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In the view of the existentialist, the individual's starting point is characterized by what has been called "the existential attitude", or a sense of disorientation, confusion, or dread in the face of an apparently meaningless or absurd world
In October 1991, James Brown made a Surprise Visit to the Meeting of the Society of Existential and Phenomenological Philosophy being held at the Crown Plaza in Memphis.
This is the worst photo of James Brown ever taken.
© BlueFunambulist 2014 | Spain.
Be.
Be what you were, fly over your old days, collect the precious knowledge they leave behind, get overwhelmed by the melancholy and get spotted by the emotional colours that you, unconciously, gave to them. Revive the memories of his light blue eyes on you and the green grass under your bodies. Revive the naivety of your first kiss, your pigtails and the smell of your first and sweet perfume. Revive the intense jolt of true love in your youth, the transition from girl to woman and the magnificient discovering of yourself while you were getting lost in between the trees of Sweden.
Be what you are, heart, mind and body. Feel. Feel the nature, feel the love, feel yourself.
Be what you will be and keep dreaming. Imagine freely, trust in the turnaround of the destiny and reset your ideas in order to adapt to the coming days, pursue your happiness and the others one and keep giving, keep being real and imaginary, keep feeling life.
Be you, be me, be yesterday, today and tomorrow.
Listening to: Constellations, Jack Johnson.
The We're Here! gang is considering the question mark today.
I am considering Burt Bacharach, Cilla Black, Dionne Warwick, and existential angst in 1966. What's it all about?
I hope some of you find this photo to be distinctively Louie (though without the typical saturated green): a tree trunk or two and the rest of the scene clustered with leaves, moss, and other greeneries. You get the idea.
Like many subjects I have shot over the years, this photo is also rather mundane, if not existential. Indeed, those fallen logs are not driftwoods in Siesta Lake, the tree lying on its back to the right is not exactly Jeffrey Pine, and Black Rock Falls is definitely not Bridalveil Falls in Yosemite. Nothing here is larger than life.
You know..., I was just thinking a lot of time nature is like a Zen garden (or is the garden an imitation of nature?), and the landscape photographer is the monk who dilligently arranges (and then rearranges) the stones and rocks.
Perhaps it is a romantic notion that there is a balance in the cluster, doubly ironic because we live in a world that is facing issues. But such notion keeps my eyes open, so I can continue on in search for the minute beauty in life.
Digital infrared B&W photo.
Stacks of three photos for extended depth of field.
Talkin' to myself and feelin' old
Sometimes I'd like to quit
Nothin' ever seems to fit
Hangin' around
Nothin' to do but frown
Rainy days and Mondays always get me down
What I've got they used to call the blues
Nothin' is really wrong
Feelin' like I don't belong
Walkin' around
Some kind of lonely clown
Rainy days and Mondays always get me down
Funny, but it seems I always wind up here with you
Nice to know somebody loves me
Funny, but it seems that it's the only thing to do
Run and find the one who loves me
No sooner had I made the trap for fruit flies, they started visiting. Little did they know.
Heh heh.
If you take enough pictures of the same thing, pretty soon looking at them leads to a brooding sense of existential despair and a level of energy that is equivalent to watching paint dry.....slowly dry. The only hope then is to fiddle faddle around with them. Actually, "fiddle faddle" is my Flickr friend Lynne's description of photo processing and I love it. This seashot image was arrived at after a little fiddling and faddling around. When I throw in "fun," I have a trifecta of pretty cool f-words and it is fun to fiddle faddle around.
Maybe Lynne will provide the "Urban Dictionary" definition for fiddle faddle. I think that this could be important. Honestly, I fiddle faddle with every image I post here. You know how it is--a little here and a little there, and pretty soon Marg's calling me to dinner--that's how they roll.
Have a great Saturday everyone.
Pebble Beach, San Mateo County, CA
I have some pens and pencils.
A sketchbook.
And a head full of quotes, lyrics and the like.
Come and see them at www.Quoteskine.co.uk
or I've messed up my life in ways that you wouldn't believe plus I'm not like anyone else plus we are living in a screwed up world
© All rights reserved. Use without permission is illegal. Please contact me if you wish to use/purchase this photo.
my final 3D project for advanced 3D techniques.
done in cinema4d r11 and after effects cs3
assignment was to do "anything." awesome.
music by stars of the lid
French postcard by Editions du Globe, Paris, no. 776. Photo: Studio Vauclair.
French actor and stage director Laurent Terzieff (1935-2010) starred during the 1960s and 1970s in many films by famous French and Italian directors. The magnetic and politically engaged actor began his film career as one of the existential youth in Les Tricheurs (1958) and later often portrayed cynical bohemians or political activists.
Laurent Terzieff was born Laurent Didier Alex Laurent Tchemerzine in 1935 in Toulouse, France. He was the son of a French visual artist and a Russian sculptor who had emigrated to France during the First World War. The spectacle of the bombardments during WW II had a dramatic effect on nine-year-old Laurent. As an adolescent, he was fascinated with philosophy and poetry. He assisted director Roger Blin with the production of the play La Sonate des spectres (The Ghost Sonata) by August Strindberg. Then and there, he decided to become an actor. Terzieff made his debut in 1953 with the Theatre of Babylon in Tous contre Adamov (All Against Adamov) by Jean-Marie Serreau. His film début was opposite Yves Montand in Premier mai/The First of May (Luis Saslavsky, 1958). A year earlier he had gained some notoriety playing a role as an assassin in L'affaire Weidmann/The Weidmann case (Jean Prat, 1957), an episode of the TV series En votre âme et conscience/In your conscience (1954-1969). Legendary director Marcel Carné spotted him and offered him a leading role opposite Pascale Petit, Jacques Charrier and Jean-Paul Belmondo in Les Tricheurs/The Cheats (Marcel Carné, 1958), a portrait of the existentialist youth in the late 1950s. At AllMovie, Hal Erickson writes: “Carné's youthful characters are not so much people as symbols of the postwar relaxation of worldwide manners and mores. In anticipation of the hippie flicks of the 1960s, the main characters indulge in a great deal of sex, but abstain from true love and commitment, citing these things as irrelevant in a world full of instant gratification.“ Les Tricheurs was Terzieff’s breakthrough in the cinema. For a long time, the public would identify him with the bohemian and cynical student.
