New Guinea
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Today, the terrestrial order, the order of the earth, is coming to an end. It is being succeeded by the digital order. Heidegger was the last thinker of the terrestrial order. Death and pain do not belong to the digital order. They represent disturbances. Mourning and longing are also suspicious. The pain of the nearness of distance is alien to the digital order. Distance is inscribed into nearness. The digital order transforms nearness into the absence of distance, so that it is no longer painful. Under the compulsion of availability, everything is rendered accessible and consumable. The digital habitus is: everything must be available at once. The telos of the digital order is total availability. This order lacks the 'slowness of the hesitant shyness in the face of what cannot be done'.
- Byung-Chul Han, The Ontology of Pain
"Wir treuen falsche Freunde um mehr Kultur”
(we trust false friends for more culture)
Collage part of exhibition "Day of the Dead - Dada Centennial" (opening November 5th) at Ontological Museum, Santa Fe, New Mexico,
(size including fixed frame 25x31 cm)
The title goes back to a poem of the componist Muallim İsmail Hakkı Bey (1865 – 1927) and was covered several times since then.
The version of the ‘Türk Sanat Müziği‘ (Turkish classical music) diva Müzeyyen Senar is the most popular version. The song was the favourite musical piece of Atatürk and in the 70s a critical novel with the eptynomous title was published. “Fikrimin ince gülü” can literally be translated as “The tender rose of my idea”, playing with the imagination a lover holds within himself, when falling in love with someone else. It can be compared with the German word Urbild.
Version of Müzeyyen Senar
Hedrick, Iowa. I found this little old rural farm town while philosophizing on "Old" Iowa versus "New" Iowa. I get the ontology, I just don't like it much.
Particular entity
Existence affirmed
Web of belief
The image's aesthetic qualities—its colors, textures, and composition—are part of one set of beliefs, while the flower's biological properties—its species, its life cycle—are part of another.
"To be is to be the value of a bound variable." - Willard van Orman Quine
Nikon Nikkor 55mm f1.2 Reversed
The astute philosopher seeks the optimum environment to contemplate the epistemological, metaphysical, and axiological concepts that form the foundational pillars of philosophical investigation.
Some masters have retreated to mountain heights. Others to temples of knowledge. Linus prefers a bench in Turtle Crossing Park.
It offers the quiet solitude (Sometimes.) that is conducive to clear, flowing thought. Both inductive and deductive reasoning are vigorously pursued.
...
...grrrmbbll...
...
Linus has deduced that his hunger is an epistomological certainty, his empty stomach is a metaphysical reality, and a cheeseburger is of immense axiological value.
...
...grrrmbbll...
...
Time to head to Boop's. There, Linus will be able to more fully explore the insurmountable ontology of the cheeseburger, the profound aesthetic of grilled beef and cheese, and the evident causality on the effect of his hunger.
It's all for philosophy.
•────────────────•°•❀•°•────────────────•
A year of the shows and performers of the Bijou Planks Theater.
Peanuts Collection
50 Years Celebration
Linus
1998, Flambro
Flambro is another of our favorite brands for the Peanuts license. We had an account with them when we had our collectibles store and Flambro never failed to delight with their colorful and innovative designs.
This series, celebrating the 50th anniversary of Peanuts (Which occured in 2000), features nine figurines, each of them incredibly cute, such as Linus here.
