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SARAJEVO WAR 1992; MUSIC AND DESTRUCTION, BOSNIA in Tragic WAR,.
POETIC Beauty and Strength of the Human Spirit,.
FROM OPUS; Sarajevo City of Light,.
ARTIST Mirza Ajanovic Photography,.
Picture is based on light and darkness counterpoints, with elements of Chiaroscuro. Strong, dramatic expression, while ... acutely observed realism brought a new level of emotional intensity, Observation of physical and psychological reality… Symbolism, Transcendental ART surrealism, Metaphysics ART, POETIC Photography, Perception beyond Appearance’s, City Life, Street Scenes, City Life and Street Scenes, TransRealism,.
Artist MIRZA AJANOVIC Photography, Fine ART Photography, Mystical Photography,.
Yurii Yermolenko, Gift From Eta Carinae, (day lighting), 2019, (GOLDILOCKS ZONE project), fluorescent acrylic on vinyl, 17.5x17.5 cm.
www.saatchiart.com/art/Installation-Gift-From-Eta-Carinae...
It's all here in one puzzling page-turner of a novel: conspiracy, codes, secret societies, UFOs, ancient mysteries, the prophetic Mayan calendar end-date of 2012, alternative interpretations of Biblical events, mystifying metaphysics, good guys, bad guys, murder most foul and, yes, even a touch of romance. All of this, and more, is intricately woven into the multifaceted storyline of THE EZEKIEL CODE.
Gary Val Tenuta - former contributing writer for Fate Magazine (U.S.) and Beyond Magazine (U.K.) and a guest on numerous radio programs (including Dreamland, hosted by best selling author Whitley Strieber and The X-Zone hosted by Rob McConnell) - has crafted a provocative mystery novel with an esoteric edge that may upset certain segments of the population while at the same time enthralling others with it's alternative perspective on reality and its vision for the future.
From its cryptic prologue to its dramatic climax, THE EZEKIEL CODE is a skillful blend of fact and fiction with likable, vividly developed characters:
Zeke Banyon is a handsome Catholic seminary dropout who now runs a homeless shelter in Seattle's old waterfront district and Angela Ann Martin is an attractive young widow who just wants a simple part-time job at the shelter. But a single twist of fate turns their simple lives upside down when together they stumble onto a mysterious code and a rumor about a lost scroll penned by the prophet, Ezekiel, thousands of years ago. They soon find themselves thrust deep into a world of secret societies, metaphysics, mystery and murder as they jet across continents in a race to understand the code that will lead them to an ancient artifact of profound importance. Dodging rogue Jesuit priests at every turn and unaware that the Illuminati are ever-present in the shadows, Zeke and Angela soon discover it's not just their own lives that are in danger but also the lives of everyone on the planet.
Is Zeke Banyon the Chosen One of an obscure ancient prophecy? And if so, can he successfully accomplish the mission fate has in store for him? Nothing in seminary school could ever have prepared him for this.
2012 is coming...The clock is ticking…The code must be deciphered…And only one man can save the planet...If he can just figure out how - before it's too late.
"The plot is intriguing and interesting to the point of being bestseller material."
- Red Adept's Kindle Book Review Blog
"Entertaining and enlightening. A course in high strangeness."
–– Jay Weidner, documentary producer and co-author of Mysteries of the Great Cross of Hendaye
"The most gripping and informative book I have read in ages."
–– Robert Tulip, independent reader
"High-concept fiction. An unforgettable book."
–– Rai Aren, co-author of Secret of the Sands
"I have read it twice and thinking about a third time.
There aren't many books I read more than once. For me it had the WOW factor."
–– L. Sue Durkin, author of Life is Like Making Chocolate Chip Cookies
"An impressive feat."
–– Peter A. Gersten, editor, PAG eNews
"Highly Recommended!"
–– Michael Tsarion, internationally renown divination scholar, author and lecturer
THE EZEKIEL CODE, an EVVY Award nominee, is available in paperback and Kindle.
Watch the video trailers, read the first 12 chapters (free!) and full reviews at www.ezekielcode.com.
