View allAll Photos Tagged metaphysics
This reminds me of one of my favourite metaphysical poems
MY Love is of a birth as rare
As 'tis, for object, strange and high ;
It was begotten by Despair,
Upon Impossibility.
Magnanimous Despair alone
Could show me so divine a thing,
Where feeble hope could ne'er have flown,
But vainly flapped its tinsel wing.
And yet I quickly might arrive
Where my extended soul is fixed ;
But Fate does iron wedges drive,
And always crowds itself betwixt.
For Fate with jealous eye does see
Two perfect loves, nor lets them close ;
Their union would her ruin be,
And her tyrannic power depose.
And therefore her decrees of steel
Us as the distant poles have placed,
(Though Love's whole world on us doth wheel),
Not by themselves to be embraced,
Unless the giddy heaven fall,
And earth some new convulsion tear.
And, us to join, the world should all
Be cramp'd into a planisphere.
As lines, so love's oblique, may well
Themselves in every angle greet :
But ours, so truly parallel,
Though infinite, can never meet.
Therefore the love which us doth bind,
But Fate so enviously debars,
Is the conjunction of the mind,
And opposition of the stars.
The definition of love, Andrew Marvell
Oil on canvas; 40 x 70 cm.
Giorgio de Chirico was an Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colors are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors.
The element of mystery in de Chirico’s paintings dwindled after 1919, when he became interested in the technical methods of the Italian classical tradition. He eventually began painting in a more realistic and academic style, and by the 1930s he had broken with his avant-garde colleagues and disclaimed his earlier works. De Chirico’s Metaphysical paintings exercised a profound influence on the painters of the Surrealist movement in the 1920s.
as seen on tv
metropolis
Fujifilm X-E1 18-55mm f2.8-4 frame processed in Paintshop Pro x6 and DXO Film Pack 3. Objects SketchUp generated, Kerkythea rendered, thanks for the interest. :-D
365 Weekly Theme: "New Beginnings"
I haven't gone to a metaphysical store in a VERY LONG time. I went on 1/2 and bought nag champa (incense), candles and various stones. I actually meditated again in what has been a VERY long time.
russellmoreton.blogspot.co.uk/
Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space
Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.
The Architecture of Natural Light : Henry Plummer
EVANESCENCE
Orchestration of light to mutate through time
Intensity and integrity of Wilmarth's practice/vision.
PROCESSION
Choreography of light/moving eye
VEILS OF GLASS
Refraction of light/diaphanous film
Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.
ATOMIZATION
Sifting of light/through a porous screen
These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.
CANALIZATION
Channelling of light/through a hollow mass
The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.
ATMOSPHERIC SILENCE
Suffusion of light with a unified mood
Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme.To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.
LUMINESCENCE
Materialization of light in physical matter
Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.
"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.
Giorgio de Chirico was an Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colors are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors.
The element of mystery in de Chirico’s paintings dwindled after 1919, when he became interested in the technical methods of the Italian classical tradition. He eventually began painting in a more realistic and academic style, and by the 1930s he had broken with his avant-garde colleagues and disclaimed his earlier works. De Chirico’s Metaphysical paintings exercised a profound influence on the painters of the Surrealist movement in the 1920s.
when I moved into my new flat, I was absolutely gobsmacked to discover that the previous owners, a really sweet couple, left these two plants for me to be taken care of... so far, these guys are doing well and probably the conversation is floating between them, when I'm not around ;)
For more information about my craft, please visit my profile page.
LUMINOSITY is a fascinating 130 carat handcrafted labradorite pendant that I created swirling and shaping antique bronze toned copper wire by hand, adding peridot, lapis lazuli and topaz chips to enhance the natural beauty, shape and colors of the stone. This labradorite is one of the most vivid of my labradorites. It is a rare labradorite as it flashes many different colors such as a beautiful royal blue, bright yellow, orange and lime green when viewed from different angles in the light. This stone is truly a beautiful gift from Mother Nature. The combination of the elegant, swirly antique bronze wire setting, together with the earthy and dramatic gemstone creates a very versatile piece of wearable art that can be worn with a party dress or your favorite casual jeans. Stylish Care More pendants are sure to add a touch of natural drama to your fashion wardrobe
It measures 1 1/2" across and 3" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. A 17" antique bronze chain is included.
