View allAll Photos Tagged existential
The parking space was less than a block from where I wanted to be, but when I stepped onto the sidewalk a vanishing point opened up and with each step my destination remained just as far away. Despite the apparent existential futility I walked on and all of sudden my goal was in sight, and soon I would be there. But when I glanced back the vanishing point had moved and the car had completely disappeared…I'd just have to worry about that later, there was a bridge enshrouded in an existential fog of its own to photograph! Feel the full futility. N57678
Life is a journey through endless polarities. Every choice made is a step in one of two directions. Every step taken leads to a new choice to be made...
The Consulate General of Germany in Istanbul,
The Rumanian Arts Center Dimitrie Cantemir and SanatOdası/KunstRaum/ArtRoom present:
A Dance Performance by Natalia Murariu
İÇ DÜNYALARIN ŞİİRSELLİĞİ
Balerin ve koreograf Natalia Murariu bedensel dille iç dünya ve ruh hallerini anlatıyor. Doğal kronolojinin ötesine giden insan yaşam döngüsünün bir yansımasıdır izleyeceğimiz bu dans performansı. Sadece düşünce ve projeksiyon değil, daha çok yaşanmış yoğun anların anılarıdır.
POESIE INNERER WELTEN
Die Tänzerin und Choreographin Natalia Murariu erzählt in ihrem körperlichen
Ausdruck von inneren Welten und Seelenzuständen. Es ist eine Reflektion des menschlichen Lebenszyklus, welche sich über natürliche Chronologie hinwegsetzt.
Es sind nicht nur Gedanken und Projektionen, vielmehr Erinnerungen an intensive Augenblicke im Leben.
Ich lebe mein Leben in wachsenden Ringen,
die sich über die Dinge ziehn.
Ich werde den letzten vielleicht nicht vollbringen,
aber versuchen will ich ihn.
Hayatımı genişleyen halkalar içinde yaşıyorum ben.
Nesneler üzerinde açılan halkaların
Sonuncusunu başarmak belki gelmez elimden;
Yine de başarmaya çalışacağım.
I live my life in growing rings
That reach across this World of things
Perhaps I’ll never complete the last,
but that’s what I mean to try.
Rainer Maria Rilke
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Sponsored by www.villadatatil.com
Natalia Murariu hakkında:
Balerin Natalia Murariu Moskova'da doğdu. Bükreş'te 1973 yılında Bale Akademisi’nden mezun olduktan sonra Bükreş Devlet Operası, opera topluluğuna alındı ve operaya kısa sürede solist olarak kabul edildi.
1985 yılından beri Köln’ de yaşayan Natalia Murariu Koreograf ve yönetmen olarak tiyatro ve performans alanında çalışmalarını sürdürmektedir.
Haydar Zorlu`nun uzun yıllar üzerinde çalışmış olduğu Goethe’nin Faust eseri, uzun denemelerden sonra ancak Natalia Murariu’nun yönetmen olarak uyguladığı sahne teknikleri sayesinde yepyeni bir yorumla gerçekleşebildi. www.faust-istanbul.com
Über die Künstlerin Natalia Murariu
Die Ballerina Natalia Murariu wurde in Moskau geboren. Nach dem Abschluss der Ballettakademie 1973 in Bukarest wurde sie ins Opernensemble der Bukarester Staatsoper aufgenommen, wo sie schon nach kurzer Zeit als Solistin auftrat. Gleichzeitig beschäftigte sie sich immer wieder mit neuen Formen des modernen- und Ausdrucktanzes und wurde Mitglied zweier neu gegründeter Modern Dance Gruppen. Anerkennung und Erfolg kamen auch aus dem Ausland, während des Kunstfestivals „Frühling 1978“ in Paris.
1979 gewann Natalia Murariu zusammen mit einer Gruppe des Ensembles der Bukarester Staatsoper den 1. Preis auf nationaler Ebene für junge Choreographen und den 1. Preis für tänzerische Darbietung. In der Fachzeitschrift „Ba۸et“ feierte man sie als beste Nachwuchschoreographin. Im gleichen Jahr ging sie auf eine Tournee mit der Staatsoper Bukarest durch mehrere Städte der DDR. Als höchste Ehrung lobte die sowjetische Fachzeitschrift „Бarem“ sie als neue Hoffnung der Tanzwelt.
Seit 1985 Aufenthalt in Deutschland. Hier fing sie an, ihr Können und ihre Begeisterung auch dem Nachwuchs zu vermitteln. Seit 1994 lebt Natalia Murariu in Köln. An der Musikschule Ahrweiler unterrichtete sie über viele Jahre Klassisches Ballett, Jazz Tanz und Tanztheater. Seit 2004 widmet sich die Künstlerin der Freien Tanzszene in Köln und gründete 2005 die Tanzgruppe „Espace Danse Cologne“. In ihrer Liebe für die Musik von Bach, Händel und Pergolesi (nur ein Bruchteil ihrer Lieblingskomponisten), die ihre Kreativität beflügeln, kommen noch viele selbst „gedichtete Gedanken“ hinzu, die den Zuschauer in die „Gedankenwelt einer Tänzerin“ einführen sollen. So hieß auch ihr Vortragsabend im November 2005 im Kölner Kunstsalon, mit dem ihre Aufnahme in die GEDOK KÖLN bestätigt wurde.
Natalia Murariu hat das Faust-Solo mit Haydar Zorlu inszeniert, welches im März 2009 seine Premiere im Kaisersaal des Deutschen Generalkonsulats in Istanbul hatte. Durch das Zusammentreffen mit der Regisseurin Natalia Murariu fand Haydar Zorlu die Ausdrucksformen, um den Faust in einer völlig neuen Inszenierung auf die Bühne zu bringen, wobei es Murariu gelungen ist, die rasanten Rollenwechsel mit wenigen Mittel zu unterstreichen. Das Ergebnis: Goethes Faust, ganz großes Theater im Taschenformat. www.faust-solo.de
POEZIA LUMII INTERIOARE
Dansatoarea si coregrafa Natalia Murariu exprimă, prin limbajul trupului, stări sufletesti si aspecte ale lumii lăuntrice. Este o oglindire a ciclului vietii umane care merge dincolo de cronologia naturală. Nu sunt doar gânduri si poiectii, ci mai degrabă amintiri ale unor momente trăite cu intensitate. Dramaturgia emotionantă a acestui eveniment artistic este redată de subtilitatea ironiei si de absurdul existential inevitabil.
Balerina Natalia Murariu (n.Traistaru) s-a nascut la Moscova.
- 1973 absolventa a Liceului de Coregrafie Buc.
-Dupa absolvire membra a ansamlului de balet al Operei Romine Buc.
-La scurt timp devine solista in repertoriul clasic si inscenarile contemporane
ale Operei Romine.
-In paralel activitate artistica in grupurile de expresie moderna/contemporana
conduse de Adina Cezar,Sergiu Anghel si Miriam Raducanu-(Spectacole "NOCTURN 9 1/2")de la teatrul Tandarica si de "POESIE si DANS"la Teatrul National Buc.
- 1978-Paris,Centre Pompidou(Festivalul Primaverii),turneu cu ansamblul Operei
Romine Buc.sub conducerea lui Mihai Brediceanu
- 1979-Berlin,Erfurt,Weimar,deasemenea turneu.
- 1979-Consacrarea ca solista si asistenta coregrafica in spectacolul Operei Romine "Izvoare si Radacini"(Premiul national pt.interpretare) sub conducerea lui Ion Tugearu
- 1984-In revista sovietica"BALET"este numita ca o noua speranta a lumii dansului.
- 2009-Docenta pt. tehnica dansului modern la Universitatea de Teatru,Film si
Coregrafie Buc.(clasa Pr.Pr.Dr.Sergiu Anghel
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“The Cross is not a Roman pole, but the wood on which God wrote his gospel”.