The Ezekiel Code
By Gary Val Tenuta
ISBN: 978-1-4327-0650-0
676-Page Paperback (6x9)
Published by Outskirts Press (www.outskirtspress.com)
Contact the author: TheEzekielCode@aol.com
Another metaphysical question : how many rods schould one take when fishing in the hills ? I always take two, one with a dry line, the other one with a wet line. It can be a little bit annoying to carry the second one when prospecting a loch, but, given the sudden weather modifications in the Highlands, it allows for example to cover immediatly a rising fish, when you're fishing with your wet line : a quick change of rod and this is it ! Even if covering the rising fish with your wet line by pulling it quick on the surface can be a successful method if there are ripples on the water...
Safely released, like all the rods of this gallery.
You can also leave comments on www.facebook.com/jean.dupuis.9849
It seems to happen that once in a great while a figure of profound depth and purity blossoms within a major religion, summarizing, expanding, and living through example its most cherished aspects. Ibn al-‘Arabī, known as al-Shaykh al-akbar, “The Greatest Master”, born in Mucia, Spain in 1165, is arguably such a figure for Sufism. An extremely prolific figure, Ibn al-‘Arabī wrote hundreds of works (estimates range from 250 to over 800!), some of which are still today widely considered to be classics. His thinking ranged from the practical to the scientific, to the metaphysical and to the sublimely spiritual, and his ability to weave together and expound upon all of these aspects is unparalleled, prompting a prominent scholar of Sufism and Ibn al-Arabī’s work, William Chittick, to declare him “the most influential thinker in the second half of Islamic history” (Chittick, 1994). Running through most of his works, in some explicitly and others only implicitly, is his “most famous idea” (Chittick, 2007): wahdat al-wujūd, or “The Oneness of Being”. Trying to come to terms with this concept is essential for an understanding of Ibn al-‘Arabī’s contribution to Sufism; this essay is an attempt to briefly explore this concept and its implications for Sufism.
Ibn al-‘Arabī never explicitly used the term wahdat al-wujūd in his writings, although he did use a variety of similar terms (Chittick, 1994), such as ‘ain al-wujūd, the essence of existence (Neusser, 2005). The word wujūd is translated both as ‘being’ or ‘existence’ and as ‘finding’ or ‘to be found’. Ibn al-‘Arabī’s use is complex enough to encompass both of these meanings, and more besides. Yet the primary aspect of wujūd, for Ibn al-‘Arabī is always its absolute unity. In this sense, Ibn al-‘Arabī seems to be in agreement with the Vedic sentiments of the Upanishads, wherein the oneness of existence takes primacy over any multiplicity.
However, whereas the working out of this concept in Hinduism finds its ultimate expression in Advaita Vedanta (non-dualism), where the world and all its seeming multiplicities are taken to be the equivalent of empty illusions, Ibn al-‘Arabī takes a different tack, affirming also the many-ness of reality along with its oneness (Chittick, 1994). So in speaking of wujūd (existence), it is possible for Ibn al-‘Arabī to see it from multiple viewpoints.
The primary aspect of wujūd, as already indicated, is its absolute oneness. This can be called wujūd mutlaq, absolute existence, in contrast to the wujūd of the manifest, contingent world, which can be called wujūd mustafad, or borrowed existence. For Ibn al-‘Arabī, in the most ultimate sense, there is only the oneness of Allah, but this does not mean that the manifest multiplicity of the created things of the universe, including human beings, is an existence-less illusion. Rather, the beingness of the manifest world is, as it were, borrowed from the only true existence – that of Allah. Thus we have, from our human perspective, the tanzih nature of God, in which Allah is absolutely unlike any particular part of manifest creation. On the other hand, we have the tashbih nature of God, in which Allah is like the manifest creation.
Self-existence and reality can only be attributed to the transcendent nature of God, which is necessary and cannot not exist. Allah is without parts, and is a singularity of nondelimited perfection – there is only a single wujūd. This transcendent nature is unknowable, for to know it would be to have a knower and a known, but no such separation can exist within wujūd, understood in this higher sense.
Ibn al-‘Arabī is not simply a transcendent mystic, content to leave the manifest world behind. Rather, he appeals strongly to reason, and takes pains to clarify as best he can the way in which the manifest world relates to the unmanifest, transcendent reality of wujūd. This is a complicated but central aspect to Ibn al-‘Arabī’s thinking; in fact the bulk of his works deal less with God’s transcendence than with his manifestation.
