L'appel du Vide.
Photo
Reading is like eating, you have to give yourself the time to digest what you just consumed.
Contemplation, reflection, discussion, argumentation, thinking and re-thinking (and re-reading) are way more important than mere ingestion of new information.
A world so focused on getting so much done in so little time loses the ability to contemplate, to fully understand and incorporate separate informations into the whole framework of human understanding. It gains knowledge, but relinquishes insight.
Contemplation, reflection, discussion, argumentation, thinking and re-thinking (and re-reading) are way more important than mere ingestion of new information.
A world so focused on getting so much done in so little time loses the ability to contemplate, to fully understand and incorporate separate informations into the whole framework of human understanding. It gains knowledge, but relinquishes insight.
L'appel du Vide.
Photo
Informational Tourism
Tourism is defined as "traveling for pleasure." You seek new places in search of pleasurable experience. Informational tourism is a similar phenomenon; it is traveling—metaphorically—through endless seas of information in search of some knowledge, facts, did-you-know's that are simply interesting.
The problem with informational tourism is the same as with real tourism: compare it with traveling; the traveller is active, he searches for adventure and almost "studies" and tries to penetrate deep into the new culture he is in. While the tourist is passive, he goes to "popular tourist destinations" and expects interesting things to happen to him. The traveller steps away from his comfort zone and bears danger and estrangement, but the tourist, in a sense, never leaves the comfort of his residence.
Informational tourists give the illusion of knowledge and wisdom, while in reality they are nothing more than trivia books on two legs.
Many of those perceived to be educated or smart in the simple sense are mere tourists in the vast lands of knowledge. They pick up interesting, safe, and welcoming places to visit and get some souvenirs (trivia) to exhibit them back at home.
Tourism is defined as "traveling for pleasure." You seek new places in search of pleasurable experience. Informational tourism is a similar phenomenon; it is traveling—metaphorically—through endless seas of information in search of some knowledge, facts, did-you-know's that are simply interesting.
The problem with informational tourism is the same as with real tourism: compare it with traveling; the traveller is active, he searches for adventure and almost "studies" and tries to penetrate deep into the new culture he is in. While the tourist is passive, he goes to "popular tourist destinations" and expects interesting things to happen to him. The traveller steps away from his comfort zone and bears danger and estrangement, but the tourist, in a sense, never leaves the comfort of his residence.
Informational tourists give the illusion of knowledge and wisdom, while in reality they are nothing more than trivia books on two legs.
Many of those perceived to be educated or smart in the simple sense are mere tourists in the vast lands of knowledge. They pick up interesting, safe, and welcoming places to visit and get some souvenirs (trivia) to exhibit them back at home.
More people look for salvation through relationship than in the houses of worship. One may even suggest that romantic love has replaced institutional religion as the greatest motive power and influence in our lives ... the search for love has replaced the search for God.
One of the false ideas that drive humankind is the fantasy of the Magical Other, the notion that there is one person out there who is right for us ... a soul-mate who will repair the ravages of our personal history; one who will be there for us, who will read our minds, know what we want and meet those deepest needs; a good parent who will protect us from suffering and, if we are lucky, spare us the perilous journey of individuation.
Forwarded from N0N9 (محمد جواد)
عدنه ليله تبيع بالوگفه دهن
وقيس حمال ويچد بس عالبطن
من سألت جوليت گالت بالسجن
روميو التعبان بايگ تايرات
وخلي يكتبلك دمع عيني اليسيل
عن بثينة وكتي يحچيلك قليل
عدهه ست اطفال صاروا من جميل
كلهم يجدون بالشارع حفاة
*سمير صبيح يسولف ع اجواء حصار التسعينات وشنو جان المزاج للشاعر اذا راد يختار موضوع
وقيس حمال ويچد بس عالبطن
من سألت جوليت گالت بالسجن
روميو التعبان بايگ تايرات
وخلي يكتبلك دمع عيني اليسيل
عن بثينة وكتي يحچيلك قليل
عدهه ست اطفال صاروا من جميل
كلهم يجدون بالشارع حفاة
*سمير صبيح يسولف ع اجواء حصار التسعينات وشنو جان المزاج للشاعر اذا راد يختار موضوع
Forwarded from Sympósion
Aristotle believed the eyes emit rays. The rays are reflected back to them, and that's how humans see. When your eyes lay on me, I saw them sending away teeth and hands. Teeth and hands were crawling all over me, eager to bite, devour, touch, and hug. You have eyes as hungry as wild beasts. And you're trying so strenuously to keep them leashed.
Forwarded from Aesthetics
Camille Claudel's Portrait by Auguste Rodin. Camille Claudel met Rodin while studying at the Académie Colarossi in 1883, and became his colleague and mistress. They separated in the mid-1890s. After the separation, creative difficulties and crippling loneliness increasingly hampered her work, and she was committed to a psychiatric institution in 1913, where she remained until her death in 1943.
In 1886 Rodin began modeling a portrait of Camille Claudel in traditional costume. When his assistant Victor Peter, executing the work in marble, reached the collar, Rodin made him stop: the head emerging from the block offered the contrast, as in Michelangelo, of a finished section imprisoned in the rough-hewn stone. This triumph of sculpture was exhibited as it was at the Salon in 1895, entitled Head. Only later did it receive its Symbolist title of Thought Emerging from Matter, then simply Thought.
In 1886 Rodin began modeling a portrait of Camille Claudel in traditional costume. When his assistant Victor Peter, executing the work in marble, reached the collar, Rodin made him stop: the head emerging from the block offered the contrast, as in Michelangelo, of a finished section imprisoned in the rough-hewn stone. This triumph of sculpture was exhibited as it was at the Salon in 1895, entitled Head. Only later did it receive its Symbolist title of Thought Emerging from Matter, then simply Thought.