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Be careful what you read...
Which is exactly why I encourage you to take a look at my Kickstarter page so you can support my work and get a copy of my book "I Drink Lead Paint".
You'll love it.
Yup.
My Kickstarter page for my book I Drink Lead Paint
:-)
Anyway...er maybe you'd love to:
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Strobist:
Bowens Gemini Pro 500 through softbox camera right at 45 degrees, set on 3.0. Second Bowens camera left through softbox at 45 degrees and above set on 3.0. Triggered by PC cord cable.
How to use 135 format (35mm) rollfilm in 127 format cameras. A step by step guide based on experiences with the Rokuoh-Sha Baby Pearl.
© Dirk HR Spennemann 2010, All Rights Reserved
"If one looks for some time, from a slight distance and with a certain 'distant fixedness', at the hypnotically immobile figure of Narcissus, it gradually disappears until at last it is completely invisible,"
For this picture of Dalí, we're used a meticulous technique which he described as 'hand-painted colour photography' to depict with hallucinatory effect the transformation of Narcissus, kneeling in the pool, into the hand holding the egg and flower. Narcissus as he was before his transformation is seen posing in the background. The play with 'double images' sprang from Dalí's fascination with hallucination and delusion.
Now the great mystery draws near,
the great metamorphosis is about to occur.
Narcissus in his immobility, absorbed by his reflection with
the digestive slowness of carnivorous plants, becomes invisible.
There remains of him only
the hallucinatingly white oval of his head,
his head again more tender,
his head, chrysalis of hidden biological designs,
his head held up by the tips of the water’s fingers,
at the tips of the fingers
of the insensate hand,
of the terrible hand,
of the excrement-eating hand,
of the mortal hand
of his own reflection.
When that head slits
when that head splits
when that head bursts,
it will be the flower,
the new Narcissus,
Gala –
my narcissus.
"In the center of this portrait is a world divided into two parts. The wrought-iron gate is a a world in shadow from frustration. Here in the middle, you have a man’s image, shrunken to the size of a small potato, moving away from reality, toward the black angel of desctruction. Below you see a ship without any sails about to capsize in the rough seas of frustration. Now, the other half of a man’s inner world is of sunlight, of coincidence, here in the luxury brand of Artcurial. Here, man’s image is ten feet tall and is walking towrad the sun. Below you see a ship in calm waters about to reach port. And what is this port? Peace of mind! We can learn to walk away from this shadow world of frustration into the dawn of a new world, through confidence.” adoctorwithoutborders Just another WordPress.com site
en.wikipedia.org/wiki/Metamorphosis_of_Narcissus
Dalí's wish was to translate the fetishes and obsessions of his unconscious into volume and solid matter. In this way, he rendered the major themes of his pictorial work in sculptural form. The collection presented here includes more than fifteen sculptures, making this exhibition the largest of its kind in France.
In Secret Life, one of his autobiographical accounts, Salvador Dalí recounts how, as a child, he made a model of the Venus de Milo because it appeared on his pencil box: it was his first attempt at sculpture. By the 1930s, Dalí was already experimenting with the third dimension. As a surrealist artist seeking to translate the unconscious, dreams and feelings, and following in the footsteps of Marcel Duchamp with his ready-mades (Fontaine, 1917), he became interested in "object art", using unexpected materials and materials. He created objects with symbolic functions, such as Buste de femme rétrospectif, assembling a painted porcelain milliner's marotte with various other salvaged objects (1933). "The surrealist object is not practical; it serves no purpose other than to tenderize men, exhaust them, dumb them down. The surrealist object is made solely for honor, it has no other purpose than the honor of thought." Dalí gradually returned to a traditional technique. He began with a soft paste of wax, to which he imposed the shape he wanted, concretizing the irrationality of his imagination. Then, he gives his creation the necessary hardness by casting it in bronze so that it can take its place in the outside world. These sculptures are made using the lost-wax technique. They represent a significant aspect of Dalí's artistic creation, and provide a synthesis of his interest in form. These bronze sculptures are effectively Surrealism in the third dimension. Based on his most famous paintings, bronze sculptures such as Persistance de la mémoire, Profil du temps, Noblesse du temps, Venus à la girafe, Toréador hallucinogène, Venus spatiale, Alice au pays des merveilles, Éléphant spatial, testify with extreme vigor to the expressive power of his surreal iconographic images.
LOST-WAX CASTING TECHNIQUE:
This technique makes metal objects from a wax model. The wax is coated with a refractory mixture to form a mold. The mold is subjected to a source of heat to melt the wax. This operation is called "dewaxing". When the mold is empty, it is filled with liquid metal. Later, the bivalve mold is opened to reveal the raw casting. Finishing operations are then carried out to give the object a beautiful appearance: trimming, repairing, chasing and patina.
