View allAll Photos Tagged Relational
day 332
before and after on my facebook page!
Big thanks to Ben for moving my camera around for the expansion when I couldn't really move from my spot on the wall, haha. We ran into each other today so he came with me when I took this photo. I was super glad he came along because he is a great human being as well as an incredibly talented photographer. And while talking to him, it made me realize just how relational photography is. I think I will have failed as a human being if I didn't meet as many people as possible, and photography is such a beautiful way to do that. Even if I was horrible at taking photos, I think I would still be happy if I could be with other people who loved what I loved. Because what makes me happiest is not coming up with ideas or taking photos or editing or posting them to share with others (though those do make me happy); what makes me happiest is being with people, and people who share the same passions as me (and even people who appreciate my passions). There's just something special about having something that is such a part of you also be such a part of someone else, and being able to connect in that way.
I've been in the corporate programming biz since graduating from college with a degree in computer science in 1982. During my ten year tenure at Lever Brothers, I wrote at least 600 interactive and background CICS programs, most of which communicated with VSAM indexed files as well as TS and TD Queues and a 3270 emulator screen. I always found it somewhat strange that such a large corporation didn't use IBM's relational database DB2. Oh well... back to the Newsweek magazine.
Self portrait from my 26th birthday on the 4th. Scorpio life. This was an interesting birthday for me astrologically because transiting Mercury & Venus were conjunct my natal sun placement -- along with the transiting sun, of course. I have Mercury conjunct my Natal sun so this birthday was a Mercury return as well as a Solar return for me. This would suggest this year is going to involve strong themes of mental development for me -- this could be viewed, at least from one angle, as a return to the solar & mercurcial energies that were present for me at birth (sense of self/identity & mental faculties).
The Venus being conjunct my Sun would suggest a theme of social/relational development as I make my way through this year of my life.
Also, Mars is conjunct my IC, which indicates a strong drive towards development of the inner self & home life.
To get super complex, Mars is one of the rulers of Scorpio, and this transit Mars is in Gemini, and Gemini is ruled by Mercury -- so there is an interchange of energy between this transit Mars on my IC and my Sun & Mercury. What is happening in my IC (house of inner self/home) is going to directly inform my Sun & Mercury placements, and my Sun & Mercury placements are going to directly affect my IC. When I am in the space of my IC, there's going to be a direct connection to my solar & mercurial energies -- and when I am in my solar & mercurial energies, there's going to be a direct connection to my IC. There's so many ways this could play out/look/be explained, but one example is this: This could look like becoming more introspective, as the IC is the most private part of the chart.
Interestingly, without having looked at my chart recently until my birthday, I set things in relation to these themes in motion.
To the left (on browser) you can find an album consisting of self portraits taken during planetary transits to my Natal chart.
Notes from an exhibit in Venice in 2019.
The wallpaper room created by Nadia Myre to welcome visitors consists of three walls and a heart-shaped sculpture woven over with beads. Guided by a soundscape evoking a mythical origin story of the universe beginning with a single sound, the visitor enters a built environment that mixes European and Native elements around which mutually shared stories were variably passed on by American peoples and Europeans each in their own way. Contextual elements such as ships, sections of maps, and other culturally relevant icons displayed on Myre’s design walls furnish the background for the centre piece of her installation: a human heart covered with Murano beads. Presented in much the same way as a man-made object in a Renaissance cabinet of curiosity this three-dimensional piece is emblematic of the relationship that Venice has indirectly had with indigenous North Americans over the centuries. Beads are here a marker or difference and identity simultaneously. Europeans conquered with Venice beads the hearts and imagination of Native peoples who eagerly welcomed this new trade good since the early contact phases. Historically appreciated for their brilliance and versatility, indigenous women created artworks of accomplished skill and beauty. Myre’s glass-covered heart continues in a long-standing artistic tradition that poignantly reminds us of the centrality of women in shaping history. If, as proven by commercial records and economic history, Venetians saw the North American bead trade as a lucrative enterprise, it is equally true that indigenous women’s desire for this merchandise was the incentive for Venetians to produce more, and as a consequence, make more profits. Equally treated as both a commodity and a colonial tool, beads have historically been the means by which European imperial powers established diplomacy and trade with Native North Americans. Used as the soft arm of colonisation, beads are therefore not just trade items, but agents of historical change in a cross-cultural conversation that Myre here invites us to peruse and ponder over.
