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HMB! :)

 

I got tagged by Yuma first and then by Kimberly! XD

16 random things about me .... it's so tough ....

 

1 - Automatically I bite my tongue or the lower lip when I'm overwhelmed by cuteness of cats. I bite harder when I touch the fluffy animal. Don't know why. I think I do the same when I touch babies.  可愛さに負けて猫を見ると自動的に舌か下唇を噛んじゃうんです。触っちゃうともっと強く噛みます。どうしてかは分からないです。赤ちゃんを見ても同じことしてると思います。w

 

2 - Apart from cats, my favourite animal is panda. I want to go to China to see them. 猫以外で一番好きな動物はパンダ。中国に行って会ってみたい!

 

3 - I took a sicky to read the last book of Harry Potter. ハリポタ最終巻を読む為に仮病で仕事を休みました。

 

4 - #3 reminds me that I used to be an optician. I can examine someone's eyes and make spectacles in about 30 mins...it depends. 3番目つながりで。メガネ屋でした。検眼して物によって30分位でメガネを作れます。

 

5 - #4 reminds me that I adore people in specks. Jarvis Cocker and Ingrid Michaelson the most. 4番目つながりで。メガネをかけている人が好きです。Jarvis CockerIngrid Michaelsonが一番。

 

6 - My favourite film is In The Mood For Love by Wong Kar Wai. But now I cannot stop watching My Blueberry Nights also by the same director. 好きな映画はウォン・カーウァイの花様年華。ただ、今はMy Blueberry Nightsが中心。

 

7 - I listen to all sorts of music, so I tried to list my favourites but I just cannot do that. 色々な種類の音楽を聴くので、考えたんですが一番好きな人たちを挙げるのはできません。

 

8 - My favourite book is The Romantic Movement or Essays In Love by Alain de Botton. ( Mark!!! I need to speak to u soon I'm so busy but I'll come round soon!! ) These have been with me everywhere. 一番好きな本はアラン・ド・ボトンの The Romantic Movement か Essays In Love。どこに行くにも一緒。

 

9 - I cannot drink much. I need 3 or 4 hours to finish a glass of red wine. I sniff beer. A cheap date. お酒に弱いです。3・4時間かけて一杯のワインを飲みます。ビールはクンクン匂いを嗅ぎます。安いデート相手です。

 

10 - I drink tea. Tea with milk. Far too many. 紅茶ばっかり飲みます。ミルク入りで。有り得ないほど。

 

11 - My favourite food is Thai red curry. レッドカレーが大好きです。

 

12 - My least favourite food is unstrained sweet bean paste though I love strained sweet bean paste. 漉し餡は大好きなのに粒餡はだめ。( jamさん、和菓子大好きですからね!)

 

13 - I cry far too easily and far too often. I cry to sad news on TV and people in love. 有り得ないほどいつもすぐ泣く。悲しいニュースとか恋愛中のカップルを見てとか。昨日はM-1見てNon Styleで泣きました。あぁ、私の涙腺w

 

14 - I've spent a year volunteering. I met so many wonderful people and made so many mental photos in my mind that I will never ever forget. In the end I found out I was the one being helped. 一年間ボランティアをしました。すごい人達と出会って何枚もの記憶の写真ができました。最後には自分が一番助けられました。

 

15 - Some of my friends outside Flickr call me by my English name, Katie or KT.  フリッカーの外ではKatieかKTという英語名で一部の友達に呼ばれています。

 

16 - I was born in the year of Dragon for Chinese zodiac, which makes me 32. 辰年生まれです。ということは説明いらないと思うけど、32歳。

 

く~、難しい!That was tough!!

 

And I tag Rogvon I can't wait to read your 16s! :D

Have you ever been surrounded by the magical colours of a summer-sunset during the low tide? I can tell you, the feelings and sensations are … divinely mystical!

 

This has happened to me 2 weeks ago, when I was with my family at the huge Oostende beach, in the N. Belgium for a weekend!!! It was a glorious summer sunny day, with ideal temperatures and a soft breeze…The long and large sandy beach was almost deserted by the visitors…It was so calm… We were walking with my family along the beach, while the waters were becoming lower and lower, and the sun was getting all the more brilliant, and colourful …I started taking photos non-stop, mesmerized…

 

And then, I left my family for a while, and rushed upstairs to my hotel room, in order to capture the rest of the sunset moments from the balcony…Oh, dear! The spectacle was even more divine!! Cause the sand and the waters were creating magical interchangeable , ultra colourful, reflections and forms! The few human and bird forms among them, were filling me with the magical sensations of a colourful dream! .......And it lasted not long, like all dreams….

  

*** In LARGE!!!

 

*♫*

   

"Happiness is real only when shared."

   

"La felicità è reale solo quando condivisa."

           

«La felicità.. Esiste, le dico.

– Dove?

– Senta. Da ragazzo mi lamentavo sempre con mio padre perché non avevo giocattoli. Lui mi diceva: questo (si indica la testa) è il più grande giocattolo del creato, è qui il segreto della felicità….»

Charlie Chaplin, nel film Luci della ribalta

 

"Happiness .. There, I say.

- Where?

- Look. As a boy I always complained to my father because I had no toys. He said to me this (indicating the head) is the largest toy created, this is where the secret of happiness .... "

Charlie Chaplin, the film Limelight

 

www.youtube.com/watch?v=SrFlmogMPMg

 

"dilapidate la gioia... sperperate l'allegria...

Per trasmettere la felicità bisogna essere felici

per trasmettere il dolore bisogna essere felici

siate felici.... dovete patire, stare male, soffrire

non abbiate paura di soffrire tutto il mondo soffre...

...per fare poesia una sola cosa è necessaria, tutto"

location: kayangan lake, coron, palawan, philippines

 

shot taken last: march 26, 2012

 

image info:

nikon d90

18-200mm lens @ 18mm focal length

iso : 200

exposure : 1/80s

aperture : f/3.5

w/ filter (marumi cpl)

camera set in manual

handheld

built in flash, not fired

 

post process info:

no crop and non hdr

adobe cs2 & picasa 3.0

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thanks for the visit and comments, much appreciated...

Have a Blessed Saturday to all my flickr friends

Todos los derechos reservados - All rights reserved - copyright :copyright: Pilar Azaña Talán

 

♫♥♥♫

 

Que la Luz interior ilumine nuestra esencia.

Que la Bondad de corazón sea la fuerza de nuestra vida.

Que el Espíritu de Amor, No-Violencia y PAZ

transforme a los seres humanos, los países y el Mundo.

-------------

That the interior Light illuminates our essence.

That the Kindness of heart is the force of our life.

That the Spirit of Love, Non-violence and PEACE

transforms to the human beings, the countries and the World.

 

Melozzo da Forli (Melozzo degli Ambrosi) 1438-1494. Fresques. Anges musiciens, cherubins et têtes d'apôtres. Fragments d'une Ascension du Christ. Angels musicians, cherubim and heads of apostles. Fragments of an Ascension of Christ.

Vers 1480. Rome. Vatican.

 

L'ART, LE BEAU ET LE LAID

 

"Tout l’art florentin depuis Giotto et tout au long du Quattrocento, possède cette stupéfiante qualité de vérité absolue, reconnue. L’effet immédiat d’un grand Giotto ou d’un Masaccio est de laisser le spectateur sans voix. Cela s’appelait autrefois la Beauté."

MARIE MAC CARTHY "Les Pierres de Florence" 1956.

 

"Everything Florentine art from Giotto and throughout the Quattrocento has this amazing quality of absolute truth recognized. The immediate effect of a large Giotto or Masaccio is to let the audience speechless. It s' once called Beauty. "

MARY MAC CARTHY "The Stones of Florence" 1956.

  

Pendant des millénaires, en Europe, et dans toutes les civilisations, "le Beau" a été un but et un critère de l'Art, notamment en peinture.

 

1° Le Beau était le but poursuivi par l'artiste quand il peignait un tableau. De l'époque médiévale à l'Art Moderne, l'artiste a toujours eu pour finalité le Beau. Même quand il entendait peindre une situation dramatique, ou horrible comme les événements de la passion du Christ (Retable d'Issenheim) ou l'Enfer ( Bouts, Bosch). Même quand il a entendu peindre les horreurs de la guerre, comme Jacques Callot, Goya ou Otto Dix.

 

2° Le Beau était reconnu comme tel par consensus.

Comme l'a écrit Mikel Dufrenne dans un article de l'encyclopédie Universalis, le Beau est défini par trois critères, que l'on dira objectifs : L'opinion des élites, l'opinion commune de la population, le temps.

Une excellente définition, pratique, pragmatique, qui ne se noie pas dans les concepts abstraits, la recherche d'une Essence du Beau, et utilise un langage parfaitement compréhensible pour tous.

