Adjust Skis On 98 Indy

Underpants Wrestling Blog

Desire faithful memory, or I'm immortal

[ For any sort of clarification on the draft general reference to the primitive outline of the scheme as well as the Jacob wrote more than three months ago and its complete and most recent presentation.
As repeated, are about to read a trace theory, no claim to completeness. If you find it too complex, skip. ]

Along with striving for a mythical form that knows how to bring aspects of reality to a sphere genuinely symbolic acts on the causation of 'artistic work of the strong desire of faithful memory, which is a real biological need artistic ego.

essentially linked to the instinct of survival and the consequent perpetuation of the species, the desire of memory (here at the moment "dropped" from the adjective true that, as we shall see, is a specific characteristic of making art) is therefore look more closely biological agent finality ongoing artistic on causation.

Unlike the voltage to the myth, which is reflected in the progressive thrust homogeneous bending of the artistic line to the closing of the circle * utopia, the desire of memory initially assumed faithful to the outlines of a typical deep material need to rise Then, with the drive towards "loyalty" in this regard, in the direction of a need and then more markedly artistic spirit.

[* For the geometric representation of artistic intervention, see the previous legendary ego.]

Fidelity is the awareness of the artistic subject on the true nature of his work, from this awareness comes the desire to be remembered through a production that reflects the most truthful way possible, the intentions of the artist *.

[* Referring to the definition of art I like the "demiurge" of his work explained in the previous intervention, one could describe the voltage to the fidelity of memory as the wish to maintain strict orthodoxy through the rejection of all artistic heresy heterodox or practice which may distort the essence of the subject authoring diverting it to areas that reflects, on the contrary, only those aspects or rejected, depending on the case, denied.]

The awareness of the real value of his work, and then intimate intention related to it, is, as the 'curving action of the mythical teleology, an aspect of the utopian character, as can be achieved only partially or virtual. This awareness is carried out continuously along the path of artistic subject that can, in turn, re - discover something hitherto have remained in the shadows, and therefore change his mind about the art project in the making.

Certainly, general idea about the meaning of his work may lead to an exclusion of the most grossly unorthodox, but in any case, this selection and evaluation on its path can never be said completely closed *.

[* The construction of the legendary club and the desire to contribute to building a true memory center that reflects simultaneously all aspects of reality missing, treated as a unit from the uniquely spiritual and this simultaneous action to the statement of the unit may be represented by the symbol of the square inscribed in the circle, similar, according to As reported by Rene Guenon **, the traditional depiction of the final balance. Without getting too specific, but only to provide further food for thought, suffice it to say that, according to the esoteric interpretation of the French, the circle represents the beginning of a cycle, development opportunities (in our case, ' expanding from the center, or the artistic ego, moves the will demiurgic out then determined in the form of a work of art), while it is enclosed in square symbolizes the completion of this development, which leads to crystallization ' final balance for the cycle in question. Is a "cycle" refers to the artistic life of the author, then the circle will stand to indicate the unfolding of His will in different directions and then in many works of art (all characterized, remember, a constant voltage to the myth) and the square, which is equivalent to the element mineral, solid par excellence, will be the realization on its work and its subsequent closure in a form that is perfectly coherent in all its parts, and finally crystallized immune to any change by action outside.]

[** See in this regard " Esotericism of Dante" and " Symbols of Sacred Science , "both published in Italy by Adelphi.]

summarize: the purposive aspect of artistic creation tends, in his legendary double-action and memory, the building and consolidation of a center who can ensure unity of the parties, and which is both a faithful image symbolic able to hand down to posterity the real intentions of the artist in dialogue and make this heritage as "immortal".

Pregnancy Tester Safeway

Introduction to "Ravenna, the city that I would" Fabrizio Varesco

[A thought to all the viewers who are enjoying the first Fabrizio's documentary about "our" city San Domenico, and friends who have participated in its creation, and I regret not being there, so I dedicate this symbolic action.

I was given the opportunity to write a short text as an introduction to the documentary, you'll hear played at the opening (though slightly modified) by the voice of Rods. It is a sort of instant overview, a description of the various zones or uncertain aspects of Ravenna, faltering and alleniana.

The audience for the following reasons: sound advertising (you can see it for free at San Domenico, in the end of Via Cavour, close to the Market Hall); gratitude Varesco to you for the opportunity, integration, albeit indirect, to the previous work on the geography, to make known the original version of the script.

impressions would be challenging to know who made the documentary for its "first" crowd: the space of the post is also open to comments and especially about potential interference to your visual work.]

" Ravenna, Ravenna.

Chapter One.

was born and grew up in Ravenna. He loved all of his city, the size, history, climate, the center.

not could never imagine life without her - would never be able to imagine ...

No, no, no. Not good at all.

Then, start over.

Ravenna was his town. Every street, every slightest detail of landscape old emotions aroused in him. It was as if every stone was imbued with memories and experiences.

He remembered that time with her in the evening, stroll along the railings of San Vitale. As it was beautiful! Suddenly came near, and -

What has? All we needed was just the usual love story.

Dai, struggled a little bit more, that cost you?

more precise, more analytical. Data: it takes data. Whether or not a documentary?

Ravenna area 652 km ²; altitude: 4 m above sea level; aopolazione: 157,479 inhabitants; 8 monuments declared World Heritage Site; work: 67% male employment rate - 35 th place national employment rate for women 61.3% - 6th national position, population of foreign citizenship: 17,190 - immigration rate 28.1 ...

my God, that posting! Start too cold. The numbers scare - does not work.

Concentrates, collect ideas from a few cuts to the description:

The Ravenna Antica: Yes, the historic capital, dissolute, the impregnable stronghold of Byzantine, surrounded by mud and defense against mosquitoes. Even with history! No and no.

