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Taken at Genoa - Italy
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This large quartz crystal cluster was displayed for sale at the Globex International Gem & Mineral Show (G.I.G.M.) at Starr Pass and I-10. Based on the size of specimen near it, I would estimate it at 1,000kg. This was our third stop after Tucson Convention Center and Kino Sports Complex.
Globex International Gem & Mineral Show
Tucson Convention Center is indoors; the exhibits are nicely curated. It is mostly retail type sales. In contrast, the G.I.G.M is housed in the Quality Inn and Motel 6 rooms and parking lots at Starr Pass & I-10. There are some large tents and some smaller 10x10 and 20x10 tents. Many of the gems, minerals, and displays are brought in by forklift on pallets. In the tents, the specimens are in large rectangular plastic containers. At TCC the vendors are retail and many of the gems sell by the gram. At G.I.G.M the vendors are retail and wholesale. Gems and minerals are sold by the pound or by the piece. There is more of a metaphysical feeling at G.I.G.M.
Quartz is a hard, crystalline mineral composed of silica (silicon dioxide). The atoms are linked in a continuous framework of SiO4Â silicon-oxygen tetrahedra, with each oxygen being shared between two tetrahedra, giving an overall chemical formula of SiO2. Quartz is, therefore, classified structurally as a framework silicate mineral and compositionally as an oxide mineral. Quartz is the second most abundant mineral in Earth's continental crust, behind feldspar.[9]
There are many different varieties of quartz, several of which are classified as gemstones. Since antiquity, varieties of quartz have been the most commonly used minerals in the making of jewelry and hardstone carvings, especially in Europe and Asia.
www.visittucson.org/tucson-gem-mineral-fossil-showcase/
Every year the world-renowned Tucson Gem, Mineral & Fossil Showcase is like a time portal, a trip around the world, and a treasure hunt all rolled into one. Every winter, more than 65,000 guests from around the globe descend upon Tucson, AZ, to buy, sell, trade, and bear witness to rare and enchanting gems, minerals, and fossils at more than 50Â gem show locations across the city. If you're planning a winter visit to Tucson, you won't want to miss this three-week-long event filled with shows, related events, a free day at the gem & mineral museum, and much, much more!
"Whether you're looking for a $5 shimmering crystal necklace or a show-stopping $200,000 crystallized rock from an exotic location, the Tucson Gem, Mineral, & Fossil Shows have something for everyone.
The exoteric claim to the exclusive possession of a unique truth, or of Truth without epithet, is an error purely and simply; in reality, every expressed truth necessarily assumes a form, that of its expression, and it is metaphysically impossible that any form should possess a unique value to the exclusion of other forms; for a form, by definition, cannot be unique and exclusive, that is to say, it cannot be the only possible expression of what it expresses.
Form implies specifications or distinction, and the specific is only conceivable as a modality of a "species;' that is to say, of a category that includes a combination of analogous modalities. Again, that which is limited excludes by definition whatever is not comprised within its own limits and must compensate for this exclusion by reaffirmation or repetition of itself outside its own boundaries, which amounts to saying that the existence of other limited things is rigorously implied in the very definition of the limited. To claim that a limitation, for example, a form considered as such, is unique and incomparable of its kind, and that it excludes the existence of other analogous modalities, is to attribute to it the unicity of Existence itself; now, no one can contest the fact that a form is always a limitation or that a religion is of necessity always a form- not, that goes without saying, by virtue of its internal Truth, which is of a universal and supraformal order, but because of its mode of expression, which, as such, cannot but be formal and therefore specific and limited.
It can never be said too often that a form is always a modality of a category of formal, and therefore distinctive or multiple, manifestation, and is consequently but one modality among others that are equally possible, their supraformal cause alone being unique. We will also repeat - for this is metaphysically of great importance - that a form, by the very fact that it is limited, necessarily leaves something outside itself, namely, that which its limits exclude; and this something, if it belongs to the same order, is necessarily analogous to the form under consideration, since the distinction between forms must needs be compensated by an indistinction or relative identity that prevents them from being absolutely distinct from each other, for that would entail the absurd idea of a plurality of unicities or Existences, each form representing a sort of divinity without any relationship to other forms.
