found in the internet:

found in the internet:

found in the internet:

found in the internet:

Nero once met Paul

GOD:

"Do not fear; I will help you."

Jes 41,13(...)

1.Chr 28,20 (...)
He will not fail you or forsake you until all the work for the service of the temple of the Lord is finished.

"I just want to tell you about Jesus - when is best for you?"

2.Chr26

2.Chr26,5

He sought God during the days of Zechariah,

who instructed him in the fear of God.

What Is Art? by Leo Tolstoy

#1. In order correctly to define art, it is necessary, first of all, to cease to consider it as a means to pleasure and to consider it as one of the conditions of human life. Viewing it in this way we cannot fail to observe that art is one of the means of intercourse between man and man.

#2. Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced, or is producing, the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression.

#3. Speech, transmitting the thoughts and experiences of men, serves as a means of union among them, and art acts in a similar manner. The peculiarity of this latter means of intercourse, distinguishing it from intercourse by means of words, consists in this, that whereas by words a man transmits his thoughts to another, by means of art he transmits his feelings.

#4. The activity of art is based on the fact that a man, receiving through his sense of hearing or sight another man’s expression of feeling, is capable of experiencing the emotion which moved the man who expressed it. To take the simplest example; one man laughs, and another who hears becomes merry; or a man weeps, and another who hears feels sorrow. A man is excited or irritated, and another man seeing him comes to a similar state of mind. By his movements or by the sounds of his voice, a man expresses courage and determination or sadness and calmness, and this state of mind passes on to others. A man suffers, expressing his sufferings by groans and spasms, and this suffering transmits itself to other people; a man expresses his feeling of admiration, devotion, fear, respect, or love to certain objects, persons, or phenomena, and others are infected by the same feelings of admiration, devotion, fear, respect, or love to the same objects, persons, and phenomena.

#5. And it is upon this capacity of man to receive another man’s expression of feeling and experience those feelings himself, that the activity of art is based.

#6. If a man infects another or others directly, immediately, by his appearance or by the sounds he gives vent to at the very time he experiences the feeling; if he causes another man to yawn when he himself cannot help yawning, or to laugh or cry when he himself is obliged to laugh or cry, or to suffer when he himself is suffering - that does not amount to art.

#7. Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications. To take the simplest example: a boy, having experienced, let us say, fear on encountering a wolf, relates that encounter; and, in order to evoke in others the feeling he has experienced, describes himself, his condition before the encounter, the surroundings, the woods, his own lightheartedness, and then the wolf’s appearance, its movements, the distance between himself and the wolf, etc. All this, if only the boy, when telling the story, again experiences the feelings he had lived through and infects the hearers and compels them to feel what the narrator had experienced is art. If even the boy had not seen a wolf but had frequently been afraid of one, and if, wishing to evoke in others the fear he had felt, he invented an encounter with a wolf and recounted it so as to make his hearers share the feelings he experienced when he feared the world, that also would be art. And just in the same way it is art if a man, having experienced either the fear of suffering or the attraction of enjoyment (whether in reality or in imagination) expresses these feelings on canvas or in marble so that others are infected by them. And it is also art if a man feels or imagines to himself feelings of delight, gladness, sorrow, despair, courage, or despondency and the transition from one to another of these feelings, and expresses these feelings by sounds so that the hearers are infected by them and experience them as they were experienced by the composer.

#8. The feelings with which the artist infects others may be most various - very strong or very weak, very important or very insignificant, very bad or very good: feelings of love for one’s own country, self-devotion and submission to fate or to God expressed in a drama, raptures of lovers described in a novel, feelings of voluptuousness expressed in a picture, courage expressed in a triumphal march, merriment evoked by a dance, humor evoked by a funny story, the feeling of quietness transmitted by an evening landscape or by a lullaby, or the feeling of admiration evoked by a beautiful arabesque - it is all art.

#9. If only the spectators or auditors are infected by the feelings which the author has felt, it is art.

#10. To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling - this is the activity of art.

#11. Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them.

#12. Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man’s emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity.

#13. As, thanks to man’s capacity to express thoughts by words, every man may know all that has been done for him in the realms of thought by all humanity before his day, and can in the present, thanks to this capacity to understand the thoughts of others, become a sharer in their activity and can himself hand on to his contemporaries and descendants the thoughts he has assimilated from others, as well as those which have arisen within himself; so, thanks to man’s capacity to be infected with the feelings of others by means of art, all that is being lived through by his contemporaries is accessible to him, as well as the feelings experienced by men thousands of years ago, and he has also the possibility of transmitting his own feelings to others.

