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dedicated to my soulbrother :-)*
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Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them.
Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life.
~ Rainer Maria Rilke, Letters To A Young Poet ~
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The vision of the center of this mandala beleaguered me in the same night when I completed Kabeirô – and I even was told its name: Worlds within Worlds.
Instantly, I sensed a profound aversion to both the image and the name, and for about one week, I refused to start with the work on the mosaic.
Then, one sleepless night, I had another vision which was very weird: before I saw anything, I had the sensation that my body was a tremendous, overdimensioned black sphere which had a very small white sphere in its midpoint; not till then, I saw the image of the black sphere, but somehow two-dimensional (onyl the small white sphere in the center was three-dimensional), but I knew that my body – more precisely: my whole self – and the image were one and the same, and that something with it was quite wrong.
Then, after some frightening minutes or hours (I really don't know), another image arose: a white sphere, much smaller than the black one, and with a small black sphere in its middle. This white sphere was outside of my body, I only could see but not sense it, and the feeling of something quite wrong got stronger, and very scary.
The third image which arose after another frightening minutes or hours, was exactly the same I already had seen after I had completed Kabeirô: Taigitu, the symbol of life itself as well as the symbol of the polarity which forms the basis of everything in this wonderful and appalling world.
Not until then, when Taigitu arose, I understood what was wrong with the first two images: the black and the white sphere were meant to compose ONE sphere: a complete whole INSIDE myself.
On the following day, I started working on the mosaic, for I was completely aware of the NECESSITY of creating it. I just had one wish: that I was allowed to find a second name for the mandala which was concordant with my longing for staying integrated in the world of Greek mythology.
I worked on the mosaic from sunrise to sunset, and late in the night, I finally got to know the name I could welcome from the bottom of my heart: Kybele.
Kybele (English: Cybele), the great God mother of the mountain Ida (Latin: Magna Mater), was a goddess who originally was deified in Phrygien, together with her lover Attis, and later also in ancient Greece and the Roman Empire. The cult of Kybele and Attis was – similar as the cult of Mithras – a widespread mystery cult up to the Late Classic Period. The whole legend concerns apparently the gender dualism; it explains the origin of the world by an interaction of the male and the female element of the universe: the heavenly Attis must inseminate the mother earth Kybele with its blood so that the world can arise.
The mandala is not yet completed; I suppose that it's going to be quite huge and that I'll work on it for a couple of weeks, but I don't know definitely... – well, we will see. ;-)
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“Without a more profound human understanding derived from exploration of the inner ground of human existence, love will tend to be superficial and deceptive.”
-Thomas Merton, “Contemplation in a World of Action,” in Contemplation in a World of Action, 2nd edition (Notre Dame, IN: University of Notre Dame Press, 2000), 154.
Contemplation is crucial to that human thriving and wholeness found in the transcendent intimacy we call God. The gift of contemplation transforms and liberates our heart in a host of ways: (1) contemplation dispels the illusion that we are separate from God; (2) it gives birth to the simple realization that God is the all-loving, groundless ground of being; (3) insofar as we are, we are in God; (4) contemplation liberates us from the illusions that dominate, confuse, and stunt human thriving; (5) it frees us from the illusion that God is an object we lack and therefore need to seek; (6) contemplation liberates us from the seeds of violence in our own heart, especially from our individual and social compulsions to find someone to blame for the ills that befall us—such compulsions do nothing but keep us bent over on ourselves, blind to what constitutes a human.
-An Ocean of Light Contemplation, Transformation, and Liberation, Martin Laird, O.S.A.
Sadly, we lost one of our most profound ministers and teachers yesterday.
Voddie Baucham has been such a blessing to not only me and my family but to millions.
He was a man of God and for God, and now he is in our Lord's loving arms. We will miss him until we see him again.
The Greatest Commandment -- Voddie Baucham
Standing Against Woke Tyranny for Fallen Man's Redemption
When the sun began to lean, there was
an old history on the hill of the village Found a temple.
We borrowed the corridor of the temple to take pictures
A quiet, neat corridor with no sound, old history.
In the work of the attentive monks in a profound
Comes from the back of the mountain.
She was shining beautifully in a light.
“I gazed at these marvels in profound silence. Words were utterly wanting to indicate the sensations of wonder I experienced. I seemed, as I stood upon that mysterious shore, as if I were some wandering inhabitant of a distant planet, present for the first time at the spectacle of some terrestrial phenomena belonging to another existence. To give body and existence to such new sensations would have required the coinage of new words - and here my feeble brain found itself wholly at fault. I looked on, I thought, I reflected, I admired, in a state of stupefaction not altogether unmingled with fear!”
