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The season of colour is rapidly approaching. I had to go hunting to see what the leaves are doing but time is on the very cusp and there were only a handful of leaves on the turn here and there, just enough to make this sculpture. But sure enough the plants and trees will draw back into their roots and trunks ready to hibernate until the days lengthen again.
In the midst of all this I am left asking myself so many important existential questions:-
Why am I covered in gnat bites and would I be able to feed myself if I lived on an island and the supermarkets were permanently closed?
I went sea fishing the other day for probably the last and definitely the first time.
I used to go coarse fishing as a youngster (it didn't involving swearing at the slimey ichthyoids, coarse fish are freshwater pond, lake and river dwellers) but I gave it up eventually for a number of reasons: I was very bad at it; I spent many a summer day from dawn to dusk catching absolutely zilch: that's near enough 15 hours staring at the water's surface per session water staring fans; and a fair proportion of that time untangling line from tree branches, getting it stuck around an unseen submarine log, being a rich food source for the local insects and getting rained on. But the thing that really got to me was the abuse of the fish: the catching them at all thing, the throwing them back as it was only for my amusement thing, the sometimes swallowing the hook and needing to dispatch the fish thing, well the whole thing thing. So I gave away all my rods and tackle to someone who may be able to put those things aside.
Nowadays I live near the sea and I have been idly pondering what it would be like to fish in the ocean.
I live just to the south of the Lake District and on the northern edge of Morecambe Bay. The tide would come in only for a few short hours so I would need to be on my game.
I parked up on the promenade with the sea lapping at the base of the wall. I had been swotting up on the internet and watching how-to-fish videos, what could possibly go wrong?
I have a great deal of trouble concentrating when I am being observed, or where there are a lot of distractions. A spot of peaceful fishing would be just the ticket then as I remembered fondly those halcyon days of golden youth sat on a tranquil river bank whilst the water voles swum around in little circles, happily in denial about my seeming inability to do even a passing impression of someone who knows how to fish.
I put together all my kit whilst trying to ignore the heavy and noisy traffic a few yards behind me and carefully unwrapped the carefully folded newspaper bundle containing fresh bait, the innocuously named ragworm.
Oh god, the ragworm, these little critters really creep me out. They have mouth-parts that extend out and bite and they wriggle almost as much as my skin crawls in response. I dare you to google for a video on how to put a ragworm on a hook but believe me when I say it is entirely unpleasant both for me and the poor bloody worm. Nail number one in the will-Richard-go-fishing-again-likelihood-coffin. I'm still shuddering now at the thought of those little blighters. Euurggh.
Finally I hook up a worm and I'm ready to go, I'm not putting another one on so this one will need to get me a fish. Rod held aloft I make the first cast.
Not bad for a first go but I need more distance to get to where the fish are so I try again and for a third time.
Still not far enough so I start reeling in for a fourth try until the line went suddenly very tight. It seemed to be caught on something, I tugged and tugged and tugged as though I was struggling against Jaws himself but it just wouldn't budge.
Hummph.
I eventually cut the line and tied it off to the railings next to me so I could retrieve the tackle once the tide had gone out. This seemed to be going really well.
During all this a van had pulled up along side my pitch and the driver in between bites of his sandwich gawped at my attempts at angling. It wasn't helping.
I rigged up again: new hook, new weights and oh god, another ragworm and tried to cast again. On the positive side my casting was very consistent. I had the right skill level to cast the same distance each and every time. This would be very useful if I needed to cast 15 yards but it really needed to be 100.
I unpacked my folding chair and sat down deflated under no illusion that I'd catch anything except some nasty ragworm-borne virus with my bait only 15 yards out from the shore. Especially as the tide had receded for 5 of those.
It was a showery and blustery day and the wind whipped up as a large black cloud threatened overhead. I imagined myself stoof proud on the prow of a fishing boat, complete with beard and yellow sou'wester, the plumes of spray carrying away my words as I shout 'thar she blows!"
My reverie was dashed on the rocks as an especially large gust blew straight underneath my chair and lifted the newspaper parcel beside me before depositing the wriggling ragworms all down the sea wall.
I actually thought this was quite funny. I now clearly remembered the real reason I gave up fishing. Fish welfare was the least of my issues. Ineptitude was a much bigger barrier to breach.
A couple of minutes after this an old guy in a clapped out car parked even closer than mr van man, wound down his window, perched an elbow on the sill and pointedly shot a toothless grin right in my direction.