Translated with www.DeepL.com/Translator (free version)
This was Dalí's picture to be made entirely in accordance with the paranoiac critical method, which the artist described as a 'Spontaneous method of irrational knowledge, based on the critical-interpretative association of the phenomena of delirium' (The Conquest of the Irrational, published in The Secret Life of Salvador Dalí, New York 1942). Robert Descharnes noted that this painting meant a great deal to Dalí, as it was the first Surrealist work to offer a consistent interpretation of an irrational subject.
"In the beginning, when they were less long, I ate a few dates but mostly I held them in my fingers. And afterwards instead of washing [sic] or before washing my fingers, I stroked and put in order my mustaches. And the sugar, in fact the viscous side of the date, was enough for a whole day to hold my mustaches. That, moreover, I had found in an oriental recipe. There were Hindus who put dates , which had a kind of thing of dates [sic] for mustaches. After which I wanted more classic and I found in the place Vendôme [sic] the Pinot house which sells a thing called 'Hungarian pomade '."The fang mustache is a very raised mustache reminiscent of a pair of antennae. It can be considered as a real ornament. It is often associated with Salvador Dalí and is an expression of his eccentricity, which is why it is often referred to as Dali's mustache.
Food and eating have a central place in Dalí's thoughts and work. He associated food with beauty and sex and was obsessed with the image of the female praying mantis eating her mate after copulation. Bread was a recurring image in Dalí's art, from his early work The Basket of Bread to later public performances such as in 1958 when he gave a lecture in Paris using a 12-meter-long baguette an illustrative prop. He saw bread as "the elementary basis of continuity" and "sacred subsistence". The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love. It appears in The Great Masturbator, The Metamorphosis of Narcissus and many other works. There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat as well as at the Dalí Theatre-Museum in Figueres. Both Dalí and his father enjoyed eating sea urchins, freshly caught in the sea near Cadaqués. The radial symmetry of the sea urchin fascinated Dalí, and he adapted its form to many artworks. Other foods also appear throughout his work.
The famous "melting watches" that appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating Camembert cheese. Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial.[6] His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst.From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or Freudian interpretation (Dalí read Freud in the 1920s) others (such as locusts, rotting donkeys, and sea urchins) are idiosyncratic and have been variously interpreted. Some commentators have cautioned that Dalí's own comments on these images are not always reliable.
Dalí was renowned for his eccentric and ostentatious behavior throughout his career. In 1941, the Director of Exhibitions and Publications at MoMA wrote: "The fame of Salvador Dalí has been an issue of particular controversy for more than a decade...Dalí's conduct may have been undignified, but the greater part of his art is a matter of dead earnest." When Dalí was elected to the French Academy of Fine Arts in 1979, one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries". In 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí knocked over the projector in a rage. "My idea for a film is exactly that," he said shortly afterward, "I never wrote it down or told anyone, but it is as if he had stolen it!" In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window. In 1955, he delivered a lecture at the Sorbonne, arriving in a Rolls-Royce full of cauliflowers. To promote Robert Descharnes' 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording. After World War II, Dalí became one of the most recognized artists in the world, and his long cape, walking stick, haughty expression, and upturned waxed mustache became icons of his brand. His boastfulness and public declarations of his genius became essential elements of the public Dalí persona: "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí". Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France.[236] He was also known to avoid paying at restaurants by executing drawings on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct. Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on the Tonight Show with Johnny Carson on 7 January 1963 The Mike Wallace Interview and the panel show What's My Line?.Dalí appeared on The Dick Cavett Show on 6 March 1970 carrying an anteater. He also appeared in numerous advertising campaigns such as Lanvin [fr] chocolates and Braniff International Airlines in 1968.
en.wikipedia.org/wiki/Salvador_Dal%C3%ADhttps://en.wikipe...
Located on the Rond-Point of the Champs-Élysées, auction house Artcurial's newly renovated café pays tribute to Italian food and design. French interior architect Charles Zana imagined a setting that evokes the works of Giò Ponti and Ettore Sottsass, with walls covered with geometric patterns and lined with charcoal leather banquettes. Enhanced by a new glass roof and large windows, the linear arcade is flooded with natural light and has views onto secluded gardens.Built in 1844, it was bought in 1952 by Marcel Dassault before becoming in 2002 one of the most famous auction houses in the capital.
