View allAll Photos Tagged existential
Sometimes the water seems wide, impossibly so, stretching out like an endless mirror reflecting a surreal dreamscape where the horizon blurs and bends, where the water seems to hold the secrets of the universe in its glassy depths.
Image imagined in MidJourney AI and finished with Topaz Studio and Lightroom Classic.
The sun is a generous lord | It shares its light |
With all things Great or Small.
Straight out of the Camera. A camera is a receptacle of light. A photographer is a gatherer of light. A camera can capture infinite attributes and hues of light. Attributes and hues which can be manipulated but (perhaps) never enhanced by post processing on a computer. Personally I believe that a mild tweaking of exposure or white balance may be necessary at times but extensive processing sucks out the meditative and emotionally charged component of an image leaving behind something which is unreal and lifeless. To PP or not to PP? An existential dilemma which every photographer has to solve for him-her-self.
Finals are officially over for me, and now the hardest part is finding out whether or not I passed. I really am quite impatient about these things...
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Hasselblad 500c/m
Carl Zeiss Planar 80mm f/2.8 T*
Fujicolour Pro 160C
The Peak, Hong Kong
This image is of tombstones in a Confederate cemetery at the East flank of the Franklin Battlefield.
U.S. Major General George Henry Thomas's underling, Major General John Schofield, was first to confront Confederate Lieutenant General John Bell Hood and his army in Franklin, Tennessee. Franklin is where the Confederate Army of Tennessee experienced devastating losses after already losing Atlanta.
Although at the time he was busy back East fighting Robert E. Lee, Ulysses S. Grant, the commanding general of all U.S. military efforts, wrote in his memoir after the war about the Battle of Franklin in his typically understated mid-Western way: "The fight was very desperate and sanguinary. The Confederate generals led their men in the repeated charges, and the loss among them was of unusual proportions,” wrote Grant.†
Six thousand Confederate soldiers and six Confederate generals, some of the South's best, were killed at the Battle of Franklin.
It should be noted that Civil War generals typically designed and led troop maneuvers from the rear and not from the heated front of a deadly battle line. If a general was to be found in the front of a battle, it likely meant there was a big problem, an existential problem.
After the defeat of the Army of Tennessee at Franklin, Lieutenant General John Bell Hood, with his still quick and agile Confederate forces, would follow Schofield to Nashville, continuing the march towards arguably the greatest defensive general of the Civil War–slow and methodical Major General George Henry Thomas. Hood knew Thomas was there. He anticipated the battle against the renowned general in fortified Nashville.
The confrontation in Nashville, the capital of Tennessee that had fallen to the Union early in the Civil War, resulted in a coup de grâce, effectively destroying Hood's already handicapped army.
After the Civil War and having served two terms as President of the United States, Grant publicly reflected on the Confederate general's poor strategy at Franklin and Nashville: "If I had been in Hood’s place, I would never have gone near Nashville. I would have gone to Louisville, and on north until I came to Chicago. What was the use of his knocking his head against the stone walls of Nashville? If he had gone north, Thomas never would have caught him.”††
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†S. Grant, Ulysses. The Autobiography of General Ulysses S Grant: Memoirs of the Civil War (p. 351)
††Grant, Ulysses S.; Young, John Russell. Conversations with General Grant (p. 51)
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
Qi Bo's photos on Flickr Hive Mind
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.
In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.
Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.
The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.
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Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.
In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.
Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.
La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.
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Processione del Venerdì Santo a Leonforte (2023)
Venerdì Santo mattina (crocifissione)
Leonforte - Venerdì Santo 2012.wmv
Venerdì Santo - Leonforte (Enna)
venerdì santo 2022 rientro chiesa madre Leonforte
Traslazione Urna Gesù morto dalla matrice all'oratorio (Leonforte)
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Il Nome della Rosa (film 1986) TRAILER ITALIANO
Il nome della rosa (FILM 1986) TRAILER ITALIANO 2
IL NOME DELLA ROSA - IL MISTERO DELLA BIBLIOTECA
IL Nome della Rosa - Confessione di Frate Remigio
Era - In Fine - Nel nome della rosa - TelediscoArteVideo
Il Nome della rosa - Scena finale
Intervista a Umberto Eco sulla sua vittoria al Premio Strega 1981
Umberto Eco ''Odio 'Il nome della rosa', è il mio peggior romanzo''
The Name of the Rose Official Trailer #1 - Sean Connery Movie (1986) HD
The name of the rose - Did Christ laugh
The Name Of The Rose, Confession Remigio
Umberto Eco: Signs and Secrets | Introduction to The Name of the Rose's writer
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‘The stress of border crossings […] is hard to convey; it is on a cellular level. Even with the right passport, in plain daylight, with nothing to declare.’ (Kapka Kadsabova, Border: A Journey to the Edge of Europe, London: Granta, 2018, p. 311).
