Friedrich Wilhelm Nietzsche - October 1844 – 25 August 1900) was a German philosopher, cultural critic, composer, poet, philologist, and Latin and Greek scholar whose work has exerted a profound influence on Western philosophy and modern intellectual history. He began his career as a classical philologist before turning to philosophy. He became the youngest ever to hold the Chair of Classical Philology at the University of Basel in 1869 at the age of 24. Nietzsche resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. In 1889 at age 44, he suffered a collapse and afterward, a complete loss of his mental faculties. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth Förster-Nietzsche. Nietzsche died in 1900.

Nietzsche's body of work touched a wide range of topics, including art, philology, history, religion, tragedy, culture, and science. His writing spans philosophical polemics, poetry, cultural criticism and fiction while displaying a fondness for aphorism and irony. His early inspiration was drawn from figures such as Arthur Schopenhauer, Richard Wagner and Johann Wolfgang von Goethe. Prominent elements of his philosophy include his radical critique of truth in favor of perspectivism; his genealogical critique of religion and Christian morality and his related theory of master–slave morality; his aesthetic affirmation of existence in response to the "death of God" and the profound crisis of nihilism; his notion of the Apollonian and Dionysian; and his characterization of the human subject as the expression of competing wills, collectively understood as the will to power. He also developed influential concepts such as the Übermensch and the doctrine of eternal return. In his later work, he became increasingly preoccupied with the creative powers of the individual to overcome social, cultural and moral contexts in pursuit of new values and aesthetic health.

After his death, his sister Elisabeth became the curator and editor of Nietzsche's manuscripts, reworking his unpublished writings to fit her own German nationalist ideology while often contradicting or obfuscating Nietzsche's stated opinions, which were explicitly opposed to antisemitism and nationalism. Through her published editions, Nietzsche's work became associated with fascism and Nazism; 20th century scholars contested this interpretation of his work and corrected editions of his writings were soon made available. Nietzsche's thought enjoyed renewed popularity in the 1960s and his ideas have since had a profound impact on 20th and early-21st century thinkers across philosophy—especially in schools of continental philosophy such as existentialism, postmodernism and post-structuralism—as well as art, literature, psychology, politics and popular culture.

Nietzsche grew up in the small town of Röcken, near Leipzig, in the Prussian Province of Saxony. He was named after King Friedrich Wilhelm IV of Prussia, who turned 49 on the day of Nietzsche's birth (Nietzsche later dropped his middle name Wilhelm). Nietzsche's parents, Carl Ludwig Nietzsche (1813–1849), a Lutheran pastor and former teacher; and Franziska Nietzsche [de] (née Oehler) (1826–1897), married in 1843, the year before their son's birth. They had two other children: a daughter, Elisabeth Förster-Nietzsche, born in 1846; and a second son, Ludwig Joseph, born in 1848. Nietzsche's father died from a brain ailment in 1849; Ludwig Joseph died six months later at age two. The family then moved to Naumburg, where they lived with Nietzsche's maternal grandmother and his father's two unmarried sisters. After the death of Nietzsche's grandmother in 1856, the family moved into their own house, now Nietzsche-Haus, a museum and Nietzsche study centre.

Artwork by TudioJepegii

I have known Michael Carter for quite awhile and we have shared many adventures together. He is known to be one of the last true beatniks living in the East Village. He is a writer, poet and a Zen beer master. To give an example beer mysticism: A Zen beer master, a Taoist beer master and Michael Carter walk in to a bar. The bartender comes over and asks what they will have, the the Zen beer master says: 'that which can be called beer is not the true beer...'the Taoist beer master stares at the bowl of peanuts, after a while he ceases to see the peanuts; he no longer sees the bowl, then after another while he once again sees the peanuts and bowl as before... finally Michael Carter opening his third eye looks over at the others and says: 'I'll have what they're having...'

Michael is an East Village icon of sorts or sorted. Michael has produced thousands of art events in New York. He produced, created and participated in wacky art happenings, readings, musical performances and video presentations. He has appeared as his alter ego "Vindaloo" creating artistic ruckus and mayhem in his path. He is more known for being a poet giving fiery readings in cafes and clubs. He was also the editor and publisher of Redtape literary magazine. The East Village magazine communicated innovative artistic ideas with the collaboration of writers, artists and visual artists. Redtape featured comics, fiction, poetry, graphic art, and photography. It also provided a venue for both established and emerging artists and writers of the downtown New York scene. It was published between the years 1980 to 1992 and had a strong impact on the New York downtown scene. Michael would have monthly Redtape events with readings, art shows and music.

Michael formed a band in the 80's/90's with Julius Klein called Vacuum Bag. They were known for their wild shows and the unexpected behaviour of the singer, Michael Carter. Michael would often lose himself with emotion, go in a trance and jump from table to table, standing on bars half naked screaming. Unfortunately Vacuum Bag does not exist anymore, but you can still catch Michael Carter reading his poems in a dark bar or cafe. He really is the last Beatnik and one hell of a beer mystic. He is a full pledged member of the writer's beer mystic group The Unbearables. Michael is a featured writer in their various publications such as"Between C & D" and "Peau Sensible". Michael is the author of a book of poems called, "Broken Noses and Metempsychosis".

Michael Carter sometimes goes into a trance while reading and has visions. He is a strongly influenced by existentialism. He must have been channeling prophecy with the following, from his 1982 poem: “terror is released in lower manhattan/and the terrorists neither carry guns/nor subvert the state/but simply buy it off with promises."

The best way to close is to read one of Michael's poems. It speaks for itself.

La Mairie '89

Nearly full moon, black Jewish star

Lofted above inscrutable, cabalic hebrew

Same street where only fifty years ago

Hitler's dicks rounded up the usual suspects

And dispatched them to eternity

While Cocteau behind shuttered doors

Bewailed bold Eurydice's plight

And Picasso played socialist apostle

Both of 'em prancing bacchanals

Upon these high gates which once boasted

The skewered heads of nobility

Oui, in Paris this year they celebrate the guillotine

Doubtless the apex of Western Civ...

There's a slight slope to these streets

How the blood must run easily

Into the gutters

Like fresh spring rain

Quadralectic Architecture - Marten Kuilman (2011).

quadralectics.wordpress.com/4-representation/4-2-function...

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Nan ELLIN (1997) wrote a book and several articles on the relation of fear and city building. She stated that fear has never been absent from the human experience and that protection from invaders might be the principal incentive for building cities. Ellin noted that the city-as-a-save-place has recently become associated with danger and a lack of safety. This trend started, in her opinion, in the year of the French Revolution (1789) and the conception of the panopticum by Jeremy Bentham.

The nature of fear changed in the early twentieth century when a modern type of industrial city developed, with an emphasis on time management. The city became a machine itself, reflecting a mechanical efficiency in its division of functions (zone regulations). Mass produced houses were the backbone of the new city development. Ellin pointed out that the acceleration in the rate of change and the decline of the public space were the main reason for an increased sense of insecurity.

