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To Henri Cartier-Bresson composition is geometry. Lines. Shapes. The sense of geometry has to be cultivated. He also said that nothing worth knowing can be taught.
How very true. Its all about the art of "seeing". Rather, be observant. Then use your finger.
'Evolving Perceptions' 2011
resin, nails, enamel, acrylic on wood 24"x24"
The world is full of magic things,
patiently waiting
for our senses to grow sharper.
~W.B. Yeats
in SENSORIA at art sites April 6th-May 5th 2013
Perception is strong and sight weak. In strategy it is important to see distant things as if they were close and to take a distanced view of close things.
--Miyamoto Musashi--
The Dalà Theatre and Museum Figueres Catalonia Spain
(Catalan: Teatre-Museu DalÃ, IPA: [teˈatɾə muˈzÉ›w ðəˈɫi], Spanish: Teatro Museo DalÃ), is a museum of the artist Salvador Dalà in his home town of Figueres, in Catalonia, Spain.
Building
The heart of the museum is the building that housed the town's theater when Dalà was a child, where one of the first public exhibitions of young DalÃ's art was shown. The old theater was burned during the Spanish Civil War and remained in a state of ruin for decades. In 1960, Dalà and the mayor of Figueres decided to rebuild it as a museum dedicated to the town's most famous son.
In 1968, the city council approved the plan, and construction began the following year. The architects were Joaquim de Ros i Ramis and Alexandre Bonaterra. The museum opened on September 28, 1974,with continuing expansion through the mid-1980s. The museum now includes buildings and courtyards adjacent to the old theater building.
The museum displays the single largest and most diverse collection of works by Salvador DalÃ, the core of which was from the artist's personal collection. In addition to Dalà paintings from all decades of his career, there are Dalà sculptures, 3-dimensional collages, mechanical devices, and other curiosities from DalÃ's imagination. A highlight is a 3-dimensional anamorphic living-room installation with custom furniture that looks like the face of Mae West when viewed from a certain spot.
The museum also houses a small selection of works by other artists collected by DalÃ, ranging from El Greco and Bougereau to Marcel Duchamp and John de Andrea, In accordance with DalÃ's specific request, a second-floor gallery is devoted to the work of his friend and fellow Catalan artist Antoni Pitxot, who also became director of the museum after DalÃ's death.
A glass geodesic dome cupola crowns the stage of the old theater, and Dalà himself is buried in a crypt below the stage floor. The space formerly occupied by the audience has been transformed into a courtyard open to the sky, with Dionysian nude figurines standing in the old balcony windows.
A Dalà installation inside a full-sized automobile, inspired by Rainy Taxi (1938), is parked near the center of the space.
Art collection
The Dalà Theatre and Museum holds the largest collection of major works by Dalà in a single location. Some of the most important exhibited works are Port Alguer (1924), The Spectre of Sex-appeal (1932), Soft self-portrait with grilled bacon (1941), Poetry of America—the Cosmic Athletes (1943), Galarina (1944–45), Basket of Bread (1945), Leda Atomica (1949), Galatea of the Spheres (1952) and Crist de la Tramuntana (1968).
There is also a set of works created by the artist expressly for the Theater-Museum, including the Mae West room, the Palace of the Windroom, the Monument to Francesc Pujols, and the Cadillac plujós.
A collection of holographic art by DalÃ, and a collection of jewelry he designed are on display. Another room contains a bathtub and a side table with an open drawer and a lamp, all of which Dalà had installed upside-down on the ceiling.
An extension to the museum building contains a room dedicated to optical illusions, stereographs, and anamorphic art created by DalÃ. The artist's final works, including his last oil painting, The Swallow's Tail (1983), are on display here.
THE DALINIAN SYMBOLS
A study of the work of DalÃ, reveals some systematically present symbols in all his work. It's fetish objects that apparently have little in common: crutches, sea urchins, ants, bread...
Dalà uses these symbols so as to make it more meaningful to the message of his painting. The contrast of a hard shell and a soft interior is at the heart of his thinking and his art. This contrast outside-(hard/soft) is consistent with psychological design whereby individuals produce (hard) defenses around the vulnerable psyche (flexible). Dalà knew very well the work of Freud and his followers, even if its iconography derives absolutely no psychoanalytic thought.
