View allAll Photos Tagged gurdjieff
digital art 2016
Created for The AWARDTREE'S - ~ Back From the Future ~
challenge.
Gurdjieff - De Hartmann Vol 11
~,Return From A Journey,~
Alain Kremski
(Thank you for your wonderfull comments,
awards,invites and faves...
all are very much appreciated....!)
(large is cool)
Cuando la miseria lo obligó a emprender negocios para ganarse la vida, éstos tomaron desde el principio un rumbo tan malo que sus allegados, como también cuantos trataban con él, llegaron a considerarlo como un hombre carente de sentido práctico e incluso de inteligencia en este dominio.
Y es un hecho, los negocios que mi padre emprendía para ganar dinero nunca andaban y no daban ninguno de los resultados que otros hubieran obtenido de ellos.
Sin embargo, no provenía ello en absoluto de una falta de sentido práctico o de capacidades mentales al respecto, sino más bien de esta tendencia específica de su naturaleza.
Esta tendencia, adquirida probablemente desde la infancia, yo la habría formulado así: «Repulsión instintiva a la idea de sacar un provecho personal de la ingenuidad o mala suerte de los demás».
Dicho en otra forma, por ser hombre probo y honrado en sumo grado, mi padre nunca hubiera edificado conscientemente su bienestar sobre la desdicha del prójimo. Pero como a su alrededor la mayoría de los hombres eran representantes típicos de la mentalidad contemporánea, no vacilaban en sacar provecho de su honradez para engañarlo sistemáticamente, buscando así menospreciar inconscientemente el valor de este rasgo, sobre el cual reposa el conjunto de los mandamientos de Nuestro Padre Común.
En suma, a mi padre se le hubiera podido aplicar de manera ideal una sentencia que los adeptos de todas las religiones sacan hoy de las Santas Escrituras para caracterizar, en forma de consejo práctico, las anomalías de nuestra vida cotidiana:
Golpea —y no serás golpeado.
Pero si no golpeas, todos te apalearán como a la cabra de Sidor.
(Encuentros con hombres notables, pág. 60) Gueorgui Ivánovich Gurdjieff
digital art 2016
Created for The AWARDTREE'S - ~ Back From the Future ~ challenge
Gurdjieff - De Hartmann Vol 01
~Voyage vers des lieux inaccessibles,~
Alain Kremski (Journey to Inaccessible Places)
"Ye stars! which are the poetry of heaven!" — Lord Byron
"Astronomy compels the soul to look upward, and leads us from this world to another" — Plato
"Man is an artifact designed for space travel. He is not designed to remain in his present biologic state any more than a tadpole is designed to remain a tadpole"— William S. Burroughs
"I don't know what you could say about a day in which you have seen four beautiful sunsets."— John Glenn, Astronaut
“We wanderers, ever seeking the lonelier way, begin no day where we have ended another day; and no sunrise finds us where sunset left us. Even while the earth sleeps we travel. We are the seeds of the tenacious plant, and it is in our ripeness and our fullness of heart that we are given to the wind and are scattered.” ― Kahlil Gibran, The Prophet
(Thank you for your wonderfull comments,
awards,invites and faves...
all are very much appreciated....!)
(large is cool)
Cuando la miseria lo obligó a emprender negocios para ganarse la vida, éstos tomaron desde el principio un rumbo tan malo que sus allegados, como también cuantos trataban con él, llegaron a considerarlo como un hombre carente de sentido práctico e incluso de inteligencia en este dominio.
Y es un hecho, los negocios que mi padre emprendía para ganar dinero nunca andaban y no daban ninguno de los resultados que otros hubieran obtenido de ellos.
Sin embargo, no provenía ello en absoluto de una falta de sentido práctico o de capacidades mentales al respecto, sino más bien de esta tendencia específica de su naturaleza.
Esta tendencia, adquirida probablemente desde la infancia, yo la habría formulado así: «Repulsión instintiva a la idea de sacar un provecho personal de la ingenuidad o mala suerte de los demás».