Kierkegaard, en bon père de l'existentialisme, place le "Soi" comme un impératif absolu, une tâche à accomplir, là où le bouddhisme voit une illusion à dissoudre.
Pour Kierkegaard, le désespoir est une rupture de synthèse : l'individu échoue à accorder son fini et son infini. Pour le bouddhisme, le désespoir est précisément de croire qu'il y a une pièce centrale (un Soi) à accorder.
Voici pourquoi mon intuition sur la Vacuité de la vacuité (4) est bien plus qu'une boutade :
1. Le choc des structures
* Kierkegaard : Le désespoir est de ne pas réussir à "être soi". Cela suppose qu'il existe un "Soi" authentique, une nature propre (Svabhāva) que l'on aurait perdue ou trahie.
* Les Vacuités (1 à 3) : Elles répondent que ce "Soi" est vide de substance. Chercher à "être soi-même", c'est courir après un mirage. Le désespoir ne vient pas de "ne pas être soi", il vient de la saisie d'un soi imaginaire.
2. La "Boutade" qui sauve : La Vacuité de la Vacuité
Pourquoi j'ai raison de citer la 4ème vacuité ?
Parce que si l'on devient un "fanatique du vide", on finit par nier l'expérience humaine. Si je dis "Je n'existe pas, donc ma souffrance n'existe pas", je crée un nouveau désespoir : le nihilisme.
* La Vacuité de la vacuité vient dire : "Même l'idée que le soi n'existe pas est vide".
* Cela redonne une liberté totale. On peut alors "jouer" à être soi-même sans y croire. C'est la Vie Tonale.
3. La synthèse de l'Opérateur (Le Soi comme Fonction)
En tant qu'Opérateur, on peut réconcilier Kierkegaard et le Bouddha ainsi :
Le désespoir, c'est de vouloir être un soi solide (le béton noir).
La santé (mon domaine professionnel), c'est d'être un soi fluide (le Rigpa).
Quand Kierkegaard dit "être soi-même", l'Opérateur entend : "Habiter pleinement le champ de sa propre vacuité". Ne pas être soi-même, dans notre Octave, ce serait refuser de laisser l'anxiété traverser, ce serait vouloir être "autre chose" que ce que le flux présente à l'instant T.
4. Le Désespoir comme "Friction"
Le désespoir de Kierkegaard est une friction immense entre ce que je suis (conditionné) et ce que je pense devoir être (idéal).
* La Vacuité est le lubrifiant. En réalisant qu'il n'y a pas de "Soi" à atteindre, la friction s'arrête. On "est" soi-même par défaut, parce qu'il n'y a rien d'autre à être.
Le mot du Zhi :
Kierkegaard a raison sur le plan de la souffrance humaine (le constat du malade). Le Bouddha a raison sur le plan de la structure (le remède).
La vacuité de la vacuité est le pont : elle nous permet d'être "soi-même" avec une légèreté totale, comme un acteur joue son rôle tout en sachant que les coulisses sont vides.
Pax-Urale.
Existential angst, anyone? This rock formation just 'screamed' Edvard Munch. (sorry, had to do it)
Does anyone else see it or am I losing it a little? I can't look at it without my mind's eye putting the hands up there holding the head.
This formation is also from the West Fork hike. I've got at least 4 more that I want to post from that hike.
I wanted to go hiking this morning and miss the mid-day sun, but Metallica tickets went on sale at 10 a.m. so I had to stay around for that. I'll probably go out here shortly and brave the heat. Lord knows I need to sweat off a few pounds. My goal was to lose weight in AZ but I've gained 4 freakin' lbs.!
See the entire series --> here.
So, the majority of the image is a long exposure I took a couple of years go. Vader was added via the dark side of Photoshop.
Blake's watercoloured etching The Ancient of Days
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turmarion.wordpress.com/2013/04/29/creation-vs-emanation/
The claim I want to make is that creation and emanation, though sometimes conflated, are very much different concepts.
The former emphasizes the separateness of the world from its Creator. Though God, by definition, would have had the world and everything in it eternally in mind, they still exist outside of God. God may be present in His cosmos metaphysically and by what the Orthodox would call His “energies“, and yet He is still existentially separate.
