

The curatorial theme of the exhibition is Open Borders / Crossroads Vancouver. Unique in the world for its natural beauty, Vancouver becomes the international hub where artists from all nations, cultural backgrounds, political histories and artistic disciplines gather to celebrate art in public space. Together we inspire creativity, transform thinking and find our interconnectedness as global citizens through art.

The 2014 – 2016 Vancouver Biennale will feature diverse works by both breakthrough and established artists, in keeping with the theme Open Borders / Crossroads Vancouver. The 2014 – 2016 participants include globally-recognized figures ranging from Ai Weiwei, Vik Muniz, Andy Goldsworthy to Os Gêmeos.

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Permission to use photo:

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30 May 2015.

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Vancouver Biennale

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Hey Ted Mcgrath,

 

I've been tasked with searching the web for excellent photos of Vancouver Biennale public art works. We are interested in possibly using your photo of Bird Wrap by Ivan Eyre​ for our catalogue with full credit going to you. Would you be interested in supplying a high resolution image? How would you like to be compensated?

 

Thanks,

Maks Fisli

VANCOUVER BIENNALE

OPEN AIR MUSEUM

Ph: (604) 682-1289

Website / Facebook / Twitter

#VANBIENNALE

 

Hey Ted,

 

Great! Please send it to ashleigh@vancouverbiennale.com

With the subject: Catalogue Photo Call Out.

 

Cheers,

- Maks

 

23 June 2015

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Vancouver Biennale:

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Hello Ted,

 

We really appreciate your photograph of Bird Wrap (flic.kr/p/pLzUM4) and your permission to use it in our upcoming catalogue. Can we have permission to use the same image on our website? www.vancouverbiennale.com/artworks/bird-wrap/

If so, we will post the image with a watermark giving you credit for the shot.

 

Also, I've noticed other great photographs of Vancouver Biennale artwork:

flic.kr/p/rGuoMq

flic.kr/p/qc7Dnc

 

Would you be able to send high resolution images of those two as well for use in the catalogue and our website? If so, please send them to info@vancouverbiennale.com via www.wetransfer.com/ with the subject "Catalogue Photos". I am especially impressed with your photo of Amazing Laughter.

 

We would like to give you a heads up when new artworks are installed by the Vancouver Biennale. Is your email tedmcgrath4319@yahoo.ca a good way to reach you or would a phone number be better?

 

Also, if you are not already aware, here is a map of the current artwork around the metro Vancouver area that may serve as new subjects for your photos:

www.vancouverbiennale.com/exhibition-map/

 

Thanks again,

 

Maks Fisli

VANCOUVER BIENNALE

OPEN AIR MUSEUM

Ph: (604) 682-1289

info@vancouverbiennale.com

An upward view of a towering tree captures the essence of life's journey, where each branching path represents choices, challenges, and growth. The climb to the highest branches reflects the ultimate spiritual pursuit—a testament to resilience, perseverance, and the beauty of striving toward the light.

I consider that the natural biological manner of living is constitutively aesthetic and effortless, and that we have become culturally blind to this condition. In this blindness we have made of beauty a commodity, creating ugliness in all dimensions of our living, and through that ugliness, more blindness in the loss of our capacity to see, to hear, to smell, to touch, and to understand, the interconnectedness of the biosphere to which we belong. We have transformed aesthetics into art, health into medicine, science into technology, human beings into the public, ..., and in this way we have lost the poetic look that permitted us to live our daily life as an aesthetic experience. Finally, in that loss, wisdom is lost. What is the cure? The creation of the desire to live again, as a natural feature of our biosphere, the effortlessness of a multidimensional human living in a daily life of aesthetic experiences.

 

—

Humberto R. Maturana,

from The Biological Roots of Reality and Humanness:

An Invitation to Freedom

  

This simple view, portrayed in a photograph, because, well the real thing is too big for the gallery space, was taken by Max Dupain in 1977. It depicts the Giralang Primary School, another of Enrico Taglietti's commissions. In typical Dupain style, it is peerless.

 

Don't know about Max Dupain? Shame on you! This Photostream has oblique references to Dupain via his first wife, Olive Cotton, and his father George Dupain. To my shame, I should do better!

 

Olive was an accomplished photographer in her own right and inspired a little COVID creativity. There was more in her portfolio!

 

George Dupain founded the Institute of Physical Education and Medical Gymnastics where Emmeline Freda du Faur enrolled to train for her mountaineering exploits. It was here she met her lover and lifetime partner Muriel Cadogan.

 

Fun fact: Olive Cotton's uncle Frank Cotton invented the G-suit or as he called it: the "Cotton aerodynamic anti-G flying suit".

 

I really don't need my television, refrigerator, telephone or watch talking to each other. But I'm quite glad that these talented people all bumped into each other in the small pressure cooker that was Sydney, and then later as Canberra grew beyond a sheep station with a Parliament, such matters continued.

 

Here's a hint of the interconnectedness: Freda du Faur's father married the daughter of the first principal of Sydney University. Freda gained an independent income in a legacy from her Aunt, her mother's sister, which enabled her to travel and pursue her mountaineering; that put her in the same circle as Muriel. George Cotton was a physiologist at said Sydney University, and Olive's uncle Carl was in business with, that's right, Max Dupain's father, George. Olive's father, taking up the photography thread, had used his skills with a camera on the Shackleton expedition to Antarctica before becoming Professor of Geology at Sydney Uni… Max studied at the Julian Ashston Art School, and Freda's father became entangled with the Art Gallery of New South Wales where his influence was exerted over those fantastic bronze friezes on the façade…

 

Around we go! I'm getting giddy. Time to leave. Just let this be a reminder to you: wherever there is genius and creativity, you'll never be far away from someone with a camera.

This may happen to a lot of people in society nowadays. Day after day.

Royalty free music from CCMixter.org:

"And I wish" by Loveshadow featuring Urmymuse.

ccmixter.org/files/Loveshadow/52178

 

A hoop dancer displays remarkable skill while performing at the First Nations Parade during the Calgary Stampede.

 

"Indigenous hoop dancing holds profound spiritual significance for the performers and their communities. It represents the cycle of life, the interconnectedness of all beings, and the harmony between humans and nature. The circular shape of the hoops symbolizes unity, eternity, and the never-ending cycle of creation and rebirth."

(nativetribe.info/enchanting-indigenous-hoop-dancing-in-ca...)

   

5 in 1, a large NYC public art piece dating back to 1973 is a work by Tony Rosenthal. The five interlocking discs represent the interconnectedness of the City's Five Boroughs, Bronx, Brooklyn, Manhattan, Queens and Staten Island.

Butterfly effect is the concept in chaos theory that suggests small changes can have large effects over time. It is often metaphorically described as the idea that the flapping of a butterfly's wings in one part of the world could eventually cause a hurricane in another part of the world. This concept highlights the interconnectedness and sensitivity of complex systems, where small initial variations can lead to significant differences in outcomes.

 

"It has been said that something as small as the flutter of a butterfly's wing can ultimately cause a typhoon halfway around the world" -

The Misunderstanding of Arbitrary Rules and Their Gift of the Moment (there's a question at the end and I want to know what you think)

 

Before I did this full time I had a mode. Go make, write it up and post. All on the same day.

 

Between sleeps it made the day alive. Being drawn into the moment right at the beginning of the process and then grabbing threads and tying them all together into a complex cat's cradle of interconnectedness.

 

Well, boy, that sounds mighty grand but is it?

 

It was with a reflective mood that I went up to Baines Crag today. I had begun the day listening to a programme on the radio where a group talked about the self and what it is.

 

A psychologist talked about how our sense of self is an illusion and it is all hastily spun together in the moment and that concept I can very much believe.

 

I think that a lot of what we think we are and what we think happens to us is an illusion and when I say that some people think that I am denying the magic of our existence.

 

Nope, very much the contrary.

 

Fate, coincidences, serendipity, synchonicity or just plain optimism and luck are great things to believe in and in fact enhances one's life if you do. Perhaps this is the principle behind religious faith. But here's the crux and the paradox too. I do believe in those things but I don't think they are true.

 

I don't think the universe conspires to provide me with good luck or moments of artistic serendipity where I can see through the layers and perceive the joins between seemingly unconnected things. And yet when I go out and do my thing, teaching others or stacking ice balls into pyramids my experience is chock full of little coincidences and clarifying connections. And the real magic is that there is no-one or nothing making those things happen and my human experience is blessed with a feeling that all those connections are coming together in that moment just for me and yet it is just a happy accident. That is the real magic of our existence and I am forever in its awe. In the midst of my insignificance amongst the vastness of this universe I have been granted the pinnacle of gifts which is life and the health and fortune to experience it.

 

If the precious moments of life are not transient then what is their value? The gift of life is that it does not last, ephemeral nature art is a celebration of all of that.

 

Which leads me to another question. Having seemingly answered the question you did not ask before you didn't ask it: What is ephemeral nature art, land art, earth art or whatever you want to call it?

 

I've been thinking about that after seeing a comment somewhere where someone stated "this is not land art, it is nice but it is just a drawing on sand" so it begs the question what is it then?

 

Let's get the easy answers out of the way first. It's not any old picture of a landscape or something interesting in nature. The groups on Facebook and every other place I have posted are riven with photos of views of nature that have had no input from an artist other than to press a button on a digital gadget. It's why I don't get involved in groups much anymore and why I've stopped hosting my own.

 

But that's not really relevant here so what does it mean to me? My own particular passionate portion I describe as ephemeral nature art. A study in the short-lived, the transient and interconnected.

 

I'm always being told what the rules are and what I should or should not be doing. Don't use this tool or that, don't move anything from one place to another, that validity only comes from complying with the rule setters opinions on what is aesthetic, or expected, has earned x number of likes or shares or that the eco-jury deem you to have not created any undue impact on the environment within which you created something. The irony of being told that by someone communicating with you from many miles away on a device swaddling a squadron of precious metals dug from the ground in a war zone is not lost on me but has obviously gone astray somewhat at the other end of the line.

 

We are in the midst of a very cold snap here in the UK as is much of Europe. A meterologist expounded on the radio about how the jetstream has split and a blocking high is drawing in winds and cold from Siberia and the warming currents from the Atlantic are being kept at bay. It was in 2010 when we last had something similar, consistently low temperatures for several days and to experience it more deeply I made ice sculptures that took several days to prepare. When the temperature does not go above freezing for several days it means that I can make things that don't melt during the day. It is a rare opportunity.

 

I have a few different modes when I make things all designed to draw me into the moment. Sometimes I use no tools, sometimes I use a one or two, often times I use ony what I find in one place, occassionally I collect from a number of places and bring together into one. A painter may seek to master their art by limiting their tools to oils, brushes and canvas and through attempting to master those objects come to learn whatever it is they are seeking. It does not matter what the arbitrary rules are as it is just a route through which you can understand a little of what you are doing. Most often my rules are: one or two tools, use only natural materials you find, no photoshop trickery or cheating and write as long and boring an essay as possible to see how many people can read to the end ;-). Are you still here?

 

I began with 'before I did this full time I had a mode' and now I am full time I have a different mode which consists of 10 hours a day in front of a screen doing admin, responding to emails and PR on social media, if you want to put food on the table there's little time to actually do any art! So the moments when I can are precious and to return to the mode of between sleeps is a very joyful thing. So here it is, I made this this morning when some of what you see here is from the past.

 

Ice at this latitude is the very definition of transient and so in the low temperatures we are having I've been making ice balls with moulds. Is that cheating? Is that what you are thinking? Perhaps but as I said it's how you use the rules that is important not what they actually are. I don't often use things like that but I say so when I do, I am interested in exploring this cold snap and what it makes me feel and think and not what rules I should be following this time around. Ice balls are fun after all and I haven't worked out how to make them free hand just yet ;-).

 

I only have a few moulds so I have to make them a few at a time and by doing this my experience is of the cold snap, how it is lasting and how quickly and slowing things are freezing and how the temperature fluctuates in a full day. Now that is what nature art is about. Not the tools, not the internet-eco-jury rules, but the connectedness with nature.

 

I took my balls up the hill, some of them colder than others ;-) and looked across to the opposite hill where game keepers were burning the heather. They do this to keep the shooting tips young so that the grouse can eat them and in turn people with a lot of money can shoot them. It's a pretty expensive way of conjuring up Sunday lunch but I'm told that grouse are the best for shooting at as they are difficult to hit and this is seen as a challenge for people who think it is a sport. Vast swathes of northern England are managed for this purpose with much else not useful shot, poisoned or exterminated and the ground grazed to ensure that no trees grow creating run off problems and subsequent flooding. It's fine though as they insist that they are managing the land on our behalf, the land they fought tooth and nail to keep us from acccessing. They were burning the heather in the same spot where I last made something a couple of weeks ago, the same place where I sought permission to make things a number of years ago and was told I would detract from the 'wilderness' which was fair enough as the mono-culture desert just for grouse and shotgun touting hoorays, complete with wartime artillery range and quarry is certainly the very definition of wilderness. (You can see the smoke from the burning in the background).

 

Err, ahh, ahem, any of you still with me?

 

As I constructed my self in those moments sat on the rough rock of the crag, selecting slabs to base out the pyramid then stacking my ice balls, I pulled together a whole myriad of memories and moments, thoughts, feelings and reflections. This cold snap has been accompanied by strong easterly winds and despite the ground being frozen solid, it's not white and there was very little snow aside from a few flakes in the air. The wind has kept the white frost at bay. I hadn't been back to this spot for many years and as I selected a flat spot I noticed that it was the same spot a displayed another sculpture probably at least 10 years ago. Because I spent connected time there a decade ago I remembered it when I've already forgotten what I ate for breakfast.

 

I gazed across to the heather burning and was struck by all the times I had spent over there, what I had been doing and all the feelings I had had. My connection with that landscape and how it was where it all began for me and how it is intricately entwined with the moment mid-life where everything changed. I remembered back to the other cold snap like this we had had 10 years ago and to the conversations we had on my workshop on Saturday where we talked about grouse moors, heather burning, interconnectedness and coincidences. How here as everywhere the elements are all connected and flowing as one: the cold, the ice, the fire and smoke, the sky and the sea and me. For me this image encapsulates all of that and more, it is an expression of the cold, the wind, the memories, the managed landscape and how simple things like how the ground is not white but should be is juxtaposed against the glowing ice.

 

In those joined instances as I drew an outline around my inner self and coloured it in with the feelings of the moment I felt like I was standing in the middle of experience and was simply tying together all those strands into a single knot of my perception.

 

It didn't take long to construct but it managed its mission to draw me into the moment. The temperature was a little above freezing so frozen things weren't destined to stick to others just now, but this is just the beginning of this big freeze and of what I want to try out this week. So just a doodle to start with, let's see what time hovering around water's freezing point will bring. At least before I fly to Texas this weekend for the Llano Earth Art Festival and some welcome warmth, hooray!

 

What is land art? It's gardening, it's fishing, it's standing and simply being. It's using found tools such as thorns and other times made tools such as knives. It's being a creature that disturbs a habitat just by existing while being cogniscent of that is what you are while trying to be minimal in your impact. It's life and connections, sometimes being pure, sometimes less so. But above all it is authentic and real, and really how it was in that moment, there's no cheating or trickery if you are honest about what you do. Set the rules and use them as tools but dont judge what others are doing. While you are doing that you are missing out on your own opportunities.

 

What is your way to the truth? What do you think nature art is?

Maarten (28) is a kind dutchman and diver and skier. As we were running around Sukhothai his ear was constantly dripping from his diving accident. I had such a fun time with him.

Maarten loves social media and selfies especially, but pssst don't tell anyone!

  

This series is called Interconnectedness and portraits Travelers and Locals in South East Asia alike. Everybody is the same but then again everybody behaves differently and lives in a different "bubble".

 

There is much more to come!

 

I invite you to press "L"

The "Arc 217.5 x 13" by artist Bernar Venet, was named as such for the degree of the curve of each of the 13 iron arcs. It supposedly symbolizes the interconnectedness of math, nature, the universe and life. That or you can just enjoy the sunset.

15. Cryo Unit: Threatened to overwhelm me

 

As the de-adenosine sequence reached its apex, a cosmic symphony of dissolution began. The last, fragile barriers of selfhood, meticulously constructed over a lifetime, crumbled into stardust. The rigid distinction between my physical body and the intricate machinery that now sustained me, between the ephemeral nature of thought and the overwhelming, external chaos, bled away with an exquisite, agonising slowness. It was as if a dam had burst, unleashing a torrent of pure, unadulterated consciousness. The shimmering nebula of my mind, once a mere poetic metaphor, materialised into my literal form, an ethereal cloud of pure energy. I became an observer, detached yet intimately connected, as currents of vibrant, cosmic colour flowed through what were once my limbs. Brilliant hues, reminiscent of a newborn star's fiery birth, filled the space where my heart had once pulsed with the organic dread of mortality.