www.flickr.com/photos/paprihaven/50429117446/
Linus has been seen making Sally Brown's day in BP 2022 Day 93:
www.flickr.com/photos/paprihaven/51979042027
And ruining Sally Brown's evening in Halloween 2018:
www.flickr.com/photos/paprihaven/44916334414
Linus has been seen in celebrating Christmas 2017:
www.flickr.com/photos/paprihaven/25405215048
And Christmas 2022:
www.flickr.com/photos/paprihaven/52583890655
And loooots of philosophizing in BP 2019 Day 104:
www.flickr.com/photos/paprihaven/47556990622
In BP 2022 Day 86:
www.flickr.com/photos/paprihaven/51964794123
In BP 2023 Day 71:
www.flickr.com/photos/paprihaven/52742510422
In BP 2024 Day 119:
www.flickr.com/photos/paprihaven/53684193732
in BP 2025 Day 117:
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
Jaume Plensa (Barcelona, 1955) is an artist of materials, sensations and ideas. His references include literature, especially poetry, music, religion and thought. He considers himself, above all, a sculptor, although his creative process has included multiple disciplines. His work addresses the very condition of being: its physical and spiritual essence, ontological awareness of present and past, moral codes and dogmas, and our relationship with nature. What we cannot explain is, precisely, what makes us human. Plensa’s objective is not to create objects, but to develop relationships that embrace everyone.
No-Ha-Ha, part of exhibition "Day of the Death, DaDa Centennial", in the Ontological Museum, Santa Fe, New Mexico, USA (Nov 5, 2016 - Jan 31, 2017)
size including box-frame, 29 x 29 x 3cm
In the beginning was the word, and the word was with God, and the word was God. John 1:1-2.
This is a close-up photo of a light toned pattern on a darker section of a coastal rock that quite improbably just happens to look like a surrealist painting of a person's mouth. The image could be seen as a visual metaphor for the uniquely human capacity for speech, especially in the context of the imagined association of the spoken word having the magical power to cast a spell and summon something into existence. In that context, this image could be seen as a mystical symbol for the ontology of being,
Of course, one of the main legitimate functions of thought has always been to help provide security, guaranteeing shelter and food for instance. However, this function went wrong when the principal source of insecurity came to be the operation of thought itself. (- David Bohm)
So here we all are, still in our matrix that we expereince as our "own" life, limited to 3 dimensions, lending parts of the same energy. Are we not the same?
The mug you see in the mirror is James Tillich, the man who never existed. I created him and made him famous. Google him!
The James Tillich origins story is here: jamestillich.wordpress.com/2012/07/01/hello-world/
Chapter I: The Fallible Revelation.
"Somewhere along today's modern prairie of debauchery and forgotten ambition lies the essence of humankind's ego. A fine and convoluted mess of what-ifs and soon to be has-beens. This fact remains the unspoken and sad perennial truth of your reluctant ontological overview on reality, doesn't it? And the real truth is.." The vampire explained before slowly willing herself to emerge rather gracefully from the shadowy depths, which had previously only exposed a luminous pair of sleepless eyes. ".. The moment you set foot down here you became inescapably doomed," the creature finished with the tiniest timbre of melancholy invading her somber explanation.
"I'm sorry to say that I spin no greater comedy upon either of you. Consider yourselves unlucky - curse your specific god, if it helps. It is what it is. And remember - this whole farce is Mother Earth's eternal punchline, and she ought to be afforded that credit."
Before the confused pair had digested the gravity of their situation she pounced at them with an indiscriminate and preternatural speed barely visible to the naked eye. Anguish, screams and finally their whimpering pleas came to an end - and as death passed the vampire by like some nameless vapor, which ultimately turns out to be nothing at all, she obtained some semblance of tranquility.
In regards to the unsuspecting couple who in their ultimate blunder had engaged this darling figure in curious pursuit down into those dank and subterranean maintenance tunnels - yes, it was their unmistakable end. As expected the vampire initially felt little to no remorse during any blood repast. By now it could be surmised and perhaps underlined that such a manipulative being had the intellect of a serial killer and the hunting prowess of a panther.
It was an elementary thing to tow victims into their final vista before the butchery began. This barbarous routine rarely demanded these extravagant mind games, but the vampire was nothing if not self-absorbed and theatrical in nature .. And it kept things somewhat interesting.
