Niklaus Largier's In Praise of the Whip
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@let-the-night-speak
Niklaus Largier's In Praise of the Whip
“Many people are afraid of having large desires. Desiring something is a journey of getting deeply vulnerable and incredibly uncomfortable. When we desire something, we are revealing an aspect of us that is tender and lives inside our body. But often that thing we really desire, we are also deeply afraid of experiencing. There is this dissonance between what we really desire and what we are willing to trust that we can have, own, or be. Dripping with desire for something different and uncommon requires masterfully giving death to all the parts of you that are easily distracted and thereby blocking the desire from manifesting. Because when you meet your desire, you actually get to know your true self and honor your spirit. Likewise, placing your attention on the people, places, or things that aren’t serving, just so you can avoid doing the work to meet your desires, is kind of betrayal of your soul delaying your evolution. Too much time wasted on wishing and being distracted and not enough allocated towards following through.”
— India Ame’ye, Author
“One cannot understand reality without understanding cinema, photography, 3D modeling, animation, or other forms of moving or still image. The world is imbued with the shrapnel of former images … Reality itself is postproduced and scripted, affect rendered as after-effect. Far from being opposites across an unbridgeable chasm, image and world are in many cases just versions of each other … This assigns a new role to image production, and in consequence also to people who deal with it.”
--Hito Steyerl, "Too Much World: Is the Internet Dead?," e-flux Journal, November 2013, e-flux.com.
Incorporating so many fucking leopards into my ceremony
The beautiful is not a simple arrangement; it needs power, energy, conquest. Statues themselves have muscles. The formal cause is of an energizing order. So it is at its peak in life, in human life, the life of the will. A form cannot be properly understood through idle contemplation. The contemplating being must play out his own destiny before the universe he contemplates, and so all types of poetry are types of destiny. A history of poetry is a history of human feelings.
Gaston Bachelard, 'Lautréamont: Poet of Muscles and Cries', Lautréamont
“The inhuman nature of the artistic object consists of a combination of non-functionalism and ludic seductiveness. This is precisely what the surrealists meant by the ‘bachelor machines’ – an idea that Deleuze and Guattari adopted and transformed in the theory of ‘bodies without organs’ or a-functional and un-organic frames of becoming. Art, not unlike critical philosophy, is for Deleuze an intensive practice that aims at creating new ways of thinking, perceiving and sensing Life’s infinite possibilities (Deleuze and Guattari, 1994). By transposing us beyond the confines of bound identities, art becomes necessarily inhuman in the sense of nonhuman in that it connects to the animal, the vegetable, earthy and planetary forces that surround us. Art is also, moreover, cosmic in its resonance and hence posthuman by structure, as it carries us to the limits of what our embodied selves can do or endure. In so far as art stretches the boundaries of representation to the utmost, it reaches the limits of life itself and thus confronts the horizon of death. To this effect, art is linked to death as the experience of limits (Blanchot, 2000).”
—Charles Baudelaire, from Little Poems in Prose (1928 English translation by Aleister Crowley).
This is the axiom
"When I use the autobiographical, it is as artifice. It is not an invitation to witness transparency."
--Dionne Brand, To Recover Belongings from a Wreck
There is a pattern, which is only revealed as patterns are, through elongation and perspective, the ability to see a whole, a necklace of luminous moments strung together. How to continue the progression, (...) how to go on after the intensity of the moment—how in effect to compose a life afterwards, how to conjure back a world worth living in, a world which might recall, embrace the momentary, glowing, obliterating, archetypal. One longs for everything. For the past one never experienced, for the future one will never know—except through the imaginative act. One longs to be everything. To have everything.
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Break Every Rule (Carole Maso)
Horus Stela, Egypt, 2nd century B.C. Museum of Fine Arts
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Su danza está llenita de polvo, llenita de pisadas. Tiene violencia, poder y sumisión. Levantar la tierra es decir: polvo de sol somos y al mismito polvo del sol volveremos. Las cantoras del festival lo entonaban alto: los átomos bailan, nada está sin moverse.
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Chamanes eléctricos en la fiesta del sol (Mónica Ojeda)
how do people make papers for traditional painting and calligraphy in the past by chinese artist 山白shan bai
Our lives, too, can be synthemata. This is best recognized in the work that we do, though this isn't restricted only to our professions. "Work" can refer to the things we do outside of our day jobs—our hobbies and passions and such—or even the choices we make to define ourselves as individuals. As an author and essayist, I am a synthema of Hermes, who embodies the principle of communication. Whenever I philosophize about the nature of existence and the divine, I become a synthema of Apollon, who embodies the light of epiphany. When I practice patience, determination, and persistence to reach a goal, I am a synthema of Artemis, who embodies the skills needed to complete a hunt. People who strive to uphold harmonious marriages are synthemata of Hera. People who are welcoming of and compassionate to strangers are synthemata of Zeus.