#14. If people lacked this capacity to receive the thoughts conceived by the men who preceded them and to pass on to others their own thoughts, men would be like wild beasts, or like Kaspar Houser.

#15. And if men lacked this other capacity of being infected by art, people might be almost more savage still, and, above all, more separated from, and more hostile to, one another.

#16. And therefore the activity of art is a most important one, as important as the activity of speech itself and as generally diffused.

#17. We are accustomed to understand art to be only what we hear and see in theaters, concerts, and exhibitions, together with buildings, statues, poems, novels… . But all this is but the smallest part of the art by which we communicate with each other in life. All human life is filled with works of art of every kind - from cradlesong, jest, mimicry, the ornamentation of houses, dress, and utensils, up to church services, buildings, monuments, and triumphal processions. It is all artistic activity. So that by art, in the limited sense of the word, we do not mean all human activity transmitting feelings, but only that part which we for some reason select from it and to which we attach special importance.

#18. This special importance has always been given by all men to that part of this activity which transmits feelings flowing from their religious perception, and this small part of art they have specifically called art, attaching to it the full meaning of the word.

#19. That was how man of old — Socrates, Plato, and Aristotle - looked on art. Thus did the Hebrew prophets and the ancient Christians regard art; thus it was, and still is, understood by the Mohammedans, and thus it still is understood by religious folk among our own peasantry.

#20. Some teachers of mankind - as Plato in his Republic and people such as the primitive Christians, the strict Mohammedans, and the Buddhists — have gone so far as to repudiate all art.

#21. People viewing art in this way (in contradiction to the prevalent view of today which regards any art as good if only it affords pleasure) considered, and consider, that art (as contrasted with speech, which need not be listened to) is so highly dangerous in its power to infect people against their wills that mankind will lose far less by banishing all art than by tolerating each and every art.

#22. Evidently such people were wrong in repudiating all art, for they denied that which cannot be denied - one of the indispensable means of communication, without which mankind could not exist. But not less wrong are the people of civilized European society of our class and day in favoring any art if it but serves beauty, i.e., gives people pleasure.

#23. Formerly people feared lest among the works of art there might chance to be some causing corruption, and they prohibited art altogether. Now they only fear lest they should be deprived of any enjoyment art can afford, and patronize any art. And I think the last error is much grosser than the first and that its consequences are far more harmful.

#24. Art, in our society, has been so perverted that not only has bad art come to be considered good, but even the very perception of what art really is has been lost. In order to be able to speak about the art of our society, it is, therefore, first of all necessary to distinguish art from counterfeit art.

#25. There is one indubitable indication distinguishing real art from its counterfeit, namely, the infectiousness of art. If a man, without exercising effort and without altering his standpoint on reading, hearing, or seeing another man’s work, experiences a mental condition which unites him with that man and with other people who also partake of that work of art, then the object evoking that condition is a work of art. And however poetical, realistic, effectful, or interesting a work may be, it is not a work of art if it does not evoke that feeling (quite distinct from all other feelings) of joy and of spiritual union with another (the author) and with others (those who are also infected by it).

#26. It is true that this indication is an internal one, and that there are people who have forgotten what the action of real art is, who expect something else form art (in our society the great majority are in this state), and that therefore such people may mistake for this aesthetic feeling the feeling of diversion and a certain excitement which they receive from counterfeits of art. But though it is impossible to undeceive these people, just as it is impossible to convince a man suffering from “Daltonism” [a type of color blindness] that green is not red, yet, for all that, this indication remains perfectly definite to those whose feeling for art is neither perverted nor atrophied, and it clearly distinguishes the feeling produced by art from all other feelings.

#27. The chief peculiarity of this feeling is that the receiver of a true artistic impression is so united to the artist that he feels as if the work were his own and not someone else’s - as if what it expresses were just what he had long been wishing to express. A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist - not that alone, but also between himself and all whose minds receive this work of art. In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art.

#28. If a man is infected by the author’s condition of soul, if he feels this emotion and this union with others, then the object which has effected this is art; but if there be no such infection, if there be not this union with the author and with others who are moved by the same work - then it is not art. And not only is infection a sure sign of art, but the degree of infectiousness is also the sole measure of excellence in art.