All purchases are nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Labradorite's healing effects:
Labradorite (also called Spectrolite sometimes) is a considered by mystics to be a stone of transformation. It is said to clear, balance and protect the aura. It is purported to help provide clarity and insight into your destiny, as well as attract success. It is used in metaphysics for dream recall, and finding ways to use dreams in daily life. Mystically, energies of stress and anxiety are reduced by labradorite. It helps to stimulate the imagination, enhancing intuition, psychic abilities, strength of will, strengthens and protects the aura. Helps us to understand the destiny that we have chosen.
Physical: Labradorite is said to increase intuition, psychic development, esoteric wisdom, help with subconscious issues, and provide mental illumination. Labradorite is associated with the solar plexus and brow chakras.
This item was for sale yesterday on eBay.
This major retrospective publication confirms Carl Beam (1943 - 2005) as one of Canada's most important artists. Beam broke new ground throughout his career, notably as the first artist of Native Ancestry (Ojibwe), to have his work purchased by the National Gallery of Canada as Contemporary Art. Working in various mediums - photography, oil, acrylic, text on canvas, stone, cement, wood, ceramics and found objects - Beam explored the tensions between Western and Aboriginal relations. Featuring more than 50 of Beam’s most remarkable works from his early career in the 1970s to the end of his production in the early 2000s, this generously illustrated monograph illuminates the artist’s investigations into the metaphysical aspects of Western and Indigenous culture, while powerfully illustrating the wide-ranging physicality of his work.
en.m.wikipedia.org/wiki/Carl_Beam
Carl Beam R.C.A. (May 24, 1943 – July 30, 2005), born Carl Edward Migwans, made Canadian art history as the first artist of Native Ancestry (Ojibwe), to have his work purchased by the National Gallery of Canada as Contemporary Art. A major retrospective of his work, mounted by the National Gallery of Canada, was exhibited in 2010, recognizing Beam as one of Canada's most important artists. He worked in various photographic mediums, mixed media, oil, acrylic, spontaneously scripted text on canvas, works on paper, Plexiglas, stone, cement, wood, handmade ceramic pottery, and found objects, in addition to etching, lithography, and screen process.
Childhood:
Carl Beam was born Carl Edward Migwans on May 24, 1943, in M'Chigeeng First Nation. His mother, Barbara Migwans was the Ojibwe daughter of Dominic Migwans who was then the Chief of the Ojibways of West Bay (later renamed M'Chigeeng First Nation). "The Beam family's true name derives from miigwaans which means little feather or bird."[1] His father Edward Cooper, was an American soldier, who died as a prisoner-of-war in World War II. "He was raised by his grandparents Dominic and Annie for most of his young life. His exceptional qualities were observed by his elders at a young age, and he was given the name "Ahkideh", from aakode' meaning "one who is brave" in the Ojibwe language."[2] He was sent to Garnier Residential School, in Spanish, Ontario, from the age of ten until he left as a young man.
Education:
After working at a variety of jobs, from construction work on the Toronto subway, to working as a millwright in Wawa, Ontario, Beam entered Kootenay School of Art (1971). He went on to earn a Bachelor of Fine Arts from the University of Victoria in 1974, and entered into post-graduate studies at the University of Alberta, (1975–76). He left the University of Alberta over a dispute about his thesis on native art, and returned to Ontario.
(In the late 1970's Carl lived on the second floor in a large house that had been the old Mayor's house of Sault Ste. Marie which was when he was friends with Cecil Young Fox a budding Metis artist who lived on the third floor and was working at Algoma Steel and painting part time. I met him there but he declined to allow us into his place as it was set up to make the photographic prints that an old friend had just taught him how to make and he wanted to guard his process. He told me that that process would likely make his career. Cecil had attended the same school and was a victim of sexual exploitation. We talked at length about his trauma. I met Carl's sister Lina in Iron Bridge and enjoyed an evening of dancing.)
www.flickr.com/photos/21728045@N08/5539225766/in/photolis...