Jules Verne, Journey to the Center of the Earth
created for
BaD 21 May 2019: Journey to the Center of the Earth
This black and white photograph captures a poignant moment at Lourdes, as a sick woman, supported by volunteers, passes beneath the Grotto. She holds a rosary and a picture, entrusting the health of a loved one to the care of the Virgin Mary. This image highlights the generosity and selflessness of individuals who, despite their own suffering, focus their thoughts and energies on others in need, demonstrating profound altruism.
Questa fotografia in bianco e nero cattura un momento toccante a Lourdes, mentre una donna malata, sostenuta dai volontari, passa sotto la Grotta. Tiene in mano un rosario e una foto, affidando la salute di una persona cara alle cure della Vergine Maria. Questa immagine mette in evidenza la generosità e l'altruismo di persone che, nonostante le proprie sofferenze, concentrano i loro pensieri e le loro energie sugli altri bisognosi, dimostrando un profondo altruismo.
The Aghori have a profound connection with the dead. Death is not a fearsome concept, but a passing from the world of illusion. Varanasi, India
© Joey L
Researching Josef Müller-Brockmann:
A Juxtaposition of Viewpoints
Josef-Müller Brockmann, the father of Swiss Graphic Design, had a profound impact upon the design
profession and education. Müller-Brockmann is one of the eight most predominant figures in Graphic
design history1 and his professional contributions make him a recurring figure in design books and
periodicals. Viewpoints from numerous sources do not stray too far from one another, as they establish him
as the leading figure in Swiss Graphic Design and main proponent of the grid. However, subtleties exist
between articles and books, often offering new insight into Müller-Brockmann’s career and personality.
In order to describe the juxtapositions between the ways different authors represent Josef Müller-Brockmann
I looked to a variety of analyses. For comparison I selected: Lars Müller’s Josef Müller-Brockmann Pioneer
of Swiss Graphic Design and Heller and Chwast’s Graphic Style; articles from design periodicals Graphis
and Japan’s Idea; as well as, from Brockmann himself in an interview in Eye magazine and his book Grid
Systems in Graphic Design. At times the articles may give more insight into the culture in whence it was
written than new information about Brockmann, but overall they provide a consistent portrait.
Lars Müller published the only complete monograph on Josef Müller-Brockmann not long before his death.
The book includes a kindly introduction by Paul Rand. Lars Müller attempts to explain what spurred the
abrupt change in Brockmann’s career from illustration to Constructive graphic design. Details explain the
influential people and political issues that contributed to Swiss Design, as well as the important
contributions of Moholy-Nagy’s photography and Jan Tschichold’s rules of typography.2 The book
explains how Brockmann established and followed strict rules throughout the rest of his career.
Brockmann’s influence upon American corporate design and ultimately education are covered equally. In
this thorough, yet fairly brief biographical book, details and information are carefully addressed. In the end,
Lars Müller sights a decline in the acceptance of Swiss Graphic Design due to the global political climate
of Vietnam, the cold war and the rise of counter culture.3 At the end of its course, Swiss Graphic Design
was seen as an aesthetic that was quite cold and hostile.4 This opinion was also referenced in an article in
Idea magazine.
Deep profound feelings does really something with a human being
Sometimes I don't think I will survive being a human being
And well, I did touch a truth there...
And that has nothing to do what type of feeling it is
Either the feelings are good or bad they can be a share struggle some times
When you touch feelings that tear you apart even tho they are good
Wow
It is in these moments I really must breathe and write
In all good feelings lies a fear
There is always a balance in things
Such profound feelings aren't made for human beings
They are too grand
But they do appear and I need to deal with them as they show up
In this photo the sun is setting behind the mountain
There are lights in the houses
The blackness isn't threatening, it just highlights the lights we can see
The sunset has a colour that nourish our soul and our mind
Just like love nourish us human beings
Our soul is filled with love, it is pure love
When we touch things that nourish us we touch our soul
By loving someone profoundly you are in contact with your soul
You cannot come any closer
But you must love yourself first
~We sometimes encounter people, even perfect strangers, who begin to interest us at first sight, somehow suddenly, all at once, before a single word has been spoken.
~Blog Credits:
the-buttafly-closet.blogspot.com/2023/09/brilliantly-prof...