How then, if the only thing that has any real existence to it is the unity of God, can we explain the apparent multiplicity of the created world? What must be the nature of creation such that it can actually appear to us while not either making God dissectible into separate parts or taking the ground of being out from underneath the cosmos? Ibn al-‘Arabī answers that the things of perception have no separate existence apart from the ultimate wujūd of God. They cannot exist without ‘borrowing’ their wujūd from the only possible source: God. In this way, the wujūd of the manifest world is actually more of a metaphor than a reality; separate existent entities seem to have their own wujūd but do not – they exist by the continual creating will of Allah, and have no self-existence without Allah.
The metaphor that Ibn al-‘Arabī uses to describe this situation identifies God with Light, as stated in the Koran (24:35). The only thing that exists is Light – but this light becomes reflected and refracted into an infinite number of seemingly independent rays. Just as an individual ray of light may seem obviously separate from another: “this ray is red; that one is blue”, objects appear to us to have separate existence. But in pointing out the separateness of the objects we are not seeing their reality. In fact, the objects qua objectivity have no reality, and in this sense are described as nonexistent (‘adam). The nonexistence of the objects is precisely their nature. This is like the separate ray of red or blue light, which in fact cannot have any existence apart from the original Light itself, which is in fact the only thing which has existence in the first (and last) place. Every reflected or refracted ray is another veil through which the manifestation of God appears – but none of these manifestations themselves partake of their own existence, which is the sole domain of Allah. Ibn al’Arabī does distinguish between absolute nonexistence, which is nothingness in the most direct sense of the term, and relative nonexistence, which describes all that is approached as not God – i.e. the universe and its constituents. In this way, the manifest universe can be understood as an intermediary realm between absolute existence (wujūd mutlaq) and absolute nonexistence. It is the gray area that Ibn al-‘Arabī describes as “He/not He”, as it partakes of both ultimate existence and nonexistence simultaneously.
Therefore, in one sense when we see the things of the world, we are in fact seeing only the wujūd of God. Additionally, God, who “encompasses all things in knowledge” (65:12), has ‘in mind’ as it were, even all the potential objects of the cosmos. God’s knowledge of these things is immutable, fixed, and absolute; this knowledge corresponds to the object’s entire reality. But neither the manifest nor the unmanifest plurality of objects requires God Himself to be of a plural nature – just as all of the colors of light are contained in the primal Light of God as a singular unity, upon which they depend for their entire existence.
Apart from the ultimacy of wujūd, the relative nonexistence of the manifest world occurs as a continuum, stretching away from God towards ultimate nonexistence. Each “thing” is, as described by Ibn al-‘Arabī, a “locus of manifestation” of God. Each locus of manifestation is nonexistent in itself, but contains rather the properties or effects of the object, which ultimately derive from God. Thus, when we encounter the things of the universe, we are in actuality finding only God’s wujūd. Just as a single breath may contain many words, the “Breath of the All-merciful” may give rise to many objects – but some of these objects partake of a greater part of wujūd than others.
Even though God’s breath doesn’t need to contain words, He speaks in His overflowing generosity, and all the world is created. Multiplicity is real because God speaks many words – an infinite number of them, in fact, corresponding to the infinity of manifested objects. What characteristics the objects have depends upon the words God speaks. Thus there are ninety-nine different names of God (The Merciful, The Abaser, The Guarantor, etc.) which act as intermediaries between existence and nonexistence. Things of the manifest world are formed out of the conflation of any number of these names with any amount of purity. These ninety-nine names are all aspects of the one name: Allah, which encompasses all possible names in every possible way, both manifest and non-manifest.
Within this situation, the human being also exists as a relatively non-existent entity, described by a concatenation (with relative purity) of the names. In some people and at some times, one or another of the names becomes more manifested and understood than the other names. According to Ibn al-‘Arabī, the goal of a spiritual seeker is to manifest all of the ninety-nine names with equal perfection and harmony, thus becoming “the Perfect Man”. Humans are unique among beings of the world because they have the potential to comprehend and manifest allof the names, because God taught Adam all the names (2:30); all other things (minerals, plants, animals, angels) are created within known and fixed stations. If this perfection is achieved, the human would be a manifestation of what Ibn al-‘Arabī calls the “Muhammadan Reality” (Chittick, 1994), where instead of being stationed within any one or combination of names, the human stands equally within all the names at once: the “Station of No Station”. In order to achieve this state, rather than try to manifest all the divine names, which can lead to an arrogance of assuming that “I am like God”, it is better to try to get rid of all the particularly human attributes, so that what is left is the wujūd of God alone. The path of this struggle is one of surrendering oneself to God, of submission (islam) to God.