The industrial Ravenna: the red desert creaking and puffing, covered with skeletons, ferrous and necks of blast furnaces, the Dock, the smell ... No, past cliche.

So let's try the Ravenna hedonistic ride that takes drugs es'ubriaca Saturday summer evening: the machines to a crawl in search of the car park, the sand in your shoes, the screams of little girls, their faces pale before the breathalyzer - worse than before. Rhetorical, wordy.

No, then, the resistance of Ravenna: the old men who speak dialect at the bar in the station, and that risk by cutting round the front, the old women who gossip under my window of their neighbor.

Ravenna So why not the immigrants, who helps park in Kennedy Square and sells necklaces in the summer by the sea? Were that simple ...

Perhaps the Ravenna areas? The beaches, the towns forgotten, Savio, San Zaccaria, the foothills, Bertinoro, the gentle countryside of Romagna?

Or the clichés of Ravenna, mosaics and Wonderland.

Ah yes, a good documentary would be out.

Stop for a moment.

You had to write an introduction and you are only able to raccozzare childhood memories or recurrent images, with a disorder that does not allow itself to be easily tamed.

Perhaps one introduction is not enough.

To understand a city need to tell it over and over again, from different voices, at different times - and the image composed by the choir of voices that will be the real city. "

Size 0 Formal Dresses

Power to the myth or mythical

[ For any sort of clarification on the draft general reference to the primitive outline of the scheme as well as the Jacob wrote more than three months ago and his most recent and complete presentation.
As repeated, are about to read a trace theory, no claim to completeness. If you find it too complex, skip. ]

previous interventions have analyzed the three stages necessary for causation artistic, or the processes of creating a work of art: the principle of distinction or I * posted, in which the subject, or artistic engine, breaks off from old club to establish or regain a voice strictly personal, Dialogue and Tradition or periods of dialogue-I, in which the subject made independent of its removal, establishes a proactive dialogue with him earlier artistic traditions and contemporary, and I tied the knot, in which the individual, aged through the gap and dialogue with tradition, returns to the company he previously abandoned, understood here as the subject of the artwork viewer (in this regard, it should review the definition of "two-faced art").

[* The double title is to stress the importance of individuality in every creative phase (causation) and the two artistic purposes, do not forget, therefore, the central role played Biographical looking into a work of art.]

The rational analysis of the creative process must, at this point, consider the difference which exists between causation and artistic purposes ; both go to make this unique process (art) that takes place on a practical level, characterized by a specific "here and now from time to time regarding the posting, dialogue, etc.. and at the same time *, on an ideological, and is aimed at any particular its determination, a fundamental objective (the creation of a myth) and to satisfy a biological need (the desire for true memory **).

[* The fact that we've got just now to examine the artistic purposes is misleading and should not lead us to think that the purposive aspect is carried out only in causation an end, in fact, the desire of the creation of myth and memory that I will faithfully accompanies the art in every word and phrase in every brush stroke, every note and chisel. The analysis conducted so just want to illustrate a separate document and purpose, but take into account the continued coexistence of these aspects.]

[** In order not to complicate things, here only deepen the mythical aspect of art making, postponing to a later explanation on the adjective "faithful" associated with "memory".]

If causation explains the conditions necessary for the construction of the "body" of art, the dual purpose is the 'soul' of that body, indicating the interest behind in practice, its very essence: the search for a way to bring unity that knows (here is a term which the critical importance of every age have spent thousands and thousands of words) are mixed feelings about the life of the ego, who knows how to contain the dispersion the real body in a circular and perfectly consistent *.

[* The circularity and hence are perfectly consistent, however, a utopia.]

this sense, or desire for unity, an attempt on the biological memory of desire and the more strictly artistic creation, or better construction, a myth, which could be pictured geometrically as a circle, all points of the circle should consistently refer to the center (I'm the artistic, or divine, in this case ), which is the source of each beam and also the end of each point, that it must of necessity return *.

[* The use of the term "necessity" has a precise justification in the religious sphere as well as everything is created out of necessity required by an entity (God), so it is in the field of art, is talked about art as a deep need that shapes the material in a way that is needed, which "can not be otherwise." The artist is the God of his work. One could speak of a sort of Art Theology. The appearance of quasi-divine artist has already been addressed, for example, by Tasso in his "poetic discourse on art; therefore you do not add anything new compared to what has been said in the past.]

This specific form of artistic myth reflects the desire to build a body that reflects the circularity of cosmic events ( think of the succession of the seasons and the cycle life - death, day and night, etc..) and it proves at the same time, incorruptible, because it concluded in a shell * able to overcome the barriers of time and space and to tend to the traditions from which each artist must draw in order to define this.

[* E 'Interestingly, the constant voltage to a closed form is the essential reason of human emotion in front of a work of art. The artwork represents the attempted implementation of this place made an attempt typically human because it is the only man able to be formally defined in its finitude, in the words following the Hindu metaphysics , man, because relativity, is "qualified" (in Sanskrit, Saguna) and "distinctively designed" ( savishesha ) while Brahma, the supreme principle that goes back pure metaphysics, is "not qualified" ( nirguna ) and "beyond all distinctions" ( nirvishesha ). The non-form, non-definition is a divine attribute and the human being, therefore, is excited to recognize the clear boundaries of a work that is able to collect its essence, which, remember, is defined in part (and therefore recognizable) in the body and partly abstract, tending to God, and therefore unknowable. The art form is then the sum, as symbolic of the human body and soul, geometric representation of a mystery in constant hiding. To recap: a man gets excited in front of the form because it is the first form the object of human knowledge.]

art can therefore be understood as an attempt to close a circle, a curved line that is able to reconcile the opposites and "redeem" in a hortus conclusus sheltered from external injuries, and together with a comparison to the open public dialogue.