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Music and Karate together to defeat the genetic disease. 18.12.2010

Music and Karate together to defeat the genetic disease.

Cospicua number of visitors to the event organized telethon on Saturday night in Reggio Calabria.

Saturday, December 18, was held at the Quiiper square, in front of the Viale Calabria, yet another manifestation Telethon, focused this year to raise funds for medical research on genetic diseases. The event, organized by the director of the branch of the Institute Viale Calabria BNL bank, Dr. Anna Di Stefano, was attended by students of the martial arts "Okinawan Go Ju Ryu Karate", which, under the supervision of Sensei Francesco Cuzzocrea, have attempted execution of a series of traditional karate techniques. The athletic performance of students of Sensei Cuzzocrea, began at about ore18.00, with a series of breathing exercises, and then with spectacular demonstrations of defense against attacks of various kinds with the performance of kata, fighting techniques controlled . The show has ended with the execution of a series of broken sticks with various body parts. The test, called "Shiwari" is a true demonstration of concentration that the martial artist reaches through the practice of traditional karate, along with an authoritative control of breathing. This demonstration was particularly fond of the public, he left to go to a thunderous applause as sincere, at the end of the performance. All this was duly accompanied by a background of oriental music and the narration of a speaker (both offered by the "StoriaDossier"), he described, from moment to moment, all the techniques performed by students. A corollary of a successful event, the public could appreciate the performance of the band "Spirit of Dino," which cover with sugar and other artists, have graced the second part of the evening. The public, meanwhile, showed a lot of time to appreciate the martial arts demonstration, as the concert next to it. A note of proper thanks, goes to Dr. Di Stefano, for his efforts to organize the event and the great sensitivity shown before the problems that medical research is trying to solve.

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Satvat Odilon Redon on

Odilon Redon - Buddha - 1905-10

To reflect on the meaning of color in painting, we can avail ourselves of the story, human and artistic by Odilon Redon. He was lonely childhood, which contracted nightmares and obsessions that accompanied him for a long time. His introverted nature drove him to an adventure highly introspective and 'black', because, for many years devoted himself almost exclusively to drawing with graphite and black crayon. These works show recurring themes, dark and heavily symbolic: grinning giant spiders, severed heads from the martyrdom and offers on trays, floating eyeballs and filaments that are floating in sweltering nights. The intimate suffering led him to investigate the interior, to confront that nightmare all along what Jung has called a "path of discovery." His paintings are showing highly significant: the spider the weaver of the winding labyrinths of the psyche, allusive beast insidiously that the painter wanted to win through the redemptive power of thought, symbolized by the number of heads without bodies that have populated his work and the eye, often depicted as the top face to seek salvation a higher vision, is the vehicle of a ruthless "by the black", an inexhaustible of investigation to which everything is sacrificed, so the man comes to be transformed into paroxysmal Cyclops.

And this totality paid off: after years of voluntary confinement in the "black", Redon was somewhat out of the tunnel, and finally landed in color. Something had happened, something that, in my opinion, the critics have not been able to understand, but that has lead to a radical change. Intuition tells me that his fighter, just because so total, had an unexpected result: it brought the artist, well beyond his own intentions, beyond the mind, at least for a moment. The spontaneous emergence of meditation has kidnapped color. This change is marked by the work "The eyes closed" (1890); from this picture you can imagine that the artist is totally taken in, and gently surrender to the mysterious flow of the interior. Since then there have been more anxious eyes bulging, no more monsters paradoxical of the mind, but winged creatures, fluffy colors, soft shapes emerging from the color, "aquarium of the dream," and even a Buddha near the tree of Bhod. Maybe Redon has experienced something similar to what is called satori in the East, an episode of temporary lighting: For a moment the curtain of the mind opens, and is fertilized by the beauty of the Real. From this comes an extraordinary energy and nutrients, which the artist dedicated himself to show the colors more vivid. The famous painting "The Cyclops" (1898-1900) seems to confirm my intuition, and in it we see a Cyclops who is gentle, far more peaceful than those of previous drawings "noir", which points from a human figure, perhaps androgynous, lying on a bed of flowers. The eye of thought is looking at something that is hard to understand, something that is not yet fully awake, you feel the amazement, even disbelief, yet it seems almost smell the cradle of floral scent that the artist had warned for which could not doubt it. In other works he revived the issue of closed eyes, but with an evident feeling of nostalgia, as if unable to recontact the extraordinary inspiration. Satori is a passenger, is a taste that triggers hunger of the Essential, probably following the hunger of the Transcendent The next pictures were made like an elusive mirage, sublimated in dreamy colors.

Then, the last phase of his work, Redon seems to have dispersed almost hope, and one last reminder of the emphasis of the Light took the form of the many bouquets of flowers, favorite subject, then, placed in pots that seem to want to keep alive the memory, including the colorful flowers are the symbol. In these pictures, it captures a poignant nostalgia, tinged with regret, the pot (perhaps a symbol of the mind that remembers) often seems almost unworthy of the flowers it contains, backgrounds and come back often to be populated by shadows. Emblematic of this is "Buttercup in a blue vase" (1914): a vase blue, contemplative and soul, has red flowers, yellow and pink, one of them fell, a large shadow swallows it right, the entire composition is substantially blurred, as if it were to disappear the next.

novel by Satvat THE TAO OF PAINTING - Bastogi, 2009

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The Universal Array of Numbers and Mathematics Celeste

Watch My Son the vacuum structure, every object in the manifest reality within its dense molecular structure has an empty space. Mathematics teaching there on earth has been manipulated. Math should be taught a certain logic, and if you can manipulate the underlying logic, it is easier for the rulers of your World of Darkness control you. It 'been easy, simple son, I'll explain how they did the Archons to cheat the cards. They made it happen and have created the One to Two Zero, but Zero does not exist is just the paradox of the One. If in fact there is only One, everything is united in the One and there is no division, also the One disappears and becomes the Vast Zero. But the number two there is no son, could not be otherwise, and to justify such a deception to hide the attention of vigilant awareness, came up as the number Three Unifying, because the two can not live if it is not shown by ' one, but it is only the One, then two is still an illusion, because it denies the existence of the One. By the number Three, the One would balance the uneven structure of the two, but since the two played in perpetuating his deception to the Division, the Three is not reabsorbed by the One and then adding to it created the Four, the Square Unstable disharmonious. The Sons of the One to balance this disharmony within the structure Illusion Two is called Maya, created by the top five American Pyramid, then the number five was the second harmonic Riequlibrante, where Man is born. Since then, the Rulers of the Two Sons to confuse being resident of the Fifth Harmonic, man, invented the Six, which has a pair of opposites with the Four Paradoxes, so in any direction outside the circles of Man itself, are lost forever in the maze which correspond to as many outputs you're in the same revenue Labyrinth. In this game of creation were created two pairs of three numbers, the One, Three, Five-and those numbers were light, and Two, Four and Six-shadow those numbers. However, the creation of a partition was not the real one that was never divided, but only its projection due to Game Two, then within one of the two even slept in the illusion of self-forgetting. So the real one, undivided and indivisible, which is One and Zero together, the Source of Love and Mercy sent the number of Illusions in Game Seven, and said: "This is the number of Salvation for all who turn the ' in light shade, and for all those who turned the light in my light. "