Call it ESP but I could hear his thoughts in my mind: "what you caught then? Anyfing big?"
By this point I was pretending to actually fish. I'd reeled in the tackle I had left, put it back into the tackle box and retied the stuck tackle to my rod and line. All I was doing now was waiting for the tide to go out so I could retrieve the stuck mess and go home.
I wondered to myself how I would like to spend the next cringe-worthy hour pretending to fish in the sea? Well for starters I would like to have at least two people watch me do that and one of them in particular should be found to be staring at me every time I turned round to catch his eye, with a grin and a nod as if saying "eh, eh, fishing, hmm, eh?"
Yes those things would make time absolutely fly by and being a very nice way to spend one hour that would actually feel like several decades.
And finally when the tide did eventually go out I'd want them to witness me go an retrieve my tackle snagged beneath the tiniest of pebbles as if that is what real fisherman do.
Sea fishing? Nah.
ﻉ√٥ﺎ and other distractions...
Some of us gamble on love, skipping from one “love" to another over the surface of existential pain, like a stone skipping over water or like switching channels on the television..
..as long as one can stay above the surface he/she can be perfectly happy; but when an affair ends and everything comes crashing down, one may be desperate for the next leap; sometimes searching for a new partner even at the funeral of the previous one. Yet sooner or later the stone loses vitality and with a final splunk may fall into the depths of tribulation.
It was out of a true understanding of real love that a man such as St. Francis of Assisi prayed that he might seek "not to be loved.. as to 'love' for love is a matter of soul and not of body."
What is “truly sought” is something we all experience as painfully missing from life: some comforting sense of absolute belonging and acceptance. Those who are fortunate get a sense of this feeling as infants, under a parent’s protection. But the feeling is fractured more often than not by parental empathic learning curves and it is lost entirely from ordinary sensory experience as children become older and independent and as the awareness of our essential human isolation and mortality sets in - deeply psychological I know, don't read into it too too much :)
This all goes to show that it’s easy enough to “love” those who “love” us: parents who protect us, “lovers” who make us feel received, public admiration, pets that unconditionally depend on us and who never threaten us.
But can we love those who annoy us . . . irritate us . . . obstruct us . . . scorn us . . . hate us?
Can we love our enemies?
That’s the real test of real love.
In conclusion, the most powerful emotion in the Universe is true love.
It is the cosmic glue that holds everything together.
This perfect, true love is no illusion.
It’s a mystical sort of thing, to feel its power is to feel connected to the Universe
- a truly enlightening experience.
.
© BlueFunambulist 2015 | Spain
Seven years ago, in winter season, I had for the first time an existential dilemma: what seemed the eternal conflict between heart and mind. The impulses they sent were hardly ever in the same direction, although is true that there were not many options to choose. I called it Duality. My Duality. As the years were passing by, I kept applying the term for other quandaries in Life and I became more and more analytical. Since 2010 until 2013, included, I started to follow my own rational and aristotelian theories based on finding the reason why things were as they were or can be. Feelings were hardly questioned. And they kept acting wild in many situations, specially inside. I felt what I felt. And it was as frustrating as senseless trying to make myself a perfect individual. I wrote during those years about two hundred personal writtings that I called «Feelings of Dusty Memories» what absolutely helped me to reach my own conclusions after a period of time.
In between those years, closer to the last times, I started to shyly include what I felt as a magical factor. Something what rested apart from science and methods. Something dependent of an unknown variable. The universe laws, the planets of the solar system and Pluto had an special space in my life, but never analysed as before. I would say that it was a middle point, neutral. Harmonious. I travelled to get lost and I truly found myself, as a solitary soul. A sensitive soul, an inquisitive mind and a human body, with it human needs.
And this is how Rinae Duality turned out into Plutonian. And that is how Plutonian grew up into Life Funambulist, who felt that to describe herself better, has to give birth to Blue Funambulist. Because Blue is the name of an alter-ego character moved by the heart call. Because it has always been my favorite colour, intrinsic to the ocean, and created by the light. The only colour that keeps an emotional state inside. A state that always should be alive.
Listening to: Rivers Flows in You, Yiruma.