Dicho en otra forma, por ser hombre probo y honrado en sumo grado, mi padre nunca hubiera edificado conscientemente su bienestar sobre la desdicha del prójimo. Pero como a su alrededor la mayoría de los hombres eran representantes típicos de la mentalidad contemporánea, no vacilaban en sacar provecho de su honradez para engañarlo sistemáticamente, buscando así menospreciar inconscientemente el valor de este rasgo, sobre el cual reposa el conjunto de los mandamientos de Nuestro Padre Común.
En suma, a mi padre se le hubiera podido aplicar de manera ideal una sentencia que los adeptos de todas las religiones sacan hoy de las Santas Escrituras para caracterizar, en forma de consejo práctico, las anomalías de nuestra vida cotidiana:
Golpea —y no serás golpeado.
Pero si no golpeas, todos te apalearán como a la cabra de Sidor.
(Encuentros con hombres notables, pág. 60) Gueorgui Ivánovich Gurdjieff
Created for Mel/Lauraxfire who is doing the hard yards at the moment and to whose connection here on flickr has been my privilege.
Always wonderfully generous with a keen sense of humour,Mel's art which is always inspirational takes you on journeys never envisaged and is just an amazing experience to view ..!
This piece is inspired by the following quotation found on Mel's profile page...
(When the doors of perception are cleansed, man will see all things as they truly are, infinite. For man has closed himself up, till he sees all things through narrow chinks of his cavern...William Blake 1793)
Gurdjieff And De Hartmann - Songs of Sayyids and Dervishes
www.youtube.com/watch?v=vLru2MWxmaM&t=1058s
(I have found this music to be conducive to regathering and healing,I hope you find the same)
Just adding my thoughts of hope and strength to the many others wishing the same for you Mel.
All the best from down under......!
A space for your Get Well messages to lauraxfire
“Life isn't about finding yourself. Life is about creating yourself.”
― George Bernard Shaw
(Thank you for your wonderfull comments,
awards,invites and faves...
all are very much appreciated....!)
El fuego calienta el agua, pero el agua apaga al fuego.
(Encuentros con hombres notables, pág. 60) Gueorgui Ivánovich Gurdjieff
πίσω στα άθλια πλακάκια
πίσω στην ξυπολυσιά μου
πίσω στην ξεβρακωσιά μου
πίσω στις φλοκάτες τις ξυρισμένες και τις αξύριστες
πίσω στα παχύφυτά μου που δεν πέθαναν
πίσω στους περιπάτους κοντά στη θάλασσα μα με λιγότερη θάλασσα
πίσω στις νύχτες μου
πίσω στην αναβλητική ανυπομονησία μου
πίσω στα πινέλα μου και το καβαλέτο μου
πίσω στα καζανάκια και τα σκατά των άλλων
πίσω στα γκνταπ γκντουπ της αποπάνω και του πιο πάνω
πίσω στις κατσαρόλες για έναν
πίσω στο προβληματικό ντουί του χωλ
πίσω στον νιπτήρα που τρέχει και δεν τρέχει τίποτα
πίσω στα μεταμεσονύκτια ντους
πίσω στην αναμονή
πίσω στην υπομονή
πίσω στο καταμόνη
πίσω στους ύπνους με την τριχωτή μου φιλενάδα
πίσω στις νότες μου και τα ριπίτ μου
πίσω στην Δ που αγαπά να διαβάζει
πίσω στην Ε που αγαπά να περπατά
πίσω στην άλλη Ε που αγαπάει εμένα όταν κάνω 'ουφ'
πίσω στον αιμάτινο τοίχο
πίσω στον απέναντι χωρίς την απέναντι
πίσω στη ροδιά που είναι πιο ψηλή από μένα
πίσω στο αχρηστευμένο λεβητοστάσιο στο οποίο κρύβεται η Σούζα και κάνει τα γόνατά μου σαγρέ