Myre calls upon deep mythologies and re-examines European claims to a ‘discovery’ of the New World. For Myre, the exhibit brings to mind an ordinary sound--a sort of zero-vibration, an uncontained note or utterance--that recalls the many creation myths wherein the world was formed around an unending aural reverberation. Calling on this notion of an unfettered, ever-expanding energy as a point of origin, Nadia Myre’s works in this exhibition juxtapose Native creation stories with European contact history. These works investigate the role that European print media, especially maps, played in imposing a new, colonial origin story on North America’s Indigenous peoples; one that was rooted in a Eurocentric narrative of discovery and ignored existing modes of self-determination and historical record. Jumping off from her practice’s continual interrogation of transcultural mutation, these works focus on critically reversing the gaze of the othering eye through remixing and Indigenizing symbols of control and production of knowledge that formed a legacy of European nation states as the centre of the world.
Depicted in Myre’s damask-patterned wallpaper is a woman falling through a dark, vast expanse to begin human life on earth. To the Haudenosaunee, Sky Woman signifies a matrilineal line of descent which traces the people of Turtle Island to North America. Cradled, framed, or entrapped by images of European ships and mapping motifs, Sky Woman continues her fall to earth, enduring amidst the impending colonial origin narrative of discovery. Here, Myre translates a typical floral damask motif into colonial and indigenous signifiers, whose forms reflect, repeat and oscillate between evocations of growth, nature, violence and destruction, forming a doubled narrative of struggle, resilience, and layered points of origin. Based on the decorative double-sided textile from the Middle East, damask, as a popular luxury wall covering in Renaissance Italy, resonates with thematics of mirroring, cultural transmutation, and power. Through her incorporation of an ornamental circular motif used in Giacomo Gastaldi’s 1556 Map to delineate Hochelaga (Montreal), Myre uses the decorative and narrative nature of this wallpaper to abstract devices of circumscription and colonial naming of territory in a move to reject settler cartographic and claiming practices towards a consciousness of Indigenous knowledge of land and history. Aptly positioned as the nucleus of the installation is a terracotta sculpture of a human heart--standing in for the hungry heart of capitalism, greed, empires and colonies--covered in an Anishinaabe floral pattern made with Venetian trade beads. Used as ballast in slave/trade ships, beads were an important economic currency and exchanged for both goods and services as well as people. As a call to indigenization--a return to a focus on the environment and relational ways of knowing--the wounded heart, blanketed with beads, reminds us to centre with respect and love on all our relations. As a haunting story of the start of the world from a zero-point that precedes humanity, life, and form alike, the soundscape in Myre’s installation is a representation of the mythic original sonic vibration--rethinking the ways beginnings are identified, inscribed, written, and read. Points of origin are chosen; they do not indicate an end to nothingness, but only an inability to read what previously existed. Engaging creation stories are powerful tools of self-determination, cultural definition, and expression of value.
The intense harm you’ve endured trained you to believe it is wrong and not allowed for you (but perfectly acceptable for other people) to reach out for and receive help, support, care and kindness. Though it’s difficult to believe and nearly impossible to practice, maybe it’s ok for you to reach out for support. Maybe these relational components are also necessary for you, just like all other people…perhaps you truly are created to connect. Thank you for working—at a pace appropriate for you—to reach out for support as you are able.
#NotetoSelf
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One evening as I worked to help myself cope I went outside with a camera. This is one thing that caught my attention as I took note of the plants growing along the gravel road across the street from our home. The wilting dandelion seemed to be reaching out to and resting on the seeded grass for support. To me this was a beautiful reminder of what I’m slowly learning to believe and put into practice.
[image created on 5-22-2023]
Excerpt from artgalleryofburlington.com
Holding Space is an exhibition of over 1000 ceramic components exploring our multi-faceted relationship with space – both physically and philosophically. Hung from the ceiling, suspended on the wall and standing tall – raw, abstracted forms interact within the installation as an interface between our human and spatial experiences; the relationship between the lived and the abstract or conceptual. Holding Space uses multi-component sculptures to prompt visual explorations of Space as Emptiness; Space as a Conduit for communication; and Space as held Containment.
Excerpt from samanthadickie.com:
Holding Space
A solo exhibition at the Art Gallery of Burlington, Perry Gallery in Ontario, Canada, 2019/2020. The creation of this project was supported by a Visual Arts Grant from the BC Arts Council.
Space is where we live.
We cannot move without space. We cannot breathe without space.
We entangle ourselves with space and the space reshapes us.
Space is what we fill. Space is what we hold. Space is what we leave behind.
We are merged with the spaces around, between and inside of us.
