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Potency Of Metaphysics.
Спонтанность принципы появлений вещества, движущиеся формы разрушения состоит искусство,
nifer o synhwyrau amwysedd cysylltiadau originative presenoldeb cynradd potency meddu pethau wedi'u malu,
rationalen Wissenschaften entgegen begleitet Quellen produktive Tugenden Entbehrung fähig Formeln Bedingungen gestartet verwandte,
niemożliwości zamienione ekspansji nieskończoność procesy kwantowe rachunkowości Rezolucje podzielne samoloty niezrozumiany,
γύρω από βασικές διαφορές που χωρίζει τις επιφάνειες συνέχεια συμπίπτει άκρα ανεξάρτητα πέτυχε θέσεις,
meriti vacue penetrati grandezze verso il basso risposte assurde considerazioni implicazioni condizioni rare esiste,
compressi maximum conditiones, demonstrationes esse sententiae necesse est scientia analytica sensus retineatur,
דוחות אמיתות מיידיים הנחות אפשריות יסוד originative קשריה המחייבים מחשבות מנומקות מתקבלים,
定義可能な知識対角線抱きしめる同一の意見が定義可能な三段論法前提と結論会社の用語を推論しました.
Steve.D.Hammond.
Socorro, New Mexico.
"Art is the highest task and proper metaphysical activity of this life." ~ Friedrich Nietzsche
....... Tierra Lumina ...............
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We're Here: Metaphysical Leper Colony
Sometimes I wear my monkey costume around the house because it's comfy and because I can. The little green thread that reaches towards my lip pulls it all together.
Metaphysics abound in the South.
The building looks so terse and stylized because it hadn't been completed yet: no window frames, handrails or other.
The metaphysical discrepancy between expectations and lived reality.
The sand between my own toes will be enough to breathe again?
Film: #expired ILFOCOLOR 100 PLUS
See this and more at my LomoHome: www.lomography.com/homes/ale2000
Combining Metaphysics Beautiful Principles Asserting Truths.
Vollständige einflussreiche Philosophie imitativen Gedanken Probleme vorgestellt Bestimmungen,
расширенные условия, определенные превосходства сервировки показано, иллюстрирующую оценки,
líderes engañosos breves conocimiento entusiasta propiedades físicas condenas apropiadas,
ανθρωπολογική συμφέροντα που χαρακτηρίζουν αρχές σύνθετα καταστροφή προηγούμενες επιδράσεις μορφές,
مصادر جود مواربة قوة مبدع المختلفة الاهتمامات المتغيرة نقاط محسوسة,
vertus artistiques arithmétique équidistantes quantités continues proportions intermédiaires impliquant des normes,
constituintes combinações de espécies princípios causais partes primárias descrições de harmonia usadas,
comhábhair aisteach dhaoradh teangacha a thabhairt isteach meafair gnáth dithyramb óráid fileata,
convergenti meravigliosi piaceri che suggeriscono costruzioni complesse episodi narrativi versi eroici,
不可能な追加不可避な状況結果の間違い耐えられない声仮定の残り物.
Steve..Hammond.
A fractal twin ...self similar...one as two...equip to explore da fracverse..he will proceed carefully ....
Spirit Energy, alternatively translated as mana, is a kind of "life force" [1] possessed by humans, elves, and other living things in the Monster Girl Encyclopedia world. It forms one half of a metaphysical yin-yang relationship with the opposite demonic energy of the monsters. Very similar to the Eastern concept of qi, spirit energy is lost by vigorous activity and magical spellcasting, while it is replenished by food, rest, and living in a healthy environment. Although monsters do not innately possess spirit energy, they all greatly hunger for it, and for some monsters it represents most of their diet. Since male semen contains highly concentrated spirit energy, this makes it the monsters' most delicious food.