Spencer's thoughts are never as profound as the last quote I shared with you. He is a bit of a show off, but a fun and beautiful one.
A reminder that all of my images are copyrighted and are not for your use in any way unless you contact me. Thank you so much for your visits and comments.
Photography profoundly changed the way wars were covered and viewed. Any grandeur and sweetness of an aftermath of a victorious battle, which was once up to a painter to portray, all of a sudden became uninterpretable. Losing its subjectivity, the true terror of war could not be hidden anymore. Americans for the first time saw the vividly horrific photographs of maimed and dying fellow Americans in agony slowly withering away on a battlefield far away from their homes. Astonishment and shock -- not toward the cruelty of war as much as to the newly innovated barbaric weapons of war -- left Americans bewildered. As newspapers did not yet have the technology or equipment for making half-tone blocks, magazines across the land published cadaverous pictorial representations of the worst of humanity. Those scenes of pillage and shame were captured by men like George Barnard, Mathew Brady and many more.
© Cynthia E. Wood
www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb
Every intimacy engenders expectation,
and every expectation is some unknown disappointment.
--Hal Hartley (The Book of Life)
Museum Voorlinden in Wassenaar NL displays the works of British artist Antony Gormley. The exhibition [GROUND] is on display inside and outside in the gardens and woods of the museum.
More Gormley at my Blog:
My daughter and her beautiful daughter were enjoying the view from their apartment balcony.
Nice 06-18 S6 camera DW (68)
"Photography is a profound corner that sits in between literature and film" - Lewis Baltz
www.google.com.au/maps/@35.6594746,139.7014138,3a,75y,335...
Great Irish Hunger of 1845-1852 (Irish Famine)
No event in history has had a more profound effect on Ireland and the worldwide Irish Community than that of the Great Irish Hunger (1845-1849). This is also referred to as the Great Famine or An Górta Mór
The cause of the Great Hunger is blamed on a potato disease commonly known as potato blight. The blight ravaged potato crops and the impact and human cost in Ireland, where one third of the population was entirely dependent on the potato for food, was exacerbated by a host of political, social and economic factors which remain the subject of historical debate. There was hunger, eviction, migration and deaths and it is estimated that approximately 1 million people died and a million more emigrated from Ireland. The social, cultural and psychological effects of this terrible event lingered on long afterwards and emigration became a part of Irish life.
The Irish that did survive the trip to America, Canada, or Australia on the coffin ships drummed up awareness and more importantly, aid in the form of food. But for every one ship sailing into Ireland with food, more were exporting grain-based alcohol, wool and flax, and other necessities such as wheat, oats, barley, butter, eggs, beef, and pork by their landowners.
The traditional Irish method of planting the potato was in “lazy beds”- these can be seen throughout the countryside as long lines into the sides of mountains and forming scars in the land.These fields can be seen in County Mayo and other parts of Ireland as a reminder of our ancestors and how the potato supported generations of Irish people.
The “Goodbye tree” - to those that died and to those that emigrated
...both literal and imagined, shape our lives in profound ways. Some stand tall before us—walls of stone, locked doors, oceans vast and uncrossable—physical limits we can see and touch. These barriers are real and immediate, either protecting or limiting. With the right tools, time, or assistance, many physical obstacles can be dismantled, climbed, or circumnavigated. The effort may be great, but the path is clear.
But then there are the barriers we cannot see—the ones we construct in the deep recesses of our minds. These imagined walls are far more complex, woven from threads of fear, doubt, and insecurity. They do not require brick or mortar; they need only the power of our thoughts to stand firm. Unlike physical barriers, which others can see and help us break, these mental constructs are invisible to the outside world. No one knows the depth of our inner struggle, the quiet battle between desire and dread, ambition and hesitation.
Imagined barriers are insidious because they feel just as real as the tangible ones. They whisper that we're not good enough, not capable, not worthy. Or they keep us in fear or resentment of those different from us. And while physical obstacles may tire the body, these internal walls exhaust the soul, trapping us in a maze of our own making. The worst part? Often, we don’t even realize we’ve built them.
Recognizing that these barriers are self-imposed is the first step toward dismantling them. Just as we learn to climb a hill or break through a fence, we can teach ourselves to break through the limits of our minds. Courage is the tool. For every imagined wall, there is a doorway waiting to be found—if only we dare to look for it.
Ultimately, both kinds of barriers test us. Physical walls challenge our strength; mental ones challenge our spirit. But in overcoming either, we find the same reward: the freedom to move forward, unhindered, toward a world without limits.
