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“But as for certain truth, no man has known it,
Nor will he know it; neither of the Gods
Nor yet of all the things of which I speak.
And even if by chance he were to utter
The perfect truth, he would himself not know it;
For all is but a woven web of guesses.” [Parmenides]
The Principle is Reality in contrast to all that appears as real but which is not reality in the ultimate sense. The Principle is the Absolute compared to which all is relative. It is Infinite while all else is finite. The Principle is One and Unique while manifestation is multiplicity. It is the Supreme Substance compared to which all else is accident. It is the Essence to which all things are juxtaposed as form. It is at once Beyond-Being and Being while the order of multiplicity is comprised of existents. It alone IS while all else becomes, for It alone is eternal in the ultimate sense, while all that is externalized partakes of change. It is the Origin but also the End, the alpha and the omega. It is Emptiness if the world is envisaged as fullness and Fullness if the relative is perceived in the light of its ontological poverty and essential nothingness.
These are all manners of speaking of the Ultimate Reality which can be known but not by man as such. It can only be known through the sun of the Divine Self residing at the center of the human soul.
But all these ways of describing or referring to the Principle possess meaning and are efficacious as points of reference and support for that knowledge of the Real that in its realized aspect always terminates in the Ineffable and in that silence which is the “reflection” or “shadow” of the non-manifested aspect of the Principle upon the plane of manifestation.
From that unitary point of view, the Principle or the Source is seen as not only the Inward but also the Outward, not only the One but also the essential reality of the many which are but the reflection of the One.
At the top of that mountain of unitive knowledge there resides but the One; discrimination between the Real and the unreal terminates in the awareness of the nondual nature of the Real, the awareness which is the heart of gnosis and which represents not human knowledge but God’s knowledge of Himself, the consciousness which is the goal of the path of knowledge and the essence of scientia sacra.
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Seyyed Hossein Nasr
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Illustration: Htilominlo Temple entrance - Bagan, Myanmar
The Principle is Reality in contrast to all that appears as real but which is not reality in the ultimate sense. The Principle is the Absolute compared to which all is relative. It is Infinite while all else is finite. The Principle is One and Unique while manifestation is multiplicity. It is the Supreme Substance compared to which all else is accident. It is the Essence to which all things are juxtaposed as form. It is at once Beyond-Being and Being while the order of multiplicity is comprised of existents. It alone IS while all else becomes, for It alone is eternal in the ultimate sense, while all that is externalized partakes of change. It is the Origin but also the End, the alpha and the omega. It is Emptiness if the world is envisaged as fullness and Fullness if the relative is perceived in the light of its ontological poverty and essential nothingness.
These are all manners of speaking of the Ultimate Reality which can be known but not by man as such. It can only be known through the sun of the Divine Self residing at the center of the human soul.
But all these ways of describing or referring to the Principle possess meaning and are efficacious as points of reference and support for that knowledge of the Real that in its realized aspect always terminates in the Ineffable and in that silence which is the “reflection” or “shadow” of the non-manifested aspect of the Principle upon the plane of manifestation.
From that unitary point of view, the Principle or the Source is seen as not only the Inward but also the Outward, not only the One but also the essential reality of the many which are but the reflection of the One.
At the top of that mountain of unitive knowledge there resides but the One; discrimination between the Real and the unreal terminates in the awareness of the nondual nature of the Real, the awareness which is the heart of gnosis and which represents not human knowledge but God’s knowledge of Himself, the consciousness which is the goal of the path of knowledge and the essence of scientia sacra.
---
Seyyed Hossein Nasr
---
Illustration: Ely Cathedral - Prior's door
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
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
Every tree has its own personality. Don't get me wrong; I do not believe trees possess a spirit entity in any ontological sense. Metaphorically, however, each tree has its unique character. The challenge with woodland photography is finding a way to isolate the tree so you can see its personality. This shot was captured somewhere near Starksboro, VT. Ref: 90D4790
From Hvit (2017) — a series shot in the Norwegian Arctic during the last weeks of the polar night.