“La Croce non è un palo dei romani, ma il legno su cui Dio ha scritto il suo vangelo.
(Alda Merini)
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Good Friday is an anniversary which in Sicily acquires a cathartic meaning for those who are searching, not only photographically, for popular traditions (we find them widespread throughout Sicily), which are nothing other than a social, cultural event, which merge into a single past and present; from the web "popular traditions are a historical memory linked to customs and rituals that have given shape to the values and beliefs of that culture". Easter in Sicily can be a source of research, it can appear not without contradictions, citing the thoughts of that great Sicilian thinker Leonardo Sciascia, for him Sicily cannot be called Christian referring to the Sicilian festivals, at most it is only in appearance, in those properly pagan explosions tolerated by the Church; Sciascia addresses the topic as an introductory essay in the book "Religious celebrations in Sicily", illustrated with photographs of a young and still unknown Ferdinando Scianna, a book that did not fail to raise some controversy due to the Sicilian thinker's introductory note, thus being in open controversy with the sacredness of that popular Sicilian devotion (the book was criticized by the Holy See newspaper, the Osservatore Romano), Sciascia writes: “what is a religious festival in Sicily? It would be easy to answer that it is anything but a religious holiday. It is, first of all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Since it is only during the celebration that the Sicilian emerges from his condition of a single man, which is the condition of his vigilant and painful superego, to find himself part of a class, of a class, of a city". Another Sicilian thinker, writer and poet, Gesualdo Bufalino, provides interesting indications on the meaning that Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, first sorrowful and then exultant , for a Mystery that is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as the very nature of the rite is metamorphic in which, as in a story from the Puppet Opera, the battle of Good against Evil is fought. Deception, Pain and Triumph, Passion, Death and Resurrection of Christ are present."
In short, Easter in Sicily is a deeply felt anniversary throughout the island since ancient times, it has always had as its fulcrum the emotional participation of the people, with representations and processions which have become rites and traditions which unequivocally characterize numerous Sicilian centres, which they recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have within them contents and symbols often coming from the Spanish domination, which took place in Sicily between the 16th and 17th centuries. This year, on the occasion of Good Friday I went to the pretty town of Licodia Eubea (in the province of Catania), I'll start by saying that in this procession a unique character comes to life in statue form that cannot be found anywhere else place in Sicily, it is called "Ciurciddu" (translated "Circello"), he pulls Christ with a rope tied around his neck while he carries the Cross, this bad character has a profound symbolic-allegorical meaning, he represents "the Evil that exists in the world, the refusal towards the Truth announced by Christ", causing him suffering by pulling him with the rope tied around his neck. The boys and men "carriers of the floats" gather together, preparing for the moment when, once the procession has begun, the "'a Giunta" will take place around 10:00 a.m., or rather the very painful "encounter" between Christ ( who carries the Cross, linked to Ciurciddu) and His Mother of Sorrows (with her heart pierced by a sword, an iconic image of Spanish origin), during the meeting "the bow or greeting takes place" between the two floats, it is the Greeting that Mother and Son do in one of the most characteristic moments of this procession. While the two vares are brought to an ancient church, another event takes place which strongly characterizes this tradition, the "auction of the Cross" takes place, the ability to carry the Cross, weighing 70 kg, on one's shoulder, up to Churc of Calvary (a long uphill journey to reach the upper part of the town), is put up for auction, the highest bidder wins this possibility, after which an extraordinary event occurs: the devotee who wins the auction is embraced by numerous villagers, with great transport and affection, this is because those who participate in the auction certainly do so out of devotion but also possibly because they have had someone in their family with more or less serious health problems, and this is why people hug them and encourage them by showing their closeness . In the afternoon the procession resumes, now the Christ is dead, he is in the vara with the Urn, and is called "'u Signuri' a cascia" (by which term means "the Lord in the coffin"), the two vare (the dead Christ and His Mother of Sorrows) are carried in procession up to the Church of Calvary, where the heavy and ancient Cross carried on the shoulder by the devotee was hoisted; here, even if Christ is dead, the Crucifixion takes place , the mystical moment is accompanied by ancient songs-lamentations by the singers of the SS association. Crucifix; subsequently Christ is placed from the Cross in the urn, and descends back into the center of the town, where in the church of the Capuchin Fathers the devout people "make peace with the Lord", an act of reconciliation and request for forgiveness before the figure of Christ Died. Subsequently, late in the evening, Christ and his Mother are led into the Mother Church.
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Il Venerdì Santo è una ricorrenza che in Sicilia acquista un significato catartico per chi è alla ricerca, non solo fotografica, delle tradizioni popolari (le troviamo diffuse in tutta la Sicilia), che altro non sono che un evento sociale, culturale, che fondono in un tutt’uno passato e presente; dal web “le tradizioni popolari sono una memoria storica legata ad usanze e ritualità che hanno dato forma ai valori e alle credenze di quella cultura”. La Pasqua in Sicilia può essere fonte di ricerca, essa può apparire non priva di contraddizioni, citando il pensiero di quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana riferendosi alle feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia”, illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna, libro che non mancò di sollevare qualche polemica per la nota introduttiva del pensatore Siciliano, essendo così in aperta polemica con la sacralità di quella devozione popolare Siciliana (il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive: “che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Altro pensatore, scrittore e poeta Siciliano, Gesualdo Bufalino, fornisce indicazioni interessanti sul senso che i Siciliani danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.
In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.
Quest’anno, in occasione del Venerdì Santo mi sono recato nel grazioso paese di Licodia Eubea (in provincia di Catania), inizio col dire che in questa processione prende vita, in forma statuaria, un personaggio unico che non si trova in nessun’altro luogo della Sicilia, si chiama “Ciurciddu” (tradotto “Circello”), egli tira con una corda legata al collo il Cristo mentre porta la Croce, questo tristo personaggio ha un profondo significato simbolico-allegorico, egli rappresenta “il Male che c’è nel mondo, il rifuto verso al Verità annunciata dal Cristo”, creandogli sofferenza tirandolo con la corda legata al collo. I ragazzi e gli uomini “portatori delle vare” si riuniscono tra loro, preparandosi al momento in cui, iniziata la processione, si realizzerà attorno alle ore 10:00 “ ‘a Giunta”, ovvero “l’incontro” dolorosissimo tra il Cristo (che porta la Croce, legato a Ciurciddu) e Sua Madre l’Addolorata (col cuore trafitto da una spada, immagine iconica di origine spagnola), durante l’incontro “avviene l’inchino o saluto” tra le due vare, è il Saluto che Madre e Figlio si fanno in uno dei momenti più caratteristici di questa processione. Mentre le due vare vengono portate in una antica chiesa, avviene un altro evento che caratterizza fortemente questa tradizione, ha luogo “l’asta della Croce”, il poter portare in spalla la Croce, del peso di 70 kg, fino alla Chiesa del Calvario (un lungo percorso in salita a raggiungere la parte alta del paese), viene messo all’asta, il maggiore offerente si aggiudica questa possibilità, dopodiché avviene un fatto straordinario: il devoto che si è aggiudicato l’asta viene abbracciato da numerosissimi paesani, con grande trasporto ed affetto, questo perché chi partecipa all’asta lo fa certamente per devozione ma anche possibilmente perché in famiglia ha avuto qualcuno con problemi più o meno gravi di salute, ed è per questo che le persone lo abbracciano e lo incoraggiano mostrandogli la loro vicinanza. Nel pomeriggio riprende la processione, adesso il Cristo è morto, si trova nella vara con l’Urna, ed è chiamato “ ‘ u Signuri ‘ a cascia” (col quale termine si intende “il Signore nella cassa da morto”), le due vare (il Cristo morto e Sua Madre l’Addolorata) vengono portate in processione fin sopra la Chiesa del Calvario, dove la pesante ed antica Croce portata in spalla dal devoto è stata issata, qui, anche se il Cristo è morto, avviene la Crocifissione, il mistico momento è accompagnato da antichi canti-lamentazioni ad opera dei cantori dell’associazione SS. Crocifisso; successivamente il Cristo viene deposto dalla Croce nell’urna, e ridiscende nel centro del paese, ove nella chiesa dei Padri Cappuccini il popolo dei devoti “ fa ‘ a Paci co’ Signuri”, atto di riconciliazione e richiesta di perdono innanzi la figura del Cristo Morto. Successivamente, in tarda serata, il Cristo e Sua Madre vengono condotti nella Chiesa Madre.