Early Work:
The direction of Carl Beam's visual style was firmly established by the late seventies. In 1979 Beam met and married his wife, Ann Beam. "In developing his work over the years, Beam has been accompanied by his wife, Ann, herself an artist and a former teacher at the Art Gallery of Ontario. Often they have worked as collaborators".[3] At this time he incorporated multiple photographic images onto a single picture plane. "He disregarded the illusory deep space of Renaissance depiction, in favour of a flat tableau, where a dialogue of multiple images could take place".[2] At this time his photographic imagery was achieved primarily via screen process, photo-etching, Polaroid instant prints, and a solvent transfer technique also used by Robert Rauschenberg.
Living in South West USA:
1980, Beam and his family, Ann, and daughter Anong, moved to Arroyo Seco, New Mexico to live and work. "We developed a dialogue together in everyday living, politics, world events, ceramic technique, painting, and all things art, that would continue for the next 26 years".[4] Said Beam of the time "It was in the southwest years later with Ann and Anong, who was a baby, that I saw my first Mimbres bowl, or rather a cupboard full of Mimbres bowls in a gallery on the square in downtown Santa Fe, New Mexico. Some were completely intact, some had been restored, but all shared a bold adventurous design. When I discovered they were done 1,000 years ago, I was completely surprised."[5] Beam and his wife Ann exhibited their ceramic work together in The Painted Pottery of Ann and Carl Beam at the Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, NM.
Ceramic Works and Pottery:
Beam minored in ceramic pottery at the Kootenay School of Art. Despite having received top notch training, he found he lacked the ability to express himself as compared to with canvas or paper. Beam abandoned pottery as an art form but only temporarily. Years later in 1980 while living in Santa Fe, New Mexico, Beam again became interested in handmade pottery via his exposure to Santa Clara pottery and Mimbres bowls as were made by the Anasazi who lived in the area centuries before.
In the words of Ann Beam, “It was the Santa Clara blackwares that got us first” [6] Beam became excited with the adventurous and bold designs he observed in these works. Eventually he met Rose Montaya who further exposed him to her techniques and those passed down from her mother. Having learned much from Rose, Beam was able to find his own clay and paint stones, fire outside with dried dung or wood, and experiment extensively – about 70% of the early works were lost due to trial and error – all works were handmade without a wheel, often unglazed and polished with a stone. His Mimbres bowls were fabricated as a modern version of the ancient Anasazi ones - on the interior they were generally cream colored and quite smooth whereas the exterior appeared almost disregarded and less important (see Figures 1 and 2). Having studied all available exemplars found in museums, art galleries, shops, books, and otherwise, Beam’s contemporary versions were largely influenced by the materials and sophisticated art dialogue present in the Anasazi works he saw. Also in the Anasazi tradition, Beam’s bowls typically featured a bold design around the rim with his own unique images placed in the center. The result of his and Ann's early work was an exhibition in 1982 entitled “The Painted Pottery of Ann and Carl Beam” at the Maxwell Museum of Anthropology of the University of New Mexico in Albuquerque,[7] with other shows to follow later.
Beam preferred the Mimbres bowl because it was a form conducive to his creative expression: “Finally, one form I could use to be absolutely creative in … the hemispherical quality of a large bowl still excites me like no cup, tea pot, plate or other clay shape can do…it is a universe unto itself where anything can happen – the designs are limitless.” [6]
Beam continued to work on and off in pottery, creating bowls, snake pots and other handmade creations almost always decorated with his designs and images. The raven is featured prominently in many of his works – “Migwans”, Beam’s family name, means “feather” or “bird”. His works also feature news events (such as the Anwar Sadat assassination) or self-portraits or the shaman figure and family, a theme often returned to (seen in Figure 1) Beam also shared the techniques learned and developed with others including his cousin David Migwans, now an accomplished artist living in M'Chigeeng First Nation, Manitoulin Island.[8]
Return to Canada:
Although he had achieved a level of success in the United States, with art dealers in both Taos, and Santa Fe, Beam returned to Canada, where he felt his work had an important contribution to make. "A return to Canada in 1983 at first meant no change in format: one ceramic work by Beam of a shaman family, in the collection of the Woodland Cultural Centre in Brantford, Ontario, has the central image Beam favoured in New Mexico, though now one that represents his current situation. Here a shaman figure holds the hands of a figure to either side, likely a veiled reference to his wife, Ann, and his daughter, Anongonse, born in 1980."[9] The family moved to Peterborough, Ontario, and in 1984, Beam was commissioned to make an art work for the Thunder Bay Art Gallery. He titled the piece Exorcism. This became part of a "breakthrough exhibition"[2] for him, which had a catalogue, and was titled Altered Egos the Multi-media Artwork of Carl Beam. It was curated by Elizabeth McLuhan. Living in the east end of Peterborough, Ontario, Beam created an early set of large format etchings, consisting of nine prints. There are many signature images in this print collection, which Beam later used to form the image backbone of his iconic work The North American Iceberg. This work was purchased by the National Gallery of Canada, making Beam the first artist of Native ancestry to have his work purchased into the permanent collection of the National Gallery of Canada as contemporary art.