 

Ces définitions laissent bien sûr la place à l'opinion individuelle et aux goûts de chacun. Comme l'a écrit aussi Mikel Dufrenne dans le même article : "L'œuvre d’art s'impose avec la force de l'évidence, pour le bonheur de qui la contemple."

C'est un quatrième critère, plus subjectif, qui varie en fonction des individus. Telle oeuvre peut procurer du bonheur à telle personne, et pas, ou moins, à telle autre. Mais d'une part le but essentiel de l'artiste était de procurer un bonheur à son public, et ce bonheur était ressenti par une majorité d'hommes de milieux différents.

L'attitude totalement relativiste qui consiste à dire qu'il n'y a pas de critère du Beau, et que tout est affaire de goût personnel, est fausse, par excès, et par méconnaissance des réalités historiques établies.

Il est vrai qu'il n'existe pas de définition, abstraite, philosophique du Beau. Il semble que les grands philosophes aient tous échoué dans toutes leurs tentatives pour en une proposer une. Il n'existe pas non plus de définition mathématique du Beau. Il est donc inutile de se casser à la tête à rechercher des définitions abstraites du Beau. Mais le Beau n'en existe pas moins.

Le Beau est un fait d'expérience dont toute l'histoire humaine témoigne, dans toutes les civilisations.

Le Beau est un sentiment de satisfaction, une émotion positive, partagés par une large fraction d'une société, peuples et élites ensemble, cette conjonction est nécessaire, et confirmés par le temps.

 

Ce qui a changé avec l'Art Contemporain, progressivement, mais très nettement à partir des années 1950, c'est que le Beau n'a plus été un but de l'art. Le Laid a même été revendiqué comme une recherche légitime de l'art.

Comme le constate très réalistement l'historien d'art Ernst Gombrich, l'art est devenu "une aventure aux confins de l’impossible et l’art du laid."

L'adhésion idéologique de l'Art Contemporain au Laid est un constat banal, qui a été fait de multiples fois, et qui a été pleinement revendiqué par tous ses théoriciens.

Le critique d'art Michel Tapié (1909-1987) constate dans les années 1950-60 que "l'Art Moderne -entendez Art Contemporain- est né le jour où l'idée d'Art et celle de Beauté se sont trouvées disjointes." Il ne critique pas cette disjonction, bien au contraire il la constate et la justifie. "nous avons changé de valeurs".

Cela ne veut pas dire que cela a été pour le mieux ! Il est très significatif que toute l'Europe des Musées distingue, dans presque toutes les langues, les Musées des "Beaux Arts" des "Musées d'Art Contemporain". C'est l'officialisation du divorce de l'Art et du Beau.

Cette Nouveauté dans l'histoire de l'humanité n'est certainement pas sans signification ni conséquences.

Il n'est sans aucun doute pas indifférent qu'une société décide que son art officiel, en peinture et en sculpture, n'aura plus le Beau comme but, et proclame que le Laid, et l'Absurde, sont des valeurs esthétiques légitimes.

Les philosophes ont beaucoup discuté des rapports entre l'esthétique et l'éthique, le Beau et le Bien. Ils ont généralement conclu qu'il existait entre ces concepts fondamentaux, spécifiques à l'humanité, des rapports étroits et des relations de convergences.

 

L'art contemporain officiel est en réalité facile à comprendre : le Laid et l'Absurde sont le snobisme de cet art. C'est à dire une manière pour l'élite éclairée, initiée, de se reconnaître, de se différencier et de dire merde aux peuples non éclairés.

Car telle est la doctrine démocratique :

1° La légitimité politique est dans le peuple. C'est le principe public, affiché, exotérique.

2° La Raison est seulement chez les élites éclairées. C'est le principe secret, esotérique.

Cela est devenu possible au cours de la seconde moitié du 20è siècle quand l'art (peinture et sculpture) a pu cesser d'être un mode de communication entre les élites et les peuples comme il l'était aux temps de Rubens.

Les élites contemporaines ont à leur disposition des moyens de propagande nouveaux, dont ne disposaient pas les anciennes élites, autrement plus efficaces que l'art : l'enseignement obligatoire, les grands médias (presse, cinema, radio, télévision) et la publicité.

Dès lors l'art officiel pouvait cesser d'être intersocial, l'art n'était plus indispensable comme moyen de communication entre les élites et les peuples. L'art officiel pouvait couper les ponts avec les populations, et devenir une réserve à l'usage des seuls éclairés. Une réserve exclusive pour les Sages et les Gardiens, et interdite au gens du commun.

Pour y parvenir Le Laid et l'Absurde étaient à la fois les défenses et les clés tout à fait appropriées : Le Laid et l'Absurde constituent des barrières fortement dissuasives pour la majorité de la population, et sont des clefs tout à fait sélectives, car peu osent s'en servir. Pour forcer le passage et entrer dans la Réserve il fallait les reconnaître comme telles, et accepter de jouer ce jeu là.

C'est ainsi que les gens du commun restent à la porte des grands musées d'art contemporain, et se contentent de la photographie, de l'art commercial, de l'art mural....destinés à tout le monde. Tandis que les élites peuvent jouir de l'atmosphère raréfiée des sommets de l'art contemporain.

  

THE ART, THE BEAUTIFUL AND THE UGLY

 

For millennia, in Europe, and in all civilizations, "the Beautiful" was a goal and a criterion of art, particularly in painting.

 

1 The Beautiful was the aim pursued by the artist when he painted a picture. From medieval times to Modern Art, the artist has allways had intented the Beautiful. Even when he intended to paint a dramatic situation, or horrible, as the events of the Passion of Christ (Issenheim Altarpiece) or Hell (Bouts, Bosch). Even when he heard paint the horrors of war, as Jacques Callot, Goya and Otto Dix.

 

2. The Beautiful was recognized as such by consensus.

As Mikel Dufrenne wrote in an article in the Encyclopedia Universalis, the Beau is defined by three criteria objectives: The opinion of elites, the common opinion of the population, the time.

An excellent definition, practical, pragmatic, that does not drown in abstract concepts, the search for an Essence of Beauty, and uses an understandable language.

 

These definitions leave room to the individual opinion and tastes. As written also Mikel Dufrenne in the same article: "The work of art is imposed on all, with the strength of the evidence, to the delight of the beholder." It is a fourth criterion, more subjective, which varies depending on individuals. Such work can bring happiness to such a person, and not, or less, to another. But firstly, the primary aim of the artist was to provide happiness to his audience, and this happiness was felt by a majority of men of different backgrounds.

The fully relativistic attitude of saying that there is no criterion of the Beautiful, and that everything is matter of personal taste, is false, by excess and by ignorance of the established historical realities. It is true that there is no definition, abstract, philosophical of the Beautiful. It seems that the great philosophers have all failed in their attempts to propose a definition of the Beautiful. There is also no mathematical definition of the Beautiful. There is no need to break the head to search for abstract definitions of the Beautiful. But the Beautiful does exists nonetheless.

The Beautiful is a fact of experience, which all of human history testifies, in all civilizations.

The Beautiful is a sense of satisfaction, a positive emotion, shared by a large section of society, elites and peoples together, this combination is absolutely necessary, and confirmed by time.

 

The Beautiful is a fact of experience. The Beautiful is a feeling of satisfaction, shared by a large section of society, and confirmed by time.

What has changed with the Contemporary Art, gradually, but very clearly from the 1950s is that Beautiful was no longer a purpose of art. The Ugly has even been claimed as a legitimate pursuit of art.

As noted very realistic art historian, Ernst Gombrich, the art has become "an adventure to the borders of the impossible and the art of the ugly."

The ideological accession of Contemporary Art at the Ugly is a banal observation, which was done multiple times, and has been fully claimed by its theorists.

The art critic Michel Tapié (1909-1987) notes that in 1950-60 "Contemporary Art is born on the day when the idea of Art and that of the beauty found disjointed." He does not criticize this disjunction, on the contrary he finds good and justifies it. "We have changed values."

This is not to say that it was for the best! It is very significant that all of Europe Museums distinguishes between Museums of the "Beaux Arts" of the "Museum of Contemporary Art". This is the formalization of the divorce between the Art and the Beautiful.

This novelty in the history of mankind is certainly not without meaning and consequences.

It is undoubtedly not indifferent that a society decides that its official art, in painting and sculpture, will no longer have the Beautiful as its goal, and proclaims that the Laid and the Absurd are legitimate aesthetic values . The philosophers have discussed much the relationship between aesthetics and ethics, the Beautiful and the Good. They have generally concluded that there are close relationships and convergence relationships between these fundamental concepts, specific to humanity.

Official contemporary art is actually easy to understand: the Ugly and the Absurd are the snobbery of this art. That is to say a way for the enlightened elite, initiated, to recognise themselves, to differentiate themselves and to say shit to the unenlightened people.

For such is the democratic doctrine:

1. The Political legitimacy is in the people. It is the public principle, displayed, exoteric.

2. The Reason is only among the enlightened elites. This is the secret, esoteric principle

This became possible during the second half of the 20th century when art (painting and sculpture) could cease to be a mode of communication between elites and peoples, as it was for example in the days of Rubens.