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Mamiya 7, 80mm, Portra 400
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At Pastor Charles Calvin's house, there is much preparation for the Thanksgiving meal. One of his twin daughters, Betsy Calvin, is working with the grinder.
"There you go, Pa, I think you've fixed it!"
"Let's test it, Betsy. I know you want your measurements to be precise."
"It always reminds me, all of creation works on God's order, Pa. We're able to know and work with such accuracy because of how He designed it."
"Well, said, Betsy. God's truth defines reality. All we do every day, how we operate, from the smallest things to the most grand, all obey the truth of God's design."
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Ask anyone today, "What is truth?" and you’re sure to start an interesting conversation. Try it on a university campus and you’re likely to receive laughter, scorn, and derision. The concept of truth has clearly fallen on hard times, and the consequences of rejecting it are ravaging human society. So let’s go back to the starting point and answer the question: What is truth?
One of the most profound and eternally significant questions in the Bible was posed by an unbeliever. Pilate—the man who handed Jesus over to be crucified—turned to Jesus in His final hour, and asked, “What is truth?” It was a rhetorical question, a cynical response to what Jesus had just revealed: “I have come into the world, to testify to the truth.”
Two thousand years later, the whole world breathes Pilate’s cynicism. Some say truth is a power play, a metanarrative constructed by the elite for the purpose of controlling the ignorant masses. To some, truth is subjective, the individual world of preference and opinion. Others believe truth is a collective judgment, the product of cultural consensus, and still others flatly deny the concept of truth altogether.
So, what is truth?
Here’s a simple definition drawn from what the Bible teaches: Truth is that which is consistent with the mind, will, character, glory, and being of God. Even more to the point: Truth is the self-expression of God. That is the biblical meaning of truth. Because the definition of truth flows from God, truth is theological.
Truth is also ontological—which is a fancy way of saying it is the way things really are. Reality is what it is because God declared it so and made it so. Therefore God is the author, source, determiner, governor, arbiter, ultimate standard, and final judge of all truth.
The Old Testament refers to the Almighty as the “God of truth”.
"Into Your hand I commit my spirit; You have ransomed me, O Lord, God of truth." Psalm 31:5
When Jesus said of Himself, “I am…the truth” (John 14:6), He was thereby making a profound claim about His own deity. He was also making it clear that all truth must ultimately be defined in terms of God and His eternal glory. After all, Jesus is “And He [Jesus] is the radiance of His [The Father's] glory and the exact representation of His nature, and upholds all things by the word of His power.” Hebrews 1:3
Jesus is truth incarnate—the perfect expression of God and therefore the absolute embodiment of all that is true.
Jesus also said that the written Word of God is truth. It does not merely contain nuggets of truth; it is pure, unchangeable, and inviolable truth that according to Jesus, “cannot be broken”. (John 10:35)
Praying to His heavenly Father on behalf of His disciples, He said this: "Sanctify them by the truth; Your word is truth." John 17:17
Moreover, the Word of God is eternal truth “which lives and abides forever” (1 Peter 1:23).
Of course, there cannot be any discord or difference of opinion between the written Word of God (Scripture) and the incarnate Word of God (Jesus). In the first place, truth by definition cannot contradict itself. Second, Scripture is called “the word of Christ” (Colossians 3:16). It is His message, His self-expression. In other words, the truth of Christ and the truth of the Bible are of the very same character. They are in perfect agreement in every respect. Both are equally true. God has revealed Himself to humanity through Scripture and through His Son. Both perfectly embody the essence of what truth is.
Remember, Scripture also says God reveals basic truth about Himself in nature. The heavens declare His glory (Psalm 19:1). His other invisible attributes (such as His wisdom, power, and beauty) are on constant display in what He has created (Romans 1:20). Knowledge of Him is inborn in the human heart (Romans 1:19), and a sense of the moral character and loftiness of His law is implicit in every human conscience (Romans 2:15).