Mature Style:
By the mid-1980s, Beam was working with new techniques for incorporating photo-imagery into his work. He utilized a heat transfer technique learned from fellow artist Ann Beam, with his work on paper and Plexiglas. He also began working with photo emulsion and mixed media on paper and large scale canvas works. The works contained various juxtapositions of imagery from the spiritual, the natural, and political world, and incorporated his own poetic inscriptions and math equations. "My works are like little puzzles, interesting little games. I play a game of dreaming ourselves as each other. In this we find out that we're all basically human.... My work is not fabricated for the art market. There's no market for intellectual puzzles or works of spiritual emancipation"[10]
The Columbus Project:
The subject matter of his work turned toward the rapidly approaching 500th anniversary in 1992 of Christopher Columbus, and his arrival in North America. He found in this event, a rich source for a discussion on the nature of culture, as well as revisions and versions of history. He created at this time,(1989–1992) a body of work entitled The Columbus Project. Its first stage had exhibition venues in Peterborough, Ontario at both ArtSpace (curated by Shelagh Young), and also the Art Gallery of Peterborough. The second phase of the Columbus Project was an exhibition at The Power Plant in Toronto, curated by Richard Rhodes entitled the Columbus Boat. The exhibition continued on to venues in Italy and the United States. Beam's imagery for the Columbus Project was cross-culturally vast, and contained the primary images of Columbus, and Native peoples, but also images of Martin Luther King, John F. Kennedy, Albert Einstein, and Abraham Lincoln, Italian Christian iconography, diverse animal species, self-portraits and technology (stop lights, rockets). There were two sculptural elements, Voyage a partial reconstruction of the Santa Maria, and the Ampulleta, a 6-foot-tall (1.8 m) hourglass, with one obstructive stone within the sand, as well as several installations, and a video performance of Beam in the Dominican Republic, making a representational graveyard on the beaches where the landing could have taken place.
In 1992 Carl Beam and Ann Beam built an adobe house on Manitoulin Island. "Their adobe house became to a certain extent, a large scale project which evolved naturally out of their earlier experiences with Native American pottery and the building vernacular of the American southwest."[11] Their life experience was incorporated in his exhibition Living in Mother Earth, and her exhibition Sub-division Suite/Earth Builder's Narrative.
The Whale of Our Being:
Beam entered the new millennium with the body of work entitled The Whale of Our Being, in this work "Beam examines the calamitous moral fallout from what he perceives as a profound spiritual absence in contemporary society, symbolized by a great whale of primordial proportions".[12] Featuring large photo emulsion works on canvas, constructions, large scale paper works, and ceramics. "Compared to earlier work, The Whale of Our Being exhibits a positively baroque complexity, a dizzying assortment of references, sometimes printed in overly saturated, fluorescent colour. Mystery, for instance, is pink-Day-Glo-coloured pink. The colour in Summa ranges from Day-Glo yellow-green to orange; the images from Einstein and the Hubble Telescope, and astronaut, and Sitting Bull to and image of the First Nations, and more besides."[13] His imagery had become vast and all inclusive, in The Whale of Our Being "He re-examines the media construction of violence and infamy and the public fascination with celebrity".[14] Said Beam at a panel discussion for the Beyond History exhibition in 1989, "If an artist has a legitimate premise, there is nothing which isn't within their field of enquiry".[15]
Crossroads:
His last body of work was in process until the time of his death in 2005. It was titled Crossroads from the blues song by Robert Johnson. The work included images of pop stars, gangsters, scientists, native leaders, politicians, writers and poets, musicians (Robert Johnson, Bob Dylan, Marilyn Manson, Jerry Garcia, Britney Spears, John Lennon), TV personalities (Martha Stewart), animals, and birds. He had completed Plexiglas works, and 22"x 30" paper works for Crossroads and was in the middle of a suite of etchings at the time of his death.
