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@the--framed--maelstrom

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"As the steam rises from the water, soft, slowly moving clouds that waft in the night air, you see them. I watch them swirling amongst the rocks that line the edges of the outdoor bath and the trees whose leaves offer a discreet glimpse of the bathers to those walking along the paths, their steps lit only by occasional glowing tōrō, the low stone lanterns that illuminate the garden. The steam vanishes and you are left with the night sky and its stars. The only sound is the occasional clink-clonk of wooden geta on the path and the whispering swish of a passing yukata.
Bathing alone, outdoors and at night, is when you see the ghosts. Perhaps they are the spirits of those who have also sat here naked under the stars, calmed by the silence of the night and the warmth of the water. Those, too, who have watched the mist swirling in the night sky, like milk slowly poured into amber tea.
Winter nights are best, when your body is warm under the water and the frost prickles your face. When you must watch your step on the newly frosted path to the wooden changing room, the grey stones having been worn smooth by centuries of wet feet. There are noises, muffled and mysterious. The sound of the water breathing. Soft rustling from the spindly magnolia and azalea bushes that surround the onsen. A leaf falling from its twig {...}
I remain still, moving my hands occasionally to send ripples through the cosseting water. It is so quiet I can hear the movement of the noren — the split curtain that hangs in place of a door — and footsteps on the tatami matting. I hear slippers being placed on a wooden shelf, yukata and the shorter, thicker hanten jacket being folded and placed in one of the rows of whicker baskets that stand in for lockers, and I know I am to be joined. As my fellow bather gives a nod of acknowledgment and steps silently into the water, I remind myself that they are a kindred spirit rather than an invader.
Night bathing feels different to that done in early morning. More meditative, a time to reflect rather than refresh. Enveloped in warm, still water, with just the scent of witch hazel or winter jasmine carried by the steam, the body, if not the spirit, feels at prayer. One night I will fall asleep in the onsen, my head slowly sinking under the water, never to return. I cannot tell you how happy I would be to leave that way."
— Nigel Slater, A Thousand Feasts
Of πόλεμος it is said: ἔδειξε—ἐποίησε; we translate this as: “it displays, it lets come forward” (and we elaborate this as follows: “into openness”). The customary and “correct” translation is: it “engenders,” it “makes.” Our translation, by contrast, is meant to clarify the genuinely Greek sense of the words. Accordingly, what matters is not simply that struggle has some result—or the reverse, that some actuality points back to struggle as its cause; but what is above all being said here is the sense in which the Greeks understand in advance the manner by which beings come to Being through struggle. The meaning of Being implies this: having been placed on display—as stamped, limited, subsistent shape—placed into visibility, or better, perceptibility. Whatever is displayed and directed into its belonging to “beings,” “is.”
— Martin Heidegger, Being and Truth
“Time” understood in the Greek manner, χρόνος, corresponds in essence to τόπος, which we erroneously translate as “space.” Τόπος is place, and specifically that place to which something appertains, e.g., fire and flame and air up, water and earth below. Just as τόπος orders the appurtenance of a being to its dwelling place, so χρόνος regulates the appurtenance of the appearing and disappearing to their destined “then” and “when.” Therefore time is called μακρός, “broad,” in view of its capacity, indeterminable by man and always given the stamp of the current time, to release beings into appearance or hold them back. Since time has its essence in this letting appear and taking back, number has no power in relation to it. That which dispenses to all beings their time of appearance and disappearance withdraws essentially from all calculation.
— Martin Heidegger, Parmenides
Man as a species does not represent any progress compared with any other animal. The whole animal and vegetable kingdom does not evolve from the lower to the higher—but all at the same time, in utter disorder, over and against each other. The richest and most complex forms— for the expression “higher type” means no more than this—perish more easily: only the lowest preserve an apparent indestructibility. The former are achieved only rarely and maintain their superiority with difficulty; the latter are favored by a compromising fruitfulness. Among men, too, the higher types, the lucky strokes of evolution, perish most easily as fortunes change. They are exposed to every kind of decadence: they are extreme, and that almost means decadents. The brief spell of beauty, of genius, of Caesar, is sui generis: such things are not inherited. The type is hereditary; a type is nothing extreme, no “lucky stroke”—This is not due to any special fatality or malevolence of nature, but simply to the concept “higher type”: the higher type represents an incomparably greater complexity—a greater sum of co-ordinated elements: so its disintegration is also incomparably more likely. The “genius” is the sublimest machine there is—consequently the most fragile.
— Friedrich Nietzsche, The Will to Power, §684