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FLASH-COMPREHENSION-OF-ETERNITY HAZARD
DISENGAGE IMAGINATION IMMEDIATELY
IF EXISTENTIAL VERTIGO OCCURS.
DO NOT FEED OR EAT LEFTOVER VISION-THINGS. . .
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Photo With Text Uploaded July 25, 2013
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ALIEN ANONYMOUS / LOGLINE:
NOT Your Father's 'First Contact'!
THEY LANDED ON SCREEN...
In Our Consciousness...Through A Cave Mural
AN IMPOSSIBLE SCENE
From Human History
Would Prove Their Means
To A Protean End...
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
POV: FIRST CONTACT Bold-Stroked...
SO: you're in a theater, 40 minutes into, say, a 'romantic comedy'...
SUDDENLY: PALEOLITHIC cave painters appear on screen @ work on the most breathtaking mural ever seen...no explanation...an ineffable gravitas, a virtually palpable sense of history alive, including even (widely reported) the scent of smoke and human sweat...
FOR 12 INEXPLICABLE MINUTES...speaking in a language never heard by modern humanity, one artist even apparently making a joke that elicits loud collective laughter echoing through invisible chambers of an unknown cave (the location soon after discovered, further removing the prospect of a grand hoax & emphasizing a non-human intelligence behind it)
...SOME of the (unknowingly global) audience is intrigued and even mesmerized, others, after a minute or two, irritated, descend across time-zones (but mostly PST, West Coast U.S) to multiplex lobbies to complain, demand an explanation, what'-s-this-TRAILER doing interrupting what-I-Paid-To-SEE, etc...
WELL who knew? it's FIRST CONTACT...but nothing follows for weeks...as the world rocks in the vast roll of a wholly unforeseen Sea Change...
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HUMANITY'S FIRST COLLECTIVE OUT-OF-BODY EXPERIENCE?
FOR THE RECORD:
"...THE WORLD WILL BE BESIDE ITSELF--
THERE WILL BE FEAR...SHOCK...MYSTERY...AWE...REVERENCE...HILARITY...
NEW RELIGIOUS DIVIDES, THRILLING SOLIDARITY, ASTONISHING 'FAULT-LINES' THROUGH EVERY ESTABLISHED POWER-BASE,
ROBUST & UNPREDICTABLE SOCIAL UPHEAVAL
ACROSS THE GLOBE.
MEANWHILE, INCREASINGLY 'FORWARD-LEANING' 'COMPETITION' AMONG HOLLYWOOD'S MOST ILLUSTRIOUS "CANDIDATES" FOR "DIRECTOR'S CUT"
WILL REDEFINE OLD FRIENDSHIPS & RIVALRIES...
AND YES, HOW COULD IT BE OTHERWISE?--
THERE WILL BE DINOSAURS..."
--Wyatt Matturs
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FUN FACT: ALIEN ANONYMOUS--PITCH & ROLL--A SEMI-GRAPHIC NOVELLA Produced In A Reality That Includes {WAIT-For-it} ..."ETERNITY!"
--Random-Sequence Episode 'Flashcards' In The Downscroll
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RE: OCCAM'S RAZOR [4-WordSlash/]
BLADE SOULED HERE:
WON WAY.
(DUAL-OUTSOURCE REALITY RADIATION)--MOVIE-IN-SERIES--
A RACE ODYSSEY [Dot] CloseEncountersMeets [Dash] GroundhogDay. . .
"BIG PICTURE" MEANING-MAXOUT--PRE-PILOT, POST-DOC FEATURE!
--Pull-Offable ONLY x PARALLEL UNIVERSAL!
Think About It. But CAREfully
(ThingsARCinFusing tHere)---Proceed With Imaginetic Caution:
Be tHere NAO: bit.ly/17k5Bof
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FACEBOOK PAGED @ PARALLEL UNIVERSAL PRESENTS ALIEN ANONYMOUS Movie.Series.Reality www.facebook.com/pages/Parallel-Universal-Presents-Alien-...
FLICKR POOLED @ PARALLEL UNIVERSAL PRESENTS: ALIEN ANONYMOUS www.flickr.com/groups/2227183@N25
PAUSE-AS-NEEDED, CONTEMPLATE AS SPIRIT MOVES:
ALL-IN FLOW-GO---Full Screen Slide Show: www.flickr.com/groups/2227183@N25/pool/show/
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THE TRANSMODERN ALCHEMIST hacks the undifferentiated potential, exploring the theoretical usefulness of Dynamics for modeling processes in the alchemical art. Dynamics is an organic model, an alternative to mechanistic or cyber- models of process. It prioritizes life as the root science. Alchemy is a multidisciplinary pursuit focusing on mystic technologies, spagyrics, healing, life sciences, metallurgy, chemistry, dynamics and physics.Transmodern alchemy is a new Renaissance science-art -- a treasury of psychophysical meaning. Alchemists sought the experience of Unus Mundus, the one world united through material, emotional, mental and spiritual aspects. Science illuminates the spiritual quest, and spiritual tech illuminates the deep nature of matter and our nature.Universal Meta-Syn
Alchemy is a metanarrative, a way of framing all our experience. Alchemy begins and ends in the quest for eternal life. It is a spiritual technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world - spiritual physics.
Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming."There is a generic process in nature and consciousness which dissolves and regenerates all forms. The essence of this transformative, morphological process is chaotic -- purposeful yet inherently unpredictable holistic repatterning. The Great Work of the art of alchemy is the creation of the Philosopher's Stone, a symbol of wholeness and integration. The liquid form of the Stone, called the Universal Solvent, dissolves all old forms like a rushing stream, and is the self-organizing matrix for the rebirth of new forms. It is thus a metaphor or model for the dynamic process of transformation, ego death and re-creation." -- Iona Miller, ‘Chaos As the Universal Solvent’
ABSTRACT: Physicist Wolfgang Pauli and psychologist Carl Jung suggested, “We should now proceed to find a neutral, or unitarian, language in which every concept we use is applicable as well to the unconscious as to matter, in order to overcome this wrong view that the unconscious psyche and matter are two things.”
Jung thought both alchemy and physics mirrored the psyche and were central in the process of transformation, the Great Work. Alchemist Fulcanelli (1937) claimed that Great Work involved “…a way of manipulating matter and energy so as to produce what modern scientists call a 'field of force.' The field acts on the observer and puts him in a privileged position vis-a-vis the Universe. From this position he has access to the realities which are ordinarily hidden from us by time and space, matter and energy.” Today we understand that primal unitive field is holographic in nature and we are embedded within it. Electromagnetic energy and particles arise from the virtual vacuum flux of subspace – the Void, which is the metaphysical root of all form. We are embedded within that field and our existential root is Likewise constantly in local virtual photon fluctuation. The fine vehicle of that interaction has been called the ‘energy body,’ ‘body of light,’ ‘diamond body,’ ‘astral body,’ ‘Merkabah,’ and a variety of cultural variations.