Someone once claimed about me that I often battle an existential crisis. Well, I'm not sure whether I'd use the same terminology, but one thing is true ... I often question myself about being totally useless in this world. And that's maybe one of the reasons why I love mountains so deeply. I find them to be a genuine therapy for my problems. There, in the lap of mother nature and with hardly a trace of civilization (apart of unavoidable and almost everywhere-present Czech hikers that I only managed to escape in this place because I started the hike early enough), no questions about being useful or not can possibly take place. There, I'm just an animal like all the other animals sharing the beautiful land with me. Brought to the world as its natural part, to help to make it what it is now, and nothing else matters.
life has been weird. college is weird. more than that, being home is weird, there are parts of me i took with me (sykora i hope you see this) and parts i forgot were mine. today i was hit with an odd surprise that i thought would not make me feel things, and overall, it didnt. still, for like 45 seconds, i was shocked and i couldnt name why. once i thought in a reasonable way (and ranted a bit) i was fine. my life wasnt changing, i was just faced with a minute of confusion.
life is long, and if that was my biggest issue, im happy. im hoping that in this next year, i can grow up a bit. i can focus on having positive folks in my life rather than ones that fuel my existential dread. nostalgia hits me hard every time, my friends. thanks for joining me on the ride.
(with the poster I saved from our 2014 interdisciplinary gathering on "Moon Base Alpha")
When I share enthusiasm for some new space exploration or colonization initiative, I occasionally hear the retort that we should focus on saving Earth first, often with climate change in mind as the imminent existential threat.
A recent articulate example from Facebook: “It seems to me that we are in such a significant emergency (really interrelated emergencies) that we need to focus all of our ingenuity and resources on transforming our energy systems, infrastructure, agriculture, transportation, political systems, etc. right here on this planet. I am afraid that we will end up exporting our exploitative culture to space and not make the changes here that we need to restore the life support systems of our planet.”
And my reply: When I have heard these concerns in the past, I have dashed off a retort about the false dichotomy, but the concerns persist, so let me try to be a bit more thoughtful, and please let me know if you find any of this to be persuasive:
1) Positive inspiration: living in space is the ultimate recycling and sustainability challenge. A fair number of people like to dream of something grand as they simultaneously solve the problems of today. You mention transforming energy, ag and transportation. Think of the advances that some of the “space people” have made in this area. Tesla came after SpaceX. Some of my most recent investments have been in fusion power and animal-free meat manufacturing. They are both HUGE priorities to save the Earth (we have to stem the growth of hundreds of new coal power plants in China and meat manufacturing globally, both major sources of GHG). But they are also essential for off-world colonies — energy and food production challenges are more acute when imagining a lunar or Mars base.
For a breakthrough solution, you often have to imagine a challenge greater than the creeping incrementalism of “problem fixing.”
2) Direct synergy: where would the environmental movement and the climate change science be without space? From the whole-Earth image of our pale blue dot to the Earth observation satellites, one could argue that space initiatives have been the greatest advance for the environmental movement (Sierra Club). The founders of Open Lunar are the founders of Planet; like me, they still have their day jobs where they image the entire Earth every day from space. Other space entrepreneurs are putting up GPS-RO satellites to measure upper atmosphere weather (essential to climate models and weather prediction) and this data cannot be gathered from the ground. These satellite constellations are now cost-effective because of the lowering launch costs from SpaceX and some of their competitors.
3) Differential advantage: not everyone on the planet should be focused on the same thing. You provide a partial list of priorities, but should a domain expert on poverty or the diseases of the poor shift entirely to something on your list of emergencies? Do you want to argue that climate change trumps other priorities, and even if it does, do you have a rank list of what to prioritize within that domain? This climate-change prioritization list surprised me as to the space-synergies.
4) Experimentation zones: this is a new opportunity. If we want to perform experiments in geoengineering, Mars and Venus might be better places to start as we hone our skills and verify our simulations. And if we can make one habitable, and humanity becomes multi-planetary, it would be one of the greatest accomplishments for our civilization. These experimentation zones could include the “political systems” you mention and go beyond the “charter cites” that Paul Romer espouses to “charter civilizations” with experiments in better governance among the off-world colonies.
In short, exploring the final frontier and saving the Earth are not mutually exclusive; rather, they are deeply synergistic, inspirational and focused on the ultimate sustainability challenge.
And the entrepreneurial drive to forge a future that inspires future generations with the potential of progress is a worthy endeavor in its own right.
Thoughts?
…a very tired but no less stoical wife after ‘a day in the field’….
Western NC mountains e6 slide home scanned Kodak tabletop scanner. Mono conversion in Snapseed. Guessing Canon 1n with 24-105L..
