Circularmind

Fatti non foste a viver come bruti, ma per seguir virtute e canoscenza .

Dante, inferno, xxvi, 119-120

designcloud:

Dilston Grove by Ackroyd & Harvey

Dilston Grove (formerly known as Clare College Mission Church) located on the edge of Southwark Park in Bermondsey, London was transformed into a green chamber of living grass in collaboration with sound artist and composer Graeme Miller, Ackroyd & Harvey. This church was originally designed in early Italian style with an austere exterior which gave way to the dramatic difference created by the liveliness of the fabrics of growing grass. The clay, germinating grass seeds, water and natural light presented the sharp contrast between growth and decay, reverie and renewal. Through the interplay of light, sound and growth, this project brought resurrection to this old, inert and nonfunctional building, bringing back spiritual memories for local residence over a three week period.

(Source: cosascool)

parabola-magazine: We are living in a special time.  Throughout the world there is a stirring and an interrelation of forces never before experienced by mankind.  All around us we see an unprecedented acceleration of the possibilities of change.  Power potentials have been released which threaten to upset cosmic balances.Ironically, the more gigantic and astonishing our manipulations of these energies, the more puerile and insignificant our understanding of them.  Philosophers and scientists are coming to agree that not only do we need a deep alteration in the present state of mankind, but that a radical shift depends solely on our relationship to consciousness – the invisible, fundamental energy behind phenomenal existence.As one walks the streets of the city, one is struck by the energies manifested through each human being – the results of wishes, emotions, and physical movements, energies in incessant random motion.  Inextricably bound to an entire fabric of events, we have no choice but to submit to the rhythm and momentum of our ordinary lives.  Yet, in the midst of the flux, a call to consciousness can be heard.  Is it possible to accept one’s inevitable destiny, and, at the same time, open to the timeless, spaceless, essential movement?  Can we microscopic entities, beset by our frailties and mal-training, initiate a radical transformation for ourselves and for the earth?—William Segal, Opening (Continuum Publishing, New York, 1999). Painting by William Segal, Self Portrait in a Yellow Hat

parabola-magazine:

We are living in a special time.  Throughout the world there is a stirring and an interrelation of forces never before experienced by mankind.  All around us we see an unprecedented acceleration of the possibilities of change.  Power potentials have been released which threaten to upset cosmic balances.

Ironically, the more gigantic and astonishing our manipulations of these energies, the more puerile and insignificant our understanding of them.  Philosophers and scientists are coming to agree that not only do we need a deep alteration in the present state of mankind, but that a radical shift depends solely on our relationship to consciousness – the invisible, fundamental energy behind phenomenal existence.

As one walks the streets of the city, one is struck by the energies manifested through each human being – the results of wishes, emotions, and physical movements, energies in incessant random motion.  Inextricably bound to an entire fabric of events, we have no choice but to submit to the rhythm and momentum of our ordinary lives.  Yet, in the midst of the flux, a call to consciousness can be heard.  Is it possible to accept one’s inevitable destiny, and, at the same time, open to the timeless, spaceless, essential movement?  Can we microscopic entities, beset by our frailties and mal-training, initiate a radical transformation for ourselves and for the earth?

—William Segal, Opening (Continuum Publishing, New York, 1999).

Painting by William Segal, Self Portrait in a Yellow Hat

fourteenth: Two adolescent girls playing the game of “knucklebones” (astragaloi in Greek). Hellenistic Greek, about 330-300 BC Said to be from Capua; Made in either Campania or Puglia, southern Italy. British Museum

fourteenth:

Two adolescent girls playing the game of “knucklebones” (astragaloi in Greek).

Hellenistic Greek, about 330-300 BC
Said to be from Capua; Made in either Campania or Puglia, southern Italy.

British Museum

(via visuallyoriented)

artistandstudio: Alexander Calder in his studio.  Photo: Andreas Feininger

artistandstudio:

Alexander Calder in his studio.  Photo: Andreas Feininger

likeafieldmouse:

Doug Wheeler - SA MI 75 DZ NY 12 (2012)

“It seems as if a semi-transparent, rectangular membrane were separating you from a white space of indeterminable extent beyond. You might reach out, gingerly, to be assured that there is nothing to bump into.

Here there is, it seems, nothing but whiteness as far as the eye can see. How far is that? You cannot tell just by looking, but as you walk toward the far wall, you find that the floor curves up and merges seamlessly into the perpendicular wall, and the material facts start to fall into place. Looking back, you discover an impressive battery of high-tech lighting previously hidden behind the framing proscenium.

The world is full of objects and textured surfaces; these are what our eyes are designed to see. That form of perception helps orient us in space. But, as Immanuel Kant observed long ago, it is not certain that space and time exist independently of human consciousness.

(via stacybrafield)