every forest ever

wowgreat: Hansje van Halem (via www.hansje.net)

Sat, 18 Feb 2012 02:50:15 -0500

wowgreat:

Hansje van Halem (via www.hansje.net)

riccardolorusso: For the confusing chart category.

Sat, 18 Feb 2012 02:23:07 -0500

riccardolorusso:

For the confusing chart category.

* One becomes two, two becomes three, and out of the third comes...

Tue, 07 Feb 2012 14:44:25 -0500

One becomes two, two becomes three, and out of the third comes the one as the fourth.

‘axiom of maria’

img

* “In addition to the changing of one’s own mental...

Tue, 07 Feb 2012 14:25:00 -0500

“In addition to the changing of one’s own mental states by the operation of the art of Polarization, the principle may be extended so as to embrace the phenomena of the influence of one mind over that of another, of which so much has been written and taught of late years. When it is understood that Mental Induction is possible, that is that mental states may be produced by ‘induction’ from those of other persons, then we can see how readily a certain rate of mental vibrations, or polarization of a certain mental state, may be communicated from one person to another, and the polarity of the second person be changed accordingly. It is along these lines that many excellent results of ‘mental treatment’ are obtained, though the practitioner may not understand the nature of the principle he is using. For instance, a person is ‘blue,’ melancholy, depressed in spirits, and full of fear. A mental scientist bringing his own mind up to the desired vibration, by means of his own will which thus produces the desired polarization in his own case, then by induction communicates these polarized vibrations to the mind of the patient, the result being that the patient’s emotional states are converted from the negative polarization to the positive. A knowledge of the existence of this great occult principle will enable the occultist to better understand his own mental states, and those of other people. He will see that these states are all matters of degree, and seeing thus he will be able to raise or lower his mental and emotional vibrations at will—to change his mental poles, and thus be a master of his emotions instead of being a slave to them. And by his knowledge he will be able to aid his fellow men intelligently, and by appropriate methods change their mental and emotional polarization when the same is desirable.”

The Secret Doctrine of the Rosicrucians, by Magus Incognito, [1918]

youtreau:

Formalisierung der Langeweile by Jürgen Klauke 1980/1981

* That which is below is like that which is above that which is...

Tue, 07 Feb 2012 14:00:29 -0500

That which is below is like that which is above that which is above is like that which is below to do the miracles of one only thing.

isaac newton translation of the emerald tablet

. In the Secret Doctrine of the Rosicrucians, we find the...

Tue, 07 Feb 2012 13:20:00 -0500

In the Secret Doctrine of the Rosicrucians, we find the following Seventh Aphorism

The Seventh Aphorism

VII. The Soul of Man is Sevenfold, yet but One in essence; Man’s Spiritual Unfoldment has as its end the Discovery of Himself beneath the Sevenfold Veil.

In this Seventh Aphorism of Creation, the Rosicrucian is directed to apply his attention to the concept of the Sevenfold Soul—One in essence—of Man; which in the figurative language of the mystic constitutes the seven veils which conceal from (yet reveal to) Man his real Self. This concept is represented by the Rosicrucians by means of the symbol of the figure of a man surrounded by seven outlined shapes—the man, himself in his essence, is represented by the blank space disclosed by the inmost outline, and each one of the “concealing but revealing veils” is represented by an outlined figure, each being but one of the series of seven. The series of outlines, be it noted, is enclosed in the circle representing the Infinite Unmanifest.

source

ymutate: Paul Klee, (1879-1940) Ad Parnassum. 1932

Tue, 07 Feb 2012 10:45:32 -0500

ymutate:

Paul Klee, (1879-1940) Ad Parnassum. 1932

wowgreat: (by Leonardo Solaas)

Tue, 07 Feb 2012 10:41:12 -0500

wowgreat:

(by Leonardo Solaas)

On Being Lyrical by Emil Cioran

Fri, 27 Jan 2012 18:55:00 -0500

On Being Lyrical by Emil Cioran:

ontheunspeakable:

ouisahound:

Why can’t we stay closed up inside of ourselves? Why do we chase after expression and form, trying to deliver ourselves of our precious concern or “meanings,” desperately attempting to organize what is after all a rebellious and chaotic process? Wouldn’t it be more creative simply to surrender our inner fluidity without any intention of objectifying it, intimately and voluptuously soaking in our own inner turmoil and struggle? Then we would feel with much richer intensity the whole inner growth of spiritual experience. All kinds of insights would blend and flourish in a fertile effervescence. A sensation of actuality and spiritual content would be born, like the rise of a wave or a musical phrase. To be tormented by a sense of inner infinity means to live so intensely that you feel you are about to die of life. Such a feeling is so rare and strange that we would live it out with shouts. I feel I could die of life, and I ask myself if it makes any sense to look for an explanation. When your entire spiritual past vibrates inside you with a supreme tension, when a sense of total presence resurrects buried experiences and you lose your normal rhythm, then, from the heights of life, you are caught by death without the fear which normally accompanies it. It is a feeling similar to that experienced by lovers on the heights of happiness, when they have a passing but intense intimation of death or when a premonition of betrayal haunts their budding love.

Only a few can endure such experiences to the end. There is always a serious danger in repressing something which requires objectification, in locking up explosive energy, because there comes a moment when one cannot restrain such overwhelming power. And then the fall is from too much plenitude. There are experiences and obsessions one cannot live with. Salvation lies in confessing them. The terrifying experience of death, when preserved in consciousness, becomes ruinous. If you talk about death, you save part of your self. But at the same time, something of your real self dies, because objectified meanings lose the actuality they have in consciousness. This is why lyricism represents a dispersion of subjectivity; it is a certain quantity of an individual’s spiritual effervescence which cannot be contained and needs constant expression. To be lyrical means you cannot stay closed up inside yourself. The need to externalize is the more intense, the more the lyricism is interiorized, profound, and concentrated. Why is the suffering or loving man lyrical? Because such states, although different in nature and orientation, spring up from the deepest and most intimate part of our being, from the substantial center of subjectivity, as from a radiation zone. One becomes lyrical when one’s life beats to an essential rhythm and the experience is so intense that it synthesizes the entire meaning of one’s personality. What is unique and specific in us is then realized in a form so expressive that the individual rises onto a universal plane. The deepest subjective experiences are also the most universal, because through them one reaches the original source of life. True interiorization leads to a universality inaccessible to those who remain on the periphery. The vulgar interpretation of universality calls it a phenomenon of quantitative expansion rather than a qualitatively rich containment. Such an interpretation sees lyricism as a peripheral and inferior phenomenon, the product of spiritual inconsistency, failing to notice that the lyrical resources of subjectivity show remarkable freshness and depth.

There are people who become lyrical only at crucial moments in their life; some only in the throes of death, when their entire past suddenly appears before them and hits them with the force of a waterfall. Many become lyrical after some decisively critical experience, when the turmoil of their inner being reaches paroxysm. Thus people who are normally inclined toward objectivity and impersonality, strangers both to themselves and to reality, once they become prisoners of love, experience feelings which actualize all their personal resources. The fact that almost everybody writes poetry when in love proves that the resources of conceptual thinking are too poor to express their inner infinity; inner lyricism finds adequate objectification only through fluid, irrational material. The experience of suffering is a similar case. You never suspected what lay hidden in yourself and in the world, you were living contentedly at the periphery of things, when suddenly those feelings of suffering which are second only to death itself take hold of you and transport you into a region of infinite complexity, where your subjectivity tosses about in a maelstrom. To be lyrical from suffering means to achieve that inner purification in which wounds cease to be mere outer manifestations without deep complications and begin to participate in the essence of your being. The lyricism of suffering is a song of the blood, the flesh, and the nerves. True suffering begins in illness. Almost all illnesses have lyrical virtues. Only those who vegetate in a scandalous insensitivity remain impersonal when ill, and thus miss that deepening of the personality brought about by illness.

