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This text covers the most popular types of landscapes designed today, from garden and park design, historic preservation and restoration, to community and regional planning.
In this highly original and ground-breaking work, the author brings together discussions in the philosophy of time and space, philosophy of language, phenomenology, philosophy of science, Special and General Relativity, classical cosmology, quantum mechanics, and so forth, with the concerns of philosophy of religion and theology, in order to craft a philosophically informed and scientifically tenable doctrine of divine eternity and God's relationship to time.
Explores the relationship between architectural history and the current practice of architecture. The authors draw on insights from anthropology, ancient history, theology, philosophy and the Holocaust. They also provide practical ideas which should help students build a more human world.
Eschatology is generally understood to be the doctrine of last things, but understood rigorously eschatology actually speaks of the inauguration of a new, redeemed world to come and of the coming of God himself. To speak of eschatology in this way is to speak of the very possibility of the future in the radical sense, the future that is not a mere attenuated variation of presence. Eschatology speaks of a coming that comes only to pass away into a past; rather it speaks of the coming of the Holy itself, which is the very origin of time and is thus the event par excellence. This book attempts to make manifest the question that eschatology itself poses: that eschaton has something essential to do with the beginning. This work intervenes in contemporary debates on "postsecularism" and "the return to religion." By introducing the question of eschatology anew, this book reintroduces the problem of transcendence that effectively calls into question the logic of sovereign power and rethinks the place of ''religion'' as an affirmation of what lies beyond, which does not function as the legitimizing principle of sovereignty in today's world of mass consumption.
The primal role of art in awakening and liberating the soul of humanity • Presents a seven-stage journey of transformation moving from the darkened soul to the light of spiritual illumination • Provides a meditation practice to experience the spiritual energy embedded within art • Includes artists Alex Grey, Jackson Pollock, Mark Rothko, Walter Gaudnek, and others Art and Spiritual Transformation presents a seven-stage journey from the darkened soul to the light of spiritual illumination that is possible through the world of art. Finley Eversole introduces a meditation practice that moves beyond the visual content of an art form in order to connect with its embedded spiritual energy, allowing the viewer to tap in to the deeper consciousness inherent in the artwork and awaken dormant powers in the depths of the viewer’s soul. Examining modern and postmodern artwork from 1945 onward, Eversole reveals the influences of ancient Egypt, India, China, and alchemy on this art. He draws extensively on philosophy, myth and symbolism, literature, and metaphysics to explain the seven stages of spiritual death and rebirth of the soul possible through art: the experience of self-loss, the journey into the underworld, the experience of the dark night of the soul, the conflict with and triumph over evil, the awakening of new life in the depths of being, and the return and reintegration of consciousness on a higher plane of being, resulting finally in ecstasy, transfiguration, illumination, and liberation. To illustrate these stages, Eversole includes works by abstract expressionists Jackson Pollock, Willem de Kooning, and Mark Rothko and modern visionary artists Alex Grey and Ernst Fuchs, among others, to reveal the powerful and liberating forces art contributes to the transformation and evolution of human consciousness.
Showing the Sign and Signification of the Several Forms and Shapes in the Creation; and what the Beginning, Ruin, and Cure of Everything is. It proceeds out of Eternity into Time, and again out of Time into Eternity, and Comprises all Mysteries. And other Writings Of the Supersensual Life or the Life which is Above Sense; The Way from Darkness to True Illumination; Discourse Between Two Souls. Contents: How that all whatever is spoken of God without the Knowledge of the Signature is dumb and without Understanding, and that in the Mind of Man the Signature lies very exactly composed, according to the Being of all Beings, Of the Opposition and Combat in the Essence of all Essences, whereby the Ground of the Sympathy and Antipathy in Nature may be seen, and also the Corruption and Cure of each Thing, Of the great Mystery of all Beings, Of the Birth of the four Elements and Stars, Of the Sulphurean Death, and how the dead Body is revived and replaced into its first Glory or Holiness, How a Water and Oil is generated, How Adam (while he was in Paradise) and also Lucifer were glorious Angels, Of the Sulphurean Sude, or Seething of the Earth, Of the Signature, showing how the inward signs the outward, Of the inward and outward Cure of Man, Of the Process of Christ in his Suffering, Dying, and Rising again, Of the Seventh Form in the Kingdom of the Mother, Of the Enmity of the Spirit and Body, and of their Cure and Restoration, Of the Wheel of Sulphur, Mercury, and Sa
Olivier Messiaen was a prominent twentieth-century French composer. His musical language includes highly complicated concepts derived from a variety of sources. Hindu rhythms, Greek rhythms, and bird calls influenced him deeply; his Catholic faith, however, had the greatest impact on his compositions. I provide a detailed analysis of two religiously motivated pieces from his Vingt Regards sur l'Enfant-Jesus (Twenty Gazes upon the Infant Jesus), one of the most remarkable solo piano works of the twentieth-century, to explore how he integrates the Christian theology into his musical language. Je dors, mais mon cœur veille (I sleep but my heart waketh) is a dialogue that represents Messiaen's mystic love of God, whereas Regard des Anges (Gaze of the Angels) is a celebration symbolizing the angels beholding the birth of Jesus Christ. I explain how the entirely different subjects of the two pieces are articulated in the change of pitch collections and rhythmic structures, as well as how the changes of musical language through the use of the different pitch collections generate the formal structure that is related to the biblical source.
In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counter-intuitively, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book's theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates over relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.