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

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

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

Sixteen Men and Aldous Huxley

“In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or the propaganda might be false. They did not foresee what in fact has happened, above all in our Western capitalist democracies – the development of a vast mass communications industry, concerned in the main neither with the true nor the false, but with the unreal, the more or less totally irrelevant. In a word, they failed to take into account man’s almost infinite appetite for distractions.

In the past most people never got a chance of fully satisfying this appetite. They might long for distractions, but the distractions were not provided. Christmas came but once a year, feasts were “solemn and rare,” there were few readers and very little to read, and the nearest approach to a neighborhood movie theater was the parish church, where the performances though frequent, were somewhat monotonous.

For conditions even remotely comparable to those now prevailing we must return to imperial Rome, where the populace was kept in good humor by frequent, gratuitous doses of many kinds of entertainment – from poetical dramas to gladiatorial fights, from recitations of Virgil to all-out boxing, from concerts to military reviews and public executions. But even in Rome there was nothing like the non-stop distractions now provided by newspapers and magazines, by radio, television and the cinema.

In “Brave New World” non-stop distractions of the most fascinating nature are deliberately used as instruments of policy, for the purpose of preventing people from paying too much attention to the realities of the social and political situation. The other world of religion is different from the other world of entertainment; but they resemble one another in being most decidedly “not of this world.” Both are distractions and, if lived in too continuously, both can become, in Marx’s phrase “the opium of the people” and so a threat to freedom.

Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those who would manipulate and control it.” 

― Aldous Huxley, Brave New World Revisited, 1958

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

The Black and White Collection: WP Set Three

Suxteen Men Standing

“I did not care for the things that most people care about– making money, having a comfortable home, high military or civil rank, and all the other activities, political appointments, secret societies, party organizations, which go on in our city . . . I set myself to do you– each one of you, individually and in private– what I hold to be the greatest possible service. I tried to persuade each one of you to concern himself less with what he has than with what he is, so as to render himself as excellent and as rational as possible.”
Socrates

 

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

The Ginger Man

Photographer Unknown, (The Ginger Man)

“Come here till I tell you. Where is the sea high and the winds soft and moist and warm, sometimes stained with sun, with peace so wild for wishing where all is told and telling.”
J.P. Donleavy, The Ginger Man, 1955

Images reblogged with thanks to http://bordjack.tumblr.com

CircleArt

 

Six Gifs by Circle Art

“Mathematics is the music of reason. To do mathematics is to engage in an act of discovery and conjecture, intuition and inspiration; to be in a state of confusion—not because it makes no sense to you, but because you gave it sense and you still don’t understand what your creation is up to; to have a break-through idea; to be frustrated as an artist; to be awed and overwhelmed by an almost painful beauty; to be alive, damn it.”
Paul Lockhart , A Mathematician’s Lament

Images reblogged with thanks to the artist’s site: http://circleart.tumblr.com

The Faces of Man and Wolfe

 

 

The Faces of Man: WP Set Two

“A person has all sorts of lags built into him Kesey is saying. Once the most basic is the sensory lag, the lag between the time your senses receive something and you are able to react. One-thirtieth of a second is the time it takes if you are the most alert person alive and most people are a lot slower than that…. You can’t go any faster than that… We are all doomed to spend the rest of our lives watching a movies of our lives – we are always acting on what has just finished happening. It happened at least 1 30th of a second ago. We think we are in the present but we aren’t. The present we know is only a movies of the past and we will really never be able to control the present through ordinary means.”
Tom Wolfe, The Electrid Kool-Aid Acid Test, 1968

 

Dolphin Sails

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Photographer Unknown, Title Unknown, (Dolphin Sails)

“Nowhere else than upon the sea do the days, weeks and months fall away quicker into the past. They seem to be left astern as easily as the light air-bubbles in the swirls of the ship’s wake, and vanish into a great silence in which your ship moves on with a sort of magical effect.”
Joseph Conrad, The Mirror of the Sea