ANGELS
They have the power to enter the celestial vault, communicating with God and thus achieve mystical union that concerns both the painter. Figures of angels painted by Dalà often borrow traits of Gala, incarnation, for Dali, purity and nobility.
CRUTCHES
It may be the only support of a figure or the necessary support of a form unable to stand alone. Dalà the view child, in the attic of his father's House. It should take and will never part. This subject gave him an assurance and an arrogance which he had never yet been able. In the short dictionary of Surrealism (1938), Dalà gives the following definition: "wooden Support deriving from the Cartesian philosophy. Generally used to serve as a support to the tenderness of the soft structures."
ELEPHANTS
The dalinian elephants are usually represented with the long legs of desire invisible to many bearings, bearing on their Obelisk back symbol of power and domination. The weight supported by the frail legs of the animal evokes weightlessness.
SNAILS
The snail is related to an important milestone in the life of DalÃ: his encounter with Sigmund Freud. Dalà believed that nothing happens just by accident, he was captivated by the vision of a snail on a bicycle outside the home of Freud. The link is then made him between a human head and the snail, he associated specifically with the head of Freud. As for the egg, the outer part of the (hard) shell and the inner (soft) body of the snail site and the geometry of its curves it enchantèrent.
ANTS
Symbol of decay and decomposition. Dalà ants first met in his childhood, observing the remains decomposed small animals devoured by them. He observed with fascination and repulsion, and continued to use them in his work, as a symbol of decadence and ephemeral.
SOFT WATCHES
Dalà has often said, "the materialization of the flexibility of time and the indivisibility of space... It is a fluid." The unexpected softness of the watch also represents the psychological aspect by which the speed of time, although accurate in its scientific definition, can greatly vary in its human perception. The idea came to him after a meal while he contemplated the remains of a runny camembert. He decided to paint over the landscape that served as backdrop for two soft watches which one hung miserably to an olive branch.
EGG
Christian symbol of the resurrection of Christ and the emblem of purity and perfection. The egg evokes by its appearance and its minerality dear symbolism to Dali, earlier, intrauterine life and re-birth.
SEA URCHIN
His "exoskeleton" (the shell sits outside), Harris of thorns, can make you very unpleasant a first contact with the animal. The shell on the other hand contains soft body (one of the favorite dishes of Dali, who was known to eat a dozen at each meal). The Sea Urchin shell, stripped of its spines, appears in many of his paintings.
BREAD
Is it fear of Miss, Dalà represents it in his paintings and also begins to make surrealist objects with bread. In his paintings, loaves more often have something 'hard' and phallic, opposed to the "soft" watches. Dali has always been a great admirer of the bread. It tapissera of Catalan round loaves Figueras Museum walls.
LANDSCAPES
Traditional space (based on the perspective and the paintings of the Renaissance). Realistic landscape strewn with strange and unreal objects located in a natural environment. The background and how to use landscapes are one of the strengths of the art of Dali. They contribute to create the atmosphere of unreality of his paintings (landscape of his native Catalonia and vast plain of Ampurdan surrounding Figueras).
DRAWERS
Human bodies that open by drawers are found repeatedly in paintings and objects from Dali. They symbolize the memory and the unconscious and refer to "thought to be drawers", a concept inherited from the reading of Freud. They express the mystery of hidden secrets. Most of the children explore each drawer, cabinet and wardrobe of their home.
VENUS OF MILO
It is part long's personal mythology of the painter. She is the first woman he model child in clay from a reproduction adorning the family dining room. It is also that he discovered on a box of crayons in New York. He finds stupid expression on his face that he nevertheless considered own to perfect but inadequate female beauty in an elegant woman whose gaze should be or seem intelligent. Dalà made several transformations of Venus: the space Venus, Venus with drawers...
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
St George, Rollesby, Norfolk
A large round-towered church, the 13th Century upper stages of the tower octagonal. The church has one of the best collections of early 20th Century glass in Norfolk.
