PRAYING FOR JAPAN: A Buddhist monk filled bowls with flowers during a prayer meeting Thursday in Kathmandu, Nepal, for victims of Japan’s earthquake and tsunami. Thousands of Buddhists participated in the meeting. (Narendra Shrestha/European Pressphoto Agency)

PRAYING FOR JAPAN: A Buddhist monk filled bowls with flowers during a prayer meeting Thursday in Kathmandu, Nepal, for victims of Japan’s earthquake and tsunami. Thousands of Buddhists participated in the meeting. (Narendra Shrestha/European Pressphoto Agency)

Shirin Neshat: Still from Soliliquy (1999). Thank you, bleedingeye, heksenhaus & fuckyeahwomenartists: “Soliloquy (1999) explores self-identity and the splitting of the self. The dual projection shows a veiled Neshat roaming through an anonymous modern cityscape (filmed in Albany, New York) on one screen. On the other, a similarly dressed Neshat explores a traditional Eastern cityscape (filmed in Mardin, Turkey). As the film progresses, the opposing images of the artist highlight the differences between the Western and Eastern worlds, exile and home, modern and traditional. As the film ends, she suggests a reconciliation of these dualities by mixing choral music and chanted prayer in a hybrid synthesis of the divergent worlds.” via: Soliloquy | Shirin Neshat | Walker Art Center | Collections and Resources on one of my trips to germany, i was able to visit some of her installations and watch some of her film work, projected. i can’t describe how amazing the experience was.

Shirin Neshat: Still from Soliliquy (1999).

Thank you, bleedingeye, heksenhaus & fuckyeahwomenartists:

“Soliloquy (1999) explores self-identity and the splitting of the self. The dual projection shows a veiled Neshat roaming through an anonymous modern cityscape (filmed in Albany, New York) on one screen. On the other, a similarly dressed Neshat explores a traditional Eastern cityscape (filmed in Mardin, Turkey). As the film progresses, the opposing images of the artist highlight the differences between the Western and Eastern worlds, exile and home, modern and traditional. As the film ends, she suggests a reconciliation of these dualities by mixing choral music and chanted prayer in a hybrid synthesis of the divergent worlds.”

via: Soliloquy | Shirin Neshat | Walker Art Center | Collections and Resources

on one of my trips to germany, i was able to visit some of her installations and watch some of her film work, projected.

i can’t describe how amazing the experience was.

Whatever it is that pulls the pin, that hurls you past the boundaries of your own life into a brief and total beauty, even for a moment, it is enough.
Jeanette Winterson: Gut Symmetries (Thank you, melancholynotes & girlmeetsdream)

(via growing-orbits)

Death is extraordinarily like life when we know how to live. You cannot live without dying. You cannot live if you do not die psychologically every minute. This is not an intellectual paradox. To live completely, wholly, everyday as if it were a new loveliness, there must be a dying to everything of yesterday, otherwise you live mechanically, and a mechanical mind can never know what love is or what freedom is.
J. Krishnamurti, Freedom from the Known. Thank you, commondense,  universoul & sharanam)

(via sharanam)

is it possible

Is it possible for the rose to say,
“I will give my fragrance to the good people who smell me,
but I will withhold it from the bad?”
Or is it possible for the lamp to say,
“I will give my light to the good people in this room,
but I will withhold it from the evil people”?
Or can a tree say,
“I’ll give my shade to the good people who rest under me,
but I will withhold it from the bad”?

These are images of what love is about.

~Anthony de Mello from Awareness: The perils and opportunities of reality.

Thank you, The Beauty We Love.

Brigman, Anne: American (b. Hawaii, 1869-1950) DESCRIPTIVE TITLE: The Dryad 1906 / ca. 1940, reworked from earlier negative gelatin silver film interpositive 25.2 x 20.1 cm. Gift of Willard M. Nott

Brigman, Anne: American (b. Hawaii, 1869-1950)
DESCRIPTIVE TITLE: The Dryad
1906 / ca. 1940, reworked from earlier negative
gelatin silver film interpositive
25.2 x 20.1 cm.
Gift of Willard M. Nott

(Source: yama-bato)

Found Photo [originally uploaded by Flickr user formerly known as ‘tastevick’] Thank you, arsvitaest.

Found Photo [originally uploaded by Flickr user formerly known as ‘tastevick’]

Thank you, arsvitaest.

True art has nothing to do with proclamations and is created in silence.
Marcel Proust (via fuckyeahproust)

(via proustitute)

>

Blossoming through shared suffering: Examples from Japan

“Mixed in with the disturbing images coming out of Japan is a flower seen by a woman in Tokyo as she walked home from work after the earth shook and the waters poured in. Yuka Saionji saw a little flower and thought, “all of us can now try to run away from radiation, but what of this flower? I bent down to the flower and just felt moved to say, ‘I’m sorry…’ ”

 —Jane Brunette.

A remarkable blog post on practice and prayer in a time of great suffering. Thank you, Jane.

From: parabola-magazine.

It’s all a passing show. Just watch it.
Anagarika Munindra-ji in “Living this life fully; Stories and teachings of Munindra” p. 213 and quoted here by kind permission of the author, Mirka Knaster (via dhammanovice)

(Source: stillcuriosity)