The contemporary elites have at their disposal new means of propaganda, which lacked the former elites, far more effective than art: compulsory education, the mass media (press, cinema, radio, television) and advertising.

Henceforth the official art could cease to be intersocial, art was no longer indispensable as a means of communication between the elites and the peoples. Official art could cut bridges with the common people, and become a reserve for the use of the enlightened alone. An exclusive reserve for the Wise and the Guardians, and forbidden to ordinary people.

To achieve this, the Ugly and the Absurd were both the most appropriate defenses and keys: The Laid and the Absurd constitute barriers that are strongly dissuasive for the majority of the population and are very selective keys, because few dare to make use of it. To force the passage and enter the Reserve it was necessary to recognize them as such, and to accept to play this game .

Thus the common people remain at the door of the great museums of contemporary art, and are satisfied with photography, commercial art, mural art .... intended for everyone. While the elites can enjoy the rarefied atmosphere of the peaks of contemporary art.

   

 

Un cache-pot improvisé pour ces jolis oeillets de ma couleur préférée...le rose, qu'il soit tendre ou fuchsia me donne toujours le sourire et la bonne humeur !

 

Bon et doux week-end à vous :)

 

***

"The color Pink makes everything look pretty"

Cit. web - author unknown

 

__________________________________________________

 

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DON'T CLAIM AS YOUR OWN | NON-COMMERCIAL PURPOSE

 

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All my images are protected under international authors copyright laws and may not be shared, downloaded, reproduced, copied, or edited without my written explicit permission. Any unauthorized use is strictly illegal and can be punishable by law.

 

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Website | Blog | Guestbook

 

Lucio Dalla, com'è profondo il mare www.youtube.com/watch?v=HYBhn9UGZv0&feature=related

    

meglio: View On Black

better: View On Black

 

lo so che voi direte: "cos'è sta roba?" ed io vi capisco, ma io amo "sta roba".... era il primo risveglio a bordo della Royal Clipper, il veliero rollava un pò, quindi era chiaro a tutti, non solo ad un uomo di mare, che si stava a bordo di una nave, però io ne ero tanto affascinato da volere subito una conferma, così, ancora mezzo addormentato, scostai il lenzuolo e mi avvicinai all'oblò, sorrisi di felicità e mandai un bacio a queste onde, che col rollio, arrivavano a lambirne il vetro.... presi subito la Nikon per immortalare quel momento.... la foto che ne è uscita per quasi tutti è poca cosa, invece a me piace tantissimo, tanto che, appena ritornerò a casa, ne farò un ingrandimento da appendere in soggiorno vicino alle tante altre cose che ho raccolto nel mio lungo girovagare per i sette mari

 

********

 

I know you will say: "what is this stuff?" and I understand you, but I love "this stuff".... it was the first awakening onboard the Royal Clipper, the vessel was rolling a bit, so it was clear to everyone, not just to a seaman, to stay on board a ship, but I was so fascinated that soon i check for a confirmation, so, still half asleep, I pulled back the sheet and went over the porthole, smiling of happiness, I sent a kiss to these waves, which, due to rolling, were licking the glass. ... immediately i took my Nikon to capture that moment .... the photo that came out for almost everyone is a little thing, but I like it a lot, so much that, as soon as I will return home, I'll make a wallpaper to hang in the living room near the many other things that I collected during my long wandering the seven seas

A collection of my favourite 2011 works - may be you would spend a couple of minutes to have a look on the (whole) preview here.

 

My best wishes to you all for the new year - times are going to be non easy, but, if not exactly "happiness", that in this moment (well, ... always!) seems to be a particular difficult target (but we must anyway aim to!) - I hope that it will bring us at least "something" good, even small, tiny things, but very, very special ... :-)

Enjoy all the enjoyable, and ... ignite the imagination!

 

Thank you very much for your support, friendship, appreciation, smiles and ... everything :-)

 

Follow me @ Tumblr | Twitter | 500px

  

If you are interested in my works, they are available on Getty Images.

  

“People are often unreasonable and self-centered. Forgive them anyway.If you are kind, people may accuse you of ulterior motives. Be kind anyway. If you are honest, people may cheat you. Be honest anyway. If you find happiness, people may be jealous. Be happy anyway. The good you do today may be forgotten tomorrow. Do good anyway. Give the world the best you have and it may never be enough. Give your best anyway. For you see, in the end, it is between you and God. It was never between you and them anyway.”

— Mother Teresa

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● Non-HDR-processed / Non-GND/ND-filtered

● Black Card Technique 黑卡作品

 

.

..............IF YOU WANT TO INVITE ME,

..............PLEASE READ MY PROFILE FIRST!

   

"Amare è soffrire. Se non si vuol soffrire non si deve amare. Però allora si soffre di non amare, pertanto amare è soffrire, non amare è soffrire, e soffrire è soffrire.

Essere felici è amare, allora essere felici è soffrire, ma soffrire ci rende infelici, pertanto per essere infelici si deve amare, o amare e soffrire, o soffrire per troppa felicità... io spero che tu stia prendendo appunti…" (Woody Allen)

  

***

  

"To love is to suffer. To avoid suffer, one must not love. But then one suffers for not loving, therefore to love is to suffer, not to love is to suffer, and to suffer is to suffer.

To be happy is to love, to be happy then is to suffer, but suffering makes one unhappy, therefore to be unhappy one must love, or love to suffer, or suffer for too much happiness... I hope you are taking notes..." (Woody Allen)

   

 

Well, my camera and myself passed some wonderful moments at the Chateau de La Hulpe this last Sunday!!!! It was a sublime, Autumn sunny day!! My beloved Chateau-grounds –- forests, lakes, open spaces -– were full of happy people with their little ones and doggies! The water-loving birds were in utmost joy, and the forest-loving ones singing the most melodious of their songs!! The adorable beezy and butterflying creatures were dancing their most graceful of dances on the various adorable blooms…

 

And, ... my camera and myself were taking photos non-stop!! You can enjoy here certain scenes, that took place within an utmost water-loving happiness!!! Aren’t they magical, talented , gracious, water-dancers all these joyful, adorable geese ?

 

*** Please, enjoy these birds in LARGE!!!

   

Felicità è non fermarsi mai a pensare se la si ha.

Happiness is: never stopping to think about if you have it.

Anonimo

Friendship is unnecessary, like philosophy, like art, it has no survival value, rather it is one of those things that give value to survival.

Clive Staples Lewis.

  

Clive Staples Lewis (29 November 1898 – 22 November 1963) was a British novelist, poet, academic, medievalist, literary critic, essayist, lay theologian, broadcaster, lecturer, and Christian apologist. He held academic positions at both Oxford University (Magdalen College, 1925–1954) and Cambridge University (Magdalene College, 1954–1963). He is best known for his works of fiction, especially The Screwtape Letters, The Chronicles of Narnia, and The Space Trilogy, and for his non-fiction Christian apologetics, such as Mere Christianity, Miracles, and The Problem of Pain.

 

Lewis and fellow novelist J. R. R. Tolkien were close friends. They both served on the English faculty at Oxford University, and were active in the informal Oxford literary group known as the Inklings. According to Lewis's memoir Surprised by Joy, he was baptised in the Church of Ireland, but fell away from his faith during adolescence. Lewis returned to Anglicanism at the age of 32, owing to the influence of Tolkien and other friends, and he became an "ordinary layman of the Church of England". His faith profoundly affected his work, and his wartime radio broadcasts on the subject of Christianity brought him wide acclaim.

 

In 1956, he married American writer Joy Davidman; she died of cancer four years later at the age of 45. Lewis died on 22 November 1963 from renal failure, one week before his 65th birthday. In 2013, on the 50th anniversary of his death, Lewis was honoured with a memorial in Poets' Corner in Westminster Abbey.

 

Lewis's works have been translated into more than 30 languages and have sold millions of copies. The books that make up The Chronicles of Narnia have sold the most and have been popularised on stage, TV, radio, and cinema. His works entered the public domain in 2014 in countries where copyright expires 50 years after the death of the creator, such as Canada. Source Wikipedia

Ludolf Bakhuizen. 1630-1708.

The Eendracht and a Fleet of Dutch Men of War. L'Eendracht et une flotte de vaisseaux de guerre hollandais.

vers 1675. Londres. National Gallery.

 

L'ART, LE BEAU ET LE LAID

 

"Tout l’art florentin depuis Giotto et tout au long du Quattrocento, possède cette stupéfiante qualité de vérité absolue, reconnue. L’effet immédiat d’un grand Giotto ou d’un Masaccio est de laisser le spectateur sans voix. Cela s’appelait autrefois la Beauté."

MARIE MAC CARTHY "Les Pierres de Florence" 1956.