 

That primal fear, a constant companion throughout my existence, dissolved into nothingness, replaced by an unsettling, almost serene acceptance. The very logic that had anchored my understanding of the universe evaporated, leaving behind a profound sense of interconnectedness. My companions, once loaded with personal history and emotional resonance, became faint, distant stars in the swirling, luminous galaxy that was now my mind. They were memories, yes, but memories observed from an impossible distance, devoid of their former grip.

I was a ghost in a bottle, adrift in a tear in reality, a rift in the fabric of spacetime itself. The chaos that had once threatened to overwhelm me from the outside no longer felt like a menace, but rather a profound, encompassing presence, a silent witness to my transformation. And in the quiet, vibrant heart of it all, a powerful, inexplicable pull emerged. It was not the familiar, gravitational tug of a celestial body, but rather a profound sense of purpose, an undeniable calling. A silent invitation, emanating from the sentient whispers of survival and the tantalising promises of ultimate transformation, drew me deeper into the cosmic dance. I was no longer merely existing; I was becoming.

 

Podcast:

www.youtube.com/playlist?list=PLXaHuXMcUMrhIzfjKlj9clJCOf...

 

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www.facebook.com/watch/100063480315046/1020837046583872/

 

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www.jjfbbennett.com/2025/09/the-cryo-unit.html

 

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Tags

#art #Spacestation #scifi #fictionalworld #story #arthouse #futuristic #spaceadventure #Sanctuary #Revitalisation #Retro #art #metaart #videoart #videoartist

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Mário Silva is a contemporary Portuguese painter known for his works (AI) that depict scenes from Portuguese rural life.

His paintings (AI) are often characterized by their earthy color palette and attention to detail.

Silva is particularly known for his paintings of women, who are often depicted in traditional activities such as weaving, spinning and cooking.

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The painting "Woman preparing woolen threads for weaving" depicts a woman in a country house, preparing woolen threads for weaving on a loom.

The woman is sitting on a bench, with threads of wool spread around her.

She is using a spinning wheel to spin the wool and a bobbin to wind the threads.

The painting also includes other elements of the rural scene, such as rustic furniture and household items.

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The painting "Woman preparing woolen threads for weaving" can be analyzed in many different ways.

A possible analysis could focus on the role of women in traditional rural society.

The woman in the painting is performing an essential task for the production of clothing and other household goods.

Her image can be seen as a symbol of the strength and resilience of rural women.

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Another possible analysis could focus on the relationship between women and nature.

The wool used in the painting comes from sheep, which are animals raised by the same woman.

The painting can be seen as a celebration of the interconnectedness between humans and the natural world.

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Finally, painting can also be analyzed in terms of its aesthetics.

The earthy color palette and attention to detail in the painting are characteristics of Mário Silva's style.

The painting can be seen as an example of the artist's (AI) ability to capture the beauty of Portuguese rural life.

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Text & Painting (AI): ©MárioSilva

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FINDING PEACE AMIDST MANY WARS.

 

A One Picture Story

 

by

 

Richard Hatch

 

While it may be easy to see peace and contentment in this image, one has to stop and look deeply to see the many wars.

 

The chair Jasmine is sitting on is a family heirloom. When I was a child it was in my mother's parents house. Along with my grandparents William and Ida, Ida’s mother Louisa Arnreich (Mama Lou) and Louisa’s brother Homer lived in the house. I refer to the chair as "Homer's Chair" as my memory or perhaps memories of stories have him sitting in this chair. He was a short man and very quiet. At a very young age he went off to fight at some front in some foreign country in the Great War (it was only during or after World War II that it became known as World War I). He was single and had no children. Some stories suggested he drank too much. It is likely he suffered greatly from the experience. These days he would probably be labeled with PTSD but back then they referred to it as "shellshocked". Searching and learning about my ancestors I found out Homer had a younger brother Ferdinand who spent many years in a state hospital for the insane and eventually died there. I don’t know if Ferdinand also fought in the Great War but he clearly suffered through many personal wars.

 

The beautiful dress Jasmine is wearing was made by Chinese garment makers. It was likely they were paid very little and lived in poverty. The label declares "Made in British Crown Colony of Hong Kong". It was made in the 1950s-1960s. The garment makers and needleworkers who touched this fabric were most likely female. It is possible they or their parents were in Hong Kong when the Japanese invaded and took over Hong Kong on the day Pearl Harbor was bombed. They may have carried the suffering of their ancestors who were present during the opium wars of the 1800s. Some of their ancestors may have been enslaved and sent to Peru or Cuba to work in horrendous conditions. The journey on sailing ships leaving China to many parts of the world, sometimes referred to as the Pacific Passage, is described as being as dangerous and inhumane comparable to the notorious Middle Passage of the Atlantic slave trade. It was common for 30 out of every 100 enslaved Chinese to die on the trip alone. It is also possible the women who made this garment had ancestors who were brought to the USA to work on the first transcontinental railroad. (Coolies)

 

The oil on canvas that Jasmine is holding so gently depicts a Zen like image of a lady pouring tea. The painting was given to us by a friend who was running short on time. Dyck Dewid had a terminal illness. He was sharp as a tack while his wife Lynda was suffering from advanced dementia. He knew he would not be around to take care of her so he was busy preparing for her future well-being. They had a house full of memories and art and were rapidly downsizing to move into an assisted living facility. He was a very intelligent active outspoken activist. He was energetically involved in his local Occupy movement. During his fight with time and making arrangements to make sure his wife would be cared for after his passing, he embraced the experience. He planned in depth his "green" funeral. The coffin he was to be buried in was made of simple pine wood and was disassembled and tucked neatly under his bed during his final weeks. He had great peace despite the multiple wars he was fighting. According to his wishes and plans, at his wake using paints and markers we wrote messages, drew pictures and painted images on his coffin while he laid in full view. Songs were sung, music played and dancers danced.

 

Before he died, Dyck gave the painting to Karen to keep for whatever time she thought was right but with the instructions she had to pass it on before she died. He knew the artist who painted the picture. She was busy fighting emotional and financial wars of her own. He knew she needed money so he paid her to make a painting for him. This was the last painting she made before she took her life. Perhaps it was the only peace she could find amidst her wars.

 

Jasmine is 20 years old. She is attending school in New York City working on her BFA. She is a dancer. She has trained with many talented famous dancers. I have taken pictures of her, her brother Chris, her sister-in-law Katie and Katie and Chris’s daughter Charlotte. However, I do not know her story. I do not know details of her ancestors. I do know from experience it is likely many have suffered greatly.

 

A week prior to the photo shoot when I made this picture I purchased the brown backdrop. It has a tag with the word “India”. There is a fabric manufacturer in Kanpur which is about 200 miles from where the Buddha was born (Siddhartha Gautama born 600 BCE in Lumbini-now modern day Nepal) It is possible the fabric was made there or in many other places in India. Maybe the fabric workers’ ancestors of many generations ago heard of the Buddha or perhaps listened to him or even touched him.

 

The fabric was likely shipped overseas in a container, one of thousands, on the deck of a ship exposed to the elements traveling countless miles across open oceans. Shipping being what it is, the ship was flagged in some country other than the USA. This way the shipping company can have more leeway to control how crew is treated and paid so they can increase profits. The typical crew on such a ship is rarely going to be allowed to set foot on the shore of countries they deliver their goods to. Sometimes they spend years crossing the globe before they can make it back to their homeland and see their families.

 

I was born in 1957, two years after the start of the “Vietnam War”. Most of what I learned about the war was from the news on one of 3 channels on a black and white TV. The wars and protests and riots in the streets of Baltimore in the 60’s were only a handful of miles away but somehow they never seemed to interfere with my life as a kid. By the late 60’s and early 70’s we were writing letters in school to POW’s and wearing bracelets with their names on them. I don’t recall much if any talk of the people in Vietnam suffering. The news was all about body counts of US soldiers and winning and losing.

 

I bought my first camera in 1973. (I saved up 215 dollars working in a grocery store run by Morris and Lisa Zolteck who were Polish immigrants.) That was the year Nixon announced "the day we have all worked and prayed for has finally come" as the US withdrew its troops to “end the war and bring peace with honor.” By 1975 I was busy fighting personal wars and what was outside didn’t seem to matter. While I don’t think I won any of those wars, (there are no winners of war) I survived long enough to find healing and to begin to understand how we are all connected.

 

I have just passed on in my own words what I have learned from many wise people: Looking deeply, interbeing, interconnectedness and deep listening and mindfulness come to mind. I have learned that suffering and happiness are connected. Happiness can not exist without suffering. Where you find one, you can find the other.

 

If you look deeply at peace you can find war and in the midst of great wars you can also find peace.

 

In the tranquil embrace of Portugal's Mondego River, a picturesque spectacle unfolded as I witnessed a graceful dance of nature. ️ A captivating Little Egret emerged from the reeds, its snow-white plumage contrasting beautifully against the verdant backdrop. With patient steps, it navigated the shallow waters, its slender figure a testament to nature's artistry.

 

As I stood in awe, the air was filled with a sense of anticipation – the river's rhythm and the egret's presence in perfect harmony. It was a scene frozen in time, each ripple on the water's surface mirroring the egret's deliberate steps.

 

In an instant, the egret's keen eyes locked onto its prey beneath the water's surface. With a lightning-quick strike, it plunged its dagger-like beak into the depths, emerging victorious with a glimmering fish clutched tightly in its grasp. A master of patience and precision, the Little Egret demonstrated the timeless dance of predator and prey.

 

The sun, now casting a warm golden glow, illuminated the egret's every move. Every feather seemed to radiate with a luminous energy, turning an ordinary hunting moment into a work of art. I couldn't help but marvel at the delicate balance of nature's forces – survival, beauty, and the interconnectedness of all living things.

 

As the egret took flight, its wings spread wide against the azure sky, a sense of gratitude washed over me. In this fleeting encounter, I had been granted a glimpse into the hidden world of the Mondego River, a world where the delicate grace of a Little Egret could paint a story of life's unending cycle.

 

#NatureMagic #MondegoElegance #WildlifeEncounters 🌍📷

Focus stack of four photographs.

Woke up in the middle of the night and decided to take the trash out. The sky was cloud- covered, not a single star to be seen. The street was empty and I felt a slight longing for something I couldn’t put my finger on so I switch on the computer, make of cup of ginger tea and play with some art. Cued on my listening list is a video by Shoshana Zuboff, author of “Surveillance Capitalism”. I take a deep breath in and began to loosen up and let myself go on another artistic voyage.

 

Since 1978, Shoshana has been studying the dawn of the “Digital Age”which was going to usher in a golden time of global collaborations to solve great world challenges like disease and hunger. Now 43 years later, she published a book to warn us to reclaim the liberties taken by those who have hijacked the digital domain and who mine insane amounts of data from an unsuspecting user base. She says that F.Book, for example, extracts 3 trillion bits of information and spits out 6 million human behavioral predictions per second. (My image takes on this idea of separating: The metal bars, the surveillance camera, the projected image and the artist protagonist who sings and dreams and holds on the beauty of her own created thought world.) Shoshana says that these human predictions are bought and sold like wheat or oil or minerals and companies compete to have access to the most accurate outcomes of these behavioral forecasts. This is the most lucrative and substantial real-estate of the modern age. We are not the customer, we are simply a resource…being fed into algorithims which are then studied and sold back to us in the form of everything from political leanings to personalized selections of consumer goods and lifestyle choices. She says that facial recognition technology can now even detect fear and there is a sound device that can pick up your surroundings so a targeted ad can be sent to you in a vulnerable moment and be designed in such a way that you give in.

 

I think of this invasive siphoning as a kind of instrumental colonialism confiscating our private thoughts and feelings in order to take ownership of them. Roshana urges us to keep asking three key questions: Who is in the Know? Who decides who will be in the Know? Who decides who decides who will be in the Know? (Two hands represent this chasm …) The increasing divisiveness in the climate, health, technology and religious debates seems to support this idea. (The projected image on a laptop appears. What is real and what is not real?) She ends the talk on a hopeful note saying that even the industrial revolution had to hammer out human rights issues and this is the time to bring the digital frontier into the so called “house of democracy”. She said that cyberspace is only made of data, capital, machines and people. She emphasizes that these are unprecedented times and we need to be vigilent. We need to keep asking questions.

 

It’s almost noon now as I lean back and stretch. My heart scans the artwork as the images dance, rearrange in a new ways to interpret the interconnectedness of thoughts and things; the maco and micro worlds are always in synch. Vibrational differences give the illusion of separation while the giving and taking hands are the polarities that move and shake this existence with masculine and feminine givng and receiving aspects. The musician reclaims her songs and pulsates with rhythms through endless wave form patterns. When we remember who we are, we can take charge again. We make better choices. We are not the bystander but pioneer new visions with the perspective that the digital world offers new tools of collaboration and engagement with cutting edge of possibilities. In this refiguring, there is joy, freedom and deep reverence. We take care of ourselves, each other and the earth because we know we are all part of a great Love Story. We all write the story together.

 

“Though free to think and act, we are held together like stars in the firmament with ties unseperable. These ties cannot be seen, but we can feel them. We are all one.”

 

-Nikola Tesla

 

Here is the video this writing refers to:

www.youtube.com/watch?v=vm2i4OlW3sM (Shoshana starts 8 minutes in…)

   

"Man did not weave the web of life, he is merely a strand in it. Whatever he does to the web, he does to himself."

Attributed to Chief Seattle

 

There is a lot of confusion about the origin of the second quote. Did Chief Seattle really say this in mid 1850s or it was by a man by the name of Tod Parry who wrote it in 1970s. No confusion about the first quote though. It was by Sir Walter Scott and I must admit that I have taken it a little out of context.

 

Let us leave aside the origin of these quotes for the moment. I find the statement that we humans are just a part of a complex whole and that our actions have implications beyond what we can readily see as very profound. It is more and more aligned with the evolving wisdom of the human race in general. Less and less anthropocentric. More and more inclusive. Heisenberg makes more and more sense. In short, we are becoming less and less cocky.

 

Earth is not the centre of the solar system any more; our galaxy is not the centre of the universe any more; and humans are not the privileged children of the cosmos any more. While this may seem as comedown, actually it is a sign of our growing more mature as a race.. It is as if the child grows up and recognises that it is not dependence or independance but interdependence which matters.

 

But more than all this abstraction, I find the statement holding a lot of practical value for us in the way we live our lives and look at problems. Our problems today have arisen with our solutions yesterday. It is said that many people thought in the early 20th century that problems of pollution in the roads because of horses were going to be wiped out with the advent of automobiles!

 

We are also discovering interconnectedness more and more. Many school children today understand the oil politics and economics. When I was in school I never knew what snakes had to with people. I did not know what it means have tigers in the forest.

 

We are seeing beyond the strands and looking at the web more today. And what a tangled web we see.

Nawal Al Saadawi Speaks on Intellectuals, Politics, and Sexuality.Nawal el-Saadawi remains one of the most famous Arab feminists. By the same token, many consider her one of the most radical and uncompromising activists. Her radicalism spans a wide range of issues, including women’s sexuality, the circumcisions of young girls, and, perhaps most irritating to Arab governments, her insistence on the interconnectedness of sexuality and politics, a perspective which leads her to conclude that they need not be separated.

 

By Elie Chalala

 

www.aljadid.com/content/nawal-al-saadawi-speaks-intellect...

 

This is a beautiful mural but it feels like something is missing. It may be a matter of the focal point like the moth was on the left. Possibly the window or window treatment interrupts the flow. Or, maybe there is no flow or interconnectedness. Maybe the items need to be somehow intertwined- it’s just a feeling.

This photograph beautifully captures a moment of serene harmony in the wild, where a diverse group of animals peacefully shares a vital resource. A graceful deer stands by the water's edge, its presence a quiet anchor in the scene. Nearby, several kinds of birds—perhaps a majestic heron, a flock of smaller sparrows, or a vibrant kingfisher—have gathered, each in their own world yet united by their need for water. The image is a powerful reminder of nature's interconnectedness, where different species, with their unique needs and behaviors, come together at a shared sanctuary, illustrating a universal truce in the face of a common necessity.

(French follows)

 

Toronto Island Park is a peaceful escape just a short ferry ride from downtown Toronto, offering a refreshing contrast to the city's buzz. Spread across several interconnected islands on Lake Ontario, the park features scenic beaches, lush gardens, bike paths, and picnic spots. It’s popular for family outings, romantic strolls, and serene sunrises, where skyline views meet soft waves and willow trees.

  

Toronto Island Park, Ontario, Canada

  

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

  

Le parc des îles de Toronto est une évasion paisible à quelques minutes en traversier du centre-ville, offrant un contraste rafraîchissant avec l'effervescence de la ville. Réparti sur plusieurs îles interconnectées du lac Ontario, le parc offre des plages pittoresques, des jardins luxuriants, des pistes cyclables et des aires de pique-nique. Il est prisé pour les sorties en famille, les promenades romantiques et les levers de soleil sereins, où la vue sur la ville côtoie les vagues et les saules.