A flickr friend in Northern Michigan took his time to show Mark and me some of the stunning areas he photographs there. Heartfelt thanks to DustinMaleski
Please enjoy this gift of a scene in Large. Thank you so much for your visit!
The Inevitable
A Profound Journey Through Unavoidable Destiny
ღ.-:**★**:-.ღ.-:**★**:-.ღ.-:**★**:-.ღ
Outtfit: Art&Ko - Kelly Set (Fatpack)
Pose: Seetra. - The Inevitable Collection
Art&Ko Mainstore
maps.secondlife.com/secondlife/Reef%20Island/128/58/22
Seetra. Mainstore
maps.secondlife.com/secondlife/Far%20Sight/72/45/693
Seetra. MP
"In a profound sense every person has two halves to their being; they are not one person so much as two persons trying to act in unison. I believe that in the heart of each human being there is something which I can only describe as a "child of darkness" who is equal and complementary to the more obvious "child of light."
~Laurens van der Post (paraphrased)
A profound moment for this heron: to recognize his inherent limitations and his place in this world...nah!
• a profound sense of solitude and introspection
"A deep, haunting melancholy envelops the observer, as the woman’s solitary figure evokes a mix of sorrow and intrigue. The mist softens the world around her, adding an air of mystery and detachment. The frozen river and distant bridge amplify the coldness, both physical and emotional, creating a sense of isolation. Yet, amidst the desolation, there’s a fragile beauty—an unspoken story that stirs empathy, curiosity, and an almost aching connection to her silent solitude."
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ORB is a sculpture that combines formal simplicity with profound symbolic meaning.
Originally conceived to be placed in front of the majestic Pyramids of Giza, this work presents the challenge of establishing a harmonious dialogue with one of the world's most iconic historical sites.
The choice of the Vieille Bourse in Lille for this new ORB installation reinforces its universal character. The sculpture forges a deep connection with this symbolic space in the city, rich in exchanges and culture.
ORB reinterprets an everyday object—the convex traffic mirror—and uses it as an artistic material. Multiplied and arranged in a unique spherical pattern, this ordinary, often overlooked urban element takes on new life in a work that surprises and fascinates the viewer.
The sculpture's mirrored surface reflects fragments of the environment and those who observe it, evolving throughout the day and night. This continuous interaction creates a dynamic experience that invites deep reflection on the relationship between art, urban space and its inhabitants.
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ORB est une sculpture qui allie la simplicité formelle à une profonde signification symbolique.
Initialement conçue pour être placée devant les majestueuses pyramides de Gizeh, cette œuvre présente le défi d’un dialogue harmonieux avec l’un des sites historiques les plus emblématiques au monde.
Le choix de la Vieille Bourse de Lille pour cette nouvelle installation de ORB renforce son caractère universel. La sculpture tisse un lien profond avec cet espace symbolique dans la ville, riche d’échanges et de culture.
ORB réinterprète un objet quotidien – le miroir de circulation convexe – et l’utilise comme matériau artistique. Multiplié et disposé selon un motif sphérique unique, cet élément urbain ordinaire, souvent ignoré acquiert une nouvelle vie au sein d’une œuvre qui surprend et fascine le spectateur.
La surface miroitante de la sculpture reflète des fragments de l’environnement et de ceux qui l’observent, évoluant au fil du jour et de la nuit. Cette interaction continue crée une expérience dynamique qui invite à une réflexion profonde sur la relation entre l’art, l’espace urbain et ses habitants.
Mar 15, 2008 #343, explored
Bloom - is Result - to meet a Flower
And casually glance
Would cause one scarcely to suspect
The minor Circumstance
Assisting in the Bright Affair
So intricately done
Then offered as a Butterfly
To the Meridian -
To pack the Bud - oppose the Worm -
Obtain it's right of Dew -
Adjust the Heat - elude the Wind -
Escape the prowling Bee -
Great Nature not to disappoint
Awaiting Her that Day -
To be a Flower, is profound
Responsibility
Fiorire - è il fine
chi passa un fiore con uno sguardo distratto
stenterà a sospettare le minime circostanze
coinvolte in quel luminoso fenomeno
costruito in modo così intricato
poi offerto come una farfalla al mezzogiorno
Colmare il bocciolo — combattere il verme
ottenere quanta rugiada gli spetta
regolare il calore — eludere il vento
sfuggire all'ape ladruncola
non deludere la natura grande
che l'attende proprio quel giorno —
essere un fiore, è profonda responsabilità
Emily dickinson
May I introduce: Prof. Rauz.