THE REST OF THE TEXT AND I DO NOT 'UP TO PROVE IT IS PART OF THE ANCIENT SCIENCE THROUGH WHICH HAVE BEEN MADE THE WORLDS AND THAT THIS WORLD THAT WELCOMES HIS SLEEP CAN NOT 'YET TO ACCEPT, Blessed is he who read the words of REVELATION THAT FOUND IN THE TEXT CONTAINS' WHETHER THOSE GAPS WHICH FORMED THE ANCIENT SCIENCE OF BLUE CHILDREN OF THE SUN ... PEACE TO YOU

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Shocking Revelations: The Church created the Satanists !!!!!!

The Church created the Satanists. Satan (the Opposer Shatan =) is not a devil. Who shows us Satan as a devil? The Church. The Church makes Satan the devil, and invented the rules of good Catholics. The moment you invent the rules, the rebels of mind is hostile to the Church and create two rebel factions, those who go to the Awakening and those that being poor in spirit supporting the evil character that the Church has created, fell in her game. The Church label opponents as those who support the devil called Satan, but it creates itself Satanists when they invented the "label" to believe in Satan and Satanists to support the Be An opponent of the Church. Satanists in a sense are those who hate the Church but the Church itself has created the character of Satan that has features and characteristics. So the rebels and opponents of the Church weaker in the psyche are hypnotized and conditioned by the thought-form of the Church, because they believe that the only way to counter the Church is to join his evil opponent that the Church itself has paradoxically created. It 'a play sneaky and mean, so it is subtle and hidden. I'll try to explain. If the Church makes up his opponent he calls "Robin Hood" and describes him as one who steals from the rich to give to the poor, opponents of the Church who do not have the spiritual strength to resist without being absorbed in his game, become roobinudiani -Satanists who easily go against the Church are going to steal from the rich to give to the poor, to express their opposition to that institution which actually was the "creator of the opponent" and hence the opposition. Can you follow the reasoning? The Church produces Satanists, people from the psyche weak to go against the Church quell'oppositore worship and serve the Church which is just an invention of the Church ... assurdoooo! And since Satan is a devil invented by the Church and it is she who sets the attributes, the Church not only creates the Satanists but affects behavior. Incredibileeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee !!!!!!

But we see a little ... Who is Satan?? We have seen that Shatan means Opposed ... An opponent but to whom?? To the Father ... Who's the Father?? Pure Spirit ... and if Shatan opposed to the Father who is pure spirit who is actually if not Matter?? Shatan is the density, Matter and we are surrounded! Each of us before entering the area must make a pact with Shatan which is the same material. We are a Being of Light that is encased in a body of flesh, this is the deal with Shatan! Shatan is the price you pay to enter the worlds dense, and this price includes taking a full body and heavy.

making this small and simple reflection ... It takes a few seconds to read it and share it but it opens the heart and mind-expanding. It 's a service we give to all those who are still embroiled in some mechanisms. Thanks to all operators of light ...

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Satvat for Tarshito

The Vase and the Leaf - 2010. Implementation / Made by : Christian Fasano

Metal and Ceramic / Structure in metal and ceramic

diam. Max. cm.108x255h

Tarshito (Nicola Strippoli) has a particular kind of architect, designer and performer. His commitment to follow their own pathways in the creative world of art, like a stream that explores unexpected territory and collects tributaries becoming stronger, carrying in its flow inspirations, experiences and different fragrance, which delights in sharing. There is something in Tarshito Renaissance intellect that sun that brings thousand seeds to bloom, drafting a Soul tune Mundi which develops in a workshop of achievements, when many artists and craftsmen involved with their talents, beyond any cultural barrier guessable. That's Tarshito Group is an orchestra, a community of purpose that transcends the solitude of showing that we are the world. We are the world, implying responsibility for awareness creation, and union. Realizing this, poverty does not empower the individual, nor the complaints: there is so much to explore, create and share.

Develop new visions of the world is the highest task of art, built using expressions thoughtful and inspired. If this occurs, the architecture of the intangible spiritual inform the terrestrial architecture, creating a new world and more vital. Architecture is etymologically and symbolically in Earth science to establish the vertical pillars that evoke the sky, and has in it the sense of sacredness, a payment between the human planning, the laws of Nature, and climb the freedom of the Spirit. It is not a question of proportion, but a stream of inspiration and construction ranging from macro to microcosm, as Nature shows us that builds with the same perfection that is great as the body so minute as to be invisible to the eye. So the magic of a cathedral is not greater than that of small wax Tarshito architectures, in which the organic material and soft highlights the imprimatur essential to impermanence. In life nothing is permanent, everything is in flux, and thus the work of art that stands firm, which gives an impression over, it is not art, it is not existential. Striking examples of this we, as the eternal construction site of Gaudi's cathedral, which opened a few days ago but formally free from conclusion, and indeed any work of art, whether painting or sculpture, or whatever, it must maintain a voltage dynamics, an inner life that is filled from the stream.

I believe that it is this understanding has inspired Tarshito to develop consistently the topos of the vessel, object open and full of references symbolic. The vessel is always potentially pregnant women and, above all full of space. It is a container, but in a symbolic sense, not merely functional: its task is to enhance the space, as well as enhances the body's soul, allowing her to experience. The Platonic sense of the body as a prison of the soul is in fact erroneous and negative life comes to be, but the perception of the body, land, must remain open at the top to accommodate the vast meditative, as in the vessel. This is Vasus alchemical interrupter which can be accomplished the miracle of Revelation. Its matter how precious it is humble, and it shows Tarshito with fine carvings of materials, finely textured color, embroidered with symbolic, sometimes infused with touches of Zen free. The vessel is the womb of Nature, as she filled with changing expressions, figures, dreams of poetic creation, so the story is a tangible metaphor for the content and inexpressible.