Those things are universally self-evident truths. According to Romans 1:20, denial of the spiritual truths we know innately always involves a deliberate and culpable unbelief. And for those who wonder whether basic truths about God and His moral standards really are stamped on the human heart, ample proof can be found in the long history of human law and religion. To suppress this truth is to dishonor God, displace His glory, and incur His wrath.
"18 For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men who suppress the truth in unrighteousness, 19 because that which is known about God is evident within them; for God made it evident to them. 20 For since the creation of the world His invisible attributes, His eternal power and divine nature, have been clearly seen, being understood through what has been made, so that they are without excuse." Romans 1:18-20
Still, the only infallible interpreter of what we see in nature or know innately in our own consciences is the explicit revelation of Scripture. Since Scripture is also the one place where we are given the way of salvation, entrance into the kingdom of God, and an infallible account of Christ, the Bible is the touchstone to which all truth claims should be brought and by which all other truth must finally be measured.
An obvious corollary of what I am saying is that truth means nothing apart from God. Truth cannot be adequately explained, recognized, understood, or defined without God as the source. Since He alone is eternal and self-existent and He alone is the Creator of all else, He is the fountain of all truth.
If you don’t believe that, try defining truth without reference to God, and see how quickly all such definitions fail. The moment you begin to ponder the essence of truth, you are brought face to face with the requirement of a universal absolute—the eternal reality of God. Conversely, the whole concept of truth instantly becomes nonsense (and every imagination of the human heart therefore turns to sheer foolishness) as soon as people attempt to remove the thought of God from their minds.
That, of course, is precisely how the apostle Paul traced the relentless decline of human ideas in Romans 1:21-22: “Although they knew God, they did not glorify Him as God, nor were thankful, but became futile in their thoughts, and their foolish hearts were darkened. Professing to be wise, they became fools.”
There are serious moral implications too, whenever someone tries to dissociate truth from the knowledge of God. Paul went on to write, “Even as they did not like to retain God in their knowledge, God gave them over to a debased mind, to do those things which are not fitting” (Romans 1:28).
Abandon a biblical definition of truth, and unrighteousness is the inescapable result. We see it happening before our eyes in every corner of contemporary society. In fact, the widespread acceptance of all forms of iniquity that we see in our society today is a verbatim fulfillment of what Romans 1 says always happens when a society denies and suppresses the essential connection between God and truth.
If you reflect on the subject with any degree of sobriety, you will soon see that even the most fundamental moral distinctions—good and evil, right and wrong, beauty and ugliness, or honor and dishonor—cannot possibly have any true or constant meaning apart from God. That is because truth and knowledge themselves simply have no coherent significance apart from a fixed source, namely, God. How could they? God embodies the very definition of truth. Every truth claim apart from Him is preposterous.
Elaborate epistemologies have been proposed and methodically debunked one after another—like a long chain in which every previous link is broken. After thousands of years, the very best of human philosophers (Socrates, Plato, Aristotle, Descartes, Locke, Kant, Hegel, Kierkegaard, Nietzsche, Marx, James, and others) have all utterly failed to account for truth and the origin of human knowledge apart from God.
In fact, the one most valuable lesson humanity ought to have learned from philosophy is that it is impossible to make sense of truth without acknowledging God as the necessary starting point.
Truth is not subjective, it is not a consensual cultural construct, and it is not an invalid, outdated, irrelevant concept. Truth is the self-expression of God. Truth is thus theological; it is the reality God has created and defined, and over which He rules. Truth is therefore a moral issue for every human being.
How each person responds to the truth God has revealed is an issue of eternal significance. To reject and rebel against the truth of God results in darkness, folly, sin, judgment, and the never-ending wrath of God. To accept and submit to the truth of God is to see clearly, to know with certainty, and to find life everlasting.