Three different type of response were pinpointed: retribalization (a search for ‘roots’), nostalgia and escapism. The retirement communities are a form of separatism, just like the ‘gated communities’ (of which there are some twenty thousand in the United States alone). Security is a big issue here, materialized in high fences and sophisticated security equipment, with the ‘safe room’ as the ultimate place of security. The nostalgic response is reflected in renovation of old houses and the revitalization of warehouses and factories as living quarters. Another option of escapism is the building of fantasy worlds, like theme parks (Disney Land) and huge recreational buildings, like stadiums, convention centers and mega-stores.

Fear as a psychological entity is something for the young, inexperienced adults facing the complexities of life and for the elderly and retired. In the latter case fear is often related to the end of their visible visibility period, known as death. Fear, as an instinctual emotion, is the most persistent and all-embracing of the four basic human emotions: fear, aggression, nurture and desire. The Greek word for fear is phobos, which points in a psychiatric context (phobia) to an intense and irrational situation, activity, things or persons. Emotional intensity is an important constituency of fear, which can be translated as a heightened visibility. The psychological entity of fear, as seen in a quadralectic context, is the emotion, which breaks loose shortly after a maximum approach (intensio) to one-self is experienced.

The theme of anxiety and fear is closely related to the existentialism of the Danish philosopher Søren Kierkegaard (1813 – 1855). He placed in his book ‘The Concept of Anxiety’ (1844) the psychological entity of unfocused fear in an environment of sin, with a reference to Adam, who was forbidden to eat the apple (of the Tree of Knowledge of Good and Evil). The prohibition implied a form of freedom, either to eat or not to eat. Kierkegaard drew the conclusion that Adam’s state of initial bliss was the result of ignorance, which ended with the predicament of losing his freedom when consuming the ‘knowledge of good and evil’. The result is a state of anxiety, and a lost innocence.

The events unfolding around the ‘first sin’ can be compared to the philosophical-quadralectical implications of the ‘first division’ – and touches in many aspects the same psychological bedrock. The First Quadrant (I) was visualized as the place in a communication without any boundaries or divisions. The First Quadrant embodied – on a psychological level – an unknown situation before division (choice). The very moment of division – seen in Kierkegaard’s terminology as a ‘leap’, when ‘sin’ suddenly comes into the world – creates the freedom to choose (i.e. the type of division thinking). The position of this event is in a quadralectic communication situated at the border of the First and Second Quadrant. The Second Quadrant (II) is characterized by freedom and experimentation in a ‘state of innocence’ (of division thinking). Kierkegaard’s anxiety is produced by a state of ‘nothing’, which holds ‘a possibility of the repetition of the originary forced choice prior to its actualization’ (CAMERON, 2007; p. 99).

The group of young adults and the elderly, who are the most vulnerable to the effects of fear, could be seen in a wider, quadralectic perspective. These hypothetical clusters – with their lost innocence – can be placed on a universal communication graph (CF-graph) of an average human life with a duration of eighty years (fig. 755). The increased awareness takes place in the fourth part of the Second (II, 4) for the young adults and in the second part of the Fourth Quadrant (IV, 2) for the elderly. The marker points of fear are approximately between the CF-values 8 and 9 in an upward movement with increasing CF-values. The Observational Presence (OP) – which is the position in time of the observer (writer) – is in 2009 (when this graph was created).

Fig. 755 – The position of the prominence of fear as a psychological entity on the universal communication graph compared to an average human life of a duration of eighty years (upper figures) and to a projection of the European cultural history (lower figures).

The young adults are in the process of leaving their family homes to enter a vast moving world of uncertainty. The elderly people face the other side of the coin, with diminishing movement and a need to face the accomplishments of their life. A temporary review of life can cause disappointment and fear. Failure might be caused by bad luck, lost chances or other reasons, but there is no way to recover the past. The lack of perspective in the future can aggravate the situation, leading to the elementary emotion of fear.

The period of a real, material setback in a communication is situated at the Second Visibility Crisis (SVC). This position in the Third Quadrant (III) is different from the fear experienced in the Second and Fourth Quadrant. The former deals with life threatening experiences, while the latter two positions of fear have a more imaginary nature. The position of the SVC is indicated in the European cultural history around 1650 and in a common human life around the age of forty-eight years.

Further observations into the historical consequences of this observation could lead to interesting conclusions with regards to the behavior of modern cultural units. For instance, it would place the present geopolitical situation of a young, adolescent American cultural entity and an elderly European cultural presence in a similar position with respect to their relation to a heightening of fear.

Two different cultural settings recognize each other in a most basic human emotion: the former pursuant to a major blow of their self-confidence after the events of the 11th of September 2001 and the latter as a realization of the approach of (cultural) retirement. Many of the political decisions taken today might have, for these very reasons, the innate characteristics of fear.

Nan ELLIN (2006) proposed a new sense of diversity in her book ‘Integral Urbanism’ as a remedy against the fear-measures of fortifying the city, but also against the wrongly attempted dismantling of boundaries and distinctions. Master planning is rejected, integral urbanism aims at connection, communication and celebration. The city should be given back to the people as a playground for the interaction, regardless of their background.

--------

Architecture of Fear - Nan Ellin

Princeton Architectural Press, 1997 - Architecture - 320 pages

"Architecture of Fear" examines the ways in which the contemporary landscape is shaped by our society's preoccupation with fear, as apparent in home design, security systems, gated communities, semi-public spaces (shopping malls, theme parks, casinos, office atriums), zoning regulations, and cyberspace. This fixation also manifests itself in efforts to provide public parks but control the problem of homelessness. The essayists in "Architecture of Fear" explain that such disjointed efforts exacerbate rather than eradicate the sources and perception of fear and insecurity. Thus, in contrast to alarmist, apocalyptic treatments, the contributors offer concrete, level-headed suggestions for proaction, not reaction, to counter both real (actual crime) and perceived (media-magnified) problems in contemporary society.

"I assure you I'm quite conscious of my position. Shall I tell you what it feels like?."

View On Black

Salut-S

Vega 12-B 2.8 80mm lens

Ilford HP5+ film

Kodak HC-110 developer (solution A for 4 min. @ 72 F.)

Scanned from negative

swollen

Robert Indiana, an American Pop artist known for his "scuptural poems," is best known for his "LOVE" with a titled "O." This image, first created for a Christmas card for the Museum of Modern Art in 1964, was included on an 8 cent United States Postal Service postage stamp in 1973, the first of their regular series of "love stamps." This sculptural version in Shinjuku in one of many. The others can be found on the Pratt Institute campus in Brooklyn, NY; along Sixth Avenue in New York; the Indianapolis Museum of Art; Scottsdale's Civic Center, in so called "LOVE Park" in Philadelphia, the New Orleans Museum of Art's sculpture garden, on the University of Pennsylvania campus, at the Museum of Modern Art at Brigham Young University, on the campus of Ursinus College in Collegeville, Pennsylvania, outside the Taipei 101 tower in Taiwan, at the Red Rock Resort Spa and Casino in Las Vegas, and on the world-famous Orchard Road, Singapore.

