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Even in donkeys and cows I can see the Pure Soul within them, as an eternal element.
To read more about Self Realization, visit:
In English: www.dadabhagwan.org/self-realization/
In Gujarati: www.dadabhagwan.in/self-realization/
In Hindi: hindi.dadabhagwan.org/self-realization/
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The Postcard
A postally unused postcard that was published by the Tate Gallery, on the back of which is printed:
'Tate
Dame Barbara Hepworth
Shaft and Circle 1972, cast 1973
Bronze
114 x 29 x 15 cm
Tate. Accepted by H.M. Government
in lieu of Onheritance Tax and
allocated to the Tate 2005,
accessioned 2006.'
Dame Barbara Hepworth (1903 - 1975)
The 10th. January 1903 marked the birth in Wakefield, West Riding of Yorkshire, of Barbara Hepworth.
Dame Jocelyn Barbara Hepworth was an English artist and sculptor. Her work exemplifies Modernism, and in particular modern sculpture.
Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St. Ives during the Second World War.
After Wakefield Girls' School, Barbara Hepworth studied at Leeds School of Art and the Royal College of Art in the 1920's.
She married the sculptor John Skeaping in 1925. In 1931 she fell in love with the painter Ben Nicholson, and in 1933 divorced Skeaping. At this time she was part of a circle of modern artists centred on Hampstead, London, and was one of the founders of the art movement Unit One.
Barbara married Ben Nicholson in 1938.
At the beginning of the Second World War, Hepworth and Nicholson moved to St Ives, Cornwall, where she remained for the rest of her life, having divorced Nicholson in 1951.
Best known as a sculptor, Hepworth also produced drawings – including a series of sketches of operating rooms following the hospitalisation of her daughter Sarah in 1944 – and lithographs.
Hepworth and her husband Ben Nicholson struck up a friendship with Norman Capener, the surgeon who treated Sarah at the Princess Elizabeth Orthopaedic Hospital in Exeter. Through this friendship, Hepworth was invited to witness a variety of surgical procedures at Exeter and the London Clinic.
Over a two-year period, 1947–9, Hepworth produced around 80 works. As well as ink and chalk drawings, many were executed in both pencil and oil paint on board.
Barbara died at the age of 72 in a fire at her studio in St. Ives, Cornwall on the 20th. May 1975. The fire was almost certainly caused by her inveterate smoking in bed.
Today, the studio is a shrine to this dedicated artist, and you can see the last pieces of stone that she was still working on when she died.
For many museumgoers the angular, wraithlike Dame Barbara Hepworth was the lady who put the hole in modern sculpture, and made it her signature.
The momentous event occurred in 1931, when, in a flash of daring, she pierced a hole in a small carving in order to give the figure a sense of flow, and to lead the viewer's eye around it.
Barbara recalled:
“When I first pierced a shape,
I thought it was a miracle.
A new vision was opened.”
From then on, Barbara carved or chiselled holes in virtually all her abstractions, as if to disclose their inner structural natures. Sometimes she painted the hollows; sometimes she bound the sides with a cat's cradle of wire or string, funnelling and, trapping light and creating infinite filigrees of shadow.
Barbara explained:
“The holes I make depend on what
I want to see—the depth, the thickness,
the curvatures, the arc, the swoop, the
spiral.”
Many of Dame Barbara's sculptures—in wood, stone and metal— were large, on the order of her “Single Form,” a 21‐foot, five‐ton bronze memorial to Dag Hammarskjold that rises from a pool at the United Nations Secretariat Building in New York.
-- Final Thoughts From Barbara Hepworth
"I am the form and I am the hollow,
the thrust and the contour."
"I rarely draw what I see. I draw what
I feel in my body."
"All my early memories are of forms and shapes and
textures. Moving through and over the West Riding
landscape with my father in his car, the hills were
sculptures; the roads defined the form.
Above all, there was the sensation of moving physically
over the contours of fullnesses and concavities, through
hollows and over peaks - feeling, touching, seeing,
through mind and hand and eye.
This sensation has never left me. I, the sculptor, am the
landscape."
"It is easy now to communicate with people through
abstraction, and particularly so in sculpture. Since
the whole body reacts to its presence, people become
themselves a living part of the whole."
"Body experience... is the centre of creation."