Or at least that is what she had been continually telling herself for untold centuries of time. Yes, an ocean of time had probably elapsed by now. Though perhaps within some violently repressed section of where the heart formerly pulsed epiphany and the sting of folly in pure nihilism was finally beginning to take its toll on her. No one knew, and certainly none were alive to speak otherwise.
“what’s it all mean?” i asks Sam.
“in an ontological sense?” Sam replies,
as he plug-cuts a herring by biting its head off
and spitting it over the side of the boat into the water.
“sure,” i says,
as i wink over at Bud.
“well,” says Sam,
“if we avoid the pitfalls of eleatic monism
and stick with ontological pluralism,
we replace the idea of reality being unique and unchanging
with the idea of Becoming,
and we immediately arrive at
a more fundamental and elemental ontic plurality.”
“that right?” i says.
“eventually,” continues Sam,
“it was Avicenna, an Islamic philosopher,
who was the first to argue that existence is not a predicate,
that essence actually precedes existence, you know,
that existence, i.e., al-wujud,
when thought of in terms of necessity
would ontologically translate into
a notion of the Necessary-Existent-Due-to-Itself
i.e., wajib al-wujud bi-dhatihi,
which is without description or definition,
and particularly without quiddity or essence,
i.e., la mahiyya lahu.”
“sure, but is ‘the self,’” i says,
making quotation marks in the air with my fingers
and winking again over at Bud,
“something we can know with epistemological certainty?”
“ah, falling back to the old Cartesian Other argument
first formulated by Anselm of Canterbury,” Sam retorts.
“yeah,” Bud chimes in,
“piscor ergo sum.”
i look over at Bud, clench my fist
and make a pumping motion with my arm.
“what’s that mean?” i whisper over to Bud.
“i fish therefore i am,” he whispers back.
Sam stops cutting bait and looks at me and Bud.
“what it all means, you two assholes,
is that whether you’re chasing money, women or fish,
you gotta get up river before all the other sons of bitches.”
”when traveling abroad in the continental style
it’s my belief, one must attempt to be discreet
and subsequently bear in mind your transient position
that which allows you a perspective that’s unique ...” T. Waits
The head is that of James Tillich, the man who never existed. I created him and made him famous. He's everywhere and nowhere at the same time...kind of like enlightenment or nirvana.
Google him!
The James Tillich story is here: jamestillich.wordpress.com/2012/07/01/hello-world/
"Он физически ощущает мучительное удушье, чувствует, как тело его прожигают насквозь разрушительные жесткие излучения, как истончаются и тают его кости, как закипает и начинает испаряться мозг, неслыханное, невероятное по интенсивности отчаяние охватывает его, и он просыпается." br. Strugatsky
History :
Shironamhin started their journey in 1996. At first they used to jam & perform in the campus gossip areas & street crowd. They have presented their musical approach & lyrical pattern on urban cultural fabric till their first program at TSC auditorium, Dhaka University on Pohela Boisakh with Podatik Nattyochokro. They participated in the final round of the 2nd 'Star Search Competition' arranged by Benson & Hedges. The listeners’ feedback made them feel the urge to frame their creations into an album. At present, Shironamhin has achieved enormous popularity to become pioneer in their own style of untitled genre & the most popular band in Bangladesh. They have performed uncountable live stage concerts nationwide & abroad. Shironamhin released 3 albums & participated in 5 mixed albums within 5 years (2004~2009) with their own unique lyrical vocabulary that could catch the intellectuals’ attraction & the simplicity could render a dynamic image on listeners’ mind. They have developed of their own unique style of successful blending of the popular western instruments like Guitar, Drums, Bass and Keyboard along with the traditional folk instruments like Bansuri, Dotara; Indian classical instrument like Sarod, Esraj, Scottish instruments like Bodhran, Banjo, Silver flute, African instruments like Mondo Mo Fa Head, Rainmaker; Western classic instruments like Violin, Cello, Trumpet, Coronet, Saxophone etc. Shironamhin effectively created a very complicated hepatic quality of lyrics by putting side by side contrasting allegory of urban myth, morose state of human soul and their expectation from life itself. Besides, they paint ruthless landscape in the context of life, scale of urbanity; they depict the rustic rural within a controlled yet personalized emotional content. The nature that made Shironamhin the talk of the town band is their achievement of being self sufficient in every way. The construction of lyric, tune & composition, the live sound producing, the album production with technical supports, the presentation of graphical skill & design made them one & only in Bangladesh.