πίσω στη μαρία
πίσω στο να ξαναείμαι αόρατη
πίσω στο να μη με ψάχνει κάποιος
πίσω στα δικά μου ψαξίματα
πίσω στο να παλεύω με τα ριχτάρια
πίσω στο να μη ξέρω πού να χώσω τη γάστρα
πίσω στο όποτε θέλω εγώ
πίσω στο φλοράλ απαλό μαξιλάρι που ακουμπάω το κεφάλι μου
πίσω στους εφιάλτες
πίσω στο ούλωφ πάλμε με τα τρομακτικά δέντρα
πίσω στον περιφερειακό που απεχθάνομαι
πίσω στην άβολη στάση
πίσω σε όσα περίσσεψαν
πίσω στους πόνους στο ισχίο
πίσω στη σιωπή
πίσω στις μονόφθαλμες γάτες που τρίβονται στα πόδια μου
πίσω στις βιντεοκλήσεις που σιχαίνομαι
πίσω στον λιναρόσπορο που κάνει καλό
πίσω στην αμφιβολία που κάνει κακό
πίσω στην άγνοια που κάνει ό,τι αποφασίσουμε
πίσω στην λάμπα που κάνει λίγο πράσινο τον τοίχο που θέλω να βάψω πράσινο και γι' αυτό την αγαπάω λίγο περισσότερο
πίσω στην ίδια διαδρομή
πίσω στην πλεκτή κουβέρτα που μ' έκανε να αγαπήσω το κίτρινο και είναι η μοναδική που με ζεσταίνει μέχρι μέσαμέσα
πίσω στην μπαλκονόπορτα που έφτιαξε ο μάστορας μα ακόμη συμπεριφέρεται σαν χαλασμένη
πίσω στον ακάλυπτο που είναι η αγαπημένη μου θέα και μόνο εκείνος με περίμενε οπότε κάθε ξημέρωμα ανοίγω το παράθυρο και του ψιθυρίζω:
έι, ήρθα
01.11.22
Dalai Lama
"O que mais te surpreende na humanidade?"
" Os homens... Porque perdem a saúde para juntar dinheiro, depois perdem dinheiro para recuperar a saúde.
E por pensarem ansiosamente no futuro esquecem do presente de tal forma que acabam por não viver nem o presente nem o futuro.
E vivem como se nunca fossem morrer... e morrem como se nunca tivesse vivido. "
"Se quiser aprender a amar, comece pelos animais; eles são mais sensíveis." (George Gurdjieff)
'How do you do it?' I said, and he said, 'Conscious abandonment of every part of the body in sequence, stomach, sole, palm, eyelid, scalp, tongue, rib, rib, rib, round and round all the ghastly day long, all the ghastly night.'
Anne Carson
I am of flowers
of bird's wing
the wind lives in me
when unfolded
I catch the wind
drops of green rain
awaken me with the spring
and I rub my eyes
of feathers and of flesh
of earth's thick fiber
I raise my head with my open eyes
I clench in my hand
a green shred of sky
I hold in my strong teeth
a small bough
I am of smiles—of pain
that carves a triangle
above my forehead
of light and of the moon
of love straight as a tree is straight
of gold earth that blooms golden in my hand
Halina Poświatowska
All night I hear the noise of water sobbing. All night I make night in me, I make the day that begins on my account, that sobs because day falls like water through night.
All night I hear the voice of someone seeking me out. All night you abandon me slowly like the water that sobs slowly falling. All night I write luminous messages, messages of rain, all night someone checks for me and I check for someone.
The noise of steps in the circle near this choleric light birthed from my insomnia. Steps of someone who no longer writhes, who no longer writes. All night someone holds back, then crosses the circle of bitter light.
All night I drown in your eyes become my eyes. All night I prod myself on toward that squatter in the circle of my silence. All night I see something lurch toward my looking, something humid, contrived of silence launching the sound of someone sobbing.