 

"Everything Florentine art from Giotto and throughout the Quattrocento has this amazing quality of absolute truth recognized. The immediate effect of a large Giotto or Masaccio is to let the audience speechless. It s' once called Beauty. "

MARY MAC CARTHY "The Stones of Florence" 1956.

  

Pendant des millénaires, en Europe, et dans toutes les civilisations, "le Beau" a été un but et un critère de l'Art, notamment en peinture.

 

1° Le Beau était le but poursuivi par l'artiste quand il peignait un tableau. De l'époque médiévale à l'Art Moderne, l'artiste a toujours eu pour finalité le Beau. Même quand il entendait peindre une situation dramatique, ou horrible comme les événements de la passion du Christ (Retable d'Issenheim) ou l'Enfer ( Bouts, Bosch). Même quand il a entendu peindre les horreurs de la guerre, comme Jacques Callot, Goya ou Otto Dix.

 

2° Le Beau était reconnu comme tel par consensus.

Comme l'a écrit Mikel Dufrenne dans un article de l'encyclopédie Universalis, le Beau est défini par trois critères, que l'on dira objectifs : L'opinion des élites, l'opinion commune de la population, le temps.

Une excellente définition, pratique, pragmatique, qui ne se noie pas dans les concepts abstraits, la recherche d'une Essence du Beau, et utilise un langage parfaitement compréhensible pour tous.

 

Ces définitions laissent bien sûr la place à l'opinion individuelle et aux goûts de chacun. Comme l'a écrit aussi Mikel Dufrenne dans le même article : "L'œuvre d’art s'impose avec la force de l'évidence, pour le bonheur de qui la contemple."

C'est un quatrième critère, plus subjectif, qui varie en fonction des individus. Telle oeuvre peut procurer du bonheur à telle personne, et pas, ou moins, à telle autre. Mais d'une part le but essentiel de l'artiste était de procurer un bonheur à son public, et ce bonheur était ressenti par une majorité d'hommes de milieux différents.

L'attitude totalement relativiste qui consiste à dire qu'il n'y a pas de critère du Beau, et que tout est affaire de goût personnel, est fausse, par excès, et par méconnaissance des réalités historiques établies.

Il est vrai qu'il n'existe pas de définition, abstraite, philosophique du Beau. Il semble que les grands philosophes aient tous échoué dans toutes leurs tentatives pour en une proposer une. Il n'existe pas non plus de définition mathématique du Beau. Il est donc inutile de se casser à la tête à rechercher des définitions abstraites du Beau. Mais le Beau n'en existe pas moins.

Le Beau est un fait d'expérience dont toute l'histoire humaine témoigne, dans toutes les civilisations.

Le Beau est un sentiment de satisfaction, une émotion positive, partagés par une large fraction d'une société, peuples et élites ensemble, cette conjonction est nécessaire, et confirmés par le temps.

 

Ce qui a changé avec l'Art Contemporain, progressivement, mais très nettement à partir des années 1950, c'est que le Beau n'a plus été un but de l'art. Le Laid a même été revendiqué comme une recherche légitime de l'art.

Comme le constate très réalistement l'historien d'art Ernst Gombrich, l'art est devenu "une aventure aux confins de l’impossible et l’art du laid."

L'adhésion idéologique de l'Art Contemporain au Laid est un constat banal, qui a été fait de multiples fois, et qui a été pleinement revendiqué par tous ses théoriciens.

Le critique d'art Michel Tapié (1909-1987) constate dans les années 1950-60 que "l'Art Moderne -entendez Art Contemporain- est né le jour où l'idée d'Art et celle de Beauté se sont trouvées disjointes." Il ne critique pas cette disjonction, bien au contraire il la constate et la justifie. "nous avons changé de valeurs".

Cela ne veut pas dire que cela a été pour le mieux ! Il est très significatif que toute l'Europe des Musées distingue, dans presque toutes les langues, les Musées des "Beaux Arts" des "Musées d'Art Contemporain". C'est l'officialisation du divorce de l'Art et du Beau.

Cette Nouveauté dans l'histoire de l'humanité n'est certainement pas sans signification ni conséquences.

Il n'est sans aucun doute pas indifférent qu'une société décide que son art officiel, en peinture et en sculpture, n'aura plus le Beau comme but, et proclame que le Laid, et l'Absurde, sont des valeurs esthétiques légitimes.

Les philosophes ont beaucoup discuté des rapports entre l'esthétique et l'éthique, le Beau et le Bien. Ils ont généralement conclu qu'il existait entre ces concepts fondamentaux, spécifiques à l'humanité, des rapports étroits et des relations de convergences.

 

L'art contemporain officiel est en réalité facile à comprendre : le Laid et l'Absurde sont le snobisme de cet art. C'est à dire une manière pour l'élite éclairée, initiée, de se reconnaître, de se différencier et de dire merde aux peuples non éclairés.

Car telle est la doctrine démocratique :

1° La légitimité politique est dans le peuple. C'est le principe public, affiché, exotérique.

2° La Raison est seulement chez les élites éclairées. C'est le principe secret, esotérique.

Cela est devenu possible au cours de la seconde moitié du 20è siècle quand l'art (peinture et sculpture) a pu cesser d'être un mode de communication entre les élites et les peuples comme il l'était aux temps de Rubens.

Les élites contemporaines ont à leur disposition des moyens de propagande nouveaux, dont ne disposaient pas les anciennes élites, autrement plus efficaces que l'art : l'enseignement obligatoire, les grands médias (presse, cinema, radio, télévision) et la publicité.

Dès lors l'art officiel pouvait cesser d'être intersocial, l'art n'était plus indispensable comme moyen de communication entre les élites et les peuples. L'art officiel pouvait couper les ponts avec les populations, et devenir une réserve à l'usage des seuls éclairés. Une réserve exclusive pour les Sages et les Gardiens, et interdite au gens du commun.

Pour y parvenir Le Laid et l'Absurde étaient à la fois les défenses et les clés tout à fait appropriées : Le Laid et l'Absurde constituent des barrières fortement dissuasives pour la majorité de la population, et sont des clefs tout à fait sélectives, car peu osent s'en servir. Pour forcer le passage et entrer dans la Réserve il fallait les reconnaître comme telles, et accepter de jouer ce jeu là.

C'est ainsi que les gens du commun restent à la porte des grands musées d'art contemporain, et se contentent de la photographie, de l'art commercial, de l'art mural....destinés à tout le monde. Tandis que les élites peuvent jouir de l'atmosphère raréfiée des sommets de l'art contemporain.

  

THE ART, THE BEAUTIFUL AND THE UGLY

 

For millennia, in Europe, and in all civilizations, "the Beautiful" was a goal and a criterion of art, particularly in painting.

 

1 The Beautiful was the aim pursued by the artist when he painted a picture. From medieval times to Modern Art, the artist has allways had intented the Beautiful. Even when he intended to paint a dramatic situation, or horrible, as the events of the Passion of Christ (Issenheim Altarpiece) or Hell (Bouts, Bosch). Even when he heard paint the horrors of war, as Jacques Callot, Goya and Otto Dix.

 

2. The Beautiful was recognized as such by consensus.

As Mikel Dufrenne wrote in an article in the Encyclopedia Universalis, the Beau is defined by three criteria objectives: The opinion of elites, the common opinion of the population, the time.

An excellent definition, practical, pragmatic, that does not drown in abstract concepts, the search for an Essence of Beauty, and uses an understandable language.

 

These definitions leave room to the individual opinion and tastes. As written also Mikel Dufrenne in the same article: "The work of art is imposed on all, with the strength of the evidence, to the delight of the beholder." It is a fourth criterion, more subjective, which varies depending on individuals. Such work can bring happiness to such a person, and not, or less, to another. But firstly, the primary aim of the artist was to provide happiness to his audience, and this happiness was felt by a majority of men of different backgrounds.

The fully relativistic attitude of saying that there is no criterion of the Beautiful, and that everything is matter of personal taste, is false, by excess and by ignorance of the established historical realities. It is true that there is no definition, abstract, philosophical of the Beautiful. It seems that the great philosophers have all failed in their attempts to propose a definition of the Beautiful. There is also no mathematical definition of the Beautiful. There is no need to break the head to search for abstract definitions of the Beautiful. But the Beautiful does exists nonetheless.

The Beautiful is a fact of experience, which all of human history testifies, in all civilizations.

The Beautiful is a sense of satisfaction, a positive emotion, shared by a large section of society, elites and peoples together, this combination is absolutely necessary, and confirmed by time.

 

The Beautiful is a fact of experience. The Beautiful is a feeling of satisfaction, shared by a large section of society, and confirmed by time.

What has changed with the Contemporary Art, gradually, but very clearly from the 1950s is that Beautiful was no longer a purpose of art. The Ugly has even been claimed as a legitimate pursuit of art.

As noted very realistic art historian, Ernst Gombrich, the art has become "an adventure to the borders of the impossible and the art of the ugly."

