View allAll Photos Tagged Transcends
My good friend, and constant source of inspiration, Joel, asked me if I'd like to step in and participate with the Coca-Cola Project here on flickr. Obviously, you don't turn down an invitation like that!
Coca-Cola is one of those companies that transcends the product itself (super delicious cola, in case you've been living under a rock somewhere), and for most of us, has become something more. For me, thinking of Coca-Cola instantly takes me back to childhood, when I would drink icy cold Coke out of glass bottles at my grandparents' house, while examining the collectable (vintage!) Coca-Cola tins displayed on their walls. Like a good song or a familiar smell, Coca-Cola is one of those things that can pop you right back into various moments throughout your life. And a brand that powerful can also help to inspire.
This month's theme in the Coca-Cola group is "create." For me, that meant breaking out the watercolors and letting myself drift back to the days of my childhood when painting was as natural and as fulfilling as just about anything else in life. What does Coca-Cola inspire you to create? Show us by posting your "create" images to the Coca-Cola Group here on flickr!
From Wikipedia:
Transcending is an arch sculpture and the Michigan Labor Legacy Landmark. It is located west of the entrance to Hart Plaza near the intersection of Woodward Avenue and Jefferson Avenue and was dedicated on August 30, 2003.
In 2000, the Michigan Labor History Society established a project to create a monument that would celebrate Michigan's contributions to the labor movement. Funding was obtained from the United Automobile Workers, AFL–CIO, and other civic and labor organizations. Sculptors were invited to enter a competition and submit sketches of their designs; 120 artists entered the competition. The selection committee chose Transcending, by David Barr from Livonia, Michigan and Sergio de Guisti, an Italian sculptor living in Redford Township, Michigan at the time of the sculpture's selection. The two steel arcs, the work of David Barr, stretch 63 feet (19 m) into the sky and weigh 30 short tons (27 t). Barr saw them as an elegantly stylized gear emerging from the ground. They are not joined and many assume that reminds viewers of the unfinished mission of the American labor movement. However, at night, a light projects from one of the arcs at its zenith to the other. The sculptors assumed that viewers would focus on that light. To them, this light symbolized the energy of workers.
At the base there are fourteen Vermont granite boulders, each 6 feet (1.8 m) in height. The bas reliefs on the boulders are the work of Sergio de Guisti. They are meant to symbolize the sacrifices and achievements of American workers. There are also more than a dozen plaques commemorating the accomplishments of the American labor movement such as the prohibition of child labor, free public school education and employer paid pensions and health care.
The monument stands close to where Martin Luther King, Jr. first gave his “I Have a Dream” speech on June 20, 1963, a speech that was repeated later that year at the Lincoln Memorial during the March on Washington for Jobs and Freedom. One of Dr. King’s phrases - “The arc of history bends toward justice” - is included in the sculpture.
Explore @#109
Copyright© GlennDulay / Glenn Wesley A. Dulay
This image is protected under the Kingdom of Bahrain and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
The esoterist sees things, not as they appear according to a certain perspective, but as they are: he takes account of what is essential and consequently invariable under the veil of different religious formulations, while necessarily taking his own starting point in a given formulation.
This at least is the position in principle and the justification for esoterism; in fact it is far from always being consistent with itself, inasmuch as intermediary solutions are humanly inevitable.
Everything which, in metaphysics or in spirituality, is universally true, becomes "esoteric" in so far as it does not agree, or does not seem to agree, with a given formalistic system or "exoterism"; yet every truth is present by right in every religion, given that every religion is made of truth.
This amounts to saying that esoterism is possible and even necessary; the whole question is to know at what level and in what context it is manifested, for relative and limited truth has its rights, as does the total truth; it has these rights in the context assigned to it by the nature of things, which is that of psychological and moral opportuneness and of traditional equilibrium.
The paradox of esoterism is that on the one hand "men do not light a candle and put it under a bushel", while on the other hand "give not what is sacred to dogs"; between these two expressions lies the "light that shineth in the darkness, but the darkness comprehended it not". There are fluctuations here which no one can prevent and which are the ransom of contingency.
Exoterism is a precarious thing by reason of its limits or its exclusions; there arrives a moment in history when all kinds of experience oblige it to modify its claims to exclusiveness, and it is then driven to a choice: escape from these limitations by the upward path, in esoterism, or by the downward path, in a worldly and suicidal liberalism. As one might have expected, the civilizationist exoterism of the West has chosen the downward path, while combining this incidentally with a few esoteric notions which in such conditions remain inoperative.
Fallen man, and thus the average man, is as it were poisoned by the passional element, either grossly or subtly; from this results an obscuring of the Intellect and the necessity of a Revelation coming from the outside. Remove the passional element from the soul and the intelligence (remove "the rust from the mirror" or "from the heart") and the Intellect will be released; it will reveal from within what religion reveals from without.
[This release is strictly impossible-we must insist upon It-without the cooperation of a religion, an orthodoxy, a traditional esoterism with all that this implies.]