Carl Beam received the Governor General's Award in Visual and Media Arts in 2005.
It's All Relative Exhibition:
In 2004, the Canadian Clay and Glass Gallery in Waterloo, Ontario, created a traveling exhibition, curated by Virginia Eichorn, of 50 ceramic pieces by Carl Beam, Ann Beam, and Anong Migwans Beam. This marked the first time all three exhibited together. It was his last exhibition during his lifetime. It continues to tour.
Legacy:
Carl Beam was the first artist of Native ancestry to have his work purchased by the National Gallery of Canada as contemporary art (1986), thus opening the door for a generation of Native artists to enter. "Despite Beam's reluctance to be defined as a "Native Artist", his art deals with the struggles of his people."[16] Beam brought an innovative approach to all the media he worked in. "Technically Beam is regarded as an innovator for his intentional blurring of diverse art practises, thereby enabling certain methodologies and techniques to acquire new contexts. His innovative techniques, in fact, have been emulated by a new generation of artists-Native and not."[17] "He evolved his own unique techniques as needed in photo-etching and photo based painting, to name a few, and his passionate discourse on all things political and practical inspired many people."[18] A major retrospective of his work, mounted by the National Gallery of Canada, is on exhibition, having started October 22, 2010, thus recognizing Beam as one of Canada's most important artists. The exhibition is curated by Greg A. Hill, Audain Curator and Head of the Department of Indigenous Art, and is accompanied by a catalogue with essays by Ann Beam, Greg Hill, Gerald McMaster, Virginia Eichhorn, and Alan Corbiere with Crystal Migwans, including paintings, photo-based collage works, constructions, ceramics and videos.[19]
Personal Life:
Beam married his first wife in the early 1960s. They had five children, Clint, Veronica, Leila, Carl Jr., and Jennifer. The marriage was later annulled. Beam married Ann Elena Weatherby, and their daughter is Anong Migwans Beam. Beam died on July 30, 2005, at Ottawa General Hospital, from complications due to diabetes.
Honours
References
^ Virginia Eichorn, It's All Relative Catalog, 2005, p. 5
^ a b c Ann Beam in conversation with Anong Beam, Manitoulin Island, 2008
^ Joan Murray, The Whale of Our Being Catalogue, 2002, p.4
^ Ann Beam, in conversation with Anong Beam, Manitoulin Island, 2008
^ Carl Beam, It's All Relative Catalogue, 2005, p.8
^ a b "It's All Relative", Exhibition Catalogue, Virginia Eichorn, October 2003.
^ Joan Murray, The What of Our Being catalog, 2002
^ www.amtelecom.net/~davidm/bio.html
^ Joan Murray, The What of Our Being catalogue, 2002, p.5
^ Carl Beam in conversation with the author. In Allan J. Ryan, The Trickster Shift: Humour and Irony in Contemporary Native Art, Vancouver and Seattle, UBC Press and University of Washington Press, 1999, p. 151.
^ Virginia Eichorn, It's All Relative Catalog, 2005, p.6
^ Allan J. Ryan, 2005 Governor General's Awards for Excellence in Visual and Media Arts Catalog, p.18,21,
^ Joan Murray, The Whale of Our Being catalogue, 2002, p.3
^ Allan J. Ryan, 2005 Governor General's Awards for Excellence in Visual and Media Arts Catalog, p.21
^ Carl Beam, panel discussion, Beyond History exhibition, Vancouver, 1989
^ Dierdre Hanna, NOW magazine, Vol.9, #26, 1990
^ Virginia Eichorn, It's All Relative Catalog, 2005, p.5
^ Ann Beam in discussion with Anong Beam, Manitoulin Island, 2008
^ Newsletter: On TOUR National Gallery of Canada and Canadian Museum of Contemporary Photography Travelling Exhibitions Newsletter No. 16 - June 2008
^ "Members since 1880". Royal Canadian Academy of Arts. Retrieved 11 September 2013.