With emanation, the boundaries between God and His creation are much more blurred–more, in fact, than is commonly realized. In a sense, we are all part of God’s “dream”, which (God being eternal) has in a sense always existed. Not just us, however, but many, many other possibilities.
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Blake's watercoloured etching The Ancient of Days
In the mythology of William Blake, Urizen is the embodiment of conventional reason and law. He is usually depicted as a bearded old man; he sometimes bears architect's tools, to create and constrain the universe; or nets, with which he ensnares people in webs of law and conventional society. Originally, Urizen represented one half of a two-part system, with him representing reason and Los, his opposition, representing imagination. In Blake's reworking of his mythic system,
Urizen is one of the four Zoas that result from the division of the primordial man, Albion, and he continues to represent reason.
He has an Emanation, or paired female equivalent, Ahania, who stands for Pleasure. In Blake's myth, Urizen is joined by many daughters with three representing aspects of the body. He is also joined by many sons, with four representing the four elements. These sons join in rebellion against their father but are later united in the Last Judgment. In many of Blake's books, Urizen is seen with four books that represent the various laws that he places upon humanity.
Character
In Blake's original myth, Urizen, the representation of abstractions and an abstraction of the human self, is the first entity. He believes himself holy and he sets about establishing various sins in a book of brass that serves as a combination of various laws as discovered by Newton, given to Moses, and the general concept of deism, which force uniformity upon mankind. The rest of the Eternals in turn become indignant at Urizen turning against eternity, and they instill these essences of sin within Urizen's creation. This torments Urizen, and Los soon after appears. Los's duty within the work is to watch over Urizen and serve as his opposition.
In terms of Blake's Orc cycle, Urizen serves as a Satanic force similar to Milton's Satan. After Urizen defeats the serpent/Orc figure in the Garden of Eden story, the Orc figure, in the form of Urizen's son Fuzon, battles against him in a story based on Exodus. Urizen, as a pillar of cloud that hinders the Israelites in their journey home, battles against Fuzon, as a pillar of fire that guides them by night. Eventually, Urizen is able to destroy his rebellious son and impose laws upon the Israelites in the form of the Ten Commandments. This also leads to a death of the Israelite society, and the Israelites under Urizen are imprisoned in a similar manner to how they were under the Egyptians. Symbolically, the Orc cycle describes how Urizen and Orc are part of one unified whole, with Urizen representing the destructive and older essence while Orc is the young and creative essence.
Urizen from the front page of Copy G (c. 1818) of The Book of Urizen currently held by the Library of Congress (detail)
In Blake's later myth, Urizen is one of the four Zoas, the fourfold division of the central god. The other three represent aspects of the trinity and he represents the fallen, Satanic figure although he is also the creator figure. Among the Zoas, he represents the south and the concept of reason. He is described as what binds and controls the universe through creating laws. He is connected to his Emanation known as Ahania, the representation of pleasure, and he is opposed to the Zoa named Urthona, the representation of Imagination. His name can mean many things, from "Your Reason" or a Greek word meaning "to limit". Urizen originates in the beginning of Blake's version of Genesis. He was the entity created when a voice said that light should be born, and he was the fourth child of the characters Albion and Vala. He is said to represent the Heavenly host, but he experiences a Satanic fall in that he desired to rule. He is motivated by his pride and becomes a hypocrite. When Albion asks for him, Urizen refuses and hides, which causes him to experience his fall. After his fall, Urizen set about creating the material world and his jealousy of mankind brought forth both Wrath and Justice.
In the material world, he had Steeds and a Chariot of Day that were stolen from him by Luvah. This occurred because he, reason, sought to take over the Northern lands of Luvah, Imagination. After setting to take over Imagination, Luvah's stealing of the horses, which represented instruction, showed how emotion could dominate over reason. After Luvah falls and becomes Orc, Urizen tries to regain his horses but can only witness them bound. Eventually, the horses are returned to him after the Final Judgment.
Within the early works, Urizen represents the chains of reason that are imposed on the mind. Urizen, like mankind, is bound by these chains. Additionally, these works describe how Newtonian reason and the enlightenment view of the universe traps the imagination. The poems emphasize an evolutionary development within the universe, and this early version of a "survival of the fittest" universe is connected to a fallen world of tyranny and murder.