As we have just seen, the exoteric claim to the exclusive possession of the truth comes up against the axiomatic objection that there is no such thing in existence as a unique fact, for the simple reason that it is strictly impossible that such a fact should exist, unicity alone being unique and no fact being unicity; it is this that is ignored by the ideology of the "believers", which is fundamentally nothing but an intentional and interested confusion between the formal and the universal. The ideas that are affirmed in one religious form (as, for example, the idea of the Word or of the Divine Unity) cannot fail to be affirmed, in one way or another, in all other religious forms; similarly the means of grace or of spiritual realization at the disposal of one priestly order cannot but possess their equivalent elsewhere; and indeed, the more important and indispensable any particular means of grace may be, the more certain it is that it will be found in all orthodox forms in a mode appropriate to the environment in question.
The foregoing can be summed up in the following formula: pure and absolute Truth can only be found beyond all its possible expressions; these expressions, as such, cannot claim the attributes of this Truth; their relative remoteness from it is expressed by their differentiation and multiplicity, by which they are strictly limited ...
It was pointed out earlier that in its normal state humanity is composed of several distinct "worlds." Certain people will doubtless object that Christ, when speaking of the "world," never suggested any such delimitation, and furthermore that He made no reference to the existence of an esoterism. To this it may be an answer that neither did He explain to the Jews how they should interpret those of His words that scandalized them. Moreover, an esoterism is addressed precisely to those "that have ears to hear" and who for that reason have no need of the explanations and "proofs" that may be desired by those for whom esoterism is not intended. As for the teaching that Christ may have reserved for His disciples, or some of them, it did not have to be set forth explicitly in the Gospels, since it is contained therein in a synthetic and symbolic form, the only form admitted in sacred Scriptures ...
In the final analysis the relationship between exoterism and esoterism is equivalent to the relationship between "form" and "spirit" that is discoverable in all expressions and symbols; this relationship must clearly also exist within esoterism itself, and it may be said that only the spiritual authority places itself at the level of naked and integral Truth. The "spirit" (that is to say, the supraformal content of the form, which, for its part, corresponds to the "letter") always displays a tendency to breach its formal limitations, thereby putting itself in apparent contradiction with them. It is for this reason that one may consider every religious readaptation, and therefore every Revelation, as fulfilling the function of an esoterism in relation to the preceding religious form; Christianity, for example, is esoteric relatively to the Judaic form) and Islam relatively to the Judaic and Christian forms, though this is, of course, only valid when regarded from the special point of view that we are here considering and would be quite false if understood literally. Moreover, insofar as Islam is distinguished by its form from the other two monotheistic religions, that is to say, insofar as it is formally limited, these religions also possess an esoteric aspect as between Christianity and Judaism. However, the relationship to which we referred first is a more direct one than the second, since it was Islam that, in the name of the spirit, shattered the forms that preceded it, and Christianity that shattered the Judaic form, and not the other way around ...
When I came to this spot on the Alanvale TAFE College Campus, the late Autumn sun was producing very long shadows. This shot is the first scene that I saw, and my mind immediately went to the surrealistic paintings of Giorgio de Chirico (1888-1978).
There're two reasons for this: (1) De Chirico's enigmatic surrealistic works are usually set on late afternoons in empty city plazas. There is often a long looming shadow that symbolises a presence; and (2) We have a painting in the style of de Chirico at home by the Australian modernist artist Ernest Smith dating from the 1960s. I bought it specifically because it reminded me of Giorgio de Chirico.
Although he was clearly a forerunner of surrealistic art (later made more famous by Dali, Ernst and Magritte, etc.) de Chirico called his early work Metaphysical Art. Now this is what connects it to the two previous photos in this series today.
Giorgio de Chirico's most famous quote actually brings together very succinctly our theme today:
"There is much more mystery in the shadow of a man walking on a sunny day, than in all religions of the world. To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere."
One more thing: If you enlarge this photograph you will find somewhere (but not too well hidden) a copy of the actual de Chirico painting, "The Disquieting Muses". The title is NOT meant to be ironic either.
www.flickr.com/photos/psychoactivartz/8647805714/sizes/l/...
twin brains behind PsychoActivArts Studio
God's in a coma
Put faith in a life support
Running away won't feel the same
If you reach your metaphysical last resort
Oh, malevolence and purgatory give you pause
It's a miracle you haven't broken any laws
We are not entitled to surviving
So keep your friends and your enemies thriving
What a cliché
Every time this happens
I'm breaking a promise
I made to a version of me
Why can't I covet
And keep it away
From the leeches who want to deceive?
