Pas de Deux by Pyotr Ilyich Tchaikovsky
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Pas de Deux by Pyotr Ilyich Tchaikovsky

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How life been feeling lately
Roadside shrines in Poland depicting pensive Christ.
The Holy Trinity as portrayed in Holy Trinity Catholic Church and Poor Clares Monastery, located in Tainan City, Taiwan.
Image from @TheChurchInAsia on X (Twitter)
“We have too much self. We are too full of ourselves. We always have too much us in us. Julian [of Norwich] wants us to push ourselves aside and see that although we are in so much pain, woe, and unrest, we can be at great rest if we have patience, if we wait, if we attend to that which exceeds us and our creaturely strivings. This excess is the experience of ecstatic love. And this is a much harder lesson than misery. It requires giving ourselves up, as much as possible, giving ourselves over to that which is larger than the self, outside the self: a pliable ground of love that is prior to the will.”
Simon Critchley, Mysticism

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god loves you, you know. "but—" no. no. god loves you
Simone Weil, First and Last Notebooks
William C. Chittick, "The Spirituality of the Sufi Path"
Stanley Szwarc’s Visionary Cross Purposes Stanley Szwarc (1928-2011), a Polish book keeper turned metal worker and then artist after arriving in the United States, gave no indication of being particularly religious, but he did like making crosses. A prolific creator of objects from scrap stainless steel, always demonstrating over-the-top imagination, Szwarc made hundreds of crosses, if not thousands. He produced jewelry, he made crosses to be hung on the wall, and he crafted cruciform objects with no apparent use other than to be carriers of his endless combinations of geometric shapes. Szwarc liked to say that no two of his objects, be they crosses, vases, key fobs or boxes, were alike. The evidence plainly supports that contention while demonstrating a virtuosic artistic vision that could not contain itself, always seeking out fascinating ways to vary the ornamentation, to create objects of surprise, delight and striking beauty. Szwarc was one of the great self-taught artists of the 20th Century.
Illuminated Internet (2024-2025)
Details from the painting Medea meditating on killing her children (1852), by Bezzuoli.

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History and Genealogy of Javanese Kings of the Mataram Dynasty. Written in the Islamic sultanate style. Java, 1830.
Denver Art Museum.
Farnese de Andrade, Carga genética, 1981-1985. Fonte: Coleção particular, Rio de Janeiro.
Farnese de Andrade, Minas 4, 1978. Fonte: Coleção Stützer, São Paulo.
1979 postcards featuring Misha, the mascot of the Moscow Summer Olympics
— Vladimir Lenin, quoted in Lenin in Zurich: A Memoir by Valeriu Marcu, 1943
Soviet Era Murals in Kazakhstan and Tashkent, Uzbekistan

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Policy is the starting-point of all the practical actions of a revolutionary party and manifests itself in the process and the end-result of that party's actions. A revolutionary party is carrying out a policy whenever it takes any action. If it is not carrying out a correct policy, it is carrying out a wrong policy; if it is not carrying out a given policy consciously, it is doing so blindly. What we call experience is the process and the end-result of carrying out a policy. Only through the practice of the people, that is, through experience, can we verify whether a policy is correct or wrong and determine to what extent it is correct or wrong. But people's practice, especially the practice of a revolutionary party and the revolutionary masses, cannot but be bound up with one policy or another. Therefore, before any action is taken, we must explain the policy, which we have formulated in the light of the given circumstances, to Party members and to the masses. Otherwise, Party members and the masses will depart from the guidance of our policy, act blindly and carry out a wrong policy.
Mao Tse-Tung: On the Policy Concerning Industry and Commerce (February 27, 1948),
Selected Works, Vol. IV. pp. 204-05.