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We looked inside some of the posts by el-ec-tric-blog and here's what we found interesting.
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What do plants eat? They eat dead animals; that’s the problem. For me that was a horrifying realization. You want to be an organic gardener, of course, so you keep reading ‘Feed the soil, feed the soil, feed the soil…’ Alright. Well what does the soil want to eat? Well, it wants manure, and it wants urine, and it wants blood meal and bone meal. And I…could not face that. I wanted my garden to be pure and death-free. It didn’t matter what I wanted: plants wanted those things; they needed those things to grow… So, I sort of played a moral hide-and-seek in my mind. I was left with this realization that I could eat an animal directly, or I could pass an animal through a plant and then eat it, but either way there were animals involved in this process. I could not remove animals from the equation. I had to accept on some level that there was a cycle here, and it was very ancient, and ultimately very spiritual. It was really hard for me to accept the ‘death’ part of that equation. Years. It took me years to finally face it. But there wasn’t any way out of it if I was going to grow things.
Lierre Keith, on gardening as a vegan; October 8, 2009 on Underground Wellness Radio (via weeta)
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4/4/12. Anticipating the arrival of a new deck, I pulled out my old ones to assess compatibility. (Art Noveau and Rider Waite are no-gos, but then I knew that - it's why I ordered a new deck, to have three to work with. It's been awhile, though, so I wanted to give them another chance.) Hallowquest deck handed me the Sword Knight, and I remembered that narrative is so much of what makes that deck for me. My science deck works similarly - it has Hero's Quest tie-ins as well as working within a symbol system I encounter daily. Which has me wondering if the new deck will be too lacking in narrative and personality, but I sincerely hope not. Anyway, when I pulled out the science deck it handed me Drift. I raised my eyebrows at it - it knows it's the deck I work best with and it's not going anywhere, so it handed me an encouraging card instead. Asked it if it had anything else for me, and it spit out a full reading about something specific that's hugely reassuring. (It may not appear so on the surface, but with what's planned this summer...it is.) Still my best deck. ;)
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Hector Berlioz - Symphonie fantastique - Fifth movement: “Songe d’une nuit de sabbat” (Dreams of a Witches’ Sabbath)
From Berlioz’s program notes:
He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae, the dance of the witches. The dance of the witches combined with the Dies irae.
Leonard Bernstein described the symphony as the first musical expedition into psychedelia because of its hallucinatory and dream-like nature, and because history suggests Berlioz composed at least a portion of it under the influence of opium. According to Bernstein, “Berlioz tells it like it is. You take a trip, you wind up screaming at your own funeral.”
Tokyo NHK Symphony Orchestra
Conducted by Pinchas Steinberg
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The feelings that hurt most, the emotions that sting most, are those that are absurd; the longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world’s existence. All these half-tones of the soul’s consciousness create in us a painful landscape, an eternal sunset of what we are.
Fernando Pessoa (via larmoyante)
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371. Everyone has gods. You just don’t think they’re gods.
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German photographer Michael Wesely has spent decades working on techniques for extremely long camera exposures — usually between two to three years. In the mid-1990s, he began using the technique to document urban development over time, capturing years of building projects in single frames. In 2001 he began photographing the Museum of Modern Art’s ambitious renovation project.
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