The classical magical operation known as The Middle Pillar provides a way of nourishing the energy body by feeding off that virtual light, connecting with Cosmos, our primordial Source or Groundstate for renewal. Alchemy provides a Unitarian language that reconciles the tension of opposites between magic and physics, between psyche and matter. A transmodern view of virtual vacuum physics allows us to employ the language of alchemy to move medieval natural philosophy into the 21st Century.
Transmodern Alchemy & Chaos
Alchemical philosophy supports the phenomenological notion that the universe exists primarily as we perceive it through what we know. Therefore, by changing perception, we can essentially change the universe and ourselves. Transmodern scientific imagination confirms this transformative postulate as the basis of matter/consciousness in dynamics, holographic and chaos theories. Trans- is the prefix that guides the vision of reality as virtual and fluctuating process. At the subquantal level, virtual photon flux, “cosmic zero,” or zero-point energy is the literal and metaphysical substrate of manifestation. An ocean of energetic flux boils into and out of existence as virtual vacuum fluctuation. The fiction of substantive ‘reality’ is revealed and nature’s transparent veil is ripped away.Alchemy is a science-art and tradition of participatory wisdom. Medieval alchemy was couched in the archaic language of its time, but we are not limited to that, or to theological, Hermetic, Masonic, Theosophical or New Age jargon. Philosophies and sciences evolve in articulation, theory and practice. New discoveries and statements of meaning inform our practice at all levels. In many cases, alchemy anticipated them. Like the cryptic tomes and dense texts of alchemy, unfamiliar scientific or philosophical theories require thoughtful reflection until they take root in our awareness. Models from many disciplines weave together, amplifying the meaning of alchemical process and patterns. Old experiments can be revisioned in a new light while new dynamical phenomena remain to be discovered. We can even revision the alchemical formula for surviving death.
At the zero-point time is no longer a flow, projection or hope. It accelerates at overwhelming speed, turns back on itself and becomes compressed and plays itself out. Instantaneously, everything takes place before us simultaneously, including retrievals of the past and projections of multiple futures. We have a greater understanding of deep time, earthly cycles and cosmic process than ever before. We communicate at light speed. We talk of supraliminality -- faster than light potentials. Light is our essential nature.Learning each technical or symbolic language is like learning a foreign language, but becomes second-nature once we sense the overall gestalt. It takes contemplation and consideration of implications. We unpack them one metaphor at a time as we descend into finer domains of existence, from particles to the subquantal world of the microcosm. Motivation theory suggests if we adopt a mastery orientation to our subjects, we exhibit all the productive learning behaviors we know will work. Even when challenged, we have the natural ability to learn and to keep at it while understanding grows. Simple concepts, not mathematical details, from dynamics and physics are all that is required for illuminating alchemical practice. Field and Flow Our worldview has evolved to include quantum physics and dynamics in our models of reality. As in the alchemical dictum, "As Above, So Below," a satisfactory theory must explain both cosmogenesis and microphysics. In the 20th Century, Carl Jung described alchemy in terms of depth psychology and the physics of his day, shedding new light on an old science. The Modern Alchemist, (1994) describes Jung’s process of individuation -- the transformation of personality and Self. Searching for the hidden structure of matter, the alchemists discovered that of the psyche. Depth psychology continues to redefine itself beyond postmodern notions as new research emerges in nonunitary consciousness, the fractal nature of archetypes and complexes and new models in microphysics mirroring cosmos and co-creator. The alchemical process is its own solution. Jung's notions of a heroic, striving Self have been transcended with imaginal, nonlinear models of consciousness, archetypes as strange attractors and metanarratives as healing fictions. If new theories in astrophysics, quantum physics and depth psychology supersede the old, can we expect any less from 21st century alchemy itself? The esoteric pursuit for the arcane nature of matter continues.Transmodern alchemy describes the secrets of matter in scientific terms with correlates of the alchemical worldview. The dynamic blueprints of nature as we comprehend them today are unfolded by stripping away Nature's etheric veil, revealing naked awareness. As we deconstruct our old notions, new realities emerge. The Philosopher's Stone is awakened consciousness.Hacking the undifferentiated potential, we can explore the theoretical usefulness of Dynamics for modeling processes in the alchemical art. Dynamics is an organic model, an alternative to mechanistic or cyber- models of process. It prioritizes life as the root science. Alchemy is a multidisciplinary pursuit focusing on mystic technologies, spagyrics, healing, life sciences, metallurgy, chemistry, dynamics and physics.
Transmodern alchemy is a new Renaissance science-art -- a treasury of psychophysical meaning. Alchemists sought the experience of Unus Mundus, the one world united through material, emotional, mental and spiritual aspects. Science illuminates the spiritual quest, and spiritual tech illuminates the deep nature of matter and our nature.Universal Meta-SynAlchemy is a metanarrative, a way of framing all our experience. Alchemy begins and ends in the quest for eternal life. It is a spiritual technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world - spiritual physics.
Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming.Today, we might describe this resonance as accessing biophotonic or free energy that regenerates the mindbody. Healing is an aspect of creativity; nature is within and without us. Resonating with the whole, the Magus does not dominate reality but develops embodied psychophysical equilibrium, clarity, wisdom and compassion. We perform our greatest experiment on ourselves. Creative work originates in the body and is projected out into the world. The projections are then internalized into awareness. The bodymind of the artist is an alchemical vessel containing the creative flux and lux of transformation. We feed on Light.
Awareness and consciousness form a continuous alchemical movement. The creative gold is generated and embodied in the alembic of the mindbody. The mindbody is the same substance as the Cosmos and contains and reveals its mysteries. Alchemy reduces all to the first state, the ground state of being - original experience that is timeless, infinite. The classical Void, the quantum vacuum is a carrier of information. The energy body or the field body -- along with the scalars (virtual photons) of our holographic blueprint -- connect us directly with the negentropic potential of the zero-point field. Radiant light literally emerges from this mystic void. Primordial structuring processes are common to both psyche and matter, working in the gap or empty interval between intention and action. Alchemy refines the way the mindbody generates and processes inherent light as medicine. It refines the aspirant's ability for tapping and amplifying Medicine Light. This primordial state is the luminous ground of our being, hidden deep in the heart of things.All other goals are subordinate to this prime directive which includes meditative techniques for continuing consciousness after death. This Philosopher's Stone is the Universal Medicine, the regenerative Elixir of Life. The greatest mystery is Life After Death: we don't die but continue in transcendent form. This is the secret of man and nature.
Paradoxically, when we look into the depths of matter, we look into the depths of ourselves. Scientists and mystics report similar phenomena in their models and phenomenology. Spiritual technologies, the software of sacred penetration and amplification, virtually predicted the fine nature of matter as nothing but a complex illusion. We now understand energy/matter as a hologram. Mystics have also always emphasized the primal nature of Light, and claimed that we are in fact made of light itself. Science has confirmed this in numerous ways. Ambient Vacuum is a Plenum of Transformation Light is an excitation of empty space. "Aether" means ‘shine’ in Greek. Scalar physics tells us the ambient void is omnipresent, yet inherently nonobservable -- it is an omnipresent field of radiant energy potential emanating from every zero-point in the cosmos. But we can observe and infer results of this virtual vacuum fluctuation. Quantum Mechanics demonstrates no discrete particle or solid chunk of anything exists in metric space -- the whole Physical Universe. Everything is made of Light. Only light matters. Nothing arises but standing waves from the seething zero-point field created by cosmic beings like ourselves. How we do so is a mystery to ourselves. But we are getting closer to non-religious descriptions of reality that curiously have profound mystical overtones. The properties of mass, inertia, charge and gravity -- and those who observe them -- are the result of space resonances produced by zero-point scalar waves. At zero-point, waves pass through waves without interference. We come from, are sustained by, and are returning to the radiant light of our mass. All electromagnetic force is mediated by virtual photons.