Infamously, Indiana failed to register a copyright for the work, and found it difficult to deter unauthorized commercial use. The image has been reproduced in countless times in varying forms, including sculptures, posters, and 3-D desk ornaments. It has been translated into Hebrew, Chinese, and Spanish. It strongly influenced the original cover of Love Story, the Erich Segal novel. It was parodied on the Rage Against the Machine album cover for Renegades, as well as the cover for Oasis' single Little by Little from the 2002 album Heathen Chemistry. Recently it has been parodied by London artist D*Face with his "HATE", the "A" tilted similarly. The LOVE emblem has been adopted by skateboarders, frequently used in skateboard magazines and videos. After skateboarding was banned in Philadelphia's LOVE Park, the emblem was used by organizations opposing the ban.[

Indiana moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls "sculptural poems". Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court.

Indiana, born Robert Clark,moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism. Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and, of course, "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court. Despite his early success at the center of the art world, Indiana retreated to rural obscurity in later life. Indiana has lived as a resident in the island town of Vinalhaven, Maine since 1978.

When my mind wanders, or at least when I let it wander, it always seems to take a trip to Europe. Paris seems like a nice stop for now :)

blind people often make very good music - they are able to concentrate much more... - remember: Ray Charles, Stevie Wonder and so on...

Well that's just about the hottest thing ever is what that is.

(Taken at last night's Literary Nudes event)

I must have walked this path 100 times or more, and every time I've thought that folly is worth a photograph. But every time I've also assumed that I'd have to get closer to the folly to make a photo work well. But now I have a 300mm lens, I tried this shot from the path, and I like it. To me, the folly loses its appeal when you get close to it. For me, maybe because I associate it with this walk along the path, it only really makes sense as a view from the path. It is not, as Kant would have it, really a thing-in-itself. It is not just about its 'thingness', its solitary identity as a thing. No! It's bound-up heavily with its associations (i.e. experienced from the path), at least for me. Pity Kant isn't here to discuss it with me.

Interestingly (or not), I would agree with Kant in the purest sense of agreeing that the folly does exist as a 'thing'. I don't deny it a solitary identity. But I do think it's experienced - at least by me; at least here - as a part of an environment. Also interestingly (a word I overuse), it's words that push me into talking of 'things' as if they were separate, as if they were nouns. Photos don't push us that way, at least not so much. We don't have to name things. We just say 'look at the picture - experience the picture'. In fact, we say nothing (unless we write, write, write....). Words push us into naming 'things'. And by naming, we bring those 'things' into life, into existence. Kind of. They kind of exist anyway, unless you're Richard Rorty, playing devil's advocate, and being non-essentialist.

My argument there probably flags up differences between aesthetic theory and theories of existence. I agree that the folly exists as a thing on its own with essential qualities of its own, but I experience it as part of this landscape. Well, I say I agree that it exists as a thing on its own, but the fact that I don't experience it that way maybe means I also don't fully agree that it exists on its own. I might accept it exists on its own in some theoretical sense, but hey, I've never seen it own its own or experienced it on its own.

(I apologise to Kant if I've misunderstood him here, but he does talk a lot about thing-in-itself. Although I get the impression he might have used that as a means to an end. Which he should have made more explicit if he was! Anyway, if not Kant, I can hang it on Plato. Everyone else has, if everyone else is Richard Rorty. Which they are! And Rorty's dead too now, which is a pity.

And if nothing else, I can't imagine too many landscape photos are tagged with 'kant', 'rorty', and 'plato'. Here's hoping some philosophy undergraduate plugs those into Google and finds their way here. If that's you... HELLO! HAVE A LOOK AROUND :-)

And after.... As I read back over this, I wonder how much I squirm and how chippy I'm being, or not. Some of this is my little rant against 'science' in writing theory - how scientists are big on naming things. Once 'they' name things, they assume that those things exist. They might accept that such names are 'constructs' (i.e. a way of approaching - tentatively and critically naming), but then they go ahead as if they exist anyway. I suppose I do that too - I've named this photo "Powderham Folly...". But then at least I had the self-reflexive dignity to undermine myself.

Rorty was being chippy about science too, seeing that maybe science had taken precedence over philosophy, and that people weren't so much interested in the 'big questions' anymore. As someone from an artsy background, gradually becoming middle aged, I'm realizing that a lot of people don't take artsy theories seriously. I'm becoming more and more irrelevant. To me, Rorty's theory is pressing. Kant is pressing too, and Baudrillard, and Nietzsche.

But to be fair to science, they're not all stuck fast to naming and essentialising things. I watched some Brian Cox last week talking about 'the big bang'. The gist of it, I think, was that everything was crammed into something a billionth the size of a grain of sand. Then that thing became unstable and kind of exploded. Except it didn't explode, as such, because whatever it did, that doing created time and space. So what was 'it', and 'what' did 'it' 'do'? None of it really has a name as far as I could tell from Brian. Most of what he had to go by here was some understanding of physics and some observations that the universe 'thing' was constantly expanding. Brian seemed happier with his photos than with the talking bits. He was good at the talking too though! Yay Brian!!

ritrovito magiore

Out on the vast Mojave.

A desert. She is glorious glory.

Ripe with electric rhythm of

modern times. Beyond me.

Mostly. But for this moment

she was there

and i was, too,

and here you are.

"It was as if that great rush of anger had washed me clean, emptied me of hope, and, gazing up at the dark sky spangled with its signs and stars, for the first time, the first, I laid my heart open to the benign indifference of the universe. To feel it so like myself, indeed, so brotherly, made me realize that I’d been happy, and that I was happy still."

"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

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courtesy of Organ Museum

©2011 www.AbodeofChaos.org

tumblr l facebook l formspring l prints

2011年首獎 2011 First Prize

蔡昌吉 / 台中大安

拍攝動機：

當年過半百之後，人的身心靈總是處於衰退老化狀態。焦慮、不安、空虛、膽怯...隨著時間一一迎面而來，自2010年起興起了參加新光三越國際攝影大賽的念頭。目的：一來活化自我的身心靈，二來考驗攝影技能是否退化。從上網、填表、送件、等待、失落、驚喜...，過程中一切的酸、甜、苦、辣...點滴在心頭，相當慶幸這兩年來的收穫頗豐，讓自己有了「老而不休」的真實體現。

攝影心得：

存在哲學指出“生命是一種不斷被拋入某種現實情境的歷程，而生命一開始即為面向死亡的存在”。因此，海德格爾指出，人必須正視死亡，從恐懼中明白自己活著的重要性。

我以“貼近土地，面對死亡，體現存在”作為攝影表現中影像的核心，藉由影像展現對死亡與生命存在意義的描述。並以時間化為「此在之存有」的寓圖，讓生命中憂心、虛浮、陷落與醒覺...在自我中開顯「存在」的真實。

Tsai Chang-chi / Ta’an Township, Taichung

Why I Took These Pictures :

Once you’ve passed the half-century mark, you tend to go downhill, both physically and mentally. Slowly, feelings of anxiety, restlessness, emptiness or timidity start cropping up. So when in 2010 I heard about the Shin Kong Mitsukoshi International Photo-Taking Contest, the idea of participating soon took hold of my mind. I saw it as a way of revitalizing my body and mind, and also a chance to find out how rusty my photographing skills had become. I downloaded the form online, filled it out and sent it in. The period of waiting and uncertainty was followed by a very pleasant surprise—basically the whole process was an emotional roller coaster for me, but I’m glad I went ahead with it, because the last two years were filled with interesting experiences and have made me realize that in spite of my age, I’m still capable of doing something positive and meaningful.