  

Parc de l'île de Toronto, Ontario, Canada

See also Agata Olek talks about her 100% Acrylic Art Guards (Flickr 720p HD video)

 

Agata Olek (Flickr)

100% Acrylic Art Guards

 

"I think crochet, the way I create it, is a metaphor for the complexity and interconnectedness of our body and its systems and psychology. The connections are stronger as one fabric as opposed to separate strands, but, if you cut one, the whole thing will fall apart.

 

Relationships are complex and greatly vary situation to situation. They are developmental journeys of growth, and transformation. Time passes, great distances are surpassed and the fabric which individuals are composed of compiles and unravels simultaneously."

  

Agata Olek Biography. The SPLAT! of colors hits you in the face, often clashing so ostentatiously that it instantly tunes you into the presence of severely cheeky humor. A moment later the fatigue of labor creeps into your fingers as a coal miner's work ethic becomes apparent. Hundreds of miles of crocheted, weaved, and often recycled materials are the fabric from which the wild and occasionally wearable structures of her fantasylands are born.

 

Olek was born Agata Oleksiak in Poland and graduated from Adam Mickiewicz University in Poland with a degree in cultural studies. In New York, she rediscovered her ability to crochet and since then she has started her crocheted journey/madness.

 

Resume sniffers may be pleased to know Olek's work has been presented in galleries from Brooklyn to Istanbul to Venice and Brazil, featured in "The New York Times", "Fiberarts Magazine", "The Village Voice", and "Washington Post" and drags a tail of dance performance sets and costumes too numerous to mention.

 

Olek received the Ruth Mellon Award for Sculpture, was selected for 2005 residency program at Sculpture Space, 2009 residency in Instituto Sacatar in Brazil, and is a winner of apex art gallery commercial competition. Olek was an artist in an independent collective exhibition, "Waterways," during the 49th Venice Biennale. She was also a featured artist in "Two Continents Beyond," at the 9th International Istanbul Biennale.

 

Olek herself however can be found in her Greenpoint studio with a bottle of spiced Polish vodka and a hand rolled cigarette aggressively re-weaving the world as she sees.

 

agataolek.com

agataolek.com/blog

  

13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)

www.dumboartfestival.org/press_release.html

 

The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.

 

Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.

 

The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.

 

www.dumboartscenter.org

www.dumboartfestival.org

www.video_dumbo.org

  

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'#interconnectedness' 2018 #seotus #studying #synergy #students #threads #stringart #installation #blue #architecture #indoor #estonia #tallinn #contemporaryart #art #АЪ EKA81 2018-107 17.12.2018 (2)

If the gods of time are multiple like Aïon (that of eternity), or Chronos (the god of time, the son of Ouranos), to differentiate from his homophone Cronos (the equivalent of Saturn, who devoured his children), there is one that invites us to seize the moment, opportune, ephemeral...": Kaïros. A mythological figure close to Hermes and Eros, he is a true gift for feeling "the right moment". Unlike that of the Devil ("dividing one"), the function of Kaïros comes under the symbol ("putting together"), allowing to evaluate very quickly what presents itself and what should be done. Because it provides a disposition to discernment, to work in multiple fields (medicine, navigation, rhetoric, etc.), it allows to make a decision, quickly and well, among multiple possible ones. Few iconographic representations have illustrated him: he was a young man whose only tuft of hair on his head had to be grasped when he passed by... in order to seize the opportunity! Without seeing it or doing nothing, we passed by... Relevant to both secular decisive time and sacred time, it has the particularity of being in relation to synchronicity, synchronizing two events without causal link between them where time and action combine. The difficulty is to seize this time in a timely fashion, this time just right. Symbolic tools can help us, such as images, dreams, archetypal representations or other media, such as astrology or tarots. Kaïros is no stranger to astrology, an area that Jung also looked into at the beginning of his research. Thus in Paracelsica, or The Roots of Consciousness, Jung evokes the possibility of raising the patient's theme during his cure. The celestial symbolism of the birth theme can prove to be a formidable road map of the psyche's time. But Kaïros, god of the "right moment", can also be compared to the Tarots de Marseille, whose cards - in a particular draw - present the constellation of the "moment" for whoever consults them: is it time to seize or not what is presented? Far from the predictable linear physical time (Chronos), Kaïros acts on temporality, it mobilizes our ability to evaluate the circumstances in order to act neither too early nor too late. Kairos (καιρός) is an ancient Greek word meaning the right or opportune moment (the supreme moment). The ancient Greeks had two words for time, chronos referring to sequential time, and kairos, a moment of indeterminate time in which events happen: mood of universal destruction and renewal...has set its mark on our age. This mood

makes itself felt everywhere, politically, socially, and philosophically. We are living in what the Greeks called the kairos- the right moment- for a "metamorphosis of the gods,"

of the fundamental principles and symbols. We are living in what the Greeks called the kairos- the right moment- for a 'metamorphosis of the gods', of the fundamental principles and symbols. This peculiarity of our time, which is certainly not of our conscious choosing, is the expression of the unconscious man within us who is changing. This peculiarity of our time, which is certainly not of our conscious choosing, is the expression of the unconscious human within us who is changing. Coming generations will have to take account of this momentous transformation if humanity is not to destroy itself through the might of its own technology and science....So much is at stake and so much depends on the psychological constitution of the modern human.

C. G. Jung

“…what is time? Who can give that a brief or easy answer? Who can even form a conception of it to be put into words? Yet what do we mention more often or familiarly in our conversation than time? We must therefore know what we are talking about when we refer to it, or when we hear someone else doing so. But what, exactly, is that? I know what it is if no one asks; but if anyone does, then I cannot explain it.”

 

-Saint Augustine, Confessions (book 11, chapter 3) (~400CE)

 

One thing is for sure, whatever the ego thinks time is—whatever spell it tries to cast with its alphabetic magic to capture it—it will almost certainly miss the mark. Whatever time is, we should admit we are mostly unconscious of it. In fact, it seems to me that there is an intimate connection, perhaps even an identity, between time and the Jungian notion of the unconscious, a connection that archetypal cosmology obviously substantiates. Despite time’s unconscious depths and ineffability, I am after all a philosopher, and we love nothing more than to try to “eff” the ineffable.

 

In the 15 brief minutes I have with you, I want to introduce, with help from the Ancient Greek language, 3 different modalities of temporality, or rather, I want to introduce you to 3 Gods, each with a powerful hand in shaping our experience of time: Chronos, Kairos, and Aion. In concrete experience, each mode appears to me at least to be co-present and interwoven; I only separate them abstractly to help us get a better sense for the anatomy of time. Of course, we should remember all the while that “we murder to dissect” (Wordsworth).

 

I therefore humbly ask for the blessing of the Gods of time as I embark on this short journey into their meanings. May you grant us entry into your mysteries.

 

A Brief History of (the Idea of) Time:

 

1. Plato suggests in the Timaeus that time is brought forth by the rhythmic dancing of the Sun, Moon, and five other planets then known upon the stage of 12 constellations. Through the cooperative and friendly circling of these archetypal beings, eternity is permitted entry into time. Time, in other words, is said to emerge from the harmonious or regular motion of the heavens—motion regulated by mathematical harmonies. Plato’s ancient vision of a perfect cosmic order had it that the motion of the 7 known planetary spheres was in mathematical harmony with the 8th supraplanetary sphere of fixed constellations, that the ratios of their orbits added up to one complete whole, finding their unity in what has been called the Platonic or Great Year (known to us today as the 26,000 year precession of the equinoxes). This highest of the heavenly spheres was the God known to the ancients as Aion.

 

2. Aristotle critiqued Plato’s idea of time as produced by motion. Aristotle argued that time couldn’t possibly be produced by motion, because motion itself is something we measure using time. Motion can be fast or slow, he argued, but time always flows at the same rate. Time is simply a way of measuring change. Aristotle’s conception of time, then, is chronic, rather than aionic. His was the beginning of the scientific view of time as a merely conventional measurement, rather than a cosmic motion, as with Plato.

 

3. Galileo’s view of the universe was, on the face of it, a complete rejection of Aristotle’s physics. Remember that Aristotle still held a teleological view of chronological time: an apple falls to the ground, for Aristotle, because it desires to do so, because earth is its natural home; for Galileo, nothing in the apple compels it to fall, it is simply a blind happening working according to mechanical laws. Galileo, like Newton and Descartes, rejected the idea of purposeful, meaningful time. Time became for them merely a function in a differential equation. In a sense, then, though the early scientists rejected Aristotle’s view of teleological time, they only further formalized Aristotle’s view of time as a measure of motion. Time became t, a variable quantity used to calculate the precise velocity of material bodies through space. 4. Einstein’s theory of relativity revealed how time and space are intimately related, since, strange as it may seem, as speed increases, time slows. But still, time is understood not on its own terms, but is reduced to a linear, easily measurable and quantifiable function. The reduction of time to Chronos may have begun with Aristotle, but was carried to new extremes by modern materialistic science. 5. Today we know things are quite a bit more chaotic than earlier thinkers, including Plato, let on: we live in a chaosmos, not a perfect cosmos; an open spiral not a closed circle. The orbital periods of the planets shift ever so slightly as the years pass, and the “fixed” stars are actually not fixed at all. Our universe is very strange, and measuring time is no easy matter. Even merely chronological time is extremely counter-intuitive: A day on Venus, for instance, is longer than a Venusian year. Everything is spinning around everything else. Time is then not a moving image of eternal perfection; rather, time is what happens when divinity loses its balance and gets dizzy. But don’t worry, there is nowhere to fall over in the infinite expanses of space. What is happening when referring to kairos depends on who is using the word. While chronos is quantitative, kairos has a qualitative, permanent nature. The union of kairos and logos is the philosophical task set for us in philosophy and in all fields that are accessible to the philosophical attitude. The logos is to be taken up into the kairos, universal values into the fullness of time, truth into the fate of existence. The separation of idea and existence has to be brought to an end. It is the very nature of essence to come into existence, to enter into time and fate. This happens to essence not because of something extraneous to it; it is rather the expression of its own intrinsic character, of its freedom. And it is essential to philosophy to stand in existence, to create out of time and fate. It would be wrong if one were to characterize this as a knowledge bound to necessity. Since existence itself stands in fate, it is proper that philosophy should also stand in fate. Existence and knowledge both are subject to fate. The immutable and eternal heaven of truth of which Plato speaks is accessible only to a knowledge that is free from fate—to divine knowledge. The truth that stands in fate is accessible to him who stands within fate, who is himself an element of fate, for thought is a part of existence. And not only is existence fate to thought, but so also is thought fate to existence, just as everything is fate to everything else. Thought is one of the powers of being, it is a power within existence. And it proves its power by being able to spring out of any given existential situation and create something new! It can leap over existence just as existence can leap over it. Because of this characteristic of thought, the view perhaps quite naturally arose that thought may be detached from existence and may therefore liberate man from his hateful bondage to it. But the history of philosophy itself has shown that this opinion is a mistaken one. The leap of thought does not involve a breaking of the ties with existence; even in the act of its greatest freedom, thought remains bound to fate. Thus the history of philosophy shows that all existence stands in fate. Every finite thing possesses a certain power of being of its own and thus possesses a capacity for fate. The greater a finite thing’s autonomous power of being is, the higher is its capacity for fate and the more deeply is the knowledge of it involved in fats. From physics on up to the normative cultural sciences there is a gradation, the logos standing at the one end and the kairos at the other. But there is no point at which either logos or kairos alone is to be found. Hence even our knowledge of the fateful character of philosophy must at the same time stand in logos and in kairos. If it stood only in the kairos, it would be without validity and the assertion would be valid only for the one making it; if it stood only in the logos, it would be without fate and would therefore have no part in existence, for existence is involved in fate.What are the deep stirrings in the collective psyche of the West? Can we discern any larger patterns in the immensely complex and seemingly chaotic flux and flow of our age? Influenced by the depth psychology tradition founded a century ago by Freud and Jung,and especially since the 1960s and the radical increase in psychological self-consciousness that era helped mediate, the cultural ethos of recent decades has made us well aware how important is the psychological task of understanding our personal histories. We have sought ever deeper insight into our individual biographies, seeking to recover the often hidden sources of our present condition, to render conscious those unconscious forces and complexes that shape our lives. Many now recognize that same task as critical for our entire civilization. What individuals and psychologists have long been doing has now become the collective responsibility of our culture: to make the unconscious conscious. And for a civilization, to a crucial extent, history is the great unconscious- history not so much as the external

chronology of political and military milestones, but as the interior history of a civilization: that unfolding drama evidenced in a culture's evolving cosmology, its philosophy and science, its religious consciousness, its art, its myths. For us to participate fully and creatively in shaping our future, we need to better understand the underlying patterns and

influences of our collective past. Only then can we begin to grasp what forces move within us today, and perhaps glimpse what may be emerging on the new millennial

horizon. I focus my discussion here on the West, but not out of any triumphalist presumption that the West is somehow intrinsically superior to other civilizations and thus most worthy of our attention. I do so rather because it is the West that has brought forth the political,technological, intellectual, and spiritual currents that have been most decisive in

constellating the contemporary world situation in all its problematic complexity. For better or worse, the character of the West has had a global impact, and will continue to do

so for the foreseeable future. Yet I also address the historical evolution of Western consciousness because, for most of us reading these words, this development represents

our own tradition, our legacy, our ancestral cultural matrix. Attending carefully and critically to this tradition fulfills a certain responsibility to the past, to our ancestors, just as

attempting to understand its deeper implications fulfills a responsibility to the future, to our children. A paradox confronts every sensitive observer about the West: On the one hand, we cannot fail to recognize a certain dynamism, a brilliant, heroic impulse, even a nobility, at work in Western civilization and in Western thought. We see this in the great

achievements of Greek philosophy and art, for example, or in the Sistine Chapel and other Renaissance masterpieces, in the plays of Shakespeare, in the music of Bach or Beethoven. We see it in the brilliance of the Copernican revolution, with the tremendous cosmological and even metaphysical transformation it has wrought in our civilization's

world view. We see it in the unprecedented space flights of a generation ago, landing men on the moon, or, more recently, in the spectacular images of the vast cosmos coming

from the Hubbell telescope and the new data and new perspectives these images have brought forth. And of course the great democratic revolutions of modernity, and the

powerful emancipatory movements of our own era, vividly reflect this extraordinary dynamism and even nobility of the West. Yet at the same time we are forced to admit that this very same historical tradition has caused immense suffering and loss, for many other cultures and peoples, for many people within Western culture itself, and for many other forms of life on the planet. Moreover, the West has played the central role in bringing about a subtly growing and seemingly

inexorable crisis on our planet, a crisis of multidimensional complexity: ecological, political, social, economic, intellectual, psychological, spiritual. To say our global civilization is becoming dysfunctional scarcely conveys the gravity of the situation. For humankind and the planet, we face the possibility of great catastrophe. For many forms of life on the Earth, that catastrophe has already taken place. How can we make sense of this tremendous paradox in the character and meaning of the West? If we examine many of the intellectual and cultural debates of our time, particularly near the epicenter of the major paradigm battles today, it is possible to see looming behind them two fundamental interpretations, two archetypal stories or metanarratives, concerning the evolution of human consciousness and the history of the Western mind. In essence these two metanarratives reflect two deep myths in the collective psyche- and let us define myths here not as mere falsehoods, nor as collective fantasies of an arbitrary sort, but rather as profound and enduring patterns of meaning that inform the human psyche and constellate its diverse realities. These two great myths in the collective psyche structure our historical self-understanding in very different ways. One could be called the myth of progress, the other the myth of the fall. The first, familiar to all of us from our education, describes the evolution of human consciousness, and particularly the history of the Western mind, as an extraordinary progressive development, a long heroic journey from a primitive world of dark ignorance,

suffering, and limitation to a brighter modern world of ever increasing knowledge, freedom, and well-being. This great trajectory of progress is seen as having been made possible by the sustained development of human reason, and above all by the emergence of the modern mind. We recognize this view whenever we encounter a book or program whose title is something like "The Ascent of Man" or "The Discoverers" or "Man's Conquest of Space," and so forth. The direction of history is seen as onward and upward. Humanity is here often personified as "man," and imaged, at least implicitly, as

a solar masculine hero of Promethean character: bold, restless, brilliantly innovative, ceaselessly pressing forward with his intelligence and will, breaking out of the structures

and limitations of the past, forever seeking greater freedom and new horizons, ascending to ever higher levels of development. The apex of human achievement in this vision

begins with the ascendance of modern science and individualistic democracy. The view of history is one of progressive emancipation and empowerment. It is a vision that emerged fully in the course of the European Enlightenment, in the seventeenth and eighteenth centuries, though its roots are as old as Western civilization itself. In many respects our modern consciousness is so fully identified with this myth that it has become our common sense, the lineaments of our self-image as modern humans.The first, familiar to all of us from our education, describes the evolution of human consciousness, and particularly the history of the Western mind, as an extraordinary progressive development, a long heroic journey from a primitive world of dark ignorance,suffering, and limitation to a brighter modern world of ever increasing knowledge, freedom, and well-being. This great trajectory of progress is seen as having been made

possible by the sustained development of human reason, and above all by the emergence of the modern mind. We recognize this view whenever we encounter a book or program whose title is something like "The Ascent of Man" or "The Discoverers" or "Man's Conquest of Space," and so forth. The direction of history is seen as onward and upward. Humanity is here often personified as "man," and imaged, at least implicitly, as a solar masculine hero of Promethean character: bold, restless, brilliantly innovative, ceaselessly pressing forward with his intelligence and will, breaking out of the structures and limitations of the past, forever seeking greater freedom and new horizons, ascending

to ever higher levels of development. The apex of human achievement in this vision begins with the ascendance of modern science and individualistic democracy. The view

of history is one of progressive emancipation and empowerment. It is a vision that emerged fully in the course of the European Enlightenment, in the seventeenth and

eighteenth centuries, though its roots are as old as Western civilization itself. In many respects our modern consciousness is so fully identified with this myth that it has become

our common sense, the lineaments of our self-image as modern humans. The other view, whose presence has become much stronger in our cultural discussion in

recent years, though it was always present to one extent or another as a compensatory countercurrent to the progressive view, describes this story in quite opposite terms. In the

form this myth has taken in our era, the evolution of human consciousness and the history of the Western mind are seen as a tragic story of humanity's radical fall and separation

from an original state of oneness with nature and with being. In its primordial condition, humankind had possessed an instinctive knowledge of the profound sacred unity and

interconnectedness of the world; but under the influence of the Western mind, and especially intensifying with the ascendance of the modern mind, the course of history has

brought about a deep schism between humankind and nature, and a desacralization of the world. This development has coincided with an increasingly destructive human

exploitation of nature, the devastation of traditional indigenous cultures, and an increasingly unhappy state of the human soul, which experiences itself as ever more

isolated, shallow, and unfulfilled. In this perspective, both humanity and nature are seen as having suffered grievously under a long domination of thought and society associated

with both patriarchy and modernity, with the worst consequences being produced by the oppressive hegemony of Western industrial societies empowered by modern science and technology. The nadir of this fall is seen as the present time of planetary ecological disaster, moral disorientation, and spiritual emptiness, which is the direct consequence of human hubris as embodied above all in the structure and spirit of the modern Western mind and ego. Here the historical perspective is one which reveals a progressive impoverishment of human life and the human spirit, a fragmentation of original unities, a ruinous destruction of the sacred community of being.