Absence blows grayly and night goes dense. Night, the shade of the eyelids of the dead, viscous night, exhaling some black oil that blows me forward and prompts me to search out an empty space without warmth, without cold. All night I flee from someone. I lead the chase, I lead the fugue. I sing a song of mourning. Black birds over black shrouds. My brain cries. Demented wind. I leave the tense and strained hand, I don’t want to know anything but this perpetual wailing, this clatter in the night, this delay, this infamy, this pursuit, this inexistence.
All night I see that abandonment is me, that the sole sobbing voice is me. We can search with lanterns, cross the shadow’s lie. We can feel the heart thud in the thigh and water subside in the archaic site of the heart.
All night I ask you why. All night you tell me no.
Alejandra Pizarnik
Tibi Cantamus in F Minor · Thomas de Hartmann - The Music of Gurdjieff
Without self-knowledge, without understanding the working and functions of his machine, man cannot be free, he cannot govern himself and he will always remain a slave.
-G. I. Gurdjieff
There are stars and faces.
There is ketchup and guitars.
There is the hand of a small child
when you're crossing the street.
There is the old man's last words:
More light! More light!
Ms. Dog wouldn't give them her buttocks.
She wouldn't moon at them.
Just at the killers of the dream.
The bus boys of the soul.
Or at death
who wants to make her a mummy.
And you too!
Wants to stuf her in a cold shoe
and then amputate the foot.
And you too!
La de dah.
What's the point of fighting the dollars
when all you need is a warm bed?
When the dog barks you let him in.
All we need is someone to let us in.
And one other thing:
to consider the lilies in the field.
Of course earth is a stranger, we pull at its
arms and still it won't speak.
The sea is worse.
It comes in, falling to its knees
but we can't translate the language.
It is only known that they are here to worship,
to worship the terror of the rain,
the mud and all its people,
the body itself,
working like a city,
the night and its slow blood
the autumn sky, mary blue.
but more than that,
to worship the question itself,
though the buildings burn
and the big people topple over in a faint.
Bring a flashlight, Ms. Dog,
and look in every corner of the brain
and ask and ask and ask
until the kingdom,
however queer,
will come.
Anne Sexton
“A considerable percentage of the people we meet on the street are people who are empty inside, that is, they are actually already dead. It is fortunate for us that we do not see and do not know it. If we knew what a number of people are actually dead and what a number of these dead people govern our lives, we should go mad with horror.”
– G.I. Gurdjieff
Filosofo, scrittore, mistico e maestro di danze sacre: uno dei miei GURU!
Philosopher, writer, mystic and TEACHER of sacred dances: one of my GURU!
...........uno degli obiettivi fondamentali che mi sono posto giurando su la mia essenza,e che consiste nel dimostrare in maniera incontrovertibile a tutti i miei contemporanei....che in verità il paradiso e l'inferno non esistono in qualche altro "mondo",ma sono proprio quaggiù in mezzo a noi .
che paradiso e inferno siano qui sulla terra è un concetto che oggi può essere condiviso da molti,specialmente da coloro che negano il dualismo,di carattere hasnamussiano,di certe religioni.il senso di tali asserzioni rimanda alla libertà che ha l'uomo di rendersi la vita una valle di lacrime oppure un'isola felice,senza perciò attendersi ricompense o punizioni nell'aldilà.
(G.I. Gurdjieff)
Dalai Lama
"O que mais te surpreende na humanidade?"
" Os homens... Porque perdem a saúde para juntar dinheiro, depois perdem dinheiro para recuperar a saúde.
E por pensarem ansiosamente no futuro esquecem do presente de tal forma que acabam por não viver nem o presente nem o futuro.
E vivem como se nunca fossem morrer... e morrem como se nunca tivesse vivido. "
"Se quiser aprender a amar, comece pelos animais; eles são mais sensíveis." (George Gurdjieff)
"Self-observation brings man to the realization of the necessity of self-change. And in observing himself a man notices that self-observation itself brings about certain changes in his inner processes. He begins to understand that self-observation is an instrument of self-change, a means of awakening."
