View allAll Photos Tagged TRANSCENDING
Nicole Linkletter - JNTM 3 - Yi Peng Lantern Festival
Placement: FCO!
I know it's a little sloppy but whatever. I really like the use of colors and lighting here. It took me literally ages to find a body before I finally decided on this one. I know it's from ANTM but I've never seen it used before so I hope that will help me out. IDK I just really like the effects and idk why it looks kinda low quality but my pics always kinda do that so I guess I just accept it now. Hoping for FCO! ;p
Oh, and I'm open to constructive criticism, but I not going to change it, just letting you know in advance.
"The Ghost's Leavetaking"--Sylvia Plath
"Enter the chilly no-man's land of about
Five o'clock in the morning, the no-color void
Where the waking head rubbishes out the draggled lot
Of sulfurous dreamscapes and obscure lunar conundrums
Which seemed, when dreamed, to mean so profoundly much,
Gets ready to face the ready-made creation
Of chairs and bureaus and sleep-twisted sheets.
This is the kingdom of the fading apparition,
The oracular ghost who dwindles on pin-legs
To a knot of laundry, with a classic bunch of sheets
Upraised, as a hand, emblematic of farewell.
At this joint between two worlds and two entirely
Incompatible modes of time, the raw material
Of our meat-and-potato thoughts assumes the nimbus
Of ambrosial revelation. And so departs.
Chair and bureau are the hieroglyphs
Of some godly utterance wakened heads ignore:
So these posed sheets, before they thin to nothing,
Speak in sign language of a lost otherworld,
A world we lose by merely waking up.
Trailing its telltale tatters only at the outermost
Fringe of mundane vision, this ghost goes
Hand aloft, goodbye, goodbye, not down
Into the rocky gizzard of the earth,
But toward a region where our thick atmosphere
Diminishes, and God knows what is there.
A point of exclamation marks that sky
In ringing orange like a stellar carrot.
Its round period, displaced and green,
Suspends beside it the first point, the starting
Point of Eden, next the new moon's curve.
Go, ghost of our mother and father, ghost of us,
And ghost of our dreams' children, in those sheets
Which signify our origin and end,
To the cloud-cuckoo land of color wheels
And pristine alphabets and cows that moo
And moo as they jump over moons as new
As that crisp cusp toward which you voyage now.
Hail and farewell. Hello, goodbye. O keeper
Of the profane grail, the dreaming skull."
Please watch complete video on Vimeo
Finally, my first video shot with much hyped Canon 5D Mark II. This candid video was shot at Arambol beach, Goa. I shot it for 2 evenings between 5-6pm. Nothing was planned. I wanted to take a break and see what I can shoot with 5D. This is what I got. All the people seen in this video were being themselves and enjoying their time. I was mesmerized seeing their performances and I couldn't resist capturing their joy! It's all hand-held cinematography and no post-processing involved.
5D? Yup, it lived up-to expectations! I had a tough time carrying the bulky cam with 70-200 f2.8 and focusing it manually.
Special thanks to my friends Rohit Kamarthi for introducing this location... Balu Reddy for carrying my camera bag while I was running around to capture the performances. :)
I have a new reason to visit Goa next time! :)
The enchanting Lorelei rest her hand on the walls of the WW II Memorial in a moment of transcending reflection. Washington DC, 5 August 2017.
Merry Christmas and Happy New Year each and everyone of my wonderful contacts and friends on flickr. Extra warm thoughts to some though...
For me it's time to go easy on editing and uploads for at least a couple of weeks now.
See you later!
/Thomas
strängnäs_20081221_0033_alt1
A small section of my piece for the upcoming Futurism 2.0 show in London.
GEOGRAPHY
3' x 4' x 2"
Enamel on Wood
2' x 3' x 2"Enamel on Wood
For the Leave the Beef at the BBQ show that was recently at Guerrero Gallery in San Francisco
⊱ Today was the birth of a new angel! Welcome home Arymer and congratulations Abi! We wish you both the best on your new angelic journey.
⊱ ¡Hoy fue el nacimiento de un nuevo ángel! Bienvenida a casa Arymer y felicidades Abi! Les deseamos a ambas lo mejor en su nuevo viaje angelical.
This is my first HDR with my new camera. This one was a 5 exposure HDR (-2, -1, 0, +1, +2). When I decide to make an HDR I really try to keep things looking as realistic as possible. Ideally, if I didn't tell anyone it was an HDR, I would hope no one would be able to tell.
I was inspired by photos I've seen of people balancing stones. I figured I'd try it with coffee beans. This is very cool On Black.
Any feedback for this one?
in memories and reveries, the elements of our lives combine and re-combine in an endless proliferation of images and sense impressions... allowing us to transcend the boundaries of time and space...
may all travelers find joy!!
jeanne
scanned, assembled and altered images of november reveries
november 30, 2006
From Wikipedia, the free encyclopedia
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For the album by The Creatures, see Anima Animus.
The anima and animus are described in Carl Jung's school of analytical psychology as part of his theory of the collective unconscious. Jung described the animus as the unconscious masculine side of a woman, and the anima as the unconscious feminine side of a man, each transcending the personal psyche. Jung's theory states that the anima and animus are the two primary anthropomorphic archetypes of the unconscious mind, as opposed to the theriomorphic and inferior function of the shadow archetypes. He believed they are the abstract symbol sets that formulate the archetype of the Self.
In Jung's theory, the anima makes up the totality of the unconscious feminine psychological qualities that a man possesses and the animus the masculine ones possessed by a woman. He did not believe they were an aggregate of father or mother, brothers, sisters, aunts, uncles, or teachers, though these aspects of the personal unconscious can influence a person's anima or animus.