Laurent Terzieff played roles in films by such famous directors as Gillo Pontecorvo in Kapò (1959) about a young Jewish girl (Susan Strasberg) who leads an escape attempt from a concentration camp, Claude Autant-Lara in Tu ne tueras point/Thou Shalt Not Kill (1961), a portrait of a conscientious objector, and Jacques Demy in the portmanteau (omnibus film) Les Sept Péchés/The Seven Deadly Sins (1962). He appeared in a segment about the lusty conversation between two young men, one of whom has x-ray eyes that enable him to see through women's clothing. Terzieff starred with Rosanna Schiaffino and Elsa Martinelli in the Italian film La Notte Brava/Bad Girls Don't Cry (Mauro Bolognini, 1959). Pier Paolo Pasolini wrote this social drama about three young Roman criminals and three beautiful prostitutes without any perspective in life but having some money to spend during a night of illusions and adventures. More famous Italian film directors would ask him for their films. Terzieff appeared as a revolutionary on the run from government troops in Vanina Vanini/The Betrayer (Roberto Rossellini, 1961), as the centaur in Medea (Pier Paolo Pasolini, 1969) opposite Maria Callas, as an anarchistic petty thief in Ostia (Sergio Citti, Pier Paolo Pasolini, 1970), and as a military in Il deserto dei Tartari/Desert of the Tartars (Valerio Zurlini, 1976) opposite Vittorio Gassman and Jacques Perrin. In France, he played in A cœur joie/Two Weeks in September (Serge Bourguignon, 1967) with Brigitte Bardot, and La Prisonnière/Woman in Chains (Henri Georges Clouzot, 1968), in which he interpreted a disturbed modern art gallery owner who manipulates Elisabeth Wiener. He made four films with director Philippe Garrel. Le Révélateur/The developper (Philippe Garrel, 1968) was shot in May 1968 during the student revolution, and Les hautes solitudes (Philippe Garrel, 1974), a biographical film about actress Jean Seberg. Terzieff worked with more great auteurs. Famous Spanish director Luis Buñuel took him and Paul Frankeur on a pilgrimage to Santiago de Compostela in La Voie lactée/The Milky Way (Luis Buñuel, 1969). He was once directed by Jean-Luc Godard in Détective/Detective (Jean-Luc Godard, 1985). On television, he appeared in the American-Italian Mini-Series Moses the Lawgiver/Moses (Gianfranco De Bosio, 1974) starring Burt Lancaster.
Since the 1980s, Laurent Terzieff was seen less in the cinemas and mostly acted on stage. In the theatre, he often worked as a director, writer and actor with his own troupe, co-founded in 1961 with his companion Pascale de Boysson. He also ran the theatre Lucernaire in Paris. His later film roles include a Trotskyist in Rouge Baiser/Red Kiss (Véra Belmont, 1985), an anarchist in Germinal (Claude Berri, 1993) starring Gérard Depardieu, and the painter Hérigault in Le radeau de la Méduse/The Raft of the Medusa (Iradj Azimi, 1994), inspired by a tragic maritime event that happened in 1816. Politically engaged, Terzieff signed in 1960 La Déclaration sur le droit à l'insoumission dans la Guerre d'Algérie (Declaration on the Right of Insubordination in the War of Algeria), and in 2002, the petition Pas en notre nom (Not in our name) against the Iraq War. In his seventies, the gaunt-faced actor had not lost his magnetism, as was proved by his appearance in the Agatha Christie adaptation Mon petit doigt m'a dit.../A Little Bird Told Me... (Pascal Thomas, 2005) with Catherine Frot and André Dussollier. Terzieff also stayed active in the theatre. In 2009 he played an acclaimed Philoctetes in the play by Sophocles. His last films were the comedy J'ai toujours rêvé d'être un gangster/I always dreamed of being a gangster (Samuel Benchetrit, 2008) with Jean Rochefort, and the Italian production Le ombre rosse/The Red Shadow (Francesco Maselli, 2009). Posthumously he was seen opposite Sharon Stone in the thriller Largo Winch 2/The Burma Conspiracy (Jérôme Salle, 2011). During his long career, Laurent Terzieff was hailed with many awards (Prix Gérard Philippe, Molière for Best Director and Best Show for Temps contre temps (Time against time) in 1993), and he was also an Officier de l'Ordre du Mérite (Officer of the Order of Merit) and Commandeur des Arts et des Lettres (Commander of Arts and Letters). Laurent Terzieff died in 2010 in Paris from a lung ailment. He was 75. He was the widower of actress Pascale de Boysson.
Sources: Hans Beerekamp (Het Schimmenrijk) (Dutch), Hal Erickson (AllMovie), Evene.fr (French), Ciné-Ressources (Cinémathèque française) (French), Wikipedia (French and English), and IMDb.
And, please check out our blog European Film Star Postcards.
- Loures, Portugal -
Please see the first comment box for more photos that I have titled "just because." It's not meant to be an existential statement ... it's only because I am sometimes lazy about titles :)
existential foundations of nothingness
double exposure self portrait
Wet plate collodion
4x5 ambrotype
21cm Fujinon f5.6 SF
Natural light
aka: Lethal Neglect
One of the methods suggested to get rid of "inferior" populations was euthanasia. A
1911 Carnegie Institute report mentioned euthanasia as one of its recommended
"solutions" to the problem of cleansing society of unfit genetic attributes. The most
commonly suggested method was to set up local gas chambers. However, many in the
eugenics movement did not believe that Americans were ready to implement a large-scale
euthanasia program, so many doctors had to find clever ways of subtly implementing
eugenic euthanasia in various medical institutions. For example, a mental institution in
Lincoln, Illinois fed its incoming patients milk infected with tuberculosis (reasoning that
genetically fit individuals would be resistant), resulting in 30-40% annual death rates.
Other doctors practiced euthanasia through various forms of lethal neglect...
I was shy and already having existential questions! Lol! ;-)
Tagged by Celena/Pinkachan and Miriana.
Would you like to play?
journey through my unconscious, semi-conscious and consciousness
hidden world of underneath with a deep wave of unique despair
"EXISTENTIAL MASTERPIECE"
"EXCEPTIONAL"
"BURNS COMFORT BLANKETS"
THE HIDDEN FACE by author M. I. VERRAS.
