View allAll Photos Tagged Transcendent
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mood in music:
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outfit:
Violent Seduction - Megaera @ EQUAL10 til MAR 5
accessories:
CODEX_NEFTI CROWN
make-up:
Cake Inc.: Spotted Blusher (Strawberry) @ Collabor88 til MAR 6
Cake Inc.: Spotted V4 Highlighter @ Collabor88 til MAR 6
.euphoric Gloomy Eyes
Lisa Walker TRANSCENDENT EYES (Shadow)
hair:
Foxy - Chibi Hair
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pose:
STUN - Anim Pack Collection Bento 'Bobochada' #50 -- Pose 2
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My picture here just 'happened' and I love it. As soon as I saw it in the camera, I knew this was it.
For me, it brought to mind the saying "Beauty is in the eye of the beholder". In other words, what I think is beautiful, you may not. In essence, there's a literal meaning - that the perception of beauty is subjective - what one person finds beautiful another may not.
In researching the word I learned that it was Margaret Wolfe Hungerford (née Hamilton) who wrote many books, often under the pseudonym of 'The Duchess', who first wrote the actual line in 1878 "Beauty is in the eye of the beholder". Even before that, however, 16th century author William Shakespeare said "Beauty is bought by judgement of the eye, Not utter'd by base sale of chapmen's tongues". Then Benjamin Franklin in Poor Richard's Almanack, 1741, wrote: "Beauty, like supreme dominion, is but supported by opinion." David Hume in his Essays, Moral and Political, 1742, wrote "Beauty in things exists merely in the mind which contemplates them."
To make things even more interesting, it seems the saying was known as far back as the 3rd century BC in Greece. Whoever thought that researching just one word could bring up so much interesting information?
Every mind is of trillion deviations
from that world that remain the same
today and ever before
The sun rose, the birds called,
You and me rushed out to ' this' world
Just one day, 'our' world began
The sun set, the birds came homeward
You and me will slip out of this world,
Just one day, our world died
'Self ' in the lap of nature's bounty,
out in the world of happiness and joy
today and ever before .
- Anuj Nair
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© 2010 Anuj Nair. All rights reserved.
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Contact : www.anujnair.net
________________________________________________
© 2010 Anuj Nair. All rights reserved.
All images and poems are the property of Anuj Nair.
Using these images and poems without permission is in violation of international copyright laws (633/41 DPR19/78-Disg 154/97-L.248/2000). All materials may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any forms or by any means,including electronic, mechanical, photocopying, recording without written permission of Anuj Nair. Every violation will be pursued penally.
standing on the ice at sunrise, Lake Michigan, Upper Peninsula, Michigan - December 19 2024
-notes-
If you ever get a chance to stand on an iced over body of water, do it. It's otherworldly. The sounds of a monumental force beneath your feet ebbing and flowing, making the rocks crack and ice groan, echoing across the surface, is a little bit transcendental.
It was a rewarding close to a long hot Alberta Summer day with an enchanting sunset on a calm lake near Calgary.
You know those moments that just feel transcendent? This was one of them, with the deer, the slight fog, the dusk...
Ours is a rich, decadent, spiritually exhausted civilization. The sickness of the modern West comes from our having cut ourselves off from the source of enchantment. That is the belief that all life has ultimate, transcendent meaning, given to us by God, and that we can live in palpable, participatory relationship to that meaning. Recovering this belief, and making it not just a proposition we affirm in our heads but an embodied way of life, is the most urgent task facing us today.
-Rod Dreher, Living in wonder : finding mystery and meaning in a secular age / Rod Dreher.
The first snow whispers to the mountains that winter is here. Sometimes the seasons transition gently...sometimes the seasons collide in a fury...but the transcendent beauty of the Tetons is always constant. ❄️
*Thank you so much for your interest in my work. I greatly appreciate it.
ONCE again Philippe thank you for the texture.
A vida é um psicodelismo, nos é que nao percebemos que levamos tudo muito a serio e de repente, a idade chega e nao aproveitamos o tempo em que a saude superava o dinheiro e a gente podia tomar sorvete, comer de tudo e ficar acordado ate tarde.
Ai ficamos serios e o realismo toma conta da gente e quando tentamos acordar de nossos sonhos ja é tarde, a morte nos esperando de braços abertos, com muito choros e depois lembranças, mas ate que com a chegada da internet, a gente pode pedir alguém para pagar anualmente uma tarifa e o povo que fica pode assim lembrar da gente, das besteiras e das coisas loucas que deixamos a mente transcendenter para o papel, coisas dos nossos sentimentos, caóticos, biopiticos (ou miopiticos) que eu queria dizer, ou quem sabe, capaz de despertar nos sábios uma coceira mental.
É isso ai, falei falei e nao falei nada.
Boa noite.