What I Learned :

Existentialism tells us that to live is to be thrown into the world, and having to deal with reality. From its very beginning, all existence must face its own death. Or, as Heidegger puts it, we all need to look death in the eye, because confronting our worst fears helps us to realize the importance and value of being alive.

At the heart of all my photographs, then, lies the basic principle of staying rooted in my native soil while maintaining a constant awareness of my own mortality. In this way, I can achieve a truthful expression of my own existence, and, through my motifs, offer a personal account of life and death and what they mean to me. Time is distilled into the present moment. The photograph serves as an allegory for all the doubts and uncertainties, the vanity and insubstantiality, the dissipation but also the awakening, the process of becoming aware: I become the medium through which reality manifests itself.

The question remains unchanged no matter how many conquests are implemented. Even if at some point “man” manages to beat the odds he has put on himself and the existence of finite. “The deadly tedium of immortality” in a constant attempt to achieve the sterile. We pass to the “trans” state and we enjoy, though complaining, the hyper-realistic with the secret desire of eternal youth. We suck the beast which was created by the Divine element as full image and likeness. The thermodynamic cage in an already alleged entropic balance. The planet is ours! That is what the hypocritical honesty of the motivated Ego requires. An endless wind blowing towards a hypothetical “dusk” and opposite the fluttering, towards an unexpected “dawn”. Building consisting of foundational stereoscopic structures adjacent strongly in a shimmering sphere yet seemingly exist in a harmony. It is the view of the transient, the ephemeral, through the eyes of the anhydrous inevitable. I wonder what is the purpose of all this? It makes sense to seek a “reasonable” and an enlarged subjectivity that encapsulate the desired laconic? Is a form of awareness feasible, in which the distant perspective would fit in the “individual” ? Maybe, but remains a challenge set in the background of the need to overcome or at least control the brittleness of this equilibrium, that only the mantle of the present, of the every present, translates into unbreakable pseudo-continuum.

compare my articles flickrcomments.wordpress.com/2013/01/17/up-in-the-bronx/ and flickrcomments.wordpress.com/2011/12/02/weekly-photo-chal... and flickrcomments.wordpress.com/2011/05/27/global-peace-index/

Lincoln is infested with right-wing bible-bashing cults.

This one has nothing better to do than stand outside Barclays Bank taking turns berating busy shoppers about their sinful worldly existence.

Metaphysical discourse of any kind should be welcome in this age of bland humanism.

But surely we deserve something a little more up to date than Jesus With A Pitchfork?

Here's a city where people suffering from alleged madness and genuine desperation coming in one direction routinely lurch into the welcoming arms of concerned happy-clappers from the other, usually via some fluoridated pharmaceutical intervention of an SSRI nature. That'll sort them out.

There is something of a problem locally with demonic possession, hearing voices, yes, gabbling unintelligbly, yes. Social Services is holding a corporate review of the situation with a view to establishing a Demon Monitoring Unit with responsibility to the Dept of Xenolalia and Glossolalia at the Peter (As Chairman of the Health Authority I Put Fluoride In Them) Hodgkinson Psychiatric Unit.

Column hectares of Lincoln newspaper letters pages are devoted to dire warnings, complete with biblical quotes, of the influence of Harry Potter on children's desire to get involved in witchcraft.

There's no such thing as a white witch, they opine, evidently hoping for a revivial of popular assent to the existence of a few black ones upon whom they can vent their sexual frustrations.

A good slogan might be: "Down with thongs, in with tongs, out with their tongues." Poor Miss Rowling.

In the midst of this primitive superstitious timewasting, perhaps a sermon on string theory from the local philosophy society would make a nice change from this fantastical question-begging over what God says about you not believing in God.

Unfortunately it meets at the Bishop's Palace, part of the cathedral, suggesting that even the non-shouty metaphysicians have not progressed very much further than their anti-telephone brethren depicted here.

I suspect they chose that venue because the more "normal" godbotherers want to keep a shifty eye on any rival isms that might be taking hold, such is the competition for fee-paying disciples.

Paranoid? But then what is God but a big conspiracy theory?

Worse even, the Bishop's Palace do is actually a philosophy COURSE, where after a brief loss leader event you go and pay quite a large sum to listen to someone else's rather eggy philosophy.

This illustrates the fascinating thing about philosophy - that going on courses about it or even spending years on it at university is acceptable, even admirable behaviour for a human being to indulge in.

But actually HAVING a philosophy, or discussing "reality" or "existence" outside these confines, is a risky, oddball (and in a thudheaded provincial nuthouse like Lincoln even dangerous) thing to do.

At least with these street philosophy vendors you get a free show, and you can take your own eggs if you desire.

Over twenty years this group has dwindled from a peak of about nine, to four.

Due, I suspect, to the group's lack of a proper business plan and a well-defined market niche, the sinful shoppers have failed to flock to this particular version of what Jesus said.

Right wing or wrong, in a battle between mindless consumerism and mindless deism these are the losers.

If only the public wanted a saviour, instead of a saver.

But a few theologico-financial schisms away the Plymouth Brethren are thriving, a sort of inbred, Amish-style, our-children-are-not-mixing-with-the-Devil-yes-that's-you group with their very own computerless, telephoneless, televisionless, outsiderless and doubtless clueless "school".

Where the fruits of their irrepressibly naughty loins are educated about how great it is not finding out about things or meeting other people, except God and his chosen representatives.

Better hide the razor blades on the top shelf, maw.

.

GeoTagged

The Future of Romanticism

The skyline stretched before them, glowing in a kaleidoscope of neon blues and golds, a pulsating organism of light and technology. The towering dome across from their terrace blinked with ads seamlessly melded with art, its design a fusion of engineering precision and opulent creativity. This was their city; they knew it as a declaration that no height was unattainable, and no boundary was unbreakable.

The man rested his hands on the table's edge, his posture deliberate, almost rehearsed. His tailored jacket was woven with subtle patterns of light, a fabric that signalled wealth and power. His face, however, betrayed none of the pride his clothing implied. Instead, his eyes lingered on the horizon, searching for something he couldn’t quite name. His mind flickered between the cold ledger of their accomplishments—networks built, markets dominated, cities shaped—and the vague dissatisfaction that had crept into his soul like a shadow. "We’ve done it all, haven’t we?" he thought, in pride and disappointment.