The ideological accession of Contemporary Art at the Ugly is a banal observation, which was done multiple times, and has been fully claimed by its theorists.

The art critic Michel Tapié (1909-1987) notes that in 1950-60 "Contemporary Art is born on the day when the idea of Art and that of the beauty found disjointed." He does not criticize this disjunction, on the contrary he finds good and justifies it. "We have changed values."

This is not to say that it was for the best! It is very significant that all of Europe Museums distinguishes between Museums of the "Beaux Arts" of the "Museum of Contemporary Art". This is the formalization of the divorce between the Art and the Beautiful.

This novelty in the history of mankind is certainly not without meaning and consequences.

It is undoubtedly not indifferent that a society decides that its official art, in painting and sculpture, will no longer have the Beautiful as its goal, and proclaims that the Laid and the Absurd are legitimate aesthetic values . The philosophers have discussed much the relationship between aesthetics and ethics, the Beautiful and the Good. They have generally concluded that there are close relationships and convergence relationships between these fundamental concepts, specific to humanity.

Official contemporary art is actually easy to understand: the Ugly and the Absurd are the snobbery of this art. That is to say a way for the enlightened elite, initiated, to recognise themselves, to differentiate themselves and to say shit to the unenlightened people.

For such is the democratic doctrine:

1. The Political legitimacy is in the people. It is the public principle, displayed, exoteric.

2. The Reason is only among the enlightened elites. This is the secret, esoteric principle

This became possible during the second half of the 20th century when art (painting and sculpture) could cease to be a mode of communication between elites and peoples, as it was for example in the days of Rubens.

The contemporary elites have at their disposal new means of propaganda, which lacked the former elites, far more effective than art: compulsory education, the mass media (press, cinema, radio, television) and advertising.

Henceforth the official art could cease to be intersocial, art was no longer indispensable as a means of communication between the elites and the peoples. Official art could cut bridges with the common people, and become a reserve for the use of the enlightened alone. An exclusive reserve for the Wise and the Guardians, and forbidden to ordinary people.

To achieve this, the Ugly and the Absurd were both the most appropriate defenses and keys: The Laid and the Absurd constitute barriers that are strongly dissuasive for the majority of the population and are very selective keys, because few dare to make use of it. To force the passage and enter the Reserve it was necessary to recognize them as such, and to accept to play this game .

Thus the common people remain at the door of the great museums of contemporary art, and are satisfied with photography, commercial art, mural art .... intended for everyone. While the elites can enjoy the rarefied atmosphere of the peaks of contemporary art.

   

Happy Birthday dear Aurelia ! .... a little belated , sorry

 

Dear Aurelia , for your Birthday , I wanted to choose a serene image . So , soft colours are better :)

Wish you all the happiness you can hope , impalpable as well as the most tangible !!!!

 

♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥

Nikon D300

ƒ/8.0 85.0 mm 1/250 400

Beauce - France

_____________________________________

 

Happiness is the meaning and the purpose of life, the whole aim and end of human existence.

― Aristotle

 

Magical memory of an Impalpable Happiness ...

_________________________________________

 

It was on a frosty Winter morning , breathtakingly beautiful (Eure et Loir .around Chartres. Beauce .France)

a slight blue mist was rising from the ground , reaching the base of frosted trees

  

One of those brief magical moments , giving the feeling that time has been suspended.....weightless

.....impalpable .....As well as some pieces of music

 

Sorry for the lyrical emphasis :))

==============================================

 

C'était un matin d'hiver , glacial , d'une beauté à couper le souffle ( aux alentours de Chartres . Eure et Loir .Beauce - France )

Une légère brume bleutée s'élevait du sol ,atteignant la base des arbres givrés

 

Un de ces courts instants magiques qui donnent l'impression que le temps a été suspendu

... en apesanteur........impalpable........de même certaines musiques

 

Beurk , je deviens lyrique !

 

*********************************************************************

Dear Friends , Thank you for your friendship and support , your nice comments and your faves

Sorry for not being much present , I'll try to catch up ......slowly (pious wish)

_____________________________________

 

Dear Administrators , thank you very much for your kind invitations , always much appreciated (I love !! )

I want to apologize, I'm very slow ...... lack of time :((

 

I want to always take the time to comment several images, in groups, regardless the presence of a comment code or not (so far as Flickr remains a sharing site and a source of inspiration)

 

Je tiens à toujours prendre le temps de commenter plusieurs images , en groupes . qu'il y ait un code de commentaire ou non .... Pour autant que Flickr reste un site de partage et une source d'inspiration

 

So , I'm slow and I just try to do what I can, at my own pace

_____________________________________

 

Happy Sliders Sunday... HSS !!

_______________________________

 

Many thanks to the Administrators who chose this picture as image of the Month

 

# Winner 1st place Award Tree Challenge 129.0 ~Pastel Palette Many thanks !!!

 

# Winner 1st Legacy Gallery Challenge For June/July - Your Super Shot from Jan 1/2014 - June 30, 2015

Many Thanks :)

 

THANKS for adding my image to 6 superb galleries

 

*********************************************************************

  

Please no invitation to multi-levels groups (I mean more than 3 or 4 levels )

I've neither time nor patience to count my awards for 5, 6, 7, 8 ....levels and even up to 10 or 12 (!).....

 

but I always like to take time for contests !!!!

 

***************************************************************************

Behance link : www.behance.net/gallery/50694243/Transgender-celebrating-...

 

Holi, the Festival of Colours has been celebrated in India since thousands of years and is now also celebrated by various communities of South Asia including non-Hindu communities.

 

While Holi is celebrated in almost every part of India, Holi in Braj is especially famous. Braj is a historical region which covers the area of Mathura, Vrindavan,Barsana,Nandgaon and some nearby areas. Holi here attacts tourists and pilgrims from all over the world because of it’s special customs and traditions. Mathura is the birth-place of Lord Krishna and Vrindavan is the place where he grew up in his childhood.

 

When Krishna was young, he cribbed to his mother about Radha (his friend) being fair while Krishna himself was dark complexioned. His mother (Yashoda) suggested him to colour Radha with colors in a playful manner. Over the years, Krishna from his village Nandgaon used to go to Barsana (Radha’s village) to color Radha and other Gopis. They also used to playfully beat him with sticks. And hence the tradition evolved.

 

According to the legend, menfolk from Nandgaon visit Barsana to celebrate ‘Holi’ with women from Barsana. When these people come visiting, they are welcomed by these women with sticks and are beaten up. The bunch from Nandgaon comes well prepared for it, with a padded shield to counter the attacks. These sticks are called ‘lathths’, hence this holi-celebration is famously known as ‘Laththmaar’ holi.

 

Next day, the women from Barsana (since the women don’t go, men and trans-genders dressed as women represent women from the village) go to Nandgaon to celebrate Holi with the men from the village. They are welcomed with water and colour everywhere, but the main event takes place in the courtyard of the temple at Nandgaon. This event marks the highlight of the holi celebration at Nandgaon. During the celebrations at the temple courtyard, people from both the villages sit across each other singing, dancing and conversing and this meet-up is termed as ‘samaaj’.

Holi, the Festival of Colours has been celebrated in India since thousands of years and is now also celebrated by various communities of South Asia including non-Hindu communities.

 

While Holi is celebrated in almost every part of India, Holi in Braj is especially famous. Braj is a historical region which covers the area of Mathura, Vrindavan,Barsana,Nandgaon and some nearby areas. Holi here attacts tourists and pilgrims from all over the world because of it’s special customs and traditions. Mathura is the birth-place of Lord Krishna and Vrindavan is the place where he grew up in his childhood.

 

When Krishna was young, he cribbed to his mother about Radha (his friend) being fair while Krishna himself was dark complexioned. His mother (Yashoda) suggested him to colour Radha with colors in a playful manner. Over the years, Krishna from his village Nandgaon used to go to Barsana (Radha’s village) to color Radha and other Gopis. They also used to playfully beat him with sticks. And hence the tradition evolved.

   

si tu cherches. paris, france.

Bruciava felice quel buco nel cuore

non era dolore

era solo il sole.

Yessssssss all is right now with my computer .

Thank you for your kind support, my friends :-)

 

Comme écrit sous mon précédent post, tout est enfin rentré dans l'ordre ... !

Merci à tous et bon weekend (prolongé ou non) à vous toutes et tous :-)

Le printemps commence sur le calendrier, le 21 mars. Si le temps est encore incertain certains signes ne trompent pas.