Amazon, EBay, Barnes&Noble, Walmart, Target, and more. Published by Palmetto Publishing.
“We’re existentially alone on the planet. I can’t know what you’re thinking and feeling and you can’t know what I’m thinking and feeling. And the very best works construct a bridge across that abyss of human loneliness.”
- David Foster Wallace -
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
When defenses against the most immediate forms of mental disturbance have been raised, the assimilation of the principles of "right conduct" arouses in the mind an "intimate, unalloyed joy" joined with the stability and sureness of one who feels himself in a state of "justice." For which we are given the simile of a lawfully crowned king who knows that his enemies are routed and that there is no threat of any kind to his sovereignty. We have also acquired the strengthened "neutrality" or "sidereality" of the mind that, thanks to the fourfold contemplation, has further freed itself and is now at the center of all its experience, both internal and external. At this point we undertake the really cathartic action whose aim is to neutralize, by degrees, any possibility of "combustion" and of self-abandonment to the multiple variety of "contacts."
Contacts wound; contacts consume by exciting the fire that burns the body and the mind, which nourishes the samsaric stem and prostrates the higher principle. "The fool, struck by force, perishes; the wise man, when struck, does not tremble," he remains intact, remains unshakable, remains elusive; we must become like the wise man. It is a question, then, of dealing a blow at the transcendental "desire" that lurks in the visual and other senses, in the khandha (the groups of the personality), in the elements, and which is corruption, disease, suppuration. All this must naturally take place, not on the psychological or moral plane, but on the existential and metaphysical one. The beginning of the process of alteration lies in the senses, which are likened to so many "wounds." (…) In order to "bandage the wounds" and neutralize the infection provoked by contacts, we must ensure that "the internal sight, the internal smelling, the internal hearing, the internal tasting, the internal touching, the internal thinking are not distracted," that is to say, that we are present in the sixfold seat of the senses in such a way that we can immediately prevent any self-relaxation, self-attachment, self-intoxication, any luring of ourselves by enjoyment. There will be, then, no further building of combinations, at first in the fundamental stem of the will, and then in the five stems of the personality." This is the essence of the new work of catharsis.
This work is based on what is known as the "watch over the doors of the senses," for which the canonical formula is: "Upon perceiving a form with the eye, the ascetic conceives no inclination, no interest. Since craving and aversion and damaging and harmful thoughts soon overcome the man who lives with the eye unguarded, he remains vigilant, he guards the eye, he remains vigilant over the eye." Upon hearing a sound with the ear, upon smelling an odor with the nose, upon tasting a flavor with the tongue, upon touching a contact with the body, upon representing to himself a mental state with the mind, he conceives no inclination, he conceives no interest. Since craving and aversion and damaging and harmful thoughts soon overcome the man who lives with his mind unguarded, he remains vigilant, he guards the mind, he remains vigilant over the mind." To fail in this vigilance at some point is to suffer the fate of the tortoise: when the tortoise unthinkingly put out one of its limbs a jackal seized it by that limb and carried it off to its ruin.
In this matter then, we have to come to grips with the samsaric entity with which we are associated and that constitutes our double, composed of thirst. A continually tightening circle closes round it. It is effectively likened to an enemy who, knowing that he cannot openly defeat his adversary, gets himself employed by him as a servant and gains his confidence so that he may then defeat him by treachery: this is the part that the illusory "I," created by identification, plays in us until the time of initiation into the doctrine of the Ariya.
That the discipline of the watch over the senses or binding the wounds leads to a higher liberation is shown by the simile of the man who has at a crossroads a thoroughbred team and can guide them wherever he pleases. The man who does not know or who forgets this practice is dominated by forms, sounds, smells, tastes, contacts, and thoughts, instead of being their master.
In another way this discipline can also he summed up by the word silentium: "to gird oneself with silence," silence in the technical and initiatory sense. Impressions are arrested at the periphery, at the limit of the senses. Between them and the "I" there is now a distance, a zone of "silence." We thus become endowed with that form of silence that consists of not pronouncing either the exterior word or the interior word, and this in turn implies not hearing, not seeing, not imagining. This theme has also been expressed in a popular form. It is, in fact, the deeper, hidden significance of the well-known statuette of the three sacred monkeys, one with the ears closed, one with the mouth closed, and one with the eyes closed: speak not, hear not, see not. And we may here also recall the curious hermetical formula: "Who has ears, let him open them [in the sense of a close watch on every impression], who has a mouth, let him keep it shut [in the sense of the aforesaid silence, of calm, intangible 'neutrality']."
It is thus that the conditions for further liberation and then for awakening the extrasamsāric principle are consolidated.
As the natural counterpart of the watch on the doors of the senses, a world of disintoxication is carried out within the zone that is now isolated, in order to eliminate or reduce those internal smoldering embers of agitation and self-identification that may be made to burst into life by external contacts. This is what is known as the removal of the five nīvarana, a term that means a "dross," a "hindrance," or an "impediment." The five nīvarana are: desire (kāmacchanda); hate or anger (vyāpāda); slothful idleness (thīna-middha); pride and impatience (uddhacca- kukkucca); doubtful uncertainty (vicikicchā).
The action of these five hindrances is clearly indicated by the following similes: it is like trying to look at one's reflection in water wherein all kinds of colors are mixed (desire), or in boiling water (hate and anger), or in water full of mud and moss (slothful idleness), or in water agitated by the wind (pride and impatience), or finally, in dark and murky water (doubt). Removal is effected by direct action of the mind on the mind, together with accurate and calm self-examination. The discipline is described in the texts in the following manner.
The ascetic finds a solitary place and begins to meditate. A well-known yoga position is counseled: sit with legs crossed and body straight upright. This traditional Indo-Aryan position is, however, only suitable if one is so accustomed to it that it is quite natural and requires no special effort and does not produce fatigue. In general, the position recommended for this, as for other contemplations, must be one of equilibrium, which does not have to be changed; it must have a kind of symbolical meaning of self-awareness and it must not demand efforts that would distract the mind.
It is fundamentally a more advanced development of the states already induced by sīla or "right conduct." The aim here is obviously to bring us to a deeper zone by means of the strengthened power of internal vision that we have gained through the preceding disciplines. It is a matter of attacking, to some degree, the sankhara, that is to say, the innate and congenital tendencies that come, in part, from the extra-individual heredity that we have assumed.