My belief that our humanness is essentially rooted in relational dynamics provides the impetus behind using scale and multiples to create large-scale, multi-component groupings and immersive installations. As this attention to the relational is central to my work, dualities serve as a fulcrum for my practice and allow me to explore particular dyads such as subject/object, seen/unseen, individual/collective, viewer/viewed. Holding Space uses abstraction and expressionism to explore our multi-faceted relationship with space, both physically and philosophically.
This project considers notions of space with 3 assemblages (Still Point; Written on the Body; The Gesture of Grace):
WRITTEN ON THE BODY
Space as Containment. Negative space defines the body of the object where the exterior form acts as skin and bone to contain the enclosed space within, where our internal narratives are held, imprinted by the external world. 40 component wall assemblage, hung in a 22’ horizontal line. Referencing vertebrae, each unglazed porcelain rounded form touches the next with an connecting line of photo transfers.
As the ground of freedom and novelty, God’s power enables, sustains, and nurtures possibilities, but God’s lure depends on creaturely freedom to respond. From God’s side, the divine lure is to ever-increasing freedom, novelty, and relationship; to make available opportunities to envision a world beyond the world presently actualized.32 Creation is not a solitary act but a social act between God and world. The incarnation is entangled divinity and humanity co-creating and co-actualizing potential new life in every creature open to the fullness of life.
-The Not-Yet God Carl Jung, Teilhard de Chardin,
and the Relational Whole Ilia Delio, OSF
"Do not merely listen to the word, and so deceive yourselves. Do what it says." James 1:22
"Truth applied makes us fully alive. Indeed, most people know enough truth to live a worthwhile life. They know to be honest and not lie. They know to be content and not covet another person’s house, car, or spouse. They know to be patient and wait on the Lord to do a work of grace in a loved one’s life. They know to take responsibility and not blame someone else. They know to believe God and to trust Him with their life.
If we know the truth, why do we sometimes struggle with its application? Perhaps we are self-deceived to think the truth of Scripture is needed for someone else, but not for us. Truth is right and good— not just right and good for me to practice, or worse, to think I’m living it out, when I’m not. Feeling good or bad, or being educated doesn't transform behavior. What alters our actions is an inward change expressed in outward obedience. The wonderful benefit of this practical process is that truth applied makes us fully alive.
“If My people, who are called by My name, will humble themselves and pray and seek My face and turn from their wicked ways, then I will hear from heaven, and I will forgive their sin and will heal their land” (2 Chronicles 7:14).
Truth is like a vaccination—that when administered—prevents you from being infected with foolish living. It is like a life-saving serum applied to sin’s poisonous snakebite—potentially healing you from relational, emotional, physical and spiritual death. There is no downside to honestly gazing into the mirror of truth—assessing your life—better yet inviting godly friends to look with you, and then by God’s grace, applying truth for change.
Is there a dark area of your life that needs the bright light of truth to expose it and root it out? Are there bad attitudes and habits you blame on past pain and injustice? If so, lean into the truth and do not be satisfied until truth’s application frees you from mediocre living. Truth applied does make you fully alive—it is a dependable friend who walks with you through wise decision-making. Dismiss dishonest living and invite freedom in honest living. Ask God to reveal truth to you and empower you to live out the truth." (Written by Boyd Bailey, "Wisdom Hunters" on line devotional)
Hope you have a great week my very talented friends!
Wallach Art Gallery at the Lenfest Center
Sculpture "Bitch Balls" by Raquel Paiewonsky part of the Relational Undercurrents exhibit
Das Wattenmeer ist für das Bewusstsein ein Mantra des Sehens, Lauschens, des Fühlen und Ahnens. Die Weite bleibt kein rein äusseres Phänomen, sie öffnet das Innen.
Entweder man gestattet, sich selber auszuweiten, bis es kein beziehendes Denken mehr gibt, nur noch wahrnehmende, bewusste Freiheit, oder man schrumpft zum Sandkorn in der Unermesslichkeit. Das ist der Preis, welchen man zahlen muss, um ein Selbst zu sein.
Die andere Seite, welche nach und nach das Äussere und das Inneres durchdringt, ist der Tod. Die Weite ist der Tod und die Weite bewusst aufzunehmen, ist ein Überlebenskampf für das Bewusstsein, denn es muss lernen, im Unbedingten bewusst zu bleiben.