A mystical, metaphysical substance, spirit energy is generated by all living things except monsters and elementals. Small amounts are contained in organic foods like meat and plants, but it is intelligent life which produces it in the greatest abundance. Angels and elves both have more than humans, which provides them a limited degree of magical protection from monsterization. When spirit energy is expended, males replenish it naturally from within themselves. Females do the same but less quickly; they can also replenish their reserves by absorbing the the energy which is emitted passively by grass, plants, and other living things in the environment. While useful in human lands, this becomes a ruinous liability in demon realms, where absorbing demonic energy from the surroundings causes monsterization via spirit energy corruption.
Monsterization of women occurs when so much demonic energy is poured into the victim that her internal spirit energy production ability is extinguished, turning her into a creature of only demonic energy. This is impossible in men except for those of very particular psychologies; instead, for males demonic energy in their system spurs spirit energy production. Persistent exposure turns a man into an incubus, a creature of both demonic and spirit energy.
Although a few humans can command elemental magic, the vast majority of human mages use spirit energy magic. It is not clear whether magical skill is something that anyone can learn, or whether it's genetic; but by either nature or nurture, some people are better at it than others. Demonic magic looks very similar to spirit magic - to the extent that many people in the Monster Girl Encyclopedia world make no distinction - but the underlying energies are entirely different. Overuse of spirit magic - just like overuse of physical skills - causes exhaustion as spirit energy leaves the body; some monster girls, particularly akanames and beelzebubs, love licking mens' bodies precisely to get at the spirit energy contained in sweat. But all monsters prefer semen best of all, as the white stuff contains much more spirit energy than any other source.
When they have a husband, monster girls can become so enamoured with the taste of his spirit energy that they become addicted to it. Married monster girls also become extremely good at detecting their husband's spirit scent, and can essentially track him down wherever he is. For
unattached monster girls who eat spirit energy, like succubi, a dietary supplement is brewed by golems wherein a limited amount of semen that the automata milk out of their victims can supply many monsters with nutritional, if foul-tasting, energy.
from: MGE Roleplay & Fanfiction Wikia - FANDOM
Nothingness certainly has neither being nor existence, but it is none the less a kind of metaphysical 'direction', something we can conceive and pursue, but never attain; 'evil' is none other than 'nothingness manifested' or 'the impossible made possible.
To say that 'God became man in order that man might become God' means in the final analysis (if we want to pursue this reciprocity to its ultimate foundations) that Reality has entered into nothingness, so that nothingness might become real.
If it be objected here that nothingness, being nothing, can play no part, the answer lies in two questions: how is the existence of the very idea of nothingness to be explained? How is it that there is a 'nothing' on the level of relativities and in everyday experience?
Nothingness certainly has neither being nor existence, but it is none the less a kind of metaphysical 'direction', something we can conceive and pursue, but never attain; 'evil' is none other than 'nothingness manifested' or 'the impossible made possible: Evil never lives from its own substance, which is non-existent, but it corrodes or perverts the good, just as disease could not exist without the body which it tends to destroy; evil, says St Thomas, is there to allow the coming of a greater good, and in fact qualities have need of corresponding privations to enable them to be affirmed distinctively and separately.
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Maya is the reverberation of the Self in the direction of nothingness*, or the totality of the reverberations of the Self; the innumerable relative subjects 'are' the Self under the aspect of'Consciousness' (Chit), and the innumerable relative objects are once again the Self, but this time under the aspect of 'Being' (Sat). Their reciprocal relationships- or their 'common life’ constitute 'Beatitude' (Ananda), in manifested mode, of course; this is made up of everything in the world which is expansion, enjoyment or movement.
*Nothingness cannot exist, but the 'direction towards' nothingness exists, and indeed this observation is fundamental in metaphysics.
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Frithjof Schuon
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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
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Image: The Ardabil carpet
The WAH group is visiting the Metaphysical Leper Colony group today. The Peanut Mochi is the leper of the cake tin. Here we have a selection of treats with the Peanut Mochi pushed aside, an acquired taste which I and others don't have. Four of us have tried them, one of us managed to finish one but nobody wanted to try another.
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]
*
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.
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Frithjof Schuon
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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)