Viss ir redzams

“To live alone one must be a beast or a god, says Aristotle. Leaving out the third case: one must be both—a philosopher.” — Nietzsche, Twilight of the Idols

Celies no pelniem un dari to vēl
Jo mēs to varam kopā

In the years of the primal course,
In the dawn of terrestrial birth,
Man mastered the mammoth and horse,
And Man was the Lord of the Earth.

He made him an hollow skin
From the heart of an holy tree,
He compassed the earth therein,
And Man was the Lord of the Sea.

He controlled the vigour of steam,
He harnessed the lightning for hire;
He drove the celestial team,
And man was the Lord of the Fire.

Deep-mouthed from their thrones deep-seated,
The choirs of the aeons declare
The last of the demons defeated,
For Man is the Lord of the Air.

Arise, O Man, in thy strength!
The kingdom is thine to inherit,
'Til the high Gods witness at length
That Man is the Lord of his Spirit.


Aleister Crowley

Man patīk industriālā publika, jo viņi nerunā sūdu - tā, lūk, otrajā Rīgas dienā apmeklēju Hardija Lediņa piemiņas pēcpusdienu Nabaklab, vispirms veiksmīgi iemainījis 2 kilogramus vaska pret šūnām Arņa Kalniņa ielā, un pie viena pamanījis, ka tieši pretī medus bodei, ielas otrā pusē atvēries kaut kas vārdā Durgas templis (www.durga.lv) - tas likās diezgan zīmīgi, jo tikai nedēļu divas pirms tam biju izdomājis, ka Durga būs mana feivorit gadess, jo viņai ir vairākas patiešām seksīgas skulptūras - ne šī, bet vispār arī



- Durga

Pasākums notika no 15:00 līdz 19:00, bet reāli sākās stundu vēlāk un beidzās stundu agrāk. Pašu Lediņu gan nekur nemanīju (t.i. ekrānos/videomateriālos/kur nu tur viņam bija jābūt) un izskatījās, ka vienīgais, kas viņu tur piemin, ir Stropu Jurka diezgan doomīgā ommā, toties pamanīju, ka nabaklaba mazajā zālē ir jauni un ērti sēdekļi, savukārt virs bāra demonstrētajā krāšņajā īsfilmā par pagājušā gada Labo Dabu vienā mirklī saskatāms arī ekstātiski dejojošs hamish. V.S.K.B. perforēja mazajā zālē un darīja to analogi un vareni kā vienmēr (tāpēc cenšos nelaist garām nevienu viņu uzstāšanos), kaut ko arī pafilmēju, bet jāņem vērā, ka dzīvajā bija krietni labāk, skaidrāk un saprotamāk, un tik tumšs arī nebija, vnk zāle bija stipri apgaismotāka par skatuvi.

Pēc lietderīgas pauzes lielajā zālē spēlēja Claustrum apakšprojekts Rudens Lapas - šis jau analogi-digitāli, bet arī ar dzeju, efektiem un skaņu, kas uz beigām tapa īpaši jaudīga (video zumanību nepievērst). Patika, kā Olivers izmeta no zāles to debilo panku, kurš "nebija pamanījis, ka notiek koncerts." Tiesa, panks atgriezās ar Koilu un kādu no sinistera dekadentajām beibēm, lai turpat mestos delīriskā dejā, kas īstenībā bija diezgan piestāvoši un vairs arī netraucēja, ja vien nesmīdinātu tas, ka dejotāji māksliniekiem paredzētos aplausus acīmredzot uztvēra kā sev domātus. (fool)

Summkopā ļoti kvalitatīvs divu ļoti kvalitatīvu vietējo projektu koncerts, un vieglākas smiltis Hardijam. Uz Trešo Ausi neaizgāju, lai piedod man Gints, bet Taka ar savu putu velnu pie sienas neimponē it nemaz :(


p.s. http://klab.lv/users/dienasgramata/3796189.html

Šorīt patīk/galīgi nav tāds kā citi Cranes:



Zeus reveals two secrets of the gods: 1) people are free and 2) once they are free and realize it, the gods cannot touch them. Orestes feels he has saved the city by removing the veil from their eyes and exposing them to freedom. Zeus says the townspeople hate him and are waiting to kill him; he is alone. The scene at the temple of Apollo represents a decision between God's law and self-law (autonomy). Zeus points out that Orestes is foreign even to himself. Sartre demonstrates Orestes' authenticity by stating that, since his past does not determine his future, Orestes has no set identity: he freely creates his identity anew at every moment. He can never know who he is with certainty because his identity changes from moment to moment. x

http://en.wikipedia.org/wiki/Leda_and_the_Swan

Bija piemirsies šis burvīgais jēdziens...