John R. Grabach - How to Draw the Human Figure
Dell Books LC115, 1958
Cover Artist: John R. Grabach
"Basic guide for beginners...
Anatomy reference for the experienced artist."
if you avoid conflict, to keep the peace, you start a war inside yourself... demonstrated by Nose Picker Jones
selfhelp and guide books, sneakers, concrete, paint.
Denkmal für Unsicherheit. Selbsthilfe- und Ratgeberbücher, Turnschuhe, Beton, Farbe.
I hope it's not too late to say Happy New Year 2014, wherever you are...
Espero que não seja tarde para desejar Feliz Ano Novo 2014, onde quer que você esteja!
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Para dicas de fotografia, visite www.CameraNeon.com
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We all have own personal roads to TRAVEL, its only when we FOLLOW someone else's ROAD that we deviate from our own JOURNEY. BE STRONG and Travel Your Own Road.
Lawrence Gould - Your Most Intimate Problems
Avon Books 200, 1949
Cover Artist: © Ann Cantor
Adapted from the famous newspaper feature "Mirror of Your Mind", by arrangement with King Features Syndicate, Inc.
"Can a wife be too affectionate?"
How not to look old?
Get a mask.
I’m going through the self-help section of the nearest bookstore trying to find the most ridiculous book to act like I’m reading with my brand spankin’ new Lucha Libre Mexican wrestling mask. I’m literally going through all of these books laughing at one after the next. They are utterly pathetic.
Look at the one I’m reading? “How to not look old”. It’s amazing the priorities us as Americans have put on how we look. Do you think the almost 1 million people that have been slaughtered in Rwanda read this fucking trash? Or how about Bosnia and Herzegovina where my good friend Anya is from? Hundreds of thousands of people massacred in mass genocide that she luckily escaped from as a child. Do you think her parents read about how to not look old?
THEY WERE JUST TRYING TO SURVIVE AND COULDN’T GIVE A RATS ASS!
How about the over TWO MILLION people killed in Cambodia in the 1970s. Over one quarter of the population of that country died from starvation, being overworked, or just plain murdered. The people in Cambodia to this day live in complete shit.
The Nazi Holocaust in the 1930s and 1940s which over SIX MILLION people were killed, mostly Jews, handicapped people, mentally retarded people, or anyone that wasn’t part of Hitler’s plan for a perfect society.
I could go on and on really. Country after country after country that lives in shit. I as a middle aged American have life so goddamn fucking good it’s not even funny. With my 2 computers, car, apartment, food, and all this stupid shit I surround myself by.
I’m a product of my environment. But I try to keep it real.
Where are YOUR priorities?
Do you pick up and read “How to not look old”? Or maybe – get this – just allow yourself to GET old because that is the essence of being HUMAN.
Do yourself a favor and take all your self-help books and burn them straight Fahrenheit 451 style. Then, go get a history book and educate yourself. Go get a Charles Dickens book and read it. Go get a newspaper from the year 1853 from a country of your choice and see what they had to say at that time.
Hell, jump on the Internet and go to wikipedia.com and surf away.
The last thing you should be worrying about is “looking old”. Because if you’re old, aren’t you supposed to LOOK IT?
Taken May 9th, 2009
Posted May 10th, 2009
*=lapse
Spiritual crises as the cause of paranormal phenomena, Paranormal phenomena seen in connection with clairvoyance, and Paranormal phenomena seen in connection with channeling).Symbols from the universal images are of a completely different character. They reproduce a much clearer, more precise and superior astral wholeness. It is from these symbols you can receive direct teachings about your spiritual development process.
When you have trained meditation and dream yoga in many years, a so-called divine being can visit you through a symbol from the universal images: Christ, Buddha, masters, teachers, angels. Note that these of course also can from the collective images – the difference is explained below:
Such a symbol is, as mentioned, a telescopying, a representing quintessence of the informationquantities, which the wholeness in a universal image contains. The divine being will in that way canalize information to you from the universal image, which, together with the whole of the universal vision, constitutes the dream-tracks and the songlines in the artwork of your life. The divine being (or other symbols from the universal images) will in that way help you to compose, to synthesize and interlock, what your inner thinker in the waking state has divided. But it is very important to understand that this nothing has to do with the channeling phenomenon, which belongs to the collective images. In order to receive help from a divine being you must be very close to enlightenment yourself. Our suffering, our painbody is, through the inner evaluating ego, which the painbody is constructed around, connected with the more dangerous dephts of the astral plane´s collective history, which also are a kind of dark, ancient inertia, which opposes any change of the ego (see my article The emotional painbody and why psychotherapy can´t heal it). That is also the reason why you, through therapy, can´t heal Man from the ground. In order to heal Man from the ground you need to go into a spiritual practice. It is only within the religions and their spiritual traditions they have knowledge and names for the more dark sides of the astral plane´s collective history. The West has very precisely called this factor the original sin. The East has called it negative karma. The concepts indicate, that the inertia projects beyond the personal history (growing up conditions, traumatic bindings, painful experiences etc.) and far down into the collective inherit-backgrounds of history (genes, environment, society-ideals, the archetypes and the primordial images of the dreams, fantasies, fairy-tales, myths, and finally: instincts inherited from the animals). It is a factor, which lies in the evolution itself, in the genes, in the collective subconcious, in the collectice history.