As we can see, the concept of wahdat al-wujūd is a central aspect of Ibn al-‘Arabī’s thought. Although he did not initially conceive of the idea, Ibn al’Arabī’s portrayal and discussion of the oneness of being clarified and brought to new light one of the most foundational aspects of Islam. According to Chittick, wahdat al-wujūd “is the most famous single theoretical issue in Sufi works of the later period, especially in the area under Persian influence.” (Chittick 2007). The concept was not universally accepted however, and was attacked by scholars such as Ibn Taymiya (d. 1328 C.E.), who actually did much to associate the concept with Ibn al-‘Arabī (Chittick 2007).
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
This little chimpanzee seems to have a monkey on his back. Perhaps he's reflecting on some of life's deepest metaphysical questions while his friends are outside, performing their usual monkey business in front of the crowd. Or perhaps he's sad and depressed. Some days just aren't as fun as a barrel of monkeys, even though you'd wish them to be. Maybe he thought it was too cold to go outside, but as I remember it, it was a warm and sunny spring day. Not exactly brass monkey weather. Well, if I'll ever know the mystery behind this lonesome chimpanzee, safe to say, I'll be a monkey's uncle.
I know there's a difference between monkeys and apes, and that the chimpanzee belongs to the second category. That didn't stop me from going apeshit over the puns though!
Painted in 1894. Jean Delville (1867-1953) was a Belgian symbolist painter, as well as a writer and was a student of religion and spirituality. These interests are reflected in this intellectual work showing two states of metaphysical being. The shining figure floating in space is an angel--the Angel of Splendors--and symbolizes spirituality and transcendence as he points to the heavens. The other figure represents earthly materialism, symbolized by the lower part of his body trapped in brambles and ensnared by snakes. He is trying to free himself from these earthly shackles and follow the angel as this last begins the ascent to heaven.
Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck. - Immanuel Kant
S.info:
1 x alien bee 600 through large sofbox high camera left
1 x bare alien bee 600 camera right
These are pictures shot at a Epsom Print Workshop..by another talented Photo Guru Prof BW Jatkar .
He was the ex President of Photographic Society of India.
An erstwhile Professor of Fine Arts at JJ School of Fine Arts many years back.
In the Photography World he is well known..as a master of Black and White , he is the best in his field.Nothing prevents him , not even the worst calamity, he broke his hip bone , but with the help of a walking stick he manges to limp his way in Life , hoping to recover so he can go out in the field shoot pictures.
He had recently come down shooting wild life in Africa when tragedy struck and he slipped in the shower..
His daughter is in America and she is the Light of his Life , he loves her , always his eyes go moist when I enquire about her.
Prof Jatkar and his wife are two peas in a single pod, Mrs Jatkar too is hounded by one illness or the other , but both these couple are very fiercely independent , they wont borrow a cent, nor ask for help.. taking strength from each other..
He loves Caps that I give him, this is an offer he will never refuse , he and the peak caps, with a golfish tilt.
I feel really sad I have not been able to go down and see him, but we keep in touch on phone, earlier Prof Jatkar Mr Kg Maheshwari and me would send our pictures to various National International salons , this kept us together, but than ever since I was bitten by the Photo Blog I withdrew from this form of participation completely.
We met at various events at the Photographic Society of India , but I have kept myself away from club life, clubs will never hitch on to the blog band wagon, for clubs Blog is a sheer waste of time and energy.. they are perhaps right in their estimation ..Blog is hardly an Art Form.. Is it ?
Blog is pedestrian, opinionated , selfish talking and blowing one own trumpet..we dont have blogger groups at grassroot level, maybe at the high end of a elitist hierarchy , the few presswallahs who blog.. I have not met anyone in 18 months , nor do I want to..