As I'm sure we all know French existential philosopher Jean Paul Sartre once said 'Words are loaded pistols'. I think we can all appreciate the sentiment behind this statement as surely we've all said something we regret every once in a while. And once those words are said the pistol has been fired and there's no turning back.
This design started life as the image of existential French Jean Paul Sartre's head with his loaded pistol words alongside but as I love an earworm if I can possibly get away with it I took some inspiration from the world of music to see if I could get Cher's seminal 1989 hit 'If I could turn back time' playing unheeded in your brain.
In the song Cher utters the immortal words 'Words are like weapons, they wound sometimes' and this rang a bell in my brain as it seemed close enough to Sartre's words to make use of. Hopefully that will strike a chord in your brain and you'll be singing it all day. Mission accomplished!
Whilst we were painting it some hapless busybody decided to try and let me know that I'd misquoted Sartre but, of course, I hadn't as she had neglected to read my 'Jean Paul Sartre as paraphrased by Cher' small print graffiti. id-iom 1 - random passerby 0. Ha! In your face!
Cheers
id-iom
The rest of the story. See image to the right of this panel.
Nothing escapes a black hole. Light cannot escape and neither can existence. At the event horizon, existence does not precede essence; existence precedes extinction. A being on the precipice will inevitably become extinct. But what happens to a being after its extinction is not so well-known. The supercollider photos in the sequence above show what happens after extinction. And thanks to Monty Cook for the title.
When leaving native lands for a long-long time, it seems that everything freezes at home . It seems that life stops there. Memories of home appear to be pictures from the past dated back to months ago. City and people remain in your head the same as they were when you had seen them last time before departure. But life was running fast without you: the streets got older and some people passed away. Everything changes. Nothing is everlasting*
*All presented photos were created under the influence of existential crisis of a young man.
Dedicated to those who faced the torturous existential agony before they were gone. To all the "illegal" immigrants...
what more can a man ask? freedom and good health to enjoy a day out exploring new places with his sons and a friend in November sunshine ;-)
Picture of different bodies (vehicles) whether or not we’re aware of them on different planes of existence. The light body being a vehicle of energy being able to explore things our human mind can’t even truly begin to perceive.Increasingly science agrees with the poetry of direct human experience: we are more than the atoms and molecules that make up our bodies, but beings of light as well. Biophotons are emitted by the human body, can be released through mental intention, and may modulate fundamental processes within cell-to-cell communication and DNA.
Nothing is more amazing than the highly improbable fact that we exist. We often ignore this fact, oblivious to the reality that instead of something there could be nothing at all, i.e. why is there a universe (poignantly aware of itself through us) and not some void completely unconscious of itself?
Consider that from light, air, water, basic minerals within the crust of the earth, and the at least 3 billion year old information contained within the nucleus of one diploid zygote cell, the human body is formed, and within that body a soul capable of at least trying to comprehend its bodily and spiritual origins.
Given the sheer insanity of our existential condition, and bodily incarnation as a whole, and considering that our earthly existence is partially formed from sunlight and requires the continual consumption of condensed sunlight in the form of food, it may not sound so farfetched that our body emits light.
Indeed, the human body emits biophotons, also known as ultraweak photon emissions (UPE), with a visibility 1,000 times lower than the sensitivity of our naked eye. While not visible to us, these particles of light (or waves, depending on how you are measuring them) are part of the visible electromagnetic spectrum (380-780 nm) and are detectable via sophisticated modern instrumentation.
The Physical and "Mental" Eye Emits Light
The eye itself, which is continually exposed to ambient powerful photons that pass through various ocular tissues, emit spontaneous and visible light-induced ultraweak photon emissions. It has even been hypothesized that visible light induces delayed bioluminescence within the exposed eye tissue, providing an explanation for the origin of the negative afterimage.
These light emissions have also been correlated with cerebral energy metabolism and oxidative stress within the mammalian brain. And yet, biophoton emissions are not necessarily epiphenomenal. Bókkon's hypothesis suggests that photons released from chemical processes within the brain produce biophysical pictures during visual imagery, and a recent study found that when subjects actively imagined light in a very dark environment their intention produced significant increases in ultraweak photo emissions. This is consistent with an emerging view that biophotons are not solely cellular metabolic by-products, but rather, because biophoton intensity can be considerably higher inside cells than outside, it is possible for the mind to access this energy gradient to create intrinsic biophysical pictures during visual perception and imagery.