A mystical experience is happening when astral energies and content arrive to the consciousness, either from the collective images, or from the universal images. When energy and content arrive to the consciousness from the collective images, then this energy, and this content, will symbolize itself. This is due to, that the collective images are in a condition of vague, diffuse, astral oneness. What is coming from the collective images therefore contains a much greater width and depth than the limitary, relatively narrow and clear concepts and classes of the ordinary consciousness. The vague, wide contents and energies from the collective images are therefore growing narrower in the meeting with the consciousness. The symbol is this quintessence, this shortened, condensed form of expression of the vague, wide collective material. The other types of symbols are coming from the universal images, and therewith from reality and truth itself. All reality, which shall mirror itself in the superficial mind, will automatically symbolize itself. Again the symbol is a telescopying, a representing quintessence of the informationquantities, and the greater clarity, which are connected with reality. Symbols from the collective images reproduce a more vague, more imprecisely, but richer organic astral oneness. Symbols from the universal images reproduce a clearer, more precise and superior astral oneness. The more vague astral oneness, or the more precise astral oneness, shows itself in symbolic form in the dividing, separating structure of consciousness. This refers to the three forms of states the wholeness can be in: sleep, dream, awake. When the wholeness is sleeping, mountains are mountains and woods are woods. This is the reality of the ordinary consciousness (the Ego-consciousness). The ordinary consciousness can sleep in three ways: 1) the dark sleep, which is the Ego´s deep nightly sleep; 2) the grey sleep, which is the Ego´s nightly dreams and other dreams; 3) the light sleep, where the Ego is awake. The three forms of states the wholeness can be in, can also be described as the personal time, the collective time and the universal time. Furthermore it can be described as the personal history, the collective history and the universal history. Time and history constitute the structure under your thinking. This structure is also called the astral plane, or the astral world. It is a plane of existence postulated both by classical (particular neo-Platonic), medieval, oriental and esoteric philosophies and mystery religions. It is the world of the planetary spheres, crossed by the soul in its astral body, either through the dream state, or on the way to being born and after death, and generally said to be populated by angels, demons, spirits or other immaterial beings. The astral plane is connected with the so-called Akashic records. The Akashic records are a compendium of mystical knowledge encoded in a non-physical plane of existence: the astral plane. These records are described as containing all knowledge of human experience and the history of the cosmos. They are holding a record of all events, actions, thoughts and feelings that have ever occurred or will ever occur. Since my teenage years, I have had relationships with Beings of Light such as Jeshua, Michael, Sanat Kumara, Lady Portia, Amira, Maitreya, Sananda, the Great Crystal Master, the Dragon and many others. They instructed me in their conceptions that allowed me to prune my beliefs, to experience new knowledge. Thanks to their attention, I was progressing in my inner study. Taking advantage of their advice and encouragement, I went through the adversity I had encountered. During all this time, I carefully integrated their teachings without disclosing them, I applied them consciously in my daily life. Several times they told me, through mediums, that it was time for me to work with my fellow human beings. I would say "I, who have so many obstacles" and I would continue my studies with them. More than twenty years ago, Awakeness told me that I had the opportunity to read Akashic annals, I didn't know what it was. It took me a long time to get acquainted with the library of Nature where everything is recorded in every detail, from Creation to infinity. Today, I confess that I used this database in ignorance. Facts arose without my knowledge, I met more and more people in great difficulty, I offered them, anonymously, what I had received. One day, I was offered a book on Akashic annals. I knew the time had come to expose myself. The opportunity to concretize this new experimentation presented itself to me, through one of my friends who was experiencing an important annoyance. I said to him:"If you want I ask Akasha for teachings to give you solutions to your context". The impact of the explanation and the akashic vibration collected by Martine was immediate and spread throughout her home. His entourage was surprised by this change and asked him what had happened. She received the necessary answers to her family situation and also all the understandings that allowed her to find joy in sincere and harmonious relationships, which are still in force and spread to her household. Everyone watched and looked at the sufferings he was carrying in order to transform them. An information was transmitted to her by her husband, who had crossed the bridge of earthly life for the afterlife, which confirmed her to act on the decisions.