A metaphysical/spiritual focused bookstore which has been a part of the local scene for many years seems to be experiencing some hard times. During a walk around I found this in the bushes.
zucca
metropolis
Fujifilm X-E1 18-55mm f2.8-4 frame processed in Paintshop Pro x6 and DXO Film Pack 3, thanks for the interest. :-D
we're here visiting outcasts and misfits at the Metaphysical leper colony.
This isn't really what I had in mind but that's the kind of day its been here at the colony. Mondays - Bah!
Strictly speaking doctrinal knowledge is independent of the individual. But its actualization is not independent of the human capacity to act as a vehicle for it. He who possesses truth must none the less merit it although it is a free gift. Truth is immutable in itself, but in us it lives, because we live.
If we want truth to live in us we must live in it.
Knowledge only saves us on condition that it enlists all that we are, only when it is a way and when it works and transforms and wounds our nature even as the plough wounds the soil.
To say this is to say that intelligence and metaphysical certainty alone do not save; of themselves they do not prevent titans from falling. This is what explains the psychological and other precautions with which every tradition surrounds the gift of the doctrine.
When metaphysical knowledge is effective it produces love and destroys presumption. It produces love, that is to say the spontaneous directing of the will towards God and the perception of "myself" - and of God - in one's neighbour. It destroys presumption, for knowledge does not allow a man to overestimate himself or to underestimate others. By reducing to ashes all that is not God it orders all things.
All St. Paul says of charity concerns effective knowledge, for the latter is love, and he opposes it to theory inasmuch as theory is human concept. The Apostle desires that truth should be contemplated with our whole being and he calls this totality of contemplation "love".
Metaphysical knowledge is sacred. It is the right of sacred things to require of man all that he is.
Intelligence, since it distinguishes, perceives, as one might put it, proportions. The spiritual man integrates these proportions into his will, into his soul and into his life.
All defects are defects of proportion; they are errors that are lived. To be spiritual means not denying at any point with one's "being" what one affirms with one's knowledge, that is, what one accepts with the intelligence.
Truth lived: incorruptibility and generosity.
Since ignorance is all that we are and not merely our thinking, knowledge will also be all that we are to the extent to which our existential modalities are by their nature able to participate in truth.
Human nature contains dark elements which no intellectual certainty could, ipso facto, eliminate...
Pure intellectuality is as serene as a summer sky - serene with a serenity that is at once infinitely incorruptible and infinitely generous.
Intellectualism which "dries up the heart" has no connection with intellectuality.
The incorruptibility- or inviolability- of truth is bound up neither with contempt nor with avarice.
What is man's certainty? On the level of ideas it may be perfect, but on the level of life it but rarely pierces through illusion.
Everything is ephemeral and every man must die. No man is ignorant of this and no one knows it.
Man may have an interest that is quite illusory in accepting the most transcendent ideas and will readily believe himself to be superior to some other who, not having this interest (perhaps because he is too intelligent or too noble to have it) is sincere enough not to accept them, though he may all the same be more able to understand them than the other who accepts them. Man does not always accept truth because he understands it; often he believes he understands it because he is anxious to accept it.
People often discuss truths whereas they should limit themselves to discussing tastes and tendencies ...
Acuteness of intelligence is only a blessing when it is compensated by greatness and sweetness of the soul. It should not appear as a rupture of the equilibrium or as an excess which splits man in two. A gift of nature requires complementary qualities which allow of its harmonious manifestation; otherwise there is a risk of the lights becoming mingled with darkness.
----
Frithjof Schuon
----
Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
----
image:
Keep Updated!!!! :)
Facebook: www.facebook.com/samanthagossphoto
I don't have much to say about this one. I wanted to try something different. I like it.
Thanks to my friend Dylan and my wife Whitney for helping out with this one.
Wagner's later operas and Nietzsche's early philosophy are greatly influenced by Schopenhauer's metaphysics as published in his 'The World as Will and Representation' (1819).
Forgive me for being late on the metaphysical band wagon. Being sick takes alot out of girl. Anyhow, I don't watch the grammys and I won't until Julianna Barwick, Low, Thee Silver Mt. Zion, Karkwa, Final Fantasy, and Parenthetical Girls are all nominated..in the same year..which is kind of funny, right?