Sometimes I feel we as Indians are a very conceited lot, this is my personal opinion, we do not want to help or guide , when we do we are nasty over critical,,
I sometimes think if I was a bad photographer really bad , just posting pictures , with no one to tell me that openly .. in a constructive way..I would eventually burn away.
That is why I prefer Buzznet , the only site that in 18 months I saw , was promoting photography, featured photos, comments appreciation.. even highlighting the few flaws in our pictures..but overall it was this that created the social networking bonding, romantics like me fell in love that screwed up further growth, we got personal.. you know the rest.
I have 7064 files on my homesite but not a single comment... but I guess its cool.
8280 files in 59 albums and 1 categories with 0 comments viewed 1077510 times
So back to Prof BW Jatkar, he is a doyen of a man, no institution can teach you photography , like your Guru, you need a guru to learn the Indian classical way.
Prof Jatkar has a baritone voice , sounds very rough but he is human , a fabulously gifted teacher.
The best way he teaches you is he takes you on a pictoral expedition, you carry his camera bag, his tripod you shoot nothing.. not a single roll but by watching him, learning to think like him.. you have achieved your first lesson in Photography.
Learning an art through the soundlessness of unfleshed emotions..let the masters waves of feng shui enter your consciousness...
If this way you watch you study.. you are making it easy for the inbuilt camera mechanism that lies within your inner soul..
This is Tantric Metaphysical Photography, uncoiling the serpent .. Kundalini.. the highest yogic form of photography.
This is a free tutorial for photo freaks at Word Press.
This was posted on 24 April 2007 ..
Today 5 August 2009 I was informed by my close friend Vinay Parelkar that Prof BW Jatkar had passed away, on 31 July 2009..
I offer his son and his daughter Shivani my condolences , including his wife I was told is in hospital.
I hope that God gives them the strength to bear this irreparable loss of a great teacher doyen and a great human being..
Photographers like BW Jatkar pass this planet just once in a life time , leaving behind pictorial memories of love hope , peace harmony that even Time will not erase.
All his friends including Mr Murthy, Mr KG Maheshwari, Mr Shreekanth Malushte , Mr Subhash Solanki and many others , his students will surely feel his loss including Mahindar Patil.
Mr Prasad Pawaskar secretaty Photographic Society of India, had informed Mr KG Maheshwari of this tragic death of Prof BW Jatkar.
Firoze Shakir
Photographer No1
Artist: Gary Warner
Resistance Today 1987 - redux
49 inkjet prints + 50 frames strip of Super 8 film
Installation view- the grid of prints tracks the progress of the original film from left to right, top to bottom. Each still has cutup voice fragment from that part of the film printed over it as a text element.
The original Super 8 film can be viewed here.
Metaphysical TV was a collective of filmmakers working in Super 8 in the 1980's who generated their content by shooting the tv screen.
In 2006, this exhibition brought the group together again to present various stills and print based work derived from their original Super 8 projects.
Andrew Frost + Stephen Harrop + Michael Hutak + Mark Titmarsh + Gary Warner
May 24 to May 27, 2006
Loose Projects, 2nd Floor, 168 Day Street, Sydney Australia
Institut métaphysique
Metaphysical Institute Of Amen-Ra Ptah-Ma
5108 Boulevard Décarie, Montréal.
7 November 2016.
A morning-glory at my window satisfies me more than the metaphysics of books.
Walt Whitman
Morning glory (also written as morning-glory[1]) is the common name for over 1,000 species of flowering plants in the family Convolvulaceae, whose current taxonomy and systematics are in flux. Morning glory species belong to many genera, some of which are:
Argyreia
Astripomoea
Calystegia
Convolvulus
Ipomoea
Lepistemon
Merremia
Operculina
Rivea
Stictocardia
Morning glory was first known in China for its medicinal uses, due to the laxative properties of its seeds.
Ancient Mesoamerican civilizations used the morning glory species Ipomoea alba to convert the latex from the Castilla elastica tree and also the guayule plant to produce bouncing rubber balls [2]. The sulfur in the morning glory's juice served to vulcanize the rubber, a process predating Charles Goodyear's discovery by at least 3,000 years.[3] Aztec priests in Mexico were also known to use the plant's hallucinogenic properties (see Rivea corymbosa).