Gurdjieff, G.I.
"One of the most central of the ideas of objective knowledge," said Gurdjieff., "is the idea of the unity of everything, of unity in diversity. From ancient times people who have understood the content and the meaning of this idea, and have seen in it the basis of objective knowledge, have endeavored to find a way of transmitting this idea in a form comprehensible to others. (Ouspensky - In search of the miracolous)
postprocessing: hdr + nik collection
posted 14/07/14 h. 21,22
...Cowries.
""I will add one more thing thing," said Gurdjieff: "Time is breath. Try to understand this." He said nothing further."
Anyone incapable of seeing thru this routine is going to be reborn as a novelist - Kerouac, 1954
Nopo 120PC, Ilford FP4+, PyrocatHD
in questo scatto ho utilizzato quello che Leonardo aveva definito come:prospettiva estroversa assoluta.(da non confondere con una comune prospettiva con due punti di fuga).
ovvero c'è un rapporto preciso tra la distanza dell'oggetto riprodotto,l'angolo che si va a formare tra il livello che parte dal punto più basso dell'immagine e la linea immaginaria che parte 3 gradi sopra il livello del punto di partenza dell'osservatore per finire a 3/5 della linea verticale che taglia in 2 l'immagine.
determinanti in questa prospettiva sono le sorgenti di luce che devono rispettare determinate angolazioni affinché possano manifestarsi le peculiarità di questa singolare prospettiva.
non ci sono in realtà documentazioni che provino l'autenticità di questa teoria di Leonardo ,infatti non si troverà nessun scritto a riguardo ,se non forse in qualche testo di alchimia o in qualche scritto di gurdjieff
sull'elaborazione dell'enneagramma.
Não se deixe afetar pelas aparências; elas são por si mesmas inofensivas.
Nós é que aceitamos ser feridos.
G. I. Gurdjieff
Do not be affect by appearances, they are by themselves harmless.
We accept that it is being injured.
G. I. Gurdjieff
Eurydice went back to hell.
What was difficult
was the travel, which,
on arrival, is forgotten.
Transition
is difficult.
And moving between two worlds
especially so;
the tension is very great.
A passage
filled with regret, with longing,
to which we have, in the world,
some slight access or memory.
Only for a moment
when the dark of the underworld
settled around her again
(gentle, respectful),
only for a moment, could
an image of earth’s beauty
reach her again, beauty
for which she grieved.
But to live with human faithlessness
is another matter.
Louise Glück
Holy Affirming, Holy Denying, Holy Reconciling · Thomas de Hartmann - The Music of Gurdjieff
Beelzebub's Tales to his Grandson by Georges I Gurdjieff.... a tough read.
How things "found their place" one morning.
Leica M3, Elmar 50mm, Fujicolor Reala 100
not because the mirror cracked
not because of the wind in the chimney
not because something foreign
was already filtering into my thoughts of you-
not because, not at all because
on the threshold I met him
Anna Akhmatova
Tibi Cantamus in F Minor · Thomas de Hartmann - The Music of Gurdjieff
When investment banker and yachtsman C. Ledyard Blair built this Beaux Arts carriage house in 1901, he planned the upper two floors as a studio for his friend, the portrait artist John White Alexander.
For more information see: daytoninmanhattan.blogspot.com/2011/08/c-ledyard-blairs-l...
The building now houses the headquarters of the Gurdjieff Foundation (en.wikipedia.org/wiki/Gurdjieff_Foundation.)
40 years "summer of love" / 30 years punk
In 1961 at the age of 12 I sold my electric toy train to buy a real clarinet (before I had learned flutes & plastic clarinets since age 8).My aim for my later profession was being an architect.
When I first time heard a Charlie Parker record in 1962 a new universe opened to me.
I put all energies together to achieve a similar intensity in life minus the drug dependencies & lonelynesses of the then jazz musicians’ biographies (which I could read back then and listen to their music of course) for my own future life.