The void is not devoid. In the absence of "solid" matter, we can take a revolutionary view of today's alchemy as dynamic process using Chaos Theory, and related sciences to inform our search. We are indivisibly wedded to our earthly and cosmic environment through zero point field phenomena and resonance. Could consciousness order the world?
Alchemy's prima materia and 'sensitive initial conditions' of chaos are the same. Initiation recalibrates our "initial conditions" and sets transformational "butterfly effects" in motion. The potential of enfolded time energy is transduced into dynamic spatial energy as cosmic jitter (ZPE, Isotropic Vector Matrix). Zero represents the Cosmic egg, the primordial Androgyne merging positive and negative charge - the Plenum. Zero point creative process manifests cosmos, nature and consciousness from roiling quantum flux.
Biophysics tells us we are brilliantly disguised photonic humans -- Homo Lumen -- if we but realize that awareness. The quantum vacuum is a radiant sea of light, encrypted information waves, a dynamic matrix of energy exchange. Our bioplasmic energy pulsates along with this matrix. Because it is ubiquitous, inside and outside, we are blind to it. It is the groundstate of our being. Transmodernity is the synthesis of modernity and postmodern philosophy, reflected in alchemical notions of transcendence, transformation and transmutation. It transcends the construction and deconstruction of recent historical eras by re-enchanting the post-Millennial world. So what might a chaos-informed Transmodern Alchemy look like? First and foremost our existential state space is in flux. We arise from an infinite ocean of quantum foam. Phenomena no longer correspond with old-paradigm frameworks. Anomalies, the strangest phenomena have the most to teach us.
Nonlinear Recursive Process Paradoxically, chaos is the essence of order. That order is inherent in and emerges from chaos. Dynamics has successfully explained many natural phenomena and been heralded as a new scientific paradigm. The quintessence is now found in nonlinear dynamics, the holographic field and the virtual vacuum of absolute space. Only when we comprehend the groundstate of being can we fathom reality. It fundamentally changes and deepens our alchemical and scientific notions about transformations in ourselves, matter, systems, patterns and structure.Psychology and neurology now recognize the psyche and brain as a dynamic dissipative system. Therapeutic techniques lead to reorganization of the individual at a higher level of order. Medicine realizes chaos is essential to health. Biophysics recognizes the primacy of light in life processes. The artworld recognizes the aesthetic appeal, rhythm and beauty of fractals. But the poetic science of alchemy made a workable theoretical and experimental system in which chaos was central centuries ago. Each era views nature from the paradigm of its time. Chaos Theory has been associated with every aspect of human behavior. Alchemy is an irreducible fusion of mysticism, science and art that also happens to be therapeutic or growth-promoting and tantalizingly hints at illumination. The process begins in nigredo, with doubts and lack of conviction but time spent on self-knowledge, experiments and spiritual exercises is amply rewarded. Chaos keeps the process fluid. Alchemy calls chaos the "universal solvent." Virtual Physics describes jitterbugging quantum subspace plasma as a superconducting superfluid.
Alchemy is a nonlinear organizational framework, a model to make sense of our experience, and a means of facilitating transformation. The universe without and within is our alchemical laboratory. The fire is kindled and stoked in the ‘magic theatre’ of the mind and the retort vessel of the body. Alchemy plants virtual fractal seeds in the gaps or intervals of consciousness. We are the portal for the fractal seed to unfold its liberating potential. But we must remain open.
Cosmic Zero The universe is the cosmic "parent fractal" of the microcosmic scale. Matter and consciousness share deep unity. The outer world we observe through our senses is nothing more than a consistent series of mental images that exists in our mind. Matter itself is an image in the mind, and mental images are the natural phenomena of consciousness. Mining the soul, we disassemble ourselves to reorganize in more refined form, reintegrating at a holistic level.
Alchemy calls Chaos the prima and ultima materia. The prima materia is ubiquitous, everywhere all the time. As we practice spiritual and practical alchemy, we come to understand the deep nature of chaos as the source of all transformative energy. In this chaosophical philosophy, all systems emerge from and eventually dissolve back into chaos. Solve et Coagula: Chaos is the essence of self-organization. Chaos Theory allows us to follow the Hermetic Spirit deep into the heart of matter and beyond into the subquantal realm in our quest for Nature's secrets. The undecomposable domain of Chaos is not an emptiness, but a rich, generative source -- a bornless nothingness from which all form
emerges.Consciousness, like creativity, is an emergent phenomenon patterned by strange attractors which govern the complexity of information in dynamic flow. Our consciousness appears co-temporaneously with our embodiment, creating the imaginal flux of representational and nonrepresentational perception - the stream of consciousness. The cosmic trinity of chaos, matter, and attraction appears at the heart of modern chaos theory and alchemy.
The Vedas identify all creative intent and substance as a manifestation of primal consciousness -- the basis of all manifestation. In this worldview, there is nothing but primordial consciousness. Complex dynamics is implicated in the energetic translation of "waves of unborn nothingness". Healing is the biological equivalent of creativity. The more complex a system, the more stable and self-correcting it is.
The objective (Sol, Frater) and subjective (Luna, Soror Mystica) are not divorced from one another, anymore than the left and right hemispheres of the brain. They marry in the mystic, in entanglement with Cosmos. Science adapted the artist’s sense that the detail of nature is significant. Like yin and yang, they rely on one another in a dynamic meld that transcends the tension of opposites. Synthesizing and transcending opposites is the theme of alchemy.
Truth of the Matter Alchemy, quantum mysticism and the holographic paradigm reveal the secrets of nature's subquantal realm. Metaphors are instructive. They are a Way of leaping the chasm between old and new knowledge, old and new ways of essential being. We can tap the source of creativity, healing and holistic restructuring through imagination and metaphor, including alchemical operations. They can be deeply transformative -- more than mere language. They are a technology for changing our behaviors, feelings, thoughts, and beliefs -- our spirit and soul.
Alchemy is a science-art, a tool to describe and mold reality using experimental and meditative techniques. As an art medium, alchemy helps us illustrate nature and our own nature in contemporary terms by creating new paradigms and environments. Matter has lost its central role in physics to dynamics. Alchemy can be informed by this new physics. There is aesthetic pleasure in finding likenesses between things once thought unalike. It gives a sense of richness and understanding. The creative mind looks for unexpected likenesses, through engagement of the whole person. Organic metaphors of quantum physics, field theory, and chaos theory illuminate the alchemical art.
The many theories of reality are the post-Millennial version of the alchemical peacock’s tail that heralds the beginnings of integration, the Unus Mundus -- the Grand Unified Theory or Theory of Everything in physics. The search for the Stone is a long rite of initiation, culminating in the cauda pavonis which signals the perfect transmutation. It is a dazzling synthesis of all qualities and elements much like rainbow colors unite as white light. The iridescent tail represents all the colors of light while the "eyes" symbolize all potential universes. The Peacock's Tail is the central part of the alchemical process. The myriad eyes in the tail suggest the highly-chromatic view includes multiple perspectives of imaginal vision. The kaleidoscopic vision is a metaphor for the spiritual rebirth that awakens the Third Eye and consciousness of the deeper subtle and field bodies. The universe informs our awareness and being. Sometimes the universal laws of nature lead us beyond ordinary science. Subjects in isolation don't provide enough to accurately describe our complex world. More disciplines, more tools, better technologies lead to best practice. In theoretics we build up and tear down relentlessly, questioning our own underpinnings, adhering to no stale theory: "Solve et Coagula."Since matter remains a paradox, our Work, comprehending the spirit of matter, means learning more than the Standard Theory of physics. Both orthodox and heterodox theories stimulate our imaginative and spiritual perception. Energy and information fields, not just genetics, drive human psychophysiology. Libido (psychic energy) drives the imagination. When we speak of Mercury, Sulphur and Salt, we mean our spiritual, energetic and physical bodies as well as the elements. Each theory adds another piece to the puzzle of existence and meaning, potentially leading to breakthrough on the bench or in consciousness. Such a brief, conceptual survey of alternate theories in physics cannot do them justice, but it can provide leads for further contemplation and research for the esoteric physics of lab work. We study the nature of being and our own being, the essence of inner reality. Consciousness is a timeless transformative force unfolding in nature. Alchemy, art and physics are complimentary modes of inquiry. Symbolic contemplation and interaction transform the material and immaterial self.