She looked up from her glass, her features soft but distant. Her flawless, minimalist dress glowed faintly against the ambient lights around them. It was not the kind of attire for someone bound to the past. Yet, as she met his thought, something unspoken revealed in her eyes. We are climbing the same ladder over and over again. What else is left? Her every movement was a touch of perfection — her vitality, longevity, efficiency of decision-making, and lasting beauty. When does more stop being enough?

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Keywords:

Dystopia, Utopia, Existentialism, Decay, Resilience, Transformation, Hope, Desolation, Journey, Rebirth, Solitude, Redemption, Wellness, Love, Prosperity, Perfection

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"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

"999" English version with English subtitles is available >>>

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voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

it's meaningless.

"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

"999" English version with English subtitles is available >>>

HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone

----------

voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

trying to break the wall still remains an aim ... - there are so many walls ...

Jean-Paul Sartre - Huis clos, suivi de Les Mouches

Livre de Poche 1132, 1971

Couverture: ?

Concerning one bobcat's views on existentialism and it's place in postmodern philosophy.

Mixed Media Polaroid Art

feet are hard to photograph

Week 2 Dogs (2) (1006 – 1010)10/06 – 10/10/2019 ID 1009

Henry Koerner American (born in Vienna, Austria), 1915-1991

Under the Overpass, 1949

Oil on Masonite

In 1938, Henry Koerner immigrated to America from Vienna to escape persecution by the Nazis. Koerner later learned that his family members were among the millions of Jews who were systematically murdered in Nazi concentration camps during the Second World War. The artist described how that personal trauma and the general destruction wrought by the violence and chaos of the war made him feel that “Reality had turned into surreality…’normal’ life into existentialism.”

Under the Overpass is a meditation on the transience of life and pain of loss and death. The changing colors of the leaves and the streaks of rust on the overpass evoke time and decay. What looks like an urban streetcar or trolley could represent the train that transported the Koerner family to the concentration camp. Scholars believe the artist’s mother is the crying woman in the yellow dress as well as the woman on the train (sitting next to his father). The scene is intentionally ambiguous. His magic realist style—visible in the painting’s hyper-realistic details, improbable shifts in scale, and elimination of shadows—creates a low-frequency sense of confusion and unease in the viewer.

Marion Stratton Gould Fund, 2012.33

From the Placard: Memorial Art Gallery, Rochester, New York

mag.rochester.edu/

en.wikipedia.org/wiki/Henry_Koerner

www.caldwellgallery.com/bios/koerner_biography.html

youtu.be/g077HvrmK-g

Mixed Media Polaroid Art

Leica M9 with NOCTILUX 50mm @ f0.95 More to follow on my blog www.artq.com

There's a point at which your body prepares for impact.

I had a close call driving home last night. A car changed his mind about a turn and cut me off just past the viaduct. It's all a blur. I don't know how we didn't actually collide in the end. I have to laugh a little that I'd just left a quiet back-patio talk about choices; who we love, who we leave, how we live, what we do. Sometimes the big decisions aren't ours to make.

Andrei Platonovich Platonov was a Soviet Russian novelist, short story writer, philosopher, playwright, and poet. Although Platonov regarded himself as a communist, his principal works remained unpublished in his lifetime because of their skeptical attitude toward collectivization of agriculture (1929–1940) and other Stalinist policies, as well as for their experimental, avant-garde form infused with existentialism. His famous works include the novels Chevengur (1928) and The Foundation Pit (1930).

Early life and education

Platonov was born in the settlement of Yamskaya Sloboda on the outskirts of Voronezh in the Chernozem Region of Central Russia. His father was a metal fitter (and amateur inventor) employed in the railroad workshops and his mother was the daughter of a watchmaker. He attended a local parish school and completed his primary education at a four-year city school and began work at age thirteen, with such jobs as an office clerk at a local insurance company, smelter at a pipe factory, assistant machinist, warehouseman, and the railroad. Following the 1917 Revolution, he studied electrical technology at Voronezh Polytechnic Institute. When Civil War broke out in 1918 Platonov assisted his father on trains delivering troops and supplies and clearing snow.

Early career

Meanwhile, Platonov had begun to write poems, submitting them to papers in Moscow and elsewhere. He was also a prolific contributor to local periodicals. These included Zheleznyi put ("Railroad"), the paper of the local railway workers' union; the Voronezh Region Communist Party newspapers Krasnaia derevnia ("Red countryside") and Voronezhskaia kommuna ("Voronezh commune"); and Kuznitsa, the nationwide journal of the "Smithy" group of proletarian writers.

From 1918 through 1921, his most intensive period as a writer, he published dozens of poems (an anthology appeared in 1922), several stories, and hundreds of articles and essays, adopting in 1920 the pen-name Platonov by which he is best-known. With remarkable energy and intellectual precocity, he wrote confidently across a range of topics including literature, art, cultural life, science, philosophy, religion, education, politics, the civil war, foreign relations, economics, technology, famine and land reclamation, and others. It was not unusual around 1920 to see two or three pieces by Platonov, on quite different subjects, appear daily in the press.

He has also been involved with the local Proletcult movement, joined the Union of Communist Journalists in March 1920, and worked as an editor at Krasnaia Derevnia ("Red countryside"), and the paper of the local railway workers' union. in August 1920, Platonov was elected to the interim board of the newly-formed Voronezh Union of Proletarian Writers and attended the First Congress of Proletarian Writers in Moscow in October 1920, organized by the Smithy group. He regularly read his poetry and gave critical talks at various club meetings.

In July 1920, Platonov was admitted to the Communist Party as a candidate member on the recommendation of his friend Litvin (Molotov). He attended Party meetings, but was expelled from the Party on 30 October 1921 as an "unstable element". Later, he said the reason was "juvenile". He may have quit the party in dismay of the New Economic Policy (NEP). like a number of other worker writers (many of whom he had met through Kuznitsa and at the 1920 writers' congress). Troubled by the famine of 1921, he openly and controversially criticized the behaviour (and privileges) of local communists. In spring, 1924 Platonov applied for re-admission to the Party, offering reassurance that he had remained a communist and a Marxist, but he was denied then as on the next two occasions.

In 1921 Platonov married Maria Aleksandrovna Kashintseva (1903–1983); they had a son, Platon, in 1922, and a daughter, Maria, in 1944.

In 1922, in the wake of the devastating drought and famine of 1921, Platonov abandoned writing to work on electrification and land reclamation for the Voronezh Provincial Land Administration and later for the central government. "I could no longer be occupied with a contemplative activity like literature", he recalled later. For the next years, he worked as an engineer and administrator, organizing the digging of ponds and wells, draining of swampland, and building a hydroelectric plant.

Chevengur, The Foundation Pit and For Future Use

When he returned to writing prose in 1926, a number of critics and readers noted the appearance of a major and original literary voice. Moving to Moscow in 1927, he became, for the first time, a professional writer, working with a number of leading magazines.

