Parva Scaena (Brief Scenes): Set Thirty Three

Parva Scaena (Brief Scenes): Set Thirty-Three

“A man lives not only his personal life, as an individual, but also, consciously or unconsciously, the life of his epoch and his contemporaries. He may regard the general, impersonal foundations of his existence as definitely settled and taken for granted, and be as far from assuming a critical attitude towards them as our good Hans Castorp really was; yet it is quite conceivable that he may none the less be vaguely conscious of the deficiencies of his epoch and find them prejudicial to his own moral well-being. All sorts of personal aims, hopes, ends, prospects, hover before the eyes of the individual, and out of these he derives the impulse to ambition and achievement. Now, if the life about him, if his own time seems, however outwardly stimulating, to be at bottom empty of such food for his aspirations; if he privately recognises it to be hopeless, viewless, helpless, opposing only a hollow silence to all the questions man puts, consciously or unconsciously, yet somehow puts, as to the final, absolute, and abstract meaning in all his efforts and activities; then, in such a case, a certain laming of the personality is bound to occur, the more inevitably the more upright the character in question; a sort of palsy, as it were, which may extend from his spiritual and moral over into his physical and organic part. In an age that affords no satisfying answer to the eternal question of ‘Why?’ ‘To what end?’ a man who is capable of achievement over and above the expected modicum must be equipped either with a moral remoteness and single-mindedness which is rare indeed and of heroic mould, or else with an exceptionally robust vitality. ”
Thomas Mann, The Magic Mountain

Greeks Come True

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Konstantinos Rigas by Vangelis Kyris, “Greeks Come True”, 2019

“Greeks Come True” is a movie filmed by Vangelis Kyris in conjunction with a photo shooting for the Greeks Come True annual print calendar which is available every December. Filmed entirely on a Greek mountain farm, the eighty minute film follows the fifteen men and athletes involved in the calendar shoot. The film’s multi-genre sooundtrack features some of Greece’s promising musical artists.

Walking Towards the Storm

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Artist Unknown, (Walking Towards the Storm), Computer Graphics, Animation Gif

“By early evening all the sky to the north had darkened and the spare terrain they trod had turned a neuter gray as far as the eye could see. They grouped in the road at the top of a rise and looked back. The storm front towered above them and the wind was cool on their sweating faces. They slumped bleary-eyed in their saddles and looked at one another. Shrouded in the black thunderheads the distant lightning glowed mutely like welding seen through foundry smoke. As if repairs were under way at some flawed place n the iron dark of the world.”
Cormac McCarthy, All the Pretty Horses

Collection: Ten Images from Art Studio, China

“Time passes, day by day. The greatness of this country lies in the inexorable journey it has taken through time.

Time is like an enormous pot, into which all ugliness and beauty are thrown, all happiness and grief, all life and all death.

Cycle follows cycle, living life and dying death. Only the great River rolls on, unending.”
Yo Yo, Ghost Tide

Images reblogged with many thanks to: artboy2012@163.com

Faces of Man

Faces of Man: WP Photo Set Three

“When drawing a face, any face, it is as if a curtain after curtain, mask after mask, falls away.. until a final mask remains, one that can no longer be removed, reduced. By the time the drawing is finished, I know a great deal about that face, for no face can hide itself for long. But although nothing escapes the eye, all is forgiven beforehand. The eye does not judge, moralize, criticize. It accepts the masks in gratitude as it does the long bamboos being long, the goldenrod being being yellow.”
Frederick Franck, The Zen of Seeing

The Black and White Collection: WP Set Five

“I want to fulfill myself in one of the rarest of destinies. I have only a dim notion of what it
will be. I want it to have not a graceful curve slightly bent toward evening but a hitherto unseen beauty
lovely because of the danger which works away at it overwhelms it undermines it. Oh let me be only utter
beauty I shall go quickly or slowly but I shall dare what must be dared. I shall destroy appearances the
casings will burn away and one evening I shall appear there in the palm of your hand quiet and pure like a
glass statuette. You will see me. Round about me there will be nothing left.” 

-Jean Genet, The Thief’s Journal

 

The Men and the Quote

Twenty-One Men

“All errour is prejudicial: it is by deceiving himself that man is plunged in misery. He neglected Nature; he understood not her laws; he formed gods of the most preposterous kinds: these became the sole objects of his hope, the creatures of his fear, and he trembled under these visionary deities; under the supposed influence of imaginary beings created by himself; under the terrour inspired by blocks of stone; by logs of wood; by flying fish; or else under the frowns of men, mortal as himself, whom his distempered fancy had elevated above that Nature of which alone he is capable of forming any idea.”
Baron d’Holbach

My thanks to a great blog: https://doctordee.tumblr.com

Green Light

The Color Green

The color green is evoked by light which has a dominant wavelength of 495 to 570 nanometers, appearing in the visual spectrum between the colors blue and yellow. It is created in painting by the combinations of yellow and blue, or yellow and cyan. The shades of the color green range from yellow-greens, such as lime and avocado, to those with a blue tinge, such as emerald and turquoise. 