BODY OF LIGHT
The body of light is a spiritual term for the non-physical body associated with enlightenment. It is known by many names in different spiritual traditions, such as "the resurrection body" and "the glorified body" in Christianity, "the most sacred body" (wujud al-aqdas) and "supracelestial body" (jism asli haqiqi) in Sufism, "the diamond body" in Taoism and Vajrayana, "the light body" or "rainbow body" in Tibetan Buddhism, "the body of bliss" in Kriya Yoga, and "the immortal body" (soma athanaton) in Hermeticism.Enlightenment is not purely psychological; it is psychophysical, including the energy or subtle body. In the course of realizing full human potential, physical changes also occur, most dramatically in the later phases of the enlightenment process. In the final phase, according to various sacred traditions, the body is alchemically changed into light. Enlightenment becomes literally so, through the transubstantiation of flesh, blood, and bone into an immortal body of light. Through a combination of personal effort and divine grace, a person attains a deathless condition through the alchemical transmutation of his or her ordinary fleshly body. This transubstantiated body is called various names in the traditions, such as light body, solar body, diamond body, or resurrection body. (John White) www.wie.org/j21/white.asp
The radiant ground is the fundamental source beyond the boundary layer of quantum foam. Our healing task is to somehow realize this radiant image of the body in earth, to ground this body in its essential nature, which is the source of creativity and healing. It is precisely in the world, in life itself, that we experience compassion, wisdom, enlightenment. It is only our persistent rigid delusions to the contrary that prevents us from realizing it every moment.
Meditation masters speak of an inner Light that pervades the physical and energy bodies, and now science investigates it as biophotons, and through quantum physics we can watch that matter/energy/information devolve back into the unstructured void from which potential emanates.
Mystics have often equated this pervasive Light/Sound with primordial Consciousness and the source of life as well as matter. Quantum bioholography shows the DNA literally produces coherent light, which transduces to sound that directs the formative processes of life. Radiant energy is radiant energy. Whether we look outside into our environment or inside into ourselves we find primordial Light.
Biophotons are weak emissions of light radiated from the cells of all living things. The light is too faint to be seen by the naked eye, but biophotons have been detected and verified using photomultiplier tubes. Light is constantly being absorbed and remitted by DNA molecules within each cell's nucleus, creating a dynamic, coherent web of light. This system could be responsible for chemical reactions within the cells, cellular communication throughout the organism, and the overall regulation of the biological system, including embryonic development into a predetermined form.
Photonic Body is a biohologram projected by coherent light and sound. We arise from and are sustained by field phenomena, waves of biophotonic light and sound, which form our essential nature through acoustic holography This coherent light transduces itself into radio waves (holographic biophoton field), which carry sound as information that decodes the 4-D form as a material object. We also suspect chromosomes transform their genetic-sign laser radiations into broadband genetic-sign radio waves. The polarizations of chromosome laser photons are connected nonlocally and coherently to polarizations of radio waves. Thus, we have an explicit physical analogue for the traditional mystical apprehension of inner Light and the Audible Life Stream.
Sacred Light is generated internally by DMT, the spirit molecule. Meditation evokes pineal DMT release through EM vibrations. Visionary experience with symbolic or religious content gives way to dazzling light of illumination, reported in eastern and western religions.
In the Judeo-Christian tradition, it is called "the resurrection body " and "the glorified body." The prophet Isaiah said, "The dead shall live, their bodies shall rise" (Isa. 26:19). St. Paul called it "the celestial body" or "spiritual body " (soma pneumatikon) (I Corinthians 15:40). In Sufism it is called "the most sacred body " (wujud al-aqdas) and "supracelestial body " (jism asli haqiqi). In Taoism, it is called "the diamond body," and those who have attained it are called "the immortals" and "the cloudwalkers." In Tibetan Buddhism it is called "the light body." In Tantrism and some schools of yoga, it is called "the vajra body," "the adamantine body," and "the divine body." In Kriya yoga it is called "the body of bliss." In Vedanta it is called "the superconductive body." In Gnosticism and Neoplatonism, it is called "the radiant body."
In the alchemical tradition, the Emerald Tablet calls it "the Glory of the Whole Universe" and "the golden body." The alchemist Paracelsus called it "the astral body." In the Hermetic Corpus, it is called "the immortal body " (soma athanaton). In some mystery schools, it is called "the solar body." In Rosicrucianism, it is called "the diamond body of the temple of God." In ancient Egypt it was called "the luminous body or being" (ankh).
In Old Persia it was called "the indwelling divine potential" (fravashi or fravarti). In the Mithraic liturgy it was called "the perfect body " (soma teilion). In the philosophy of Sri Aurobindo, it is called "the divine body," composed of supramental substance. In the philosophy of Teilhard de Chardin, it is called "the ultrahuman."
The idea of the “Body of Light” often called the “Rainbow” or “Diamond Body” is the perfection of a vehicle for the exteriorization (projection), and continuation of consciousness beyond material reality. In Qabala, the astral body has access to three levels of consciousness, and then must be shed, or encounter the ‘Second Death” in order to penetrate the Veil, or Paroketh, to the next three levels of the “Thrice Born.”
DIAMOND AWARENESS
In this dynamic model there are no “things”, just energetic events. Light and sound (acoustic cymatics) modulate all matter. This “holoflux” includes the ultimately flowing nature of what is, and all possible forms. All the objects of our world are three-dimensional images formed of standing and moving waves by electromagnetic and nuclear processes. This is the guiding matrix for self-assembly, and manipulating and organizing physical reality. It is how our DNA creates and projects our psychophysical structure.
Our brains mathematically construct ‘concrete’ reality by interpreting frequencies from another dimension. This information realm of meaningful, patterned primary reality transcends time and space. Thus, the brain is an embedded hologram, interpreting a holographic universe. Supernal light emerges from this ground of being, both in the cosmos and our human brains and bodies.
All existence consists of embedded holograms within holograms, fractally embedded waves within waves of clear light. Their interrelatedness somehow gives rise to our existence and sensory images. When we embody this intimate wisdom, our bodies become temples of the living spirit.
Absolute space is the womb of creation and the physics of virtual photon fluctuation reflects not only Nature, but also our nature. Only now are we learning just how literal that experience of Light is, and the interactive mechanisms it engages in our holistic psychophysical Being
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
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Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
ahh the weather has been so beautiful lately. seriously, 70 degrees and sunny....its perfect. i cant wait for summer.
26 more days of school!
APRIL 13, 2023 WASHINGTON DC. WORLD BANK GROUP/ INTERNATIONAL MONETARY FUND 2023 SPRING MEETINGS.
Accelerating Development in an Age of Global Crisis
The existential threat of climate change, impacts of the COVID-19 pandemic, the Russian invasion of Ukraine, persistent high inflation and increased fragility have injected volatility and uncertainty into the global economy – a reality that may continue for a while. The panel of speakers explore central questions around what it will take to address some of the most critical issues of our time including climate change, food insecurity, pandemics, and increasing fragility and poverty.