After my previous visit, ten years before, I'd written, in part: Something extraordinary happened to the Church of England during the middle years of the 19th century. For generations, it had been an arm of the state, the rock upon which the protestant nation was built. But a series of reform acts in the 1820s and 1830s made that rock tremble.
Firstly, many of the administrative functions of the Church were taken away and handed to secular authorities. And then, even worse, Catholicism was decriminalised. Suddenly, it was possible for Christians to worship without owing allegiance to the Crown or to the Bible of non-conformism. Where did the Church of England's identity now subsist? Was it to be sidelined as a mere protestant sect?
A group of academics at Oxford University sprang into action. They called for the re-establishment of Anglicanism as a National Church. They issued a series of tracts, explaining the historic roots of the Church of England, and its self-perception as a Church with an apostolic tradition. Because of this, they became known as the Tractarians, or the Oxford Movement.
The great majority of the British people in the 1830s and 1840s had a serious mistrust of anything that had happened before the 16th century Protestant Reformation. It smacked of Popery; but the Tractarians took on the task of smoothing over the Reformation gap and re-establishing the connection between the 19th century church and its medieval predecessor. They made a spectacularly successful job of this, and as a result the Church of England was changed forever. In just about every parish in the land, Anglican churches were restored to their medieval integrity.
Sacramental chancels were refitted, the old protestant furnishings thrown out, and surviving medieval artefacts rediscovered with alacrity and restored enthusiastically to use. By the 1870s, Anglican churches were once again a riot of colour and ceremony, where only half a century before most had been dull, plain, preaching boxes.
There were, of course, casualties. In seeking out the Catholic medieval roots of the Church, Oxford's academics had also painfully exposed the gap between the modern Church of England and the essential nature of Catholicism. Was it really possible to find a middle way between what Anglicanism believed itself to be, and what it was unable to demonstrate as a reality? Or had the Reformation really been a fracture?
Inevitably, since the touchstone of Catholicism is the Apostolic succession, thousands of people, mainly intellectual and upper-middle class, left the Church of England to be received into the Catholic Church. But the central project of the Tractarians had succeeded. They re-established the Church of England as the spiritual and ceremonial pulse of the Nation.
Tractarianism was fully in the ascendant, becoming Anglo-catholicism as the century progressed, and reaching its peak during the First World War, as the Church provided the triumphalism necessary for the fight, and the authority to mourn for its casualties afterwards.
But the First World War had broken the spell. Reaching a peak in the 1930s, the ceremonies and liturgies of the High Church wing began to ring hollow, and by the 1950s and 1960s the Anglo-catholics were a minority. Newer spiritual currents were running deeper; evangelicalism was undergoing a renaissance, especially in the cities. After the 1992 decision to ordain women as Priests, Anglo-catholicism fragmented; the larger, liberal wing sought out a quieter, more intellectual spirituality. The spiky, militant wing was left to sulk outside the doors of the Church, administered by Flying Bishops and treated as an exotic flower. How much longer can it bloom, or even survive?
And yet, something remains. Because the great wave of restoration in the late 19th and early 20th centuries, handsomely bankrolled as it was by the booming economy and a new, wealthy landed class, produced a massive refurnishing of English churches, not least in the way of stained glass. That the windows are full of coloured glass would be the most startling change a 18th century Anglican would notice if he could visit a church today. In the later 20th century, as Anglo-catholicism retreated, and High Church ceremonial disappeared, the glass remained. And so it does today, often the only surviving evidence of that remarkable time*.
There seems to have been a lot of money about in this part of Norfolk during those years, because the churches were, in the main, extensively restored and furnished. Much of this has gone today, but as I say, the glass remains, and here at Rollesby there is an impressive collection. At Ormesby St Margaret up the road, the medievalisation of the building was paid for by the Lacon brewing family, but here the benefactor was the Rector himself.
The gift of the living, £657 a year, about £130,000 in today's money, was in the hands of the Tacon family, and in 1872 the current owner, Richard John Tacon, presented himself to the living. He was to remain Rector for nearly sixty years, and in that time he would transform the interior of this church. Because of him, St George has one of the largest collections of 19th and 20th Century glass east of Norwich. In this area, only Ormesby St Margaret and Filby have more, and they are much bigger churches than this one.