"My works are an imitation of
my own past and present."
"The naturalness of life... the sense of community
is, I think, a very important factor in an artist's life."
"I found one had to do some work every
day, even at midnight, because either
you're professional or you're not."
"Before I start carving the idea must be almost
complete. I say 'almost' because the really important
thing seems to be the sculptor's ability to let his
intuition guide him over the gap between conception
and realization without compromising the integrity of
the original idea; the point being that the material has
vitality - it resists and makes demands."
"I have gained very great inspiration from the Cornish
land- and seascape, the horizontal line of the sea and
the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's
sense of form; and first and last there is the human figure
which in the country becomes a free and moving part of a
greater whole. This relationship between figure and
landscape is vitally important to me. I cannot feel it in
a city."
"I must always have a clear image of the form
of a work before I begin. Otherwise there is no
impulse to create."
"The sculptor must search with passionate intensity
for the underlying principle of the organisation of
mass and tension - the meaning of gesture and the
structure of rhythm."
"My left hand is my thinking hand. The right is only
a motor hand. This holds the hammer. The left hand,
the thinking hand, must be relaxed, sensitive.
The rhythms of thought pass through the fingers and
grip of this hand into the stone."
"I love my blocks of marble, always piling
up in the yard like a flock of sheep."
"At no point do I wish to be in conflict with
any man or masculine thought. It doesn't
enter my consciousness. Art is anonymous.
It's not competitive with men.
It's a complementary contribution."
"My works are an imitation of my own past
and present, and of my own creative vitality
as I experience them in one particular instant
of my emotional and imaginative life. . ."
"One must be entirely sensitive to the structure
of the material that one is handling. One must
yield to it in tiny details of execution, perhaps
the handling of the surface or grain, and one
must master it as a whole."
"I felt the most intense pleasure in piercing the
stone in order to make an abstract form and
space; quite a different sensation from that of
doing it for the purpose of realism."
"Whenever I am embraced by land and seascape
I draw ideas for new sculptures; new forms to touch
and walk around, new people to embrace, with an
exactitude of form that those without sight can hold
and realize... It is essentially practical and passionate."
Barbara Hepworth
"Sculpture is, in the twentieth century, a wide field of
experience, with many facets of symbol and material
and individual calligraphy. But in all these varied and
exciting extensions of our experience, we always
come back to the fact that we are human beings of
such and such a size, biologically the same as
primitive man, and that it is through drawing and
observing, or observing and drawing, that we
equate our bodies with our landscape."
"Halfway through any work, one is often tempted
to go off on a tangent. Once you have yielded,
you will be tempted to yield again and again...
Finally, you would only produce something hybrid."
"The United Nations is our conscience.
If it succeeds it is our success. If it fails
it is our failure."
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
Built as a C-130B transport for the USAF, 58-0712 entered service in 1959, but may not have ever been assigned to an actual squadron. Instead, it served as a testbed, though it never got the JC-130 testbed designation. In the early 1960s, it was modified as the only C-130C, which added two underwing jets; these were not for additional thrust, however, but to bleed air over a modified wing for boundary layer research. The idea was that the air would provide more lift, allowing the C-130 to land and take off on even smaller airstrips. However, in tests it was proven that the C-130C actually needed more runway than a standard C-130--the weight of the jets actually negated the effects of the boundary layer system. As a result, 58-0712 was modified back to a standard C-130B.
58-0712's story wasn't quite over yet. After being returned to the USAF, the aircraft was transferred again, this time to NASA as a NC-130B research aircraft in 1969. The nose was modified to hold a larger radar, and sensors were fitted so that the NC-130B could be used on Earth Survey mapping missions, filling in the gaps that the satellites of the time could not fill. After the Earth Survey 2 project finished, 58-0712--now N707NA--would remain with NASA, flying as a testbed from either the Ames Research Center at Moffett Field, California or the Dryden Research Center at Edwards AFB. Finally, in 2000, N707NA was retired to AMARC in Arizona. Though attempts were made to sell the aircraft to private ownership, by 2017 it was handed over to Aircraft Restoration and Marketing, just west of Davis-Monthan AFB, for use as a spares source for other C-130s.
