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@stephanspiritual
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Beyond Religion

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A dark new ideology is spreading through the GOP — thanks to the Trump admin - Alternet.org
10 Groups That Look Normal But Are Really Modern-Day Cults
Modern cult groups often look like businesses or churches, making them harder to recognize and escape than ever.
One of those films..

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In the West, when we think of iconographic or religious paintings, we are accustomed to pictures of divine human figures and angels and saints. When the mind of the Far East expresses its religious feeling, however, it finds appropriate imagery in the objects of nature, and in this very important respect their feeling for nature is different from ours. The contrast in these two forms of expression arises as a result of the sensation that the human being is not someone who stands apart from nature and looks at it from the outside, but instead is an integral part of it.
Alan Watts, "What is Tao?"
“Time can be slowed if you live deliberately. If you stop and watch sunsets. If you spend time sitting on porches listening to the woods. If you give in to the reality of the seasons.”
— Thomas Christopher Greene, I’ll Never Be Long Gone (via wordsnquotes)
Spiral orb webs showing some colours in the sunlight in a gorge in Karijini National Park, Western Australia, Australia
Bjørn Christian Tørrissen

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Katsushika Hokusai 葛飾 北斎, Two bats flying, c. 1830-50
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Anna Thorvaldsdottir: þann heilaga kross // DR Pigekoret (LIVE)
Composed in 2009 on an old Icelandic hymn attributed to Martin Hegelund, «Þann heilaga kross» brings together many of the traits that define Anna Thorvaldsdottir's language. The text evokes the sacrifice of Christ, his wounds, the price of redemption, yet the composer renounces any triumphant or consoling tone. From the opening bars, the voices seem to rise out of a dark sonic matter, working their way through fragile consonances and sustained dissonances, with a gravity that is also a kind of inward stillness.
The work is built from held notes and suspensions, from dense harmonic clusters out of which brief melodic glints emerge. Critics have noted the way Thorvaldsdottir joins the solemnity of early sacred music to a contemporary sensibility. The voices approach moments of repose slowly, but stability never quite arrives: each chord holds an inner tension, as if the pain of the text remained lodged within the harmony itself. The crucifixion does not appear in grand dramatic gestures. It is there in the restrained pressure, in the shared breaths, in transformations that are barely perceptible.
In the DR Pigekoret's account, conducted by Charlotte Rowan, the transparency of the young voices stands in contrast to the images of suffering and death. The precision of the entries, the clarity of tone, the balance between the lines let you hear how the texture opens and closes without haste. The closing «Amen» offers no wholly reassuring resolution either: it lingers and hangs suspended, like a prayer that goes on beyond the silence. In this way, «Þann heilaga kross» turns an old hymn into a meditation on faith, sacrifice and human frailty.
Anyone know where this is? It looks familiar.

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【剪贴簿 1394】
by Eva Besnyö (Hungary, 1931)