Jung believed a male's sensitivity is often lesser or repressed, and therefore considered the anima one of the most significant autonomous complexes. Jung believed the anima and animus manifest themselves by appearing in dreams and influence a person's attitudes and interactions with the opposite sex. A natural understanding of another member of the opposite sex is instilled in individuals that stems from constant subjection to members of the opposite sex. This instilment leads to the development of the anima and animus.[1] Jung said that "the encounter with the shadow is the 'apprentice-piece' in the individual's development ... that with the anima is the 'masterpiece'".[2] Jung viewed the anima process as being one of the sources of creative ability. In his book The Invisible Partners, John A. Sanford said that the key to controlling one's anima/animus is to recognize it when it manifests and exercise our ability to discern the anima/animus from reality.[3]
Contents
1Origin
1.1Anima
1.2Animus
2Levels of anima development
2.1Eve - Object of desire, provider of nourishment, security and love
2.2Helen - Worldly achiever, intelligent and talented
2.3Mary - Righteous and a paragon of virtue
2.4Sophia - Wise and fully human, equal and not at all an object
3Levels of animus development
3.1Tarzan - Man of mere physical power
3.2Byron - Man of action or romance
3.3Lloyd George - Man as a professor, clergyman, orator
3.4Hermes - Man as a spiritual guide
4Anima and animus compared
5Jungian cautions
6References
7Further reading
8External links
Origin
Anima
Anima originated from Latin, and was originally used to describe ideas such as breath, soul, spirit or vital force. Jung began using the term in the early 1920s to describe the inner feminine side of men.[4]
Animus
Animus originated from Latin, where it was used to describe ideas such as the rational soul, life, mind, mental powers, courage or desire.[5] In the early nineteenth century, animus was used to mean "temper" and was typically used in a hostile sense. In 1923, it began being used as a term in Jungian psychology to describe the masculine side of women.[5]
Levels of anima development
Jung believed anima development has four distinct levels, which in "The psychology of the transference" he named Eve, Helen, Mary and Sophia. In broad terms, the entire process of anima development in a man is about the male subject opening up to emotionality, and in that way a broader spirituality, by creating a new conscious paradigm that includes intuitive processes, creativity and imagination, and psychic sensitivity towards himself and others where it might not have existed previously.[citation needed]
Eve - Object of desire, provider of nourishment, security and love
The first is Eve, named after the Genesis account of Adam and Eve. It deals with the emergence of a man's object of desire. The anima is completely tied up with woman as provider of nourishment, security and love.
The man at this anima level cannot function well without a woman, and is more likely to be controlled by her or, more likely, by his own imaginary construction of her. He is often impotent or has no sexual desire.[citation needed]
Helen - Worldly achiever, intelligent and talented
The second is Helen, an allusion to Helen of Troy in Greek mythology. In this phase, women are viewed as capable of worldly success and of being self-reliant, intelligent and insightful, even if not altogether virtuous. This second phase is meant to show a strong schism in external talents (cultivated business and conventional skills) with lacking internal qualities (inability for virtue, lacking faith or imagination).[citation needed]
Mary - Righteous and a paragon of virtue
The third phase is Mary, named after the Christian theological understanding of the Virgin Mary (Jesus' mother). At this level, women can now seem to possess virtue by the perceiving man (even if in an esoteric and dogmatic way), in as much as certain activities deemed consciously unvirtuous cannot be applied to her.[citation needed]
Sophia - Wise and fully human, equal and not at all an object
The fourth and final phase of anima development is Sophia, named after the Greek word for wisdom. Complete integration has now occurred, which allows women to be seen and related to as particular individuals who possess both positive and negative qualities. The most important aspect of this final level is that, as the personification "Wisdom" suggests, the anima is now developed enough that no single object can fully and permanently contain the images to which it is related.[citation needed]
Levels of animus development
Jung focused more on the man's anima and wrote less about the woman's animus. Jung believed that every woman has an analogous animus within her psyche, this being a set of unconscious masculine attributes and potentials. He viewed the animus as being more complex than the anima, postulating that women have a host of animus images whereas the male anima consists only of one dominant image.
Jung stated that there are four parallel levels of animus development in a woman.[6]
Tarzan - Man of mere physical power
The animus "first appears as a personification of mere physical power - for instance as an athletic champion or muscle man, such as 'the fictional jungle hero Tarzan'".[7]
Byron - Man of action or romance
In the next phase, the animus "possesses initiative and the capacity for planned action...the romantic man - the 19th century British poet Byron; or the man of action - America's Ernest Hemingway, war hero, hunter, etc."[8]
Lloyd George - Man as a professor, clergyman, orator
In the third phase "the animus becomes the word, often appearing as a professor or clergyman...the bearer of the word - Lloyd George, the great political orator".[8]
Hermes - Man as a spiritual guide
"Finally, in his fourth manifestation, the animus is the incarnation of meaning. On this highest level he becomes (like the anima) a mediator of...spiritual profundity".[9] Jung noted that "in mythology, this aspect of the animus appears as Hermes, messenger of the gods; in dreams he is a helpful guide." Like Sophia, this is the highest level of mediation between the unconscious and conscious mind.[citation needed] In the book The Invisible Partners, John A. Sanford said that the key to controlling one's anima/animus is to recognize it when it manifests and exercise our ability to discern the anima/animus from reality.[3]
Anima and animus compared
The four roles are not identical with genders reversed. Jung believed that while the anima tended to appear as a relatively singular female personality, the animus may consist of a conjunction of multiple male personalities: "in this way the unconscious symbolizes the fact that the animus represents a collective rather than a personal element".[10]
The process of animus development deals with cultivating an independent and non-socially subjugated idea of self by embodying a deeper word (as per a specific existential outlook) and manifesting this word. To clarify, this does not mean that a female subject becomes more set in her ways (as this word is steeped in emotionality, subjectivity, and a dynamism just as a well-developed anima is) but that she is more internally aware of what she believes and feels, and is more capable of expressing these beliefs and feelings. Thus the "animus in his most developed form sometimes...make[s] her even more receptive than a man to new creative ideas".[11]