NYC, 12/21/2017
existential joy…
life's impertinent quaver
between stone and sky
Twenty-second in the series ‘Wild Bonsai’, this tree is fifty-five inches (1.4m) in height and perhaps 750 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (1.5m) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
This is the previously posted image of the light refracted through a globule of river ice, rotated and symmetrically copied twice to reveal this visually intense image. The complex symmetrical geometry could be seen as a conceptual vision of the divine consciousness manifest in the structure of the universe and the transcendent dimensions of reality.
www.instagram.com/lightcrafter.artistry
Lying here, beneath the stars, I think: no matter who you are, where you are on Earth, we look up to the same night sky. Our eyes are drawn upward in wonder of the vast, luminous meadows of space that our spherical mote of dust, beloved planet Earth, lazily drifts through. Though we inhabit different areas of this planet, we are united in our primal, transcendent connection to the stars above. Looking up to the stars, feeling lost in the vastness above me, I feel a euphoric chill run up my body, my mind humming with an elevated awareness of myself and my place in the cosmos, and I like to think of someone else, somewhere, doing the exact same thing at that moment; far away, yet united in our shared human experience.
All images © 2017 Daniel Kessel.
All rights reserved
From a recent morning full of glorious conditions at Padley Gorge in the Peak District. This place as a magical feel at all times, but it was positively transcendent on this particular day.
Twenty-third in the series ‘Wild Bonsai’, this tree is fifty-six inches (1.4m) in height and perhaps 1500 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (1.5m) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
Kyoto, Japan. Diptych.
My heart is always with the Mavericks. In German they are called "Einzelgänger" - someone who walks without company.
A beautiful and mesmerizing voice sounds beyond the abstract veiled curtain of branches and tully fog. What a transcendent moment as I stand to witness the morning and magic.
Merry Christmas and a Happy New Year!! May the New Year reveal new visions, purpose and meaning to your photo life!
metaphysics @ red light district
Installation 'THE BODY OF LIGHT' - Immersive environment
by Margareta Hesse
Freezing Fog in Dockey Wood, Ashridge Forest, Hertfordshire, England. This wood is a place of contrasts - in the summer it is filled with bluebells, in the winter it is damp, cold and bleak.
© 2016 ukgardenphotos
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(Just so you know: I have an abiding - and of course irrational - affection for this tree. Not just because to me she signifies an Indigenous maiden ceremoniously welcoming home the first salmon, but because she once welcomed me in the most sweetly ingenuous way possible.)
*****
Seventeenth in the series ‘Wild Bonsai’, this tree is sixty inches (1.5m) in height and perhaps 2000 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (158cm) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
*in explore
My first visit to Arches National Park was punctuated by incessant driving rains. The locals were jubilant while I was petulant. Nonetheless, I was determined to see Arches and see it, I did. It seemed I had the entire park to myself and each time the rain clouds parted the Canon was firing in celebration! This image is the result of one such parting.
adj. *Nocturnal
1. belonging to or active during the night
2. of or during or relating to the night
3. of or relating to or occurring in the night
Nocturnal Stillness, Kennebunkport, Maine, USA.
PixQuote:
"Sometimes it's the air, sometimes it's the smell. Sometimes it's the sound of water, sometimes it's the stillness. It's tapping into the transcendent, and teaching your heart to see it, and making your eyes and hands express it that creates transcendent paintings."
-Gil Dellinger
.............and I believe it applies to photography also!
Tenth in the series ‘Wild Bonsai’, this tree is sixty inches (152cm) in height and perhaps 800 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (158cm) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
Somewhere in southwestern Washington
A little archive diving from July 15, 2004
COPYRIGHT 2004, 2023 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
DSC07268-Edit-2500
Fifteenth in the series ‘Wild Bonsai’, this tree is forty-eight inches (1.2m) in height and perhaps 1000 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (158cm) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
What can a pencil do for all of us? Amazing things. It can write transcendent poetry, uplifting music, or life-changing equations; it can sketch the future, give life to untold beauty, and communicate the full-force of our love and aspirations.
Adam Brown
Que signifie la notion de «puissance d'être» qui joue un grand rôle dans la théologie de Tillich? Elle est, d'abord, puissance de résister au non-être, et de le dominer. Ensuite, elle rend compte du fait que Dieu est vivant, non pas identité statique et figée, mais dynamisme. Enfin, elle est puissance, à la fois transcendante et immanente, qui agit dans les êtres, et non pas sur eux, du dehors.
[André Gounelle]
What does the notion of "power of being", which plays a great role in Tillich's theology, mean? It is, first of all, a power to resist non-being, and to dominate it. Second, it reflects the fact that God is alive, not static and fixed identity, but dynamism. Finally, it is a power, both transcendent and immanent, which acts in beings, and not on them, from the outside.
Eighteenth in the series ‘Wild Bonsai’, this tree is fifty inches (1.3m) in height and perhaps 400 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (158cm) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
*in explore
Twenty-fifth in the series ‘Wild Bonsai’, this tree is thirty-eight inches (0.96m) in height and perhaps 350 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (1.5m) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.
*in explore
“Contemplative wisdom is then not simply an aesthetic extrapolation of certain intellectual or dogmatic principles, but a living contact with the Infinite Source of all being, a contact not only of minds and hearts, not only of ‘I and Thou,’ but a transcendent union of consciousness in which man and God become, according to the expression of St. Paul, ‘one spirit.’”