The artist himself is a pot full compliance receptive As transmission. Tarshito of what was invested in full and, as he said himself, he strives to seek "the crucible of ancient knowledge and wisdom to bring all this and more in Art".

www.tarshito.com

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Satvat on Henri Michaux

In my opinion, Henri Michaux was not a painter but a great writer, who also wrote the painting. In the extreme, especially frank and disarming. However, his paintings have reserved a special place in the garden where he grew the treasures of the art of writing. Bewitched by the calligraphy of the Far East, Michaux sought the mysterious power of the matrix of signs, that virtue esoteric, it was said in ancient times, had made the demons flee, fearful because of the ideograms with the invention of the man had acquired the supremacy over them. But his ancestors are signs of illogical characters, no stuttering of an alphabet format, never acted, prior to any idea and the same intention to communicate.

In fact, the artist did not intend to communicate (that's why I say that its not actually painting), rather than experience in solitude the ancestral origin of the sign: the fault lines of the unfolding of 'egg of silence. He did breaking up any possible recognition of language, not using the brush to draw a sign content, but to mix the informant, and from this derive the infinitesimal signal a genesis in action. The use of psychotropic substances has helped the artist to straddle the rules of thought, until all'agnosia where the hand is driven by pure instinct completely impersonal. His mescaline paintings do not show the involvement of a painter, rather than paths from crawling insects appear, from quotas falling leaves, dust deposited a spell of the case but a case of anything but meaningless, akin to that with Li The ancient Taoists defined the ancestral wisdom that had universal veined jade or wood.

The case agent in the painting of Michaux it is much less sterile than many random works of contemporary art, because that's where he meditated deeply, sensing the hidden harmony. Eschewing the desire to produce and to give an arbitrary meaning, he has tasted nothing experiencing the least, and caused significant only in virtue of his honest prayer. This honesty, as sovereign of every true artist, is what we value most.

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Posts by the Brothers of the Earth's surface in Humans Under

You are immersed in Maya, the cosmic illusion, the only wisdom that you can call is when you abandon the energy of madness. Insanity is the only medium that can take you to manifest the reality. If you move into a fiction you can not take it seriously, the only state of mind that you can keep in front of such a game is fun, Joy. And 'also true that even if it is a fiction we must be vigilant, because you're surrounded and can be fatal not take precautions, such your physical bodies are made of the I dream of the same substance. Who is preparing to give birth Reality is neutral in the eyes of men, but divinely wise in the eyes of God True Wisdom is to bring the body to the vibrations of real light, so you can take back with you, traveling in the illusion without having to go through the death and the deaths of your life, and until you step into the Truth you are free, and death will be the only way given your current knowledge to move on. So not only die, but playing oblivion of what you were because when you come back you do not remember anything that was so much that you wonder if you're here for the first time and infinite realms of doubt that you have visited. Death is not bad, it's just a different way to be born, but when they give birth yourself, you are the birth so you can not die, no more will happen to forget you. If we talk about it is certainly not because we see things from a prime location and more convenient or because life has been more generous with us in giving us a sharper view, you talk like that because in the course of evolution, once we played the same Your game, our feet often stumbled just like your and our faces were furrowed by your own tears, in difficult times. Learn to laugh more, spread a smile, it costs you nothing, but enriches the others and relieves you of all your burdens. Do not you think it is something unnecessary or a luxury, and laugh your difficulties will disappear, when the laughter comes from the heart is a spiritual force from impact vibration because energizes and harmonizes your exterior. And where does this force you ask? It comes from your folly, is the ability to go beyond the arrangements required by your logic, because the only logic to which you aspire Solar is the logic, that perfect and immutable in its manifestation can only belong to the Sons of Light who have recognized as part of the Great Whole. What is real within you must understand, can not be grasped, but As for you is a temptation to label everything as you love the names and definitions, but ... how you want to petrify the Life Force that runs for ever and can not be crystallized? We know you're going through difficult times, in this age are learning that you are the creator of your personal illusion and erasing all traces of the old creation illusory called destiny. Mind you that in these times of great change and trouble some of you may regain the ability to create the cosmic void and bring out from the Ocean of Life whatever they wish, and create the New Earth will manifest within a paradigm that will learn with no more suffering but through joy, for this will be before the narrow street and the narrow gate, however, will only be a moment of transition, one thousandth of a second compared to eternity that awaits you when you re- your real identity. You can always express everything you want, but most so far have not grown in your true desires, whims only have sown, so you missed one thousand in your creations that have come into conflict with each other. Thought and speech are the means by which you create your own universe, and the Forces of Shadow nell'indurvi were able to create a paradigm where your every thought and every Your words reflect their twisted and petty projects, and how you were able to play their game, totally unaware of who you were. This paradigm is called New World Order and must be dismantled within you my dear, because if you scraped off all add-ons imposed by genetic and psychological Poor Brothers of Love will not be able to make the big leap. Abba is going to touch the harp strings, which is our solar system, the rope that is to vibrate the stronger our beloved Earth. The Earth is about to play the Fifth sweet note, is about to disappear through the process of etherization who underwent the other planets, if you want to keep up with this Great One Archangel that is Gaia, then you learn to play within yourself that Dolce Fifth Note I mentioned. You are not alone in this process, we are your brothers in the earth beneath you expect full of Joy.

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Satvat for Francisco Zúñiga

Francisco Z iga a is one of the greatest contemporary artists of Mexico. Years ago I had the pleasure to write this letter for him, shortly before his death.

Francisco Zúñiga - Desnuda with manos a la dear, 1970

Contemplating the art of Francisco Z iga a .

In the Temple of Earth, Turned legs and solid columns are women, never even bent under the weight of pain. In rendering the sacrificial, the woman has the innate gift of lightness and redeems the pride that fate.

I went through a gallery of portraits and figures, such as primitive cave paintings - the eternal becoming wise icons. I have seen in the faces fresh indeturpabile the older offspring, and young girls as old as the ages of the world. The running time is entangled in the skirts, and plan the future, leaving the song burning memory.

amazement, I saw the majesty of the round, pregnant belly - Infinity footprint on earth. With amazement, I heard the roar of the fire inside, and crisp, warm water of consolation.

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Satvat for Julliet Hernandez Ramirez

Julliet Hernandez Ramirez - Cassandra Mystic

The Venezuelan painter Julliet Hernandez Ramirez apply a clear surrealist images in his talent for "dreamer" in shamanic sense. This "dream" spiritual is the means to penetrate the territories and irrational symbol of life, the mysterious currents Nagual inner chaotic and overwhelmingly creative. The shaman does not petrify the flow and the power of vision with the mediocrity of common sense, but it rides wisely mighty wave, drawing forces that are normally inaccessible. Julliet accomplishes this task with a sensitivity exquisitely feminine mystique by Cassandra, painting dream a reality that needs to show up for the Moon.

