فان الكمال والجمال من الفراغ

After Paschendale
After Katyn
After Auschwitz
After Kronstadt
We stand here

After Aquith
After Beria
After Noske
We stand here

What footfall
What valley what field what forest
What streets in the morning sun
After the streets of Nagasaki?
Mask, persona,
Alias, pseudonymn:
We stand here.

Why should we flee Jahveh?
Where are the lightning?
The scorched prophets?
'In millions of hearts
'burns the indextinguishable
'flame of the word'.
Apollo: carven flame,
Christ by candlelight.

And that he mount the unbuilt steps
To the unraised altar
with sky for roof
and star for pinnacle
sumus in fide

We Stand here.
We stand in the press.
We stand here alone.

Where was the live exhibit done? I assume that was an art exhibit

And what is that blue stone?

http://www.grammarpolice.net/archives/cat_art.php

Surrealism's women thought they were celebrating sexual emancipation. But were they just fulfilling men's erotic fantasies?

by
Germaine Greer 3/2007

...
Eluard wrote poems about Nusch, and published them in a collection called Facile, with nude pictures of her by Man Ray. He certainly wanted and orchestrated her exhibitionism, but did he actually create it? Perhaps Leonora Carrington's narcissism was imposed on her by Max Ernst, but it seems as likely that it is an aspect of female self-fashioning at any time, and does not correspond in any way to demands made by a male partner.

Indeed, it may be partly or entirely delusional. Léonor Fini's endless elaborations of her own likeness are unlikely to have been carried out in response to prompting from any of her "legions of lovers". Fini was convinced that she was inventing her own ideal of femininity: sensual, powerful, merciless. To a jaundiced eye, it is more of the same: huge hair, virginal breasts, tiny waists, long legs, Barbie before Barbie.

The woman of surrealism is certainly stereotypical, but the stereotype seems to exist before the art, which is largely a capitulation to it. The women who walk through Delvaux's dreamscapes, for example, are all identical. If there is an exception to the slender maidens of the surrealist dream it is Gala Dalí, whose body is heavier and older than the fashionista stereotype and is used by Salvador Dalí in a very different way. The effect of Dalí's work depends upon illusionistic painting; the portrayed objects and creatures must look even more real than they would in photographs. Dalí always lights Gala's body harshly from a single source, accentuating imperfections, the loose flesh on the arms, for example. The world of the female surrealist - Carrington, Fini or Remedios Varo, say - is stage-lit, gloomy perhaps, but without shadows. Dalí never lengthens Gala's legs by so much as an inch.

Her hands are always capable, grasping or demonstrating. Her shoulders are slightly bowed. Even when she is mockingly cast as a goddess or a madonna, she always looks like herself. In leaving Eluard for Dalí, Gala escaped into a freer, more playful and at the same time more serious way of life.

Gala is the best known muse of the surrealist movement, but she is also the woman who had least in common with surrealist fashion. Surreal Things tracks the process by which the stereotypical female figure in surrealist photographs, poetry and painting, stepped into the shop window as the store-front mannequin. Where once Eileen Agar had to wear her hat made of gloves and her hat made of seafood herself, the mannequins would now wear Elsa Schiaparelli's rather more timid extravagances, a hat vaguely like a shoe, a gown with lines of padded quilting. Dalí was part of this activity, but he never subjected Gala to it. Indeed, when he had to deal with mannequins, he was likely to replace their heads with clumps of greenery.

The puzzle must remain: when Man Ray posed a nude woman as half a coat-stand in 1920, was he turning her into a servile object, or was he protesting against her own view of herself as a servile object? Today's growing girls are obsessed by supermodels who are ever more extravagant versions of the surrealist stereo-type, whose gorgeous heads might as well be replaced with clumps of greenery, for all the thinking they are allowed to do. We can't blame men for this, can we?

This wording looks dangerous .. you might need to be waterboarded.

8-)

MOOOO

Between 1963 and 1984 an entity called Seth communicated through Jane Roberts. Jane Roberts and her husband recorded these communications and produced a number of books called the Seth Material. This material is very advanced and takes many readings to understand and get the full benefit of it’s teachings. In fact, the more advanced you are in spiritualism, the occult and supernatural, the more you seem to get out of studying the Seth Material. The Seth Material also has an enormous amount of substance for those with an open mind who are involved in science and cosmology. It covers the topics of parallel and probable universes as well as new ideas on the subjects of time, dimensions, the structure of matter and astral projection to mention only a few.

Speaks! I need a copy.

e me your address again...

LOL!! ya killin me man!

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