Atell Rohlandt
atellpsychictarot.com online tarot and psychic readings via skype, phone, email, or whatsapp
online tarot reader, psychic advisor and reiki healer available worldwide via phone, skype, email, or whatsapp. crystal healing, color therapy, or flower remedies consultations available as well as dream analysis, nutritional advice and spiritual counseling. Get assistance with any concerns. Whether it's about relationships, finance, career, or health complaints, atellpsychictarot.com is where you'll find good advice, accurate readings, and metaphysical suggestions at reasonable rates.
The holy rosary comes is created into a beautiful form of Catholic jewelry when made into a bracelet of genuine blue agate stone rounds and vintage pearl beads. The pearl and blue agate ave ("Ave Maria") beads count out a full decade, with a larger pearl pater ("Pater Noster") bead near the clasp.
This beautiful gemstone bracelet is then finished off with a silver plated toggle clasp and a dangling set of holy cross and Sacred Mother charms.
Each link in this bracelet is turned by hand with care.
Bracelet is 8.6" (22 cm) in length including clasp.
(Toggle clasps overlap slightly when worn.)
Reds,
Artist MIRZA AJANOVIC: Painting With Light,
OPUS: Shadows Dance, Rhythm and Movement Painting,
ART Avant-garde, Motion ART,
MOTION Painting with Light, Metaphysics ART,
Transcendental ART, Mystical Photography,
Acutely observed realism brought a new level of emotional intensity,
Observation of physical and psychological reality…
Perception beyond Appearances, POETIC Photography, Symbolism,
Transcendental ART, Perception Internal,
MIRZA AJANOVIC Fine ART Photography,
These Pictures are Actually Not Photoshopped,
Institut métaphysique
Metaphysical Institute Of Amen-Ra Ptah-Ma
5108 Boulevard Décarie, Montréal.
7 November 2016.
Chameleon Rose
Chameleon Rose is your one-stop shop for all things metaphysical. Our mission is to provide our customers with high-quality metaphysical products and services at an affordable price. We are the go-to destination for all your metaphysical needs!
Address: 2419 Harbor Blvd, #149, Ventura, CA 93001, USA
Phone: 805-947-0311
Website: chameleonrose.com
Go to Page with image in the Internet Archive
Title: The tongue of time, and star of the states: : a system of human nature, with the phenomena of the heavens and earth. : American antiquities, remains of giants, geology, volcanoes, Egyptian and Indian magic, diet, dress, drinks, diseases, sleep, somnambulism, trances, resuscitation. : Also an account of persons with two souls, and of five persons who told colors by the touch
Creator: Comstock, Joseph
Publisher: Hartford: : [s.n.]
Sponsor: Emory University, Woodruff Health Sciences Center Library
Contributor: Emory University, Woodruff Health Sciences Center Library
Date: 1840
Language: eng
Description: Relief prints
Checklist Amer. imprints
Includes index
Electronic reproduction
Former owner: Daniel Wadsworth
Stained leather binding with gold stamping and cream colored endpapers
HEALTH: Added as part of 2008 Rare Book Project
digitized
The online edition of this book in the public domain, i.e., not protected by copyright, has been produced by the Emory University Digital Library Publications Program
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Imagine the array of metaphysical activities these Indiana spiritualists are doing inside. See the entrance ramp, the unkempt shrubbery, and the building's adorable cornucopia ornament up top.
-----------------------
In Fort Wayne, Indiana, on September 22nd, 2019, at the northwest corner of Wells Street and Spring Street. The building was erected in 1928.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Allen (county) (1002143)
• Fort Wayne (7013933)
Art & Architecture Thesaurus terms:
• architectural ornament (300378995)
• brick (clay material) (300010463)
• commercial buildings (300005147)
• cornucopias (motifs) (300303413)
• Neoclassical (300021477)
• pilasters (300002737)
• scrollwork (300010205)
• shrubs (300132407)
• spiritualism (300055975)
• symmetry (300056249)
• tan (color) (300266248)
• wheelchair ramps (300003221)
Wikidata items:
• 22 September 2019 (Q57350552)
• 1615 (Q12681525)
• 1920s in architecture (Q11185486)
• 1928 in architecture (Q2811466)
• Fort Wayne–Huntington–Auburn Combined Statistical Area (Q57891214)
• neoclassical architecture (Q54111)
• Northern Indiana (Q7058433)
• ornamental shrub (Q41705489)
• September 22 (Q2889)
• September 2019 (Q47087604)
• streetcorner (Q17106091)
• Treaty of Greenville (Q767317)
Metaphysical Interior with Head of Mercury. From 1969. A painting by Giorgio de Chirico at 'Il laberinto dell'anima' exhibition at Castel del Monte.