  

cosmosandpsyche.files.wordpress.com/2013/05/revision-rite...

 

Un circuit familial de 4,2 kms dans la La tourbière des Saisies qui doit son originalité à sa grande surface de milieux tourbeux, mais également à la présence de nombreuses tourbières de pentes, qui sont des formations rares et originales à l’échelle européenne.

Les tourbières de pente correspondent donc à des tourbières limnogènes (formées à partir d’un lac) dont les extrémités ont été reliées entre elles afin de ne former plus qu’une immense tourbière.

Le plus souvent, la dynamique d’une tourbière est de disparaître pour laisser place à une forêt. Mais dans l’ordre des choses, une tourbière qui disparaît à un endroit est compensée par la formation d’une autre tourbière ailleurs.

Malheureusement, ce cycle naturel est fortement perturbé par l’Homme et son emprise sur la nature. Des tourbières disparaissent bien naturellement aujourd’hui, mais elles ne sont plus remplacées du fait des aménagements, de la pollution, …

Tout l’enjeu de gestion de la tourbière des Saisies est donc de préserver les milieux naturels rares et de plus en plus menacés à l’échelle locale, nationale et même mondiale.

 

A family circuit of 4.2 km in the La Tourbière des Saisies which owes its originality to its large surface of peaty environments, but also to the presence of numerous bogs of slopes, which are rare and original formations on a European scale.

The slope peat bogs therefore correspond to limnogenic peat bogs (formed from a lake), the ends of which have been interconnected to form an immense peat bog.

Most often, the dynamics of a peat bog is to disappear and give way to a forest. But in the order of things, a bog that disappears in one place is compensated by the formation of another peatland elsewhere.

Unfortunately, this natural cycle is strongly disturbed by man and his grip on nature. Peat bogs disappear naturally today, but they are no longer replaced due to development, pollution, ...

The challenge of managing the Saisies peat bog is therefore to preserve the rare and increasingly threatened natural environments at the local, national and even global levels.

Adventure in Seeing - #44 The Ripple Effect

"Each moment transforms us. and we in turn transform each moment. There is also a ripple effect that follows as a result. It is part of a web of interconnectedness." from the book Adventures in Seeing by contemplative photographer Kim Manley Ort.

  

Please spare a minute to view large on black, just press L on your keyboard or click here.

 

Taken in Wentwood just outside Newport. It's a single exposure made with the camera on tripod pointing straight up at the canopy. A twist of the camera halfway through the exposure gives the circular, rippled effect. I was thinking along the lines of the interconnectedness of the spinning of the Earth, it's celestial flight path around the Sun and the changing of the seasons and turning of the leaves that accompanies the slow slide into Autumn. That and I liked the pretty colours.

"The patient is young" is true to some degree – the lower the age of the patient (measured e.g. in years), the more the sentence is true. The word Advaita is a composite of two Sanskrit words: Advaita is often translated as "non-duality," but a more apt translation is "non-secondness." Advaita has several meanings: As Gaudapada states, when a distinction is made between subject and object, people grasp to objects, which is samsara. By realizing one's true identity as Brahman, there is no more grasping, and the mind comes to rest. Nonduality of Atman and Brahman, the famous diction of Advaita Vedanta that Atman is not distinct from Brahman; the knowledge of this identity is liberating. Monism: there is no other reality than Brahman, that "Reality is not constituted by parts," that is, ever-changing 'things' have no existence of their own, but are appearances of the one Existent, Brahman; and that there is in reality no duality between the "experiencing self" (jiva) and Brahman, the Ground of Being. The word Vedānta is a composition of two Sanskrit words: The word Veda refers to the whole corpus of vedic texts, and the word "anta" means 'end'. The meaning of Vedānta can be summed up as "the end of the vedas" or "the ultimate knowledge of the vedas". Vedānta is one of six orthodox schools of Hindu philosophy. Truth of a fuzzy proposition is a matter of degree. I recommend to everybody interested in fuzzy logic that they sharply distinguish fuzziness from uncertainty as a degree of belief (e.g. probability). Compare the last proposition with the proposition "The patient will survive next week". This may well be considered as a crisp proposition which is either (absolutely) true or (absolutely) false; but we do not know which is the case. We may have some probability (chance, degree of belief) that the sentence is true; but probability is not a degree of truth. In metrology (the science of measurement), it is acknowledged that for any measure we care to make, there exists an amount of uncertainty about its accuracy, but this degree of uncertainty is conventionally expressed with a magnitude of likelihood, and not as a degree of truth. In 1975, Lotfi A. Zadeh introduced a distinction between "Type 1 fuzzy sets" without uncertainty and "Type 2 fuzzy sets" with uncertainty, which has been widely accepted. Simply put, in the former case, each fuzzy number is linked to a non-fuzzy (natural) number, while in the latter case, each fuzzy number is linked to another fuzzy number.Problems of vagueness and fuzziness have probably always existed in human experience. From ancient history, philosophers and scientists have reflected about those kinds of problems. The ancient Sorites paradox first raised the logical problem of how we could exactly define the threshold at which a change in quantitative gradation turns into a qualitative or categorical difference. With some physical processes this threshold is relatively easy to identify. For example, water turns into steam at 100 °C or 212 °F (the boiling point depends partly on atmospheric pressure, which decreases at higher altitudes). With many other processes and gradations, however, the point of change is much more difficult to locate, and remains somewhat vague. Thus, the boundaries between qualitatively different things may be unsharp: we know that there are boundaries, but we cannot define them exactly. The Nordic myth of Loki's wager suggested that concepts that lack precise meanings or precise boundaries of application cannot be usefully discussed at all.[9] However, the 20th-century idea of "fuzzy concepts" proposes that "somewhat vague terms" can be operated with, since we can explicate and define the variability of their application by assigning numbers to gradations of applicability. This idea sounds simple enough, but it had large implications. The intellectual origins of the species of fuzzy concepts as a logical category have been traced back to a diversity of famous and less well-known thinkers,[10] including (among many others) Eubulides, Plato, Cicero, Georg Wilhelm Friedrich Hegel,[11] Karl Marx and Friedrich Engels, Friedrich Nietzsche, Hugh MacColl,[13] Charles S. Peirce, Max Black,[15] Jan Łukasiewicz,[16] Emil Leon Post, Alfred Tarski,Georg Cantor, Nicolai A. Vasiliev,[19] Kurt Gödel, Stanisław Jaśkowski[20] and Donald Knuth. Across at least two and a half millennia, all of them had something to say about graded concepts with unsharp boundaries. This suggests at least that the awareness of the existence of concepts with "fuzzy" characteristics, in one form or another, has a very long history in human thought. Quite a few logicians and philosophers have also tried to analyze the characteristics of fuzzy concepts as a recognized species, sometimes with the aid of some kind of many-valued logic or substructural logic. An early attempt in the post-WW2 era to create a theory of sets where set membership is a matter of degree was made by Abraham Kaplan and Hermann Schott in 1951. They intended to apply the idea to empirical research. Kaplan and Schott measured the degree of membership of empirical classes using real numbers between 0 and 1, and they defined corresponding notions of intersection, union, complementation and subset.[22] However, at the time, their idea "fell on stony ground".[23] J. Barkley Rosser Sr. published a treatise on many-valued logics in 1952, anticipating "many-valued sets".[24] Another treatise was published in 1963 by Aleksandr A. Zinov'ev and others In 1964, the American philosopher William Alston introduced the term "degree vagueness" to describe vagueness in an idea that results from the absence of a definite cut-off point along an implied scale (in contrast to "combinatory vagueness" caused by a term that has a number of logically independent conditions of application). The German mathematician Dieter Klaua [de] published a German-language paper on fuzzy sets in 1965, but he used a different terminology (he referred to "many-valued sets", not "fuzzy sets"). Two popular introductions to many-valued logic in the late 1960s were by Robert J. Ackermann and Nicholas Rescher respectively.] Rescher's book includes a bibliography on fuzzy theory up to 1965, which was extended by Robert Wolf for 1966–1974.[30] Haack provides references to significant works after 1974.[31] Bergmann provides a more recent (2008) introduction to fuzzy reasoning.

According to the modern idea of the continuum fallacy, the fact that a statement is to an extent vague, does not automatically mean that it is invalid. The problem then becomes one of how we could ascertain the kind of validity that the statement does have.Nondualism is a fuzzy concept, for which many definitions can be found. According to David Loy, since there are similar ideas and terms in a wide variety of spiritualities and religions, ancient and modern, no single definition for the English word "nonduality" can suffice, and perhaps it is best to speak of various "nondualities" or theories of nonduality.[10] Loy sees non-dualism as a common thread in Taoism, Mahayana Buddhism, and Advaita Vedanta,distinguishes "Five Flavors Of Nonduality":

Advaita, nondual awareness, the nondifference of subject and object, or nonduality between subject and object. According to Loy, in the Upanishads " It is most often expressed as the identity between Atman (the self) and Brahman.". Monism, the nonplurality of the world. Although the phenomenal world appears as a plurality of "things", in reality they are "of a single cloth". Brahmanical and non-Brahmanical ascetic traditions of the first millennium BCE developed in close interaction, utilizing proto-Samkhya enumerations (lists) analyzing experience in the context of meditative practices providing liberating insight into the nature of experience. The first millennium CE saw a movement towards postulating an underlying "basis of unity," both in the Buddhist Madhyamaka and Yogacara schools, and in Advaita Vedanta, collapsing phenomenal reality into a "single substrate or underlying principle." From Dualism to Oneness in Psychoanalysis: A Zen Perspective on the Mind-Body Question focuses on the shift in psychoanalytic thought, from a view of mind-body dualism to a contemporary non-dualistic perspective. The Perennial philosophy has its roots in the Renaissance interest in neo-Platonism and its idea of The One, from which all existence emanates. Marsilio Ficino (1433–1499) sought to integrate Hermeticism with Greek and Jewish-Christian thought, discerning a Prisca theologia which could be found in all age Giovanni Pico della Mirandola (1463–94) suggested that truth could be found in many, rather than just two, traditions. He proposed a harmony between the thought of Plato and Aristotle, and saw aspects of the Prisca theologia in Averroes, the Koran, the Cabala and other sources. Agostino Steuco (1497–1548) coined the term philosophia perennis."Dual" comes from Latin "duo," two, prefixed with "non-" meaning "not"; "non-dual" means "not-two." When referring to nondualism, Hinduism generally uses the Sanskrit term Advaita, while Buddhism uses Advaya (Tibetan: gNis-med, Chinese: pu-erh, Japanese: fu-ni). "Advaita" (अद्वैत) is from Sanskrit roots a, not; dvaita, dual. As Advaita, it means "not-two." or "one without a second," and is usually translated as "nondualism", "nonduality" and "nondual". The term "nondualism" and the term "advaita" from which it originates are polyvalent terms. "Advaya" (अद्वय) is also a Sanskrit word that means "identity, unique, not two, without a second," and typically refers to the two truths doctrine of Mahayana Buddhism, especially Madhyamaka.

The English term "nondual" was informed by early translations of the Upanishads in Western languages other than English from 1775. These terms have entered the English language from literal English renderings of "advaita" subsequent to the first wave of English translations of the Upanishads. These translations commenced with the work of Müller (1823–1900), in the monumental Sacred Books of the East (1879). Max Müller rendered "advaita" as "Monism", as have many recent scholars. However, some scholars state that "advaita" is not really monism. Nondual awareness, also called pure consciousness or awareness, contentless consciousness, consciousness-as-such, and Minimal Phenomenal Experience, is a topic of phenomenological research. As described in Samkhya-Yoga and other systems of meditation, and referred to as, for example, Turya and Atman, pure awareness manifests in advanced states of meditation. Unitarian Universalism had a strong impact on Ram Mohan Roy and the Brahmo Samaj, and subsequently on Swami Vivekananda. Vivekananda was one of the main representatives of Neo-Vedanta, a modern interpretation of Hinduism in line with western esoteric traditions, especially Transcendentalism, New Thought and Theosophy. His reinterpretation was, and is, very successful, creating a new understanding and appreciation of Hinduism within and outside India, and was the principal reason for the enthusiastic reception of yoga, transcendental meditation and other forms of Indian spiritual self-improvement in the West. Narendranath Datta (Swami Vivekananda) became a member of a Freemasonry lodge "at some point before 1884" and of the Sadharan Brahmo Samaj in his twenties, a breakaway faction of the Brahmo Samaj led by Keshab Chandra Sen and Debendranath Tagore.Ram Mohan Roy (1772-1833), the founder of the Brahmo Samaj, had a strong sympathy for the Unitarians, who were closely connected to the Transcendentalists, who in turn were interested in and influenced by Indian religions early on. It was in this cultic milieu that Narendra became acquainted with Western esotericism. Debendranath Tagore brought this "neo-Hinduism" closer in line with western esotericism, a development which was furthered by Keshubchandra Sen, who was also influenced by transcendentalism, which emphasised personal religious experience over mere reasoning and theology. Sen's influence brought Vivekananda fully into contact with western esotericism, and it was also via Sen that he met Ramakrishna. Vivekananda's acquaintance with western esotericism made him very successful in western esoteric circles, beginning with his speech in 1893 at the Parliament of Religions. Vivekananda adapted traditional Hindu ideas and religiosity to suit the needs and understandings of his western audiences, who were especially attracted by and familiar with western esoteric traditions and movements like Transcendentalism and New thought. In 1897 he founded the Ramakrishna Mission, which was instrumental in the spread of Neo-Vedanta in the west, and attracted people like Alan Watts. Aldous Huxley, author of The Perennial Philosophy, was associated with another neo-Vedanta organisation, the Vedanta Society of Southern California, founded and headed by Swami Prabhavananda. Together with Gerald Heard, Christopher Isherwood, and other followers he was initiated by the Swami and was taught meditation and spiritual practices. Neo-Vedanta was well-received among Theosophists, Christian Science, and the New Thought movement; Christian Science in turn influenced the self-study teaching A Course in Miracles.Pure consciousness is distinguished from the workings of the mind, and "consists in nothing but the being seen of what is seen." Gamma & Metzinger (2021) present twelve factors in their phenomenological analysis of pure awareness experienced by meditators, including luminosity; emptiness and non-egoic self-awareness; and witness-consciousness.A main modern proponent of perennialism was Aldous Huxley, who was influenced by Vivekananda's Neo-Vedanta and Universalism. This popular approach finds supports in the "common-core thesis". According to the "common-core thesis", different descriptions can mask quite similar if not identical experiences:

According to Elias Amidon there is an "indescribable, but definitely recognizable, reality that is the ground of all being." According to Renard, these are based on an experience or intuition of "the Real". According to Amidon, this reality is signified by "many names" from "spiritual traditions throughout the world": [N]ondual awareness, pure awareness, open awareness, presence-awareness, unconditioned mind, rigpa, primordial experience, This, the basic state, the sublime, buddhanature, original nature, spontaneous presence, the oneness of being, the ground of being, the Real, clarity, God-consciousness, divine light, the clear light, illumination, realization and enlightenment. According to Renard, nondualism as common essence prefers the term "nondualism", instead of monism, because this understanding is "nonconceptual", "not graspapable in an idea" Even to call this "ground of reality", "One", or "Oneness" is attributing a characteristic to that ground of reality. The only thing that can be said is that it is "not two" or "non-dual": [N]o unmediated experience is possible, and that in the extreme, language is not simply used to interpret experience but in fact constitutes experience. The idea of a common essence has been questioned by Yandell, who discerns various "religious experiences" and their corresponding doctrinal settings, which differ in structure and phenomenological content, and in the "evidential value" they present. The specific teachings and practices of a specific tradition may determine what "experience" someone has, which means that this "experience" is not the proof of the teaching, but a result of the teaching. The notion of what exactly constitutes "liberating insight" varies between the various traditions, and even within the traditions. Bronkhorst for example notices that the conception of what exactly "liberating insight" is in Buddhism was developed over time. Whereas originally it may not have been specified, later on the Four Truths served as such, to be superseded by pratityasamutpada, and still later, in the Hinayana schools, by the doctrine of the non-existence of a substantial self or person. And Schmithausen notices that still other descriptions of this "liberating insight" exist in the Buddhist canon.nsight (prajna, kensho, satori, gnosis, theoria, illumination), especially enlightenment or the realization of the illusory nature of the autonomous "I" or self, is a key element in modern western nondual thought. It is the personal realization that ultimate reality is nondual, and is thought to be a validating means of knowledge of this nondual reality. This insight is interpreted as a psychological state, and labeled as religious or mystical experience. According to Hori, the notion of "religious experience" can be traced back to William James, who used the term "religious experience" in his book, The Varieties of Religious Experience. The origins of the use of this term can be dated further back. In the 18th, 19th, and 20th centuries, several historical figures put forth very influential views that religion and its beliefs can be grounded in experience itself. While Kant held that moral experience justified religious beliefs, John Wesley in addition to stressing individual moral exertion thought that the religious experiences in the Methodist movement (paralleling the Romantic Movement) were foundational to religious commitment as a way of life. Wayne Proudfoot traces the roots of the notion of "religious experience" to the German theologian Friedrich Schleiermacher (1768–1834), who argued that religion is based on a feeling of the infinite. The notion of "religious experience" was used by Schleiermacher and Albert Ritschl to defend religion against the growing scientific and secular critique, and defend the view that human (moral and religious) experience justifies religious beliefs. Such religious empiricism would be later seen as highly problematic and was – during the period in-between world wars – famously rejected by Karl Barth. In the 20th century, religious as well as moral experience as justification for religious beliefs still holds sway. Some influential modern scholars holding this liberal theological view are Charles Raven and the Oxford physicist/theologian Charles Coulson. The notion of "religious experience" was adopted by many scholars of religion, of which William James was the most influential. The notion of "experience" has been criticised. Robert Sharf points out that "experience" is a typical Western term, which has found its way into Asian religiosity via western influences.Insight is not the "experience" of some transcendental reality, but is a cognitive event, the (intuitive) understanding or "grasping" of some specific understanding of reality, as in kensho,or anubhava. "Pure experience" does not exist; all experience is mediated by intellectual and cognitive activity A pure consciousness without concepts, reached by "cleaning the doors of perception", would be an overwhelming chaos of sensory input without coherence.A major force in the mutual influence of eastern and western ideas and religiosity was the Theosophical Society.It searched for ancient wisdom in the east, spreading eastern religious ideas in the west One of its salient features was the belief in "Masters of Wisdom", "beings, human or once human, who have transcended the normal frontiers of knowledge, and who make their wisdom available to others". The Theosophical Society also spread western ideas in the east, aiding a modernisation of eastern traditions, and contributing to a growing nationalism in the Asian colonies.Transcendentalism was an early 19th-century liberal Protestant movement that developed in the 1830s and 1840s in the Eastern region of the United States. It was rooted in English and German Romanticism, the Biblical criticism of Herder and Schleiermacher, and the skepticism of Hume. The Transcendentalists emphasised an intuitive, experiential approach of religion. Following Schleiermacher, an individual's intuition of truth was taken as the criterion for truth. In the late 18th and early 19th century, the first translations of Hindu texts appeared, which were read by the Transcendentalists and influenced their thinking. The Transcendentalists also endorsed universalist and Unitarianist ideas, leading to Unitarian Universalism, the idea that there must be truth in other religions as well, since a loving God would redeem all living beings, not just Christians.Western esotericism (also called esotericism and esoterism) is a scholarly term for a wide range of loosely related ideas and movements which have developed within Western society. They are largely distinct both from orthodox Judeo-Christian religion and from Enlightenment rationalism. The earliest traditions which later analysis would label as forms of Western esotericism emerged in the Eastern Mediterranean during Late Antiquity, where Hermetism, Gnosticism, and Neoplatonism developed as schools of thought distinct from what became mainstream Christianity. In Renaissance Europe, interest in many of these older ideas increased, with various intellectuals seeking to combine "pagan" philosophies with the Kabbalah and with Christian philosophy, resulting in the emergence of esoteric movements like Christian theosophy."Dual" comes from Latin "duo," two, prefixed with "non-" meaning "not"; "non-dual" means "not-two." When referring to nondualism, Hinduism generally uses the Sanskrit term Advaita, while Buddhism uses Advaya (Tibetan: gNis-med, Chinese: pu-erh, Japanese: fu-ni). "Advaita" (अद्वैत) is from Sanskrit roots a, not; dvaita, dual. As Advaita, it means "not-two."[1][8] or "one without a second,"[8] and is usually translated as "nondualism", "nonduality" and "nondual". The term "nondualism" and the term "advaita" from which it originates are polyvalent terms. "Advaya" (अद्वय) is also a Sanskrit word that means "identity, unique, not two, without a second," and typically refers to the two truths doctrine of Mahayana Buddhism, especially Madhyamaka. The English term "nondual" was informed by early translations of the Upanishads in Western languages other than English from 1775. These terms have entered the English language from literal English renderings of "advaita" subsequent to the first wave of English translations of the Upanishads. These translations commenced with the work of Müller (1823–1900), in the monumental Sacred Books of the East (1879). Max Müller rendered "advaita" as "Monism", as have many recent scholars. However, some scholars state that "advaita" is not really monism

 

en.wikipedia.org/wiki/Nondualism

 

A fuzzy concept is a kind of concept of which the boundaries of application can vary considerably according to context or conditions, instead of being fixed once and for all. This means the concept is vague in some way, lacking a fixed, precise meaning, without however being unclear or meaningless altogether.It has a definite meaning, which can be made more precise only through further elaboration and specification - including a closer definition of the context in which the concept is used. The study of the characteristics of fuzzy concepts and fuzzy language is called fuzzy semantics. The inverse of a "fuzzy concept" is a "crisp concept" (i.e. a precise concept).

A fuzzy concept is understood by scientists as a concept which is "to an extent applicable" in a situation. That means the concept has gradations of significance or unsharp (variable) boundaries of application. A fuzzy statement is a statement which is true "to some extent", and that extent can often be represented by a scaled value. The term is also used these days in a more general, popular sense – in contrast to its technical meaning – to refer to a concept which is "rather vague" for any kind of reason. In the past, the very idea of reasoning with fuzzy concepts faced considerable resistance from academic elites. They did not want to endorse the use of imprecise concepts in research or argumentation. Yet although people might not be aware of it, the use of fuzzy concepts has risen gigantically in all walks of life from the 1970s onward. That is mainly due to advances in electronic engineering, fuzzy mathematics and digital computer programming. The new technology allows very complex inferences about "variations on a theme" to be anticipated and fixed in a program. New neuro-fuzzy computational methods make it possible to identify, measure and respond to fine gradations of significance with great precision. It means that practically useful concepts can be coded and applied to all kinds of tasks, even if ordinarily these concepts are never precisely defined. Nowadays engineers, statisticians and programmers often represent fuzzy concepts mathematically, using fuzzy logic, fuzzy values, fuzzy variables and fuzzy sets."There exists strong evidence, established in the 1970s in the psychology of concepts... that human concepts have a graded structure in that whether or not a concept applies to a given object is a matter of degree, rather than a yes-or-no question, and that people are capable of working with the degrees in a consistent way. This finding is intuitively quite appealing, because people say "this product is more or less good" or "to a certain degree, he is a good athlete", implying the graded structure of concepts. In his classic paper, Zadeh called the concepts with a graded structure fuzzy concepts and argued that these concepts are a rule rather than an exception when it comes to how people communicate knowledge. Moreover, he argued that to model such concepts mathematically is important for the tasks of control, decision making, pattern recognition, and the like. Zadeh proposed the notion of a fuzzy set that gave birth to the field of fuzzy logic..."Hence, a concept is generally regarded as "fuzzy" in a logical sense if:defining characteristics of the concept apply to it "to a certain degree or extent" (or, more unusually, "with a certain magnitude of likelihood").

or, the boundaries of applicability (the truth-value) of a concept can vary in degrees, according to different conditions.

or, the fuzzy concept itself straightforwardly consists of a fuzzy set, or a combination of such sets.

The fact that a concept is fuzzy does not prevent its use in logical reasoning; it merely affects the type of reasoning which can be applied (see fuzzy logic). If the concept has gradations of meaningful significance, it is necessary to specify and formalize what those gradations are, if they can make an important difference. Not all fuzzy concepts have the same logical structure, but they can often be formally described or reconstructed using fuzzy logic or other substructural logics.The advantage of this approach is, that numerical notation enables a potentially infinite number of truth-values between complete truth and complete falsehood, and thus it enables - in theory, at least - the greatest precision in stating the degree of applicability of a logical rule..In philosophical logic and linguistics, fuzzy concepts are often regarded as vague concepts which in their application, or formally speaking, are neither completely true nor completely false, or which are partly true and partly false; they are ideas which require further elaboration, specification or qualification to understand their applicability (the conditions under which they truly make sense). The "fuzzy area" can also refer simply to a residual number of cases which cannot be allocated to a known and identifiable group, class or set if strict criteria are used. The collaborative written works of French philosopher Gilles Deleuze and French psychoanalyst Félix Guattari refer occasionally to fuzzy sets in conjunction with their idea of multiplicities. In A Thousand Plateaus, they note that "a set is fuzzy if its elements belong to it only by virtue of specific operations of consistency and consolidation, which themselves follow a special logic", and in What Is Philosophy?, a work dealing with the functions of concepts, they write that concepts as a whole are "vague or fuzzy sets, simple aggregates of perceptions and affections, which form within the lived as immanent to a subject" In mathematics and statistics, a fuzzy variable (such as "the temperature", "hot" or "cold") is a value which could lie in a probable range defined by some quantitative limits or parameters, and which can be usefully described with imprecise categories (such as "high", "medium" or "low") using some kind of scale or conceptual hierarchy.n mathematics and computer science, the gradations of applicable meaning of a fuzzy concept are described in terms of quantitative relationships defined by logical operators. Such an approach is sometimes called "degree-theoretic semantics" by logicians and philosophers, but the more usual term is fuzzy logic or many-valued logic. The novelty of fuzzy logic is, that it "breaks with the traditional principle that formalisation should correct and avoid, but not compromise with, vagueness". The basic idea of fuzzy logic is that a real number is assigned to each statement written in a language, within a range from 0 to 1, where 1 means that the statement is completely true, and 0 means that the statement is completely false, while values less than 1 but greater than 0 represent that the statements are "partly true", to a given, quantifiable extent. Susan Haack comments: "Whereas in classical set theory an object either is or is not a member of a given set, in fuzzy set theory membership is a matter of degree; the degree of membership of an object in a fuzzy set is represented by some real number between 0 and 1, with 0 denoting no membership and full membership." ..."Truth" in this mathematical context usually means simply that "something is the case", or that "something is applicable". This makes it possible to analyze a distribution of statements for their truth-content, identify data patterns, make inferences and predictions, and model how processes operate. Petr Hájek claimed that "fuzzy logic is not just some "applied logic", but may bring "new light to classical logical problems", and therefore might be well classified as a distinct branch of "philosophical logic" similar to e.g. modal logics.Fuzzy logic offers computationally-oriented systems of concepts and methods, to formalize types of reasoning which are ordinarily approximate only, and not exact. In principle, this allows us to give a definite, precise answer to the question, "To what extent is something the case?", or, "To what extent is something applicable?". Via a series of switches, this kind of reasoning can be built into electronic devices. That was already happening before fuzzy logic was invented, but using fuzzy logic in modelling has become an important aid in design, which creates many new technical possibilities. Fuzzy reasoning (i.e., reasoning with graded concepts) turns out to have many practical uses. It is nowadays widely used in:

The programming of vehicle and transport electronics, household appliances, video games, language filters, robotics, and driverless vehicles. Fuzzy logic washing machines are gaining popularity. All kinds of control systems that regulate access, traffic, movement, balance, conditions, temperature, pressure, routers etc. Electronic equipment used for pattern recognition, surveying and monitoring (including radars, satellites, alarm systems and surveillance systems).

Cybernetics research, artificial intelligence,[54] virtual intelligence, machine learning, database design and soft computing research. "Fuzzy risk scores" are used by project managers and portfolio managers to express financial risk assessments. It looks like fuzzy logic will eventually be applied in almost every aspect of life, even if people are not aware of it, and in that sense fuzzy logic is an astonishingly successful invention.[58] The scientific and engineering literature on the subject is constantly increasing.

en.wikipedia.org/wiki/Fuzzy_concept

 

Advaita Vedanta (/ʌdˈvaɪtə vɛˈdɑːntə/; Sanskrit: अद्वैत वेदान्त, IAST: Advaita Vedānta) is a Hindu sādhanā, a path of spiritual discipline and experience, and the oldest extant tradition of the orthodox Hindu school Vedānta. The term Advaita (literally "non-secondness", but usually rendered as "nondualism",and often equated with monism[note 3]) refers to the idea that Brahman alone is ultimately real, while the transient phenomenal world is an illusory appearance (maya) of Brahman. In this view, jivatman, the experiencing self, is ultimately non-different ("na aparah") from Ātman-Brahman, the highest Self or Reality.The jivatman or individual self is a mere reflection or limitation of singular Ātman in a multitude of apparent individual bodies. In the Advaita tradition, moksha (liberation from suffering and rebirth),is attained through recognizing this illusoriness of the phenomenal world and disidentification from the body-mind complex and the notion of 'doership',[note 5] and acquiring vidyā (knowledge) of one's true identity as Atman-Brahman, self-luminous (svayam prakāśa)[note 6] awareness or Witness-consciousness. Upanishadic statements such as tat tvam asi, "that['s how] you are," destroy the ignorance (avidyā) regarding one's true identity by revealing that (jiv)Ātman is non-different from immortal[note 8] Brahman. While the prominent 8th century Vedic scholar and teacher (acharya) Adi Shankara emphasized that, since Brahman is ever-present, Brahman-knowledge is immediate and requires no 'action', that is, striving and effort,[15][16][17] the Advaita tradition also prescribes elaborate preparatory practice, including contemplation of the mahavakyas and accepting yogic samadhi as a means to knowledge, posing a paradox which is also recognized in other spiritual disciplines and traditions. Advaita Vedānta adapted philosophical concepts from Buddhism, giving them a Vedantic basis and interpretation,and was influenced by, and influenced, various traditions and texts of Indian philosophy, While Adi Shankara is generally regarded as the most prominent exponent of the Advaita Vedānta tradition,[26] his early influence has been questioned, as his prominence started to take shape only centuries later in the 14th century, with the ascent of Sringeri matha and its jagadguru Vidyaranya (Madhava, 14th cent.) in the Vijayanagara Empire.[note 11] While Shankara did not embrace Yoga,[37] the Advaita Vedānta tradition in medieval times explicitly incorporated elements from the yogic tradition and texts like the Yoga Vasistha and the Bhagavata Purana, culminating in Swami Vivekananda's full embrace and propagation of Yogic samadhi as an Advaita means of knowledge and liberation. In the 19th century, due to the influence of Vidyaranya's Sarvadarśanasaṅgraha, the importance of Advaita Vedānta was overemphasized by Western scholarship,[42] and Advaita Vedānta came to be regarded as the paradigmatic example of Hindu spirituality, despite the numerical dominance of theistic Bhakti-oriented religiosity. In modern times, Advaita views appear in various Neo-Vedānta movements. While "a preferred terminology" for Upanisadic philosophy "in the early periods, before the time of Shankara" was Puruṣavāda,[50][note 13] the Advaita Vedānta school has historically been referred to by various names, such as Advaita-vada (speaker of Advaita), Abheda-darshana (view of non-difference), Dvaita-vada-pratisedha (denial of dual distinctions), and Kevala-dvaita (non-dualism of the isolated). It is also called māyāvāda by Vaishnava opponents, akin to Madhyamaka Buddhism, due to their insistence that phenomena ultimately lack an inherent essence or reality,[ According to Richard King, a professor of Buddhist and Asian studies, the term Advaita first occurs in a recognizably Vedantic context in the prose of Mandukya Upanishad.[51] In contrast, according to Frits Staal, a professor of philosophy specializing in Sanskrit and Vedic studies, the word Advaita is from the Vedic era, and the Vedic sage Yajnavalkya (8th or 7th-century BCE is credited to be the one who coined it] Stephen Phillips, a professor of philosophy and Asian studies, translates the Advaita containing verse excerpt in Brihadaranyaka Upanishad, as "An ocean, a single seer without duality becomes he whose world is Brahman.While the term "Advaita Vedanta" in a strict sense may refer to the scholastic tradition of textual exegesis established by Shankara, "advaita" in a broader sense may refer to a broad current of advaitic thought, which incorporates advaitic elements with yogic thought and practice and other strands of Indian religiosity, such as Kashmir Shaivism and the Nath tradition. The first connotation has also been called "Classical Advaita" and "doctrinal Advaita," and its presentation as such is due to mediaeval doxographies,the influence of Orientalist Indologists like Paul Deussen, and the Indian response to colonial influences, dubbed neo-Vedanta by Paul Hacker, who regarded it as a deviation from "traditional" Advaita Vedanta.Yet, post-Shankara Advaita Vedanta incorporated yogic elements, such as the Yoga Vasistha, and influenced other Indian traditions, and neo-Vedanta is based on this broader strand of Indian thought. This broader current of thought and practice has also been called "greater Advaita Vedanta," "vernacular advaita,"and "experiential Advaita." It is this broader advaitic tradition which is commonly presented as "Advaita Vedanta," though the term "advaitic" may be more apt.The nondualism of Advaita Vedānta is often regarded as an idealist monism. According to King, Advaita Vedānta developed "to its ultimate extreme" the monistic ideas already present in the Upanishads. In contrast, states Milne, it is misleading to call Advaita Vedānta "monistic," since this confuses the "negation of difference" with "conflation into one."Advaita is a negative term (a-dvaita), states Milne, which denotes the "negation of a difference," between subject and object, or between perceiver and perceived. According to Deutsch, Advaita Vedānta teaches monistic oneness, however without the multiplicity premise of alternate monism theories.According to Jacqueline Suthren Hirst, Adi Shankara positively emphasizes "oneness" premise in his Brahma-sutra Bhasya 2.1.20, attributing it to all the Upanishads. Nicholson states Advaita Vedānta contains realistic strands of thought, both in its oldest origins and in Shankara's writings.