Between 1926 and 1930, the period from NEP to the first five-year plan (1928–1932), Platonov produced his two major works, the novels Chevengur and The Foundation Pit. With their implicit criticism of the system, neither was then accepted for publication although one section of Chevengur appeared in a magazine. The two novels were only published in the USSR during the late 1980s.

In the 1930s, Platonov worked with the Soviet philosopher Mikhail Lifshitz, who edited The Literary Critic (Literaturny Kritik), a Moscow magazine followed by Marxist philosophers around the world. Another of the magazine's contributors was the theoretician György Lukács and Platonov built upon connections with the two philosophers. A turning point in his life and career as a writer came with the publication in March 1931 of For Future Use (″Vprok″ in Russian), a novella that chronicled the forced collectivisation of agriculture during the First Five Year Plan.

According to archival evidence (OGPU informer's report, 11 July 1931), Stalin read For Future Use carefully after its publication, adding marginal comments about the author ("fool, idiot, scoundrel") and his literary style ("this isn't Russian but some incomprehensible nonsense") to his copy of the magazine. In a note to the publishers, the Krasnaya nov monthly, Stalin described Platonov as "an agent of our enemies" and suggested in a postscript that the author and other "numbskulls" (i.e. the editors) should be punished in such a way that the punishment served them "for future use".

In 1933, an OGPU official Shivarov wrote a special report on Platonov. Attached were versions of The Sea of Youth, the play "14 Red Huts" and the unfinished "Technical Novel". The report described For Future Use as "a satire on the organizing of collective farms," and commented that Platonov's subsequent work revealed the "deepening anti-Soviet attitudes" of the writer.

Official support and censure

In 1934, Maksim Gorky arranged for Platonov to be included in a “writers' brigade” sent to Central Asia with the intention of publishing a collective work in celebration of ten years of Soviet Turkmenistan. (Earlier that year, a collective work by over 30 Soviet writers had been published about the construction of the White Sea Canal.) Platonov’s contribution to the Turkmen volume was a short story titled “Takyr” (or “Salt-flats”) about the liberation of a Persian slave girl. Platonov returned to Turkmenistan in 1935 and this was the basis for his novella Soul (or Dzhan). Dzhan is about a “non-Russian” economist from Central Asia, who leaves Moscow to help his lost, nomadic nation called Dzhan, of rejects and outcasts possessing nothing but their souls. A censored text was first published in 1966; a complete, uncensored text only in 1999.

In the mid-1930s Platonov was again invited to contribute to a collective volume, about rail workers. He wrote two stories: "Immortality", which was highly praised, and "Among Animals and Plants", which was severely criticized and eventually published only in a heavily edited and far weaker version.

In August 1936, The Literary Critic published "Immortality" with a note explaining the difficulties the author had faced when proposing the story to other periodicals. The following year, this publication came under criticism in Krasnaya Nov, damaging Platonov's reputation.  In 1939, the story was republished in the intended collective volume, Fictional representations of Railway Transport (1939) dedicated to the heroes of the Soviet railroad system.

Platonov published eight more books, fiction and essays, between 1937 and his death in 1951.

Stalin's ambivalence and Platonov's son

Stalin was ambivalent about Platonov's worth as a writer. The same informer's report in July 1931 claimed that he also referred to the writer as "brilliant, a prophet". For his part, Platonov made hostile remarks about Trotsky, Rykov, and Bukharin but not about Stalin, to whom he wrote letters on several occasions. "Is Platonov here?" asked Stalin at the meeting with Soviet writers held in Moscow at Gorky's villa in October 1932 when the Soviet leader first called writers "engineers of the human soul".

In January 1937, Platonov contributed to an issue of Literaturnaya gazeta in which the accused at the second Moscow Show Trial (Radek, Pyatakov and others) were denounced and condemned by 30 well-known writers, including Boris Pasternak. His short text "To overcome evil" is included in his collected works. It has been suggested that it contains coded criticism of the regime.

In May 1938, during the Great Terror, Platonov's son was arrested as a "terrorist" and "spy". Aged 15 years old, Platon was sentenced in September 1938 to ten years imprisonment and was sent to a corrective labour camp, where he contracted tuberculosis. Thanks to efforts by Platonov and his acquaintances (including Mikhail Sholokhov), Platon was released and returned home in October 1940, but he was terminally ill and died in January 1943. Platonov himself contracted the disease while nursing his son.

During the Great Patriotic War (1941–1945), Platonov served as a war correspondent for the military newspaper The Red Star and published a number of short stories about what he witnessed at the front. The war marked a slight upturn in Platonov's literary fortunes: he was again permitted to publish in major literary journals, and some of these war stories, notwithstanding Platonov's typical idiosyncratic language and metaphysics, were well received. However, towards the end of the war, Platonov's health worsened, and in 1944 he was diagnosed with tuberculosis. In 1946, his last published short story, "The Return," was slammed in Literaturnaya Gazeta as a "slander" against Soviet culture. His last publications were two collections of folklore. After his death in 1951, Vasily Grossman spoke at his funeral.

Platonov's influence on later Russian writers is considerable. Some - but not all - of his work was published or republished during the 1960s' Khrushchev Thaw.

In journalism, stories, and poetry written during the first post-revolutionary years (1918–1922), Platonov interwove ideas about human mastery over nature with scepticism about triumphant human consciousness and will, and sentimental and even erotic love of physical things with fear and attendant abhorrence of matter. Platonov viewed the world as embodying at the same time the opposing principles of spirit and matter, reason and emotion, nature and machine.

He wrote of factories, machines, and technology as both enticing and dreadful. His aim was to turn industry over to machines, in order to "transfer man from the realm of material production to a higher sphere of life." Thus, in Platonov's vision of the coming "golden age" machines are both enemy and savior. Modern technologies, Platonov asserted paradoxically (though echoing a paradox characteristic of Marxism), would enable humanity to be "freed from the oppression of matter."

Platonov's writing, it has also been argued,[by whom?] has strong ties to the works of earlier Russian authors like Fyodor Dostoevsky. He also uses much Christian symbolism, including a prominent and discernible influence from a wide range of contemporary and ancient philosophers, including the Russian philosopher Nikolai Fedorov.

His Foundation Pit uses a combination of peasant language with ideological and political terms to create a sense of meaninglessness, aided by the abrupt and sometimes fantastic events of the plot. Joseph Brodsky considers the work deeply suspicious of the meaning of language, especially political language. This exploration of meaninglessness is a hallmark of existentialism and absurdism. Brodsky commented, "Woe to the people into whose language Andrei Platonov can be translated."

Elif Batuman ranked Soul as one of her four favorite 20th century Russian works. (Batuman is author of The Possessed: Adventures With Russian Books and the People Who Read Them and was Pulitzer Prize finalist for her novel The Idiot.)

Novelist Tatyana Tolstaya wrote, "Andrei Platonov is an extraordinary writer, perhaps the most brilliant Russian writer of the twentieth century".

Each year in Voronezh the literature exhibition is held in honour of Platonov, during which people read from the stage some of his works.