What is coming has begun
It's something that you got to see
We lie and say that it's too late for some redemption
What is coming has begun
An ending I won't live to see
We tell ourselves there can't be hell if there's no heaven
Once again we got suffocated
In a sick perversion of a spider's web
Crawling over all the spent digested pieces
Celebrate the dead
Here come all the judging eyes
Got to pave the road with your best intentions
I only wish you can picture a future
That doesn't resemble your crazy inventions
A mirror only works if you open your eyes
Even then you have to understand what's inside
The easy part is always hardest to see
I know you'll never guess, but darling
You're so critical
Darling, you're so critical
Oh, you're so critical
Oh, this is a cave-in
The weight of the catalyst
Just wait, let the games begin
Going to tell you all about it for the savages
You're so critical
Darling, you're so critical
Oh, you're so critical.
Bracketing the rhetorical and metaphysical aspects [mythical village] -- even to this day some believe there could be a Brigadoon out there somewhere .... out there somewhere sleeping beneath the fog just beyond the outer-most boundaries of perception ....
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* [Taken from Highway 3 -- about sunrise -- near Hayfork Summit -- Dec. 1, 2008]
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The error in the thesis of "art for art's sake" really amounts to supposing that there are relativities which bear their adequate justification within themselves, in their own relative nature, and that consequently there are criteria of value inaccessible to pure intelligence and foreign to objective truth. This error involves abolishing the primacy of the spirit and its replacement either by instinct or taste, by criteria that are either purely subjective or else arbitrary.
We have already seen that the definition, laws and criteria of art cannot be derived from art itself, that is, from the competence of the artist as such; the foundations of art lie in the spirit, in metaphysical, theological and mystical knowledge, not in knowledge of the craft alone nor yet in genius, for this may be anything at all; in other words the intrinsic principles of art are essentially subordinate to extrinsic principles of a higher order.
Art is an activity, an exteriorisation, and thus depends by definition on a knowledge that transcends it and gives it order; apart from such knowledge art has no justification: it is knowledge which determines action, manifestation, form, and never the reverse.
It is not necessary to produce works of art oneself in order to have the right to judge an artistic production in
its essentials; decisive artistic competence only comes into play in relation to an intellectual competence which must be already present.
No relative point of view can claim unqualified competence except in the case of innocuous activities in which competence applies anyhow in a very narrow field; now human art derives from a relative point of view; it is an application, not a principle.
---
Frithjof Schuon
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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
Symposium Of Metaphysics.
Природные вещества спонтанное принципы движения Субстрат композитов формирования,
Paralleloppon Methoden Heccatonicosihedrigon Mathematik diskutieren Dimensionalkörper,
γραμματικός τερατουργήματα οργανώσεις συνεχή αίτια προς συζητά υποθετικό διαδικασίες,
Fundamentos mais leves realizados resultados realizados ângulos de conversão premissas reais pontos intermediários espontâneos,
indistinct urchóideach réamhthuairimí faisnéis contraries analaí fáiltiú céadfaí ullmhúcháin perfections soiléir,
initium philosophicis observationibus AESTHETICA critiques magna psychologicum ideas posuit adumbratam,
Análisis de los pasos señalados análisis empírico principios conformes correspondientes fines completados,
المجالات المعرفية الامتحانات الأحكام السمو المعرفة الشكلية المغرض حيث ذاتية,
discuter des idées indépendantes déductions théoriques soumettre des émotions esthétiques génériques conjonctions signifiées,
論理的表現経験的論理目的意欲無意識思考道徳的判断.
Steve.D.Hammond.
Questions from various angles
Paul Jaisini claims he paints invisible paintings.
Is it Anti-Realism?
Is it Visual Emancipation? Is it full Visual Emancipation from any kind of visual image?
Paints Invisible Paintings - Is it just a figure of speech?
Is it Utopian?
Is it driven by unconscious and irrational thus in accordance to Sigmund the invisible painting is not rationally autonomous?
How could it be verified and where or what is the invisible painting’s by Paul Jaisini evidence?
Paul Jaisini wants to cultivate Invisible Style. It surely is a style that is not a lucid one, for clarity would expose the lack of content.
Is there any content?
Is it an attack on the ‘metaphysics of presence’?
What is the definition if there is certain definitions to apply to Invisible Painting? Can it be informative about contemporary culture?
Is Paul Jaisini with Invisible Paintings promotes Postmodern Obscurantism - deliberately preventing (fully if it is in fact the invisible painting) the facts or the full details of Invisible Painting’s matter from becoming known?