I mention all this before anything else merely to illustrate the point that English churches are rarely evidence of continuity, but of the drama of violence and ideas. The architectural historian Andy Foster has described history as a palimpsest, but not all historical periods write with equally heavy hands. The character of St George today is almost entirely the work of the Reverend Tacon - and yet, he has been dead eighty years, and virtually nothing in the Church of England remains the same. The liturgy has changed, ideas and attitudes have changed, and certainly the centrality of the church in mainstream English life has changed, and gone for good. And yet still these windows remain.
It was a bright spring day. The blue sky set off beautifully Rollesby's magnificent chancel with its crowning pinnacle figures. The nave, aisles and chancel, unusually for Norfolk, are almost entirely of the Decorated period, the early 14th century, with little of the more familiar Perpendicular architecture of a century and more later. The clerestory in particular is a textbook example of the period. The window tracery is largely Victorian, and the top of the tower probably late 13th century, and possibly contemporary with the building of the nave and chancel. The lower part of the tower is so restored that I found it hard to tell how old it was.
St George has a number of interesting memorials. Reclining at a precarious angle on the north side of the sanctuary is Rose Claxton, in late 16th century dress. She looks rather as if she's just been stuck up the corner because they can't think what else to do with her, poor thing, but her inscription assures us otherwise:
Know Friendly Passenger that this smale roome
Rose Claxton's Body onelye doth intombe.
Her Bewtye, Love & Gracefull Modestye
In her Freinds Hartes shall Lyve Eternallye.
Across from her is Leonard Mapes of Beeston next Norwich with his wife and his children in alabaster, all praying together. He died in 1619, and it looks as if the top of his memorial is missing. Under the tower is a very simple memorial to Hannah Watson, who died in 1810. Just in front of her is the font, one of several local Purbeck marble fonts reset on a collonade. Inside it is a portable font of the sort used by energetic 19th century Rectors.
And there are a couple of curiosities that are worth mentioning. Although the nave and chancel appear broadly contemporary, the arcades do not match up with the chancel. Simply, the chancel is too wide.
What happened here? The obvious answer is that the arcades replaced the walls of an earlier church, and the chancel was built independently of this work. In the south-east corner of the chancel is a very curious structure, a little room built into the sanctuary. It must be a sacristy of some kind - what else could it be? But why is there nothing like it anywhere else in East Anglia?
*Indeed, the tradition continues here with the installation in 2011 of a large window depicting St Raphael on the north side of the chancel, by Emma Blount.
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
At a university fair I found a mirror box made by an art student. The idea was to promote creativity by attracting kids who'd like to have selfies "like no other" :)) But as someone interested in the working of the mind I found it to be one of the best things at the fair. I've just couldn't resist taking a selfie in the mirror box, to show that right angles can make space distortions ... it's all about perception.
All of us see the world around from a different viewpoint based on our experiences. Many have seen this pic taken today, so far none have been able to discern the subject matter.
It is a solo cup with water......
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
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Boom 2014
Photo-Reports by Wolfgang Sterneck
A Reality called Boom - Rhythms @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646523564525
A Reality called Boom - Visions @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646103367017
A Reality called Boom - Spiral Dance @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646505988761
Wolfgang Sterneck:
In the Cracks of the World
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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Boom-Festival
04.08.-11.08.2014
Boom-Festival
Idanha-a-Nova Lake - Portugal
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BOOM VISION
Boom is not only a festival, it is a state of mind. Inspired by the principles of Oneness, Peace, Creativity, Sustainability, Transcendence, Alternative Culture, Active Participation, Evolution and Love, it is a space where people from all over the world can converge to experience an alternative reality.
Boom is a festival dedicated to the Free Spirits from all over the world. It is the gathering of the global psychedelic tribe and of whoever feels the call to join in the celebrations!! Boom is a weeklong unpredictable and unforgettable adventure. It takes place, every two years, during August Full Moon, on the shores of a magnificent lake in the sunny Portuguese inland and every one is invited!