Diese Erfahrung erschliesst sich erst in vollem Umfang, wenn man nicht nur ruhend oder entspannt in vollen Zügen aufnimmt, sondern aktiv im Watt unterwegs ist. Dann birgt die Weite, Ebbe und Flut, Nacht und Nebel, tückischen Treibsand, Zeitenge, Sinnestäuschungen und Verhaltensstörungen. Die Weite ist kein Pappenstiel; unser Bewusstsein ist es nicht gewöhnt, mit dem Nichts umzugehen. Manche Leute werden euphorisch, als wären sie in einem Traum oder auf einen Tripp, andere erstarren vor Angst, wagen nicht mehr einen Schritt vor den anderen. Das ist gefährlich im Wattenmeer, Lebensgefährlich!
Aber wenn das Bewusstsein stabil bleibt: Welche Wonne, aufzugehen in Klang und Weite, sich widerstandslos durchdringen lassen, bis nichts mehr übrig ist, ausser dem, was da ist, ..... das ist Vollkommenheit
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The Wadden Sea is a mantra of seeing, eavesdropping, the feeling and presentiment of consciousness. The width remains not a purely external phenomenon, it opens the interior.
Either you allowed to extend itself until there is no more of relational thinking, only perceiving, conscious freedom, or to shrink to a grain of sand in the vastness. That is the price, which you have to pay to be a self.
The other side, which permeates gradually the exterior and interior, is death. The width is death and accommodate the width aware is a struggle for survival for awareness, because it needs to learn to stay aware of the unconditioned.
This experience is only revealed in full when you receive not just resting or relaxing in the fullest, but is actively go in watts. Then, the width, the tides, Night and Fog, treacherous quicksand, time frames, hallucinations and behavioral disorders harbors. The width is not chicken feed; our consciousness, it is not used with the deal Nothing. Some people are euphoric, as if they were in a dream or on a trip, another freeze in fear, no longer dare one step ahead of the others. This is dangerous in the Wadden Sea, very dangerous!
But if awareness remains stable: What bliss to be absorbed in sound and space, can penetrate without resistance, until there is nothing left, except what is there ..... this is perfection
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Wattenmeer er et mantra med bevidsthed, lytning, følelse og forfædre. Udvidelsen forbliver ikke et rent eksternt fænomen, det åbner indersiden.
Enten du lov selv at ekspandere, indtil der er ingen beziehendes tænker længere, kun opfatte, bevidst frihed, eller at skrumpe ind til et sandkorn i den enorme mængde. Dette er den pris, du skal betale for at være selv.
Den anden side, som gradvist trænger ind i yderste og indre, er døden. Det er en overlevelseskamp for bevidsthed, fordi den skal lære at forblive bevidst i det ubetingede.
Denne oplevelse kan kun realiseres fuldt ud, hvis du ikke bare hviler eller slapper af i det fulde, men er aktivt i mudderet. Derefter ligger udvidelsen, ebbe og strømmen, nat og tåge, forræderisk drift, aktualitet, vildfarelse og adfærdsmæssige forstyrrelser. Bredden er ikke et kartonhåndtag; vores bevidsthed er ikke vant til at beskæftige sig med intet. Nogle mennesker er euforisk, som om de var i en drøm eller en Tripp, andre fryse i frygt for ikke vove et skridt foran de andre. Dette er farligt i Wattenmeer, livstruende!
Men hvis bevidstheden forbliver stabil: Hvad lyksalighed at fusionere med lyd og rum, kan trænge uden modstand, indtil der er intet tilbage, bortset fra hvad der er der ..... det er perfektion
A puzzle is a game, problem, or toy that tests a person's ingenuity or knowledge. In a puzzle, the solver is expected to put pieces together (or take them apart) in a logical way, in order to find the solution of the puzzle. There are different genres of puzzles, such as crossword puzzles, word-search puzzles, number puzzles, relational puzzles, and logic puzzles. The academic study of puzzles is called enigmatology.
Puzzles are often created to be a form of entertainment but they can also arise from serious mathematical or logical problems. In such cases, their solution may be a significant contribution to mathematical research.
The Oxford English Dictionary dates the word puzzle (as a verb) to the end of the 16th century. Its earliest use documented in the OED was in a book titled The Voyage of Robert Dudley...to the West Indies, 1594–95, narrated by Capt. Wyatt, by himself, and by Abram Kendall, master (published circa 1595). The word later came to be used as a noun, first as an abstract noun meaning 'the state or condition of being puzzled', and later developing the meaning of 'a perplexing problem'. The OED's earliest clear citation in the sense of 'a toy that tests the player's ingenuity' is from Sir Walter Scott's 1814 novel Waverley, referring to a toy known as a "reel in a bottle".
The etymology of the verb puzzle is described by OED as "unknown"; unproven hypotheses regarding its origin include an Old English verb puslian meaning 'pick out', and a derivation of the verb pose.