His work is one of the most comprehensive in the history of science. He also explores the most remote areas of all disciplines in a thoroughgoing manner, which is rarely found. Profound, he goes to the bottom of things - an 'old school' scientist.
Many of his countless works cover over 100 volumes ...
What an exceptional researcher!
Year:2004 Instant gratification isn't always the best, especially when patience can reward you more profoundly. I've always preferred analog over digital because of the natural feeling it offers. While digital cameras produce great images, they can sometimes be too perfect, resulting in an artificial feel. At the time I took this picture, I owned a digital camera, but capturing a moment on a boat and only seeing the results months later provided a unique, special feeling. Whether on a personal or professional level, instant gratification can pull you out of the moment. It's best to photograph what you love, stay present, and focus on your relationship with your friend or client. Later, when you revisit the images, you can relive the experience. I cherish the imperfections of film because loving someone or something despite its flaws is true love. I plan to fully embrace film soon—mark my words. "Film is like trapping a dream." - Alan Flowers
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que no hay de gustar,
a pesar de todo,
un humildad enorme.
Humility,
one of the most profound human emotions.
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Blue Hydrangea, White Daisies, and I Think Pink Carnations & other misc. filled in flowers in the arrangement. It is very pretty. Like it a lot.
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Nature uses only the longest threads to weave her patterns, so that each small piece of her fabric reveals the organization of the entire tapestry. Richard P. Feynman
And I will thread a thread through my poems that time and events are compact, And that all the things of the universe are perfect miracles, each as profound as any. Walt Whitman
Finishing our adventure and heading home, we stopped at Cameron Arizona.
Tanner's Crossing Bridge – A suspension bridge built in 1911, by the Midland Bridge Co. for the Office of Indian Affairs. The one track suspension bridge was erected over a gorge of the Little Colorado River. The bridge, which was bypassed 1959, was named after Seth Tanner, a Mormon prospector from Tuba City, Arizona. It was listed in the National Register of Historic Places on June 5, 1986, reference: #86001206.[12]
azdot.gov/adot-blog/big-bridge-history-near-little-cameron
Today three bridges cross the Little Colorado River near Cameron. The newest two spans for north- and- southbound traffic are flanked by the original 1911 crossing that today carries only an oil pipe.
As Arizona grew after becoming a state, so did the need for trappers, traders, and prospectors to cross the Little Colorado. Increasingly sophisticated bridges were constructed at the site in 1911, 1958 and 2016, which is where the Arizona Highway Department, and later ADOT, comes in.
But at the turn of the 20th century, there were no bridges.
“This was out in the middle of no-where,” said Merlin Carson, 78, an aero-space engineer turned Native American art expert who spends his days at the historic Cameron Trading Post. “There was nothing but sheep trails all over the place and a great many trading posts.”
The main way to cross the river at the edge of the Hopi and Navajo reservations was Tanner’s Crossing, named after Mormon prospector Seth Tanner from Tuba City. However, the rocky ford left much to be desired. Flooding and quicksand were unpredictable and dangerous.
BRIDGE PROJECT I
In March of 1911, Congress appropriated $90,000 for construction of a bridge built by the Midland Bridge Co. for the Office of Indian Affairs.
“At that time, there were hardly any cars,” Carson said. “It was a bridge for the Navajo people. The bridge was the earliest safe crossing of the river. It was meant for walking across with your cattle or your sheep.”
There's even a story that in 1937 a large herd of sheep crossing the bridge caused it to sway badly and nearly collapse, leading to some repairs to shore it up.
The Cameron Construction Bridge is an engineering marvel that played a large role in Arizona’s growth, according to an Arizona State Historic Preservation Office report.
According to the report, the bridge “is significant for its association with the initial growth of Arizona’s highway system as a major bridge which opened the northern portion of the state to development … A hybrid of suspension and truss forms, the bridge has engineering significance as the oldest surviving highway suspension bridge in the state and that utilized novel engineering techniques to cross the wide canyon of the Little Colorado River.”
Decades passed, technology advanced and foot traffic gave way to large vehicles. By the mid-1950s this became a problem as the old bridge was not capable of carrying heavy construction equipment needed to build the Glen Canyon Dam.
That first span doesn't carry traffic anymore, but utility lines over the Little Colorado River. While its usefulness as a traffic bridge has long ended, it continues serving Arizona faithfully.