Intense is your impression of the color: it has the significance that the world appears to ' dusk, when things, first of darkness, the flashes of color give off even more saturated than during the day, far more intimate secrets. The color of female skin is not dyed, but emanates from the inside as the intrinsic quality of life and consciousness. The surrealism of the painter is not at all mind being purified any cunning arrogant originates from the heart, so it is soft and round, and all natural, making existentially effective and evocative. It involves looking to enter an enchanted forest, where the full moon dance ecstatic priestesses, while all around the vegetation is in the rite with bright flowers, fruits and fraught with vital juices, ready to be picked. The woman is the queen of this kingdom of the soul, and magic button, the mirror of painting held the vivid images of caster: goddesses, deeply human, shining smile of the Mona Lisa; sirens drowned in languor until the wisdom animals totem dell'oltrespazio landscapes. The opulence of the various soul figures is nourished by the universal motherhood of Pachamama, Mother Earth, for this, though lonely, are supported by a unanimous feeling of responsiveness.

Meditation witness everything artist with a purity in the here- e-innocent now that lights the fire of vision, that Eros fertilizes the womb of life and art, giving birth to the fantastic. Everything is still, caught in with hieratic presence, yet internally fluid, mercurial alchemically. Julliet Hernandez Ramirez has gone deep, up to know the deeper nature of any artist: to be capable and visionary powers of the secrets of creation. His work is full of possible references the great painting of Latin America. For example, we find similarities with the paintings of Frida Kalho, being also a phantasmagoric painting of a woman, intimate reflection of self that is full of moods and feelings of women. However, the tormented sense of drama, bringing in creative reflection of Frida was more settled, meditative passed beyond the thorny legacy of the self. By virtue of this, the art of Julliet is an opportunity for celebration and magic.

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Satvat Vincenzo Di Biase

contemplating the paintings of Vincent Di Biase, I have seen blooms of magma metaphor of the "feel", traveling on the wing of a high inspiration; I found diagrams and signs of active magnitude linearity narratives dell'impalpabile fabric of the soul. Without the bonds of memory, but with the sincere responsiveness of the here-and-now. I fell in love and endless harmonic tremor, recognizing the mysterious breath of life that moves sunrises and sunsets.

It is of course back on the routes of Art, the epic break up the shape made taking , Pollock. But the chaos, so devastating, he found the painting of a natural evolution Di Biase, engaging in a hidden numerical codes which inform the plastic fabric smoothly. In the past of his teaching mathematics, the artist must have breathed the Pythagorean infinity, then transfuse in Art with a breathtaking view but basically correct: you do not succumb to the grandeur unmanifested, but we remain in compliance cohesive fine detail. The numerological wisdom is expressed by modulations that would retrieve the calligraphic writing of Tobey, but more Bacchic. However, there is the taste of this myth that giving up the illusion of form is found to be even more powerful.

Among the mystical views of this painting, a nod to the fleeting smile of vate, it rejoices in the dances the brush, showing up with inventions of light, expanded with harmonic waves and unpredictable; however, remains incognito, hiding his imagination in the annals. I saw him play with himself - in fun - opening myriad round eyes that recall the Cauda Pavonis achimistica. In this painting positive refreshes the soul, reconciling beyond the limits of space-time, visiting the inside and outside, sacred sexuality, it enchants in color combinations that highlight the power of the Numen and the Annunciation of the cosmic principle Unit.

And as the Principle Act is divided into Creation, forming Yin and Yang, the feminine and the masculine, just as the work of Vincenzo Di Biase shows two different faces and polar symbolically representing the blood and animus. In some paintings are seeing number sequences of the explosion of color and shape, an impression of a constructive stimuli, even subversive, which are classified programmatically. Instead we immerse ourselves fully in other works in the feminine flow of vital water, where everything transmutes with mercurial languor, and where numerology is out, showing only the uncontrollable force that was there. In both cases, the logic is sublimated into philosophy without a name, which anticipates itself in the primordial mystery of wonder.

I think the secret aspiration of this artist is to be able to merge together, himself as in his work, the double inspiration of Yin and Yang, with a kabbalistic understanding arcane laws which are founded the Creation, in order to return in spirit to the Source. This intuitive dream belongs to every human being, lit by the divine spark in man that tends to create the amazing richness of their presence.

www.vincenzodibiase.it

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Satvat on Salvador Dali

Salvador Dali - Still life living

Research Art Salvador Dali was that of absolute beauty, by the sum exaltation of genius. It may seem strange, given the disturbing images with which he animated his paintings, but did not worship the Venus Divine and bright, rather than cut off the statue of Venus de Milo, since that dramatic incompleteness found the will of every invention. His lucid madness did not stop on the glossy cover of aesthetics, nor aspired to spiritual consolation of the dream, but he tried another: the art of martyrdom which has sought to draw an unusual rebirth.

not was compassionate, Dali, let alone with himself, and basically this is his cruel beauty, I would say its glorious error. He sought the ultimate meaning of the arcane existential pathos in the sovereign did not smell the rose so high as to seem a mirage, but addressed the pins closest to the Earth, giving the most sensitive points with pride to a martyr self-sanctified. It was voluntarily crucified on the vertical axis of Art, as the Christ of his famous painting, but deepening the chasm and exhibiting narcissistic wounds of his teeming imagination. From this extreme position has looked at the dark recesses of the psyche and subversive, with the ghosts dell'inafferrabile in the daylight, they are nailed to the canvas, gasping in the throes inflicted by exposure to immodest to the eye, because the painter has dissipated the fog that stirred elusive and subject to change.

Salvador Dali has petrified the Mercury of the philosophers, for gutted. What you found? Germs at the time of mythological outline fermentations subliminally erotic paranoid, differences of wisdom, heroism illogical and harmful. However, the painter was trying a different and higher level design, down to hell with all so, as he said himself, that his hand was guided by an angel. While watching the Divine encounter more easily with intensity in the recesses of life, not in abstraction once idealistically Heaven, it is also true that this must transcend themselves, becoming fully empathetic. Instead Dali was full of himself, but was still rewarded, invested by the phosphoric light of the fallen. I say this on a profile at all religious, but purely symbolic and mystical: Lucifer is a merciless light, exposing forcibly without the embrace, so no chance of understanding. This is also the case for a glacial spaciousness and solitude of metaphysical, multiplied systemically to contain the contemptuous detachment of the ego. The artist has illustrated this in the highest degree, applying to excess a gallery of distorting mirrors in which complacency obsessive genius of the mind. Luciferin is in fact the nature of its contemplations, a desire to be God arbiter of happening, with the pride he showed us the whim of transcendent cosmic laws, as well as could understand them making more than man, artist.

But in my opinion has remained a spectator overwhelmed, attracted by gravity into the chaotic abyss of creation, in what is defended, with undeniable genius, to strokes, making a shield depicting the images of the Shadow. With more humility you can let yourself be carried into the vortex, until the non-being, and when the artist is gone, it gives off the scent of the rose.