Source Wikipédia
Lumix S5 - Sigma 24-70mm f/2.8
1/200 f/7.1 100 ISO @37mm
Info for the class Organetto in circolo wa +339 3356769559
You can ask a workshop in your city about:
• the training contexts in which one works through music;
• to private associations or organizations that promote inclusion and happiness through music;
• the contexts in which the conflict is dealt with and its repair;
• to parents who wish to acquire an artistic language in educational background;
• companies for relational training;
• to the elderly for motor activities.
Organetto in circle last Edition 2016/2019
by Picpro
day 315
What makes you uniquely you?
As I go through life, I've discovered how un-unique I am. There are thousands of people who wear the same clothes as me, participate in the same activities as me, believe the same doctrines as me, and ever ignorantly think that they are the only one to experience the same things as me. I don't really find that saddening though, for humans are relational figures and thus our un-uniqueness binds us to one another. I think uniqueness is a highly relative term (at least in this case), but what makes me (and any other human) unique is my relationship with others and their relationship with me. I place great worth on certain people, and that ability to give and receive worth is unique to every individual, with an infinite amount of combinations brought about through every person everyone comes in contact with. I can make a person seem to me more or less unique, and others can do the same in their view of me and the view of their relationship with me. We are all connected by this ability as well as our un-uniqueness, which in a sense makes us incredibly unique in that we are all the connecting element of the red string of destiny and without each one of us, the string would be broken.
-- my answer to a psychology question that we never turned in.
"An invisible red thread connects those who are destined to meet regardless of time, place or circumstance. The thread may tangle but it will never break."
-- Chinese Proverb
before and after here.
Thank you Evan for helping me with the edit!
Das Wattenmeer ist für das Bewusstsein ein Mantra des Sehens, Lauschens, des Fühlen und Ahnens. Die Weite bleibt kein rein äusseres Phänomen, sie öffnet das Innen.
Entweder man gestattet, sich selber auszuweiten, bis es kein beziehendes Denken mehr gibt, nur noch wahrnehmende, bewusste Freiheit, oder man schrumpft zum Sandkorn in der Unermesslichkeit. Das ist der Preis, welchen man zahlen muss, um ein Selbst zu sein.
Die andere Seite, welche nach und nach das Äussere und das Inneres durchdringt, ist der Tod. Die Weite ist der Tod und die Weite bewusst aufzunehmen, ist ein Überlebenskampf für das Bewusstsein, denn es muss lernen, im Unbedingten bewusst zu bleiben.
Diese Erfahrung erschliesst sich erst in vollem Umfang, wenn man nicht nur ruhend oder entspannt in vollen Zügen aufnimmt, sondern aktiv im Watt unterwegs ist. Dann birgt die Weite, Ebbe und Flut, Nacht und Nebel, tückischen Treibsand, Zeitenge, Sinnestäuschungen und Verhaltensstörungen. Die Weite ist kein Pappenstiel; unser Bewusstsein ist es nicht gewöhnt, mit dem Nichts umzugehen. Manche Leute werden euphorisch, als wären sie in einem Traum oder auf einen Tripp, andere erstarren vor Angst, wagen nicht mehr einen Schritt vor den anderen. Das ist gefährlich im Wattenmeer, Lebensgefährlich!
Aber wenn das Bewusstsein stabil bleibt: Welche Wonne, aufzugehen in Klang und Weite, sich widerstandslos durchdringen lassen, bis nichts mehr übrig ist, ausser dem, was da ist, ..... das ist Vollkommenheit
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The Wadden Sea is a mantra of seeing, eavesdropping, the feeling and presentiment of consciousness. The width remains not a purely external phenomenon, it opens the interior.
Either you allowed to extend itself until there is no more of relational thinking, only perceiving, conscious freedom, or to shrink to a grain of sand in the vastness. That is the price, which you have to pay to be a self.
The other side, which permeates gradually the exterior and interior, is death. The width is death and accommodate the width aware is a struggle for survival for awareness, because it needs to learn to stay aware of the unconditioned.
This experience is only revealed in full when you receive not just resting or relaxing in the fullest, but is actively go in watts. Then, the width, the tides, Night and Fog, treacherous quicksand, time frames, hallucinations and behavioral disorders harbors. The width is not chicken feed; our consciousness, it is not used with the deal Nothing. Some people are euphoric, as if they were in a dream or on a trip, another freeze in fear, no longer dare one step ahead of the others. This is dangerous in the Wadden Sea, very dangerous!
But if awareness remains stable: What bliss to be absorbed in sound and space, can penetrate without resistance, until there is nothing left, except what is there ..... this is perfection