Graham Harman, founder of Object-Oriented Ontology (OOO) and Professor of Philosophy and Associate Provost for Research Administration at the American University
The MA in Critical Theory and Creative Research at the Pacific Northwest College of Art and the Ford Institute for Visual Education
is pleased to announce a lecture by
GRAHAM HARMAN
“Greenberg, Heidegger, McLuhan, and the Arts”
PNCA Main Building, Swigert Commons
Tuesday, January 22, 2013
6:30 p.m.- 8:00 p.m.
About Graham Harman
Graham Harman is the founder of Object-Oriented Ontology (OOO) and the author of numerous books, including Tool-Being: Heidegger and the Metaphysics of Objects, Guerrilla Metaphysics: Phenomenology and the Carpentry of Things, Circus Philosophicus, The Quadruple Object, and, most recently, Quentin Meillassoux: Philosophy in the Making and Weird Realism: Lovecraft and Philosophy. He lives in Cairo, Egypt, where he is Professor of Philosophy and Associate Provost for Research Administration at the American University.
About the MA in Critical Theory and Creative Research
PNCA’s Master of Arts in Critical Theory and Creative Research (CT+CR) is an accelerated (45-credit), seminar-based program that prepares students for opportunities at the intersection of art, theory, and research. The program combines socio-political critique with process-driven inquiry, pushing both theory and research in new directions within the context of a 21st-century art school.
Photographer: Marshall Astor '13.
Photography Craige Barker
Turtle Soup brings you six short plays! All original, all brand-new from Manchester’s freshest talent. This eclectic night of theatre aims to get new work out into the lively Manchester theatre scene, so it’s not just sitting on a hardrive gathering ‘Virtual Dust’.
Featuring: Drag queens, priests, lesbians, metaphysics, crows, artificial intelligence, music, therapy, furniture, and more!
Victor’s Secret by Joel Dyer:
An altercation in a gay bar results in a generational clash and social media backlash.
Martyr by Jennifer Roberts:
After the wedding crash of the century, the bride, her sister and their mum attempt to hash everything out in the back rooms of the church they've been going to since they were kids. Secrets come out in the dark of the confessional booth, and family is tested by the lengths you're willing to go.
Part of the Furniture by Charlie Hinkley:
A man goes into a shop looking for something to buy, and comes out with the meaning of life, a feeling of spiritual emptiness, and a semi-comfortable chair. It’s a bit more than he can handle.
Afterthoughts by Emma Rushfirth:
Join the world-famous band “Afterthoughts” in a relentless therapy session after a bombshell announcement from the lead singer threatens to tear the group apart for good.
Flowers by the Towpath by Harry Blackburn:
Under stormy skies, two strangers wait for a bus that may never come. As the conversation unravels, and the waterline rises, one of the strangers finds that not all is as it seems…
This line is metaphysical
And on the one side
And on the one side
The bad half live in wickedness
And on the other side
And on the other side
The good half live in arrogance
And there's a steep slope
With a short rope
This line is metaphysical
And there's a steady flow
Moving to and fro
Oh look you earned your wings
Are you an angel now
Or a vulture?
Constantly hovering over
Waiting for a big mistake
Oh my God, what have I done?
Wouldn't you love to be
On the cover of a magazine?
Healthy skin and perfect teeth
Designed to hide what lies beneath
And I feel the darkness growing stronger
As you cram light down my throat
And how does that work out for you
In your holy quest to be above reproach?
Wouldn't you love to be
On the cover of a magazine?
Healthy skin and perfect teeth
Designed to hide what lies beneath
What lies beneath
The name of this altar is JUST FRIENDS.
It depicts the metaphysics of a musician composer who is “listening” to MIND help guide his way home.
The wire mesh depicts the “field”, the akasha, which is time and space that we manifest into.