The Human Eye Emits Light
Our Cells and DNA Use Biophotons To Store and Communicate Information
Apparently biophotons are used by the cells of many living organisms to communicate, which facilitates energy/information transfer that is several orders of magnitude faster than chemical diffusion. According to a 2010 study, "Cell to cell communication by biophotons have been demonstrated in plants, bacteria, animal neutriophil granulocytes and kidney cells." Researchers were able to demonstrate that "...different spectral light stimulation (infrared, red, yellow, blue, green and white) at one end of the spinal sensory or motor nerve roots resulted in a significant increase in the biophotonic activity at the other end." Researchers interpreted their finding to suggest that "...light stimulation can generate biophotons that conduct along the neural fibers, probably as neural communication signals."
Even when we go down to the molecular level of our genome, DNA can be identified to be a source of biophoton emissions as well. One author proposes that DNA is so biophoton dependent that is has excimer laser-like properties, enabling it to exist in a stable state far from thermal equilibrium at threshold.
Technically speaking a biophoton is an elementary particle or quantum of light of non-thermal origin in the visible and ultraviolet spectrum emitted from a biological system. They are generally believed to be produced as a result of energy metabolism within our cells, or more formally as a "...by-product of biochemical reactions in which excited molecules are produced from bioenergetic processes that involves active oxygen species,"
The Body's Circadian Biophoton Output
Because the metabolism of the body changes in a circadian fashion, biophoton emissions also variate along the axis of diurnal time. Research has mapped out distinct anatomical locations within the body where biophoton emissions are stronger and weaker, depending on the time of the day:
Generally, the fluctuation in photon counts over the body was lower in the morning than in the afternoon. The thorax-abdomen region emitted lowest and most constantly. The upper extremities and the head region emitted most and increasingly over the day. Spectral analysis of low, intermediate and high emission from the superior frontal part of the right leg, the forehead and the palms in the sensitivity range of the photomultiplier showed the major spontaneous emission at 470-570 nm. The central palm area of hand emission showed a larger contribution of the 420-470 nm range in the spectrum of spontaneous emission from the hand in autumn/winter. The spectrum of delayed luminescence from the hand showed major emission in the same range as spontaneous emission.
The researchers concluded that "The spectral data suggest that measurements might well provide quantitative data on the individual pattern of peroxidative and anti-oxidative processes in vivo."
Meditation and Herbs Affect Biophoton Output
Research has found an oxidative stress-mediated difference in biophoton emission among mediators versus non-meditators. Those who meditate regularly tend to have lower ultra-weak photon emission (UPE, biophoton emission), which is believed to result from the lower level of free radical reactions occurring in their bodies. In one clinical study involving practitioners of transcendental meditation (TM) researchers found:
The lowest UPE intensities were observed in two subjects who regularly meditate. Spectral analysis of human UPE has suggested that ultra-weak emission is probably, at least in part, a reflection of free radical reactions in a living system. It has been documented that various physiologic and biochemical shifts follow the long-term practice of meditation and it is inferred that meditation may impact free radical activity.
Interestingly, an herb well-known for its use in stress reduction (including inducing measurable declines in cortisol), and associated heightened oxidative stress, has been tested clinically in reducing the level of biophotons emitted in human subjects. Known as rhodiola, a study published in 2009 in the journal Phytotherapeutic Research found that those who took the herb for 1 week has a significant decrease in photon emission in comparison with the placebo group.
Human Skin May Capture Energy and Information from Sunlight
Perhaps most extraordinary of all is the possibility that our bodily surface contains cells capable of efficiently trapping the energy and information from ultraviolet radiation. A study published in the Journal of Photochemistry and Photobiology in 1993, titled, "Artificial sunlight irradiation induces ultraweak photon emission in human skin fibroblasts," discovered that when light from an artificial sunlight source was applied to fibroblasts from either normal subjects or with the condition xeroderma pigmentosum, characterized by deficient DNA repair mechanisms, it induced far higher emissions of ultraweak photons (10-20 times) in the xeroderma pigmentosum group. The researchers concluded from this experiment that "These data suggest that xeroderma pigmentosum cells tend to lose the capacity of efficient storage of ultraweak photons, indicating the existence of an efficient intracellular photon trapping system within human cells."More recent research has also identified measurable differences in biophoton emission between normal and melanoma cells.