In 1964/5 another new universe opened to me by reading C.G.Jung’s autobiography "Memories, Dreams, Reflections" (1961). I fully embraced his concept of "individuation" within a course of life.
Both my new fields of departure had not been triggered by ordinary school but a brother-in law of mine had opened the door to the world of jazz by playing songs like „Blue Moon“ etc., him on the piano and me on the clarinet. My dear father had bought C.G.Jung’s book for himself but it ended in my room as well.
Triggered by the new awareness of inner worlds of archetypes – in a beginning analysing way – and the deliberate task of integration for one’s own full evolved individuation I started to extend my interests wherever my intuition lead me to. Also reading books by D.T.Suzuki (Zen), Beckett, de Chardin etc.
In 1965 I began deliberately to learn the Russian language.In 1966 I deliberately changed to Frankfurt’s leading cultural elite school to choose „art“ as my main course because – as I told it then to my friends and parents – a) I had been doing visual creations already longer than music and I thought also that art might be helpful in the sphere of architecture later and b) I disliked the idea to learn classical music and possibly destroy by this my already until then built up non-academic jazz range with the „Alfred Harth Jazztett“.
Within the elite school – the Johann Wolfgang von Goethe Gymnasium in Frankfurt am Main - I started deliberately a course in philosophy and began to study Kant’s „Kritik der reinen Vernunft“ in 1967.This course also lead me to consider about aesthetics in an abstract way from where I was introduced to the concept of „synaesthetics“.
Frankfurt had been a perfect center for my diverse developments: In the South of Frankfurt there had been the regular Darmstädter Ferienkurse for New Music, in the West, Wiesbaden was one of the main Fluxus magnets, in the North is Kassel & it's documenta, in the East, St.Georgen S.J. school, Hanau and The Monks, Wilhelmsbad and Rothenfels (my forefathers home).
Those diverse forces I had stepped into so far became a steady motor to me.
The power of true rebellion in arts as by the then actual „happenings“, dada and modern art in general – I then had studied as well the gradual destruction of principals of „natural painting“ and art history in general – lead me to the constant inner urge to follow this stream by transcending borders (avantgarde concept).I could easily detect this avantgarde force in jazz as well.At those times in the 60ies it generally took a while to purchase new LPs from the USA because of the then existing infrastructures.
And the American LPs contained more or less the only jazz avantgarde since there had not been any avantgarde jazz LPs made in Europe until the mid 60ies.I knew well about New Music in Europe though what lead me to integrate „classical“ instrumental improvisors (on violin,violoncello,bass,clarinet) into my group Just Music from about 1967 on.The same time I was pushed by the forces of avantgarde art and performed happenings in the public space and in off-galeries and a self-created temporary space in a house in Düdelsheim/Büdingen nearby Frankfurt.The „centrum freier cunst“ which I developed out of the „club h“ – a jazz meeting point for the young ones in Frankfurt – had been lead by the concept to „live“ all creative streams under one roof so to say: live synaesthetics! Since the rooms of the „centrum freier cunst“ had been limited I wanted to extend the dimension of extreme energies within that country-building in Büdingen which was not surrounded by neighbours etc.There I set up (in 1968) some orgies in the like of Otto Muehl (whom I knew about slightly from my recent studies of Max Bense and Oswald Wiener) forced by the will to transcend limits.Police showed up etc.
In sharp ironical contrast to the then in Frankfurt existing avantgarde art festival „Experimenta“ I wanted to create an off-festival called „Excrementa“.
Following I tried to maintain open the „centrum freier cunst“ downtown Frankfurt in a larger basement space for a short time.I had moved into a little commune in 1968 in the Grüneburgweg in Frankfurt nearby the Johann Wolfgang von Goethe University where the political students’protest movement had one of its European centers especially through the magnet powers of this university’s professors like Adorno,Horkheimer,Habermas,sometimes Marcuse etc.