 

en.wikipedia.org/wiki/Advaita_Vedanta#Svayam_prakāśa_(self-luminosity)

My art practice investigates the interconnectedness of making interior spaces. These works in clay are processual in nature, developed by a need to demarcate and fold material into spatial forms and volumes.

 

3 Compositional Forms.

270mmx230mmx70mm

 

russellmoreton.blogspot.com

I seem to be uploading white boats at present, this may be for strange cosmic reasons that I am not sensitive to, or it could just be an inexplicable coincidence as occurs during the warp and weave of interconnectedness, stuff like that.

I couldn\'t find much about Aquatech Surveyor, unfortunately, as it seems to be doing something quite noble, which is a "benthic" survey. I did search for the boat\'s profile but my anti-virus software blocked the only interesting site...

Anyway, I found an article by AWJ Marine about the boat\'s activities in 2020, close to Gwynt y Môr (an offshore windfarm off North Wales) and it put me on to "benthic" surveys: benthic is a new word for me but apparently benthic surveys "are ecological assessments that study the organisms and habitats found on the bottom of a body of water." So, something like that seems to be taking place right now on the Thames.

Here is another inexplicable coincidence: a book by Robert MacFarlane, "Is A River Alive" was brought to my attention by Robert Allan Bear bear3741 which, after 2 previous attempts I have managed to get into (not unusual for me and not a comment on the book). So far, it\'s spoken of how we treat rivers (badly) and is beginning to talk about how, perhaps, we should treat them and it\'s hooked me, although I may not agree with it ! I'm not far in, but MacFarlane has already raised the beneficial effects of uncovering lost rivers (there are many - even one running through Kings Cross tube station and another, with a very similar name, just upriver of this...).

As I said, the interconnectedness of everything.

 

There you have it.

 

[DSC_0550b]

The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.

 

As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.

 

The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.

 

The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.

 

The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.

 

These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.

 

The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.

 

In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.

 

www.f22digital.com

Excerpt from harbourfrontcentre.com/event/fluid-fossils/:

 

Fluid Fossils is a site-specific mural by Winnipeg-based artist Anna Binta Diallo, exploring themes of time, memory and interdependence through the metaphor of fossils. Using silhouettes of human forms assembled from found images, Diallo creates a visual narrative on the interconnectedness of the past, present and future. Originally exhibited at the Musée d’art contemporain de Montréal, it invites viewers to reflect on how contemporary actions and objects will serve as relics for future generations, emphasizing the importance and responsibility of shaping collective heritage.

 

Artist Statement

“Fluid Fossils envisions a landscape of silhouettes representing a fragment of human history, crafted from images drawn from nature and everyday life. These figures embody the process of fossilization, where moments of significance are imprinted and preserved over time. Through this visual dialogue, I explore the balance between transience and permanence, urging reflection on what we choose to preserve and how our gestures and objects will one day become the relics of tomorrow. The mural serves as a meditation on the enduring impact of our actions and the legacy we leave behind, urging us to consider our collective responsibility in safeguarding the traces of our shared history.” — Anna Binta Diallo

I bet many of you will recognize this view. At least two famous buildings are clearly visible: Stockholm City Hall and The Riddarholmen Church. As you can see, the subway trains kept coming and going on the tracks below. I wish they'd have lamps on the roofs or something to allow for smoother light trails. Anyway. The photo was taken from The Lock Area. See also: Interconnectedness.

 

Part I – Part II – Part III – Part IV – Part V – Part VI – Part VII – Part VIII

Not all mural work in Gastown is COVID-19 specific nor on boarded up windows. This pieces adorns the wall on a parking garage entrance/exit ramp on Water Street.

It is by art + design studio Chairman Ting and called" Pacific North Weave".

 

Pacific North Weave is an illustration that plays with the concept of interconnectedness. Vancouver is a fabric that is woven by a vibrant and diverse palette of colours as it sits at the edge of western Canada.

It is the junction point between the west and the east. The illustration is comprised of hundreds of visual elements sourced from all over the city and is intertwined by purposeful lines that form a texture from afar.

When seen from up close we begin to see the seamless interaction between each individual element in the illustration that help form this intricate snapshot of the city.

United, strong, and free are the fabric that make up this beautiful city we call home.

 

This project was a collaboration between Chairman Ting, Six Hundred Four + EVO Car Share.

 

The collaboration was brought together with one idea in mind, and that’s to champion the arts and culture of Vancouver.

 

The illustration titled ‘Pacific North Weave’ took on several forms including a hand painted mural in Gastown, a hand painted art piece (60” x 40” on display at Six Hundred Four), a printed vinyl mural at the EVO office and finally as premium designer sneakers by Six Hundred Four.

 

Six Hundred Four Shoes partners with emerging artists, turning their original work into 604 pairs of premium, limited editions sneakers.

Each pair is crafted utilizing state of the art printers that effectively tattoo the art onto the shoes.

 

EVO Car Share is a car sharing service in the Greater Vancouver area, created by the British Columbia Automobile Association.

The company offers exclusively Toyota Prius Hybrid vehicles with roof-top bike racks.

How far are you willing to go down the dialectical hole?

 

Marxist religion is the opium of the people. Identity politics, critical race theory, and gender theory are all forms of repackaged Marxism: identity Marxism, race Marxism, and gender Marxism. Flee from wokeism (woke Marxism): diversity, equity, and inclusion! Climate change (climate Marxism): humans are the oppressors, the earth is the oppressed. The dialectic of climate change: shame the unmasked and unvaxxed...oops, I mean: Struggle Session the masses about climate change and carbon footprints (eventually people will not be allowed to travel around freely; they will be locked down in their 15 minute city smart homes; they will feel too guilty to leave their bedrooms). “The dialectic marries truth to a lie. It forms a synthetic view, a synthetic reality—a contrived reality.” In the end the dialectic swaps out the truth for a lie. It destroys the truth. It destroys society. It will replace capitalism with socialism. It will replace freedom with authoritarianism. Like the devil, it comes only to steal and kill and destroy. The dialectic is ever changing. It never remains the same. It’s always on the move, it’s always on the creep. The dialectic is steadily moving towards sustainability (universal socialism) and global citizenship. When I use the word socialism, I’m talking about a new spin (dialectic) of fascism and communism; it’s a universal neo-commufascism called “Antichristism (socialist/antichrist).” The dialectic of Global Citizenship Education:

 

www.unesco.org/en/global-citizenship-peace-education/need...

 

www.un.org/en/academic-impact/page/global-citizenship-edu...

 

www.globalcitizenshipfoundation.org/about/global-citizens...

 

Global Citizenship Education can be defined as a lifelong revolutionary pursuit that uses both dialectical learning and activism to brainwash and equip global citizen activists with the knowledge and skills to promote Sustainable (socialist) Development in order to forge [with a communist hammer] a more [un]equitable and [un]inclusive society. Global Citizenship Education harnesses cultural power dynamics, using modern educational institutions to foster an ecosystem of internationalization and globalization to promote the permanent pursuit of social(ist) justice. We will use a post-colonial, critical-transformative, and value-creating GCE-curriculum with a sustainable (socialist) paradigm that will direct us towards sustainable (socialist) societies. We will utilize Social and Emotional Learning to promote empathetic awareness of the interconnectedness of people to the global ecosystem, which is a key feature of the new Education for Sustainable (Socialist) Development. All graduates of this program will receive a Global Citizenship Certificate, acknowledging that the pupil (disciple) understands the social(ist) implications and ethics of Global Citizenship.

 

The United Nations is partnering with countries to rewire their educational systems for social(ist) transition, which will in turn rewire the minds of their people for social(ist) change. The Member (puppet) States of the United Nations must promote these Sustainable Development Goals. Their Educational Institutions have a responsibility to promote Global Citizenship. They must teach the youth about the benefits of being members of a larger global community. They must prepare them for the future global order. The concept of global citizenship is embedded in the 17 Corpus Hermeticum (occultic/demonic) Goals of Sustainable Development (goals toward perpetual universal authoritarianism). It will take a global effort among stakeholders (bankers, billionaires, politicians, CEOs), using public–private (government and corporations [fascism], and NGOs) partnerships (as a workaround [bypass around] democracy) to achieve these (New World Order) Goals. The United Nations’ Agenda 2030 Sustainable Development Goals will prepare the young people (Red Guards) for the Cultural Revolution, which will purge the Four Olds from society: Old Ideas, Old Customs, Old Culture, and Old Habits. The Great Reset (Build Back Better) will be like the Great Leap Forward under Mao; “it was an economic and social campaign that ended in digression and mass death.”

 

This dialectic will eventually lead us into a one world economic order in which all global citizens will receive a digital citizenship smart tattoo ID: 666. Take the jab, take the (micro)chip. If you refuse, we’ll use a Maoist style Struggle Season to publicly humiliate and beat and torture and execute (behead) you. Bow down and worship the Image of the Beast (the idol of the Supreme Leader—The True Social(ist) Man—the Antichrist). Take the Mark of the Beast and be reborn a true social(ist) man (transhuman/666)—a god, like the Beast who died and came back to life.

 

“Beware of false prophets who come disguised as harmless sheep but are really vicious wolves.” “Watch out! Guard against the yeast of the Pharisees and Sadducees.” “A little yeast works through the whole batch of dough.” “Dear children, the last hour is here. You have heard that the Antichrist is coming, and already many such antichrists have appeared. From this we know that the last hour has come.”

 

I will ask you again: how far are you willing to go down the dialectical hole?

 

“The night is far spent, the day is at hand. Therefore let us cast off the works of darkness, and let us put on the armor of light.” “Have nothing to do with the fruitless deeds of darkness, but rather expose them.”

 

This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death at age 58 in 1987. More than 400 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that he anticipated the issues, effects, and pace of our current digital age.

 

Warhol gained fame in the 1960s for his Pop masterpieces, widely known and reproduced works that often eclipse his equally significant late work as well as his crucial beginnings in the commercial art world. This exhibition brings together all aspects and periods of his varied and prolific career and includes paintings, sculpture, drawings, prints, videos, archival and printed material, installation, films, and media works. By showcasing the full continuum of Warhol’s work, rather than focusing on a certain period, this presentation demonstrates that the artist didn’t slow down after surviving the assassination attempt that nearly took his life in 1968 but entered into a period of intense experimentation.

 

Warhol, with obvious self-deprecation, described his philosophy as spanning from A to B. As this exhibition decidedly proves, his thinking and artistic production ranged well beyond that, but his true genius lies in his ability to identify cultural patterns and to use repetition, distortion, and recycled images in a way that challenges our faith in images and questions the meaning of our cultural icons.

 

This exhibition was organized by the Whitney Museum of American Art, New York.

The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.

 

As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.

 

The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.

 

The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.

 

The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.

 

These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.

 

The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.

 

In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.

 

www.f22digital.com

Vajrasatva Mahaa Aakasha Pushti Nama Yogenii Tantra, rDo rJe Sems dPa' Nam mKha' Che rGyas Pa Shes Bya rNal 'Byor Ma'i rGyud

Vol: Kha P. 595 Line 3

 

In the Language of India:

 

Vajrasatva Mahaa Aakasha Pushti Nama Yogenii Tantra

 

In the Tibetan Language:

 

rDo rJe Sems dPa' Nam mKha' Che rGyas Pa Shes Bya rNal 'Byor Ma'i rGyud

  

I fold my hands to the One Who Transcends Dominion and Possession, the Glorious Bearer of The Stone of Transformation!

 

On one occasion I spoke out these words:

 

He who transcends dominion and possession, the true Master of all those who leave behind dominion and possession and conduct themselves accordingly, whose personal character is physical, vocal, and psychological, and who is Supreme Bliss (bDe ba'i mChog) was, naturally, engaging the Lotus of Great Bliss, his honored wife. He erected a crystal palace from the powerful waves of tremendous happiness, a happiness that comes from working towards happiness, for his honored wife. Its architecture and dimensions were beyond measure.

The entire audience entered [the crystal palace], including:

Vajra Maker of All Vision

Vajra Stability

Vajra Glory of Supreme Rarity [596]

Vajra Endless Life, and

Vajra Accomplishment Free From Demonic Consumption

Their Honored Wives:

Wide Eyes (Yangs pa'i sPyan)

Feminine Stability

She Who Splendors in Jewels

She Whose Life is Unending

She who's Accomplishments Are Free from Demonic Consumption

Furthermore, there were the Enlightened Ones of Strong Mind:

Heart of the Land

He with the Power of Transformation in His Hands

Heart of the Sky

Dominator of the World

Kind

Polite Voice

Cleanser of Darkness

Goodness in All Things

And Their Honored Wives:

Dancer

Flower Garland

Singer

Actress

Perfume Lady

Flower

Candle

Sweet Water

 

The Honored Tylers were:

Killer of the Lord of the Dead

Victory in All Things

He Who Takes the Lotus to the End

He Who Puts the Soup of Life on the Stove (Thab or Thabs?)

Their Honored Wives:

She Who Kills the Lord of the Dead

She Who Wins at Everything

She Who Takes the Lotus to the End

She Who Puts the Soup of Life on the Stove

 

An audience of those already mentioned, and many others, all came together there, with no disparity between any of them. What is more, they came together just like sesame seeds, filling the whole place.

Their light made the dominions of the world visible. It filled [the world]. It pervaded [the world]. Suddenly it was there, looking like a glowing shimmer. [597]

Then, from the waves of the power of that great happiness, which comes out of working for happiness, there emerged Grand Masters numbering three thousand great thousands. All the dominions of the world were shaken by their might (mThu). Very Shaken. Totally shaken. They were wiped out. Very much wiped out. Totally wiped out. Totally and completely wiped out. They were blasted. Very blasted. Totally blasted. They crackled. Crackled loudly. Crackled all up.

Then the periphery was equalized with the center. All living beings were brought into submission. They also used the power of prayer to bring all the many kinds of physical realities, the many kinds of speech, and the many kinds of psychological realities into submission.

Through physical submission one manifests oneself in the work and deeds of a human being. One is born, studies, does things that are difficult to do, turns the wheel of truth, and so on. There are also methods of submission by which one does the work and deeds of a lion or the work and deeds of an elephant.

Submission through speech is an act of submission in which divine beings use divine language and dragons use dragon language.