Human Skin and Light
In a previous article, Does Skin Pigment Act Like A Natural Solar-Panel, we explored the role of melanin in converting ultraviolet light into metabolic energy:
Melanin is capable of transforming ultraviolet light energy into heat in a process known as "ultrafast internal conversion"; more than 99.9% of the absorbed UV radiation is transformed from potentially genotoxic (DNA-damaging) ultraviolet light into harmless heat.
If melanin can convert light into heat, could it not also transform UV radiation into other biologically/metabolically useful forms of energy? This may not seem so farfetched when one considers that even gamma radiation, which is highly toxic to most forms of life, is a source of sustenance for certain types of fungi and bacteria. More on melanin-mediated energy production here.
Gerald Pollack, PhD, who wrote The 4th Phase of Water has identified water molecules, which constitute 99% of the molecules in our body by number, as capable of storing the energy of sunlight like batteries and driving the majority of processes within our body as a primary, non-ATP-based source of energy. Dr. Pollack wrote a guest article for us on the topic here, Can Humans Harvest The Sun's Energy Directly Like Plants?
The Body's Biophoton Outputs Are Governed by Solar and Lunar Forces
It appears that modern science is only now coming to recognize the ability of the human body to receive and emit energy and information directly from the light given off from the Sun.
There is also a growing realization that the Sun and Moon affect biophoton emissions through gravitational influences. Recently, biophoton emissions from wheat seedlings in Germany and Brazil were found to be synchronized transcontinentally according to rhythms associated with the lunisolar tide.[18] In fact, the lunisolar tidal force, to which the Sun contributes 30 % and the Moon 60 % of the combined gravitational acceleration, has been found to regulate a number of features of plant growth upon Earth.[19]
Intention Is a Living Force of Physiology
Even human intention itself, the so-called ghost in the machine, may have an empirical basis in biophotons.
A recent commentary published in the journal Investigacion clinica titled "Evidence about the power of intention" addressed this connection:
Intention is defined as a directed thought to perform a determined action. Thoughts targeted to an end can affect inanimate objects and practically all living things from unicellular organisms to human beings. The emission of light particles (biophotons) seems to be the mechanism through which an intention produces its effects. All living organisms emit a constant current of photons as a mean to direct instantaneous nonlocal signals from one part of the body to another and to the outside world. Biophotons are stored in the intracellular DNA. When the organism is sick changes in biophotons emissions are produced. Direct intention manifests itself as an electric and magnetic energy producing an ordered flux of photons. Our intentions seem to operate as highly coherent frequencies capable of changing the molecular structure of matter. For the intention to be effective it is necessary to choose the appropriate time. In fact, living beings are mutually synchronized and to the earth and its constant changes of magnetic energy. It has been shown that the energy of thought can also alter the environment. Hypnosis, stigmata phenomena and the placebo effect can also be considered as types of intention, as instructions to the brain during a particular state of consciousness. Cases of spontaneous cures or of remote healing of extremely ill patients represent instances of an exceedingly great intention to control diseases menacing our lives. The intention to heal as well as the beliefs of the sick person on the efficacy of the healing influences promote his healing. In conclusion, studies on thought and consciousness are emerging as fundamental aspects and not as mere epiphenomena that are rapidly leading to a profound change in the paradigms of Biology and Medicine.
So there you have it. Science increasingly agrees with direct human experience: we are more than the atoms and molecules of which we are composed, but beings that emit, communicate with, and are formed from light.
www.greenmedinfo.com/blog/biophotons-human-body-emits-com...
Explored March 25, 2018
All The World's a Stooge is the 55th short film released by Columbia Pictures in 1941 starring American slapstick comedy team The Three Stooges (Moe Howard, Larry Fine and Curly Howard). The comedians released 190 short films for the studio between 1934 and 1959.
For We're Here — The Three Stooges Existential Balloon Factory.
Put some zing into your 365! Join We're Here!
Lighting:
Bare strobe camera left
triggered by existential angst
note: foreground shot with Fuji X-T1; background with X100
acrylic on canvas, 2001, 70 x 100 cm
Strategy of Fear
Fear lies at the basis of all religions:
Es wird oft gesagt, dass Furcht die Grundlage einer jeden Religion sei.
viewonbuddhism.org/buddhismus-deutsch/g-furcht-angst.htm
The existential fear of the contemporary human being
Freedom from fear is listed as a fundamental human right according to The Universal Declaration of Human Rights
Le droit de ne pas avoir peur est répertorié comme un droit humain fondamental selon la Déclaration universelle des droits de l'homme
Panic and Depression (with Peter Halley)
panicanddepression.blogspot.be/2007/07/what-fear-looks-li...
