Two weeks, at Balse.

no, several weeks.

Let’s filter this

Revisiting Pesoa - , who ‘despised utility and purpose’

the realms of uselessness. Observant.

self is fragmented.

we die many times.

life is a dream, billions of years to come.

so limited by knowledge.

The Baccarat BK theme song that is

Jamie XX, all the way.
brilliant.
the perfect, in the moment.
Jamie xx - Waited All Night (ft. Romy & Oliver Sim) - emotions
Jamie xx - The Feeling I Get From You - tonight, here we are.
Jamie xx - Breather - extreme coolness, so BKK contemporary

Breathe, be grateful for this present moment, right here, right now.

I swear, they were playing this that night.

The Most Influential Japanese Photographer EVER // Eikoh Hosoe Mishima Moriyama

also the theme of new life

What I would call sora for my dj/music categorization, 5 stars - the sky, in Japanese - Ben Böhmer - Best Life (feat. JONAH) (Official Visualiser)

DJ sets:

Ben Böhmer live - Sónar 2024 - ARTE Concert

Ben Klock | Boiler Room x Glitch Festival 2024

Estella Boersma - Stone Techno 2024 - ARTE Concert

Secret Rave in Old Swimming Pool (Outworld)

Supergloss | Boiler Room: Berlin

you need a vision - The Advice Stanley Kubrick left to all photographers!

sticking to your vision, control, message.

Itzhak Ventura - Doosh Doosh (live session) - world

Or:la

Sea Slugs Or:la
Or:la - Cupid Doesn't Live In Clapham Common
Or:la - Chant (Official Music Video) [fabric Originals]
Patriarchy Purge Or:la - assolutamente si

i keep making melodies - Ela Minus - BROKEN (Official Video)

that is hope

till next time

Charles A. Balse

Words of Wisdom

Cornelius Agrippa in The Occult Philosophy, one of the most influential theurgic texts of the Renaissance, states the Neoplatonist ethos succinctly when he writes that the "world is an elemental, celestial and intellectual triad where every lower thing is ruled by something higher and receives that mighty influence whereby-through angels, heavens, stars, elements. animals, plants, metals and stones —the archetypal and supreme Craftsman transfers his omnipotent powers into us, having made and created all of them to serve us."

Elysium: A Visual History of Angelology

Ed Simon - pg 118

Krishnamurti's major theological contention could be summarized by his statement "Truth is a pathless land," the belief that the angelic, or the divine, or the transcendent, or the absolute must forever be inaccessible to logical language, that no route can bring the initiate to that kingdom, and so the only means of approaching it is poetic rather than rational. At a 1929 address in the Netherlands, Krishnamurti proclaimed, "Truth, being limitless, unconditioned, unapproachable by any path whatsoever, cannot be organized ... A belief is purely an individual matter, and you cannot and must not organize it. If you do, it becomes dead, crystallized; it becomes a creed, a sect to be imposed on others... Truth cannot be brought down, rather the individual must make the effort to ascend to it." Just as quantum mechanics posits that all sorts of truths about the universe —say, the exact location or velocity of an individual particle —must remain ambiguous and are only decided upon by the arbitrary intercession of the observer, Krishnamurti describes something similar about the divine. Despite his training in Theosophy, such beliefs are perfectly consistent with many interpretations of Eastern religions, but they're also congruent with the idealist mystical belief that the universe only exists if it's being observed, and that God and his retinue are always doing the observing. Both Krishnamurti and Bohm were radical monists, believing in one substance, but rather than matter that substance was mind. The conclusions of quantum mechanics-demonstrated by mathematics and proven by experimentation-were disturbing to physicists who had been trained in the static model of Newtonian science; that some results seem to require consciousness appeared anathema to them. Yet the numbers were what the numbers were, the observations and experiments revealed what they had. On some level, there was a wisdom to assuming that the counterintuitive logic of quantum theory implied that consciousness permeated existence, as that would be the only way to make any sense of such strange results. As Bohm would audaciously declare in an essay published in 1987 in the collection Quantum Implications: Essays in Honor of David Bohm, "Even the electron is informed with a certain level of mind."

Elysium: A Visual History of Angelology

Ed Simon

Page 340

Conversations with Cezanne

October 11, 2024

When Lecomte evaluated Cézanne so intelligently in 1899, "abstraction" had not yet settled into its twentieth-century, formalist definition. Nor had images called "abstract" abandoned representational reference, as they would begin to do not long after Cézanne's passing. The meaning of

"abstraction," circa 1900, was fluid and confused, an amalgam of contested notions. Regardless of anything Cézanne said, it was his technique that caused many of his witnesses to link the autonomy of his form and the purity of its beauty to a process of abstraction. This turn in interpretation entailed a certain irony: "form" and "beauty" were conceptual entities suited to endless verbal philosophizing, precisely what Cézanne disliked in Bernard among others. To reconcile abstraction, itself an "abstract" notion with the very physical nature of Cézanne's painting, most of those familiar with him claimed that his abstraction developed from the senses, not the intellect—more intuitive harmony than science of color, more spontaneous rhythm than planned geometry. This variant of "abstraction" broke from the term's nineteenth-century connotation of intellectual excess (we still say that certain arguments are "too abstract," or that a mentally distracted person has an "abstract" look). Lecomte's perception that Cézanne's style satisfied antithetical demands coming from impressionist naturalism and symbolist idealism was ingenious and should have been adequate to the situation; but other commentators began to acknowledge somewhat different alignments, cognizant of competing notions of "abstraction." For Denis, the conflict between Monet's impressionism and Gauguin's symbolism amounted to a dispute between sensualist lovers of nature and rationalist devotees of abstract form. Reacting to attitudes that troubled him in others, Denis complicated matters by switching sides in the ongoing debate. First he praised, then he denigrated abstraction, lamenting Cézanne's inadvertent role in furthering it.

Why all this happened is crucial to the historical fortune of Cézanne's art. At the beginning of the twentieth century, Denis (like many others) observed that artists of his own age were being dehumanized by the leveling effects of modern urban life-mechanization, commodification, standardization, social regulation—all leading to impoverishment of both intellectual and spiritual experience. He argued that the remedy could be found in an "abstract ideal, the expression of inner [mental] life or a simple decoration for the pleasure of the eyes.", Under the circumstances, the representational arts would strive to mask out dull environmental realities, "evolving toward abstraction." However much this kind of "abstraction" might appeal to the intellect and imagination (subjective "inner life"), it would retain a distinct material component, located in a purified form and a straightforward procedure (the objective "beauty" of "a simple decoration"). Cézanne was exemplary because his marks appeared independent of any strict mimetic function and were also very physical, therefore representing a material (not conceptual) abstraction of the painting process. This was an aestheticized, humanized materialism, intense in both sensation and spirit; it seemed fit to counter the anesthetizing materialism of modern bourgeois existence.

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