Psychological submission is the act of submitting in the shining light of absorption as well as through magical ritual. [598]

 

This is the First Chapter of The Vast Tantra of the Magnificent Sky: The True Character of All Those Who Travel through Reality. It is called "The Topic under Discussion."

 

II

Then He Who Leaves behind Dominion and Possession smoothly moved into the absorption of Great Happiness which comes out of working towards happiness. It is called "Generous Royalty." He smiled with his face to those in the audience.

Then all those who had left behind dominion and possession, travelers through reality, addressed, in a single voice, the Master of those who leave behind dominion and possessions, travelers through reality, with these words:

 

Aye Ma Oh!

O Supreme Master of physical, vocal, and psychological realities!

Allow us, through your compassion,

To utilize a physical writing implement

To retain the methodology of your wisdom!

 

Then the Master of those who have left behind dominion and possession, those who travel through reality, took on the body of Goodness in All Things. All the Travelers through Reality saw him as having three faces and six arms.

Then those Travelers Through Reality, including Maker of All Visions, made a very pure sacrifice, an offering of what is external, what is internal, and what is secret, to Goodness In All Things, The Master of all those who have left behind dominion and possession, who travel throughout reality. [599]

They held their hands together and said these words:

"We request that the Master of all those who have left behind dominion and possessions, those who travel through reality, perform for us the transmission of empowerment into the Secret Mandala, and after that turn the wheel of the truth for that which has no symbol!"

They said this.

The Master of all those who travel reality, who leave behind dominion and possessions, listened to this, and said: "So be it!"

 

He gave instruction with these words:

 

Aye Ma Oh!

All of you want to request this Tantra,

For it is difficult to understand!

Good! Good! O Great Enlightened Ones!

Good! Good! Listen with respect!

 

Then all those who travel through reality repeatedly folded their hands, their eyes full with the greatest joy. They addressed him with these words:

 

Aye Ma Oh!

O Buddha, What a Buddha!

Aye Ma Oh!

The Buddha's announcement is Good!

Aye Ma Oh!

We request that you,

The one who has left behind dominion and possessions,

Explain to us the Supreme Magnificent Enlightenment!

Aye Ma Oh!

We request you,

Most Direct One (gZu bo che),

To explain that supreme secret word that,

When properly applied,

Consolidates a strategy

For bringing about the Great Enlightenment of All Living Beings!

 

Then the Master of all travelers through reality, those who have left behind dominion and possessions, [600] gave instructions to all those who travel through reality with these words:

 

You, The Unsurpassed,

Wish to quickly acquire

The perfect Ati Yoga,

The strategy for bringing about

The enlightenment of living beings.

So listen!

I will give you an explanation.

 

Then the Master of all those who travel through reality, those who have left behind dominion and possessions, smoothly moved into the absorption that is called "The Bedazzling Stone of Transformation." He positioned the audience in a Secret Mandala. Then he performed the transmission of the empowerment. After that he explained the truth of it, from the very beginning:

 

Reality itself is the true identity of everything.

Everything has been worked out to make this real.

The strategy is to engender wisdom.

This cannot be seen through perspectives based on differentials.

The true identity of all things

Cannot be seen by anyone whosoever!

Even the Buddha cannot see it!

The wisdom of enlightenment has no visible abode!

This is the real reason it has no true identity!

Nothing brings a harvest of Nothing!

A duality of Something and Nothing does not exist!

This is called "The Inconceivable Center."

The only thing real about a true identity

Is that there is nothing whatsoever to say about it!

Anything that can be an object of sensory perception

Cannot be proven to exist!

The true identity of all things [601]

Has no beginning and no end.

It neither lasts nor does it stop.

It is not plural nor is it single.

It does not come nor does it go.

Speculation is pacified through recognition.

Respected intentions have no substance!

This cannot be perceived by the eye, ear, nose, tongue, body or mind (yid)!

The attitude that one is perceptive is a deception!

True purity cannot be understood!

There are no superior attitudes with regard to Samsara and Nirvana.

When one dwells in the way things really are

Stability and instability are both fine.

When what is taken in and what is saved are clear,

There are no specifics or generalities,

No endings and no beginnings.

The unspeakable is completely inconceivable!

Words that are not written down are the best.

(Yi ge Med pa – This is the Title of key tractate in the Great Sky cycle)

If you give up on words

The delusions of the mind will stop!

 

This is the second chapter of the Vast Tantra of the Magnificent Sky, the true nature of all those who travel through reality. It is called "Dwelling in Reality,"

  

III

 

Then the Master of travelers through reality, those who have left behind dominion and possessions, considered the previous request that had been presented by the audience. He intentionally spoke out the following intentional statement:

 

The truth about dwelling in reality

Is that there is no peace

Through acquisition or rejection.

It is difficult to determine,

And difficult to teach. [601]

It stands apart from linguistic conventions.

The physical aspect of the Stone of Transformation

Is not a compound.

The physical aspect of the immutable (gyung drung sku)

Has no birth or death.

It is not compounded in tripartite temporality.

That which is called "This,"

Magnificent and permanent,

The light of all things,

Cannot be taught symbolically.

I myself am incapable of seeing it.

It is not something that can be directly perceived.

It pervades all things.

It is actually a treasure that does not decay.

The true identity of all things

Is none other than their true potential (stong pa nyid).

There is no differential or difference whatsoever

Between Samsara and Nirvana.

There is not even a single thing to distinguish these two.

Things like conglomerates (phung po), domains (khams),

and generative forces (skye mched)

Along with their interdependent origination,

Are nothing but potentialities.

Those who are born into the true reality,

Which is their own potential,

Cannot see it.

The true reality

Is therefore known as "Travelling Through Reality."

It is as if all things move through bliss.

You will not find it by looking anywhere else.

No one who looks for true purity

Will be able to see the purity.

Some of those who are blind

Have a great insight into this.

Those who cannot see Nirvana

Or the position of the Buddha

Instantly achieve genuine enlightenment

Through Lotus Wisdom (Padma'i Ye shes).

The true Master has a single identity

But appears in many different ways.

The Master of distorted designations

Deceives living beings,

As if he was sticking them into a trap.

The transcendence of dominion and possessions

Is a magnificent occurrence.

The minds of those who do not make conceptual designations

Remain clear,

For they leave behind dominion and possessions.

Just as every living being dwells in reality,

Every Buddha is his own true origin.

Living beings bring themselves into life.

This [life] does not come from anything else.

It is on account of their ignorant designations

That all sentient beings,

Beings that [already] have Buddha Hearts (sangs rgyas snying po),

Come to experience all kinds of sorrow,

Both subtle and gross.

.

 

The Bhaga,

Which is the domain of what is true

Is the real condition of all sentient beings.

This is the sky.

It pervades everything.

Those who do not see this

Do not see it.

It is a serious error for them to put shadows over it.

It is vast, tremendous, and profound in depth.

It is understood by the wise (she rab can).

That which comes from nowhere, goes nowhere.

It has nothing to do with coming and going.

The heart of pure intent

Will not be found,

No matter where one looks,

No matter how many approaches one takes.

Purity is unshadowed self awareness (rang rig).

 

There is no origin

To all those material things.

They are not pure;

They are complete fabrications.

There is no difference whatsoever

Between the real domain of truth

And the heart that turns away from it.

Reality is without attachment.

It is not born and does not die.

It cannot be imagined nor conceived of.

It is bliss.

 

This is the Third Chapter of The Vast Tantra of the Magnificent Sky, a realistic paradigm for all travelers through reality. It is called "Teachings on the Unchanging Truth."

 

IV

Then the Master of all travelers through reality, those who have left behind dominion and possessions, longed, most delightfully, to manifest his own greatness. The Master of both the corporeal and of wisdom proclaimed the following:

 

Even the Buddha does not see

The reality that pervades all things.

It is not available to direct awareness,

While it pervades all things.

This comprehensive Light

Is not a compound.

It is actually permanent.

It is the corpus of the Stone of Transformation.

This, from amongst all pure embodiments,

Is the supreme body.

The explanation of the truth

Is called "The Corpus of Truth."

This is clearly understood by means of

A grand self-generated wisdom.

 

The One with the Lotus (Pad ma can) has put together

A series of tactics

Involving an inclusive basis (kun gzhi) as essential elements.

The corpus of actual enlightenment is not conceptual.

How, then, is this perfect corpus put together?

The actualization of perfect enlightenment

Is instantaneously realized

Through the Wisdom of its own potential.

This is the Corpus of Truth.

There is no other.

The Magnificent Mandala of what is real [605]

Becomes evident by virtue of its waves of power.

Attitudes based on conventional intentions

Give birth to tactics that do not prevent apparitions.

The field that is a Mandala for the Stone of Transformation

Has it dawn with the true instructions on Mantra and Mudra.

 

The Corpus of Enjoyment,

Supreme in its interconnectedness,

Is stationed, with its symbol and allegories,

In the massive collections of Letter Wheels (yi ge 'khor lo).

 

The corpus of good deeds (bsod nams)

Maintains the purest wisdom

With the continuity of a river.

 

The Lord (mgon po), The Grand Master,

Turns the wheel of the stone of transformation.

He uses his tongue's powers to send forth

The turning of the wheel of truth.

There is interconnectedness between prayers

And the magnificent Aware Ones.

They appear in manifest embodiments

Throughout every domain in the world.

Utilizing impermanent things,

They demonstrate a way

To get from birth right up to Nirvana.

They bring everyone that has distorted ideas

Into the fields of those with Great Hearts.

Through the stages of the physical, the verbal, and the psychological,

They bring fulfillment to the lives of living beings.

 

This is the forth chapter of The Vast Tantra of the Magnificent Sky, a realistic paradigm for all travelers through reality. It is called "Teaching that the Master of the Harvest has a Physical nature along with his Wisdom." [606]

 

V

Then the Master of all travelers through reality, those who have left behind dominion and possessions, spoke out a strategy on the Mandalas of the corporeal, the vocal, and the psychological so that they should be realized.

 

The reality of any truth

Is not masculine, nor feminine, nor neuter.

There is something essential

About bringing in the harvest.

Do not talk about the various sorts of Mandalas!

They are made from shapes,

Which pervade all things.

The corpuses of truth and of perfect enjoyment,

Along with their innumerable manifest embodiments

Are dispersed [everywhere],

But are not elaborated upon.

That which is pure is not a potential.

It shows itself to every living being in the three spheres

[of Desire, Form, and Formlessness]

In a physical form that will be suitable

For the purpose of making them submit.

Potentialities cannot be removed from shapes.

 

The Masters,

Who are not spoken of,

Have the power to make them submit.

They send out all kinds of sounds and words

To control all kinds of conjectures.

I have taught the single transport (theg pa),

The dual transport, the triple transport,

The five transports, and inconceivable others. [607]

This was to prevent the separation of the center

From the periphery.

The purity of the Sonic Mandala

Is the inconceivable way that it spreads out everywhere.

There is something about the supreme Sonic Mandala

That makes the eighty four thousand bounteous worlds

Melt into Sonic Spaciousness.

 

He said this.

 

Then the entire Sonic Mandala melted into the spaciousness of truth, and became invisible.

Then he spoke on the Magnificent Mandala of the Heart.

 

The Mahamudra shines out

From the mudra of reality.

The clan of the real (de bzhin)

The clan of the Stone of Transformation (rdo rje)

And the clan of Precious Things (rin chen)

Blaze in the light of the Mahamudra!

Just like the blazing Udum flowers

That are sometimes found on lonely pathways.

You alone perceive all the Mandalas of Illusion.

For others, there is nothing there at all.

 

Thus he spoke.

 

Then all the Mandalas of the Heart were transformed beyond the imagination.

 

This is the fifth chapter of The Vast Tantra of the Magnificent Sky, a realistic paradigm for all travelers through reality. It is called "A Non-conceptual Teaching on the Physical, Vocal and Heart Mandalas." [608]

  

--

Peace on Earth

Translated by Christopher Wilkinson

Join us for an otherworldly experience unlike any other!

 

Embark on a mesmerizing journey through the cosmic tapestry of existence in "Earth's Luminescence: A Journey through Life, Earth, and Light" by Delain Canucci. Witness the breathtaking dance of light and energy as we explore the interconnectedness of life and the boundless beauty of our planet.

 

Prepare to be amazed! See you there!

maps.secondlife.com/secondlife/Botanica%20Magika/16/190/893

*

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The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.

 

As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.

 

The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.

 

The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.

 

The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.

 

These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.

 

The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.

 

In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.

Idealizado em 1908 pelo engenheiro brasileiro Augusto Ferreira Ramos e inaugurado no dia 27 de outubro de 1912, o bondinho do Pão de Açúcar fez 100 anos em 2012. Primeiro teleférico instalado no Brasil é um dos mais importantes ícones do turismo carioca, tornando-se uma das principais marcas registradas da cidade do Rio de Janeiro.

Nos meses de dezembro, janeiro, fevereiro e julho – de alta temporada – a freqüência diária chega a três mil pessoas. Nestas nove décadas de funcionamento, o bondinho recebeu a visita de turistas de todos os cantos do mundo. Figuras ilustres como o cientista Albert Einstein e o ex-presidente dos Estados Unidos John Kennedy já passaram pelo bondinho do Pão de Açúcar, além dos muitos artistas que se apresentaram no Morro da Urca, principalmente na década de 80. Em 1977, o equilibrista americano Steven McPeak caminhou sobre o cabo do teleférico, entre o Morro da Urca e o Pão de Açúcar, segurando uma vara metálica como contrapeso. Uma seqüência do filme "007 Contra o Foguete da Morte", com Roger Moore como James Bond, filmada em 1979, ajudou a promover a cidade e o país no exterior. Em 1990, uma homenagem ao piloto Ayrton Senna expôs no Morro da Urca um carro de Fórmula 1. E, mais recentemente, em 2004,a Tocha Olímpica dos Jogos Olímpicos de Atenas e em 2007 a Tocha Olímpica dos Jogos Pan-Americanos do Rio de Janeiro visitaram o Pão de Açúcar.

O Bondinho do Pão de Açúcar é um teleférico localizado na cidade do Rio de Janeiro, no Pão de Açúcar, sendo uma das atrações turísticas da capital fluminense, inaugurado em 27 de outubro de 1912. A vista da Baía da Guanabara, considerada uma das paisagens mais belas do mundo, era o atrativo que levava curiosos e alpinistas a escalar o Pão de Açúcar, já em fins do século XIX.

Segurança considerado um dos mais seguros do mundo pelas entidades internacionais de teleféricos de passageiros, há 90 anos o bondinho do Pão de Açúcar circula sem ter registrado nenhum acidente com vítimas. As atuais linhas são dotadas de dispositivos de segurança, com alarme em todos os pontos. Diariamente pela manhã, antes de receber os primeiros turistas, os bondinhos saem numa viagem de vistoria. O percurso é todo programado e controlado por equipamento eletrônico, que verifica 47 itens de segurança.

  

O complexo turístico é formado por três estações – a da Praia Vermelha, Morro da Urca e Pão de Açúcar – interligadas por quatro bondinhos – dois no trecho Praia Vermelha/Morro da Urca e dois no trecho Morro da Urca/Pão de Açúcar. O Morro da Urca tem 220m de altura e o do Pão de Açúcar, 396m. Vegetação rara Cercado por uma vegetação característica do clima tropical, com resquícios de Mata Atlântica, possui espécies nativas que em outros pontos da vegetação litorânea brasileira já foram extintas, e também raras espécies vegetais, como a orquídea “laelia lobata”, que só floresce em dois locais no planeta: no morro do Pão de Açúcar e na Pedra da Gávea, ambos no Rio de Janeiro.

Montanha brasileira com o maior número de vias de escaladas (até 1997 existiam 38), o Pão de Açúcar recebe diariamente centenas de alpinistas, montanhistas e ecologistas brasileiros e estrangeiros. Pólo Cultural Além de marco turístico e ecológico da cidade do Rio de Janeiro, o complexo também foi um importante pólo cultural. Na década de 70, passou a abrigar no anfiteatro do Morro da Urca – chamado “Concha Verde” – shows musicais que lançaram grandes talentos da música brasileira, numa programação que chegou a reunir 50 mil pessoas por ano.

 

Atualmente, o anfiteatro recebe exposições de artes, conferências de empresas, coquetéis de lançamento de produtos, jantares e festas. Desafio à engenharia A história do bondinho está diretamente ligada ao desenvolvimento da cidade: seu idealizador, Augusto Ferreira Ramos, imaginou um caminho aéreo até o Pão de Açúcar ao participar, em 1908, de uma exposição na Praia Vermelha em comemoração ao centenário da abertura dos portos às nações amigas. Com um capital inicial de 360 contos de réis, foi fundada então a Companhia Caminho Aéreo Pão de Açúcar e, em 1910, foi iniciada a construção do primeiro teleférico brasileiro.