—Excerpt from a public article on Patreon: "Synthemata: Signatures of the Gods"
Hi
神聖な角を持つ神の乗り物:シカ
The Divine Mount with Sacred Antlers: Deer
Main Blessings
Huge Harvest
Warding off Evil
Traffic Safety
You Can See Them Here
Kasuga Taisha (Nara)
Kagoshima Jingū (Ibaraki)
Katori Jinja (Tokyo)
Hodosan Shrine 宝登山神社 (Saitama)
The Gosaijin that Rode on a White Deer
"When people think of deer, many probably call Nara Park to mind. The deer that calmly walk the park grounds, have since ancient times been protected as the important divine messengers of Kasuga Taisha.
According to legends from Kasuga Taisha, around the time the shrine was beginning construction, Takemikazui no Kami, the gosaijin of Kagoshima Jingū in Hitachi Province (nowadays Ibaraki Prefecture) came riding on a white stag to Mt. Kasuga. From then on, it is said that the deer of this land became revered as divine messengers.
Unlike other animals, male deer have the distinctive trait of shedding their antlers annually and regrowing them. Ancient people upon observing this perceived it as a symbol of divine power, leading them to hold deer in deep reverence."
神鹿に乗って降臨した武甕槌神
Diagram Explanation from Left to Right
White Colored Deer
"When Takemikazuchi no Kami arrived from Kagoshima Jingū to the land of Kasuga, he rode on a white stag. As such, deer came to be revered at Kasuga Taisha as divine messengers."
Antlers, A Symbol of Rebirth
"As male deer shed their antlers yearly and regrow them, they became regarded as a divine symbol of rebirth."
Who is Takemikazuchi no Kami?
"A Lightning Kami. Born from the blood that fell from the hilt of the sword that Izanagi no Mikoto used to kill the fire kami. He persuaded Ōkuninushi no Kami to hand over the land, and aided Emperor Jimmu on his Eastern Expedition."
豆知識:神聖視された奈良のシカ
"Since ancient times, the deer of Nara have been revered by the people. In the Heian Era, it is said that nobles would rejoice upon meeting a deer, seeing it as a lucky omen. Some would even get off their ox carts to pay their respects."
神鹿に会える神社
"At shrines such as Kasuga Taisha, where deer have been revered as divine messengers since ancient times, there are some where people can come into contact with the sacred deer."
Kasuga Taisha (Nara)
"In the deer sanctuary on the shrine's precincts, they treat sick or injured deer, as well as protect deer who are pregnant. Every year at the beginning of summer, they hold a special opening to showcase the newly born fawns. In addition, the Kakugiri 角きり event is held in the fall. A tradition that has continued since the Edo period."
Kagoshima Jingū (Ibaraki)
"it is said that in ancient times deer roamed the shrine precincts, freely coming and going. However, since the Edo period, they were regularly seized, and now very few remain. The current deer sanctuary was founded in 1958, and the deer there were inherited from Kasuga Taisha and Kanda Myōjin. There are about twenty deer kept there."
Katori Jinja (Tokyo)
"It is said that after receiving the opportunity to care for a pair of deer from Katori Jingū (Chiba), the shrine began to keep deer. The current deer are the third generation. It is said that meeting the deer will bring good fortune."
シカの皮を被った孝行息子
"Some shrines such as Hososan Shrine in Saitama, feature carvings of the story "Feeding Parents with Deer's Milk," from the ancient Chinese moral text "The Twenty-Four Filial Exemplars." It is a tale of filial piety dating to the Zhou Dynasty, in which a young man named Tan Zi, who in order to cure his parents eye ailments, donned the hide of a deer, and blended into a herd to collect milk to give to his parents."
紅葉とシカのルーツ
"Since ancient times deer have been called Momoji-dori 紅葉鳥. The origins of which lie in the calls of male deer searching for mates in late autumn. Deer and fall folliage are both closely tied to autumn, with deer appearing in the autumnal Waka of both the Man'yōshū and Kokinwakashu anthologies. This is why one will often see carvings of deer and fall foliage on the prayer halls at shrines."
Close Up! 奇祭・御頭祭
"Every year on the fifteenth of April, at Suwa Taisha Kamisha (Nagano), a unique festival called the Ontōsai is held. It is a ritual to offer thanks to the kami of the mountains for bountiful harvests and successful hunts. Since ancient times, there have been tradition in mountain areas of offering animals hunted to the kami of the mountains and then eating them. It is a festival that carries on this tradition. It is said that in the past that as many as 75 deer heads dripping with blood were offered, but nowadays the ritual involves offering up three taxidermied deer heads."
Leopoldo María Panero, Orfebre
Jane Hirshfield