One does not become lyrical except after a total organic affliction. Accidental lyricism has its source in external factors; once they have disappeared, their inner correspondent also disappears. There is no authentic lyricism without a grain of interior madness. It is significant that the beginnings of all mental psychoses are marked by a lyrical phase during which all the usual barriers and limits disappear, giving way to an inner drunkenness of the most fertile, creative kind. This explains the poetic productivity characteristic of the first phases of psychoses. Consequently, madness could be seen as a sort of paroxysm of lyricism. For this reason, we should rather write in praise of lyricism than in praise of folly. The lyrical state is a state beyond forms and systems. A sudden fluidity melts all the elements of our inner life in one fell swoop, and creates a full and intense rhythm, an ideal convergence. Compared to the refined culture of sclerotic forms and frames, which mask everything, the lyrical mode is utterly barbarian in its expression. Its value resides precisely in its savage quality: it is only blood, sincerity, and fire.

from On the Heights of Despair, trans. by Ilinca Zarifopol-Johnston

Photo

Fri, 20 Jan 2012 13:58:38 -0500

wowgreat: contemporary-art-blog: Throughout the course of his...

Fri, 20 Jan 2012 13:54:32 -0500

wowgreat:

contemporary-art-blog:

Throughout the course of his work Marco Breuer has constantly challenged traditional notions of a photograph. The biggest being he never uses a camera. The image above, entitled “Spin (C-813)” was created by applying scratches directly to a piece of chromogenic photo paper. Breuer also routinely uses abrasives, industrial tools, mold, and various instruments to create the patterns in his images.

(via dgarrison)

spookyactioncollective: The Information, James Gleick

Tue, 17 Jan 2012 22:43:36 -0500

spookyactioncollective:

The Information, James Gleick

Photo

Tue, 17 Jan 2012 15:34:45 -0500

Photo

Tue, 17 Jan 2012 15:33:38 -0500

"The impulse to distinguish terminologically between existence as applied to objects actualized..."

Tue, 17 Jan 2012 15:32:48 -0500

“The impulse to distinguish terminologically between existence as applied to objects actualized somewhere in space-time and existence (or subsistence or being) as applied to other entities arises in part, perhaps, from an idea that the observation of nature is relevant only to questions of existence of the first kind. But this idea is readily refuted by counterinstances such as ‘the ratio of the number of centaurs to the number of unicorns’. If there were such a ratio, it would be an abstract entity, viz. a number. Yet it is only by studying nature that we conclude that the number of centaurs and the number of unicorns are both 0 and hence that there is no such ratio.”

- On What There Is - Wikisource (via spookyactioncollective)

ymutate: Alex Brown: Wildlife, 2009; oil paint on canvas; 49.5...

Tue, 17 Jan 2012 15:29:22 -0500

ymutate:

Alex Brown: Wildlife, 2009; oil paint on canvas; 49.5 x 51”, found at featureinc.com

ironnyk: Dreamtime Sisters - Acrylic on Belgian Linen Colleen...

Tue, 17 Jan 2012 15:28:23 -0500

ironnyk:

Dreamtime Sisters - Acrylic on Belgian Linen

Colleen Wallace Nungari

"But when the team then gave the volunteers a dose of ayahuasca and repeated the experiment, they..."

Tue, 17 Jan 2012 15:26:20 -0500

“But when the team then gave the volunteers a dose of ayahuasca and repeated the experiment, they found that the level of activity in the primary visual cortex was virtually indistinguishable when the volunteers were really viewing an image and when they were imagining it. This means visions seen have a real, neurological basis, says de Araujo – they are not made up or imagined.”

- Drug hallucinations look real in the brain - life - 28 October 2011 - New Scientist (via ontheunspeakable)

wowgreat: fractal dust [22987_CircleScape06_2 (by...

Tue, 17 Jan 2012 15:21:31 -0500

wowgreat:

fractal dust [22987_CircleScape06_2 (by HolgerLippmann (work in process))

ontheunspeakable: La Monte Young - The Well Tuned Piano,...

Fri, 13 Jan 2012 18:03:41 -0500

ontheunspeakable:

La Monte Young - The Well Tuned Piano, Kluncklick and Jack Moore - Visuals (by inlandempires)