SALVADOR DALI ': THE DREAM IS CLOSE

exhibition at Palazzo Reale - Milan

22 September 2010 - January 30, 2011

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Satvat for Sigawayan

Sigawayan - Awakening of the Apocalypse I - II (diptych)

In painting Sigawayan (stage name of Wong Wing Kuen) mix the fluid art of East and West. These raging currents meet and highly chromatic originate reels and foam dreamy, but actually they are synchronous and integrated into the fabric art of meditation, in a way that goes beyond the apparent contradictions and reveals the secret unit. So the artist produced in Asia is far from exotic, rather brings an enrichment of the vision that emanates from within.

While in Western classical painting and looked out at the top, refining the design in imitation Nature and spiritually, the images of religion and myth, the Far East pictorially nell'indeterminabile faded, bringing the look inside, in a meditative subjectivity so deep to reach the mystery of the matrix. Since the modern Western art celebrated the dynamic contradictions, according to an epic driving that sought to gain a new sense, spiritualized existentially, though, as I discussed at length in my book The Tao of Painting, the heroic efforts can build a colossus with feet of clay, or abstruse, if creation is not supported by the inner awareness and meditation. This is why many great painters of the twentieth century strove to rediscover themselves, and to recreate the Eastern tradition of meditation classes, less canonical and more focused on the individual.

globally accepting this artistic heritage, including virtue of her own life between East and West, Sigawayan Ponteggia the two cultures responding to the current melting-pot culture in which confront the new challenges and ferment of Art. During his long stay in Florence, he has explored more meaningful stimuli, learning even the mystical painting of icons, yet kept the pride of identity and freedom of expression research. His pictorial world unfolds with inflorescences strongly chromatic, we remember the love of the ancient Far Eastern painters for the flowers, and plastic structure of his paintings often reflected the intentions of Chinese painting of landscape, consult the various elements in 'harmonization of Yin and Yang at other times of the inserts in black and white recall the tonal richness of ink painting.

The painter follows the old precept of painting in the eastern circle, all-encompassing symbol of the Tao, so the forms become entangled, almost botanically, so fluid and circular, with a dynamic metamorphism which constantly evolve. This circularity, which is an expression of creative harmony virtuality of inner energy, was discovered by modern art in the West, and this applied irrationally subversive, and many modern artists have thereby denied the penalty, freeing the creative feminine, wild and iconoclastic. So in contemplating the work of Sigawayan we can find similarities with the organic abstractions of Arshile Gorky, or with Andre Masson, and even delusions Co.Br.A circles, but the detachment of the artist keeps in eastern ineffable balance. However, there is a primitive pathos, and even the contemplation of the abyss, but any hint of annihilation has consciously and joyfully the seed of rebirth, dell'irrefrenabile change.

The quality of the Far East is Sigawayan especially in his line to be painter, by which embroiders his magnificent universes, and noble follower pulse calligraphy. The spiritual treasure of oriental calligraphy has the central character of some paintings, which performs compositions that are incomprehensible to us linguistically, sign but seductive, dense writing this post is like a veil to cover the sacred depths of the canvas, which shows the face of a Buddha deep in meditation. In other interesting paintings, calligraphy, drawings of anthropomorphic images and hieratic, placed on a golden background absolutist, these figures worship a central sphere, and mother of pearl button, which is a representation of the whole. These works, profoundly iconic, are square, the symbol of the Earth that is complementary to the circularity of the sphere, symbolic of heaven. The line informs the harmonious shapes crouched, imparting a vibration intimate and devotional.

www.sigawayan.com

Card Driver Reader Rb-539

Satvat for Elisabetta Limonta Vibhuti



E 'for a long time that Elizabeth Vibhuti Limonta has the heart shape as an icon of its unique artistic experimentation. I suspect that, when germ, this is already begun in the womb, with the formation of his own heart, with that sudden spark knock that unites every great new life to the beat and chorus of the Living. He must have kept that ancestral memory in silence, until they found him - certainly a surprise! - The dance of his brush. As in a satori instant illumination, she said, and since then has multiplied the pulse of the heart in countless paintings. In fact, I see his enthusiastic thematic repetition as the mark of the One Heart beats multidimensional, universal symbol of the miracle of Love that creates and preserves the Creation. The artist told me to conceive it as a huge heart crystal formation in the center of the Earth, a beautiful picture and important, because only by recognizing the flow of love that sustains us, between us and joins us in communion with the all reconnect to Mother Earth, we heal our desperation of orphans volunteers. This commitment on sentimental, naturalist and environmentalist, is reflected especially in the hearts drawn like leaves, like those marked by an earthy materiality, or made fluid by a swirling blue that echoes even more that in a shell, the hidden sounds of the ocean.

In every picture he paints Vibhuti Elizabeth's heart, which is not only because his heart does not have a sense of private, exclusive, but exist to share, and glorify the whole. Heart that is hope, promise, research, investigation introspective revelation, through the whole rainbow of emotions, images, innermost thoughts. Just like a crystal heart, the artist's work is rich in nuances that glow different perspectives, from the conceptual, expressed particularly in the works several different materials, up to pure pictorial lyricism. I am pleased to know the artist and his work for several years, so I witnessed the unfolding of the thread of his tireless research, without ever broken or was tied in a tired repetition, and this gave rise to almost a labyrinth of images synchronized to each other, yet dissimilar, precious and perfectly autonomous . The key to this labyrinth is in ourselves: that heart, made by the artist with so much feeling, infects our inner source of love, often dormant, to revitalize.

guess the secret hope of Elisabeth Vibhuti is that his heart and the hearts of us all, you may fill so much of love to explode, eliminating the illusion of boundaries that restrict us in selfishness. I have seen his hearts become more and more swollen, dilated, gradually occupy the maximum space narrowing the margin of the picture and thereby herald the hope of the imminent explosion. But not with superficial optimism. Although they are often transformed in emphasis color them outside, keep the heritage of visceral survey, a meditation on the painful experience. This seems to intimate pulse of the heart itself, but also in the dialectical relationship between it and the space that surrounds it, never casual in the selection and color texture. Understanding the dramatic artist, exercised in the relationship between inside and outside, is essential to conceive the true value of his dream, to give body and root. Eros and tanathos are two sides of the mystery of life, but Love that is ineffably governs, and ultimately, to be able to really love, which states that Ego must die separation. Regarding this, a recent painting that is emblematic, with the fundamental polarities of black and white, shows a heart containing a skull, not a grave warning, such as vanitas, but a call to transcendence.

Artist of our time, Elisabetta Limonta Vibhuti favors an icon that is timeless, but with a contemporary language that carries the apparent contradictions, and sometimes surprising materials.