Here, too, the purity achieved at certain moments comes to be developed until it has almost attained a state of permanency. This is how we must understand what is known as the "threefold watch": "by day, walking and sitting, turn the mind away from disturbing things; in the first watch of the night, walking and sitting, turn the mind away from disturbing things; in the middle watch of the night, lie down on the right side, like the lion, one foot on the other, bringing to mind the hour of waking; in the last watch of the night, after arising, walking or sitting, turn the mind away from disturbing things."
This is a kind of continuous examination of consciousness. The yama, the watches of the night that are recognized in this discipline consist, according to the Buddhist tradition, of four hours each; the first runs from six until ten in the evening, the second from ten until two in the morning, the third from two to six in the morning. Thus, strictly speaking, the period of true sleep or of the state that in the common man would correspond to sleep is restricted to four hours only, from ten in the evening until two in the morning. In this we must not see an "ascetic" discipline in the Western sense of mortification: on the contrary, it is natural that in advancing along the road of illumination the need for sleep is considerably reduced, and this reduction produces no ill effect. Here, too, a unilateral "authoritarian" intervention would only serve to create states of fatigue and inattention unfavorable for spiritual life by day.
With attentive care of the "wounds" and with action taken against the hindrances or impediments, the zone of "silence" is strengthened, and a gradual interior increase of the extrasamsāric quality takes place therein; this increase should he aided by illuminated effort and it is related to the aforesaid "seven awakenings". These "awakenings" are the positive counterpart of the cathartic or prophylactic action, that is to say, they are a "defence against intoxication produced by action." The canonical formula is: "[The ascetic] rightly causes the awakening of mindfulness derived from detachment, derived from dispassion, derived from cessation [of the flux], ending in renunciation, he causes the awakening of investigation -of inflexible energy- of enthusiasm -of calm- of concentration -of equanimity, of these awakenings derived from detachment, derived from dispassion, derived from cessation, ending in renunciation."
Various interpretations of the place of these awakenings in the whole development are, nevertheless, possible. Their sense as a whole, indeed, reflects that of the four jhānas, of the contemplation that is to be performed in complete detachment from external experience. Here, however, we may understand them on a more relative plane, as a kind of transfiguration and liberation of faculties that are already pervaded by the element of bodhi, whence the expression bojjhanga. It must be realized that we are not dealing with a simple schematic enu¬meration, but rather with a series in which the meditation whereby they are appre¬hended should pursue an intimate causal linking of the single terms so that we are naturally led on from one to the next, and so that in the one we see the integration and resolution of its predecessors. Thus, we must first achieve nondistracted medita¬tion: then we must awaken the state of "mindfulness," fix it in the mind, develop it, master it, and see how this state leads to the second awakening and passes into "investigation," which may find support in some element of the doctrine; this inves¬tigation, when developed, fixed, extended, and mastered must lead on to the awak¬ening of "inflexible energy," whose perfect conquest should herald a state of spe¬cial, purified "enthusiasm," of purified joy. By further developing the meditation, we should realize that this enthusiasm, this joy, awakened and perfectly developed in a body that is becoming calm, in a mind that is becoming calm, will become resolved and liberated in the next awakening, which is that of "calm." When calm has been developed, extended, fixed, and mastered, "concentration" awakens; this, in its turn, when completely developed, becomes established and shines forth in the "equanimity" that is the seventh awakening.
These form a series of landmarks in meditation that is concerned with realization and they are connected by an inherent continuity. Through these, one is led in another way to the confirmation of what was already becoming established in the satipatthāna, the fourfold contemplation of detachment, that is to say, one is led to that impassibility that is qualified as "pure, clear, ductile, flexible, resplendent," but which has nothing to do-it should be noted-with the indifference of a blunt mind, with the indifference "of a fool, of an ignorant man, of an inexpert common man." For our part, we think it opportune to add that the state in question must on no account be confused with apathy, and that it develops together with a feeling of purified intellectualized and heroic joy, although this may at first seem difficult to understand. The Bhagavadgītā says: "When the mind, lamed by ascesis, becomes quiet; when [the ascetic], seeing the self in the self, rejoices in himself, knows that boundless joy which, transcending the senses, can only be ap¬prehended by the intellect and, when fixed in it, does not stir from the truth ... he knows that this detachment from union with pain is called yoga." At the same time, Buddhism speaks of a pleasure that is "like dung" when compared to that based on detachment, calm, and illumination (thus two kinds of joy are considered and contrasted. the one bound to life in the world, to mania, to enjoyment, the other to ascesis or to ultramundane states of detachment and of freedom from mania; and it is said that the second is the higher joy. "Extinction is the greatest joy.")
Furthermore, such sequences as these are frequent: "In the ascetic joy arises; this joy makes him blissful; being blissful, his body becomes calm: with the body calmed, serenity arises; in this serenity the mind comes to rest, becomes concentrated"; this is a preparation for the four jhāna. This is another sequence that has the character of a connected series, developing in an upward sense, not unlike that which, through the twelve nidana, led us downward to samsāric existence. The point of departure of this new series is, in fact, the state of suffering, of agitation, of contingency, which corresponds to the last nidāna of the descending path. Beyond it, there is the state of confidence; this leads to purified joy; then follows serenity, which gives place to bliss, passing on to equanimity - the term used here literally means also to vanish, to cease being in a place: it is a question of detached equilibrium. In this text the supreme realization has behind it a linked series in which special states of liberated joy play a particular part: a kind of joy that Plato contrasted with all mixed and conditioned forms of joy or of pleasure.
Let us quote another text that represents the state at which we may reckon to have arrived at this point of our exposition: „Concentration which knows neither increase nor decrease, which is not based on wearisome subjugation, which, because of its detached nature is constant, because of its constancy is full of bliss, because of its bliss cannot be destroyed — such concentration has suprene wisdom as its result.”
This should destroy the idea that the path of awakening is arid and desolate, that it kills all joy, that it offers only renunciation and destruction. That everyone whose furthest horizon is still within the effective, samsarically conditioned world should have this idea is quite natural but is of very little account.
