Thomas Wolf: “This is a Moment”

Pjotographer Unknown, (This is a Moment)

“A destiny that leads the English to the Dutch is strange enough; but one that leads from Epsom into Pennsylvania, and thence into the hills that shut in Altamont over the proud coral cry of the cock, and the soft stone smile of an angel, is touched by that dark miracle of chance which makes new magic in a dusty world.

Each of us is all the sums he has not counted: subtract us into nakedness and night again, and you shall see begin in Crete four thousand years ago the love that ended yesterday in Texas.

The seed of our destruction will blossom in the desert, the alexin of our cure grows by a mountain rock, and our lives are haunted by a Georgia slattern, because a London cutpurse went unhung. Each moment is the fruit of forty thousand years. The minute-winning days, like flies, buzz home to death, and every moment is a window on all time.

This is a moment:”
Thomas Wolfe, Look Homeward, Angel

Joseph Campbell: “The Mystery Again Comes Through”

Photographer Unknown, (The Mystery Again Comes Through), Photo Shoot

“Myth basically serves four functions. The first is the mystical function,… realizing what a wonder the universe is, and what a wonder you are, and experiencing awe before this mystery….The second is a cosmological dimension, the dimension with which science is concerned – showing you what shape the universe is, but showing it in such a way that the mystery again comes through…. The third function is the sociological one – supporting and validating a certain social order…. It is the sociological function of myth that has taken over in our world – and it is out of date…. But there is a fourth function of myth, and this is the one that I think everyone must try today to relate to – and that is the pedagogical function, of how to live a human lifetime under any circumstances.”

—Joseph Campbell, The Power of Myth

Domenico Cinnamon

Domenico Cennamo, “Ragazzo in Rosso”, 2019, Giclée Print, Edition of 12, 65 x 43.5 cm

Domenico Cennamo is a fashion and portrait photographer.

The artist’s website is ;   http://www.domenicocennamo.com

A great site for purchasing queer and gay photographic art images, including those of Domenico Cennamo, can be found at : https://boysboysboys.org

Image reblogged with many thanks to: https://doctordee.tumblr.com

Maurice Merieau-Ponty: “Phenomenology of Perception”

His Butt: Beguiling the Senses and Enchanting the Mind: Photo Set Nine

“Everything that I know about the world, even through science, I know from a perspective that is my own or from an experience of the world without which scientific symbols would be meaningless. The entire universe of science is constructed upon the lived world, and if we wish to think science rigorously, to appreciate precisely its sense and its scope, we must first awaken that experience of the world of which science is the second-order expression. Science neither has, nor ever will have the same ontological sense as the perceived world for the simple reason that science is a determination or an explanation of that world. 

Scientific perspectives … always imply, without mentioning it, that other perspective – the perspective of consciousness – by which a world first arranges itself around me and begins to exist for me. To return to the things themselves is to return to this world prior to knowledge, this world of which knowledge always speaks, and this world with regard to which every scientific determination is abstract, signitive, and dependent, just like geography with regard to the landscape where we first learned what a forest, a meadow, or a river is.” 

—Maurice Merieau-Ponty, Phenomenology of Perception

Dimosthenis Gallis

Dimosthenis Gallis, “To the Lascivious Impulses of My Blood”, Giclée Print on Watercolor Paper, 40 x 27 cm

A self=taught artist Dimosthenis Gallis was born in Athens, Greece, in 1967. He has been studying and exploring the techniques of photography since 1990. Gallis’ love of the Renaissance and the Romantic art movement of the 1800s greatly influences his painterly style of photography. His specialty is staged photography with narrative digital compositions.

Gallis’ photography are in the permanent collections of the Museum of Greek Folk Art, the American College of Greece, the Corfu Heritage Foundation, the Athens Municipal Gallery, as well as in private collections. His work has shown in solo exhibitions at the Eos Gallery and the Aggelon Vima, both in Athens. Gallis has also participated in multiple group exhibitions, including the 2010 “Conversations in Black and White and Color” at Ochrophaio in Athens, and the 2001 International Art Biennale in Mgarr, Malta. 

Note: Dimosthenis Gallis’ photograph “To the Lascivious Impulses of My Blood” was inspired by Egyptian-Greek poet Constantine Cavafy’s 1983 poem “Dangerous Thoughts”:

“Said Myrtias (a Syrian student
in Alexandria during the reign
of the Emperor Konstans and the Emperor Konstantios;
in part a heathen, in part christianized):
‘Strengthened by meditation and study,
I won’t fear my passions like a coward;
I’ll give my body to sensual pleasures,
to enjoyments I’ve dreamed of,
to the most audacious erotic desires,
to the lascivious impulses of my blood,
without being at all afraid, because when I wish-
and I’ll have the will-power, strengthened
as I shall be by meditation and study-
when I wish, at critical moments I’ll recover
my ascetic spirit as it was before.”

The artist’s site:  https://www.dimosthenisgallis.com

 

 

Dr. Suess: “Oh, The Places You’ll Go”

Photographer Unknown, (Oh, The Places You’ll Go)

“Out there things can happen, and frequently do,

To people as brainy and footsy as you.

And when things start to happen, don’t worry, don’t stew.

Just go right along, you’ll start happening too!”

–Dr. Seuss, Oh, the Places You’ll Go

Image reblogged with thanks to : https://joselito28.newtumbl.com

Gustavo Adolfo Bécquer: “A Mystery to Man”

 

Artists Unknown, (A Mystery to Man), Computer Graphics, Film Gifs

“Mientras la humanidad siempre avanzando,

No sepa a do camina:

Mientras haya un misterio para el hombre,

!Habrá poesia!”

“While humanity is always advancing,

Do not know where you are going;

As long as there is a mystery to man, 

There will be poetry!”