Na obra trabalharam brasileiros e portugueses com equipamentos e materiais alemães, que foram transportados para o alto dos dois morros por centenas de operários realizando perigosas escaladas, numa ousada operação para a engenharia da época”, destaca Maria Ercília Leite de Castro, diretora geral da empresa. O trecho inicial, entre a Praia Vermelha e o Morro da Urca, numa extensão de 575m, foi inaugurado em 27 de outubro de 1912, quando 577 pessoas subiram ao morro da Urca no bondinho de madeira, com capacidade para 24 pessoas. No ano seguinte, em 18 de janeiro de 1913, foi inaugurado o trecho morro da Urca/Pão de Açúcar, com extensão de 750m. Em maio de 1969, já sob a administração do engenheiro Cristóvão Leite de Castro, a Companhia Caminho Aéreo Pão de Açúcar, através de contrato assinado com o Governo da Guanabara, teria que duplicar a linha aérea, que passaria a ser servida por dois bondinhos. A empresa resolveu, então, instalar novo e moderno teleférico, com quatro carros, cada um com capacidade para 75 pessoas. A obra, orçada em US$ 2 milhões, exigiu o desmonte de três grandes blocos de pedra do alto do Pão de Açúcar, pesando mil toneladas, e durou dois anos para ser concluída. No dia 29 de outubro de 1972 os atuais bondinhos começaram a funcionar. Troca de cabos Para a Companhia Caminho Aéreo Pão de Açúcar, as comemorações pelos 70 anos do teleférico começaram em 14 de junho de 2002, quando o complexo turístico reabriu ao público, depois de 75 dias fechado para a troca dos oito cabos de sustentação dos quatro bondinhos, em atendimento às recomendações internacionais de substitui-los a cada 30 anos. O investimento da empresa nesta obra foi de US$ 852 mil. Também foram feitas melhorias para prestar atendimento ao turista com mais qualidade: os bondinhos ganharam novos vidros e piso antiderrapante; as estações receberam nova iluminação, novo mobiliário e tratamento paisagístico. Também as lojas foram remodeladas, apresentando com qualidade os produtos oferecidos aos visitantes.

  

O Morro do Pão de Açucar

O morro do Pão de Açúcar é uma montanha sem vegetação em sua quase totalidade, sendo um bloco único de granito que sofreu alterações por pressão e temperatura, emergindo com o choque entre os continentes sul-americano e africano. Possui mais de 600 milhões de anos e 395 metros de altura. É circundado por um resquício de mata Atlântica. É um dos principais pontos turísticos da cidade do Rio de Janeiro, no Brasil. Há várias versões sobre a origem do nome.

Uma das mais conhecidas indica os portugueses como responsáveis. Durante o apogeu do cultivo da cana-de-açúcar no Brasil, após a cana ser espremida e o caldo fervido e apurado, os blocos de açúcar eram colocados em uma forma de barro cônica (para transportá-los para a Europa), denominada "pão de açúcar". A semelhança do penhasco carioca com aquela forma de barro teria originado o nome.

  

O Pão de Açúcar, por sua forma de ogiva, pela localização privilegiada, pela presença na história da cidade, pelo original acesso ao seu cume, é um marco natural, histórico e turístico da cidade do Rio de Janeiro. Marco natural, porque o pico do Pão de Açúcar está na entrada da Baía de Guanabara, sendo referência visual para os navegadores que, do mar ou do ar, o procuram por estar localizado na periferia da cidade. Marco histórico, porque aos seus pés, Estácio de Sá, em 1º de março de 1565, fundou a Cidade de São Sebastião do Rio de Janeiro. Estácio de Sá chegou ao Rio de Janeiro em 28 de fevereiro de 1565 e no dia 1º de março lançou os fundamentos da cidade, entre os morros Cara de Cão e Pão de Açúcar, por ser local de mais fácil defesa. O local permitia, não só a observação de qualquer movimento de entrada e saída de embarcações da baía, como facultava a visão interna de todos os possíveis invasores. Marco turístico, porque a inauguração do teleférico do Pão de Açúcar em 1912, projetou o nome do Brasil no exterior. O teleférico do Pão de Açúcar foi o primeiro instalado no Brasil e o terceiro no mundo, aumentando o desenvolvimento do turismo nacional. Não é sem razão que é chamado de a Jóia Turística da Cidade Maravilhosa.

O Pão de Açúcar é a montanha brasileira que tem o maior número de vias de escaladas (cerca de 60 vias). Enquanto os bondinhos sobem e descem centenas de vezes, os alpinistas preferem chegar ao Pão de Açúcar por outros caminhos e seu próprio risco.

 

Bondinho do Pão de Açúcar

Hoje, a visão dos bondinhos, no seu constante vaivém, está incorporada à paisagem carioca. Construído, operado e mantido pela Companhia Caminho Aéreo Pão de Açúcar, o complexo turístico Pão de Açúcar foi criado para o divertimento de milhares de pessoas num local privilegiado pela b Duração da viagem: Praia Vermelha/Morro da Urca: 3 minutos Morro da Urca/Pão de Açúcar: 3 minutos Altura dos morros: Morro da Urca: 220 metros Pão de Açúcar: 396 metros Distância entre as estações: Praia Vermelha/Morro da Urca: 528 metros Morro da Urca/Pão de Açúcar: 735 metros Dados dos bondinhos: Capacidade: 75 pessoas Capacidade média por hora: 1360 pessoas Velocidade no primeiro trecho: até 6 metros por segundo Velocidade no segundo trecho: até 10 metros por segundo Tempo médio de percurso: 3 minutos Como chegar: Ônibus: Do Centro, 107 De Copacabana, 511 Do Jardim Botânico, 512 Fonte: Cia. Caminho Aéreo Pão de Açúcar, Rio de Janeiro - Brasil.

 

O complexo do Pão de Açúcar, localizado no bairro da Urca e composto pelo morro do Pão de Açúcar (que dá nome ao complexo), morro da Urca e morro da Babilônia, é, juntamente com a estátua do Cristo Redentor, o maior cartão postal da cidade do Rio de Janeiro e um dos mais famosos do Brasil.

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Ingles

Conceived in 1908 by Brazilian engineer Augusto Ferreira Ramos and inaugurated on October 27, 1912, the Sugar Loaf turned 100 in 2012. First ski lift installed in Brazil is one of the most important icons of tourism in Rio, making it one of the main trademarks of the city of Rio de Janeiro.

In the months of December, January, February and July - high season - daily attendance reaches three thousand people. These nine decades of operation, the tram was visited by tourists from all corners of the world. Illustrious figures such as Albert Einstein and former U.S. President John Kennedy passed away at the Sugar Loaf, and the many artists who performed at the Morro da Urca, especially in the 80s. In 1977, the American juggler Steven McPeak walked on the cable from the cable car between the Morro da Urca and the Sugarloaf, holding a metal rod as a counterweight. A sequence of the movie "007 Rocket Against Death" with Roger Moore as James Bond, filmed in 1979, helped to promote the city and the country abroad. In 1990, a tribute to the pilot Ayrton Senna exhibited at Morro da Urca one Formula 1. And more recently, in 2004, the Olympic Torch Olympic Games in Athens in 2007 and the Olympic Torch of Pan American Games in Rio de Janeiro visited Sugar Loaf.

The Sugar Loaf cable car is a cable car located in the city of Rio de Janeiro, Sugar Loaf, one of the tourist attractions of the state capital, opened on October 27, 1912. The view of the Guanabara Bay, considered one of the most beautiful landscapes in the world, was the attraction that led curious and climbers to climb Sugarloaf, already in the late nineteenth century.

Security considered one of the safest in the world by international bodies of passenger lifts, 90 years ago the Sugar Loaf circulates without any accidents with victims. The current lines are equipped with safety devices with alarm at all points. Every morning, before the first visitors, the cable cars go out on a journey of inspection. The entire route is programmed and controlled by electronic equipment, which checks 47 safety items.

   

The resort consists of three stations - Praia Vermelha, Morro da Urca and Sugar Loaf - interconnected by four cable cars - two for the stage Red Beach / Morro da Urca and two in the stretch Morro da Urca / Sugar Loaf. The Morro da Urca is 220m tall and Sugar Loaf, 396m. Surrounded by rare vegetation characteristic vegetation of the tropical climate, with remnants of the Atlantic Forest, boasts native species elsewhere in the Brazilian coastal vegetation already extinct, and also rare plant species such as the orchid "laelia lobata", which only blooms in two locations on the planet: the Sugar Loaf Hill and Sugar Loaf, both in Rio de Janeiro.

Brazilian mountain with the largest number of climbing routes (until 1997 there were 38), the Sugarloaf daily receives hundreds of climbers, mountaineers and ecologists Brazilians and foreigners. Pole Beyond Cultural and ecological tourist landmark of the city of Rio de Janeiro, the complex was also an important cultural center. In the 70s it housed in the amphitheater of the Morro da Urca - called "Concha Verde" - concerts that launched great talents of Brazilian music in a program that came to gather 50,000 people per year.

  

Currently, the amphitheater art exhibitions, business conferences, cocktail parties to product launches, dinners and parties. The challenge to engineering history Monorail is directly linked to the development of the city: its creator, Augusto Ferreira Ramos, imagined a way to air the Sugar Loaf to participate in 1908, an exhibition at Red Beach in celebration of the centenary of the opening of ports to friendly nations. With an initial capital of 360 contos, then the Company was founded Path Sugar Loaf and, in 1910, began the construction of the first Brazilian cableway.

In Brazilian and Portuguese labor worked with German equipment and materials, which were transported to the top of the hills for hundreds of workers performing dangerous climbs in a daring operation for the engineering of the time, "said Maria Ercília Leite de Castro, head of the company . The initial stretch between Praia Vermelha and Morro da Urca, a length of 575m, was inaugurated on October 27, 1912, 577 people went up to the hill of Urca in wooden trolley with capacity for 24 people. The following year, on January 18, 1913, opened the stretch Urca hill / Sugar Loaf, with a length of 750m. In May 1969, now under the administration of the engineer Christopher Leite de Castro, Way Company Sugar Loaf, through a contract signed with the government of Guanabara, which would double the airline, which would be served by two cable cars. The company decided then to install new and modern ski lifts, with four cars, each with a capacity for 75 people. The project, budgeted at $ 2 million, demanded the removal of three large blocks of stone from the top of Sugar Loaf, weighing tons, and took two years to complete. On October 29, 1972 the current streetcars began running. For cable swapping Way Company Sugar Loaf, the celebrations for the 70th anniversary of the lift began on 14 June 2002, when the resort reopened to the public after 75 days closed for the exchange of the eight cables supporting the four streetcars, in compliance with international recommendations to replace them every 30 years. The company's investment in this project was $ 852,000. Improvements were also made to provide services for tourists with more quality: the cable cars got new glasses and non slip flooring and stations received new lighting, new furniture and landscaping treatment. Also the stores were remodeled, with quality products offered to visitors.

  

The Sugar Loaf

The Sugar Loaf Hill is a mountain without vegetation almost entirely, being a single block of granite that was altered by pressure and temperature, emerging with the clash between the continents South America and Africa. It has more than 600 million years old and 395 feet tall. It is surrounded by a remnant of Atlantic forest. It is one of the main sights of the city of Rio de Janeiro, Brazil. There are several versions about the origin of the name.

One of the best known indicates the Portuguese as responsible. During the height of the cultivation of sugar cane in Brazil, after being squeezed sugarcane juice and boiled and refined, sugar blocks were placed in a conical clay form (to transport them to Europe), called "bread sugar ". The similarity of the cliff Rio with that form of clay have originated the name.

  

The Sugar Loaf, in the form of warhead, by location, by the presence in the city's history, the original access to its top, it is a natural, historical and touristic city of Rio de Janeiro. Natural landmark, because the peak of Sugarloaf Mountain is at the entrance to Guanabara Bay, with visual reference to the browsers, sea or air, seeking to be located on the outskirts of the city. Milestone, because at his feet, Estacio de Sa, on 1 March 1565, founded the city of São Sebastião do Rio de Janeiro. Estacio de Sá arrived in Rio de Janeiro on February 28, 1565 and on March 1 laid the foundations of the city, between the hills Face Dog and Sugar Loaf, being easier to defend site. The site allowed not only the observation of any movement in and out of the bay boats, as facultava the internal view of all possible invaders. Marco tourist, because the opening of the Sugar Loaf cable car in 1912, designed the name of Brazil abroad. The Sugar Loaf cable car was first installed in Brazil and the third in the world, increasing the national tourism development. No wonder it is called the Jewel of the Marvelous City Tourist.

The Sugarloaf Mountain is the Brazilian who has the largest number of climbing routes (about 60 copies). While the cable cars up and down hundreds of times, climbers prefer to get to Sugarloaf by other ways and your own risk.

 

Sugar Loaf

Today, the vision of streetcars in its constant shuttle, is built into the landscape of Rio. Constructed, operated and maintained by the Company Path Sugar Loaf, the resort Sugarloaf was created for the amusement of thousands of people in a place privileged by b Length of trip: Beach Red / Morro da Urca: 3 minutes Morro da Urca / Sugarloaf: 3 minutes of hills Height: Morro da Urca: 220 meters Sugarloaf: 396 meters Distance between stations: Red Beach / Morro da Urca: 528 meters Morro da Urca / Sugar Loaf: 735 meters of data cable cars: Capacity: 75 persons Average capacity per hour: 1360 people in the first leg speed: up to 6 meters per second speed in the second sentence: up to 10 meters per second average journey time: 3 minutes Directions: Bus: The Center, 107 De Copacabana, 511 Botanic Garden, 512 Source: Cia Way Sugar Loaf, Rio de Janeiro - Brazil.

  

The complex of Sugarloaf, located in the district of Urca and composed by Sugar Loaf Hill (which gives its name to the complex), and Morro da Urca hill of Babylon, is, along with the statue of Christ the Redeemer, the largest postcard the city of Rio de Janeiro and one of Brazil's most famous.

 

Poverty is the state for the majority of the world’s people and nations. Why is this? Is it enough to blame poor people for their own predicament? Have they been lazy, made poor decisions, and been solely responsible for their plight? What about their governments? Have they pursued policies that actually harm successful development? Such causes of poverty and inequality are no doubt real. But deeper and more global causes of poverty are often less discussed.

 

Behind the increasing interconnectedness promised by globalization are global decisions, policies, and practices. These are typically influenced, driven, or formulated by the rich and powerful. These can be leaders of rich countries or other global actors such as multinational corporations, institutions, and influential people.

 

In the face of such enormous external influence, the governments of poor nations and their people are often powerless. As a result, in the global context, a few get wealthy while the majority struggle.

 

See also Agata Olek talks about her 100% Acrylic Art Guards (Flickr 720p HD video)

 

Agata Olek (Flickr)

100% Acrylic Art Guards

 

"I think crochet, the way I create it, is a metaphor for the complexity and interconnectedness of our body and its systems and psychology. The connections are stronger as one fabric as opposed to separate strands, but, if you cut one, the whole thing will fall apart.

 

Relationships are complex and greatly vary situation to situation. They are developmental journeys of growth, and transformation. Time passes, great distances are surpassed and the fabric which individuals are composed of compiles and unravels simultaneously."

  

Agata Olek Biography. The SPLAT! of colors hits you in the face, often clashing so ostentatiously that it instantly tunes you into the presence of severely cheeky humor. A moment later the fatigue of labor creeps into your fingers as a coal miner's work ethic becomes apparent. Hundreds of miles of crocheted, weaved, and often recycled materials are the fabric from which the wild and occasionally wearable structures of her fantasylands are born.

 

Olek was born Agata Oleksiak in Poland and graduated from Adam Mickiewicz University in Poland with a degree in cultural studies. In New York, she rediscovered her ability to crochet and since then she has started her crocheted journey/madness.

 

Resume sniffers may be pleased to know Olek's work has been presented in galleries from Brooklyn to Istanbul to Venice and Brazil, featured in "The New York Times", "Fiberarts Magazine", "The Village Voice", and "Washington Post" and drags a tail of dance performance sets and costumes too numerous to mention.

 

Olek received the Ruth Mellon Award for Sculpture, was selected for 2005 residency program at Sculpture Space, 2009 residency in Instituto Sacatar in Brazil, and is a winner of apex art gallery commercial competition. Olek was an artist in an independent collective exhibition, "Waterways," during the 49th Venice Biennale. She was also a featured artist in "Two Continents Beyond," at the 9th International Istanbul Biennale.

 

Olek herself however can be found in her Greenpoint studio with a bottle of spiced Polish vodka and a hand rolled cigarette aggressively re-weaving the world as she sees.

 

agataolek.com

agataolek.com/blog

  

13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)

www.dumboartfestival.org/press_release.html

 

The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.

 

Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.

 

The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.

 

www.dumboartscenter.org

www.dumboartfestival.org

www.video_dumbo.org

  

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A visual and textual representation of his interactions with his friends, neighbours and family, Entang Wiharso’s Temple series explores issues of identity, conflict, humanity and human interconnectedness.

The work is replete with the words of wise men, snippets of conversation, utterances of personal hope and dreams of friends, family and the artist himself.

 

Night Festival 2012 - www.nhb.gov.sg/brasbasahbugis/nightfestival/index.htm