Both final stages of animus and anima development have dynamic qualities (related to the motion and flux of this continual developmental process), open-ended qualities (there is no static perfected ideal or manifestation of the quality in question), and pluralistic qualities (which transcend the need for a singular image, as any subject or object can contain multiple archetypes or even seemingly antithetical roles). They also form bridges to the next archetypal figures to emerge, as "the unconscious again changes its dominant character and appears in a new symbolic form, representing the Self".[12]
Jung's theory of anima and animus draws from his theory of individuation. In order for a person to reach the goal of individuation is to engage in a series of intrapersonal dialogues which help the person understand how he or she relates to the world. This process requires men and women to become aware of their anima or animus respectively, in so doing the individual will learn how not to be controlled by their anima or animus. As individuals are made aware of their anima or animus, it allows them to overcome thoughts of who they ought to be and accept themselves for who they really are. According to Jung, individuals can discover a bridge to the collective unconscious through the development of their anima or animus. The anima and the animus represent the unconscious. The anima and animus are not gender specific and men and women can have both, however, more empirical research is required to determine whether both men and women do possess both archetypes. [13]
Jungian cautions
Jungians warned that "every personification of the unconscious - the shadow, the anima, the animus, and the Self - has both a light and a dark aspect....the anima and animus have dual aspects: They can bring life-giving development and creativeness to the personality, or they can cause petrification and physical death".[14]
One danger was of what Jung termed "invasion" of the conscious by the unconscious archetype - "Possession caused by the anima...bad taste: the anima surrounds herself with inferior people".[15] Jung insisted that "a state of anima possession...must be prevented. The anima is thereby forced into the inner world, where she functions as the medium between the ego and the unconscious, as does the persona between the ego and the environment".[16]
Alternatively, over-awareness of the anima or animus could provide a premature conclusion to the individuation process - "a kind of psychological short-circuit, to identify the animus at least provisionally with wholeness".[17] Instead of being "content with an intermediate position", the animus seeks to usurp "the self, with which the patient's animus identifies. This identification is a regular occurrence when the shadow, the dark side, has not been sufficiently realized".[17]
References
Ewen, Robert B. (2003). An Introduction to the Theories of Personality. Taylor & Francis. p. 66. ISBN 9780805843569.
Jung quoted in Anthony Stevens On Jung (London 1990) p. 206
Sandford, John A. The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships, 1980, Paulist Press, N.Y.
"The definition of anima". www.dictionary.com. Retrieved 2018-05-31.
"The definition of animus". www.dictionary.com. Retrieved 2018-05-31.
Jung, Carl. The Psychology of the Unconscious, Dvir Co., Ltd., Tel-Aviv, 1973 (originally 1917)
M.-L. von Franz, "The Process of Individuation" in Carl Jung ed., Man and his Symbols (London 1978) p. 205-6
von Franz, "Process" p. 205-6
von Franz, "Process" p. 206-7
von Franz, Process p. 206
von Franz, Process p. 207
von Franz, Process p. 207-8
K., Papadopoulos, Renos (2012). The Handbook of Jungian Psychology : Theory, Practice and Applications. Taylor and Francis. ISBN 978-1-135-48078-3. OCLC 817888854.
von Franz, "Process" in Jung, Symbols p. 234
C. G. Jung, The Archetypes and the Collective Unconscious (London 1996) p. 124
C. G. Jung, Alchemical Studies (London 1978) p. 180
Jung, Alchemical p. 268
Further reading
The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships by John A. Sanford (Paperback – Jan 1, 1979).
External links
Archive for Research in Archetypal Symbolism website
Sample image with scholarly commentary: Hall of the Bulls at Lascaux
Jung on the anima and animus
vte
Carl Jung
Theories
Analytical psychologyCognitive functionsInterpretation of religionPersonality typeSynchronicityTheory of neurosis
Concepts
The psyche
Anima and animusCollective unconsciousComplexElectra complexInner childPersonal unconsciousPersonaSelfShadow
Jungian archetypes
ApolloTricksterWise Old Man and Wise Old WomanWounded healer
Other
Active imaginationEnantiodromiaExtraversion and introversionIndividuationParticipation mystique
Publications
Early
Psychology of the Unconscious (1912)Psychological Types (1921)Modern Man in Search of a Soul (1933)
Later
Psychology and Alchemy (1944)Aion: Researches into the Phenomenology of the Self (1951)Answer to Job (1954)Mysterium Coniunctionis (1956)
Posthumous
Memories, Dreams, Reflections (1961)Man and His Symbols (1964)Red Book (2009) Seven Sermons to the Dead (1916)Black Books (2020)
The Collected Works
of C. G. Jung
Psychiatric Studies (1970)Experimental Researche (1973)Psychogenesis of Mental Disease (1960)Freud & Psychoanalysis (1961)Symbols of Transformation (1967, a revision of Psychology of the Unconscious, 1912)Psychological Types (1971)Two Essays on Analytical Psychology (1967)Structure & Dynamics of the Psyche (1969)Archetypes and the Collective Unconscious (1969)Aion: Researches into the Phenomenology of the Self (1969)Civilization in Transition (1970)Psychology and Religion (1970)Psychology and Alchemy (1944)Alchemical Studies (1968)Mysterium Coniunctionis (1970)Spirit in Man, Art, and Literature (1966)Practice of Psychotherapy (1966)Development of Personality (1954)The Symbolic Life (1977)General Bibliography (Revised Edition) (1990)General Index (1979)
People
Jungfrauen
Marie-Louise von FranzBarbara HannahJolande JacobiAniela JafféEmma JungToni Wolff
Colleagues
Sigmund FreudMaria MoltzerWolfgang PauliSabina SpielreinVictor WhiteRichard Wilhelm
Followers
Joseph CampbellJames HillmanErich NeumannMaud OakesJordan PetersonLaurens van der PostSonu ShamdasaniJune SingerAnthony Stevens
Houses
Bollingen TowerC. G. Jung House Museum
Organizations
Bollingen FoundationC. G. Jung Institute in ZürichEranosInt'l Assoc. for Analytical PsychologyInt'l Assoc. for Jungian StudiesJungian Society for Scholarly StudiesPhilemon FoundationPsychology Club Zürich
Popular culture
A Dangerous MethodSynchronicity (albumsong 12)Shadow ManThe Soul KeeperPersona (series)Soul
Other
Archetypal literary criticismArchetypal pedagogyBollingen PrizeBurghölzliI ChingThe Secret of the Golden Flower
Commons page CommonsWikiquote page WikiquoteWikisource page Wikisource texts
en.wikipedia.org/wiki/Anima_and_animus
Jung and the idea of androgyny in human beings
Like all archetypal Jungian representations the anima, in which Jung was interested before the animus, is so named because it emanates from an inner image, an image in the soul, unlike the persona which is a exterior image.