—Gustavo Adolfo Bécquer, Rimas, 1871

Born in Selvill in 1836, the Spanish lyric poet Gustavo Adolfo Dominguez Bécquer is noted for his “Rimes, a collection of short lyric poems. This work had such a profound influence that it is considered the starting point of Spanish contemporary poetry.

Unlike the inflated style of his contemporaries, Bécquer’s diction was spare and simple, his verses delicate and light. Yet he achieved in each poem a maximum resonance by attending to the phonetic structure of words and by using images which affected the reader’s sensibility and demanded his active collaboration. Bécquer’s ability to make words express much more than their conventional meanings anticipated the techniques of modern symbolic poetry.

Bécquer wrote most of his prose works from 1860 to 1865. These include 22 legends, which are based upon regional folklore and exploit the supernatural. While at the monastery of Veruela in 1864, he wrote a collection of nine letters entitled “Desde Mi Celda, Cartas Literarias (From My Cell, Literary Letters)”. That same year Becquer directed an important journal and was appointed official censor of novels.

In 1868 Bécquer separated from his wife and, in the wake of the revolution that ended the rule of Isabella II, went to Paris. He returned to Madrid in 1869, rewrote from memory the lost manuscript of “Rimas”, and resumed newspaper writing. The sudden death of his brother Valeriano in September of 1870 severely depressed Bécquer, and he died only 3 months later, on December 22nd, exhausted by tuberculosis. Gustavo Adolfo Bécquer’s collected works were published posthumously in 1871.

 

James Joyce: “If He Had Smiled”

Photographer Unknown, (If He Had Smiled)

“If he had smiled why would he have smiled? To reflect that each one who enters imagines himself to be the first to enter whereas he is always the last term of a preceding series even if the first term of a succeeding one, each imagining himself to be first, last, only and alone whereas he is neither first nor last nor only nor alone in a series originating in and repeated to infinity.” 

—James Joyce, Ulysses

HardCiderNY, “Luis Coppini”

HardCiderNY, “Luis Coppini”, Photo Shoot for Yup Magazine

HardCiderNY is a fashion and fine art photography studio located in New York City. It is dedicated to natural-light male physique work. The studio works regularly with Wilhelmina, Ford, DNA, Soul Artist and the Red Modeling Agency. The site is located at: :https://www.facebook.com/hardciderny/

Luis Coppini is a Brazilian model working with the agency Q Management located in New York and Los Angeles. He has previously done photo shoots with photographers Ronaldo Gutierrez, Karl Simone, Thiago Martini, and Glauber Bassi.

Yup Magazine is a men’s fashion digital magazine based in NYC : https://yup-mag.com

Sinclair Lewis: “We Might Make Life More Fun”

Photographers Unknown, (We Might Make Life More Fun)

“But I do know that about ten times as many people find their lives dull, and unnecessarily dull, as ever admit it; and I do believe that if we busted out and admitted it sometimes, instead of being nice and patient and loyal for sixty years, and then nice and patient and dead for the rest of eternity, why, maybe, possibly, we might make life more fun.” 

—Sinclair Lewis, Babbitt

James A. Owen, “Here, There Be Dragons”

Photographer Unknown, (Here, There Be Dragons)

“Power, true power, comes from the belief in true things, and the willingness to stand behind that belief, even if the universe itself conspires to thwart your plans. Chaos may settle; flames may die; worlds may rise and fall. But true things will remain so, and will never fail to guide you to your goals.”
James A. Owen, Here, There Be Dragons

Henry Miller” “Our Finest Impulses”

Parva Scaena (Brief Scenes): Set Seventeen

“Everyday we slaughter our finest impulses. That is why we get a heartache when we read the lines written by the hand of a master and recognize them as our own, as the tender shoots which we stifled because we lacked the faith to believe in our own powers, our own criterion of truth and beauty. Everyman, when he gets quiet, when he becomes desperately honest with himself, is capable of uttering profound truths.” 

–Henry Miller

Ralph Waldo Emerson: “Whatever You Do, You Need Courage”

A Collection: Fourteen Men Standing

“Whatever you do, you need courage. Whatever course you decide upon, there is always someone to tell you that you are wrong. There are always difficulties arising that tempt you to believe your critics are right. To map out a course of action and follow it to an end requires some of the same courage that a soldier needs. Peace has its victories, but it takes brave men and women to win them.” 

—Ralph Waldo Emerson

James Gleick: “The Wondrous Promise of the Earth”

Photographer Unknown, (The Wondrous Promise of the Earth)

“Somehow the wondrous promise of the earth is that there are beautiful things in it, things wondrous and alluring, and by virtue of your trade you want to understand them.” He put the cigarette down. Smoke rose from the ashtray, first in a thin column then (with a nod to universality) in broken tendrils that swirled up to the ceiling.”
James Gleick

Jorge Luis Borges: “A Particular Sign, A Kind of Mark”

Photographers Unknown, (Numbers: One, Two, and Three)

“He told me that in 1886 he had invented an original system of numbering and that in a very few days he had gone beyond the twenty-four-thousand mark. He had not written it down, since anything he thought of once would never be lost to him. His first stimulus was, I think, his discomfort at the fact that the famous thirty-three gauchos of Uruguayan history should require two signs and two words, in place of a single word and a single sign. He then applied this absurd principle to the other numbers. In place of seven thousand thirteen he would say (for example) Maximo Pérez; in place of seven thousand fourteen, The Railroad; other numbers were Luis Melián Lafinur, Olimar, sulphur, the reins, the whale, the gas, the caldron, Napoleon, Agustin de Vedia. In place of five hundred, he would say nine. Each word had a particular sign, a kind of mark; the last in the series were very complicated…”
Jorge Luis Borges, Labyrinths: Selected Stories and Other Writings