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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
Luces y Sombras.
La falsa imaginación te enseña que cosas tales como la luz y la sombra, el largo y el alto, lo blanco y lo negro son diferentes y tienen que ser discriminadas; pero ellas no son independientes una de la otra; ellas son aspectos diferentes de la misma cosa, ellos son conceptos de relación, no la realidad.
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False imagination teaches you that things such as light and shade, long and high, white and black are different and have to be discriminated against, but they are not independent of each other, they are different aspects of same thing, they are relational concepts, not reality.
We came across these figurines in a mixed Lego lot with many 1970s parts. Reverse image search suggests they're 1:32 model railroad workers, anyone know more about them?
I've been wanting to have some human figures in my Transformers display for a while, I think they not only add a great sense of scale but also supply a wonderful relational dimension (My idea is to display the Autobots protecting human figures from Decepticons). You can actually get in-scale human figures only with the very expensive Hasbro-Takara Masterpiece Transformers so I want a cheap alternative if possible.
explore # 52 on Monday, December 15, 2008; # 68 on Sunday, December 14, 2008
"Run your fingers through my soul. For once, just once, feel exactly what I feel, believe what I believe, perceive as I perceive, look, experience, examine, and for once; just once, understand...." quote found at stream of great artist, NordicHeart(T.A.F.K.A.M).
See her brilliant foto RUNNING and joy in her stream at
For in Auschwitz, little or nothing was to remain of covenantal practice but those relational structures that had long constituted the spiritual and practical substance of most Jewish women's lives. 9 Women's struggle to keep their promises of practical love to those whom they had committed themselves as mothers, sisters, daughters and friends, became the locus of faith in a future imagined in the form of familial reunion and of having or making a home to return to.
-The Female Face of God in Auschwitz A Jewish feminist theology of the Holocaust, Melissa Raphael
created by a Korean artist Nam June PAIK in the Museum San designed by a Japanese architect Tadao Ando
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.
1 Year of RealizzARTI Project for people with disability
50 Shots
Rome - Città dell'Altra Economia
Exhibition 11/12//13 Dicembre 2017
Métro Longueuil – Université de Sherbrooke, Longueuil
Dans le cadre du Laboratoire JE[U]S, un parcours d'œuvres participatives, collectives, performatives ponctué d'ateliers et de créations en direct
« L’œuvre En friche s’inspire des pans de végétation spontanée qui envahissent les espaces urbains inexploités. Quotidiennement arpentés par le Collectif 5, ces lieux sont pour les artistes des refuges, des îlots de fraîcheur et de beauté qui infiltrent le paysage urbain. Rappelant la quiétude des espaces sauvages, ces friches contrastent avec le béton de la ville, la vitesse de la vie citadine et l’optimisation des espaces. Le Collectif 5 sillonne ces espaces afin de cueillir les centaines de végétaux, transposant cette flore urbaine dans l’atelier où il encre et imprime sur papier chaque plante récoltée puis implantée dans des socles, créant des natures mortes sculpturales. L’organicité et la délicatesse des motifs floraux et leur disposition irrégulière contrastent avec les surfaces planes et contours rectilignes des socles qui les contiennent. Un paysage fragmenté, une nature cloisonnée qui envahit les espaces comme elles imprègnent nos imaginaires. »