Jung, in The Roots of Consciousness (p. 42.) gives a biological explanation for the fact that there is some kind of residue of the character of the opposite sex:
“The image of the opposite sex resides, to some extent, in each sex, since biologically it is only the greater number of male genes that tips the scales in the choice of male sex. The smaller number of female genes appears to constitute a female trait which, however, usually remains unconscious due to its quantitative inferiority. "
It is on this presence of the two elements male and female that he bases his idea of the androgyny of the human being.
This idea of the androgyny of the human being is rooted in the biological and in the conscious-unconscious psychic totality. The unconscious would then have the coloring of the opposite sex. How to recognize and make accessible to experience the manifestations of this archetype?
This is one of the subjects on which Jung is least clear. However, with many digressions on the general functioning of the psyche, he gives us indications in several guide books of which we will retain Dialectics of the Self and the Unconscious, The Roots of Consciousness, Aion, and Transference Psychology.First coined by famous psychiatrist Carl Jung, the terms “Anima” and “Animus” refer to the indwelling masculine and feminine energies that we all possess. Specifically, the anima is thought to be the feminine part of a man’s soul, and the animus refers to the masculine part of a female’s soul. Both the anima and animus are ancient archetypes (or raw forms of energy) that every being contains.
Let’s explore these parts of us more in depth …
The Anima Explained
Derived from Latin meaning “a current of air, wind, breath, the vital principle, life, soul,” the Anima refers to the unconscious feminine dimension of a male which is often forgotten or repressed in daily life.
As it’s generally considered taboo to embrace the inner female side, men often fail to fully embody and embrace this fundamental energy. Sadly, if a male does embrace his Anima, he is often criticized as being “a wimp,” “a sissy,” “a fag,” and other horribly derogatory names.
However, in the perspective of psychology, in order to fully step into a mature masculine role, a man must go on a quest to explore this inner Divine Feminine energy. In other words, he must unite with the other half of his Soul.
Often, this quest results in some sort of projection, that is, trying to find the ideal lover or soul mate in the form of another idealized person. But we can never embody the Anima through another person – only through our own concerted effort. The key realization here is that we must find this force within us, rather than disown it onto another.
As described by Jungian Psychologist Dan Johnston, the man who has connected with his feminine Anima displays “tenderness, patience, consideration and compassion.” However, repression of the female element within males often results in a negative Anima that emerges as personality traits such as “vanity, moodiness, bitchiness, and sensitivity to hurt feelings.”
Indeed, a man who has failed to embody his Anima also tends to fall prey to emotional numbness and toxic masculine traits such as aggression, ruthlessness, coldness, and a purely rational approach to life.
The Animus Explained
The Animus, which is a Latin word that means “the rational soul; life; the mental powers, intelligence,” is the unconscious male dimension in the female psyche. Due to societal, parental, and cultural conditioning, the Animus, or male element within the woman, is often inhibited, restrained, and suppressed.
But the Animus isn’t always repressed – sometimes, it is actually over-emphasized and imposed upon women. Take Western society for example. Here is a culture that ruthlessly imposes masculine ideals such as stoicism, emotional numbness, and ruthlessness as ways to excel and succeed in life.
All of these external elements can contribute towards a negative Animus, which can reveal itself in a woman’s personality through argumentative tendencies, brutishness, destructiveness, and insensitivity. However, integrating a positive Animus into the female psyche can result in strength, assertiveness, levelheadedness, and rationality.
« (…) Ce sera moi, il faut continuer, je ne peux pas continuer, il faut continuer, je vais donc continuer, il faut dire des mots, tant qu’il y en a, il faut les dire, jusqu’à ce qu’ils me trouvent, jusqu’à ce qu’ils me disent, étrange peine, étrange faute, il faut continuer, c’est peut-être déjà fait, ils m’ont peut-être déjà dit, ils m’ont peut-être porté jusqu’au seuil de mon histoire, devant la porte qui s’ouvre sur mon histoire, ça m’étonnerait, si elle s’ouvre, ça va être moi, ça va être le silence, là où je suis, je ne sais pas, je ne le saurai jamais, dans le silence on ne sait pas, il faut continuer, je ne peux pas continuer, je vais continuer. » - Samuel Beckett, L'Innommable
"We cannot be contained within the limits of a rigid bye-nary. Our essence is fluid, it is beyond the two. It is all and none."
