Friday, June 19, 2009
The video is a artistic depiction of hell and then heaven as seen on a elevator ride. It's interesting how people's view of heaven is often hellish. In the video there is not much difference between heaven and hell. Case in point is that Arnold Swarchenegger has a prominent place in both. Anyway this stuff is fun to think about.
Friday, June 12, 2009
The "studies thus far find that between 8 percent and 21 percent of homosexually parented children ultimately identify as non-heterosexual," the psychologist wrote. "For comparison purposes, approximately 2 percent of the general population are non-heterosexual. Therefore, if these percentages continue to hold true, children of homosexuals have a 4 to 10 times greater likelihood of developing a non-heterosexual preference than other children."
However, those researchers who found such differences "nonetheless declared in their research summaries that no differences were found," the report said. Bob Unruh
HT Creative Minority Report
Henry James said that the morality of a piece of fiction depended on the amount of "felt life" that was in it. The Catholic writer, in so far as he has the mind of the Church, will feel life from the standpoint of the central Christian mystery; that it has, for all its horror, been found by God to be worth dying for.
To the modem mind, as represented by Mr. Wylie, this is warped vision which "bears little or no relation to the truth as it is known today." The Catholic who does not write for a limited circle of fellow Catholics will in all probability consider that since this is his vision, he is writing for a hostile audience, and he will be more than ever concerned to have his work stand on its own feet and be complete and self-sufficient and impregnable in its own right. When people have told me that because I am a Catholic, I cannot be an artist, I have had to reply, ruefully, that because I am a Catholic I cannot afford to be less than an artist. Flannery O'Connor
Thursday, June 11, 2009
The painting is a demonstration of how the brain works and a revelation of how belief conditions our senses of reality. It is not an attempt to illustrate one moment in time. That apparently was too simple for Leonardo. If you approach the work with the idea that it illustrates the words ‘one of you shall betray me’ all the figures in the painting assume poses that clearly respond to those words with shock honor and revulsion. One of the principles of Renaissance communication was that the position of a figure revealed character and emotion.
On the other hand if you shift the message you hold in your mind to the institution of the Eucharist, “Take this and eat: this is my body,” the meaning of the apostles’ gestures change before your eyes in response to this first call to communion. Think of it, two completely separate ideas in two different moments in time being simultaneously conveyed.
The mural is filled with irreconcilable contradictions. The table is too large for the space its in, yet too small to accommodate the apostles. Christ is enlarged (astonishingly this is almost never observed) so that seated he is as tall as Matthew and Bartholomew who are standing. Because Leonardo is interested in saying two different things at the same time, the painting can be read left to right where the apostles on our left have only heard the announcement of betrayal and those on the right are responding to the theme of the Eucharist. On the other hand, Christ is also speaking directly to us with his dual nature expressed in his two hands, his nervous right simultaneously referring to the treason dish and a glass of wine, his left offering redemptive self-sacrifice. It’s important to understand that the apostles are not aware of the entire gesture. They, after all, can only see Christ in profile. Only we can see how all the forms in the painting converge on the triangular form of Jesus to represent his divinity.
Of course for us the question is why would the most lucid mind in human history introduce so much ambiguity in a work that intends to affect its viewers? Ambiguity incidentally is a military term that means to be attacked from two sides at once. The answer may have to do with the way we process information. The human brain is a problem-solving organ, a characteristic that probably is at the center of our dominance over other species. The brain frequently remains inert until a problem is presented to it. In the case of The Last Supper, the profound ambiguity it contains alerts and stimulates the brain into action. DaVinci clearly believed that ambiguity was a way of arriving at the truth. As a result, the painting moves us in a deeper and more profound way than any direct statement. (Milton Glaser Inc.)