The English word ‘green’ comes from the Old English and Middle English word ‘grene, which like the German word ‘grün’, has the same root as the words ‘grass’ and ‘grow’, The first recorded use of the word as a term for a color in Old English is dated to about 700 AD. Although many languages, such as Germanic, Romance, Slavic and Greek, have old terms for “green’ which derived from words for vegetation, there is no identifiable single Proto-Indo-European source word for the word “green”. Linguistics studies indicate that all these terms were developed independently over time. 

In ancient Egypt, the color green was the symbol of rebirth and regeneration. Egyptian artists used the mineral malachite, finely ground, for painting on walls and on papyrus; this mineral was mined in the west Sinai and the eastern desert. Green had very positive associations for the Egyptians. A growing papyrus sprout represented the hieroglyph for the word green, linking the color to vegetation, vigor and growth. Osiris, the Egyptian God of the Underworld, was usually portrayed as having a green face, as seen in the tomb of Nefertari who reigned from 1295 to 1253 BC. Malachite amulets were worn for protection from evil and given to the dead to promote vigor in the deceased. 

The green pigment verdigris is made by placing a copper, brass or bronze plate, slightly warmed, into a vat of fermenting wine for several weeks. The green powder that forms on the metal is scraped off and dried. This pigment was used by the Romans in murals, and in Celtic manuscripts. It produced a blue-green color; but it was unstable and toxic. Verdigris was used in Persian and European paintings util the late 19th century, when it was replaced by the pigment chrome green. Vincent van Gogh used viridian, a more stable green patented in 1859, in a mixture of Prussian blue to create the green tinted sky in his 1888 painting “Cafe Terrace at Night”.

The use of the color green in painting plays an important role in the creation of naturalistic flesh tones, as seen in Duccio di Buoninsegna’s altarpiece “Maestà” at the Museo deli’Opera Metropolitana del Duomo in Siena, Italy. Its use in underpainting and glazing is seen in Jan van Eyck’s oil paintings and Paolo Uccello’s murals. Helen Frankenthaler used the color green almost exclusively in her 1992 “Overture”, one of her freest works, swirling green paint into vortices and and then dissolving it into rich patterns.  

Another example of the use of green was the installation work “Green Light Corridor” by Indiana-born artist Bruce Nauman which enforced the contrast between the perceptual and physical experience of space. He constructed two high walls spaced twelve inches apart, lit by green fluorescent bulbs hanging above the created corridor. Spectators walked through the tight space, the eyes adjusting to the green light. Upon exiting, their eyes adjusted again, causing them to see an optical illusion of the color pink, the opposite end of the color spectrum. 

Featured image” Helen Frankenthaler, “Overture”, 1992, Acrylic on Canvas, 70 x 94 Inches, The Helen Frankenthaler Foundation, New York

The Tunnel

Photographer Unknown, (The Tunnel)

“But that’s life. One long tunnel. There are lights along the way. Sometimes they feel spread farther apart than others, but they’re there. And when you find one, it’s okay to stand under it for a while to catch your breath before marching back into the dark.”
Shaun David Hutchinson, The Apocalypse of Elena Mendoza

The Black and White Collection: WP Set Four

“But the very question of whether photography is or is not an art is essentially a misleading one. Although photography generates works that can be called art –it requires subjectivity, it can lie, it gives aesthetic pleasure– photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made. Out of language, one can make scientific discourse, bureaucratic memoranda, love letters, grocery lists, and Balzac’s Paris. Out of photography, one can make passport pictures, weather photographs, pornographic pictures, X-rays, wedding pictures, and Atget’s Paris.

Photography is not an art like, say, painting and poetry. Although the activities of some photographers conform to the traditional notion of a fine art, the activity of exceptionally talented individuals producing discrete objects that have value in themselves, from the beginning photography has also lent itself to that notion of art which says that art is obsolete. The power of photography –and its centrality in present aesthetic concerns– is that it confirms both ideas of art. But the way in which photography renders art obsolete is, in the long run, stronger.”
Susan Sontag, On Photography

All images reblogged with many thanks to Synopsibility located at: http://jimbo1126.tumblr.com

Parva Scaena

Parva Scaena (Brief Scenes): Set Thirty Two

“Chingachgook grasped the hand that, in the warmth of feeling, the scout had stretched across the fresh earth, and in that attitude of friendship these intrepid woodsmen bowed their heads together, while scalding tears fell to their feet, watering the grave of Uncas like drops of falling rain.”
James Fenimore Cooper, The Last of the Mohicans

Seated Men

“And often he who has chosen the fate of the artist because he felt himself to be different soon realizes that he can maintain neither his art nor his difference unless he admits that he is like the others. The artist forges himself to the others, midway between the beauty he cannot do without and the community he cannot tear himself away from.”
Albert Camus

The Light and the Shadow

“We Orientals tend to seek our satisfactions in whatever surroundings we happen to find ourselves, to content ourselves with things as they are; and so darkness causes us no discontent, we resign ourselves to it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light—his quest for a brighter light never ceases, he spares no pains to eradicate even the minutest shadow.”
Junichirō Tanizaki, In Praise of Shadows