Inspired by Thou's transcending duality, amazing boundary shattering artists and creators
TodaysArt 2015
Pier, Scheveningen
Vladimir Grafov – Wavefront Zero
Vladimir Grafov studied physics and mathematics in Moscow, and moved to the Netherlands in 1989, where he became actively involved in the Amsterdam art scene. Grafov combines his artistic approach with scientific research and technological expertise to create new forms of immersive experiences. His current focus is on expanding the boundaries of perception and transcending the audience into the altered reality of pure form, color and sound. Grafov carries out technological, psychological and philosophical research, to focus on the relation between art, science and spirituality. His aim is to develop new applications for existing and emerging technologies as well as developing new forms of audience involvement.
Grafov presents the newly commissioned piece ‘WAVEFRONT Zero’. It starts off with the sea coast being defined by a perfectly straight line of light being interrupted only by waves, as the wavefront is in constant turbulent motion. Grafov uses laser as an optical method to visualise the flow in fluid waves. By marking a zero level as if making an incision in the sea, the work reveals the dynamic forces of the wind and sea streams beneath the Pier. The green wavefront even appears like (artificially) glowing plankton.
Zoro Feigl – Kite Flock
Zoro Feigl lives and works in Amsterdam. He graduated from the Rietveld Academie, Amsterdam and the Hoger Instituut voor Schone Kunst, Gent. The installations of Zoro Feigl seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere. Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-celled creatures, primitive organisms, are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you. Zoro Feigl’s work has been shown internationally at various exhibitions, including the National Art Museum of China, Galeria de Arte do SESI Sao Paulo, Artplay Moscow, A+B Contemporary Italy, 0gms Sofia, Verbeke Foundation Belgium, Kulturhuset Stockholm, Self Surface Stuttgart, Black Door Istanbul and several institutes in the Netherlands such as Stedelijk Museum Schiedam, MU, DordtYart, Het Nieuwe Instituut, W139, Art et Amicitea and Fons Welters. He has curated several exhibitions, has been a part of De ServiceGarage and is a founding member of Kafana. The large scale installations by Zoro Feigl seem to be alive, bringing to mind single-cell creatures, primitive organisms. Feigl follows the laws of physics, but he tries to balance between what mechanics itself brings and what he can do with a minimal gesture to display the aesthetics of technical mechanisms. For TodaysArt, he will perform his ‘Kite flock’, a cloud of kites that swarm around one another like spermatoza or fireflies. Entangled to ropes in a branching structure the kites are constantly in a tug of war creating odd movements
3' x 4' x 2"
Enamel on Birch
This is the piece I did for the Futurism 2.0 show at Blackall Studios, London
"Transcender"
Termas de La Hedionda.
Nuestro último viaje (con Gianella) empezó con termas y acabó con termas, como buscando el abrazo calentito de la Madre Tierra, en invierno.
Esto fue hace un par de semanas, antes de regresar a casa, en las termas de La Hedionda en Málaga, de las que ya hablé aquí. También dejé caer que estuvimos en las termas de Alhama de Granada, al comienzo del viaje, de las que alguna foto pondré.
En cuanto a esta foto, buscando siempre un punto de vista diferente, según voy sintiendo la energía del lugar. Muchas gracias Giane por tener "culpa" de ello.
Hacía mucho tiempo que no me desnudaba, literalmente, para una foto, como es conocido en mi. Menos conocido es, que más me desnudo cuanto más a gusto me siento (metáfora). Tengo otras fotos metido en esa poza, y solo se me ve la cabeza, pero hoy me siento "cómodo", para enseñar más, jajaja!
Pd: Una cosa está clara, La Hedionda transciende!! 😉
Y ahora, con el corazón en un puño, os dejo con el texto del video anterior...
"En el ser humano hay una problemática, no puede soportar tanta verdad.
En consecuencia, como el ser humano no puede soportar tanta verdad, el sistema mental se sitúa en una "zona de seguridad".
Los místicos tienen un gran problema, quieren saber la verdad.
Como quieren saber la verdad, están totalmente disociados de la sociedad, porque la sociedad no vive en la verdad, vive en una sistema tenebroso de seguridad.
En consecuencia el místico, es como un loco en la sociedad, no lo entiende nadie. Porque en realidad como la sociedad está loca, tiene que calificar de locos a los que están cuerdos en serio. Pero es la sociedad la que está loca, y desplaza la locura al que ve la realidad.
Si usted ve profundamente la realidad, usted está muy marginal en la sociedad.
El problema del místico es que llega a vivir una doble vida: está tan conectado con la esencia, que le parece que el mundo es todo mentira, y es mentira, pero tiene que vivir el mundo como si fuera verdad, por lo tanto es complicadísima la vida del místico, porque tiene que vivir una vida que sabe que es mentira, y tiene en el interior que vivir una verdad que no se la puede contar a nadie."
The study below was derived from facts uncovered while doing research
for the following Doctoral dissertation:
Light to the shadows of their mind:
Criminal tactics and strategies
Criminology Department Dept.
Chatwick University
**************************** Story ***************************
A full moon peeks through the heavy fall clouds, its rays transcending down and bathing in a soft light, the over grown, untended, remains of what once had been a proper English garden. Its soft rays catch the old moss roses, lilacs, and various other old growth flowers, their once still vibrant colours faded now that the fall is approaching.
But something still is vibrant here, brightly flashing a colourful fire as it moves along an old flagstone path.
Two feminine figures in fancy dress move guardedly along the path, gown and jewels are the source of the added fiery colours now caught by the full harvest moon’s rays. The rustle of satin is heard as a long, slinky gown sweeps along the leaf littered flagstone path at the spiked heels of its owners feet. Soft voices carry in murmurs as they walk, breaking up what, until a few minutes, ago had been the hushed silence brought upon by the notice of the pair by the gardens inhabitants.
