"When you come to see that you can do nothing, that the play of thought or feeling just goes on by itself as a happening, then you are in a state which we will call meditation. And slowly without being pushed, your thoughts will come to silence. That is to say, all the verbal symbolic chatter going on in the skull — don’t try and get rid of it because that will again produce the illusion that there’s a controller. It just goes on and goes on and goes on and finally gets tired of itself, gets bored and stops. And so then there’s a silence. And this is a deeper level of meditation. And in that silence you suddenly begin to see the world as it is."

— Alan Watts (via unconditionedconsciousness)

(via coyote-the-trickster)

parabola-magazine:

Within light there is darkness, But do not try to understand that darkness.Within darkness there is light, But do not look for that light. Light and darkness are a pair,Like the foot before and the foot behind in walking.–Shih’tuo, a verse from the SandokaiPhotograph: George Seeley, Black Bowl, 1907

parabola-magazine:

Within light there is darkness,
But do not try to understand that darkness.
Within darkness there is light,
But do not look for that light.
Light and darkness are a pair,
Like the foot before and the foot behind in walking.

–Shih’tuo, a verse from the Sandokai

Photograph: George Seeley, Black Bowl, 1907

"If you can feel that staying human is worth while, even when it can’t have any result whatever, you’ve beaten them."

1984George Orwell
(via didinotletenoughlightin)

(via man-of-prose)

"For your sake
we shall flower."

— Paul Celan, from “Psalm” (via weissewiese)

"There is no salvation like the heart’s salvation, given that all the limbs respond to its desires."
“Fishing for it” make an offer & It’s your’s.

“Fishing for it” make an offer & It’s your’s.

therootedman:

“When I see an adult on a bicycle, I have hope for the human race.”
H.G. Wells (September 1886 - August 1946)

therootedman:

“When I see an adult on a bicycle, I have hope for the human race.”

H.G. Wells (September 1886 - August 1946)

crashinglybeautiful:

“There are no unsacred places; there are only sacred places and desecrated places.” 

—Wendell Berryfrom Given: Poems (Counterpoint, 2005)

Thank you, apoetreflects.

parabola-magazine:

PERHAPS NO OTHER single piece of artwork in the entire Western world so deftly summarizes the intersecting forces of Heaven and Hell as Hieronymus Bosch’s THE GARDEN OF EARTHLY DELIGHTS. Painted between 1490 and 1510, and now in the collection of the Prado Museum in Madrid, the famous triptych is one of the world’s most astonishing accomplishments in cosmological iconography.History has produced a meager share of works by authors willing to tackle questions of cosmology, from Dante’s DIVINE COMEDY through Swedenborg’s HEAVEN AND HELL, Gurdjieff’s BEELZEBUB’S TALES, and Carlos Castaneda’s A SEPARATE REALITY. Because works like these are relatively rare, each achieves its own pinnacle; the task of creating and describing the entire moral and physical universe is not for the faint of heart. The obstacles to achieving an equal level of discourse in a visual medium—let alone one small in scale—are daunting. Short of obvious literalizations spawned by classic Christian theology, there seem to be few ready answers to such a problem. The question is divine; the response can only be human, calling for an unparalleled mastery of metaphor and symbolism.Uniquely, not only among all his peers but throughout almost all of art history, Bosch (1450–1516) managed to confront and surmount these problems and leave us with an esoteric masterpiece that describes the interaction of Heaven and Hell as transmitted through the most tactile and familiar agency possible—mankind―excerpt from Lee van Laer’s: EMANATIONS OF DIVINITY: THE COSMOLOGY OF HIERONYMUS BOSCH: the wonders of Hieronymous Bosch’s The Garden of Earthly Delights, from the new summer issue of Parabola: “Heaven and Hell.”
Image: Hieronymus Bosch, Garden of Earthly Delights (Ecclesia’s paradise). Central panel.

parabola-magazine:

PERHAPS NO OTHER single piece of artwork in the entire Western world so deftly summarizes the intersecting forces of Heaven and Hell as Hieronymus Bosch’s THE GARDEN OF EARTHLY DELIGHTS. Painted between 1490 and 1510, and now in the collection of the Prado Museum in Madrid, the famous triptych is one of the world’s most astonishing accomplishments in cosmological iconography.

History has produced a meager share of works by authors willing to tackle questions of cosmology, from Dante’s DIVINE COMEDY through Swedenborg’s HEAVEN AND HELL, Gurdjieff’s BEELZEBUB’S TALES, and Carlos Castaneda’s A SEPARATE REALITY. Because works like these are relatively rare, each achieves its own pinnacle; the task of creating and describing the entire moral and physical universe is not for the faint of heart. The obstacles to achieving an equal level of discourse in a visual medium—let alone one small in scale—are daunting. Short of obvious literalizations spawned by classic Christian theology, there seem to be few ready answers to such a problem. The question is divine; the response can only be human, calling for an unparalleled mastery of metaphor and symbolism.

Uniquely, not only among all his peers but throughout almost all of art history, Bosch (1450–1516) managed to confront and surmount these problems and leave us with an esoteric masterpiece that describes the interaction of Heaven and Hell as transmitted through the most tactile and familiar agency possible—mankind

―excerpt from Lee van Laer’s: EMANATIONS OF DIVINITY: THE COSMOLOGY OF HIERONYMUS BOSCH: the wonders of Hieronymous Bosch’s The Garden of Earthly Delights, from the new summer issue of Parabola: “Heaven and Hell.”

Image: Hieronymus Bosch, Garden of Earthly Delights (Ecclesia’s paradise). Central panel.

"Joy is the simplest form of gratitude."

— Karl Barth

Third painting; “THE FOREST” 
Taking offers for it’s sale

Third painting; “THE FOREST”
Taking offers for it’s sale