Today, 58-0712/N707NA sits without wings and engines, gathering dust, the desert slowly obliterating the NASA color scheme. It still retains some of its colors, as well as the MC-130 style nose radome. It serves as one of the centerpieces of the Boneyard Safari tour, but its eventual fate is probably to be scrapped--a sad end for a historic aircraft. We saw it in June 2024--this was the last aircraft I photographed on the Safari trip, before the heat got to me and I had to call it a day. I'm from Montana...I can't handle this Arizona heat!
The beautiful, tranquil, and awe-inspiring Self-Realization Fellowship Lake Shrine in Pacific Palisades (Los Angeles), California
After Self Realization, how can we maintain our connection with Jesus christ? How can we deal with loneliness arising on adoption of a path which is different from majority of people living around?
To know more please click on:
English: www.dadabhagwan.org/path-to-happiness/spiritual-science/w...
Gujarati: www.dadabhagwan.in/path-to-happiness/spiritual-science/wh...
Hindi: hindi.dadabhagwan.org/path-to-happiness/spiritual-science...
A sad realization struck me as i watched the sun sink into nothingness: It's true that earthly beauty disappears and erodes with time. How sad it will be on that day when the sun refuses to show her face upon a world so starved for her affection?
We know that this world is filled with the Lord's wonderful creation yet we know also that this is merely a taste of what is to come. Like looking at a beautiful sunset through a shattered mirror, so it is when we compare the vibrancy of this life to the awe-striking glories that will be reveled to us in Heaven.
So rather than sinking into melancholy with the setting of the vibrant sun, im reminded of the multifaceted intrigue that lies within beauty's image. It's at that moment that an ever-growing appetite--a prolonged yearning to understand Heaven's beauty--is born inside of me.
Much to my surprise, there was very little editing done to this image...a touch up on the contrast and the addition of black gradients to the sides of the image to create a frame.
Shot under Manual (starting to get the hang of it)
Exposure Length 1/800, ISO 800, f/29, Focal Length 135mm
This is not my body
My soul doesn’t mirror
Where did I lost it?
Harmonize me!
Floating in blur
Dear me,
Buy some shoes
And run
Joël and me were sick of sitting home, without LP action. Because locations ran out in our hometown, we searched the net for a descent location. So we picked an abandoned factory near the German border.
We didn't know what the night would bring, but all went well. From being on time, to scouting for the entrance, no bum encouter, just a cat and some bats, to enjoy the adventure, to take some great LP shots and a safe trip home =)
(2 hour drive)
SLM's first roadtrip!! (What did we get ourselves into...)
Also check Harmke's stream:
Wall-e: TON-EEE!
Tony: Whooooooooo! Check it out man!
Mutt realizes that the reigns are now out of Wall-e's hands and begins to react but then feels the weight of Rhodey's gloved hand upon his shoulder.
Rhodey: I've got you kid.
GLOBAL VILLAGE at the 19th International AIDS Conference at the Walter E.Washington Convention Center at corner of 9th and M Streets, NW, Washington DC on Wednesday morning, 25 July 2012 by Elvert Barnes Photography
Arts-Insight
Through Art There Is Realization
pag.aids2012.org/session.aspx?s=484
19th International AIDS Conference 2012
Visit Elvert Barnes 19th International AIDS Conference 2012 PROTESTS & DEMONSTRATIONS and related events webpage at elvertbarnes.com/19thIAC2012
I don't remember what was learned. It might've had something to do with nikon product placement schemes.
For getting Self-Realization, one must have this attitude that I don’t know anything about the Soul and must feel heartily the need for this knowledge.
To know more please click on:-
In English: www.dadabhagwan.org/self-realization/
In Gujarati: www.dadabhagwan.in/self-realization/
In Hindi: hindi.dadabhagwan.org/self-realization/
કેટલીયવાર કૃષ્ણ ભગવાનની ગીતા વાંચી, કેટલાય શાસ્ત્રો વાંચ્યા પણ મુક્તિ અનુભવાઈ નથી. બંધનમાંથી મુક્ત થવા માટે શું ખૂટે છે?, શું આવાં કળિકાળમાં દુઃખ હોવા છતાં આનંદમાં રહી શકાય? કેવી રીતે?
To know more please click on:
English: www.dadabhagwan.org/self-realization/
Gujarati: www.dadabhagwan.in/self-realization/