I like this one, by an artist named Jan Theuninck, too. It's called "Fear." It looks like a frightened face to me -- wide eyes, mouth pursed in fear.
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Maar in de kamer van de verbannen dichter
Houden angst en Muze beurtelings de wacht,
En er breekt een nacht aan
Die geen ochtend kent.
(Anna Achmatova)
But in the exiled poet's room
Fear and Muse keep watch in turn,
And a night comes
Who knows no morning.
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Jan Theuninck is a Belgian painter
www.boekgrrls.nl/BgDiversen/Onderwerpen/gedichten_over_sc...
www.forumeerstewereldoorlog.be/wiki/index.php/Yperite-Jan...
www.graphiste-webdesigner.fr/blog/2013/04/la-peinture-bel...
www.eutrio.be/expo-west-meets-east
www.e-architect.co.uk/architects/le-corbusier
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la politique de la peur est une expression qui désigne la politique d'un gouvernement qui utiliserait la peur de la population pour faire adopter des mesures réduisant les libertés individuelles
1/ La stratégie de la distraction
Élément primordial du contrôle social, la stratégie de la diversion consiste à détourner l’attention du public des problèmes importants et des mutations décidées par les élites politiques et économiques, grâce à un déluge continuel de distractions et d’informations insignifiantes. La stratégie de la diversion est également indispensable pour empêcher le public de s’intéresser aux connaissances essentielles, dans les domaines de la science, de l’économie, de la psychologie, de la neurobiologie, et de la cybernétique. « Garder l’attention du public distraite, loin des véritables problèmes sociaux, captivée par des sujets sans importance réelle. Garder le public occupé, occupé, occupé, sans aucun temps pour penser; de retour à la ferme avec les autres animaux. » Extrait de « Armes silencieuses pour guerres tranquilles »
2/ Créer des problèmes, puis offrir des solutions
Cette méthode est aussi appelée « problème-réaction-solution ». On crée d’abord un problème, une « situation » prévue pour susciter une certaine réaction du public, afin que celui-ci soit lui-même demandeur des mesures qu’on souhaite lui faire accepter. Par exemple: laisser se développer la violence urbaine, ou organiser des attentats sanglants, afin que le public soit demandeur de lois sécuritaires au détriment de la liberté. Ou encore : créer une crise économique pour faire accepter comme un mal nécessaire le recul des droits sociaux et le démantèlement des services publics.
3/ La stratégie de la dégradation
Pour faire accepter une mesure inacceptable, il suffit de l’appliquer progressivement, en « dégradé », sur une durée de 10 ans. C’est de cette façon que des conditions socio-économiques radicalement nouvelles (néolibéralisme) ont été imposées durant les années 1980 à 1990. Chômage massif, précarité, flexibilité, délocalisations, salaires n’assurant plus un revenu décent, autant de changements qui auraient provoqué une révolution s’ils avaient été appliqués brutalement.
4/ La stratégie du différé
Une autre façon de faire accepter une décision impopulaire est de la présenter comme « douloureuse mais nécessaire », en obtenant l’accord du public dans le présent pour une application dans le futur. Il est toujours plus facile d’accepter un sacrifice futur qu’un sacrifice immédiat. D’abord parce que l’effort n’est pas à fournir tout de suite. Ensuite parce que le public a toujours tendance à espérer naïvement que « tout ira mieux demain » et que le sacrifice demandé pourra être évité. Enfin, cela laisse du temps au public pour s’habituer à l’idée du changement et l’accepter avec résignation lorsque le moment sera venu.