-Excerpt from 'What Is Truth?'
John MacArthur, Grace To You, 2008
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Happy Thanksgiving 2022 as we at Paprihaven celebrate gratitude through God through the Psalms!
Previous Thanksgivings from Paprihaven:
2015
www.flickr.com/photos/paprihaven/23317280855/
2016
www.flickr.com/photos/paprihaven/31221411415/
2017
www.flickr.com/photos/paprihaven/38546538356/
2018
www.flickr.com/photos/paprihaven/45192078954/
2019
www.flickr.com/photos/paprihaven/49118690462/
2020
www.flickr.com/photos/paprihaven/50625872238/
2021
„At the heart of the traditional sciences of the cosmos, as well as traditional anthropology, psychology, and aesthetics stands the scientia sacra which contains the principles of these sciences while being primarily concerned with the knowledge of the Principle which is both sacred knowledge and knowledge of the sacred par excellence, since the Sacred as such is none other than the Principle.
The Principle is Reality in contrast to all that appears as real but which is not reality in the ultimate sense. The Principle is the Absolute compared to which all is relative. It is Infinite while all else is finite. The Principle is One and Unique while manifestation is multiplicity. It is the Supreme Substance compared to which all else is accident. It is the Essence to which all things are juxtaposed as form. It is at once Beyond Being and Being while the order of multiplicity is comprised of existents. It alone is while all else becomes, for It alone is eternal in the ultimate sense while all that is externalized partakes of change. It is the Origin but also the End, the alpha and the omega. It is Emptiness if the world is envisaged as fullness and Fullness if the relative is perceived in the light of its ontological poverty and essential nothingness.
These are all manners of speaking of the Ultimate Reality which can be known but not by man as such. It can only be known through the sun of the Divine Self residing at the center of the human soul. But all these ways of describing or referring to the Principle possess meaning and are efficacious as points of reference and support for that knowledge of the Real that in its realized aspect always terminates in the Ineffable and in that silence which is the “reflection” or “shadow” of the nonmanifested aspect of the Principle upon the plane of manifestation. From that unitary point of view, the Principle or the Source is seen as not only the Inward but also the Outward, not only the One but also the essential reality of the many which is but the reflection of the One. At the top of that mountain of unitive knowledge there resides but the One; discrimination between the Real and the unreal terminates in the awareness of the nondual nature of the Real, the awareness which is the heart of gnosis and which represents not human knowledge but God’s knowledge of Himself, the consciousness which is the goal of the path of knowledge and the essence of scientia sacra.”
From Young Land (2015—2022) — a series on the natural and social landscape of Iceland.
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Mamiya 7, 80mm, Portra 400
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Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
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
Having just finished reading Joseph Chilton Pearce's "The Crack in the Cosmic Egg", I was struck as I improvised on a theme with abstracted buildings at how closely the image mirrored, in an allegorical sense, what I'd read and understood in his book.
We live in the constructs our minds create. Quantum physicists go as far now as to say that consciousness creates the universe. Taken one step further, Pearce says the same thing but in an ontological way as opposed to scientific. Our worlds exist for us as long as we need them to. Yet when they've outlived their usefulness or they actually hinder our existence we look for the "crack" in this world construct through which we might create another construct, another "world". This is not for the faint of heart or the chronically reasoned, for belief, an all-consuming belief, is required and no amount of yearning can bring about such transformation. While we doubt, we are weakenend and divided, amongst ourselves and within ourselves. When we believe and the need brooks not a whisper of doubt we can indeed move mountains.
Here a crack or window appears. Can we see it, do we turn away or will we seize the opportunity?