BOOM IS A MODEL OF ENVIRONMENTAL AWARENESS
An environmentally conscious event is a way to offer a concrete example that it is possible to live on this Planet in respect of Mother Earth and of one another. This is possible through a deep understanding of the cycles of life and humanity’s place within these cycles. Permaculture is a brilliant example of how such understanding can be turned into practice.
Boom’s pioneering Environmental Program applies the principles of Permaculture to every single aspect of the Festival production. Moreover Boom widely promotes knowledge and practices of sustainability through lectures, workshops and… practical example!
100% compost toilets (still to this day the only large event in the world to reach this result!); 100% on-site water treatment facilities, off-the-grid energy solutions, bio-construction, permaculture gardens, vegetable oil for the generators… these are just a few of the ground breaking projects that have granted Boom the most prestigious international prizes in environmental efficiency.
For further details please visit the environmental program page.
BOOM BELIEVES IN A BORDERLESS WORLD
Since its beginning in 1997, Boom is the home of the global nomadic tribe. Since then, it has grown organically by word of mouth into an incredibly culturally diverse festival, attracting people from 116 nationalities (2012). Boom is the celebration of the Earth’s multicolored Oneness. EVERY ONE is invited and EVERY ONE is called to consciously co-create a positive reality of Love and Peace, for us and for the next generations. We Are One!
BOOM BELIEVES IN TRANSCENDENCE THROUGH MUSIC
At Boom music is sacred. The dancefloors are temples where to transcend ordinary states of perception and the limitations of our egos. Through dance and music, we can reconnect to our own individual divine essence, while in synch with the beating heart of the whole tribe. All in One!
Scattered across four stages, music at Boom is as diverse as it gets: electronic, acoustic, classic, any style is welcome and represented in a different area, live concerts, djs sets, solo artists, bands… Boom started as a psytrance festival and has developed into an inclusive gathering, unveiling the surprising diversity of quality underground soundscapes.
Psytrance culture remains one of the inspiring sources of Boom's vision and intention. And Boom remains as a testimony of the evolutionary potentials of such a culture.
Check the pages of the single areas for details on the different visions.
BOOM ACTIVATES TRANSFORMATION
Boom’s ultimate aim is to facilitate individual and collective transformation. The Boom experience has been conceived to activate the vital force directing every being towards the fulfillment of its highest potential. To reach this ambitious goal, Boom relies on the continuous exchange of radically innovative knowledge and practices by countless Boomers, musicians, artists, teachers, visionaries, healers, farmers, ecologists, wisdom keepers, researchers, scientists, activists
Besides the music stages and the countless art installations scattered all over the site, the other areas where Boom channels transformation are the Liminal Village, the Healing Area and the Visionary Art Museum. Here our hearts, bodies and minds can receive a full download of information through workshops, presentations, rituals and meditations Check the single areas’ pages for more details.
NO TO CORPORATE SPONSORS, CORPORATE LOGOS AND VIPs, YES TO INDEPENDENCE, SOLIDARITY AND CREATIVITY!!!
Boom is an autonomous zone of cognitive liberty and therefore is and will always be free from corporate sponsorship and logos. Boom is funded by the financial support of the thousands of people that buy the tickets and come to the festival.
Boom does not believe in VIP areas and special treatments, since every Boomer is a VIP! Boom adheres to the principle of ’thinking outside the box’, for the co-creation of novel ways of viewing reality and acting for its evolutionary unfolding.
www.boomfestival.org/boom2014/news/boom-vision
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BOOM-VISION
Die Boom ist nicht nur ein Festival – Sie ist ein Lebensstil
Es sind kleine Momente, in denen das Lernen stattfindet. Jene Momente in denen du versteht wie wichtig es ist, Fünfe einfach mal gerade sein zu lassen. Und jene Momente in denen dir klar wird, dass du es an anderen Stellen genauer nehmen musst. Diese kleinen Momente prägen dich, deine Einstellung und dein Handeln – und mit dir die Grundlage für große Veränderungen. Genau hier setzt die Idee der Boom an: Als schillernder Kristallisationspunkt einer Neo-Stammeskultur möchte sie inspirieren. Und zwar durch jene magische Erfahrung, die zwischen zeitgenössischer Musik, visionärer Kunst und intellektuell-spirituellem Input entsteht.