A text reminds us that only an Awakened One can comprehend the Awakened One. An expressive simile demonstrates this: two companions leave a city together and reach a rock that one of them climbs. He says to the other: "I see from up here a wonderful view of gardens, woods, fields, and lakes," but the other retorts: "It is impossible, it is inadmissible, friend, that from up there you can see all that." Then the companion standing on the rock comes down, takes the other by the arm, makes him climb up on the rock and. after he has recovered his breath, asks him: "What do you then see, friend, standing on the rock?" The other replies: "I see a wonderful view of gardens, woods, fields, and lakes." "And your previous opinion?" "While I was obstructed by this great rock, I could not see what is now visible." It concludes: it is impossible that what is knowable, discernible, capable of achievement, capable of realization through detachment can be known, discerned, achieved, realized by one who lives among desires and who is consumed by desires." Quite apart from the higher "sidereal" principle. the Buddhist also knows the kind of joy that is contentedness, rejoicing, jubilation, enthusiasm, exultation, transport of the spirit and that, among others, is considered as "a factor of the great awakening”.
[Countering those who believe that the Buddhist road is one of desolation and aridity, Louis de La Vallée-Poussin most opportunely writes: “We must, rather, recognise that India is difficult when it comes to being and bliss; that as she puts being beyond existence, so she puts bliss beyond sensation.”]
--------
Julius Evola: The Doctrine of Awakening - Part II., Chapter 4. - Sidereal Awareness: The Wounds Close (excerpt)
This is what happens when your spirit animal goes feral. Half bird, half child, possibly high on agave and existential dread, this figure clutches a trident like it just got demoted from minor god to municipal mascot. Painted on a weathered door between a DHL drop-off and a bin full of mannequin legs, it doesn’t care about your rational brain. It’s sacred in the way all truly strange things are. A guardian, a warning, or a fever dream that slipped off a loading dock.
📝 This image is available under Creative Commons 2.0 (Attribution required). Please link to the original photo and the license. License for use outside of the Creative Commons is available by request.
a diagram showing nietzsche's idea that what we do is "beyond good and evil"
for a book arts project with charts of existential explanations.
Dr. Stern was testing his own management system focusing the mind on variety of other things. Staying at the new lab late at night he decided not to take a long ride to his home. He spent evening hours at the conference room meditating, looking at art.
Earlier the artworks attracted attention of handy men doing repairs at the lab. Stern saw a curious scene when the workers engaged into vigorous discussion arguing about meaning of the artworks.
A younger black guy said the artist was deprived of sex he fantasized about a woman, whose body parts he painted in his picture.
A Latin, middle-aged man said that sexual images in his culture symbolize fertility and existential predicament of life and death.
Stern especially liked these remarks.
A white supervisor said the artwork was spontaneous and had no particular meaning.
It triggered Stern’s interest in the communicative abilities of art to stir up the usually idle minds of people who work physically with their sole life principle to keep it simple and real to have fun after day of hard work forgetting the troubles.
For hours Stern was sitting in the conference room looking at the paintings not fully aware that he tried to interpret the meaning of the picture in a manner the black guy did and analyze character of the artist. He questioned what kind of man creates the artwork that fills the space with unavoidable presence. If by accident Stern came across the great new therapy, as the artwork impressed him to a point of admiration and desire to understand the artist the man. The longer he looked at the painting, the better he felt and his heart wasn’t poked by the steel arrows of Amour.
Dr. Stern was testing his own management system focusing the mind on variety of other things. Staying at the new lab late at night he decided not to take a long ride to his home. He spent evening hours at the conference room meditating, looking at art.
Earlier the artworks attracted attention of handy men doing repairs at the lab. Stern saw a curious scene when the workers engaged into vigorous discussion arguing about meaning of the artworks.
A younger black guy said the artist was deprived of sex he fantasized about a woman, whose body parts he painted in his picture.
A Latin, middle-aged man said that sexual images in his culture symbolize fertility and existential predicament of life and death.
Stern especially liked these remarks.
A white supervisor said the artwork was spontaneous and had no particular meaning.
It triggered Stern’s interest in the communicative abilities of art to stir up the usually idle minds of people who work physically with their sole life principle to keep it simple and real to have fun after day of hard work forgetting the troubles.
For hours Stern was sitting in the conference room looking at the paintings not fully aware that he tried to interpret the meaning of the picture in a manner the black guy did and analyze character of the artist. He questioned what kind of man creates the artwork that fills the space with unavoidable presence. If by accident Stern came across the great new therapy, as the artwork impressed him to a point of admiration and desire to understand the artist the man. The longer he looked at the painting, the better he felt and his heart wasn’t poked by the steel arrows of Amour.
French postcard by Images d'Avignon, Avignon. Photo: Atzinger. Laurent Terzieff in the play 'Nicomède' (1964) by Pierre Corneille at the XVIIIe Festival d'Avignon (1964).
French actor and stage director Laurent Terzieff (1935-2010) starred during the 1960s and 1970s in many films by famous French and Italian directors. The magnetic and politically engaged actor began his film career as one of the existential youth in Les Tricheurs (1958) and later often portrayed cynical bohemians or political activists.
Laurent Terzieff was born Laurent Didier Alex Laurent Tchemerzine in 1935 in Toulouse, France. He was the son of a French visual artist and a Russian sculptor who had emigrated to France during the First World War. The spectacle of the bombardments during WW II had a dramatic effect on nine-year-old Laurent. As an adolescent, he was fascinated with philosophy and poetry. He assisted director Roger Blin with the production of the play La Sonate des spectres (The Ghost Sonata) by August Strindberg. Then and there, he decided to become an actor. Terzieff made his debut in 1953 with the Theatre of Babylon in Tous contre Adamov (All Against Adamov) by Jean-Marie Serreau. His film début was opposite Yves Montand in Premier mai/The First of May (Luis Saslavsky, 1958). A year earlier he had gained some notoriety playing a role as an assassin in L'affaire Weidmann/The Weidmann case (Jean Prat, 1957), an episode of the TV series En votre âme et conscience/In your conscience (1954-1969). Legendary director Marcel Carné spotted him and offered him a leading role opposite Pascale Petit, Jacques Charrier and Jean-Paul Belmondo in Les Tricheurs/The Cheats (Marcel Carné, 1958), a portrait of the existentialist youth in the late 1950s. At AllMovie, Hal Erickson writes: “Carné's youthful characters are not so much people as symbols of the postwar relaxation of worldwide manners and mores. In anticipation of the hippie flicks of the 1960s, the main characters indulge in a great deal of sex, but abstain from true love and commitment, citing these things as irrelevant in a world full of instant gratification.“ Les Tricheurs was Terzieff’s breakthrough in the cinema. For a long time, the public would identify him with the bohemian and cynical student.