The Sanskrit term akasha was introduced to the language of theosophy through H. P. Blavatsky (1831–1891), who characterized it as a sort of life force; she also referred to "indestructible tablets of the astral light" recording both the past and future of human thought and action, but she did not use the term "akashic". The notion of an akashic record is attributed to Alfred Percy Sinnett, who, in his book Esoteric Buddhism (1883), wrote of a Buddhist belief in "a permanency of records in the Akasa" and "the potential capacity of man to read the same."By C. W. Leadbeater's Clairvoyance (1899) the association of the term with the idea was complete, and he identified the akashic records by name as something a clairvoyant could read. In his 1913 Man: How, Whence, and Whither?, Leadbeater claims to record the history of Atlantis and other civilizations as well as the future society of Earth in the 28th century.The Akasha is an “astral light” containing occult records, which spiritual beings can perceive by their “astral senses” and “astral bodies”. Clairvoyance, spiritual insight, prophecy and many other metaphysical and religious notions are made possible by tapping into the Akashic reacords. They are metaphorically described as a library. They can be accessed through astral projection, meditation, near-death experience, lucid dreaming, or other means. The Akashic records are the wholeness, and as mentioned: the wholeness can be in three states of spiritual awakening - sleep, dream, awake – which again can be described as the personal, collective and universal time (or history).
The reactions to experience of the entire animal kingdom, the aggregation of the thought-forms of a karmic nature (based on desire) of every human unit throughout time. Herein lies the great deception of the records. Only a trained occultist can distinguish between actual experience and those astral pictures created by imagination and keen desire. Since Wilhelm Haidinger discovered the phenomenon of the ‘brush’ which is named after him in 1844, there can be no doubt that human vision comprises an additional sense for the orientation of a so called polarised luminance. In this paper the physical conditions under which Haidinger’s Brush is to be observed in transparent or reflective media are described in detail. Furthermore it will be shown how Goethe’s work on ‘entoptic colour’, Steiner’s concept of the U-Region and modern physiological and natural science touch on a mutual ground that is to be characterised by Haidinger’s Brush appearing.Seen from a spiritual perspective, this instinctive survival strategi (the Ego) appears as a resistance, an invincible inertia: original sin, negative karma. You can´t, by therapeutic strategies, free the consciousness for its attachment to this inertia. You can therefore not dissolve or dilute or convert the original sin through therapy. Only the intervention of the Source (God, Christ, the enlightened consciousness) can basically help Man with a trancendence of the negative karma of the original sin. But in order to, that a human being should be able to receive this help from the Source (gift of grace), then this requires an eminently precise and profound preparation. And as part of this preparation serve the true spiritual practice within the religions
mortentolboll.weebly.com/paranormal-phenomena-seen-in-con...
The whole extent of circumstances which have its observation in common, distinguish it as a higher phenomenon among others, that it is the primary phenomenon of polarisation.Haidinger-Büschel als Urphänomen der Polarisationserscheinungen Albert Pröbstl.f Goethe’s Urphänomen, the ferreting out of the simplest,
archetypal concept which exhibits the characteristics of the complex whole and proceeding from the simple to the more composite. At this point, the similarity of Hegel’s method to that of Goethe is evident, except of course that the relevant complex whole is not to be understoodas a natural phenomenon but rather manifestations of Spirit, specificallyformations of consciousness. , this stream of impressions has to be surmounted, and grasped as
a whole. This holistic view is not attained by contemplation of the name or the idea of Nature, but on the contrary by contemplation of Nature itself and determination of the archetypal phenomenon, the simplest unit of a complex natural process. This insight is only the outcome of patient, attentive and delicate observation. Likewise, if a citizen of any social formation, recognizes as Absolute the guiding principle of his own activity, Hegel does not suppose that they see in that form of practice a finite manifestation of Absolute Spirit. That is an insight which becomes available only to the philosopher who looks back from the end of the journey of Spirit. Goethe and Hegel shared a common concern, not just for Truth, but for the Spiritual Community. One of the driving forces of Goethe’s science was to work out a practice and concept of science which would be accessible to participation by the entire people,something of which Hegel despaired. But there are obvious differences in the conception of the Deity as well. For Goethe, God is Nature, and insofar as he is engaged with Nature, it is the principle of his relation to Nature. Man is part of Nature, but he cannot understand his literary and social activities Pantheistically. For Hegel on the other hand, Spirit produces Nature and the human world of finite spirit, and out of them produces itself, but it is above all to human affairs that Hegel looks for his glimpse of the Deity. In the human world, Hegel gains insight into the absolute Absolute which manifests in each shape of consciousness. For Goethe we have a reified God/Nature; for Hegel we have Spirit. The crucial innovation made by Hegel is his use of the Triune structure of the concept which transcends the various dichotomies inherited from Kant whilst investing the concept with internal resources for self-mediation
A central element of Hegel’s view of the relation of man
to the Absolute, he appropriated from Goethe’s Romantic
science. Goethe’s Pantheistic conception of Urphänomen
was the single archetypal phenomena exhibiting the
essential features of some natural phenomena.