Veränderung fängt bei dir an, bei deiner Weltanschauung. Du bist der Flügelschlag des Schmetterlings, der am anderen Ende der Welt einen Wetterumschwung bewirkt. Lerne, deine Flügel zu gebrauchen!
Zu diesem Zweck kippen wir das Schubladensystem, das unseren Alltag bestimmt, einfach mal komplett aus. Und zwar mitten hinein in die sonnige, unverdorbene, nuklearfreie Natur Portugals. Dann nehmen wir uns 7 Tage lang Zeit, um spielerisch neue Denkwege und Handlungsweisen, um eine neue Ordnung zu erkunden. Das ist unsere Vision von psychedelischer Kultur und sie wollen wir aktiv vortreiben.
Auf unserer Webseite findet ihr ausführliche Informationen zu den freien Künsten, den multidimensionalen Installationen und den kreativen Liebensbomben, die auf unsere temporäre autonome Zone regnen werden.
Boom ist eine Lebenseinstellung – und sie lebt in euch, liebe Boomer!
INTERKULTURELL
Andere Länder, andere Lebensstile. Auf der Boom kannst du erleben wie inspirativ diese einfache Tatsache ist. Und zwar in konzentrierter Form: Im Jahr 2012 reisten Stammesangehörige aus 116 verschiedenen Ländern an, um in ihrer multikulturellen Mischung eine durchweg positive Vision für die Zukunft zu manifestieren: We Are One – Wir sind eins!
NATUR
Die Kulisse für unser Stammestreffen gestaltet die wohl besten Dekorateurin überhaupt: Mutter Natur. Jene jahrhundertealte iberische Baumlandschaft der umliegenden Hügel, versonnene Gärten und der weitläufige See, in dem sich die Magie des August-Vollmonds spiegelt, schaffen ein einzigartiges Panorama.
STRAND
Nachdem du dich in schwitzende Trance getanzt hast oder wenn dir die Wärme des portugiesischen Sommers zuviel werden sollte: Die nötige Erfrischung ist maximal ein paar hundert Meter entfernt - egal wo du gerade bist. Der große See bestimmt nicht nur das Bild der Boom, sondern auch ihre Stimmung. Wie beim Strandurlaub kannst du jene fließende Ruhe des Wassers aufsaugen, die dich sanft umspült.
DESIGN FÃœR DEN GEIST
Das Liminal Village bietet Gelegenheit, dir dein Oberstübchen neu einzurichten: Mit Lebensphilosophie und praktischem Wissen. Im intellektuellen Brennpunkt der Boom finden Vorträge und Diskussionen zu Themen wie Aktivismus, Psychedelik, Freie Kultur, Rituale der Ahnen, Mythologie, Ökologie, Traumlandschaften, Permakultur, Trance, Heilige Pflanzen oder Alternative Medizin und Wissenschaft statt. Dazu waren in den letzten Jahren Referenten wie Vandana Shiva, Alex Grey, Daniel Pinchbeck, Graham Hancock, Robert Venosa, Erik Davis und Shipibo Don Guillermo Arevalo zu Gast. Ein Filmprogramm zur neuen, planetarischen Kultur bietet noch mehr Stimulation auf intellektueller Ebene.
PSYCHEDELISCHES KUNSTMUSEUM
Was ist psychedelische Kunst, was visionäre? Will sie die Eindrücke einer psychedelischen Erfahrung wiedergeben? Will sie ähnliche Emotions- und Assoziationsstrukturen auslösen wie eine Vision? Mach dir selbst ein Bild! In atemberaubender Vielfalt präsentieren einige der talentiertesten Maler von allen Kontinenten des Planeten ihre bewusstseinserweiternden Werke.