#29. The stronger the infection, the better is the art as art, speaking now apart from its subject matter, i.e., not considering the quality of the feelings it transmits.

#30. And the degree of the infectiousness of art depends on three conditions:

1. On the greater or lesser individuality of the feeling transmitted;
2. on the greater or lesser clearness with which the feeling is transmitted;
3. on the sincerity of the artist, i.e., on the greater or lesser force with which the artist himself feels the emotion he transmits.

#31. The more individual the feeling transmitted the more strongly does it act on the receiver; the more individual the state of soul into which he is transferred, the more pleasure does the receiver obtain, and therefore the more readily and strongly does he join in it.

#32. The clearness of expression assists infection because the receiver, who mingles in consciousness with the author, is the better satisfied the more clearly the feeling is transmitted, which, as it seems to him, he has long known and felt, and for which he has only now found expression.

#33. But most of all is the degree of infectiousness of art increased by the degree of sincerity in the artist. As soon as the spectator, hearer, or reader feels that the artist is infected by his own production, and writes, sings, or plays for himself, and not merely to act on others, this mental condition of the artist infects the receiver; and contrariwise, as soon as the spectator, reader, or hearer feels that the author is not writing, singing, or playing for his own satisfaction - does not himself feel what he wishes to express - but is doing it for him, the receiver, a resistance immediately springs up, and the most individual and the newest feelings and the cleverest technique not only fail to produce any infection but actually repel.

#34. I have mentioned three conditions of contagiousness in art, but they may be all summed up into one, the last, sincerity, i.e., that the artist should be impelled by an inner need to express his feeling. That condition includes the first; for if the artist is sincere he will express the feeling as he experienced it. And as each man is different from everyone else, his feeling will be individual for everyone else; and the more individual it is - the more the artist has drawn it from the depths of his nature - the more sympathetic and sincere will it be. And this same sincerity will impel the artist to find a clear expression of the feeling which he wishes to transmit.

#35. Therefore this third condition - sincerity - is the most important of the three. It is always complied with in peasant art, and this explains why such art always acts so powerfully; but it is a condition almost entirely absent from our upper-class art, which is continually produced by artists actuated by personal aims of covetousness or vanity.

#36. Such are the three conditions which divide art from its counterfeits, and which also decide the quality of every work of art apart from its subject matter.

#37. The absence of any one of these conditions excludes a work form the category of art and relegates it to that of art’s counterfeits. If the work does not transmit the artist’s peculiarity of feeling and is therefore not individual, if it is unintelligibly expressed, or if it has not proceeded from the author’s inner need for expression - it is not a work of art. If all these conditions are present, even in the smallest degree, then the work, even if a weak one, is yet a work of art.

#38. The presence in various degrees of these three conditions - individuality, clearness, and sincerity - decides the merit of a work of art as art, apart from subject matter. All works of art take rank of merit according to the degree in which they fulfill the first, the second, and the third of these conditions. In one the individuality of the feeling transmitted may predominate; in another, clearness of expression; in a third, sincerity; while a fourth may have sincerity and individuality but be deficient in clearness; a fifth, individuality and clearness but less sincerity; and so forth, in all possible degrees and combinations.

#39. Thus is art divided from that which is not art, and thus is the quality of art as art decided, independently of its subject matter, i.e., apart from whether the feelings it transmits are good or bad.

#40. But how are we to define good and bad art with reference to its subject matter?

You get closer to the truth by actively doing right, not by discussing those who do wrong. That’s how you shut ignorance down: You show them how little they are, that their point of view is a dead end.

Count your words, read a book.

from: http://royalrex.tumblr.com/post/67435526025/you-get-closer-to-the-truth-by-actively-doing

P. Mondrian

F. J. Dostojewski

Sol LeWitt, [no title], 1975

“And a softness came from the starlight and filled me full to the bone.”