Recognition of the Urphänomen constituted a glimpse of
the Deity. Although the Urphänomen is specific to some
given complex, Goethe came to see in it a general
principle. Hegel appropriated Goethe’s idea of
Urphänomen, not unlike Herder’s Schwerpunkt, in the
Phenomenology, and transformed the archetypal norm of
a Gestalt des Bewußtseins into the Begriff of the Logic, as
an archetype of the Absolute. Expressed more generally, Goethe’s problem was this: how can we understand a complex process as a whole, as a Gestalt? Goethe rejected a
number of approaches which are characteristic of what he called ‘Newtonian’ natural science. He rejected the method of hypothesising some force or vibration or principle which controlled the complex whole from beyond the horizon of phenomena. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmeric, magnetic, and psychic phenomena and is a component in all magical operations of nature.
Hegel polemicised along the same lines in the Logic. To say that people come to the city because the
city exerts a force of attraction explains nothing. Newton’s idea of acceleration being caused by gravity simply shifts the problem from understanding a form of motion sensuously given to us, to understanding an invisible and baseless force, known only through its expression for which it is supposed to be the explanation.The Urphänomen was Goethe’s solution to the problem of how to conceive of the whole.“... the Divine, which reveals Itself in Urphänomene, physical and moral, behind which it dwells, and which proceed from It” (To Eckermann, February 13 1829, quoted in Heinemann 1934)“This spiritual breath – it is of this that I really wished to
speak and that alone is worth speaking of – is what has
necessarily given me such great delight in Your
Excellency’s exposition of the phenomena surrounding
entopic colours. What is simple and abstract, what you
strikingly call the Urphänomen, you place at the very
beginning. You then show how the intervention of further
spheres of influence and circumstances generates the
concrete phenomena, and you regulate the whole
progression so that the succession proceeds from simple
conditions to the more composite, and so that the
complex now appears in full clarity through this
decomposition. To ferret out the Urphänomen, to free it
from those further environs which are accidental to it, to
apprehend as we say abstractly – this I take to be a matter
of spiritual intelligence for nature, just as I take that
course generally to be the truly scientific knowledge in
this field” (Hegel 1984: 698).New York: akasha (akasa) Im Eastern mysticism and oeculism, the all-pervasive lile principle or all pervasive space of the cosmos. The term akasha is derived from the Sanskrit term for 'sky." The akasha is known by various other names in Western occultism and MAGIC. In Hinduism, the akasha is the substance ether, a fifth element and the subtlest of all elements. The akasha per meates everything in the universe and is the vehicle for all life and sound. In yoga, the akasha is one of three unit versal principles along with prana, the universal life force, and creative mind. These three principles are immanent in all things throughout the universe and are the sources of magical and psychic power. From the akasha comes will, an important component of magic, which enables all man ner of feats to be accomplished. In Buddhism, is not ether but space, ol which there are rwo kinds. One is space that is limited by the material, from which springs the manifestation of the elements of nature. The second is space that is unlimited, unbounded by the material and beyond description. The concept of the akasha was inaroduced to Weslern occultism in the early 20th century by hel ena p blavat sky, founder of the theosophical society. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmerie, magnetic and psychic phenomena and is a component in all magi cal operations of nature. Blavatsky compared the akasha to lhe "sidereal lighi" ol rosic rucianism, he asi ral light of iphas levi, and the odyle or odic lorce of Baron Karl von uivalent of the llebrew ruah, the Reichenbach is th in motion, or moving spirit and is identi- wind, breath, air cal with the spirit of God moving on the tace ol the waters described the akasha as incomprehensible. non-created, and undefinable. Akasha creates everything and keeps everything in bal it is the all in all.