Dunkin Donuts Swot Analisis

Satvat for Corrado Nucci and Walter Ambrosini

Show: ANGELS IN CONCERT MUSICIANS

Satvat for Corrado Nucci

exposed to the elements, the trees dance and resonate. Their very essence is harmony, perfect for building musical instruments. Wood sculptor, Corrado Nucci hears the inner vibrations that reveal what lurks in the art god. Then, the passion of the artist strives to liberate Epiphany of form, separating what is vital, and has meant, from the dross. The "wood-talking" Nucci show us that the art form is not arbitrary but rooted in Being. In fact, the sculptor does not create from nothing, from a barren dream, rather, as Gaudi said, continuing the creative work of Nature. Realizing that the Art is a place of extraordinary meetings, Corrado Nucci builds a forest of characters. They are figures carved in the round, as a staff universal dall'immaginifico score of their bodies, draw earthen echoes of music, composing a concerto. The flute evokes the magic forest, that his companions erected to heaven, just like the trees. By entering this enchanted forest, enjoying the invigorating mythical sense of Nature.



Satvat for Walter Ambrosini

Painting and Music, as sensed Kandinsky, languages \u200b\u200bare more than assonant because entambe base their magic on vibration, tone and rhythm of speech. The painting consists of the agreements appearing visible cause in us an intimate resonance, while the music does the same with a dance invisible, without a trace. So, doing a pictorial tribute to the music, Valter Ambrosini evokes a path filled with reflections safe brushstrokes, the artist portrays musicians who are busy in giddiness of the jazz harmonica, showing almost an epic of passion, sound and mood, a phenomenon fully human , liberating, Dionysian. At the same time, he associated with his counterpart this invisible, angelic referring to a plan that is complementary, in the archetypal sense, to that of humans. Angel musicians, taken from the Last Judgement by Luca Signorelli, alongside jazz musicians, but so solemn, distant. Their heavenly music is inaudible to the ear, However, the intuition of the artist reveals that dense and volatile are reflected, so that those angelic psalms of worship can be incarnated by human inspiration. Certainly, the man translates that inspiration with his own transcendent heat, in a dynamic, engaging and even orgiastic, but, in hindsight, it's the same music, same hymn of praise to life, which can be as ethereal roaring, showing beauty in a different way. Freedom from moralism, as deeply felt in their true, the Arts announces that there is an unbridgeable distance, the summit and the abyss can meet in harmony ineffable, that is the essence of salvation Unit. Therefore, after dreaming of nine paintings in the blue sky and peaceful, Valter Ambrosini does not omit to inflame a work in red, a reminder that seemingly inferior indeed used to establish a balance, being a device that recalls the unique alchemy of the Whole.

How Do You Emptytoilet At Sea

Satvat on Futurism / This

"FUTURE / PRESENT" - Exhibition held in Orvieto

On the occasion of the centenary of the future, I conceived the project of this exhibition, which was signed by many talented artists of Orvieto. Carryover below the reflections I wrote for the occasion.


early '900 the Futurist movement lit the fuse of a radically innovative ferment. He did it with indomitable pride manly concentrating the energy until critical point where it explodes exploding; amplifying sensory stimuli through a simultaneous perception, processing capacity synergistically different space-time activities, celebrating the dynamism extreme, futuristic technologies, the hype, friction, antigraceful. In art, he praised the vivid flashes of color and geometric projective who was able to describe the multi-dimensionality of the existential view, conceiving darting forms with which he recounted heroic deeds of men, and machines roaring metropolis. He imagined that, under these water hammer, the world of that time, considered decadent as stale and conventional, could not stand, would rise from its ruins the "reconstruction future of the universe. "A whole new world, young and old stuff from the purified, in order to deceive the consciences, the raddled vacuum romance. Opposed the" moonlight ", Futurism preferred the gaslight and electricity lightning , accomplices of phantasmagorical visions disenchanted and yet, because of the vertigo-oriented progress. Every new milestone achieved, and every discovery of science, helped to strengthen the progressive myth, which was right in fervent industrialization process, which promised more work and enhancing their welfare. We, who guzzle the cup of progress until the scum, finally discovering the bitterness, we can see the future prophecies have been betrayed. While the future crowned the individual as a free creator, the logical imperative of profit does not respect the individual, nor the people nor nature. The progress has ruled that a system has taken chiefly passive, docile, obedient producers and consumers. Fall asleep in consumerism, we shut down our passion so, contemplating the Art Futurist, we can only wonder where they got that pride and quell'edonismo vital, innovative and fervor, the nonchalance, the optimism. On the centenary of the birth of the future and felt the extraordinary celebration of this art, we are thinking about all this. In this sense, the artists involved have worked the Futurist exhibition / PRESENTATION as Orvieto, in Umbria that they were sons of some of the great Futurist painters such as Gerardo Dottori, Presenzini Alberto Mattioli, Alessandro Bruschetti, Leandra Angelucci Cominazzini, and others. The artists did not confine themselves to a memory, but have resumed that wire with which the Futurists brought so much momentum propelling and many creative sparks. From this they drew a deep meditation on the present, reviving enthusiasm young man who is ineffably true virtue of human soul. Today, as then, we need a new vision of the world that can restore hope. Learning from past mistakes, we must seek in ourselves the primary source of energy and irrepressible life, finding the courage and determination to innovative ways. Tyrannizing Nature, we are scattered and we have abdicated our true identity, making us painfully orphans. If the future we had had too much speed, making us dream of a perfect mechanism and sovereign alchemizzare capable of the highest degree the nature, this invites us to ponder our innermost resources, to learn that we can and must integrate itself creatively with Nature .

Commercial Orange Juice

Satvat about Vincent Van Gogh

Vincent Van Gogh - Cypresses - 1890

THE EXHIBITION OF VICTORIAN LONDON
Van Gogh: Country timeless and modern city.

Taking the cue from the Roman exhibition on Van Gogh, I'll be talking about this extraordinary artist, which I mentioned on many of my books. In him are reflected in all the untamed dreams and the inspiration of heaven and hell, the conflicts, the insights of the secret forces to the subject, inspired vertigo that belong to each artist. Van Gogh lived all this with courage and catharsis primordial sacred tremor, paying a heavy tribute to the birth of identifying individual / artist, but his work, but tragically the flesh, has found the path of an asceticism which still moves and teaches. Not as a spiritual dreams, but as intense alchemy that has deepened with the bowels of man as the strength of the painting, the painter has excavated there, rummaging through the waste up to transfigure into the light. This is why his paintings are not extinguished, but hidden like embers on the canvas, sensitive to every breath to stir up and spurting contemplative wonder.