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Marilyn Monroe, Willamette Valley, Oregon, November 1945
Man declines to love in order to kill: this is most graphically demonstrated in the ritual slaughter of "the virgin," the potential source both of a happy union and of disruptive conflict within the group. In the maiden-sacrifice, all the tensions-the jealousy of the elderly, the strivings of the young-are released. An irreparable act transforms an erotic game into fighting fury. Desperate "searching" turns into "hunting." In the period of preparation, maiden-sacrifice is the strongest expression of the attempt to renounce sexuality. It comes at the start of fighting expeditions and war, and it precedes the great sacrificial institution in farming, namely, the harvest festival.
— Walter Burkert, Homo Necans: The Anthropology of Ancient Greek Sacrificial Ritual and Myth
He who conquers Love is vanquished himself: So he is served; And when she cherishes anyone, she consumes in a new chase all he owns.
— Hadewijch, Vision 7
Villa Stuck in Munich shortly after its completion in 1897–1898. Designed in its entirety by the Symbolist artist Franz von Stuck (1863–1928) as his residence, studio, and Gesamtkunstwerk, the neoclassical villa featured lavish interiors blending classical antiquity, Renaissance influences, and Jugendstil ornamentation — evident in the coffered ceilings with figurative frescoes, intricate wall reliefs and tapestries, mosaic floors, and custom furniture. The black-and-white photographs (primarily from circa 1898–1910s) document the rooms exactly as Stuck lived and worked in them, including the grand library/study with its arched ceiling and tapestry, reception spaces, atelier, and vestibule. These period images, taken during Stuck’s lifetime when the villa hosted Munich’s cultural elite, serve as vital historical records of one of Germany’s most complete artist-designed environments before later restorations preserved it as a public museum.
“He had learned in prayer that the presence of the Holy Spirit for which he longed was granted more intimately to those who invoke him, the more the Holy Spirit found them withdrawn from the noise of worldly affairs. Therefore seeking out lonely places, he used to go to deserted areas and abandoned churches to pray at night. There he often endured horrible struggles with devils who fought with him physically, trying to distract him from his commitment to prayer. But armed with heavenly weapons, the more vehemently he was attacked by the enemy, the more courageous he became in practicing virtue and the more fervent in prayer, saying confidently to Christ: "Under the shadow of your wings, protect me from the face of the wicked who have attacked me" (Ps. 17:8-9). To the devils he said: "Do whatever you want to me, you malicious and deceitful spirits! For you cannot do anything except insofar as God relaxes his hold on you. And I am ready and happy to endure everything that his hand should decide to let loose on me." Such firmness of mind the devils could not bear, and they retreated in confusion.”
-St. Bonaventure, Life of St Francis of Assisi

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Dusk, Åndalsnes, Norway
I dont think things can be treated with that kind of duality. For Japanese who don't think that way, the gods are in the darkness. They may come out into the light at times, but they are usually deep in the forest or mountains. When a holy spot is created, the gods drop down onto it. That is why, in the shrines that are closest to their original form that still exist in Okinawa . . . the image of the god is just a tree or a stone. And such a shrine isn't in a bright, shining place, it's in an overgrown dark area where the silence is deep—a butterfly may flit about, but it's a bit eerie. When I went there . . . it felt as if something were there. This sense of dark awe is the sort of veneration that Japanese have toward certain forests and natural objects.
Hayao Miyazaki, "Totoro Was Not Made as a Nostalgia Piece" in Starting Point: 1979-1996
Image is that wherein what has been comes together in a flash with the now to form a constellation. For while the relation of the present to the past is purely temporal (continuous), the relation of what-has-been to the now is dialectical, in leaps and bounds. The true image of the past flees by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again.
— Giorgio Agamben, The Time That Remains
The Encounter of Pope Leo the Great with Attila the Hun – Ercole Ferrata, after 1657
Kunsthistorisches Museum Vienna, Geistliche Schatzkammer (Ecclesiastical Treasury)
This gilded bronze relief is a reduced version of a monumental marble relief created for the St. Peter’s Basilica between 1646 and 1653. The original work was executed by Alessandro Algardi together with Domenico Guidi and Ercole Ferrata. The scene depicts the legendary meeting in 452 CE between Pope Leo I and Attila the Hun near Mantua, during which the Pope is said to have persuaded Attila to turn back and withdraw from Italy.
Place of origin: Rome
After: Alessandro Algardi (1598, Bologna – 1654, Rome)
Materials and Technique: fire-gilded bronze; frame: bronze, copper, silver
Dimensions: height 98 cm, width 59.5 cm (relief), height 158 cm, width 96 cm (frame)

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Rosemarie Magdalena Albach (1961)
What is the emerald of thine eyes compared to the sapphire of thy soul; for thy soul is of sapphire, like the first Tables of the Law given by Moses, and thine emerald gaze like the tablets of wisdom engraved by Hermes Thoth.
JOSÉPHIN PÉLADAN — The Ritual of Love, featured in The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Siècle France [Ed. Asti Hustvedt], transl. by Rachel Ashton, (1998)