 

Le 21 mars, jour de l’équinoxe de printemps, le jour et la nuit ont une durée égale, mais au fil des jours, le soleil apparaît de plus en plus tôt et se couche de plus en plus tard. Les jours s’allongent et les rayons du soleil frappent plus longtemps, apportant davantage de chaleur et de lumière, provoquant le réveil de la nature. Certains animaux sortent de leur léthargie, beaucoup se préparent pour la reproduction. La végétation jaillit et la période est propice aux fécondations. De nombreux phénomènes naturels signent le retour du printemps : le bourgeonnement des arbres, les premières fleurs (crocus, tulipes, etc.), la fonte de la neige, les grandes migrations des oiseaux…

 

Le sol s’assèche, non parce que mars est moins pluvieux, mais tout simplement parce que les hausses de températures agissent sur l’activité des micro-organismes, d’où une transpiration des sols plus intense. La terre exhale des parfums printaniers.

Rien n’est plus beau que le printemps

 

Seen in EXPLORE 2012-11-16

 

Love what makes you happy, but not love your happiness.

 

- - - - - Gustave Thibon - - - - -

 

Ama ciò che ti rende felice, ma non amare la tua felicità.

Felicità è non desiderare di essere altrove.

.

Happiness is to not wish to be elsewhere.

.

"Seguendo il ritmo veloce di questa musica incessante,

le stagioni vengono danzando e se ne vanno,

colori, melodie, profumi si versano in cascate senza fine,

nella gioia straripante che si spande,

e cessa, e muore ogni momento."

 

Tagore - Il Giardiniere LXX

 

E' nei momenti di pioggia che ci si ferma a ripensare al sole. Quando ne siamo avvolti ci limitiamo a viverlo, senza porci domande, senza chiederci perchè. Nel momento in cui giunge la pioggia e qualche nuvola grigia sovrasta il nostro cielo ecco lì, il pensiero del sole mancato, del sole che avremmo voluto vivere e vivere ancora. Non che non ami la pioggia, ma dipende dai giorni, dipende dalla promessa che la stagione ha fatto, dipende da ciò che il mio cuore sussurra in quel momento. Bisogna imparare a danzare sotto la pioggia allo stesso modo in cui si danza in un prato fiorito, sotto il sole. Capiremmo che le stagioni le portiamo dentro e che spetta a noi far risplendere il sole o lasciarci cullare dalla pioggia.

Se questa è la solitudine, immagina quanta bellezza nel suo contrario...

If this is loneliness, imagine how much beauty in its opposite...

 

"Due non è il doppio ma il contrario di uno, della sua solitudine. Due è alleanza, filo doppio che non è spezzato."

 

Erri De Luca

 

"Two is not double but the opposite of one, of its loneliness"

from "The Opposite of One", by Erri De Luca

  

Brambles, To Speak of Solitude

  

Mogwai, May Nothing But Happiness Come Through Your Door

 

Explore # 25, Nov 12, 2012

 

www.flickr.com/explore/interesting/2012/11/12/

 

Immagine visibile anche nel video: Soniagallery Flickr "2012 Best Photos"

Hendrick Avercamp. 1585-1634. Une scène sur la glace près d'une ville. A Scene on the Ice near a Town. vers1615. Londres. National Gallery.

 

L'ART, LE BEAU ET LE LAID

 

"Tout l’art florentin depuis Giotto et tout au long du Quattrocento, possède cette stupéfiante qualité de vérité absolue, reconnue. L’effet immédiat d’un grand Giotto ou d’un Masaccio est de laisser le spectateur sans voix. Cela s’appelait autrefois la Beauté."

MARIE MAC CARTHY "Les Pierres de Florence" 1956.

 

"Everything Florentine art from Giotto and throughout the Quattrocento has this amazing quality of absolute truth recognized. The immediate effect of a large Giotto or Masaccio is to let the audience speechless. It s' once called Beauty. "

MARY MAC CARTHY "The Stones of Florence" 1956.

  

Pendant des millénaires, en Europe, et dans toutes les civilisations, "le Beau" a été un but et un critère de l'Art, notamment en peinture.

 

1° Le Beau était le but poursuivi par l'artiste quand il peignait un tableau. De l'époque médiévale à l'Art Moderne, l'artiste a toujours eu pour finalité le Beau. Même quand il entendait peindre une situation dramatique, ou horrible comme les événements de la passion du Christ (Retable d'Issenheim) ou l'Enfer ( Bouts, Bosch). Même quand il a entendu peindre les horreurs de la guerre, comme Jacques Callot, Goya ou Otto Dix.

 

2° Le Beau était reconnu comme tel par consensus.

Comme l'a écrit Mikel Dufrenne dans un article de l'encyclopédie Universalis, le Beau est défini par trois critères, que l'on dira objectifs : L'opinion des élites, l'opinion commune de la population, le temps.

Une excellente définition, pratique, pragmatique, qui ne se noie pas dans les concepts abstraits, la recherche d'une Essence du Beau, et utilise un langage parfaitement compréhensible pour tous.

 

Ces définitions laissent bien sûr la place à l'opinion individuelle et aux goûts de chacun. Comme l'a écrit aussi Mikel Dufrenne dans le même article : "L'œuvre d’art s'impose avec la force de l'évidence, pour le bonheur de qui la contemple."

C'est un quatrième critère, plus subjectif, qui varie en fonction des individus. Telle oeuvre peut procurer du bonheur à telle personne, et pas, ou moins, à telle autre. Mais d'une part le but essentiel de l'artiste était de procurer un bonheur à son public, et ce bonheur était ressenti par une majorité d'hommes de milieux différents.

L'attitude totalement relativiste qui consiste à dire qu'il n'y a pas de critère du Beau, et que tout est affaire de goût personnel, est fausse, par excès, et par méconnaissance des réalités historiques établies.

Il est vrai qu'il n'existe pas de définition, abstraite, philosophique du Beau. Il semble que les grands philosophes aient tous échoué dans toutes leurs tentatives pour en une proposer une. Il n'existe pas non plus de définition mathématique du Beau. Il est donc inutile de se casser à la tête à rechercher des définitions abstraites du Beau. Mais le Beau n'en existe pas moins.

Le Beau est un fait d'expérience dont toute l'histoire humaine témoigne, dans toutes les civilisations.

Le Beau est un sentiment de satisfaction, une émotion positive, partagés par une large fraction d'une société, peuples et élites ensemble, cette conjonction est nécessaire, et confirmés par le temps.

 

Ce qui a changé avec l'Art Contemporain, progressivement, mais très nettement à partir des années 1950, c'est que le Beau n'a plus été un but de l'art. Le Laid a même été revendiqué comme une recherche légitime de l'art.

Comme le constate très réalistement l'historien d'art Ernst Gombrich, l'art est devenu "une aventure aux confins de l’impossible et l’art du laid."

L'adhésion idéologique de l'Art Contemporain au Laid est un constat banal, qui a été fait de multiples fois, et qui a été pleinement revendiqué par tous ses théoriciens.

Le critique d'art Michel Tapié (1909-1987) constate dans les années 1950-60 que "l'Art Moderne -entendez Art Contemporain- est né le jour où l'idée d'Art et celle de Beauté se sont trouvées disjointes." Il ne critique pas cette disjonction, bien au contraire il la constate et la justifie. "nous avons changé de valeurs".

Cela ne veut pas dire que cela a été pour le mieux ! Il est très significatif que toute l'Europe des Musées distingue, dans presque toutes les langues, les Musées des "Beaux Arts" des "Musées d'Art Contemporain". C'est l'officialisation du divorce de l'Art et du Beau.

Cette Nouveauté dans l'histoire de l'humanité n'est certainement pas sans signification ni conséquences.

Il n'est sans aucun doute pas indifférent qu'une société décide que son art officiel, en peinture et en sculpture, n'aura plus le Beau comme but, et proclame que le Laid, et l'Absurde, sont des valeurs esthétiques légitimes.

Les philosophes ont beaucoup discuté des rapports entre l'esthétique et l'éthique, le Beau et le Bien. Ils ont généralement conclu qu'il existait entre ces concepts fondamentaux, spécifiques à l'humanité, des rapports étroits et des relations de convergences.

 

L'art contemporain officiel est en réalité facile à comprendre : le Laid et l'Absurde sont le snobisme de cet art. C'est à dire une manière pour l'élite éclairée, initiée, de se reconnaître, de se différencier et de dire merde aux peuples non éclairés.

Car telle est la doctrine démocratique :

1° La légitimité politique est dans le peuple. C'est le principe public, affiché, exotérique.

2° La Raison est seulement chez les élites éclairées. C'est le principe secret, esotérique.

Cela est devenu possible au cours de la seconde moitié du 20è siècle quand l'art (peinture et sculpture) a pu cesser d'être un mode de communication entre les élites et les peuples comme il l'était aux temps de Rubens.

Les élites contemporaines ont à leur disposition des moyens de propagande nouveaux, dont ne disposaient pas les anciennes élites, autrement plus efficaces que l'art : l'enseignement obligatoire, les grands médias (presse, cinema, radio, télévision) et la publicité.

Dès lors l'art officiel pouvait cesser d'être intersocial, l'art n'était plus indispensable comme moyen de communication entre les élites et les peuples. L'art officiel pouvait couper les ponts avec les populations, et devenir une réserve à l'usage des seuls éclairés. Une réserve exclusive pour les Sages et les Gardiens, et interdite au gens du commun.