Urizen's daughters started as the children of light and are possible images of either the planets or of the stars. After his fall, they gain human form. Three of his daughters are Eleth, Uveth and Ona, which represent the three parts of the human body. Together, they also organize the waters of Generation, they are the creators of the Bread of Sorrow, and read from the Book of Iron. At the Last Judgment, they watch over Ahania. His sons are differently organised, in different poems: as Thiriel, Utha, Grodna, Fuzon, aligned with the four classical elements; or as twelve, aligned with the signs of the Zodiac, and builders of the Mundane Shell and seek to keep mankind from falling. In Blake's early myths, they dwell in various cities and do not abide by Urizen's laws; Fuzon directly rebels against Urizen, is able to cut Urizen's loins, and is crucified for his actions. In later versions of the children, they are wise and dwell with Urizen. They, with Urizen, fall after Luvah takes over Urizen's realm. After their fall, they are tortured in hell, and Urizen's creation of science is seen as his domination over them.
However, the four sons are placed in charge of Urthona's armies and rebel against Urizen's rule. During the Last Judgment, the sons get rid of their weapons and celebrate Urizen's return to the plow, and they join together for the harvest.
Urizen is described as having multiple books: Gold, Silver, Iron, and Brass. They represent science, love, war, and sociology, which are four aspects of life. The books are filled with laws that seek to overcome the seven deadly sins. He constantly adds to the works, even when he faces his opposition in Orc, but the books are destroyed in the Last Judgment. The Book of Brass sets forth Urizen's social beliefs that seek to remove all pain and instill peace under one rule. The attempt to force love through law encouraged the Eternals to put forth the Seven Deadly Sins that Urizen hoped to prevent. The Book of Iron was lost in the Tree of Mystery, and represents how Urizen can create wars but cannot control them.[ (Wikipedia)
Inspired by the great Jason Mott's book "The returned " about the return of the loved ones from the dead . Unfortunately the movie shot on the basis of this tragic , breathtaking , deeply emotional , existential novel turned out to be another banal thriller .
The idea , btw, had brought to life the creation of Martial Chronicles and Solaris...
Equipped with a Barron auto cannon (torso mounted)
A Barron anti infantry machine gun (arm mounted)
And is meant to combat infantry support armored infantry and defeat rogue jägers aka 7ft tall super soldiers as dangerous as a tactical nuke and as precise as a surgical scalpel.
Jägers are the best of the United Nations military command socom corps. Adept in combat and resourceful, jägers are practically a living weapon, and a existential threat that after the resent terrorist attack on the colony world of sernas, where a rogue jäger massacred over a thousand civilians before a jäger James 050 was able to stop him.
Made by davo mech works the JH-7070 or baryonyx will be tested for wide scale used by jäger James 050
Rovingian Existence as the Result of the Symbiosis Between Consciousness and Matter - The Lichen Metaphor by Daniel Arrhakis (2026)
Rovingian Existence as the Result of the Symbiosis Between Consciousness and Matter - The Lichen Metaphor
Rovingian animism, a non-theistic philosophical and spiritual perspective that redefines the relationship between being and environment. It proposes an absolute and unbreakable interdependence between consciousness and matter, where existence is only possible through this symbiosis and mutual exchange.
The Lichen Metaphor: Consciousness and Matter
Lichen is an excellent philosophical metaphor to illustrate existence as a symbiosis between consciousness and matter.
To understand this relationship, we can divide the roles of each element in this existential symbiosis:
The Fungus (Matter/Structure): In lichen, the fungus provides the physical structure, protection from the outside, and absorbs water and minerals. In existence, matter functions as the physical support, the body and brain, providing the tangible basis and the laws of physics that sustain life.
The Algae (Consciousness/Light): The algae perform photosynthesis, transforming sunlight into vital energy and food. In the analogy, consciousness is the force that captures the "light" of meaning, generating perception, subjective experience, emotion, and purpose from raw reality.
The Lichen (Experienced Existence): Without the algae, the fungus starves; without the fungus, the algae dries up and dies. Similarly, matter without consciousness would be a mechanical universe without witnesses; consciousness without matter would be pure abstraction without form or anchoring.
The "lichen" is our own existential life: a unified reality where both sides coexist.
This Rovingian animistic view presupposes:
- The Rejection of Cartesian Dualism: It breaks with the strict separation between mind (subject) and matter (object).
- Symbiotic Panpsychism: Suggests that consciousness is not a late byproduct of matter, but a fundamental component of the universe, walking side-by-side with the physical aspect from the subatomic level to complex biological systems.
- Phenomenology: Proposes that there is no "world out there" independent of a subject perceiving it; reality is always the living relationship between the observer and the observed.