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Nos Bergers is a binary structure made of two columns topped with two bright blue sheep who are placed face to face, on which stand two characters of the same blue, joined at their long nose. The Pinocchio reference, although obvious, is immediately countered by the strong symbolic animal presence. The well-dressed shepherds are seemingly herding their obedient sheep to falsehood. Their common nose is somewhat stiff, appearing as a stick (the shepherd’s crook?), much too straight to be natural. Ii is a context where empathy and a feeling of protection should prevail, but they are replaced by a desire for power and the use of lies. The question that follows is: who are these sheep? No need to answer here…
The dual relation between the identical blank faced protagonists, in extension to the mirror effect of the whole piece, is also up for consideration. What is the relationship between empathy and yearning for another’s possessions? What to make of identity, or the loss of, during a strong empathetic experience? Should we erase a part of our individuality to better project ourselves in the Other? The chromatic playfulness and the simple duplication strategy put in place by the artist hold an array of questions close to philosophical, or even ontological, inquiry. Once more, the audience is invited to delve deeper. Source: patrickberube.com/?portfolio=nos-bergers-2
From Coronal (2023—2024) — a series on European landscape as shared cultural entity.
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Mamiya 7, 80mm, Portra 400
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The seed of inspiration for this science ATC was a picture of Einstein with bright red and blue hair and the teaser “quantum weirdness” on the cover of the March Scientific American. Here is the convoluted thought process that ultimately produced this piece: The article was about the counter intuitive nature of quantum mechanics and the problem the quantum effect of entanglement poses to Einstein’s theory of special relativity. The problem, the article posited, is not epistemological rather it is ontological. This made me think of Sister Anselm Mary from whom I took a philosophy class in college. She took the name because she believed Anselm’s Ontological Argument was proof positive of the existence of God. I made the mistake, on a mid-term, of supporting Guanilo’s objection to the “that which nothing greater can be conceived” argument, wherein he replaces Anselm’s superlative being with a superlative island. My powers of logic were no match for Sister Anselm and needless to say, I did not fare too well on that portion of the exam. Which brings me to the point of this piece and its relevance to science--What can we know?
”багровый и белый отброшен и скомкан
в зелённый бвосали горстями дукаты
а чёрным ладоням сбежавшихся окон
раздали горящие желтые карты” V. Mayakovsky
aka
Holland Plaza Corner
From Old Growth (2021—2022) — a series capturing fragments of late seral forests in virgin, disturbed, and modified states.
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Mamiya 7, 80mm, Portra 400
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One of the many brass candelabra in the aisles of St Mary's of Lubeck. The church was severely damaged during the bombing raids of WWII, but the design of the candlesticks may go back to the 14th century or so, That the dragon has been defeated by the cross and has now been included in the story of salvation, after all it is carrying the light, is of symbolic significance. It produces ontological certainty.
”du vende svimmel om,
gå vild i dette fremmede land
glemmer sti og ærinde
mærke blot hvor Jullands tunge jord
fatter om dine blanke sko” B. Andersen
From Coronal (2023—2024) — a series on European landscape as shared cultural entity.
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Mamiya 7, 80mm, Portra 400
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SOMNIUM - TINEA MALITOSA Mask @ Midnight Order
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maps.secondlife.com/secondlife/Syndicate/133/144/20
ANOMALY: TINEA MALITOSA
CLASS: EARL
INCURSION DATE::04.23.1995
▒▒▒▒ WRITTEN TRANSCRIPT APPROVED BY SOMNICORP COMMUNICATIONS DIRECTOR ▒▒▒▒
Observation Notes from Dr. Liam Harkin of the Department of Oneiric Ontology:
04.28.1995
"Toby Williams seemed to have harbored a great deal of animosity and resentment towards his Department Manager, Harvey Sanderson, for alleged worker misconduct. HR files indicate numerous complaints about Mr. Sandersons apparent dereliction of duty and often taking credit for most of his subordinates' work.
The lower levels of The Bureau where Mr. Williams worked -coincidentally - was located under the ▒▒▒▒▒▒▒▒▒▒ which seemed to have elevated any psychological and emotional energies. So much so, that the level of anger Mr. Williams seemed to have had towards his superior, manifested and influenced Subject 0's psyche. The EDA Tinea Malitosa were born from these immense energies and corrupted the mind of Mr. Williams.