The circular steel tubing represents the “heart antenna” or the intuition of the musician that receives the message from MIND.
The Musician is intent on converting the messages received in his heart, to an audible song that reflects the message as accurately as possible. To do this he has practiced a LOT. With extended practice, the message becomes clearer, and the song more refined.
The upright wooden piece represents our 7 chakra nerve centers through which the message of MIND is transmitted. The 4th chakra (Anahata or “Heart” chakra,) has “knots” (termed Hirdaya or Vishnu Granthi). I am not saying or inferring that you have heart knots, (most of us do) but if at some point in your life you do, you will be familiar with the concept.
According to the yogic tradition, a granthi (“knot”) is an energetic and psychic contraction preventing the free flow of prana (energy) along sushumna nadi (the main energy channel in the subtle body). The granthis impede the awakening of the chakras and the rising of kundalini shakti (the fundamental force of our being, generally lying dormant in muladhara chakra). Only by true discrimination, knowledge, and faith can one untie the knot of Vishnu and realize the purpose behind the Cosmos, which is a part of the divine plan.” Once Vishnu granthi is transcended, the awareness of the universal quality of energy is more easily recognized. In this way, the yogi will have more natural access to the universal source of energy, rather than having to draw energy from the localized centers within the being.
At the top of the chakra staff is represented the “Buddhi”, the/our higher wisdom center, and innate ability to source discriminating mind. (reason) It lies outside space and time. It is through/with Buddhi that we encounter “Purusha”, (or Shiva) who enlivens out material experience, and we can form/allow the “balance” that will provide “freedom” from being held captive by Prakriti. (see below).
Coming out of the tubing is an energetic “wave” that feeds into a “speaker” that is beaming the message into the musician’s heart. There is no “sound”, of course, until the musician creates it. That is (one of) the musician’s duties.
The orange rope depicts “Prakriti”, the names and forms (Nama-Rupa) that confine the Musician to a body. This is none other than “Maya”, and in a sense, it is trapping the musician and the musician is working to break loose (temporarily) from Maya and find freedom through the music.
The glass globe represents the song being created. It will drop down onto the mountain where it will form a stream with other drops and wind its way to the “ocean of love” where his friends are. Perhaps there are other musicians creating the song together. How beautiful. Love and friendship are the greatest mystery…..Divine Love is immanent in human relationship. That is Truth.
Above and to the right of the musician is the inner critic. (The Cold Hollow one). The musician is so intent on listening to his heart message, that the critic’s voice is very faint.
Behind the musician is a mirror. Look into it and see your True Guru.
In the bottom right is a small statue of Odysseus fighting to get his crew home safe as they encounter the “Sirens” that would lure them to death with their intoxicating song. In the tale, he straps himself to the mast so he can hear their song without losing his way. The sirens are any thing or any person that would lure the musician away from his Dharmic duty. This is a warning to remember that we are mortal, life is short, and we must use our Buddhi mind (our mast) to escape the trap of Prakriti by discovering, and doing, our duty.
In the lower center is an “Aum” (or OM) symbol. This represents firstly Brahman (not a personality) that is EVERYTHING. Secondly, it depicts the aspect of Brahman that shows up in the forms of gods and goddesses as well as material existence, and is known as Saguna Brahman, or, WITH aspects (or Gunas)). It is a stylized symbol that suggests 3 states of our daily reality; A-U-M
The top of the “3” represents the A, the waking state. The lower part of the “3” represents the “U”, the dream state, and the tail of the “3” represents the deep sleep state. The upside down rainbow represents Maya, and the diamond shape at the top represents “Atman”, or, the part of you that is the same as Brahman. It is maya that keeps us trapped in our daily cycle of waking, dreaming, and deep sleep, gives us the Illusion of separation from Atman (Brahman), and prevents us from blending back into Nirguna Brahman from which we came. This is awesome because it allows us to experience this existence. It also sucks, because this existence is complete with death and suffering. The only reasonable response to this paradox is Gratitude. (The alternative sucks even worse). Thank you for your music which acknowledges the darkness as well as the light, and still moves forward with Faith-Mind.….I mean…...that is REAL.
The candle is a candle, suitable for contemplative moments. (Never leave a candle unattended).
The glass jar is to hold sticks of incense. This IS, after all, a fancy incense burner.