Laurent Terzieff played roles in films by such famous directors as Gillo Pontecorvo in Kapò (1959) about a young Jewish girl (Susan Strasberg) who leads an escape attempt from a concentration camp, Claude Autant-Lara in Tu ne tueras point/Thou Shalt Not Kill (1961), a portrait of a conscientious objector, and Jacques Demy in the portmanteau (omnibus film) Les Sept Péchés/The Seven Deadly Sins (1962). He appeared in a segment about the lusty conversation between two young men, one of whom has x-ray eyes that enable him to see through women's clothing. Terzieff starred with Rosanna Schiaffino and Elsa Martinelli in the Italian film La Notte Brava/Bad Girls Don't Cry (Mauro Bolognini, 1959). Pier Paolo Pasolini wrote this social drama about three young Roman criminals and three beautiful prostitutes without any perspective in life but having some money to spend during a night of illusions and adventures. More famous Italian film directors would ask him for their films. Terzieff appeared as a revolutionary on the run from government troops in Vanina Vanini/The Betrayer (Roberto Rossellini, 1961), as the centaur in Medea (Pier Paolo Pasolini, 1969) opposite Maria Callas, as an anarchistic petty thief in Ostia (Sergio Citti, Pier Paolo Pasolini, 1970), and as a military in Il deserto dei Tartari/Desert of the Tartars (Valerio Zurlini, 1976) opposite Vittorio Gassman and Jacques Perrin. In France, he played in A cœur joie/Two Weeks in September (Serge Bourguignon, 1967) with Brigitte Bardot, and La Prisonnière/Woman in Chains (Henri Georges Clouzot, 1968), in which he interpreted a disturbed modern art gallery owner who manipulates Elisabeth Wiener. He made four films with director Philippe Garrel. Le Révélateur/The developper (Philippe Garrel, 1968) was shot in May 1968 during the student revolution, and Les hautes solitudes (Philippe Garrel, 1974), a biographical film about actress Jean Seberg. Terzieff worked with more great auteurs. Famous Spanish director Luis Buñuel took him and Paul Frankeur on a pilgrimage to Santiago de Compostela in La Voie lactée/The Milky Way (Luis Buñuel, 1969). He was once directed by Jean-Luc Godard in Détective/Detective (Jean-Luc Godard, 1985). On television, he appeared in the American-Italian Mini-Series Moses the Lawgiver/Moses (Gianfranco De Bosio, 1974) starring Burt Lancaster.
Since the 1980s, Laurent Terzieff was seen less in the cinemas and mostly acted on stage. In the theatre, he often worked as a director, writer and actor with his own troupe, co-founded in 1961 with his companion Pascale de Boysson. He also ran the theatre Lucernaire in Paris. His later film roles include a Trotskyist in Rouge Baiser/Red Kiss (Véra Belmont, 1985), an anarchist in Germinal (Claude Berri, 1993) starring Gérard Depardieu, and the painter Hérigault in Le radeau de la Méduse/The Raft of the Medusa (Iradj Azimi, 1994), inspired by a tragic maritime event that happened in 1816. Politically engaged, Terzieff signed in 1960 La Déclaration sur le droit à l'insoumission dans la Guerre d'Algérie (Declaration on the Right of Insubordination in the War of Algeria), and in 2002, the petition Pas en notre nom (Not in our name) against the Iraq War. In his seventies, the gaunt-faced actor had not lost his magnetism, as was proved by his appearance in the Agatha Christie adaptation Mon petit doigt m'a dit.../A Little Bird Told Me... (Pascal Thomas, 2005) with Catherine Frot and André Dussollier. Terzieff also stayed active in the theatre. In 2009 he played an acclaimed Philoctetes in the play by Sophocles. His last films were the comedy J'ai toujours rêvé d'être un gangster/I always dreamed of being a gangster (Samuel Benchetrit, 2008) with Jean Rochefort, and the Italian production Le ombre rosse/The Red Shadow (Francesco Maselli, 2009). Posthumously he was seen opposite Sharon Stone in the thriller Largo Winch 2/The Burma Conspiracy (Jérôme Salle, 2011). During his long career, Laurent Terzieff was hailed with many awards (Prix Gérard Philippe, Molière for Best Director and Best Show for Temps contre temps (Time against time) in 1993), and he was also an Officier de l'Ordre du Mérite (Officer of the Order of Merit) and Commandeur des Arts et des Lettres (Commander of Arts and Letters). Laurent Terzieff died in 2010 in Paris from a lung ailment. He was 75. He was the widower of actress Pascale de Boysson.
Sources: Hans Beerekamp (Het Schimmenrijk) (Dutch), Hal Erickson (AllMovie), Evene.fr (French), Ciné-Ressources (Cinémathèque française) (French), Wikipedia (French and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Day Seventeen:
You've no idea how hard it is to get a shirt to fit over these things. I've just given up now. It's togas all the way now. Unfortunately black ones at night do make it appear that you're unmentionables have vanished into the night leaving you nothing but a torso missing all the good bits. Don't worry thought it's all still there doing what ever it does under there. I respect it's privacy and don't like to pry.
Oh but the view from up here. You can see all the way down to that toasty place with the barbecue and pointy sticks. Oh looks like someone is trying to escape. Looks a bit demony too. Those black eyes and protruding horns do scream otherworldly minion of the beast. They're not subtle in their appearance....says the person with the great big wings and glowing hands. Just making sure I've got them loading for hurling great big balls of light. Sometimes I even juggle them.
Oh dear he's getting closer. Looks kind of familiar too. Like I've seen that face somewhere before. Somewhere close. Somewhere....in the mirror. That bugger's got my face. His face. Dammit I always wondered where the clones when after our little....*ahem*...incidents. Wait does that mean I'm the real one of just from the batch that didn't go bad? Such an existential quandary that could be. I must ponder it.