The twosome finally reaches an old garden shed, its weather-beaten door half ajar, broken remnants of glass still hang in its front window; some ancient, rusty tools still lay up along its side wall. As they stand there the younger one suddenly jumps, giving a little gasp. What is it dear? her companion asks sweetly. She looks into her companions’ deep mesmerizing brown eyes, someone is moving along that path over there, on the other side of the pond. Mother said that no one should be outdoors on this side of town, she add, worry now creeping up on her. The older woman turns her head abruptly, I see him, you had better wait her, and I’ll make sure that whoever it is will not bother us.
A cop on his beat is seen walking along the outer path that lines the old garden leading to the manor house at the opposite end of what is now an inner city block. He jumps a little as a figure steps out of the mist that has now started to spread from a small pond the he is walking by.
Mae looks back at the garden shed that now sits back in the woods a little ways; her youthful companion’s colourful gown is vibrant against the faded walls of the shed. She turns away and looks at the copper walking towards her, unaware as of yet that he is no longer alone. Mae walks out of the mist and onto the sidewalk, noticing with satisfaction that she has startled him. She approaches and walks past the stern copper, as she does Mae tosses his way the sorta glance that she knew would pique the coppers natural distrust, making him turn to follow and see what mischief was going on!
Her long hair streaming down her back, creating a halo in the moonlit garden, her shimmering long jeweled earrings sway gently, watches as her companion walk up to the figure on the path. She is suddenly self-aware of how she is dressed, and how vulnerable they are out here alone, away from the bright lights and safety of the manor they had left some ten minutes ago. She hopes the figure isn’t someone nasty who will harm her friend. Her back is to the old door of the shed. The clouds again cover the moon. The young girl shivers, though it really is not that cold out. Suddenly a quick shadow emerges, a hand is clasped over her mouth, another grabs her by her silky waist, and she is pulled struggling into the darkness of the shed, vanishing from sight like the moon above her. Gradually the night voices of the garden return, chirping, hooting, and such. But as for the garden shed, sounds are no longer heard from within…..
What Led to This?
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It had been the boys who had first spotted the ladies in colorfully long shiny gowns. Those gowns fluidly rustling along shapely figures crossing the street leading to ornate front doors of the old Hampton East club Mansion. But it had been their “sparklers” the glittering jewelry the ladies all seemed to be temptingly showing off, that had made their mouths wolfishly drool.
But, what they had seen when stealing peeks through slits in a velvet curtained window, had made them run to find Mae. They then breathlessly babbled on about the halfcocked, half-baked scheme they had dreamed up. “Even the young’uns had jools” they had excitedly told Mae. She figured that most of it was probably paste, who wears anything of value on the eastside she thought to herself. But just a glimmer of a possibility began to take seed, as she maternally continued to listen to the excited pair.
Mae decided to humor the pair of excitable petty thieves, she owed them some favors anyway, and Mae hated leaving a debt unpaid. Besides, business had been slow lately; it seemed that no one well to do these days need their fortune read. So, for no rhythm or reason other than to see what all the chatter had been about, Mae crashed the upscale event. She slipped inside through the large matching oak doors, without even a second glance from the pensioner guard wearing a loose uniform “manning” the entrance.
Mae was amazed, even she could not have predicted the marvelous displays of wealth, so tantalizingly close, and yet seemingly so far out of reach. Even the dangling “jools” worn with careless abandon by the “Young’uns” mostly 18 through 20 year olds, with a few 16 and 17 year olds peppered in among the multitude of guests, appeared to be the real McCoy!
Mae was also surprised that she had been able to get this far, and so had not even begun to think of ways to profit from the situation. A condition that was going to have to be quickly rectified Mae told herself. Itching to somehow lay her greedy hands on some of the expensive jewels she observed being beckoningly worn by the female guests in attendance. Like the royal appearing lady she was just now walking past. She was in an elegantly flowing purple gown, dripping in gems, especially the small diamonds that were glistening on the thin tiara that held up the rich girl’s luxuriantly long hair.
All in all, Mae was glad she had positioned the boys to wait in the old garden shed, promising it would be worth their while. Mainly Mae had wanted to keep them out of mischief, too avoid having them upset her apple cart, and it appeared to have been a canny move on her part, as she surveyed a young lady with a long flowing mane of hair sweeping by, causing Mae to perk up with interest.
So, it was still with no real purpose in mind yet, that Mae had started to shadow the fetchingly gowned young lady of about nineteen who was timidly working her way , weaving in and out amongst the groups of happily chatting guests. Mae’s desire was a closer scrutiny of the prettily dressed young girl’s savory fiery ruby jewelry, so enticingly slippery upon her sweat glistened figure.
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Mae had always been attracted to rubies ever since a poshly dressed young mother had wandered into the carnival sideshow that Mae had been working some years prior. Mae had been the first to try for a share of the young Mother’s dazzling jewelry after spying her predicament from the interior of her tent.
The obviously well-to-do young Mother had been unwisely left alone to tend to a colicky baby. Mae had forced herself on the wretched Mother, using the pretense of giving a helping hand. Unscrupulously, Mae had seized the opportunity to check along the young Mother’s thick satiny clothes for any valuables.
Passing up on a temptingly lovely, lengthy dangling pendent, Mae’s fingers instead whisked down along the slick long sleeve of the young mother’s arm, as all her attention was being given to the thrashing infant. Passing over a thick braided gold bracelet, Mae’s fingers darted to the young ladies’ left ring finger.
The harried Mother struggled to keep a tight hold on the silken clad infant squirming in her mother’s satin covered arms. As the thrashing child bawled, the mother, finding herself being handicapped by the long sleeved slippery satin blouse she wearing was unable to really pay attention to anything else going on around her. Therefore, Mae was easily able to slip off the invitingly large ruby and diamond engagement ring from the mother’s ring finger, conveniently tear moistened from the squealing infants sobbing.
Ring in hand, Mae then finally listened to the mother’s pleas she didn’t need any help, quit caressing down her tingling attire, and retreated to the dark depths of her tent to watch the rest of the drama unfold.