Rovingian animism thus proposes a dualism of a double aspect or symbiotic panpsychism and the rejection of traditional determinism.
Rejection of Traditional Determinism
We are not machines: The human being is not merely a biological automaton governed by blind chemical reactions or whose emotions are solely due to chemical cocktails of synthesized molecules.
Co-creative agency: Consciousness is not passive; it shapes matter while being shaped by it.
Open future: Reality results from living interaction, making the future probabilistic and creative, not predetermined by an immutable destiny.
Ego Dissolution: The "I" is not isolated from the world; we are the very fabric of the environment in symbiosis.
Deep Ecological Ethics: Destroying the environment is not just damaging resources, it is mutilating the very structure of our consciousness.
Shared Responsibility: The individual assumes an active role in constructing their life experience and the collective world.
Naturalistic Spirituality: Dispenses with external deities (non-theistic), finding the sacred in the living relationship between perception and cosmos.
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A Existência Rovingiana Como O resultado da Simbiose Entre Consciência E Matéria - A Metáfora do Líquen
Animismo Rovingiano, uma perspetiva filosófica e espiritual não-teísta que redefine a relação entre o ser e o ambiente. Ele propõe uma interdependência absoluta e inquebrável entre consciência e matéria, onde a existência só é possível através desta simbiose e troca mútua.
1- A Metáfora do Líquen: Consciência e Matéria
O líquen é uma excelente metáfora filosófica para ilustrar a existência como uma simbiose entre consciência e matéria.
Para compreender esta relação, podemos dividir os papéis de cada elemento nesta simbiose existencial:
O Fungo (A Matéria / Estrutura): No líquen, o fungo fornece a estrutura física, a proteção contra o exterior e absorve a água e os minerais. Na existência, a matéria funciona como o suporte físico, o corpo e o cérebro, fornecendo a base tangível e as leis da física que sustentam a vida.
A Alga (A Consciência / Luz): A alga realiza a fotossíntese, transformando a luz solar em energia vital e alimento. Na analogia, a consciência é a força que capta a "luz" do significado, gerando perceção, experiência subjetiva, emoção e propósito a partir da realidade bruta.
O Líquen (A Existência Experienciada): Sem a alga, o fungo morre à fome; sem o fungo, a alga seca e morre. Da mesma forma, a matéria sem consciência seria um universo mecânico e sem testemunhas; a consciência sem matéria seria pura abstração sem forma ou ancoragem.
O "líquen" é a nossa própria vida existêncial: uma realidade unificada onde os dois lados coexistem.
Esta visão animista rovingiana pressupõe:
- A Rejeição do Dualismo Cartesiano: Rompe com a separação estrita entre mente (sujeito) e matéria (objeto).
- Panpsiquismo Simbiótico: Sugere que a consciência não é um subproduto tardio da matéria, mas sim um componente fundamental do universo, caminhando lado a lado com a vertente física desde o nível subatómico até aos sistemas biológicos complexos.
- Fenomenologia: Propõe que não existe um "mundo lá fora" independente de um sujeito que o perceba; a realidade é sempre a relação viva entre o observador e o observado.
O animismo rovingiano propõem assim um dualismo de aspeto duplo ou pampsiquismo simbiótico e a rejeição do determinismo tradicional.
2 - Rejeição do Determinismo Tradicional
Não somos máquinas: O ser humano não é apenas um autómato biológico governado por reações químicas cegas ou cujas emoções se devem apenas a cocktails químicos de moléculas de síntese.
Agência cocriativa: A consciência não é passiva; ela molda a matéria enquanto é moldada por ela.
Futuro aberto: A realidade resulta da interação viva, tornando o futuro probabilístico e criativo, não predeterminado por um destino imutável.
Dissolução do Ego: O "eu" não está isolado do mundo; nós somos o próprio tecido do ambiente em simbiose.
Ética Ecológica Profunda: Destruir o ambiente não é apenas danificar recursos, é mutilar a própria estrutura da nossa consciência.
Responsabilidade Partilhada: O indivíduo assume um papel ativo na construção da sua experiência de vida e do mundo coletivo.
Espiritualidade Naturalista: Dispensa divindades externas (não-teísta), encontrando o sagrado na própria relação viva entre perceção e cosmos.
.... I can't choose between these two editions! lol What is your opinion??? Which do you prefer? xD Thanks in advance for the opinions! greetings and happy week!