The painting of Van Gogh lived deeply his time, taking root in the lava with incredible tenacity and desperation, but what he drew a gasp of vision that has transcended time, becoming immortal. And deeply joyous, in spite of everything, showing the inalienable treasure of art, no artist has ever forget. Then, at the dawn of Modern Art, the light a little material and truthful, thrown by the brush, it was considered rude by right-thinking people who wanted mainly anesthetized art, traditional aesthetic feeling reassured, but that primitive force, detached from the compromise was a pulse of life that nothing has been able to choke. This welcome, enjoy sensually, spiritually recognize, feeling intensely grateful.

front of the paintings by Van Gogh, squeezed by rising chills colors, lively and full of juice as a ripe fruit. In this way the painter has represented his visionary dreams: Shaping the swollen flesh, opening the seal of his bowels and down at the bottom the mine, to draw the shiny gems. He has tried the ancestral thrill, finding a dynamic sinusoidal soul that has lifted all severity figural, everything is in motion, nell'irrefrenabile mutation of Life, more fearful than men have tried in vain to restrain. The artist, son of that time, could not bear all this in his own personality, kept a stiff sore, a little meditation, however, did not recoil, until being broken. But his courage adventurer has at least provided the prayer of his painting screaming far more valuable and more real each psalm, each acting rectory. The drama

s'avverte more in urban visions of Van Gogh, the scene of bitter confrontation and exclusion, but even in these the artist has dropped a mood intimate, deeply human and infused with compassion. Yet the modern city could not limit the proliferation of the interior, which is glorified in rising and swirling starry nights.

reflected in the nature setting, Van Gogh has been discovered more Eastern transfusing his love for Japanese prints. His exploration of natural forest has un'afflato not flat, but suffused with a lively sense of satori, Zen revelation that the artist had unconsciously breathed along with art from the Far East.

Ultimately, the exhibition is an occasion of the Victorian to open the heart, taking part in the powerful visions of this great artist, patriarch of inadvertent detection brave man and Painting.

Leg Wax Strips Genitals

Satvat for Walter Ambrosini

THE ART OF MEMORY:

A special exhibition, this one by Walter Ambrosini, and courageous. We live in an increasingly dehumanized, technological and alienated in a galloping globalization, of which much contemporary art and, unfortunately, the faithful mirror, suffering as an expropriation of the soul. Instead, this artist has focused the eyes of his painting in existential microcosm of his country, Castelgiorgio, working in this way a conversion of the same intimate motivation of Art, which is to reveal the mysterious roots of what would be visible only prosaic. For this to happen, you need to retrieve the existential sense of intimacy, of everyday experience, make memory not to forget who we really are. And in fact one of the great themes of art is the sense of identity of human beings, so we can recognize fragments are not lost in a chaos alien, rather than basing a sense of integration.

Walter Ambrosini has this search function of memory, which is also the memory of this, the territory closest to him, tracing the iconography exemplary and deeply human characters are far from characters that are not stereotypes but unique beings, seen with affective participation. Nothing is worse than being frozen in a character, trivialized with the tricks that the media have taught us, emptied of depths and contradictions. So far more fruitful, the subjects on which the author left eye for the rest of the painting are not lined up, dispossessed of themselves, in contrast, are caught in an individuality that is not plastic artificiality. The sensory contribution that the painter was able to exercise, dig the roots since the souls of the dreams that belong to each of them, showing how we can be heroes themselves, glorified by an extraordinary ordinariness that makes us the same as anyone else, and not codified. For this reason, each figure depicted is "true", and was pictorially immersed in a solitude almost lunar, which isolates it from everything, but will give the light of the preciousness of the one. Under the barber there are two people who have doubled in the mirror, indicating the importance of the social and everyday life in which the individual becomes united. This painting is actually full of implications, because it shows how everyone can act as a mirror, and even covertly witnesses the "function of mirror" that the paint itself should be able to exercise, whatever the artist will come to portray the canvas, the viewer must be able to evoke a self-acknowledged secret.

In this exhibition, which is dedicated to the memory of Castelgiorgio updated and current, meet again not only our neighbors, since this amplification of humanity, which can only evoke the Arts, comes to touch us directly, but reverberated by the individual, The theme extends to the sense of community that is living history of a country, but also it is also reflection on the meaning of human existence in general. For this reason, the painting depicts the wedding of the parents of the artist is strictly black and white, the device which crystallizes in an a-historical event that is timeless, so it becomes a symbol of parentage and ancestral foundation of storage, which makes this understandable and projects it in every possible future. At the same time it is placed as the tutelary deity that legitimizes an organic whole show, announcing that they love, for which transmits the heritage of life, and thus forming the collective life, to be protected by reciprocity and respect. Symbolically, Walter Ambrosini portrayed himself busy painting the marriage of the parents, and he does mean a deep understanding of the roots, memory transmission and archetypal in that he makes himself present, so he can observe with empathy the world around him , and then is made capable of telling a story with extraordinary effectiveness.

Patricia Bath Married

Seigokan Shihans

Chronotherm Iv Plus Troubleshooting Lights

Merry Christmas 2010 "Lindt - Chocolate Spoon"

3D animation created for the site through the agency of Lindt Curious Communication Design in Milan. The sequence opens the Lindt section of the site dedicated to new product "a chocolate spoon." Made in collaboration with Fabrizio
Scimè and PlaySys.

Spring Break Clip Art

Satvat to Mark Tobey

Mark Tobey - Red's passing - 1968

Speaking of Mark Tobey, I have the impression to talk about a close friend, both are similar, at root, our research artistic and existential. Somehow I find that my kaleidoscopic forms have flourished from the same pictorial space that he had meditated calligrapher. While this may not be obvious at first glance, the phrasing of the soul in expansion is the same, and embodies similar spiritual insights, which is why I find so much resonance in his paintings and connections, for example with what I experienced in theme of "universal web".

artistic quest of Mark Tobey was born from an experience of spontaneous non-mind. It was 1918 and had just spread the news of the end of a war world, and he took to the streets and joined the cheering crowd. The focus of celebration and collective consciousness led her to a climax in conjunction with the All, blurring the walls of perception with which the mind defines the limited ego. For the whole day he remained in a state of ecstatic identification with the occurrence, without imposing filters alienating the rational consciousness. It was a state of mystical rapture, which he undertook to revive in his subsequent work as an artist. In fact, he designed the art as the possibility of expanding awareness, and to achieve dug deeply into himself, going too brave on trails that lead him to China and Japan, where he practiced meditation and the pictorial art of Taoism and Zen. In the East, however, did not seek the illusory dream of otherness, but the way to become more authentically themselves, and drew out a vibrant calligraphic impulse "that he celebrated with his" white writings. " Paul Klee once said that in Tobey's painting we are witnessing the genesis of writing ", and in fact his paintings are spiritual arenas of self-consciousness of the sign. Artist

high profile, however, remained at the edge of the booming American painting of the period. Tobey was "balanced" and meditative, and at all "macho American" (even socially despised for his homosexuality), and also his appreciation of the culture of the Japanese enemy "was suspected, all this for some time alienated sympathy from critics and the public. Even after the highest international honors, he was a little 'secluded, but very much appreciated in amateur circuits, just to see how little has been published about his work. Nevertheless, he inspired many, some of whom, like Pollock, they proudly refused. His teaching is extremely valuable, especially because the artist intends to bring the soul out of prison painful ego, free to dance with the impersonal and ecstatic arias of Inspiration, a prophecy that contemporary art has absolutely need to check to be spiritually regenerated.