Five arts was Goethe's method of transmuting his observation of human nature into sharable form. Drawing from his novel, Elective Affinities (Wahlverwandschaften), Goethe discerned a geheime Verwandschaft (hidden relationship) of parts that explains how one form can transform into another form whilst being part of an underlying archetypal form (Ur-phänomen). It is this organizing idea or form that guides the consideration of the parts; it is a Bild or virtual image that "emerges and re-emerges from the interaction of experience and ideas"[3] This consideration is a special type of thinking (noetic ideation or denken) carried out with a different organ of cognizance to that of the brain (mentation or sinnen), one that involves an act of creative imagination, what Goethe terms "the living imaginal beholding of Nature" (das lebendige Anschauen der Natur). Goethe's nature (natura naturans, the activity of "nature naturing" – as distinguished from natura naturata, "nature natured", the domain of naturally formed objects) is one in constant flux and flow, but nonetheless governed by law, logic and intelligence above the mind. To approach vital nature requires a different cognitive capacity (denken) and cognitive organ (Gemüt) from that used to perceive inert nature (sinnen based on the Intellect or Sinn).
Hegel goes on to speak of his philosophical appropriation of the Urphänomen: “But may I now still speak to you of the special interest that an Urphänomen, thus cast in relief, has for us philosophers, namely that we can put such a preparation – with Your Excellency’s permission – directly to
philosophical use. But if we have at last worked our
initially oyster-like Absolute – whether it be grey or
entirely black, suit yourself – through towards air and
light to the point that the Absolute has itself come to
desire this air and light, we now need to throw open the
window so as to lead the Absolute fully out into the light
of day” (Hegel 1984: 699).Leaf operculum alone all others as a blessing creativity, vitality, hope and madness and more !!! Akasha is the aura of the Earth. physically. All trace continues to exist in the akasha of the Earth, which made the Egyptians say that we can survive through supports representing us (statuettes, photos, engravings, icons) and that gives the feeling to certain peoples that being photographed traps the soul ... it's partly true but not definitively. At each new galactic hour (every 25 600 years in human years), a reset of the akasha takes place. The next is scheduled for December 21, 2012. Getting back to work can be a good thing. Pilgrims of Heaven, we are! Good day. The Astral is another name to refer to the psyche (radiation of thoughts and human emotions) and the energetic aura (electromagnetic radiation) of the Earth for me. Etheric means spiritual energy of the higher consciousness planes tand qu 'energetic' refers to terrestrial and human radiation. The Paradise are the high parts of the astral, in these circles of purity are the teachings of the Ascended Masters. There are also portals to other dimensions of life here, on Earth in the 3rd dimension we are calibrated by a heart rate, a lunar rhythm, a terrestrial electro magnetic energy and the frequencies of human thoughts and emotions. All these frequencies reduce us condense us, lower us. We live at best on the frequency of our stomach (self-enhancement individualism and competition at worst on the frequency of our gut (withdrawal on the family, devaluation of self for the benefit of the local collective, war to defend its territory against invaders, aliens, energy racism) And when one is underdeveloped socially, one is based on the root chakra, connected to the spirit of survival, leads to mistrust vis-avis humans, with the need to live outside without social constraints like solitary wild animals (sdf and marginality chosen)
Jerry Yulsman - How to Take Glamour Photos
Whitestone Books 30, 1960
Color Ektachrome of Anita London by Jerry Yulsman
Joyce and Donald Richardson - The Sensual Marriage
Viceroy Books VP307, 1966
Cover design uncredited
"A modern couple's guide to SWINGING matriimony!"
A top-notch thriller by the author of "Psycho." Eddie Haines comes to Hollywood to work in television, but falls in with a blackmailing ring led by the sinister Professor Otto Hermann, Ph.D. Under the Professor's tutelage, Eddie becomes a phony self-help guru who collects secrets from wealthy clients in order to blackmail them. It’s a lucrative set-up for both men—until the day the Professor pushes Eddie too far...
[Summary from a recent "Hard Case Crime" edition of the novel]
The former tenant at my apartment (my sister-in-law Jess – It's a long story) left this taped to the corner of the refrigerator and I haven't taken it down. I needed the reminder today.
With the high speed hustle and bustle of the world we all live in today, it is easy to forget things; Where you put your keys, appointments, friends, epiphanies and even your Self.
It is an integral part of the finite existence to be able to forget and absorb yourself with what is going on around us. Opening up the space in our minds to maximise enjoyment, you don't think about bills when zooming down a zip wire do you? Can you imagine how limited and bound by thoughts we would be if we carried around with us everything we have been through? There would be no space for new experiences, new discoveries, and new people in our lives, at least to my interpretation!