Anyhow, any pretentiousness aside...are there that many people that would watch the grammys that don't know who Arcade Fire is? Really? Last summer, they headlined a major music festival (Lollapalooza)...they sold out three nights at the UIC Pavilion here almost instantaneously before they ever got a Grammy.
The real question is...who the heck is Lady Antebellum. Oh, right, some band I wouldn't want to know, about?
I've been listening to Arcade Fire way before the grammys, people. See #2 on this top of the DECADE. www.flickr.com/photos/kirstiecat/4228820156/
Yeah, Arcade Fire deserved a Grammy (if that means anything) but not for Suburbs..for Neon Bible.
Still, I am happy for them. Getting a Grammy shouldn't just be about who sells the most records...there should actually be some critical criteria...even to call something music there should be criteria in this day and age.
**All photos are copyrighted. Please don't use without permisssion**
"The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower." - Zen and the Art of Motorcycle Maintenance, Robert M. Pirsig
"Il Buddha, il Divino, dimora nel circuito di un calcolatore o negli ingranaggi del cambio di una moto con lo stesso agio che in cima a una montagna o nei petali di un fiore." - Lo Zen e l'arte della manutenzione della motocicletta, Robert M. Pirsig
wide awake - soul symmetry
metropolis
Fujifilm X-E1 18-55mm f2.8-4 3x frames aligned with MsIce then post processed in Paintshop Pro x5. Thanks for the interest. :-D
If I tell you the meaning of universe lies in the pepper, do you believe me?
Silly photo buff shot a pepper in the kitchen and boasting he discovered the metaphysical solution that has puzzled philosophers like Heidegger, Hegel for centuries.
The pepper was cooked and eaten in the meal right after and this meaning of universe is gone forever like mystery!
about 9 x 8 inches. Vintage paper from children's book and two pieces from 50s h.s. yearbook. (The black scuffed bits). Gray scale, cubed
Book of Shadows pages I created. These are not pre-punched so they can be customized for most any Book of Shadows. These pages are on parchment paper 8.5 x 11 size.
Day One-hundred and Eighty-Two, it's a Metaphysical Day. Pools can easily turn into metaphysical places, it all depends on how you look at them.
365+1 Day of NEX-7 project
The Stele Forest, or Beilin Museum (碑林; pinyin: Bēilín), is a museum for steles and stone sculptures in Xi'an, China. The museum, which is housed in a former Confucian Temple, has housed a growing collection of Steles since 1087. By 1944 it was the principal museum for Shaanxi province. Due to the large number of steles, it was officially renamed the Forest of Stone Steles in 1992. Altogether, there are 3,000 steles in the museum, which is divided into seven exhibitions halls, which mainly display works of calligraphy, painting and historical records.The Stele Forest began with the Kaicheng Shi Jing Steles (开成石经碑) and Shitai Xiao Jing Steles (石台孝经碑), two groups of steles both carved in the Tang dynasty and displayed in the temple to Confucius in Chang'an. In 904, a rebel army sacked Chang'an, and the steles were evacuated to the inner city. In 962, they were returned to the rebuilt temple. In the Song Dynasty (1087), a special hall with attached facilities was built to house and display the two stele groups. It was damaged in the 1556 Shaanxi earthquake during the Ming dynasty. In 1936, famous Chinese calligrapher Yu Youren donated his entire collection of more than three hundred rubbings from steles to the Xian Forest of Stele Museum.[2] It became a Major Historical and Cultural Site Protected at the National Level in 1961 and thus survived the Cultural Revolution.
Dragons offer strong protection from evil, from all directions, North, South, East, West, Above, and Below. They have always been associated with metaphysics and alchemy. Magic, mystery and majesty are only a few of the Totem virtues of the mighty Dragon. All continents of the world have their own legends, myths and beliefs about the Dragon; however, they originated in the East, in China and Japan, and are still honored in those regions to this day.
giorgio de chirico metaphysische Malerei geschichtet / giorgio de chirico pittura metafisica stratificata / giorgio de chirico metaphysical painting layered / giorgio de chirico 形而上学分层绘画 / Джорджо де Кирико многослойная метафизическая живопись