Jean-Paul Sartre - La nausée
Collection Folio 805, 1997
Couverture: Albrecht Dürer - "Mélancholie I" (détail). Bibliothèque nationale, Paris
Donc, j'étais tout à l'heure au Jardin public. La racine du marronnier s'enfonçait dans la terre, juste au-dessous de mon banc. Je ne me rappelais plus que c'était une racine. Les mots s'étaient évanouis et, avec eux, la signification des choses, leurs modes d'emplois, les faibles repères que les hommes ont tracés à leur surface. J'étais assis, un peu voûté, la tête basse, seul en face de cette masse noire et noueuse entièrement brute et qui me faisait peur. Et puis j'ai eu cette illumination.
Ça m'a coupé le souffle. Jamais, avant ces derniers jours, je n'avais pressenti ce-que voulait dire «exister».
Italian postcard by Rotalfoto, Milano, no. 996.
French actor and stage director Laurent Terzieff (1935-2010) starred during the 1960s and 1970s in many films by famous French and Italian directors. The magnetic and politically engaged actor began his film career as one of the existential youth in Les Tricheurs (1958) and later often portrayed cynical bohemians or political activists.
Laurent Terzieff was born Laurent Didier Alex Laurent Tchemerzine in 1935 in Toulouse, France. He was the son of a French visual artist and a Russian sculptor who had emigrated to France during the First World War. The spectacle of the bombardments during WW II had a dramatic effect on nine-year-old Laurent. As an adolescent, he was fascinated with philosophy and poetry. He assisted director Roger Blin with the production of the play La Sonate des spectres (The Ghost Sonata) by August Strindberg. Then and there, he decided to become an actor. Terzieff made his debut in 1953 with the Theatre of Babylon in Tous contre Adamov (All Against Adamov) by Jean-Marie Serreau. His film début was opposite Yves Montand in Premier mai/The First of May (Luis Saslavsky, 1958). A year earlier he had gained some notoriety playing a role as an assassin in L'affaire Weidmann/The Weidmann case (Jean Prat, 1957), an episode of the TV series En votre âme et conscience/In your conscience (1954-1969). Legendary director Marcel Carné spotted him and offered him a leading role opposite Pascale Petit, Jacques Charrier and Jean-Paul Belmondo in Les Tricheurs/The Cheats (Marcel Carné, 1958), a portrait of the existentialist youth in the late 1950s. At AllMovie, Hal Erickson writes: “Carné's youthful characters are not so much people as symbols of the postwar relaxation of worldwide manners and mores. In anticipation of the hippie flicks of the 1960s, the main characters indulge in a great deal of sex, but abstain from true love and commitment, citing these things as irrelevant in a world full of instant gratification.“ Les Tricheurs was Terzieff’s breakthrough in the cinema. For a long time, the public would identify him with the bohemian and cynical student.
Laurent Terzieff played roles in films by such famous directors as Gillo Pontecorvo in Kapò (1959) about a young Jewish girl (Susan Strasberg) who leads an escape attempt from a concentration camp, Claude Autant-Lara in Tu ne tueras point/Thou Shalt Not Kill (1961), a portrait of a conscientious objector, and Jacques Demy in the portmanteau (omnibus film) Les Sept Péchés/The Seven Deadly Sins (1962). He appeared in a segment about the lusty conversation between two young men, one of whom has x-ray eyes that enable him to see through women's clothing. Terzieff starred with Rosanna Schiaffino and Elsa Martinelli in the Italian film La Notte Brava/Bad Girls Don't Cry (Mauro Bolognini, 1959). Pier Paolo Pasolini wrote this social drama about three young Roman criminals and three beautiful prostitutes without any perspective in life but having some money to spend during a night of illusions and adventures. More famous Italian film directors would ask him for their films. Terzieff appeared as a revolutionary on the run from government troops in Vanina Vanini/The Betrayer (Roberto Rossellini, 1961), as the centaur in Medea (Pier Paolo Pasolini, 1969) opposite Maria Callas, as an anarchistic petty thief in Ostia (Sergio Citti, Pier Paolo Pasolini, 1970), and as a military in Il deserto dei Tartari/Desert of the Tartars (Valerio Zurlini, 1976) opposite Vittorio Gassman and Jacques Perrin. In France, he played in A cœur joie/Two Weeks in September (Serge Bourguignon, 1967) with Brigitte Bardot, and La Prisonnière/Woman in Chains (Henri Georges Clouzot, 1968), in which he interpreted a disturbed modern art gallery owner who manipulates Elisabeth Wiener. He made four films with director Philippe Garrel. Le Révélateur/The developper (Philippe Garrel, 1968) was shot in May 1968 during the student revolution, and Les hautes solitudes (Philippe Garrel, 1974), a biographical film about actress Jean Seberg. Terzieff worked with more great auteurs. Famous Spanish director Luis Buñuel took him and Paul Frankeur on a pilgrimage to Santiago de Compostela in La Voie lactée/The Milky Way (Luis Buñuel, 1969). He was once directed by Jean-Luc Godard in Détective/Detective (Jean-Luc Godard, 1985). On television, he appeared in the American-Italian Mini-Series Moses the Lawgiver/Moses (Gianfranco De Bosio, 1974) starring Burt Lancaster.
Since the 1980s, Laurent Terzieff was seen less in the cinemas and mostly acted on stage. In the theatre, he often worked as a director, writer and actor with his own troupe, co-founded in 1961 with his companion Pascale de Boysson. He also ran the theatre Lucernaire in Paris. His later film roles include a Trotskyist in Rouge Baiser/Red Kiss (Véra Belmont, 1985), an anarchist in Germinal (Claude Berri, 1993) starring Gérard Depardieu, and the painter Hérigault in Le radeau de la Méduse/The Raft of the Medusa (Iradj Azimi, 1994), inspired by a tragic maritime event that happened in 1816. Politically engaged, Terzieff signed in 1960 La Déclaration sur le droit à l'insoumission dans la Guerre d'Algérie (Declaration on the Right of Insubordination in the War of Algeria), and in 2002, the petition Pas en notre nom (Not in our name) against the Iraq War. In his seventies, the gaunt-faced actor had not lost his magnetism, as was proved by his appearance in the Agatha Christie adaptation Mon petit doigt m'a dit.../A Little Bird Told Me... (Pascal Thomas, 2005) with Catherine Frot and André Dussollier. Terzieff also stayed active in the theatre. In 2009 he played an acclaimed Philoctetes in the play by Sophocles. His last films were the comedy J'ai toujours rêvé d'être un gangster/I always dreamed of being a gangster (Samuel Benchetrit, 2008) with Jean Rochefort, and the Italian production Le ombre rosse/The Red Shadow (Francesco Maselli, 2009). Posthumously he was seen opposite Sharon Stone in the thriller Largo Winch 2/The Burma Conspiracy (Jérôme Salle, 2011). During his long career, Laurent Terzieff was hailed with many awards (Prix Gérard Philippe, Molière for Best Director and Best Show for Temps contre temps (Time against time) in 1993), and he was also an Officier de l'Ordre du Mérite (Officer of the Order of Merit) and Commandeur des Arts et des Lettres (Commander of Arts and Letters). Laurent Terzieff died in 2010 in Paris from a lung ailment. He was 75. He was the widower of actress Pascale de Boysson.