It’s among the lures of travelers who frequent the historic Cameron Trading Post, where you might run into art expert Carson.
en.wikipedia.org/wiki/Cameron,_Arizona
Cameron (Navajo: Naʼníʼá Hasání) is a census-designated place (CDP) in Coconino County, Arizona, United States, on the Navajo Nation. The population was 885 at the 2010 census.[3] Most of the town's economy is tourist food and craft stalls, restaurants, and other services for north–south traffic from Flagstaff and Page. There is a ranger station supplying information and hiking permits for the Navajo Nation. There is also a large craft store run by the Nation itself. It is named after Ralph H. Cameron, one of the two senators first appointed (Henry F. Ashurst being the other) to U.S. Congress for Arizona, upon its federal recognition of statehood.
Cameron is located on the Navajo Nation. Elevation is 4,216 feet (1,285 m) above sea level. It is immediately south of the Little Colorado River, just above the beginning of the Little Colorado River Gorge and the stream's descent into the Grand Canyon. Cameron lies at the intersection of US 89 and State Route 64, not far from the Desert View entrance to Grand Canyon National Park.
en.wikipedia.org/wiki/Cameron_Suspension_Bridge
The bridge formerly carried U.S. Route 89, but was replaced by a newer deck truss bridge in 1959. Built in 1911, it has an overall length of 680 feet (210 m) and a main span of 660 feet (200 m). The bridge was built by the Midland Bridge Company of Kansas City for the Office of Indian Affairs and the Indian Irrigation Service. W. H. Code of the Midland Bridge Company was the designer. The suspension design was chosen to address the steep-walled canyon at the crossing, which required a single span with no temporary falsework.[2] When built, the Cameron bridge was the longest suspension span west of the Mississippi River.[3]
The bridge towers rest on the rim of the canyon, with concrete deadmen anchoring the suspension cables some way back from the towers. The deck is stiffened by a Pratt through-truss, with a 14-foot (4.3 m) wide roadway. The bridge was built to improve access to the Navajo Nation and the Hopi Indian Reservation. Named for U.S. Senator Ralph H. Cameron, it was an important link for the construction of the Navajo Bridge on US 89 across the Colorado River in 1929. The town of Cameron grew up around the crossing, which in addition to opening up the Native American lands to the north, also provided a northern gateway to the South Rim of the Grand Canyon when the Navajo Bridge opened.[2]
The bridge was damaged by an overload of sheep in 1937, when it almost collapsed.[2] The damage was repaired and the bridge served highway traffic until 1959. It was sold to the Four Corners Pipeline Company when the new bridge opened, and carries a natural gas pipeline. The Four Corners Pipeline was eventually acquired by Questar Pipeline[4] and is now a part of the Southern Trails Pipeline.[5]
The Cameron Suspension Bridge is the oldest suspension bridge in Arizona,[2] and one of only two of that type in the state.
The Cameron Suspension bridge was added to the National Register of Historic Places on June 5, 1986.[1]
Navajo Nation 2025
Visitors examining this profound living sculptural installation piece by Chinese artist Xu Zhen, as seen at L.A. MOCA!
There is darkness to be found everywhere these days...This image...an afterthought...put me in mind of "Sad Song" by Lou Reed. Though it is about Love on a human level...what if "you" were God...just a thought...not a perfect fit...but...
You and I, we're like fireworks and symphonies exploding in the sky
With you, I'm alive
Like all the missing pieces of my heart, they finally collide
So stop time right here in the moonlight
'Cause I don't ever wanna close my eyes
Without you, I feel broke
Like I'm half of a whole
Without you, I've got no hand to hold
Without you, I feel torn
Like a sail in a storm
Without you, I'm just a sad song
I'm just a sad song
Performed by Lou Reed.
Songwriters: David Carl Immerman / Kevin Bard / Travis Randall Clark
Sad Song lyrics © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Please do not use without my explicit permission
© All Rights Reserved
Walter C Snyder
In a profound sense every man has two halves to his being; he is not one person so much as two persons trying to act in unison. I believe that in the heart of each human being there is something which I can only describe as a "child of darkness" who is equal and complementary to the more obvious "child of light." Laurens van der Post
"When you notice a cat in profound meditation,
The reason, I tell you , is always the same:
His mind is engaged in a rapt contemplation
Of the thought, of the thought, of the thought of his name:
His ineffable effable
Effanineffable
Deep and inscrutable singular Name"
T.S. Eliot, Old Possum's Book of Practical Cats