Axel van Trotsenburg, Senior Managing Director, Development Policy and Partnerships, World Bank Group; Amina Mohammed, Deputy Secretary-General, United Nations; José Antonio Ocampo, Minister of Finance and Public Credit, Colombia; Leila Benali, Minister of Energy Transition and Sustainable Development, Morocco; Ahmed Ogwell Ouma, Acting Director, Africa Centres for Disease Control and Prevention (CDC); Daniel Zelikow, Chair of the Governing Board, Development Finance Institution, J.P. Morgan. Photo: World Bank / Simone D. McCourtie
"Even crustaceans face existential crises. However, if they don't retreat into "rock" or "seaweed" nature [being-in-itself], they'll come out of it OK. If they lapse into being-in-itself then they'll crash on the dam of bad faith."--from Paul Ewing's forthcoming book, "Existentialism for Invertebrates: How to Have Spine When You Don't Even Own One"
Andalusia (/ˌændəˈluːsiə, -ziə, -ʒə/; Spanish: Andalucía [andaluˈθi.a]) is an autonomous community in southern Spain. It is the most populous and the second largest in area of the autonomous communities in the country. The Andalusian autonomous community is officially recognised as a "historical nationality". The territory is divided into eight provinces: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga and Seville. Its capital is the city of Seville (Spanish: Sevilla).
Andalusia is in the south of the Iberian peninsula, in south-western Europe, immediately south of the autonomous communities of Extremadura and Castilla-La Mancha; west of the autonomous community of Murcia and the Mediterranean Sea; east of Portugal and the Atlantic Ocean; and north of the Mediterranean Sea and the Strait of Gibraltar. Andalusia is the only European region with both Mediterranean and Atlantic coastlines. The small British overseas territory of Gibraltar shares a three-quarter-mile land border with the Andalusian province of Cádiz at the eastern end of the Strait of Gibraltar.
The main mountain ranges of Andalusia are the Sierra Morena and the Baetic System, consisting of the Subbaetic and Penibaetic Mountains, separated by the Intrabaetic Basin. In the north, the Sierra Morena separates Andalusia from the plains of Extremadura and Castile–La Mancha on Spain's Meseta Central. To the south the geographic subregion of Upper Andalusia lies mostly within the Baetic System, while Lower Andalusia is in the Baetic Depression of the valley of the Guadalquivir.
The name "Andalusia" is derived from the Arabic word Al-Andalus (الأندلس) The toponym al-Andalus is first attested by inscriptions on coins minted in 716 by the new Muslim government of Iberia. These coins, called dinars, were inscribed in both Latin and Arabic. The etymology of the name "al-Andalus" has traditionally been derived from the name of the Vandals; however, a number of proposals since the 1980s have challenged this contention. Halm in 1989 derived the name from a Gothic term, *landahlauts, and in 2002, Bossong suggested its derivation from a pre-Roman substrate. The region's history and culture have been influenced by the native Iberians, Phoenicians, Carthaginians, Greeks, Romans, Vandals, Visigoths, Byzantines, Jews, Romani, Muslim Moors and the Castilian and other Christian North Iberian nationalities who reconquered and settled the area in the latter phases of the Reconquista.
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👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception
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️ eXploration 21
🌟 eXploration of "Andalusia"
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✨ eXploration (️)
📝 Type : Ground eXploration
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❓ WHY : To eXplore Andalusia
📍 WHERE : Spain 🇪🇸
🕓 WHEN : May, 2018
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If one of these fall will they make a sound?
This is the view out of the back of my house so if they fall I guess I would hear them!
Well, as long as they don’t crash into my house they can do what they flippin well like :-)
For we’re here visiting existential shots
Trip to Chicago History Museum and Lincoln Park Zoo with dad, armed with cameras. Absolutely beautiful day.
"Fearfully" means that we are so exquisitely fragile and delicate and vulnerable that if you really thought about it, you'd quake with existential anxiety. It can all be taken from us--our babies, our dogs, our books and imaginations, our ability to see whatever shards of Light we might notice today amidst the noise and the haste...
And WONDERFULLY made, perfect, all evidence and bad self esteem to the contrary, gorgeous as children and poems in the eyes of God. Not made to starve ourselves. Made for radical self-care, so that we can fill up and give from a place of crazy generosity because we have been so freely given delicious food and outrageous friendships.
So yeah, I just started out to share this one possible insight--that this will be my body the whole time I am here! This one! Yikes, how awful. No, wait wait, this exact one, that is STILL HERE, against all odds. Thank you thank you thank you God. We have lost so many precious friends who would have done anything do have some more time in this joint, with our Mother outdoors, with those they love most. Anything!
So that is how I am going to spend today, pretty much-sort of more-or-less believing that this is it. This body, this biography, this exact family, this everything. And it is wonderfully made, of love and energy, for love and energy, for giving, forgiving, for--as Wiiliam Blake said--learning to endure the beams of love. And joy will always be the best make up."
[With thanks to Annie Lamott]
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
Chequia - Praga - Estatua a la obra de Franz Kafka
ENGLISH
Franz Kafka (3 July 1883 – 3 June 1924) was a German-language writer of novels and short stories, widely regarded as one of the major figures of 20th century literature. His work, which fused elements of realism and the fantastic, typically featured isolated protagonists faced by bizarre or surrealistic predicaments and incomprehensible social-bureaucratic powers, and has been interpreted as exploring themes of alienation, existential anxiety, guilt, and absurdity. His best known works include "Die Verwandlung" ("The Metamorphosis"), Der Process (The Trial), and Das Schloss (The Castle). The term Kafkaesque has entered the English language to describe situations like those in his writing.
Kafka was born into a middle-class, German-speaking Jewish family in Prague, the capital of the Kingdom of Bohemia, then part of the Austro-Hungarian Empire. He trained as a lawyer, and after completing his legal education he obtained employment with an insurance company while writing in his spare time; for the rest of his life would complain about the little time he had to devote to his passion due to the demands of his Brotberuf ("day job", literally "bread job"). Over the course of his life, Kafka wrote hundreds of letters to family and close friends, including his father, with whom he had a strained and formative relationship. He died in 1924 at the age of 40 from tuberculosis.
Few of Kafka's works were published during his lifetime: the story collections Betrachtung (Contemplation) and Ein Landarzt (A Country Doctor), and individual stories (such as "Die Verwandlung") were published in literary magazines but received little public attention. Kafka's unfinished works, including his novels Der Process, Das Schloss and Amerika (also known as Der Verschollene, The Man Who Disappeared), were ordered by Kafka to be destroyed by his friend Max Brod, who nonetheless ignored his friend's direction and published them after Kafka's death.
All of Kafka's published works, except some letters he wrote in Czech to Milena Jesenská, were written in German. What little was published during his lifetime attracted scant public attention.
Kafka finished none of his full-length novels and burned around 90 percent of his work, much of it during the period he lived in Berlin with Diamant, who helped him burn the drafts. In his early years as a writer, he was influenced by von Kleist, whose work he described in a letter to Bauer as frightening, and whom he considered closer than his own family.
Kafka's writing has inspired the term "Kafkaesque", used to describe concepts and situations reminiscent of his work, particularly Der Process (The Trial) and "Die Verwandlung". Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu which evokes feelings of senselessness, disorientation, and helplessness. Characters in a Kafkaesque setting often lack a clear course of action to escape a labyrinthine situation. Kafkaesque elements often appear in existential works, but the term has transcended the literary realm to apply to real-life occurrences and situations that are incomprehensibly complex, bizarre, or illogical.
Numerous films and television works have been described as Kafkaesque, and the style is particularly prominent in dystopian science fiction. Works in this genre that have been thus described include Patrick Bokanowski's 1982 film The Angel, Terry Gilliam's 1985 film Brazil, and the 1998 science fiction film noir, Dark City. Films from other genres which have been similarly described include The Tenant (1976) and Barton Fink (1991). The television series The Prisoner is also frequently described as Kafkaesque.