After learning and being charged in the death of his Team Lead, Mr. Williams stated that although he disliked Mr. Sanderson he never meant him any physical harm, but he felt this unnatural compulsion to enact his frustrations. Although he said he'd always come to the realization that it was wrong and would stop himself. As of his arrest and detainment in our corrections facilities, he seems to have no recollection of how the murder took place, but forensic evidence implicating Mr. Williams is substantial.
Mr. Williams vividly recalls each time he'd find himself being annoyed with Mr. Sanderson's lazy behavior, like napping on the job, Mr. Williams would feel a sharp pain around his temples and behind his eyes. MRI scans showed something unsettling and remarkable.
His amygdala was encased in some sort of chrysalis or cocoon. We will have to proceed cautiously as this is the first instance of parasitoidism observed in EDAs. "
05.15.1995
"On the morning of 05.15.1995, Mr. Williams was rushed to Medical after experiencing excruciating head pains when the lights of the holding cells were turned on. Other inmate witnesses stated he began frantically clawing at his face; screaming that something was trying to come out of his head. In his panicked frenzy, he threw himself into one of the walls of his holding cell and began repeatedly bashing his face against it. By the time guards could intervene, he was found face down on the floor of his cell in a pool of his own blood. He'd severely broken his nose and fractured his forehead. When guards turned him over to attempt CPR, they noticed an abnormality beginning to escape the open wound on his forehead. They almost appeared to be wings that slowly unfurled themselves. The guards immediately called for Legemeton Support. After sealing protocols were concluded and Mr. Williams was stabilized in our medical facilities, it was determined that the EDA that was gestating around his amygdala had emerged into some sort of psionic moth who's wings burst through his face. MRIs showed the creature is too intertwined with his brain to attempt surgical removal. Mr. Williams is comatose but in stable condition. Against my protests for a dignified termination of life, Dr. Hywell has suggested we keep Mr. Williams for further study and continue to allow him to be the EDA's host. It is my belief that - for whatever reason - on that day, the light compelled the creature to awaken much like how parasites in mantids encourage their hosts to drown themselves to continue their life cycle in the water. Candidly, since we've decided to contain Mr.Williams and the Malitosa, moth infestations have been a lot worse... it's EXTREMELY frustrating..."
From Coronal (2023—2024) — a series on European landscape as shared cultural entity.
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Mamiya 7, 80mm, Portra 400
⸻
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
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
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Creative explosion, ideas, brainstorming, flexibility, energy, technologies and hard work! A great façade for an even greater working space!
I made this image for VIP Offices, a fantastic and innovative agency for freelance people, based in Brussels. I took the photo and also made the sketch as usual, you can view some details here below. OK, I know there are many elements on the piece of paper (more than usual), it's because this artwork is meant to be printed soon in a huge size.
I will be exhibiting many new prints at VIP Offices starting from the 26th of September, if you're around,
I'd be really happy to see you there.
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For more information about my art: info@benheine.com
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Here is an interesting review I received for this picture on my deviantART account from Kalistina. I'm sharing it here below because I think it's a good analysis:
The Pencil Vs Camera series is an impressive (and widely acclaimed) collection of mixed media pieces, combining pencil drawing, photography and photo manipulation to make multiple realities collide in a single image.
Photography is a medium that deals with physical reality. Because it involves a lens mechanism to record the luminous trace of a physical object, it literally cannot create anything. Drawings, unlike photography, deal with abstract realities. They’re not bound by existence, plausibility or chromatic aberrations; their only limit is their artist’s mind and their ability to convey the images they imagine to the medium they’re drawing on (be it a piece of paper, a wooden plank or a computer). By essence, many drawings deal with the creation of something new, whereas photography focuses on (re)presentation of something that already exists.