-Thomas Merton, Essay “The Contemplative Life in the Modern World,”
another image that has such a vibe for me...
www.flickr.com/photos/21491133@N02/3486430785/in/set-7215...
maybe something with coastal colors?=)
www.flickr.com/photos/21491133@N02/3883136743/in/set-7215...
or something in blue w/ rays
This is 3 exposures blended together using my advanced Photoshop tonality control and multiple exposure blending techniques. I produced a video detailing these techniques, it's available here: www.zschnepf.com
This was probably the most transcendent moment of my life. I had just spent 4 days camping on the top of of this ridge in the Mount Hood National Forest. I hadn't seen a single person the whole time, and had a lot of time to think. I weathered 3 days of intense snow storms and very cold temperatures, but on my last day I woke to this awe inspiring scene. It was so peaceful, I could feel the tranquility flow through me. Every time I see this image I get a sense of how I felt that morning. For that reason, it is one of my favorites.
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On this day two years ago we drove from St. George Utah to Zion National Park. The weather was perfection and as we entered the park all we did was gasp at the unbelievable beauty. Of course I heard a lot about this park and even seen photos but to actually be there is a whole different feeling. It is a transcendent experience. We spent many magical hours there, took a zillion photos and were very sad to finally have to leave, but felt blessed that we had been given the opportunity.
Excerpt from brainproject.ca:
For artist Kyong Boon Oh, each of her artworks represents her journey of life, walking one step at a time. Life is a pilgrimage. Transcendent end is hidden in our own depths, waiting for the chance to occupy a conscious moment. She tries to be in the moment through putting herself in the position of labour-intensive repetition in a very slow and meditative manner. This process clarifies her mind and releases her from the ambiguity of life. For Kyong, this sculpture is like a newly-discovered road, which is intertwined in complexity, but in order.
L'artiste britannique Hush crée des œuvres surprenantes mêlant graffiti, collage et techniques mixtes, dans lesquelles il donne vie à une figure traditionnelle japonaise : la geisha. Mélanger les nouvelles techniques avec la tradition peut être risqué, mais les portraits de l'artiste , visibles dans les rues et dans les galeries d'art en Asie, en Europe et aux États-Unis, transcendent les barrières.
Classé parmi les « 20 meilleurs artistes émergents » de 2016 par The Independent, Hush est né à Newcastle, en Grande-Bretagne. Aujourd'hui, il vit et travaille à Newcastle. Il a étudié le graphisme à la Newcastle School of Art and Design pendant 5 ans.
Sa technique s'est perfectionnée au fil de ses voyages, il s'inspire des graffitis et du tag, des murs des villes couverts d'affiches, des mangas et de la pornographie japonaise. Hush maîtrise parfaitement l’art du « layering », la superposition de techniques, mais aussi celui des esthétiques contrastées. Il superpose des peintures en aérosol, des sérigraphies et des encres, produisant un effet de collage ; les surfaces noires, blanches et argentées sont mises en valeur par des couleurs vives et pop.
This poem could be about memory and how it effects the consciousness. Video can mean memory or personal history or our reality.
The flying Egrets can be the transcendent moments in our experience. They are ethereal like down but they are also magical like a flock of egrets.
The black mountain could be the tragedy and traumas of our life. They can cast a pall over all our experience or they can be a distant backdrop destined to turn back to green over time.
Like a surfer navigating a very slow-moving break, the Creosote Bush bides its time and knows exactly when to drop into the swell, Mesquite Dunes, Death Valley National Park, California.
Following a transcendent night out in the dunes star-gazing and photographing the Milky Way, the ripples revealed at sunrise were almost equally fascinating. I visited the Great Sand Dunes in the San Luis Valley a couple of weeks ago, and the smaller scale of the Mesquite Dunes is quite a different photographic experience in comparison. There are more plants scattered amongst the latter as well, probing the sand many meters down for hidden moisture.
It is snowing in Boulder as I write this, and the heat of last April in the desert is but a memory.
Twenty-first in the series ‘Wild Bonsai’, this tree is sixty inches (1.5m) in height and perhaps 1700 years old.
'Wild Bonsai' is a numbered collection of photos of naturally occurring bristlecones (p. longaeva) generally less than five feet in height (1.5m) and - as nearly as I can estimate - between fifty and five-hundred years old - some much older. Most will have sprouted and survived in tiny cracks and crevases or miniature basins of sand and gravel. Shaped by the elements, flourishing tenaciously in the most minimalist of conditions, their lives are measured not in the millennia of more robust bristlecones, but in centuries...often mere decades.
'Duality', the cover photo for this album, is to me a matriarch of sorts and will remain unnumbered as a small token of a deeply intuitive and unapologetic respect that remains as transcendent and mysterious to me as it may seem odd to others. The essay that accompanies 'Duality' could, in many ways, apply as well to any other tree I may post in this series.
A perspective: Housed in the Tokyo Imperial Palace, the fifth oldest living cultivated bonsai in the world is something over 500 years old and is a designated National Treasure of Japan.