I have to say that during this period my main magnet power remained persons who lead an artistical life in jazz or arts.In those times I witnessed so many „hearings“ at the university,“sit-ins“ in the streets and similar meetings where people of my age constantly talked & talked endlessly – especially the SDS.They all seemed to be driven by the power of words which was contradictory to my way.I very well dug the idea of „revolution“ during my then studies of sociology and philosophy at this university – after short interim design studies at the nowadays Hochschule für Gestaltung in Offenbach - in 1969,1970 so that I changed my aim in profession to become an art & sociology teacher to combine my personal interests with the „revolutionary“ practical work in schools and finished with a first degree in 1973.
The change from most persons from my 60ies fellows into the university sphere of the then serious contradictory powers by receiving a qualified profession and on the other hand at the same time to destruct and revolve the then actual establishment (which ever wants people with „true“ professions) made me more suspicious to the world of words. I thought that when students break professor’s classes to install their own view of what is „really“ important then I can break their hearings and bring in the view of „wordless or alogical“ protest.So I made solo performances to break up protesting student hearings by walking in there disguised as a priest and holding a transparent which protested against autumn: „I protest against falling leaves“ (fallende Blätter has a double meaning in German: falling papers) and other times I took my tenorsax went onto the speaker’s desk to blow loadly against those endless mind-fucking fellow students which caused strange irritations and questions:“Why are you doing this...?“ (If I only knew!)
Though I understood very well the necessary political urge to change the situation I felt that they had been out of balance and was happy to find new friends outside Frankfurt whom I could share my way with.In 1969 I had met pianist Nicole van den Plas on a jazz festival in San Sebastian.We played there together and later became a couple.Nicole was from Belgium.So I spend a lot of time over there in the beginning 70ies.The creative music scene had been much more advanced in Antwerp,Brugge and Gent than anywhere I knew.I was very lucky and started to extend my life with yoga,mystical studies from 1971 on and even macrobiotical food which I had learned through the short membership in the „Gunter Hampel Galaxie Dream Band“ in 1973.
In 1968 I first time had played with Swedish drummer Sven-Ake Johansson in the "Zodiac" in Berlin.
In 1972 I contacted him again and Nicole,him and me formed the group EMT.
EMT became the perfect new ground for spreading my multiverse.
The friendship with Perry Robinson (from being with the „Galaxie Dream Band“) triggered my wish to visit him in New York in spring 1975.This visit became valedictory to Nicole for many years and opened new horizons.I had entered a new school: „The Fourth Way“ by P.D.Ouspensky - a student of the great spiritual teacher G.I.Gurdjieff.When I returned to Frankfurt it meant a cut in my life.
I had finished my war resisters service at a psychiatric institution for youths (Universitätsklinik Frankfurt) during the years 1973/4 and now I stood at the beginningpoint as a professional school teacher in 1975.
There I met 23 years old Heiner Goebbels at a session in a bunker in Frankfurt.
He had been new in town since two years and was very fond of what was going on at my old university.The students still where talking and came partly into violent action against „things“.Later in 1977 it was the RAF that became violent against persons.
Anyhow I faced to integrate my new situation being an „adult“ school teacher,jazz musician and artist now.After installing the Duo Goebbels/Harth in 1975 there was this immanent urge to bring „colours“ into the student protesters’ lives and extend the protest by means (without words or fewer words at least,which means poetry) of making music in the streets during the many political demonstrations.This is how the „Sogenanntes Linksradikales Blasorchester“ was founded.
After I had stopped being school teacher in 1978 to fully concentrate on my "things", punk started to fascinate me.Punk was near to the situationists' ideas.Maybe it came from there.
To create a synergy between the then still diverse fields of punk,jazz,classical music and (poetic) words (by Schwitters,Jandl,Hölderlin,Burroughs etc.) I contacted my former label ECM to initiate the LP “Es herrscht Uhu im Land“ on the then ECM-associated label JAPO by the help of former "Just Music"cellist Thomas Stoewsand.