It is through forgetting that we can go looking again, in places we have been before and discover more, learn more, see the things we missed first time around, opening up new avenues of discovery in the most unlikely places! (Which is where the magic always comes from!)
We can turn around and scorn ourselves for forgetting things, saying we should have known and done better, but it is through experiences like these we can fine tune our desires, and in turn better know our selves. For me this is very important as it's one of my personally interpreted keys of spirituality, that the main point of our existence here is to fulfill those desires. Fine tuning them can only lead to greater heights of happiness and accomplishment.
When it comes down to it, our collection of memories are nothing more than a wake to the present moment. A lot of people define themselves on their memories, which is why you encounter others who can be 'stuck in their ways'. To not forget is to breed prejudice, on all things big and small, to a certain degree this helps us live through life, not forgetting that a red man at the crossing means stop for instance! But with a Universe as broad and amazing as the one we live in, I feel it is important to look at each new day with fresh new eyes and to let the day slip through your fingers when it comes to an end, so as to never hold onto yesterday's old news, already ready for something new and untold.
Change is the only constant, and nobody ever knows it all.
MYTO helps educate community members about HIV/AIDS and promotes safer sex. Average life expectancy in the slum is only 37 years, owing in large part to the high incidence of HIV.
selfhelp and guide books, sneakers, concrete, paint.
Denkmal für Unsicherheit. Selbsthilfe- und Ratgeberbücher, Turnschuhe, Beton, Farbe.
TWLOHA ♡
recovering, three months <3
live healthy, dream, create, explore, learn, achieve greatness, be proud of yourself, be grateful, give thanks, breathe, inspire, discover, grow, be happy, smile, cry, laugh, forget, forgive, do not regret, be unique, find yourself. Love Yourself.
The pictures a little grainy :/ It was more about the message and less about photo quality.
This is humble request not to misuse or commercially use the image as it may hamper the Disabled Artiste interest.
Painter - Manjibhai L. Ramani by his mouth.
MFPA - Mouth and Foot Painting Artists (Supporting Handicapped Artists since 1956)
MFPA believes in Rehabilitation through their Art.
The partnership of the Mouth and Foot Painting Artists takes pride in not being a charity but a self-help organisation of seriously disabled artists, belonging to the worldwide Association of Mouth and Foot Painting Artists. Its members have all learned to draw and paint with the brush held in the mouth or between the toes as they lost the use of their hands.
Please no pity, but respect for their work, is the demand of the artists.
The formation of the Associations in 1956 gave all members the opportunity to completely support themselves through the sales of their paintings reproduced as cards, calendars and other items.
Their work is offered to you on artistic merit and value for money considering the way the designs have been painted. If the work is liked and one wish to purchase, then it will help them to gain the self - respect that comes from earning the living and finding financial independence for life and creative self - fulfilment.
Indian Office:
Mouth and Foot Painting Artists (India)
A-401 Dipti Classic,
Suren Road, Andheri (East),
Mumbai, Maharashtra, India.
Pin Code: 400 093
E-mail: contact@imfpa.co.in
Phone: +91 (22) 4009 8877
Fax: +91 (22) 4009 8899
This is humble request not to misuse or commercially use the image as it may hamper the Disabled Artiste interest.
Peter Tompkins and Christopher Bird - The Secret Life of Plants
Avon Books 19901, 1974
Cover Artist: unknown
"A fascinating account of the physical, emotional, and spiritual relations between plants and man."
Self-help LP for children by Dr. Maxwell Maltz, who is well-meaning, but this looks pretty creepy! Maltz was a famous plastic surgeon who wrote the book Psycho-Cybernetics, which is also an LP: flic.kr/p/My1qsJ
Today I made a mistake on the lesson I just acknowledged yesterday. Thankfully the repercussions of this lesson are not as bad as it could have been. I took note of my inner voice speaking to me when it told me to take care of something, but I addressed other things rather than what was pointed out to me and ended up having my wallet stolen. I don't have enough evidence to file a police report against the people who have done it, but I know where I had placed my wallet and I know that I wouldn't have easily misplaced it.
I did all the smart things like file a loss of possession with the Police and what not. I'm glad I handled this situation far better than I anticipated, it being the first time I've had this kind of situation happen to me. I'm also thankful that nothing more was taken, as well as, I pray that the people who took it have a need for the cash that was in my wallet. One other lesson I'm going to take from this is pronounced in Mathew 6:14-15.
"For if you forgive other people when the sin against you, your heavenly Father will also forgive you. But if you do not forgive others their sins, your Father will not forgive your sins."
Also, when your gut speaks - it comes first over anything else. Good Night.