(...) Gdy trwasz rozciągnięty w pozycji, zwróć uwagę również na oczy. Napięcie w oczach oddziałuje także na mózg. Jeśli oczy są nieruchome i wyciszone, mózg jest nieporuszony i bierny. Mózg jest w stanie uczyć się tylko wtedy, gdy zacznie się rozluźniać. (...) Zaciśnięcie oczu zatrzaskuje mózg i powiększa stres. Gdy oczy rozszerzają się i otwierają, mózg jest wyostrzony i chłonny. (...) Jeśli oczy napinają się, to mózg, nie ciało, wykonuje asanę. (...) Patrząc, rozluźnij oczy, w przeciwnym razie tracisz mnóstwo energii.
Oczy powinny być miękkie i zapadnięte w głąb. Podczas praktyki utrzymuj oczy otwarte i rozluźnione, a jednocześnie “spoglądające do tyłu”. To “patrzenie do tyłu” nauczy oczy zaglądać do wewnątrz i pozwoli ci na obserwację ciała i mózgu. (...)
Kiedy kierujemy oczy do przodu, patrząc na wprost od rogu skroni w normalnym polu widzenia, wtedy pracuje przednia część mózgu, dokonując analizy (vitarka). Lecz gdy rozszerzymy świadomość wzrokową zaczynając od tylnego rogu skroni, tuż przy uchu, rolę zaczyna odgrywać tylna część mózgu dokonując syntezy (vicara). (...)
Jeśli podczas pracy w asanie, akcja wypływa jedynie z przedniej części mózgu, zostaje zablokowana refleksyjna akcja tylnej części mózgu. Forma każdej asany musi znaleźć swe odbicie w ciele mądrości (vijnanamaya kośa); można wtedy dokonać korekty i poprawić ustawienie. Gdy asana wykonywana jest mechanicznie przednią częścią mózgu, czuje się akcję jedynie na obrzeżach ciała. Nie ma wtedy żadnych wewnętrznych doznań, nie ma blasku wewnętrznego światła. Jeśli natomiast wykonuje się asanę z ciągłym odniesieniem do tylnego mózgu, to każdej akcji towaryszy reakcja i pojawia się wrażliwość. (...)
B.K.S. Iyengar, Joga światłem życia, tłum. Anna Klajs
Irish Travelers use a secret argot or cant known as Gammon. It is used primarily to conceal meaning from outsiders, especially during business transactions and in the presence of police. Most Gammon utterances are terse and spoken so quickly that a non-Traveler might conclude the words merely had been garbled.
Most Gammon words were formed from Irish Gaelic by applying four techniques: reversal, metathesis, affixing, and substitution. In the first, an Irish word is reversed to form a Gammon one - mac, or son, in Irish became kam in Gammon. In the second, consonants or consonant clusters were transposed. Thirdly, a sound or cluster of sounds were either prefixed or suffixed to an Irish word. Some of the more frequently prefixed sounds were s, gr, and g. For example, Obair, work or job, became gruber in Gammon. Lastly, many Gammon words were formed by substituting an arbitrary consonant or consonant cluster in an Irish word. In recent years, modern slang and Romani (the language of the gypsies) words have been incorporated. The grammar and syntax are English.
Superman taking a breakTourists expect to find the Hollywood they've seen in movies as they make their way to Grauman's Chinese Theater but instead are greeted by costumed entertainers, some dressed as icons like Marilyn Monroe and Michael Jackson, others as super heroes such as Batman and Superman. The people wearing these costumes are much like the tourists in that they have a shared reverence for the fantasy of Hollywood. Many have come with hopes of making it in the industry - but their freelance work on Hollywood Boulevard may be as close as they come to realizing their dreams.
Masquerading as icons and posing for pictures with tourists from all over the world affords them an illusory sense of stardom. More than anyone else, they define contemporary Hollywood, conveying the community's aspirations and its fringe-level reality.
I followed the super heroes home to highlight the contrast of the fantastic and mundane. Though in costume, the super heroes are unmasked by the ordinariness of their apartments and their routine chores. While I photographed Batman, a family pulled over to take his picture. He strode up to them with super hero confidence and the children approached him with awe. He was Batman because he was Batman to them. Then later, in his apartment, when he'd taken off his mask and cape and was reheating leftovers in the microwave, he was merely ordinary. I could see what it was that drew him back to Hollywood Boulevard.
Wonder Woman taking out the trash
Superman cleaning houseAlways at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures.
The child Handala is my signature, everyone asks me about him wherever I go. I gave birth to this child in the Gulf and I presented him to the people. His name is Handala and he has promised the people that he will remain true to himself. I drew him as a child who is not beautiful; his hair is like the hair of a hedgehog who uses his thorns as a weapon. Handala is not a fat, happy, relaxed, or pampered child. He is barefooted like the refugee camp children, and he is an icon that protects me from making mistakes. Even though he is rough, he smells of amber. His hands are clasped behind his back as a sign of rejection at a time when solutions are presented to us the American way.Handala was born ten years old, and he will always be ten years old. At that age, I left my homeland, and when he returns, Handala will still be ten, and then he will start growing up. The laws of nature do not apply to him. He is unique. Things will become normal again when the homeland returns.
I presented him to the poor and named him Handala as a symbol of bitterness. At first, he was a Palestinian child, but his consciousness developed to have a national and then a global and human horizon. He is a simple yet tough child, and this is why people adopted him and felt that he represents their consciousness.
Nes hired models, make-up and a teams of assistants to create large-scale staged photographs depicting Israeli soldiers at work, in combat, at play, and at rest. Placed within the context of the Israeli military, Nes subverts the image of the rugged legendary Israeli soldier of the l967 legend into a series of pretty boys posing and letting off steam. In Nes’s photographs, the image of the Israeli soldier is transformed from the fit-and-friendly youth of fifty years ago to a figure far more edgy, incongruous, overbuilt, narcissistic, masculine, homoerotic, and orthodox, but still powerful. Nes has said, "This was my way of criticizing the bad mix that is Power and Judaism".
(dzięki, Ula)
Kopuła na Skale, takiego widoczku nie mogło zabraknąć
Ściana Płaczu
ciasne uliczki Starego Miasta ("Hello! Where are you from? Russia? Finland? Nice body!")
robione ukradkiem, niby wcale nie żołnierzom
biuro palestyńskiej partii komunistycznej, przy tym stole rozegrało się wiele pojedynków