5/ S’adresser au public comme à des enfants en bas-âge
La plupart des publicités destinées au grand-public utilisent un discours, des arguments, des personnages, et un ton particulièrement infantilisants, souvent proche du débilitant, comme si le spectateur était un enfant en bas-âge ou un handicapé mental. Plus on cherchera à tromper le spectateur, plus on adoptera un ton infantilisant. Pourquoi ? «Si on s’adresse à une personne comme si elle était âgée de 12 ans, alors, en raison de la suggestibilité, elle aura, avec une certaine probabilité, une réponse ou une réaction aussi dénuée de sens critique que celle d’une personne de 12 ans». Extrait de «Armes silencieuses pour guerres tranquilles»
6/ Faire appel à l’émotionnel plutôt qu’à la réflexion
Faire appel à l’émotionnel est une technique classique pour court-circuiter l’analyse rationnelle, et donc le sens critique des individus. De plus, l’utilisation du registre émotionnel permet d’ouvrir la porte d’accès à l’inconscient pour y implanter des idées, des désirs, des peurs, des pulsions, ou des comportements…
7/ Maintenir le public dans l’ignorance et la bêtise
Faire en sorte que le public soit incapable de comprendre les technologies et les méthodes utilisées pour son contrôle et son esclavage. « La qualité de l’éducation donnée aux classes inférieures doit être la plus pauvre, de telle sorte que le fossé de l’ignorance qui isole les classes inférieures des classes supérieures soit et demeure incompréhensible par les classes inférieures. Extrait de « Armes silencieuses pour guerres tranquilles »
8/ Encourager le public à se complaire dans la médiocrité
Encourager le public à trouver « cool » le fait d’être bête, vulgaire, et inculte…
9/ Remplacer la révolte par la culpabilité
Faire croire à l’individu qu’il est seul responsable de son malheur, à cause de l’insuffisance de son intelligence, de ses capacités, ou de ses efforts. Ainsi, au lieu de se révolter contre le système économique, l’individu s’auto-dévalue et culpabilise, ce qui engendre un état dépressif dont l’un des effets est l’inhibition de l’action. Et sa Et sans action, pas de révolution!…
10/ Connaître les individus mieux qu’ils ne se connaissent eux-mêmes
Au cours des 50 dernières années, les progrès fulgurants de la science ont creusé un fossé croissant entre les connaissances du public et celles détenues et utilisées par les élites dirigeantes. Grâce à la biologie, la neurobiologie, et la psychologie appliquée, le « système » est parvenu à une connaissance avancée de l’être humain, à la fois physiquement et psychologiquement. Le système en est arrivé à mieux connaître l’individu moyen que celui-ci ne se connaît lui-même. Cela signifie que dans la majorité des cas, le système détient un plus grand contrôle et un plus grand pouvoir sur les individus que les individus eux-mêmes.
Drastic
I feel the fear
I fear the fear
F E A R
Instinct is a name
Where do you come from?
Why do I fear fear?
HKD
When we are young, life is very drastic
Existential fear
Fear the world
Afraid of outside
Afraid of everything
Afraid of contact
HKD
Angst vor Angriffe
Angst vor dem Leben
Existenzangst
HKD
If you like see my YouTube Video:
"Dark Night of the Soul"
The words of Nan Shepherd from her now classic work The Living Mountain which captures her existential moments of walking in the Cairngorms. The modesty of the headstone is perhaps fitting. Standing amidst grander memorials in Springbank Cemetery, the simple inscription belies the literary strengths of Nan Shepherd. However, for one who sought to find an identity in her physical and spiritual experience of the world the shrinking of ego was doubtless no bad thing.
The view is looking down Glen Derry.
They have no idea what is going on, but, being existential, they just deal with it on their terms.
Tumblr photo
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים
ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild
Some say birds don’t contemplate the nature of existence. This White Wagtail would disagree. Caught mid-stare at a particularly lichen-heavy rock, it appears to be either pondering the meaning of life or just deciding whether the moss looks edible. Tail flick: paused. Inner monologue: active. This is what happens when a hyperactive insect-chaser hits a philosophical wall… literally.
Credits goes to...
Clouds borrowed from:
and the green tint and texture on the floor from:
A big thank you both for sharing.
The breakthrough metaphysical story of the past, present, and future. Truths that will remain.
THE HIDDEN FACE novel by M. I. VERRAS
Amazon, EBay, Barnes&Noble, Walmart, Bookshop.
By Palmetto Publishing.
I'm not sure if i've ever suffered an existential crisis on the level that this man is currently having to deal with. Sure, I've had some strange notions from time to time but this guy's desperation at his inability to tell his lovely lady that they aren't really lovers and are, in fact, just stencils is somewhat heartbreaking. The swirling maelstrom of his thoughts is reflected in the somewhat random background. Just how is he going to break it to her? Life can be tough, can't it?
These are on A3 paper and will look lovely once framed. Drop us a line if you're interested...
Cheers
id-iom