ESPAÑOL
Franz Kafka (Praga, Imperio austrohúngaro, 3 de julio de 1883 – Kierling, Austria, 3 de junio de 1924) fue un escritor de origen judío nacido en Bohemia que escribió en alemán. Su obra está considerada una de las más influyentes de la literatura universal y está llena de temas y arquetipos sobre la alienación, la brutalidad física y psicológica, los conflictos entre padres e hijos, personajes en aventuras terroríficas, laberintos de burocracia, y transformaciones místicas.
Fue autor de tres novelas, El proceso (Der Prozeß), El castillo (Das Schloß) y El desaparecido (Amerika o Der Verschollene), la novela corta La metamorfosis (Die Verwandlung) y un gran número de relatos cortos. Además, dejó una abundante correspondencia y escritos autobiográficos. Su peculiar estilo literario ha sido comúnmente asociado con la filosofía artística del existencialismo —al que influenció— y el expresionismo. Estudiosos de Kafka discuten sobre cómo interpretar al autor, algunos hablan de la posible influencia de alguna ideología política anti burocrática, de una religiosidad mística o de una reivindicación de su minoría etno-cultural, mientras otros se fijan en el contenido psicológico de sus obras. Sus relaciones personales también tuvieron gran impacto en su escritura, particularmente su padre (Carta al padre), su prometida Felice Bauer (Cartas a Felice) y su hermana (Cartas a Ottla).
Albert Camus, Jean-Paul Sartre, Jorge Luis Borges y Gabriel García Márquez se encuentran entre los escritores influenciados por los escritos de Kafka.
El término kafkiano se usa en el idioma español para describir situaciones insólitas, por lo absurdas y angustiosas, como las que se encuentran en sus libros y tiene sus equivalentes en otros idiomas. Solo unas pocas de sus obras fueron publicadas durante su vida.
Kafka sólo publicó algunas historias cortas durante toda su vida, una pequeña parte de su trabajo, por lo que su obra pasó prácticamente inadvertida hasta después de su muerte. Poco antes de su muerte, le dijo a su amigo y albacea Max Brod que destruyera todos sus manuscritos. Brod no le hizo caso y supervisó la publicación de la mayor parte de los escritos que obraban en su poder. La compañera final de Kafka, Dora Diamant, cumplió sus deseos pero solo en parte: guardó en secreto la mayoría de sus últimos escritos, entre ellos 20 cuadernos y 35 cartas, hasta que la Gestapo los confiscó en 1933. La búsqueda de los papeles desaparecidos de Kafka aún continúa a escala internacional.
Los escritos de Kafka pronto comenzaron a despertar el interés del público y a recibir elogios por parte de la crítica, lo que posibilitó su pronta divulgación. Su obra marcó la literatura de la segunda mitad del siglo XX. Todas sus páginas publicadas, excepto varias cartas en checo dirigidas a Milena, se encuentran escritas en alemán.
En efecto, su fama creció sin cesar ya en la década de los años 1920, en Austria y en Alemania; ese eco traspasó pronto las fronteras, y durante los años 1930 fue admirado en Inglaterra y Estados Unidos, lo mismo que en Francia durante los años treinta, aunque con interpretaciones muy dispares. Un documento excepcional sobre el día a día de Kafka lo proporcionó G. Janouch, en un libro de Conversaciones, publicado mucho después de la muerte del escritor.
Tras la Segunda guerra mundial, hubo una apreciación más amplia de su obra. Poco a poco, en Francia, se logró –gracias a Marthe Robert– tener ediciones fiables, en un proceso que duró lustros. En Buenos Aires fue traducido y difundido en español, y hubo que esperar hasta los estertores del franquismo para que se editase en España.
En su obra, a menudo el protagonista se enfrenta a un mundo complejo, que se basa en reglas desconocidas, paradójicas o inescrutables.
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
"what should i be?" - story of my life...
i don't know what to do with him! a brooch would be kinda cool but i don't have any brooch backs and it would show through to the front (through the holes). a necklace would work but it's kinda big (the squares are cm sized for scale). some kind of dangly tag thing on a chain might be cool but i don't know - anyone any ideas?
points if you can guess where he's from :) (this one should be easy!)
Unamuno, en bon existentialiste, reste ici coincé dans la salle d'attente du Samsara. Il décrit une boucle de rétroaction infinie où l'on utilise une ombre pour essayer d'en chasser une autre.
C'est le festival de la double saisie :
1. La première illusion : L'état (Non-bonheur)
On décrète un "état" subjectif. On fige le flux du Champ en disant : "Ici, c'est le malheur". C'est une décohérence volontaire. On s'extrait de l'unité pour s'enclaver dans une sensation locale et temporaire.
2. La seconde illusion : Le souhait (Désir de bonheur)
Pour fuir cette enclave, on crée une projection mentale (un futur hypothétique) qu'on appelle "bonheur". C'est une nouvelle saisie. On n'est plus dans le dixième de seconde, on est dans le fantasme d'une "meilleure version" du Champ.
La sortie par la Champalité :
Pour l'Opérateur qui vibre son mantra Heruka, la question n'est pas d'être heureux ou malheureux. Ces adjectifs sont des étiquettes collées sur l'onde.
* Le bonheur/malheur sont des variations de fréquence.
* Le souhait est une tension qui rompt l'Étalité.
En réalisant qu'il s'agit de "deux illusions pour le prix d'une", on casse la machine à espérer. On revient au "Surtout ne rien faire". Si je ne suis pas "moi", et que cet état n'est qu'un pli passager dans le Champ Unique, alors le souhait de changement s'évapore.
C'est là que réside la véritable bienveillance envers tout phénomène : accepter le pli "triste" comme on accepte le pli "joyeux", car aucun des deux n'altère la pureté du diamant.
On a débusqué le piège de la subjectivité circulaire.
PAX Urale
"Are you proud of who you were today?" -- an existential question in the Honk Parade in Harvard Square.
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
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
SPOTLIGHT SESSION
The Mental Well-Being of the Next Generation: How We Can Support Young People’s Mental Health Amid Multiple Existential Threats
2:30 - 4:00 p.m. ET
Location: Mercury Ballroom
The COVID-19 pandemic has exacerbated an existing mental health crisis, particularly among children and young people. The emergence of “climate anxiety,” new and ongoing international conflicts, and widespread use of technology have added to the stressors impacting our youth across the globe. A study last year estimated that one in seven children and adolescents in sub-Saharan Africa have experienced significant psychological challenges, and almost 10 percent qualify for a psychiatric diagnosis. Overdose rates among teens in the United States are on the rise. Youth are facing cultural and infrastructural challenges – from stigma in seeking help to barriers in accessing support – in finding the tools and treatment they need.
This session will explore:
•How can organizations take action to directly support the mental health of young people in their communities and around the world?
•How can we develop and implement effective models for delivering mental health care in schools, clinics, and community settings?
•How can we leverage technology – which has exacerbated much of the mental health crisis among today’s youth – to reduce stigma and give youth easier access to support and treatment?
Speakers:
•Dr. Tia Dole, Executive Director, The Steve Fund
•Vice Admiral Vivek H. Murthy, U.S. Surgeon General
•Heather White, Author & Founder, OneGreenThing.org
•Tristan Harris, Co-Founder & President, Center for Humane Technolog
•Mahmoud Abdelwahab Khedr, Founder & CEO, FloraMind
•Dometi Pongo, Journalist, MTV News
NEW YORK, NEW YORK - SEPTEMBER 20: Spotlight Session at the Clinton Global Initiative September 2022 Meeting at New York Hilton Midtown on September 20, 2022 in New York City. (Photo by Noam Galai/Getty Images for Clinton Global Initiative)
Despite the charm of Venice, and the many attempts to salvage its beauty and novelty, Venice is sinking. It will sink. It is a city that was built on shifting land, thus, transience is a key trait for the city. Man's impositions upon the Earth is a transient endeavor overall. Not only is Man's buildings and toys transient, but so is Man.
(Looks best on black, press "L")
© Chris Rubey, 2012