General Petraeus’ Combat Action Badge

Satvat on Endre Rozsda

Rozsda Endre - Symbol airtight - 1974

Endre Rozsda, although troubled by a long life in despair, was unable to participate along with the major artists' 900 to the revolution of modern art. He went through the suicide of his father, the most severe poverty, war, anti-Semitic purges of the Nazis, the Stalinist censorship, segregation in Hungary (the country of birth), although this has kept the fire of his brimming creativity, and this just pushed it as a bold and clandestine traveler to freedom .. Like a moth attracted by the creative lighthouse was then in Paris, several times and had to retrace his steps, but not discouraged continued to force the hand of an unpleasant fate. Finally won the vibrant freedom of art and an intimate inner satisfaction, as shown in his extraordinary work.

In art, he dreamed of a world where you can walk back and forth on the "time dimension", and in fact went beyond their time, as every artist should do. In fact, the temporal dimension, as well as the esprit of an era, is relative and illusory, and the artist should strive to seek and express the ever-present. Rozsda felt "a contemporary of ancient events, because he had reached the world of the matrix, breaking the vision in tiny fragments to recover a vision not prosaic, but esoterically dilated throughout. Contemplating his painting shows me precisely the myth of Osiris: Divinity dismembered mundane in appearance and reconnect the investigation to be regenerated fragments. Therefore, as the great artists, Rozsda sought the baptism of Chaos, striving to create "a cloudy surface on which to start looking." This has broken his visions in minute detail, tracking, like a puzzle, which dovetailed with the spiritual.

In my opinion his work, was rather on the edge of the great celebrations of Art, is more contemporary than many other currently infest the tunnels, as yet effective means to respond with a burning question about the spiritual Contemporary Art tends to avoid. But I still dream that every artist himself and deepen its work, until he can say with Rozsda "illuminating objects and people. People sleep, wake the dead."

Pine Wood Derby And Star Wars

Satvat on Friedensreich Hundertwasser

Friedensreich Hundertwasser - Mountain Home - 1993-94

As a boy in Amsterdam taken many postcards of paintings by Hunterwasser with which tappezzai my room, I was attracted by the imagination and lysergic spiral of this artist, but he did not know anything. I did not know, for example, of his philosophy and his commitment to artistic and environmentalist, his insights on the ante-litteram bio-architecture, its consistency in keeping free from the constraints of logic and materialistic art market. Deepening his knowledge in time, I appreciated it more and more, also having multiple connection with my philosophical journey, artistic and existential.

We both tried the meaning of life and art in the lap of nature in the heart of the maze psychic man. In fact, like Hundertwasser, I too have spontaneously drawn especially vivid colors and rounded female form, together with an uncompromising libertarian sentiment. Contemplating his paintings, visiting its buildings, and reading his writings, I could appreciate the value, not at all diminished by a false note of fanaticism, which supported him in keeping resolutely consistent. To get their way, rowing against the tide, it takes a strong character and a personality as it inevitably crystallized tough, unless it is resolved by diving into the vortex of meditation impersonal, blooming in innocence. Perhaps for groped to dilute the harshness of nature, the painter has instinctively favored water colors, which drew spirals and labyrinths faded, always placing horizontally in connection with the womb of Mother Earth. However, what is expressed Hundertwasser extraordinary relevance, and deserve a much more accurate reflection of what's been granted. Because he, like all true artists, showed prophetic gifts, especially about the massacre that was perpetrated against nature and against man himself, and that has now reached the critical point.

We trapped in the city vertically integrated generating disease, degradation and alienation, and we ran in a straight line and technology that has wildly away from our natural roots and soul, leading us to the edge of the precipice disastrous, just as he had since Hundertwasser then terminated. We packed our "three skins" (which according to the artist's psyche, the body, the living space) as straitjackets that there are artificial asphyxiated. Hundertwasser rightly objected to all this a flourishing creativity, fundamentally simple but wisely "curve" and named the colors of hope. He fought the darkness trying to feed the light, and I think this is the right way to operate.

In contrast, contemporary art often combines darkness on darkness, preparing a conceptual desperate dark, cloaked by impotent complaint. But the power of art is expressed in communicating creativity, recognition of the beauty and inspiration as they fish in troubled mind sure does not help, the artist who sketched his work on the sore resentment, on the evidence of injustice and social catharsis, lack of a genuine creative responsibility and helps to keep within the barbed wire fence of anxiety. Perhaps this is the most important lesson that Hundertwasser has left us: he had identified the ills that gangrene would be taking us to where we are, and also insisted on creating this positive art, romantic, "beautiful as a jewel" and ecologist .

Labs For Radio Shack Electronic Learning Lab

Satvat Pablo Picasso

Pablo Picasso - Guernica

Picasso I cordially dislike. Contemplating his work I find no vulnerabilities, no jolt of soul or female trepidation. However, Picasso is a genius, and I can not love him, love him But how can you love a harsh father who can not open your heart, but his way is deep and clever, full of character and authority.

To him we owe the precepts of an artistic revolution, the chance of a new male geometry, the formal religious arrogance of atheism, the "do against" the thrust of an unrestrained intercourse with the information. With him, we gave up the dream to be an artist to painfully learn to draw like children, to see with eyes wide open, staring at times but not entirely devoid of innocence. To him we owe the most striking judgments about art, still way off. All tried and location; insatiable Argonaut, snatched the golden fleece from the garden sublime art to make sturdy shoes with limestone in the impossible. He has produced work of genius with mediocrity and ugliness, all cemented by a personality that was able to build over a imperishable monument.

E 'was he the first "murderess of Painting," but there has bequeathed a thousand paintings, a thousand sketches bustling, thousand icons alienating false gods. Ultimately, his art has attempted to escape the laity in the death, and I must say that unfortunately we failed. In the sense that to overcome it, to proceed further, it was dramatically difficult and in some ways still uncertain.