Pour y parvenir Le Laid et l'Absurde étaient à la fois les défenses et les clés tout à fait appropriées : Le Laid et l'Absurde constituent des barrières fortement dissuasives pour la majorité de la population, et sont des clefs tout à fait sélectives, car peu osent s'en servir. Pour forcer le passage et entrer dans la Réserve il fallait les reconnaître comme telles, et accepter de jouer ce jeu là.

C'est ainsi que les gens du commun restent à la porte des grands musées d'art contemporain, et se contentent de la photographie, de l'art commercial, de l'art mural....destinés à tout le monde. Tandis que les élites peuvent jouir de l'atmosphère raréfiée des sommets de l'art contemporain.

  

THE ART, THE BEAUTIFUL AND THE UGLY

 

For millennia, in Europe, and in all civilizations, "the Beautiful" was a goal and a criterion of art, particularly in painting.

 

1 The Beautiful was the aim pursued by the artist when he painted a picture. From medieval times to Modern Art, the artist has allways had intented the Beautiful. Even when he intended to paint a dramatic situation, or horrible, as the events of the Passion of Christ (Issenheim Altarpiece) or Hell (Bouts, Bosch). Even when he heard paint the horrors of war, as Jacques Callot, Goya and Otto Dix.

 

2. The Beautiful was recognized as such by consensus.

As Mikel Dufrenne wrote in an article in the Encyclopedia Universalis, the Beau is defined by three criteria objectives: The opinion of elites, the common opinion of the population, the time.

An excellent definition, practical, pragmatic, that does not drown in abstract concepts, the search for an Essence of Beauty, and uses an understandable language.

 

These definitions leave room to the individual opinion and tastes. As written also Mikel Dufrenne in the same article: "The work of art is imposed on all, with the strength of the evidence, to the delight of the beholder." It is a fourth criterion, more subjective, which varies depending on individuals. Such work can bring happiness to such a person, and not, or less, to another. But firstly, the primary aim of the artist was to provide happiness to his audience, and this happiness was felt by a majority of men of different backgrounds.

The fully relativistic attitude of saying that there is no criterion of the Beautiful, and that everything is matter of personal taste, is false, by excess and by ignorance of the established historical realities. It is true that there is no definition, abstract, philosophical of the Beautiful. It seems that the great philosophers have all failed in their attempts to propose a definition of the Beautiful. There is also no mathematical definition of the Beautiful. There is no need to break the head to search for abstract definitions of the Beautiful. But the Beautiful does exists nonetheless.

The Beautiful is a fact of experience, which all of human history testifies, in all civilizations.

The Beautiful is a sense of satisfaction, a positive emotion, shared by a large section of society, elites and peoples together, this combination is absolutely necessary, and confirmed by time.

 

The Beautiful is a fact of experience. The Beautiful is a feeling of satisfaction, shared by a large section of society, and confirmed by time.

What has changed with the Contemporary Art, gradually, but very clearly from the 1950s is that Beautiful was no longer a purpose of art. The Ugly has even been claimed as a legitimate pursuit of art.

As noted very realistic art historian, Ernst Gombrich, the art has become "an adventure to the borders of the impossible and the art of the ugly."

The ideological accession of Contemporary Art at the Ugly is a banal observation, which was done multiple times, and has been fully claimed by its theorists.

The art critic Michel Tapié (1909-1987) notes that in 1950-60 "Contemporary Art is born on the day when the idea of Art and that of the beauty found disjointed." He does not criticize this disjunction, on the contrary he finds good and justifies it. "We have changed values."

This is not to say that it was for the best! It is very significant that all of Europe Museums distinguishes between Museums of the "Beaux Arts" of the "Museum of Contemporary Art". This is the formalization of the divorce between the Art and the Beautiful.

This novelty in the history of mankind is certainly not without meaning and consequences.

It is undoubtedly not indifferent that a society decides that its official art, in painting and sculpture, will no longer have the Beautiful as its goal, and proclaims that the Laid and the Absurd are legitimate aesthetic values . The philosophers have discussed much the relationship between aesthetics and ethics, the Beautiful and the Good. They have generally concluded that there are close relationships and convergence relationships between these fundamental concepts, specific to humanity.

Official contemporary art is actually easy to understand: the Ugly and the Absurd are the snobbery of this art. That is to say a way for the enlightened elite, initiated, to recognise themselves, to differentiate themselves and to say shit to the unenlightened people.

For such is the democratic doctrine:

1. The Political legitimacy is in the people. It is the public principle, displayed, exoteric.

2. The Reason is only among the enlightened elites. This is the secret, esoteric principle

This became possible during the second half of the 20th century when art (painting and sculpture) could cease to be a mode of communication between elites and peoples, as it was for example in the days of Rubens.

The contemporary elites have at their disposal new means of propaganda, which lacked the former elites, far more effective than art: compulsory education, the mass media (press, cinema, radio, television) and advertising.

Henceforth the official art could cease to be intersocial, art was no longer indispensable as a means of communication between the elites and the peoples. Official art could cut bridges with the common people, and become a reserve for the use of the enlightened alone. An exclusive reserve for the Wise and the Guardians, and forbidden to ordinary people.

To achieve this, the Ugly and the Absurd were both the most appropriate defenses and keys: The Laid and the Absurd constitute barriers that are strongly dissuasive for the majority of the population and are very selective keys, because few dare to make use of it. To force the passage and enter the Reserve it was necessary to recognize them as such, and to accept to play this game .

Thus the common people remain at the door of the great museums of contemporary art, and are satisfied with photography, commercial art, mural art .... intended for everyone. While the elites can enjoy the rarefied atmosphere of the peaks of contemporary art.

   

Quando si chiude una delle porte della felicità, un'altra si apre; spesso però, guardiamo così a lungo la porta che si è chiusa, che non vediamo l'altra che si è aperta per noi.

Helen Keller, We Bereaved, 1929

A scuola mi domandarono cosa volessi essere da grande.

Io scrissi “Essere felice”.

Mi dissero che non avevo capito il compito,

e io risposi che loro non avevano capito la vita.

(anonimo)

 

To school they asked me "What do you want to be when you grow up?"

I wrote "to Be happy."

They told me that I had not understood the assignment, and I responded that they had not understood the life.

(anonymous)

... like waking, dream and dreamless sleep,

are only passing states

on the One real,

non - changing state.

Get to know it

and be free.

 

if you have time, try it with this music: youtu.be/mib99wnUJ8w

 

and here are some words to go with the picture .. maybe ...

 

youtu.be/bNiK6zpRx5g

 

Arunachala from the roof top of the place, I stayed at Ramana Nagar, Tiruvannamalai in January 2012.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PS - I post these words because I find them inspiring, I don't want to teach anybody, but I thought if I find them inspiring, someone else might too; Love...

 

finally, something about happines: :-)

youtu.be/2Ha7S4AsgYc?t=35s

#abfav_favourite_doors_and_windows_theme

  

It is always a thrill for me to return to the city where I was born.

Melancholic, yes, the streets are filled with the ghosts of loved ones.

I love the non-touristic places, where there is silence, where I can hear the sound of distant voices and laughter, where I can recall, the little blond girl, at the hand of a grown-up, looking up, always full of questions...

But also a happy reunion and revisit of places that are so dear to me and so filled with joy and happiness.

This is the Potterierei, along one of the canals, dappled sunlight flecking walls and windows, highlighting and the sunflowers inside and the cobweb.

Yes, Autumn was already nearing it would seem.

 

Have a lovely day and thank you, as always for your visits, M, (*_*)

  

For more of my other work visit here: www.indigo2photography.com

 

IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. :copyright: All rights reserved

  

"E' il segno di un'estate che vorrei potesse non finire mai.!!!!!"

Negramaro

© Important notice: Do not use my images without my written permission, even for a non commercial use. If you're interested in any of my photos you must contact me first. All my images are under full copyright.

© All rights reserved.

  

A ceux qui le fêtent, je souhaite un joyeux Noël plein de lumières qui clignotent, de chaleur, de parfums de sapin et de clémentine, de sourires et de câlins, d'amour bien sûr... et plein de petits cadeaux aussi ;-)

 

A tous je souhaite une merveilleuse année riche de mille petits bonheurs et de mille belles surprises. :-)

 

To those who celbrate it, I wish a merry Christmas, full of flickering lights, warmth, perfume of Chrismas tree and clementine, smiles and hugs, love of course... and lots of little gifts too ;-)

 

To all, I wish a wonderful year, rich of happiness and great surprises. :-)

  

View On Black

I miei momenti migliori del 2014 #eunaltroannoseneva #quantavitace #iltempovola #lavitaèpoiunasola #love #happiness #smile #2014 #goodmorninginstagram

 

321 Likes on Instagram

 

9 Comments on Instagram:

 

j_a_k_6: Wonderful

 

komalreply: Bravissimo

 

vakerob: Preciosas fotografías. Un saludo

 

kentaurius: Grazie di cuore @xavibernat @j_a_k_6 @komalreply @vakerob :blush:

 

fragoso15382: Precioso video

 

dmf0446: Ma dove hai catturato qst splendide immagini?