By the time the young mother had gotten her squalling infant daughter to sleep she had fended off about a dozen additional hands offering to help. Mae had watched with professional interest as some of those hands had cunningly been searching the young lady for anything of value…
Mae observed that the distracted mother’s pendent had been nicked next, easily unclasped and slipped away from the ruffled throat of her glossy blouse! Then, as the mother was bent over the baby’s stroller, her long dangling earrings (the pair!) had been whisked away from out of her long mane of straight hair. Soon followed in quick session by the jeweled pin from her satin ascot, her wrists thick braided gold bracelet, a gold pinky ring, and the contents of her velvet purse. Even the mahogany rattle, and silver pacifier had been plucked from the now sleeping infants hand and mouth as her mother’s shiny back had been turned while searching about for the her babies vanished ermine blanket. All in all a very masterful and complete plucking of the erstwhile pretty hen and her downy chick, Mae thought smugly, for nothing else had been as grand as the ruby ring that Mae had slipped off first.
Now, there were still occasions where Mae dared to wear the magnificent ring, but tonight, had decidedly not been one of those occasions.
(Editor’s note:
The incident Mae instigated at the Carnival was not an original part of her story line
It was actually lifted by our author based upon similar experiences of one Lady Eileen St’D , Surry 1910)
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Mae plotted a way to at least grab this girl’s attention for a closer look, and so she moved in such a fashion to make it a possibility. At the same time the nineteen year old turned her head away, her long hair swirling to behind her back as someone called out a name. Mae broke off her approach and stood nearby, filing away the girls name for future reference. (It had always amazed Mae that just knowing a person’s name could break down barriers and inspire confidence when a stranger used it. ) Mae watched as an older model of the young girl approached, dressed in a glossy satin gown of mint green and laden with shimmering emerald encrusted jewels. She stuck a finger under the girls nose. Mae followed it, the gold ring she was wearing of a serpent encircling her finger with bright emerald eyes, mystifying her.
The lady lectured her daughter on wandering off , especially when it was only her and her Auntie there to watch her. Mae saw the mothers eyes travel towards the regal lady in the purple gown and tiara. Losing interest Mae wandered off, not caring to hear the rest. She knew a blind alley when she saw one. She paused; she also recognized other quarry when she saw it… A lady wearing a flowing gown of red silk was standing off to one side. Shy and uncomfortable, she was the epitome of a Wall-flower, one who attracted little or no attention, or luck, unless it was of the unfortunately bad kind. One who Mae knew she would have to meet.
Mae walked up to her, and began a conversation. It started out uncomfortably, but Mae soon won her over, enchanting the edgy lady enough so that she actually, with a little hesitation, allowed Mae to pick up her palm: believing it was with the the intention of reading her fortune. As the girl was told that fortune, the mousey miss was totally caught under the enchantment of Mae’s eyes and sing-song way of speaking. Mae could see that she had captured the girl’s imagination as she wove her fortune telling around her like a spider would weave its silky web. Then, with delight, Mae saw a special gleam in the girl’s eyes that she knew all too well. A look she had seen before in previous clients, one that told her they were no longer completely caring of what was going on around them.
Mae ever so slightly tightens her grip on the palm she held. Than, with baited breath, Mae began to work a jeweled ring over the knuckle of a warm slender finger , her practiced eye watching the girls face for any sign that she was catching on to what Mae was up to! Mae smiled broadly as she had a habit of doing when one of her wicked schemes was coming to fruitation. The girl smiled impishly in response, totally misinterpreting what that smile stood for. Never in her wildest dreams would she have guessed what this nice lady: with the deep black eyes from which she could not pull away from, who was so pleasantly stroking her palms while telling her fortune so enjoyably, was smiling about! Nor did she have the slightest of inklings that her Grandmother’s pretty ring was going to vanish!
Mae suddenly felt a noticeable vibe wash over her, and she chanced a look around her. Along a back wall was a row of palm trees, in-between them were a series of small stone benches. A solo figure was walking along them, a slinky, long soft gown, fell flowing down to her feet. The figure of the girl whose name Mae now knew. Mae turned her full attention back to the task at hand, easily maneuvering her captive audience so that the wall was now in her full view. Over a silken shoulder Mae watched as the young miss made her slinky way into a powder room, disappearing with a muted swishing of her gown. . Suddenly Mae had an epiphany, realizing exactly how to ensnare the pretty little miss into her web, at the center of which dangled the old garden shed where there were debts to be paid!
Mae finished her “business” with the shy wall-flower, convincing her to go one her way now that her fortunes were assured to be taking a turn for the “better.” She moved off happily enough, glad that she had met the charming stranger, falling for Mae’s story hook, line and ring less finger!
Keeping an eye on the retreating lady as she swept away, Mae headed towards a stone bench that sat near the back exit leading to the old garden, a stone bench that was in a direct line to the approach that the young miss should be taking on her journey back from the powder room. Mae waited, and when she saw her victim open the door, she buried her hands in her face and acted like she was sobbing, all the while watching the girls approach through a crack made by her fingers.
The girl stopped, You okay Ma’am, she asked with genuine, childishly innocent, concern ( as Mae had predicted), Mae jumped like she had not noticed the girl, and looking up into her face, she called the girl by name, starting to spin a new web of deceit. The young miss offered Mae her embroidered silk handkerchief, which she gladly accepted, holding the girls well ringed fingers for a second showing her gratification. While “drying”her eyes, Mae went into her story full throttle; she knew there would not be much time.
The young miss, nervously looked around, as she played with her shiny necklace, holding it with slender ringed fingers , as she innocently listened to the captivating dark haired stranger. Mae, for a second blinded as the diamonds and rubies flashed in the light, smiled inwardly. Overly pretty teenage girls were so naïve and easy to manipulate, she thought, while weaving another , totally different type of story, then the one she had fed the flowing red silked wall flower.