This step consequently lead to the idea to form the group Cassiber that aimed to integrate intensively those diverse musical genres by composing themes instantly (out of the sense of free music impro beyond the „FreeJazz/Darmstadt“ idiom as Chris Cutler says it).
Another place for synaesthetical creations became my work for theatre & film from 1979 on .
Words like „mixed media“ and „performance“ became fashionable for the same things I had been doing since the beginning and later people started to label me as a „poly-stilist“.
My interest in psychology and inner development continued – not without crisises – and I integrated a thrilling sentence (by Abraham Maslow) into music: „Life can be a gestalt in time“, while studying Human Enhancement (H+).
Later in the 80ies I founded the groups Gestalt et Jive and Vladimir Estragon.
Around 1986 I also started with another new sphere by integrating my old passion with architecture & design - the ever widening spiral cycles of life continued.
Words are weapons to make money & fame.
The word lovers (former protest students) meanwhile have penetrated the powerful institutions of the societies and began to form a new establishment.
2007, Alfred 23 Harth (so many words in a photo site,hhh)
“Quando mi sono reso conto che l’antica saggezza era stata tramandata di generazione in generazione per migliaia di anni, pur arrivando ai nostri giorni quasi inalterata, mi pentii di aver iniziato troppo tardi ad attribuire alle leggende dell’antichità l’immenso significato che ora mi rendo conto, posseggono”. George Gurdjieff.
"When I realized that the ancient wisdom had been passed down from generation to generation for thousands of years, while reaching almost unchanged to the present day, I regretted having started too late to ascribe to the legends the immense significance that, now I realize, they have." George Gurdjieff.
San Galgano Abbey, Chiusdino, Siena.
Postprocessing: hdr + nik collection.
Posted: 30/07/14 h. 18,05
"In relation to what we are speaking of now this book Gurdjieff says the following:
" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.' (Ouspensky - In search ofe the miracolous)
Postprocessing: hdr + nik collection
Posted: 16/07/14 h. 18,03
The first night
without her
was the loneliest
but then again
so was the second.
Gurdjieff & De Hartmann
Hymn For Piano
Performed by Alain Kremski
Le Prieuré des Basses Loges.
In 1922, George Ivanovich Gurdjieff opened the Institute for the Harmonious Development of Man here. Currently private property.
Avon near Fontainebleau
France
"Aldous Huxley en Las puertas de la percepción, Ouspenski en Tertium Organum y Gurdjieff con su teoría del cuarto camino plantearon que la realidad material podría no ser tan llana como parece. Hoy sabemos que su aspecto puede depender del lugar desde donde se la mire, de la velocidad a la cual nos movemos y hasta de cosas tales como de cierta presión en un área específica de nuestro cerebro. Pero si las cosas pueden convertirse en otras de un momento a otro por cuestiones tan fortuitas, ¿debemos inferir que lo real no existe? ¿Que la apariencia de un objeto no es más que una ilusión?"
Marcos Zimmermann
Gracias inspiradas en Oscar Pintor: www.oscarpintor.com.ar/
La Pampa argentina 2018
(y el árbol que erguido habla de la vida perenne, del respiro sobre el silencio, de la naturaleza sobre el dinero, de la lucha contra la acción cargada de artificialidad, contra la muerte ejercida por el hombre)
Le Prieuré des Basses Loges.
In 1922, George Ivanovich Gurdjieff opened the Institute for the Harmonious Development of Man here. Currently private property.
Avon near Fontainebleau
France
Le Prieuré des Basses Loges.
In 1922, George Ivanovich Gurdjieff opened the Institute for the Harmonious Development of Man here. Currently private property.
Avon near Fontainebleau
France
September 2010
Le Prieuré des Basses Loges - The Prieuré.
In 1922, George Ivanovich Gurdjieff opened the Institute for the Harmonious Development of Man here. Currently private property.
Avon near Fontainebleau
France