— W. B. Yeats, from “The Wanderings of Oisin,” in The Wanderings of Oisin and Other Poems

                                T O D A Y                               

                                                                                                                                                                                                                                                                                                                                                                                                                         

Daniel10
1 In the third year of Cyrus king of Persia, a revelation was given to Daniel (who was called Belteshazzar). Its message was true and it concerned a great war. The understanding of the message came to him in a vision. 2 At that time I, Daniel, mourned for three weeks. 3 I ate no choice food; no meat or wine touched my lips; and I used no lotions at all until the three weeks were over. 4 On the twenty-fourth day of the first month, as I was standing on the bank of the great river, the Tigris, 5 I looked up and there before me was a man dressed in linen, with a belt of fine gold from Uphaz around his waist. 6 His body was like topaz, his face like lightning, his eyes like flaming torches, his arms and legs like the gleam of burnished bronze, and his voice like the sound of a multitude. 7 I, Daniel, was the only one who saw the vision; those who were with me did not see it, but such terror overwhelmed them that they fled and hid themselves. 8 So I was left alone, gazing at this great vision; I had no strength left, my face turned deathly pale and I was helpless. 9 Then I heard him speaking, and as I listened to him, I fell into a deep sleep, my face to the ground. 10 A hand touched me and set me trembling on my hands and knees. 11 He said, “Daniel, you who are highly esteemed, consider carefully the words I am about to speak to you, and stand up, for I have now been sent to you.” And when he said this to me, I stood up trembling. 12 Then he continued, “Do not be afraid, Daniel. Since the first day that you set your mind to gain understanding and to humble yourself before your God, your words were heard, and I have come in response to them. 13 But the prince of the Persian kingdom resisted me twenty-one days. Then Michael, one of the chief princes, came to help me, because I was detained there with the king of Persia. 14 Now I have come to explain to you what will happen to your people in the future, for the vision concerns a time yet to come.” 15 While he was saying this to me, I bowed with my face toward the ground and was speechless. 16 Then one who looked like a man touched my lips, and I opened my mouth and began to speak. I said to the one standing before me, “I am overcome with anguish because of the vision, my lord, and I feel very weak. 17 How can I, your servant, talk with you, my lord? My strength is gone and I can hardly breathe.” 18 Again the one who looked like a man touched me and gave me strength. 19 “Do not be afraid, you who are highly esteemed,” he said. “Peace! Be strong now; be strong.” When he spoke to me, I was strengthened and said, “Speak, my lord, since you have given me strength.” 20 So he said, “Do you know why I have come to you? Soon I will return to fight against the prince of Persia, and when I go, the prince of Greece will come; 21 but first I will tell you what is written in the Book of Truth. (No one supports me against them except Michael, your prince.

1.Kings2,2
1 When the time drew near for David to die, he gave a charge to Solomon his son.
2 “I am about to go the way of all the earth,” he said. “So be strong, act like a man, 3 and observe what the Lord your God requires: Walk in obedience to him, and keep his decrees and commands, his laws and regulations, as written in the Law of Moses. Do this so that you may prosper in all you do and wherever you go 4 and that the Lord may keep his promise to me: ‘If your descendants watch how they live, and if they walk faithfully before me with all their heart and soul, you will never fail to have a successor on the throne of Israel.’ (...)

1.Sam 2,9

He will guard the feet of his faithful servants,

but the wicked will be silenced in the place of darkness.

“It is not by strength that one prevails;

Movie-Quote * one of my absolute favorite

Christoph Schlingensief hat gesagt:"Ich wusste in diesem Moment ueberhaupt nicht, was zaehlt. Und dieser Moment war das tausendfach Tollste - weil man nicht aus Kausalzusammenhaengen handelt, weil man nicht wissen will, was dabei hinten rauskommt, wo der Effekt ist." Ja - nicht weil es logisch ist oder nicht NUR weil es logisch ist, sondern weil man es wagt und nicht weiss wie aber schwebt - Glauben - ein bisschen - oder nahe dran

As civilization advances, the sense of wonder declines. Such decline is an alarming symptom of our state of mind. Mankind will not perish for want of information; but only for want of appreciation.





The beginning of our happiness lies in the understanding that life without wonder is not worth living.





What we lack is not a will to believe but a will to wonder.

Abraham Joshua Heschel - God in search of man

                                       
The art of dreaming high
                                       
when
                                       
you feel
                                       
SO,
                                       
            EXTREMELY,
                                                 
                                        LOW                                 
                                                 

1Petr 3,14 

Aber wenn ihr auch leiden solltet um der Gerechtigkeit willen,

glückselig seid ihr!

Fürchtet aber nicht ihren Schrecken,

seid auch nicht bestürzt,

Apg18,9b-10a

Jesus:

“Do not be afraid,

but go on speaking and do not be silent, 

10 for I am with you,

and no one will attack you to harm you,

for I have many in this city who are my people.”

Lk5,10b

And Jesus said to Simon, “Do not be afraid; from now on you will be catching men.”