The apeiron has generally been understood as a sort of primal chaos. It acts as the substratum supporting opposites such as hot and cold, wet and dry, and directed the movement of things, by which there grew up all of the host of shapes and differences which are found in the world. Out of the vague and limitless body there sprang a central mass — this earth of ours — cylindrical in shape. A sphere of fire surrounded the air around the earth and had originally clung to it like the bark around a tree. When it broke, it created the sun, the moon and the stars. The first animals were generated in the water. When they came to earth they were transmuted by the effect of the sun. The human being sprung from some other animal, which originally was similar to a fish. The blazing orbs, which have drawn off from the cold earth and water, are the temporary gods of the world clustering around the earth, which to the ancient thinker is the central figure. [x]

Kamēr nav par vēlu, patīšu atpakaļ, kāpēc iepriekšējais bija par tēmu...



Bet vispirms jāiepiļī šis - laikam viens no visu laiku lipīgākajiem vikingmetāla intrō,
tā vien gribas uz riņķi vien klausīties (to arī daru):

Einherjer - Einherjermarsjen


The Wild Hunt

The Wild Hunt is a story common around Yule time. It is the story of Odin leading a wild entourage through the winter night sky complete with howling dogs, riding his eight-legged Sleipnir and followed by a host of other Einherjar and hangers-on. Of the lore about Odin, it is perhaps the most interesting and survives in some surprising forms to this day.

In its basic form, any of the nights between Yule and twelfth-night are probable times for this wild procession. It is told that on those cold, snowy, winter nights, what starts as a small breeze turns into a sudden hurricane as the storm of the hunt passes by. Occasionally, it may take the souls of those who don’t give it due respect.

...

Children would often anticipate this event each Yule by placing their boots or stockings by the fireplace with offerings of carrots or hay for Sleipnir. In return, Odin would leave them candy presents.

So each cold Yule evening, when the wind picks up to a howl, remember that Jolnir, Odin himself, could be passing by at that moment. When you see the modern renditions of Santa arriving by sleigh, remember that at its core, we are seeing a non-Heathen representation of Odin bringing blessings on his Wild Hunt.

...

The comparison of Berserkers with wolves (they are referred to as "wolf-coats" in Hrafnsmal) makes them symbolically dead - wolves are synonymous in Old English with outlaws and criminals, who are considered socially 'dead' - so we are able to see how they could be associated with Odin’s wolves or dogs in the Wild Hunt.

...

Until the beginning of the 20th century, young men in Norway enacted the Wild Hunt at Winter Solstice. Costumed and masked, their task was to punish those who violated the rural traditions, usually by stealing beer and livestock. If the riders were given food and drink, however, they brought prosperity.


Palasīt vēl un vēl
(es saprotu, ka tu nelasīsi, to es sev)


p.s. Skonto Būve! :D

Sānceļos no semināra briedinājumiem...

Loki's origins and role in Norse mythology have been much debated by scholars. In 1835, Jacob Grimm was first to produce a major theory about Loki, in which he advanced the notion of Loki as a "god of fire". In 1889, Sophus Bugge theorized Loki to be variant of Lucifer of Christian mythology, an element of Bugge's larger effort to find a basis of Christianity in Norse mythology. After World War II, four scholarly theories dominated. The first of the four theories is that of Folke Ström, who in 1956 concluded that Loki is a hypostasis of the god Odin. In 1959, Jan de Vries theorized that Loki is a typical example of a trickster figure. In 1961, by way of excluding all non-Scandinavian mythological parallels in her analysis, Anna Birgitta Rooth concluded that Loki was originally a spider. Anne Holtsmark, writing in 1962, concluded that no conclusion could be made about Loki.

via jk

http://en.wikipedia.org/wiki/Loki

Another solar narrative is of the Holly King and the Oak King, with one ruling the winter, the other the summer. These two figures battle with each other endlessly as the seasons turn. At Midsummer the Oak King is at the height of his strength, while the Holly King is at his weakest. The Holly King begins to regain his power, and at the Autumn Equinox, the tables finally turn in the Holly King's favor; he vanquishes the Oak King at Yule. Then over the next months, as the sun waxes in power, the Oak King slowly regains his strength; at the Spring Equinox he begins to triumph until he once again defeats the Holly King at Midsummer.

http://en.wikipedia.org/wiki/Holly_King_%28myth%29

no iecienītākās mitoloģijas vietnes

upd. http://valoda.ailab.lv/folklora/ticejumi/vilks.htm