Sources: Hans Beerekamp (Het Schimmenrijk) (Dutch), Hal Erickson (AllMovie), Evene.fr (French), Ciné-Ressources (Cinémathèque française) (French), Wikipedia (French and English), and IMDb.
And, please check out our blog European Film Star Postcards.
'The Smiths' formed six years after the start of the British punk rock scene, and perhaps projected into their way-of-being three elements from this cultural dynamic: a sense of make-do or DIY, a sense of commentating from outside of society (unemployment culture included), and a sense of opinion generated from polemical example.
Punk rock is today perhaps famous for its blanket nihilisms: “Anarchy in the UK”, “White riot”, “No future” - all with varied forms of the Vivian Westwood dress-sense. Aside this ultra-vivid self-created stigma, the late 70s musical/cultural movement of UK Punk had created lyrical and musical vignettes that stayed on record players and transferred to C60 chrome mix-tapes: “Easy germ free adolescence” ('X-Ray Spex' 78) plotted a closed 'existential' in the life of an individual; 'Lost in a supermarket' ('The Clash' 79) was another vignette, but this time describing a poetic angle into a modern life that many could relate to, and, as a third example - “Love comes in spurts” ('The Voidoids' 76) - featuring a lyric that uses 'childish' shock word-play and active double-meanings to register and parody existing lyrical convention, whilst describing certain truisms. It can be said that depictions of highly specific sentiments; unusual but collective views on the modern world and the shock use of words and their dynamic meanings became the terrain of the 'post punk', 'DIY' Manchester band - 'The Smiths'.
With the lyrical whit of their singer Morrissey, 'The Smiths' kept a punkist sense of polemical charge (“The Queen is Dead”; “Hang the DJ” and “Meat is Murder”) whilst systematically developing individual and social themes. If musical skills were often missing (or denied) during UK Punk, then the Post Punk years saw an overt return of musical virtuosity (hand in hand with groups higher on idea and form than musical technicity). One nest of guitar skills hovered around the New York City band 'The Voidoids' with Tom Verlain, Robert Quine and Richard Lloyd all important Post Punk guitar stylists (even if US 'Post Punk' arrived before UK Punk - for example 'Pere Ubu' 1975). Around 1980 in Manchester England, a man who could match 'Nick Drake' for reserve produced a low-key, but much listened to record titled “The return of the Durutti Column” (a Spanish civil war reference in the name and title) www.youtube.com/watch?v=pddox1SYHko. 'The Durutti Column's Vini Reilly's meticulous detailing of guitar melody was perhaps matched across the city of Manchester by the extraordinary guitar style of Johnny Marr – the principle co-songwriter to 'The Smiths', whose style became clearly visible as early as 'The Smith's' second single. Marr's sense of shimmering detailing is also clearly apparent in the example of this moving lens test.
Fireworks are of so many colours and effects, and the post punk DIY musical alternatives were varied. Despite their differences, there are a few bands that help to put 'The Smiths' into an early context. 'Vic Godard's Subway Sect' had perhaps started out as a British version of 'The Voidoids' ('Double negative' 1978 www.youtube.com/watch?v=8fsYYG_Qf0Q) and had evolved by 1981 into melodic anti pop www.youtube.com/watch?v=3cgzwQBtFaA an approach perhaps akin to the relationship between 'New Wave cinema' and traditional cinema. Again from 1981, the group 'Orange Juice' were inhabiting melody and lyric without the desire to provide 'expected' popularist results: www.youtube.com/watch?v=RmpNSpzx2wI. 'The Smiths' projected aside many groups, Dandyisms, deconstructions and observations and, with some of the lyrical landscapes of Morrissey, were one of the groups that held on longest to the polemical side of punk rock. With the guitar of Johnny Marr, they were also one of the groups that pushed furthest from initial DIY ethics into artistic, holistic and highly developed forms. By the release of 'The Queen is Dead' in 1986 they had refined their idiosyncrasies to such an extent that they had produced a record that could be compared against the very “classic” albums they were initially reflecting against.
Prolific songwriters, 'The Smiths' took subject to swathes of British youth, and were another input of inspiration for a new generation of musicians. Postcard, Pop Aural and Rough Trade layered under Creation, Domino and Sarah, and new bands evolved without a close proximity to Punk rock. Contemporary journalists (including ones associated with Manchester's Guardian), muse, relay and decree that it is now time to stop listening to the work of Morressey. The Smiths split in 1987, and in the decades since, Morrissey has remained loyal to his polemical approach to social subjects. I certainly never wanted to hang a DJ, but played the song. One of the tracks that we should apparently be boycotting is a recently released duet with Thelma Houston: www.youtube.com/watch?v=2cB93OUF_sA
The track “Some girls are bigger than others' comes from the 1986 record and is a construction with the most minimal idea of verse, and thus arrives almost straight into the chorus, with a slightly detached and minimal refrain. The lyric takes a line that can be associated with both male machismo and the observational naivety of a small child: playing the idea straight as the thought of a young male adult faced by the enormity of mankind's diversity. By referring to the ice age, the lyric also points out that these differences come from the depths of the human race and are not a modern celebrity surface.
"From the ice-age to the dole-age, there is but one concern. I have just discovered; some girls are bigger than others... "
For the images in the lens test I replaced the 'girls' of the song with the animate 'bodies' of 'mother earth', as reflected by her waterfalls. The shots involve a variety of lenses and locations either side of the Pyrénées.
AJM 13.03.20
Press play and then 'L' and even f11. Escape and f11 a second time to return.