(...) I feel Pencil Vs Camera is a perfect concretization of this ontological fact. The way Ben uses pencil drawings to introduce extraordinary elements to the otherwise believable physical reality he initially photographed, specifically interests me because it’s trans-medium. The resulting pieces are neither drawings, photographs or photo manipulations - they’re above this categorization.
In Pencil Vs Camera 71, we see the façade of a building get blown open by a man in a suit’s punch, opening the way for countless objets in what looks like a creative explosion. The contrast between the building’s relatively conservative structure and the runaway creations makes me think of what I feel art should thrive to become - a disturbance to the spectators’ otherwise ordinary lives.
In the main character, the one punching the wall out, I see a successful artist bound by none of the usual rules of society - be it money, masks or work. I also see a creative genius, infecting the world with new concepts, new perspectives, new ideas.
Considering the fact that this image is dedicated to a creative environment for freelancers (who typically refuse the usual constraints of society), I can’t help but feel this is an open invitation to individual empowerment. And I’m all for that.
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
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
Jaume Plensa, sculptor, at the MACBA (Barcelona Museum of Contemporary Art)
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
From Coronal (2023—2024) — a series on European landscape as shared cultural entity.
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Mamiya 7, 80mm, Portra 400
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From This, Promised (2018–2019) — a series on landscape theory, gratitude, and the edges of structured land. Shot in the Norwegian Arctic over three months of seasonal change.
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Mamiya 7, 80mm, Portra 400
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From Uneven Encounters (2014—2023) — a series on land and land usage in the Southwestern US.
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Mamiya 7, 80mm, Portra 400
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From Old Growth (2021—2022) — a series capturing fragments of late seral forests in virgin, disturbed, and modified states.
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Mamiya 7, 80mm, Portra 400
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From Young Land (2015—2022) — a series on the natural and social landscape of Iceland.
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Mamiya 7, 80mm, Portra 400
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From Dag og Natt (2016) — series on structural landscape shot in the outskirts of Oslo, Norway.
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Mamiya 7, 80mm, Portra 400
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The Principle is Reality in contrast to all that appears as real but which is not reality in the ultimate sense. The Principle is the Absolute compared to which all is relative. It is Infinite while all else is finite. The Principle is One and Unique while manifestation is multiplicity. It is the Supreme Substance compared to which all else is accident. It is the Essence to which all things are juxtaposed as form. It is at once Beyond-Being and Being while the order of multiplicity is comprised of existents. It alone IS while all else becomes, for It alone is eternal in the ultimate sense, while all that is externalized partakes of change. It is the Origin but also the End, the alpha and the omega. It is Emptiness if the world is envisaged as fullness and Fullness if the relative is perceived in the light of its ontological poverty and essential nothingness.
These are all manners of speaking of the Ultimate Reality which can be known but not by man as such. It can only be known through the sun of the Divine Self residing at the center of the human soul.
But all these ways of describing or referring to the Principle possess meaning and are efficacious as points of reference and support for that knowledge of the Real that in its realized aspect always terminates in the Ineffable and in that silence which is the “reflection” or “shadow” of the non-manifested aspect of the Principle upon the plane of manifestation.
From that unitary point of view, the Principle or the Source is seen as not only the Inward but also the Outward, not only the One but also the essential reality of the many which are but the reflection of the One.
At the top of that mountain of unitive knowledge there resides but the One; discrimination between the Real and the unreal terminates in the awareness of the nondual nature of the Real, the awareness which is the heart of gnosis and which represents not human knowledge but God’s knowledge of Himself, the consciousness which is the goal of the path of knowledge and the essence of scientia sacra.
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Seyyed Hossein Nasr
From When on High (2023—2024) — a series on difference, elevation and a perpetual reconstitution of physical world.
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Mamiya 7, 80mm, Portra 400
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From Young Land (2015—2022) — a series on the natural and social landscape of Iceland.
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Mamiya 7, 80mm, Portra 400
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