Mae accurately interpreted the reveries of the young miss now in Mae’s clutches. Now under different circumstances the tale that Mae fed the girl would have not gotten her anywhere. But the fact Mae knew the girls name, knew how to make use of the exchange she had witnessewd between the girl and her mother, and also possessed some knowledge of what attracts a young ladies fancy, the circumstances worked wonderfully in her favor. Then, add in Mae’s fortune telling abilities, and the poor, beautifully adorned soul never stood a chance
Mae hit her with all the talent of a quick change artist. And soon Mae was had lured the girl into following her out the exit and walk with her out into the darkened garden. It happened quite literally before the young thing could catch her breath, or clearly think things through. She had totally fallen for the fortune teller’s fairy tale, and now believed she was aiding this lady in distress, as she believed Mae to be. The young miss, more than a little bewildered, walked obediently alongside Mae, under her dark spell, as they made their way ever closer to a seemingly quiet old garden shed.
Mae looked at the girl now walking next to her, innocently unaware of the fact that she had been led out here for one reason only. Totally oblivious to the fact that she now presented nothing more than to the seemingly sweet lady walking next to her than the value of her expensively flowing gown, the bright jewels she was wearing, and the contents of the small purse dangling by her side. Mae smiled to herself, knowing that in the greenhouse her two muggers would miss nothing, the young girls jewels, , fat silken purse, even the gown would all fetch a sweet price when peddled.
It was when they had reached that shed, that Mae’s captive companion had spotted the figure walking along the path by the pond. A figure that Mae knew she would m have to take care of, else risk having her carefully wrought plan fall to pieces…
Led to This:
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Mae looked back and smiled smugly at the copper hot on her heels. Someone is going to be in trouble for leaving his post she thought. Just a couple more blocks should give them enough time in the greenhouse, and then Mae would easily give this flatfoot the slip. Mae’s mind went deliciously back to what should now be happening to the luckless lady in the long shiny gown, and how much Mae’s cut of the take would amount to. It was too bad she would miss the boys at work; Mae did so enjoy watching a good mugging.
As Mae happily led the harness bull away from the garden she marveled over her good fortune, wondering over how things had worked to her benefit. As she did she found herself walking along a block populated with small pubs. At the end of which lay an alley which Mae was going to use as passage to slip away from the copper. By then he would then be safely away from the old gardens. Mae would than circle back. She knew the boys would be finishing their job, but she did not want them to leave without her. She was going to take personal possession of the girls most valuable items. There was no way she was going to trust the two nimble headed crooks with not being cheated out of a fair price for the girl’s jewels.
It was as she reached the alleyway and looked back that she realized the copper was no longer tailing her. She swore to herself, what had happened? She cautiously backtracked, looking into the windows of the pubs as she passed. She stopped at one she knew, one appropriately, in Mae’s mind, named the Hook and Fiddle. It was their that she spotted her lost cop, cradling a beer, and sitting next to tall man at a back table.
Mae headed back on her way. She indistinctively knew that the copper would be occupied for a while. Mainly because she knew the cut of man he was sitting next to. Renauld, a man whose hands touched everything from the rackets, extortion, blackmail, down to trafficking and kidnapping, Renauld, to whom Mae owed some personal favors.
As Mae reached the sidewalk where she had first met the copper, she hastened her step. It would not be long before the girl’s bejeweled mother would be noticing her daughter’s absence…… Mae suddenly stopped, freezing in her tracks. A slow grin spread across her appealing face.
The epiphany that had made Mae stop to think contained the seed of a plan, that was in her opinion, brilliant. The mother should have noticed her daughters absence, and what if someone ,Mae, were to find the wealthy , overbearing lady, as she searched and helpfully divulged to her just what her daughter had been up to. Sneaking off into the garden with a young man, of all the nerve…why I would bet the pair of them is inside the old garden shed in the back snogging away as we speak.
Mae, with a quick stop over at the shed to check on things, hurried back to the manor. And best of all she thought, licking her lips in savoring anticipation as she fine-tuned the story she would use, best of all…, Ladies of that ilk always travel in pairs…
40 minutes later:
Three shadowy figures emerge from an old dilapidated garden shed. Two run off carrying small bundles under their arms. A third follows, taking a look back inside, closes the door and walks almost serenely off in the opposite direction. Something glistens from a finger as the moon once again peeks cautiously from the dark clouds overhead.
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Addendum est
In a smoke filled pub that he owns, a man, wicked, is puffing on a long black cigar. He is seated alone at the back table where he has been holding court that late evening.
The door opens and a female enters. Looking neither left nor right she heads directly to the man’s table.
Wotcher, he says, with perhaps a trace of compassion in an otherwise traditionally unemotionally stern deep voice. He spots the ring she is wearing, a gold serpent enter twined around her finger, its arrow shaped head home to a pair of flickering green emerald eyes.
What fresh wickedness have you been up to this evening he asks her expectantly? Adding, even you shouldn’t be sporting something like that around this area.
Mae meets his gaze, knowing full well she had taken a risk wearing the ring. But she knew that she had to make use of it to gain Renauld’s interest quickly, If game, he would not have much time…..
For if Renauld took the bait, not only would Mae be squared with Renauld, but also probably now be in his debt. For as much a Mae loathed to be in debt to someone, she loved to be owed one……
Courtesy of Chatwick University Archives
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63 feet high, the "Transcending" sculpture in Downtown Detroit was created to help honor the contribution Labor Unions have made to Detroit. With a small gap in the top the sculpture (round, like a car gear ) the enclosure represents how far the Unions have come, and with the small gap at the top the fact that they will always have something to progress toward. The work of local sculptors David Barr and Sergio De Giusti, for more info please go here: www.thedetroiter.com/site/laborpage.html