INSTALLATIONEN
Bildende Kunst stößt die Pforten unserer Wahrnehmung weit auf und eröffnet uns so die Sicht auf Aspekte unserer Realität, welche normalerweise hinter dem Grauschleier des Alltags verborgen liegen. Um dich mitten hinein in dieses ästhetisch-surreale Paralleluniversum zu katapultieren, kommen überall auf dem Gelände Medien wie Malerei, Bildhauerei, Land Art oder Video zum Einsatz. Sie lassen deine Reise über die Boom zu einer Reise in eine außerirdische Welt von fremdartiger Schönheit werden.
MUSIK
Über verschiedene Tanzplätze verteilt verwirklicht die Boom ihre psychedelische Vision im Spektrum der hörbaren Frequenzen. Dabei entstehen viele verschiedene Rhythmus- und Harmonie-Texturen die alle darauf abzielen, deine Synapsen zu kitzeln, deine Fantasie zu stimulieren und dich zu beflügeln. Die Klanglandschaften der Boom erstrecken sich auf Genres wie Psytrance, Progressive, Dub, Bass Music, Dubstep, World Music, Glitch, Nu Funk, IDM, Cosmic oder Psy Brakes. In ihrer Gesamtheit schwingen sie sich zum kosmischen Groove der universellen Liebe auf!
TANZTEMPEL
Mit jedem Herzschlag der Boom bebt das portugiesische Hinterland. Im monumentalen Tanztempel verschmelzen utopische Zukunftsvisionen und das archaische Ritual des Stammenstanz zu einer einzigartigen Trance-Erfahrung. Um euer Bewusstsein dorthin zu schicken, wo Worte zu Hülsen und Bedeutungen zu Variablen werden, haben wir einige der besten DJs, Liveacts und Tribal Bands eingeladen, uns mit extralangen Sets zu verzaubern. Denn Qualität ist wichtiger ist als Masse. Mit viel Liebe zum Detail planen wir eine Reise durch jene multidimensionale Welt namens Psy, wobei wir in Regionen wie Dark, Twilight, Forest, Tribal, Prog, Full-On, Groovy Full-On, Goa und Nu-Goa vorstoßen.
Die Grundidee der Boom unterscheidet sich ganz erheblich von der einer kommerziellen Massenproduktion. Wir möchten raus aus dem Schattenreich des Egoismus, hinein in eine kollektive Erfahrung. Mithilfe von DJs, VJs, Dekorateuren, Designern und -am allerwichtigsten- mithilfe von euch, den Boomern. Auf dass wir unsere multikulturelle kreative Energie zu einer wahrhaft großen Erfahrung vereinen: Wir sind eins!
UMWELT
Auf der Boom werden die Erkenntnisse und Prinzipien der Permakultur in ein Festival umgesetzt. So wird ganz konkret erfahrbar: Auch große, internationale Menschenansammlungen lassen sich mit maximalem Respekt vor unserer heiligen Mutter Natur vereinbaren. Dieser Ansatz wurde in den Jahren 2008 und 2010 mit dem Greener Festival Award ausgezeichnet, 2010 und 2012 außerdem mit dem European Festival Award.
Auf der Boom kommen ausschließlich Komposttoiletten zum Einsatz. Das Nutzwasser wird mithilfe von Pflanzen zu 100% wiederaufbereitet. Es gibt kostenlose Taschenaschenbecher. Für die Generatoren wird gebrauchtes Pflanzenöl verwendet. Außerdem nutzen wir Technologien wie Solarenergie, Windräder, Biobau und ökologische Abwasserentsorgung, die jedes Jahr weiterentwickelt werden. Auch hier gilt: Die Boom seid ihr, die Boomer. Tragt bitte dazu bei, dass sie ein nachhaltiges Festival ist. Respektiert Mutter Natur und hinterlasst keinen Müll!
SPIRITUALITÄT
Anreize für spirituell-sozialen Aktivismus, die sich in Form von Yoga, Ayurveda, Tai Chi, Kung Fu, Watsu, Therapien, alternativen Heilmethoden und ganzheitlichen Lehren manifestieren. Auch das ist ein zentraler Aspekt unserer Vision. Denn die Harmonie zwischen Geist und Körper ist ein erster Schritt in Richtung globale Harmonie.