 

kentaurius: Benvenuta @dmf0446 ma in giro... Prevalentemente in Sardegna oppure durante i miei viaggi ma non è merito mio... È merito dell' App che uso che le rende speciali :stuck_out_tongue_closed_eyes:

 

dmf0446: Grazie, piacere ....Ma svelerai il tuo app segreto?

  

“Non esiste un sentiero verso la felicità. La felicità è il sentiero.”

-----Siddhārtha Gautama----

 

"There is no path to happiness: happiness is the path."

-----Siddhārtha Gautama----

 

"No hay un camino para la paz: la paz, es el camino"

-----Siddhārtha Gautama----

Di ritorno dal weekend. :)

 

Una foto, una canzone:

 

Alexis Jordan "Happiness"

www.youtube.com/watch?v=qJguxZ2QTSs

 

----------

 

Two more inside.

 

© All rights reserved. Use without my permission is illegal.

Voglio andar via, da qui,

che piano piano mi sta

uccidendo di non vita.

 

Nuove cose, nuovi posti,

nuova vita che mi riporti a me,

ritrovare quello che sapevo

di avere e che ho perso di vista.

 

Lentamente muore chi perde i sogni,

lentamente muore chi permette il

conformismo in un mondo che non

gli appartiene, lentamente si spegne

chi non riesce più ad inseguire

il suo scopo nella vita, chi ha perso

la gioia di alzarsi la mattina e non

sente più il profumo dell'aria fresca

passargli sul viso.

 

Lentamente si uccide chi permette

ad ogni giorno di passare senza un senso,

senza un significato, monotono e copia,

volta dopo volta, della stessa vuota essenza,

momenti andati senza un piccolo passo

avanti nella realizzazione di un sogno.

 

Il tempo passa, passano le età,

passano le energie e passa la vita

intera per chi non è più in grado di

cogliere il grido della sua anima.

 

Un giorno speso invano è un giorno

che non torna più e lentamente,

dolorosamente, l'anima si spegne

senza più energia, con la rabbia

nel cuore e con il muso duro verso

un mondo e un'esistenza che era solo

li ad aspettare noi, ad aspettare me e

che è corsa via mentre, seduto su una

scomoda pietra, si attende l'inizio

di una vita che piano piano si chiude

lasciando in bocca l'amaro di un'occasione

splendida persa per sempre!

Quando la porta della felicità si chiude, un’altra si apre, ma tante volte guardiamo così a lungo a quella chiusa, che non vediamo quella che è stata aperta per noi.

 

When happiness’ door closes, another one opens, but many times we look for so long at the closed one, that we don’t see the one that has been opened for us.

 

(P. Coelho)

Cœur

  

Cœur qui bat comme un tambour

Quand vient l’Amour

Simplicité, et beauté

Si joli à regarder

 

Cœur de tendresse

Que l’on caresse

Belles couleurs

Pour capturer le Bonheur

 

Joli petit Cœur

Non, je n’ai pas peur

Tu es si lumineux

Toi, qui me rend heureux

 

Domi

  

Heart

  

Heart that beats like a drum

When it's Love

Simplicity and beauty

So pretty to watch

 

Heart of love

Whether one caress

Beautiful colors

To capture Happiness

 

Nice little Heart

No, I'm not afraid

You're so bright

You, that makes me happy

 

Domi

 

The only good news lately is that Chelsea Manning was released. Never forget that being born in the wrong body is already horrifying enough and most kids realize this at a very young age. We must be compassionate and we must fight all legislation that discriminates against the LGBTQ community. Their lives matter and, if you care about human rights, you must fight for them!

  

This is just one more reason this administration must be impeached and we must get a new election....one that represents the people and honors vs. ignores constituents. People > Profit.

 

**All photos are copyrighted. Please don't use without permission**

Holi, the Festival of Colours has been celebrated in India since thousands of years and is now also celebrated by various communities of South Asia including non-Hindu communities.

 

While Holi is celebrated in almost every part of India, Holi in Braj is especially famous. Braj is a historical region which covers the area of Mathura, Vrindavan,Barsana,Nandgaon and some nearby areas. Holi here attacts tourists and pilgrims from all over the world because of it’s special customs and traditions. Mathura is the birth-place of Lord Krishna and Vrindavan is the place where he grew up in his childhood.

 

When Krishna was young, he cribbed to his mother about Radha (his friend) being fair while Krishna himself was dark complexioned. His mother (Yashoda) suggested him to colour Radha with colors in a playful manner. Over the years, Krishna from his village Nandgaon used to go to Barsana (Radha’s village) to color Radha and other Gopis. They also used to playfully beat him with sticks. And hence the tradition evolved.

   

Tempo fa m’imbattei in uno scritto, non ricordo nemmeno di chi era, ma il senso è ancora fisso in me come un macigno in mezzo alla strada, diceva pressappoco così:

“avete mai provato a vedere la luna da casa vostra? Non credo che nessuna guida turistica la segnali nessuna agenzia la promuova.

Figuriamoci, tutti propongono attività e locali “by night”, per chi ha la grana, per chi ha voglia di divertirsi. E chi la grana non ce l’ha? E chi non ha voglia di fare nulla?”….. Ogni posto e’ splendido se si prende col verso gusto senza imbottirsi di surrogati di felicità estrema, è stupenda l’alba dalla mia finestra senza fare niente e gratis!”

Ci sfugge l’imprevisto del possibile, la naturalezza del quotidiano, certo se si corre dalla mattina alla sera non si fa più caso a niente, non si nota più la gratuità del giornaliero, ma cosa vogliamo fare veramente? Forse è il momento di fare punto e a capo, di essere un po’ più padroni di noi stessi e non essere sempre li ad aspettare l’imbeccata giusta!

Cosa mi piace fare? Scrivere? Leggere? Chiacchierare fino all’alba? Gridare il mio nome a squarciagola e affermare la mia esistenza? Ballare con band improvvisate di nordafricani impazziti coi loro bongos?

Forse mi rendo conto che il mio tempo, potrebbe essere già segnato, ma non mi rassegno, anche se la schiena fa male e sto diventando un po’ troppo comodo per i miei gusti.

Ma, e qui la frase irrompe come uno tsunami, “Non vi è forza di SVOLONTA’ umana tale che possa intromettersi quando i versi avanzano!” (M. Cristan)

 

Time does m' I bumped into in one written, not memory do not even of who was, but the sense is still fixed in me like a rock in the middle to the road, said about so: "It have ever experienced to see the moon from home yours? I do not believe that no sightseeing guide the no signals agency promote it. Everybody promoves activity and local "by night", for who has the money, for who has desire to amuse itself. And who the money not there l' has? And who it has not desire to do nothing?" ….. Every place and' splendid if it is taken with the verse flavor without to stuff itself of extreme substitutes of happiness, is marvellous l' dawn from my window without do nothing and free!" There it l escapes' unforeseen of the possible one, the naturalness of the daily one, certainty if it is run from morning to night it is not done more case to nothing, it is not noted more the gratuitousness of the daily one, but thing want to do really? Perhaps it is the moment to do point and to head, of to be a little' more owners of those same and to is not always l wait for them' right prompt! It does it pleases to do me? To write? To read? To chat until all' dawn? To scream my name and to affirm my existence? To dance with band surprises of north african gone crazy with the them bongos? Perhaps I give back myself account than my time, already could be marked, but I do not resign me, even if the back does badly and I am becoming a little' too comfortable for my flavors. But, and here the sentence bursts like a tsunami, "is Not yourselves force of S-VOLONTA' such human that can interfere itself when the verses advance!" (M. Cristan)

 

MOON

Sono trentino, di Lago di Tesero, val di Fiemme, sto con Angelo Paterno “il lupo”, abbiamo unito il mio ed il suo gregge a novembre ed ora siamo quasi arrivati al mare. Fra poco torneremo su verso le montagne, a Caoria ci separeremo e con le mie 200 pecore tornerò in val di Fiemme passando per forcella Sadole. Mi piace questo lavoro, ho dentro di me una passione antica, non mi spaventano il freddo, la fatica, i disagi. La felicità è fare questa vita.

Fabio Zwerger, pastore

  

I am from Tesero, val di Fiemme, I'm with the sheperd Angelo Paterno "the Wolf", we have combined our flocks in November and now we are almost there. Will be back on shortly, we will separate in Caoria and with my 200 sheep will return in val di Fiemme via forcella Sadole. I like this job, I have within me a passion, not scare me cold, fatigue, discomfort. Happiness is do this life.

Fabio Zwerger, sheperd

  

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