The style and subject matter

One of the most striking distinguishing features of Platonov's work is the original language, which has no analogues in world literature. It is often called "primitive", "ungainly", "homemade".

Platonov actively uses the technique of ostraneny, his prose is replete with lexical and grammatical "errors" characteristic of children's speech.

Yuri Levin highlights Platonov's characteristic techniques:

syntactically incorrect constructions, such as verb+place circumstance. «Think on head», «answered... from his dry mouth», «recognized the desire to live into this fenced-off distance».

redundancy, pleonasm. «Voschev... opened the door to space», «his body was thin inside the clothes».

extremely generalized vocabulary. "Nature", "place", "space" instead of specific landscape descriptions. «Prushevsky looked around the empty area of the nearest nature», «an old tree grew... in bright weather».

active use of subordinate clauses about the cause (“Nastya ... hovered around the rushing men, because she wanted to”), as well as subordinate clauses about purpose (“It's time to eat for the day's work”). Moreover, they are often superfluous or logically unmotivated.

active use of typical Soviet bureaucracies, often in an ironic way (“confiscate her affection”), but rarely.

According to the researcher Levin, with the help of these turns, Platonov forms a "panteleological" space of the text, where "everything is connected with everything", and all events unfold among a single "nature".

In the works of Andrey Platonov, form and content form a single, indissoluble whole, that is, the very language of Platonov's works is their content.

Among the key motives of Platonov's work is the theme of death and its overcoming. Anatoly Ryasov writes about Platonov's " metaphysics of death». Platonov in his youth came under the influence of Nikolai Fedorov and repeatedly refers to the idea of raising the dead. In the minds of his characters, it is associated with the coming arrival of communism.

Tribute

A planet discovered in 1981 by Soviet astronomer L.G. Karachkina was named after Platonov.

Works

Novels

Chevengur – 1928 (1972)

The Foundation Pit – 1930 (1969)

Happy Moscow [de] (unfinished) – 1933–1936 (1991)

Short fiction

"The Motherland of Electricity" – 1926

"The Lunar Bomb" – 1926

The Sluices of Epifany (novella) – 1927

"Meadow Craftsmen" – 1928

"The Innermost Man" – 1928

"Makar the Doubtful" – 1929

For Future Use (novella) – 1930 (1931)

The Sea of Youth (novella) – 1934 (1986)

Soul, or Dzhan (novella) – 1934 (1966)

"The Third Son" – 1936

"Fro" (short story) – 1936

"Among Animals and Plants" (short story) – 1936

"The Fierce and Beautiful World" – 1937

The River Potudan (collection of short stories) – 1937

"Immortality" – 1936, 1939

"The Cow" – 1938 (1965)

"Aphrodite" – 1945

"The Return" or "Homecoming"– 1946

Other

Blue Depths[29] (verse) – 1922

The Barrel Organ (play) – 1930

The Hurdy Gurdy (play) – 1930 (1988)

Fourteen Little Red Huts (play) – 1931 (1988)

Father-Mother (screenplay) – 1936 (1967)

English translations

The short story collection The Fierce and Beautiful World, which includes his most famous story, "The Potudan River" (1937), was published in 1970 with an introduction by Yevgeny Yevtushenko and became Platonov's first book published in English translation. During 1970s, Ardis published translations of his major works, such as The Foundation Pit and Chevengur. In 2000, the New York Review Books Classics series republished The Fierce and Beautiful World with an introduction by Tatyana Tolstaya. In 2007, New York Review Books published a collection of newer translations of some of these stories, including the novella Soul (1934), "The Return" (1946) and "The River Potudan". This was followed by a new translation of The Foundation Pit in 2009, in 2012 by Happy Moscow, an unfinished novel (not published in Platonov's lifetime), and in 2023 a new translation of Chevengur.

The Fierce and Beautiful World: Stories by Andrei Platonov, introduction by Yevgeny Yevtushenko, E. P. Dutton, 1970 (tr. Joseph Barnes)

The Foundation Pit, a bi-langued edition with preface by Joseph Brodsky, Ardis Publishing, 1973 (tr. Mirra Ginsburg)

Chevengur, Ardis Publishing, 1978 (tr. Anthony Olcott)

Collected Works, Ardis Publishing, 1978 (tr. Thomas P. Whitney, Carl R. Proffer, Alexey A. Kiselev, Marion Jordan and Friederike Snyder)

Fierce, Fine World, Raduga Publishers, 1983 (tr. Laura Beraha and Kathleen Cook)

The River Potudan, Bristol Classical Press, 1998 (tr. Marilyn Minto)

The Foundation Pit, Harvill Press, 1996 (tr. Robert Chandler and Geoffrey Smith)

The Return and Other Stories, Harvill Press, 1999 (tr. Robert Chandler and Angela Livingstone)

The Portable Platonov, New Russian Writing, 1999 (tr. Robert Chandler)

Happy Moscow, introduction by Eric Naiman, Harvill Press, 2001 (tr. Robert Chandler and Elizabeth Chandler)

Happy Moscow, introduction by Robert Chandler, New York Review Books, 2012 (tr. Robert Chandler and Elizabeth Chandler)

Happy Moscow, introduction by Robert Chandler, Vintage Classics, 2013 (tr. Robert Chandler and Elizabeth Chandler)

Soul, Harvill Press, 2003 (tr. Robert Chandler and Elizabeth Chandler)

Russian Short Stories from Pushkin to Buida, Penguin Classics, 2005, (tr. Robert Chandler and others). Includes two important stories by Platonov: "The Third Son" and "The Return"

Soul and Other Stories, New York Review Books, 2007 (tr. Robert Chandler with Katia Grigoruk, Angela Livingstone, Olga Meerson, and Eric Naiman).

The Foundation Pit, New York Review Books 2009 (tr. Robert Chandler, Elizabeth Chandler and Olga Meerson).

Russian Magic Tales from Pushkin to Platonov, Penguin Classics, 2012 (tr. Robert Chandler and others). Includes Platonov's subtle adaptations of traditional Russian folk tales.

Fourteen Little Red Huts and Other Plays, Columbia University Press, 2016 (The Russian Library) (ed. by Robert Chandler; tr. by Robert Chandler, Jesse Irwin, and Susan Larsen; with notes by Robert Chandler and Natalya Duzhina)

Chevengur, trans. Elizabeth Chandler and Robert Chandler (New York Review Books, 2023)

Dutch postcard, no. 662.

French actress and chanson singer Juliette Gréco (1927) was the muse of the existentialists such as Jean-Paul Sartre. Later she became the protégée of film mogul Darryl F. Zanuck, who cast her in his films.

For more postcards, a bio and clips check out our blog European Film Star Postcards Already over 3 million views! Or follow us at Tumblr or Pinterest.

Mixed Media Polaroid Art

A light panel is a mystery...

- Are these even the right questions?

To answer one question: This lamp and backdrop panel are likely Art Deco and not its precursor, Art Nouveau... Art Deco's bold, linear symmetry was a distinct departure from the soft pastels and flowing asymmetrical organic forms of its predecessor Art Nouveau.