D o n ' t  b e  a f r a i d

N  O  W

you will be catching men

  Jesus 

2.Chr20,15

(...)


   Do not be afraid or discouraged                            (...)
   For the battle is not yours, but God’s




Being part of something what is not mine but God's

It's all about smiles and cries
It's all you have

Kafka:"die Tür, die als verschlossen galt, stand die ganze Zeit offen. Es ging nur niemand hinein."

Josua1,9

Have I not commanded you?

Be strong

and courageous.

Do not be afraid;

do not be discouraged,

for the Lord your God will be with you wherever you go.”

Strength without courage is like an elephant running from a lion. A Ferrari in a Garage. Ronaldo at home. Michael Jackson sitting in a kitchen. A christian being quiet ...

What am i not saying and not doing
just because i am afraid?

5.M31,6 Be strong and courageous.

Do not be afraid or terrified because of them,

for the Lord your God goes with you;

he will never leave you nor forsake you.”

maybe i posted this already

doesn't matter

what a incredible picture

Joh5,44

How can you believe

since you accept glory from one another

but do not seek the glory

that comes from the only God?

Jesus is so awesome
I would like to love him more

Lk8,50(...)

             “Don’t be afraid; just believe              

(...)

84 days and nothing

next day BigFish

Shark

back home with nothing

next day out again and fishing

It doesn't matter if he caches fish

A man can be destroyed, but not defeated

had a great talk about the book :-)

Lk23,44

It was now about noon,

and darkness came over the whole land

                                              until three in the afternoon, 

                                              

                                              

                                              45 for the sun stopped shining.                                                                                                                                                                                                                                                                                                                                                                                                        And the curtain of the temple was torn in two.
                                       

                                                              

                                                                                         

                                                                                                

46 Jesus called out with a loud voice, 

“Father,

into your hands

I

commit my spirit.”

When he had said this, he breathed his last.

47 The centurion, seeing what had happened, praised God and said, “Surely this was a righteous man.” 48 When all the people who had gathered to witness this sight saw what took place, they beat their breasts and went away. 49 But all those who knew him, including the women who had followed him from Galilee, stood at a distance, watching these things.

Lk23,40

But the other criminal rebuked him.

“Don’t you fear God,”

he said, “since you are under the same sentence?
41 We are punished justly, for we are getting what our deeds deserve.

But this man has done nothing wrong.”

42 Then he said,

“Jesus,

remember me when you come into your kingdom.”

43 Jesus answered him,

“Truly I tell you,

today

you will be with me

in paradise.”

Lk23,35

The people stood watching,


and the rulers even sneered at him.

They said,

“He saved others;

let him save himself if he is God’s Messiah, the Chosen One.”

Lk23,34

Jesus said, “Father, forgive them, for they do not know what they are doing.”

And they divided up his clothes by casting lots.

NOW

incredible

(found in the internet)

(found in the internet)

(found in the internet)

In central Bahrain stands a large mesquite tree known as the Tree of Life.
It’s the only tree that survives in that part of the desert, and it’s been there for 400 years.
Currently, scientists have no idea where it’s finding water and nutrients.

~

IF THERE WOULD BE NO TIME

?

What else now?

What?

Else?

Now?

I don't think I'm in any position to call myself a martial artist. I'm a student of the martial arts.

I always believed that I have something important to say and I said it.

I think life is far too short to concentrate on your past. I rather look into the future.

Will i miss his music?

Lk16,14

The Pharisees, who loved money, heard all this and were sneering at Jesus.

LK15,24b So they began to celebrate.

LK15,20 So he got up and went

to his father.

“But while he was still a long way off,

his father saw him



and was filled with compassion for him;

he ran

to his son,


threw his arms around him


and kissed him.

LK15,17(...)

‘How many of my father’s hired servants have food to spare, and here I am starving to death!

LK15,1

Now

the tax collectors and sinners

were all

gathering

around

to hear

Jesus.

Expelled - No Intelligence Allowed

very interesting movie

Abraham Joshua Heschel

"We may assume it is God we care for, but it may be our own ego we are concerned with."

Abraham Joshua Heschel:

"Every King has a seal which, when attached to a document, is a guarantee of authenticity. The seal contains a symbol signifying the power and majesty of the king.
What a symbol is engraved on the seal of the King of kings? "The seal of God is truth," and truth is our only test. A flatterer cannot come before Him.(Job 13,16)"