This brings us to an important point: in order to make itself understood by souls impregnated with passion, religion must itself adopt a so to speak passional language, whence dogmatism, which excludes, and moralism, which schematizes; if the average man or collective man were not passional, Revelation would speak the language of the Intellect and there would be no exoterism, nor for that matter esoterism considered as an occult complement.
There are here three possibilities: firstly, men dominate the passional element, everyone lives spiritually by his inward Revelation; this is the golden age, in which everyone is born an initiate.
Second possibility: men are affected by the passional element to the point of forgetting certain aspects of the Truth, whence the necessity (or the opportuneness) of Revelations that while being outward are metaphysical in spirit, such as the Upanishads.
[Such a Revelation has a function that is both conservative and preventive, it expresses the Truth in view of the risk of its being forgotten; It consequently also has the aim of protecting the "pure" from contamination by the "impure", of recalling the Truth to those who run the risk of going astray by carelessness.]
Thirdly: the majority of men are dominated by passions, whence the formalistic, exclusive and combative religions, which communicate to them on the one hand the means of channelling the passional element with a view to salvation, and on the other hand the means of overcoming it in view of the total Truth, and of thereby transcending the religious formalism which veils it while suggesting it in an indirect manner. Religious revelation is both a veil of light and a light veiled.
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Frithjof Schuon: Understanding Esoterism (from Esoterism as Principle and as Way)
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Image:
Beatus de Facundus illuminated manuscript - Illustration for Revelation 1:1-3
1 The revelation from Jesus Christ, which God gave him to show his servants what must soon take place. He made it known by sending his angel to his servant John, 2 who testifies to everything he saw—that is, the word of God and the testimony of Jesus Christ. 3 Blessed is the one who reads aloud the words of this prophecy, and blessed are those who hear it and take to heart what is written in it, because the time is near.
Typically, in the pleasure gardens of Kashmir, the garden site is at the lower elevation of a hill, between the hill and the lake. It is not accidental that this particular location is the perfect place from which spectacular views of the regional space of the valley are revealed: to one side the mountain at the back, on the other, the lake view. Towards the lake, the visual link between garden and valley is marked by the flow of water in that direction and the progression of terraces downwards with the grand chinars on either side. These direct the eye away from the details of the garden to the extended lake panorama and hills beyond. The garden celebrates the beauty of the valley. It transcends its visible physical limits, and the internal space engages dramatically with the larger setting.
Transcend Lighting, just lasted for a view second. Luckily that I had my camera at hand! ;-)
©2012 Chris Renk⎜All Rights Reserved
"My heart, i owe you my soul
Will you please accept
Please accept this offer (it's over)
This is all for you
Transcend"
Dredg: Ode to the Sun
Exif data:
Single exposure
Exposure: 0.6 sec
Aperture: f/16
Focal Length: 17 mm
ISO Speed: 100
Filter: Lee Filters (0.9 hard)+Singh ray (0.9 rgnd)
Post Process:: LR4.2 - 90%+ CS4 10%
"Pantai Jeram is a small beach about 18km south of Kuala Selangor town, along the coastal road to Klang just before Pantai Remis. The sandy shoreline only extends for less than a few hundred meters before transcending to marsh, but is is quite clean and clear from litter with naturally peaceful surroundings. It lacks the frenzied atmosphere of Pantai Remis, including the market stalls, recreational activities and massive crowd, but is more famous between the two as a food destination for 'Ikan Bakar', a local dish of grilled fish and seafood. Two enormous restaurants perched themselves across the beach with a view of the sea; Aroma Ikan Bakar and Medan Ikan Bakar Jeram." - From www.kualaselangor.info/pantai-jeram.htm
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.
Near the center of the park is a concrete, saddle-shaped monument that covers a cenotaph holding the names of all of the people killed by the bomb. The monument is aligned to frame the Peace Flame and the A-Bomb Dome. The Memorial Cenotaph was one of the first memorial monuments built on open field on August 6, 1952. The arch shape represents a shelter for the souls of the victims.
The cenotaph carries the epitaph 安らかに眠って下さい 過ちは 繰返しませぬから, which means "please rest in peace, for [we/they] shall not repeat the error." In Japanese, the sentence's subject is omitted, thus it could be interpreted as either "[we] shall not repeat the error" or as "[they] shall not repeat the error". This was intended to memorialize the victims of Hiroshima without politicizing the issue, taking advantage of the fact that polite Japanese speech typically demands lexical ambiguity in the first place. The epitaph was written by Tadayoshi Saika, Professor of English Literature at Hiroshima University. He also provided the English translation, "Let all the souls here rest in peace for we shall not repeat the evil." On November 3, 1983, an explanation plaque in English was added in order to convey Professor Saika's intent that "we" refers to "all humanity", not specifically the Japanese or Americans, and that the "error" is the "evil of war":
The inscription on the front panel offers a prayer for the peaceful repose of the victims and a pledge on behalf of all humanity never to repeat the evil of war. It expresses the spirit of Hiroshima — enduring grief, transcending hatred, pursuing harmony and prosperity for all, and yearning for genuine, lasting world peace.