Shironamhin believes that a perfect tune can only grow through crawling up the body of text and breed only within the ontological situation of human uttering. They also believe that only by using the proper rhythms of Bengali diction and through an extension of that rhythm it is possible to find a proper tune (body) for a proper lyric (soul). And probably this new understanding of music can change the common trend of Bengali band music culture which will offer a new era of communicative music.
After Jahaji and Icche Ghuri, "Bondho Janala" is their third album. It has been released on 13th February, 2009. It has been Recorded & Produced on their own recording studio named as "Praay Shironam". Some works has been done in Bengal studio, Studio Auchin & Studio Greg Pigott (Australia).
Line Up:
Jahaji:
Zia: Bass, Guitar, Keys & Drums Midi sequences.
Tuhin: Vocal
Tushar: Guitar
Jewel: Guitar
Farhan: Sarod, Dotara
Shafin: Drums
Icche Ghuri:
Zia: Bass
Tuhin: Vocal
Tushar: Guitar
Farhan: Sarod
Shafin: Drums
Prince: Keys
Bondho Janala:
Zia: Bass
Tuhin: Vocal
Tushar: Guitar
Shafin: Drums
Rajib: Keys
Best Band 2005, CJFB
Shironamhin has been nominated as the best band 2005 by CJFB (Cultural Journalist Forum of Bangladesh). The award giving ceremony was held at NAM CONFERENCE HALL on 13, August 2006.
www.metropoliabierta.com/vivir-en-barcelona/cultura/jaume...
ENGISH
Jaume Plensa (Barcelona, 1955) is an artist of materials, sensations and ideas. His references include literature, especially poetry, music, religion and thought. He considers himself, above all, a sculptor, although his creative process has included multiple disciplines. His work addresses the very condition of being: its physical and spiritual essence, ontological awareness of present and past, moral codes and dogmas, and our relationship with nature. What we cannot explain is, precisely, what makes us human. Plensa’s objective is not to create objects, but to develop relationships that embrace everyone.
ESPAÑOL
Jaume Plensa (Barcelona, 1955) es un artista de materiales, sensaciones e ideas. Sus referencias abarcan la literatura ―en especial la poesía―, la música, la religión y el pensamiento. Él se considera, ante todo, escultor, aunque su proceso creativo ha transitado por múltiples disciplinas. Sus obras apelan a la condición misma del ser: su esencia física y espiritual, la conciencia de sí mismo y de su pasado, sus códigos morales y dogmas y su relación con la naturaleza. Lo que no podemos explicar es, precisamente, lo que nos explica como personas. Su objetivo no es construir objetos, sino desarrollar relaciones e incluirnos a todos en ellas.
CATALÀ
Jaume Plensa (Barcelona, 1955) és un artista de materials, sensacions i idees. Les seves referències abracen la literatura ―en especial la poesia―, la música, la religió i el pensament. Ell es considera, abans que res, escultor, tot i que el seu procés creatiu ha transitat per múltiples disciplines. Les seves obres s’adrecen a la condició mateixa de l’ésser: la seva essència física i espiritual, la consciència de si mateix i del seu passat, els seus codis morals i dogmes i la seva relació amb la natura. El que no podem explicar és, precisament, allò que ens explica com a persones. El seu objectiu no és fer objectes, sinó desenvolupar relacions i incloure’ns-hi a tots.
SOURCE(FUENTE/FONT: MACBA