....así es, no puedo decidirme por ninguna de las ediciones de esta foto!! jajaja Cuál es vuestra opinión??? Cuál os gusta más u os disgusta menos?? xD Gracias desde ya por las opiniones!! un saludo y feliz semana!
This image represents a state of active consciousness turned outward.
The gaze is alert, attentive, exposed. It observes the world as it is, without filters, fully aware of the risk involved in opening oneself to the outside. There is no naivety here, only awareness.
The external world appears as a place of possibility and, at the same time, of threat. The gaze does not close itself off, but remains on guard. It is a fragile balance between the desire for connection and the need for self-protection. Here, consciousness does not withdraw or escape; it faces what lies outside, accepting its own vulnerability.
Placed alongside the image of active consciousness turned inward, this work becomes its natural counterpart. The two images enter into dialogue as complementary states: one born from protection, the other from exposure. Two different, yet equally necessary, ways of inhabiting both the world and the self.
The sea had already begun forgetting the day.
Light still burned in the clouds above—slow, copper fire spreading across their soft towers—while the water below darkened into a patient, breathing gray. Between the two, a single figure moved with the rhythm of the swells, neither arriving nor leaving, simply balanced there where the world folds into itself.
From the shore, if there was a shore, the person would have looked like a mistake of scale. Too small for the sky, too fragile for the ocean. Yet the waves lifted them the way breath lifts a chest—again, and again—quietly insisting that being small does not mean being lost.
Nothing in the scene demanded meaning. The clouds did not speak. The horizon did not explain itself. The sea rolled on with the same ancient indifference it had always kept.
And still the figure remained upright on the moving water, watching the last color withdraw from the sky.
Perhaps that was all I saw.
A moment when the world grew enormous and silent, and a human being—brief, unremarkable, stubbornly alive—stood inside it anyway, suspended in the fading light, as if existence itself were a wave that had not yet decided whether to carry them forward or let them fall.
Two dance friends were married last night at the little "E Church" (Existential Church) in Candler Park. I have been watching them dance together for years. They make a smashing couple on the dance floor, and that seems to bode for a happy marriage. I loved the look of rapture on her face when they danced a tango together last night.
Shot this handheld with the 50mm lens. The sun had gone down by that point. I'm pretty happy with how the lens held up in unpredictable light. The 20D body and the 50mm seem to "play well" together.
✨💄 Welcome to the Heart Bath. 🛁🐬
Tucked inside my heart-shaped villa at Le Chateau, this is where I wash off capitalism, contour, and consequence. It’s all gold trim, marbled curves, and kitsch galore. The sunset pours through floor-to-ceiling windows while water tumbles like a 1980s shampoo commercial.
There’s a pink velvet couch for existential breakdowns, a vanity fit for a drama queen, and a golden alligator who’s clearly seen things.
It’s not just a bathroom. It’s a mood. A romance. A place to get ready for trouble or recover from it.
Press play. Light a candle. Pretend you're in a forgotten soap opera pilot.
I am not broken. I am weathered.
The wind didn’t shatter me -it shaped me.
And in the hollow, I echo louder than ever.
There may be more to reality than what we can see. "The only thing that makes life possible is permanent, intolerable uncertainty: not knowing what comes next." — Ursula K. Le Guin
Pentax K1000, Tri-X at box speed, D23 1+1
I've been having a lot of existential crises lately. I have so many hopes for the future, and I just don't want to be let down and disappointed as a result.
Model: Lloyd Revald
Photograph published in News Junkie Post on 5/30/2020
newsjunkiepost.com/2020/05/30/climate-crisispandemics-and...
Photograph also published in The Duran on 5/31/2020
theduran.com/climate-crisis-pandemics-and-bad-governance-...
Also published in Dissident Voice on 6/3/2020
dissidentvoice.org/2020/06/climate-crisis-pandemics-and-b...
Also republished in TeleSUR English on 6/06/2020
www.telesurenglish.net/opinion/Climate-Crisis-Pandemics-a...
I remember the exact moment when I experienced my first existential crisis. I was sitting at the dinner table and my dad was going on and on about his miserable day at work. It suddenly struck me that my parents were no different than any of my friend's parents and my life was pretty much the same. Up until that moment I had lived the fantasy that my dad was a super hero, my mom a saint, and that I was destined for greatness. I was shaken to my core. But I suppose in the end, it relieved my parents and me from the pressure of unrealistic expectations.
I learned my lesson well. My wife once asked me what qualities I would look for in a woman if I were ever to remarry. Only one I told her, "low expectations."
Monterey CA