Perhaps unsurprisingly, the ambiguity of the phrase has the potential to offend; some right-wing circles in Japan have interpreted the words as an admission of guilt—implicitly reading it as "we (the Japanese people) shall not repeat the error"—and they criticize the epitaph as a self-accusation by the Japanese empire. In July 2005, the cenotaph was vandalized by a Japanese man affiliated with the Japanese right.
Created with RNI Films app. Preset 'Fuji Fortia SP v.2'
Conceptual portrait of me and my sister. We are so linked yet so different, even opposites at times. As far as the picture itself, I am trying to learn everything I can and then withhold only what is good for my photography. I feel that too much manipulation can lead to "witticism" rather than true art. We've all seen levitations, expansions, layered photos and so on. We've seen them and we thought it was cool, we wondered how they had been done and a lot of the emotion comes from that too. But, let alone a bunch of images which manage to transcend, we are stuck with a mere exercise, a "mannerism" in images. One of the first photographers I discovered on Flickr is Alexander Stoddard. I think he is one of the very few who can actually use anything and make it into something new, true and vibrant (because, it needs to be said, he too was influenced by many before him). So, after being lost in his world for a couple of days I realized there was an actual trend on Flickr. People imitating people (Shaden, Stoddard, Aniela etc): I saw a million lightbulbs, thousands of self-photographers half naked and covered in mud, flocks of fake birds and butterflies in every corner of a picture, cotton clouds and tornadoes.
Now, don’t get me wrong. I think manipulation is a means like any other and it can be used as much as one wants. I adore Alex Stoddard’s work and it would not exist without Photoshop. And I also think that stealing (or being inspired by someone) is absolutely necessary in art.
The same thing goes for Literature and Poetry but it applies to all kind of art, photography included. To draw my conclusion, I’d like to share a passage that T.S. Eliot wrote:
One of the surest tests [of the superiority or inferiority of a poet] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.
Sorry for the long post. If you have any thoughts on this topic, I’d really like to know them. Have a nice day!
"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! :)
TRADITON AND ANTITRADITION
291. Tradition means a handing over: the handing over of a supertemporal circle of principles here in time.
292. Tradition is the atemporal thrown into temporality.
293. Knowledge of the origin, knowledge of the path, knowledge of the all-transcending, ultimate goal: this is metaphysical tradition.
294. Tradition springs forth from the eternal, points at the eternal, and in the human modality of being represents the aspiration towards the eternal.
295. Metaphysical tradition is at the same time solar and polar: polar for though it appears in the earthly-human sphere, yet it is of heavenly origin and for this reason its origin is not subject to the whirlpool of existence (samsara), it is solar for the powers characteristic of my self-awareness which provide the rule of the auton are present in it.
296. There is only one primordial tradition for there is only one metaphysics, and there is only one metaphysics for there is only one being.
297. Tradition can never be identified simply with metaphysical doctrines or with symbology bearing a doctrinal value, and even less with the archaic documents that present these. Tradition is the total acceptance of a world and the total denial of another.
298. Metaphysically speaking, tradition is nothing other than »remembrance«, and the bearing of the connection with the origin. Modernity, however, is not only the lack of this »remembrance«, but at the same time the denial of this metaphysical »remembrance« and aims at the destruction of every kind of representation of remembrance.
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
1. Light Seekers, 2. Untitled, 3. bouquet on the front stoop, 4. Floating pink, 5. There are many ways to be free. One of them is to transcend reality by imagination, as I try to do., 6. Untitled, 7. 184/365, 8. yep., 9. on the edge of 46, 10. hello, mama, 11. Poppy fields, 12. Heart of the matter, 13. riot, 14. Vespa love, 15. rinsed, 16. Untitled, 17. Zuko!, 18. colorful pheasant, 19. Untitled, 20. come fly with me, come fly, come fly away, 21. Untitled, 22. A bouquet, 23. “One soul passes through the other, frail as smoke And utterly ignorant of the way it took.”, 24. ... and on the line they go., 25. ~ summer breeze ...
Nearly back…
HKD
Spirit of the Crow
The crow is a guide
From one dimension to another
From there to here
From vision to reality
Its spirit empowers a shamans’ flight
HKD
I wanted to combine darkness and light - upperworld and underworld and show the borderline between the two worlds.
Mit diesem Bild möchte ich drei Aspekte und Ebenen verdeutlichen: Bewusstsein – Jenseits und Diesseits. Jenseits und Diesseits werden von Bewusstsein generiert. Daher liegt in dieser Montage das Licht als Basisbild unten. Darauf gedoppelt in Lila ist die geistige Dimension, das „Traumland“ oder „Jenseits“. Als drittes liegt das Diesseits oben auf. Es ist die finale Verdichtung des Geistes, oder die Verkörperung.
In diesem Bild sind alle drei Dimensionen gleichzeitig sichtbar gemacht, was der letztendlichen Einheit auch entspricht.
HKD