What always interests me is the streamlining of cars and statues of tigers, leopards and jaguars... Streamline objects are considered Art Deco.

Un panneau léger est un mystère ...

- S'agit-il de même les bonnes questions ?

Pour répondre à une question: Cette lampe et le panneau de toile de fond sont susceptibles d'art déco et non de son précurseur, l'Art Nouveau ... Art Deco gras, la symétrie linéaire était très différente de la pastels doux et fluide asymétrique des formes organiques de son prédécesseur, Art Nouveau.

Qu'est-ce toujours me confond est la rationalisation de voitures et de statues de tigres, de léopards et jaguars ... Rationaliser les objets sont considérés comme l'Art Déco.

פאנל האור היא בגדר תעלומה ...

- האם זה נובו או דקו?

- האם זה אור או חושך?

- האם קיומה תלוי המתבונן?

- האם זה פיזיקה קוונטית או סוליפסיזם?

- האם זה הגיוני או אמפיריציזם האקזיסטנציאליזם?

- האם הצופה אדם או דבורת הדבש? -

- האם אלה גם את השאלות הנכונות ?

כדי לענות על שאלה אחת: זה המנורה בלוח רקע צפויים דקו ולא מבשר שלה, ארט נובו ... , סימטריה ליניארי מודגש אמנות של דקו הייתה סטייה ברורה מן פסטלים רכים וזורמים צורות אורגניות סימטרית של קודמו ארט נובו שלה.

מה תמיד מבלבל אותי היא התייעלות של מכוניות פסלים של טיגריסים, נמרים יגוארים ... אובייקטים יעל נחשבים דקו. עם זאת, בשל שלהן מעוקלים, לא ישר, קווים אני מרגיש שהם יכלו בקלות להיות מסווגת כ ארט נובו ...

Un pannello luminoso è un mistero ...

- Sono questi, anche le domande giuste ?

Per rispondere a una domanda: Questa lampada e il pannello sullo sfondo sono probabilmente Art Deco e non il suo precursore, Art Nouveau ...

Ciò che sempre mi confonde è la razionalizzazione delle auto e statue di tigri, leopardi e giaguari ... Razionalizzare gli oggetti sono considerati Art Deco.

um painel de luz é um mistério ...

- São mesmo as perguntas certas ?

Para responder a uma pergunta: Esta lâmpada e um painel de fundo é provável Art Deco e não o seu precursor, Art Nouveau ... Simetria Art Deco, negrito linear foi uma partida diferente da pastéis suaves e fluidos assimétricos formas orgânicas do seu antecessor Art Nouveau.

O que sempre me confunde é a racionalização dos carros e estátuas de tigres, leopardos e onças ... Dinamize objetos são considerados Art Deco.

света панель тайна ...

- Являются ли эти даже правильные вопросы ?

Чтобы ответить на один вопрос: Эта лампа и фон панели, вероятно, ар-деко, а не его предшественник, модерн ... Жирный, ар-деко в линейных симметрии явный отход от мягкой пастели и течет асимметричные органические формы своего предшественника модерна.

Что всегда смущает меня является упорядочение автомобилей и статуи тигры, леопарды и ягуары ... Оптимизация объекты рассматриваются ар-деко. Однако, в связи с их изогнутыми, а не прямой, линии я чувствую они легко могут быть классифицированы как модерн ...

Un panel de luz es un misterio ...

100_4445

"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

"999" English version with English subtitles is available >>>

HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone

----------

voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

500px || Like me on Facebook || Work with me on Model Mayhem

Got to work with my cousin again today; I love taking pictures of her because she is more intelligent than anyone this beautiful has a right to be. As I took this picture, we talked about French philosophy and existentialism - she's just too good to be true, isn't she?

This wasn't exactly what I set out to create, and I have others in the set which are far closer to the image I had in my head, but I chose this because I prefer the composition and then I took the processing in a slightly different direction.

Strobist:

Just one SB600 fired as a rim light on 1/2 power to the camera's right, bare. Triggered with Pocket Wizard Plus IIs.

Silver reflector on the ground.

...But mostly - this is all natural sun!

Prof. dr. Ruud Welten over "Sartre and De Beauvoir: Existentialism in activist times", een boeiende Studium Generale met interessante discussie erna.

G'day !

It is Friday The 13th, all can see. Keef has taken the dinosaur to the park to explain about Existentialism (it is silly) and The Law (Do Not Tread On The Troll, et cetera) when suddenly there is darkness in the sky and spectres from beyond the pale come, many are scared.

"Oh, it will extinctorate me !" cries the dinosaur, for he is superstitious.

"Ha ha ha !" laughs Keef "It appears you have had too much birthday cake !"

"I have had none !"

"Then you had better have some and quickly ! Only then will logic and order return to your life !"

In fact, the appearance of death's heads in the sky had been caused by a release of farage-gas nearby, such as can happen on Friday The 13th, that's just the way it is. But birthday cake is a fine antidote, even if it is not your birthday. But only on Friday the 13th. That, also, is just the way it is.

Walk Tall !

Robert Indiana, an American Pop artist known for his "scuptural poems," is best known for his "LOVE" with a titled "O." This image, first created for a Christmas card for the Museum of Modern Art in 1964, was included on an 8 cent United States Postal Service postage stamp in 1973, the first of their regular series of "love stamps." This sculptural version outside 535 Madison Avenue is one of many. The others can be found along Sixth Avenue, on the Pratt Institute campus in Brooklyn, NY; the Indianapolis Museum of Art; Scottsdale's Civic Center, in so called "LOVE Park" in Philadelphia, the New Orleans Museum of Art's sculpture garden, on the University of Pennsylvania campus, at the Museum of Modern Art at Brigham Young University, on the campus of Ursinus College in Collegeville, Pennsylvania, outside the Taipei 101 tower in Taiwan, at the Red Rock Resort Spa and Casino in Las Vegas, in Shinjuku Tokyo JAPAN, and on the world-famous Orchard Road, Singapore.

Infamously, Indiana failed to register a copyright for the work, and found it difficult to deter unauthorized commercial use. The image has been reproduced in countless times in varying forms, including sculptures, posters, and 3-D desk ornaments. It has been translated into Hebrew, Chinese, and Spanish. It strongly influenced the original cover of Love Story, the Erich Segal novel. It was parodied on the Rage Against the Machine album cover for Renegades, as well as the cover for Oasis' single Little by Little from the 2002 album Heathen Chemistry. Recently it has been parodied by London artist D*Face with his "HATE", the "A" tilted similarly. The LOVE emblem has been adopted by skateboarders, frequently used in skateboard magazines and videos. After skateboarding was banned in Philadelphia's LOVE Park, the emblem was used by organizations opposing the ban.[

Indiana moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls "sculptural poems". Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court.

Indiana, born Robert Clark,moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism. Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and, of course, "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court. Despite his early success at the center of the art world, Indiana retreated to rural obscurity in later life. Indiana has lived as a resident in the island town of Vinalhaven, Maine since 1978.