Susan Sontag and Agnès Varda Interview (1969) (by CrimsonAndClover68)
These elegant towers of stacked tetrahedrons are the modular units from which we’ll be constructing a large-scale-model in Jake’s building workshop this afternoon. Made from 12 inch bamboo sticks, each tetrahedron consists of six sticks arranged with either a clockwise or anti clockwise rotation at each vertex. The innate chirality or handedness of the tetrahedra causes stacks of these units to twist into either a clockwise-spiraling triple helix, or an anticlockwise-spiraling triple helix. Chirality also has fundamental consequences for Dotson’s building methodology. If one builds solely from single handed tetrahedrons (what we can call homo-chirality), the resulting large scale structures will naturally curve and ultimately form into balls. If we mix left-handed and right-handed tetrahedrons, flat structures can be achieved. The choice of homo- or hetro-chirality has global architectural consequences. (via Liberation Geometry | Institute For Figuring)
How Your Brain Can Turn Anxiety into Calmness (by University of California Television (UCTV))
Pema Chodron: Smile at Fear - A Reservoir of Trust (by Great Path)
Pema Chödrön explains Maitri (by Sounds True)
I was not interested in the development of the plot, in the chain of events––with each film I del less and less need for them. I have always been interested in a person’s inner world, and for me it was far more natural to make a journey into the psychology that informed the hero’s attitude to life, into the literary and cultural traditions that are the foundation of his spiritual world. I am well aware that from a commercial point of view it would be far more advantageous to move form place to place, to introduce shots from one ingenious angle after another, to use exotic landscapes and impressive interiors. But for what I am essentially trying to do, outward effects simply distance and blur the goal which I am pursuing. I am interested in man, for he contains a universe within himself; and in order to find expression for the idea, for the meaning of human life, there is no need to spread behind it, as it were, a canvas crowded with happenings.
—Tarkovksy, Sculpting in Time, After Nostalgia (via ltdink)
I don’t plan or write ahead of time, having found through painful trial and error than anything I did script ended up dead on arrival. Instead I try to allow the feedback loop of staring at a blank page with few distractions other than my own memories, disappointments and yearnings direct a story and set a tone. I start at the top or in the middle of the page and whatever happens, happens. I keep vague notes but fundamentally I believe it’s very important for a story to find its own structure rather than the other way around — it’s the central tenet of Louis Sullivan’s architectural theory (his word, not mine) and I’ve found it to be true — really the only way to find the “shape of life” in an honest, awkward way that feels and hopefully is human. Our minds are already very organized things; the trick, I think, is simply to trust them.
Egon Schiele Excess and Punishment 1980 (by matcarriere)
I’ll tell you what I think. I think the sages are the growing tip of the secret impulse of evolution. I think they are the leading edge of the self-transcending drive that always goes beyond what went before. I think they embody the very drive of the Kosmos toward greater depth and expanding consciousness. I think they are riding the edge of a light beam racing toward a rendezvous with God.
And I think they point to the same depth in you, and in me, and in all of us. I think they are plugged into the All, and the Kosmos sings through their voices, and Spirit shines through their eyes. And I think they disclose the face of tomorrow, they open us to the heart of our own destiny, which is also already right now in the timelessness of this very moment, and in that startling recognition the voice of the sage becomes your voice, the eyes of the sage become your eyes, you speak with the tongues of angels and are alight with the fire of a realization that never dawns nor ceases, you recognize your own true Face in the mirror of the Kosmos itself: your identity is indeed the All, and you are no longer part of that stream, you are that stream, with the All unfolding not around you but in you. The stars no longer shine out there, but in here. Supernovas come into being within your heart, and the sun shines inside your awareness. Because you transcend all, you embrace all. There is no final Whole here, only an endless process, and you are the opening or the clearing or the pure Emptiness in which the entire process unfolds—ceaselessly, miraculously, everlastingly, lightly.
The whole game is undone, this nightmare of evolution, and you are exactly where you were prior to the beginning of the whole show. With a sudden shock of the utterly obvious, you recognize your own Original Face, the face you had prior to the Big Bang, the face of utter Emptiness that smiles as all creation and sings as the entire Kosmos—and it is all undone in that primal glance, and all that is left is the smile, and the reflection of the moon on a quiet pond, late on a crystal clear night.
When a thought-process was evoked in a human participant’s brain — namely the intention to move the rat’s tail — the computer was able to detect it in the form of an EEG pattern (an EEG-based steady-state visual evoked potential (SSVEP)).