(Obscurantism: deliberately restricting knowledge—opposition to the spread of knowledge, a policy of withholding knowledge from thepublic; and, deliberate obscurity—an abstruse style (as in literature and art) characterized by deliberate vagueness.) Leo Strauss also was criticized for proposing the notion of “esoteric” meanings to ancient texts, recondite knowledge inaccessible to the “ordinary” intellect.
Kant employed technical terms that were not commonly understood. Schopenhauer contended that post-Kantian philosophers such as Fichte, Schelling, and Hegel deliberately mimicked Kant’s way of writing. “Because of his style which was obscure, Kant was properly understood by exceedingly few. And it is as if all the philosophical writers, who since Kant had had some success, had devoted themselves to writing still more unintelligibly than Kant. This was bound to succeed!”[
Does Paul Jaisini wants to be understood on any level or he wants no understanding of his Invisible Paintings? Can there be any level of understanding if not seeing the Invisible Paintings?
on explore 09\11\2012
Highest position: 263 on Thursday, November 8, 2012
All rights reserved - Copyright © Alessandro Signore - www.alessandrosignore.it All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
...and a pinch of sunset-induced metaphysics.
Please, do not use this photo without permission. Thank you
°=° With a touch of Giorgio de Chirico...
Light and shadows created a special kind of unreal situation.
Cologne Feb 2018
“There was something disquieting about the way an intimate object, seemingly withdrawn into its solemn steadfastness, could affect human emotions. Any old thing forgotten in a corner, if the eye dwelt on it, acquired an eloquence of its own, communicating its lyricism and magic to the kindred soul. If a neglected object of this kind were forcibly isolated, that is, divested of its warmth and of the protective coat of its environment, or even ironically combined with completely unrelated things, it would reassert its dignity in the new context and stand there, incomprehensible, weird, mysterious.”
—Werner Haftmann, Painting in the Twentieth Century (1982)
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
I just can't stop eating all the delicious chocolates Fabio brought me from one of the best chocolates factory in Italy called GAY ODIN (you can find their website on Google)
....they are simply...DELICIOUS!!!!!
PRESS "L" Please!!!
This photo was not only a TON of fun to shoot, but I really love the concept behind it. This year I'm interested in the topic of the metaphysical side of reality: Thoughts, emotions, feelings, ideas. What is the difference between a material brain and a thoughtful mind? What makes up "us"? The top figure represents the 1/2 of reality that is metaphysical and what I believe to be transcendental. It's how we experience our world through what we feel and think as opposed to what we see and touch. The bottom figure represents how we experience our physical world, the other 1/2 of reality, the one of material and matter. These two are linked and connected within us to create one person.
[...] Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck [...]
-- Quote by Immanuel Kant (German Philosopher one of the foremost thinkers of the Enlightenment. 1724-1804)
Fiumicino, Italy (June, 2008)
Nikon D70, Tokina 12-24 f/4, hdr 3xp +2-2ev, f/7, 2.5s, 12mm, ND8 filter+Cokin grad dark tobacco+PS vignetting and old paper texture
Acrylic marker and ink on paper 16.75" x 11.75" February 15, 2022. www.saatchiart.com/art/Drawing-Reconnaissance-Probe-Nepen...
• 13/52 •
• fear [of flying] •
I won't go into a metaphysical dissertation on deep-seeded fears.
I have a very specific fear, a fear that sometimes takes over my brain and my life and activates my anxiety in ways that make me miserable — and that fear is flying.
It's been with me for most of my life, since my first flight as a six-year-old, but there have been times when I was better about it. I have been able to fly somewhat calmly, in the past. And that's why I hope I can turn this phobia around again, and be able to see all the places I want to see. Because there's oh, so much world out there to visit.
--
[ somos seis, amigas e fotógrafas, a fazer um '52 semanas' em conjunto. publicaremos semanalmente nas nossas redes sociais, e podem seguir-nos através da hashtag #52sisterhood. caso se queiram juntar a nós, podem usar a hashtag #52sisterhoodchallenge! contamos convosco desse lado, nesta aventura! vamos lá!
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there’s six of us, friends and photographers, doing a '52 weeks’ project together. we’ll publish every week, and you can keep up with us through the hashtag #52sisterhood. If you’d like to join us, you can use the #52sisterhoodchallenge! we’re counting on you to join us on this journey! come along! ]
on explore 08\11\2012
Highest position: 254 on Thursday, November 8, 2012
All rights reserved - Copyright © Alessandro Signore - www.alessandrosignore.it All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
Perception of Canal Grande, Venice