INFRASTRUKTUR
Freies Wasser. Freies Camping. Freier Wohnmobil-Park. Babyboom für die jüngsten Boomer (bring deine Familie mit zur Boom!) Freie medizinische Versorgung. Freies WIFI. Schließfächer. Boom-Busshuttle von den Flughäfen Lissabon und Madrid. 100% Komposttoiletten. 100% Aufbereitung des Duschabwassers mithilfe von Pflanzen. Ayurvedische Apotheke. Spezielle Einrichtungen für Behinderte. Lebensmittelgeschäft. Gemeinschaftsküchen. Und vieles, vieles mehr!
LOGO-FREIE ZONE
Die Boom finanziert sich einzig und allein über den Ticketverkauf, sie ist frei von jeglichem Firmen-Sponsoring und wird es immer sein. Auch in dieser Hinsicht möchten wir einen Freiraum schaffen, in dem sich der menschliche Geist unbefangen ausbreiten und entfalten kann.
Obwohl das Boom Team den Rahmen schafft – das eigentliche Erlebnis, die eigentliche Inspiration und der eigentliche Geist lebt in euch. Denn ihr seid die Energie, ausgehend von euch kann sich diese Welt ändern.
BESONDERE BEDÃœRFNISSE
Wir möchten die Einrichtungen und Angebote für Behinderte weiterentwickeln. Wenn du oder jemand deiner Freunde behindert ist, sendet uns bitte bis Juni 2014 eine Email um optimale Bedingungen zu garantieren: specialneeds@boomfestival.org
FLEXIBLE EINTRITTSPREISE
Unser globaler Stamm ist in vielen verschiedenen Ländern zuhause, in denen ganz unterschiedliche Einkommensverhältnisse herrschen. Außerdem leben wir in Zeiten des finanziellen Abschwungs. Wir waren sehr betroffen als wir nach der Boom 2012 hörten, dass einige Menschen schlichtweg nicht genug Geld aufbringen konnten um Teil der kollektiven Erfahrung zu sein. Deshalb haben wir uns entschieden, auf diese Tatsache mit einem flexiblen Eintrittsmodell zu reagieren. Es gibt spezielle Ticketpreise für Länder außerhalb der Europäischen Union, der USA, Kanada, Australien, Neuseeland und Japan. Außerdem für jene Länder, die aktuell die ökonomischen Spekulationen der Rating-Agenturen und der IMF durchlaufen: Portugal, Irland, Griechenland und Spanien. Diese Tickets sind nur bei den Boom Botschaftern des jeweiligen Landes erhältlich, nicht über die Webseite der Boom.
www.boomfestival.org/boom2014/multilingual/deutsch
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Sun, sand, Seagull and Seagill all together make for more of the same. The waves roll out to sea and return back to the shore that they left from, but everything has changed and changed and changed again each tide each new sea on each new shore and so the cycle seems set to run for evermore. In amongst the rolling waves are both life and death each arriving and departing all along the coast that is the fertile belt stretched and wrapped all around the land.
© PHH Sykes 2022
phhsykes@gmail.com
Testing out my new Dynamic Perception gear. This is the DP carbon fiber setup. Two 20's and two 40's to make up 60" of slide/rail. Cam on rig: Nikon D600 and a Samyang 14mm f/2.8 - And I love how the Nikon 35mm f/1.8 DX lens looks on a D810 - I took this photo with that setup.
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Bustier-Dresses in color with silver contrast are now up in-world!.
7 sizes, the five standard sizes plus special sizes M+ for very curvy shapes and Bx for top-heavy shapes.
:$285 each or L$985 per fatpack of 5.
Copy/Mod, No Transfer.
Leather Overbust Corset and Neck Corset. 7 sizes: Standard sizes XXS-L, plus special sizes M+ and Bx. Copy/Mod
maps.secondlife.com/secondlife/Mint Tulip/24/203/22
Reality is just a manner of perception
Hey guys! I'm really sorry I haven't uploaded lately. I've been really busy with school and all the other stuff. Anyway, this is inspired by Fringe (the BRILLIANT tv serie). I continue to be in experimenting phase and I'm loving it!
I'm going down to my Grandpa's house today for Easter and I'm procrastinating like always.
Happy holidays guys <3