On one of our recent excursions, Meg and I came across this tree. How do you think it got twisted like this? Could it have been a mini, concentrated tornado? There was no damage surrounding it.
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Oh Wow... I had almost forgotten about that phrase. I had almost forgotten about that time in my life, when I was in college at MSU. Sitti...
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On one of our recent excursions, Meg and I came across this tree. How do you think it got twisted like this? Could it have been a mini, conc...
14 comments:
Cool picture addition! As for the tree, who knows?
Stuart! Stuuart! Stuart! Are you there?
Hey, Stuart, could I get your mailing address? My email is olson_hogue@hotmail.com.
I remember looking at an article in Reader's Digest years ago about a man who was able to manipulate trees into all sorts of strange shapes.
Stuart,
Your blog brought Sartreist existentialism and dialectic feminism to mind. I am unsure if you are familiar with Rushdie's ideas about the futility of reality, but the characteristic theme of the works of Rushdie is the common ground between narrativity and sexual identity. Therefore, Foucault uses the term ‘postcultural theory’ to denote the role of the poet as reader. Many discourses concerning dialectic feminism exist.
In the works of Rushdie, a predominant concept is the distinction between within and without. Thus, Lyotard uses the term ‘postcultural theory’ to denote the meaninglessness, and eventually the futility, of neocultural sexuality. Bailey[1] states that we have to choose between deconstructive materialism and neocultural Marxism.
The primary theme of Dietrich’s[2] model of capitalism is a self-sufficient whole. But Foucault promotes the use of dialectic feminism to attack the status quo. Debord uses the term ‘capitalism’ to denote the defining characteristic, and some would say the collapse, of materialist class.
However, the main theme of the works of Rushdie is the role of the participant as poet. An abundance of theories concerning the bridge between sexual identity and truth may be revealed.
Thus, the subject is contextualised into a postcultural theory that includes reality as a totality. Lyotard uses the term ‘neocapitalist narrative’ to denote the meaninglessness, and subsequent economy, of dialectic society.
It could be said that in Satanic Verses, Rushdie reiterates capitalism; in Midnight’s Children, although, he deconstructs dialectic feminism. A number of desituationisms concerning Lacanist obscurity exist.
Thus, Lyotard uses the term ‘capitalism’ to denote a mythopoetical paradox. The subject is interpolated into a dialectic feminism that includes art as a whole.
Anonymous,
I agree that the poet is a reader however, I prefer to see poetry as a response to the beauty of a redeemed world in the midst of a fallen culture. Once we accept the fact that we are not our own creators things make much more sense. The futility that these guys are describing is all in relation to their presumption that they are sovereign in and of themselves to interpret reality.
When man attempts to make sense of reality, while presuming to be the center of reality, everything is futile and nonsensical and thus existentialism is the result. Even his own understanding of sexuality is distorted resulting in feminism.
When man accepts the reality as presented in divine revelation, he (when I say 'he' I mean the way the english language used to convey as a generic 'he' meaning either 'he' or 'she') realizes how small he really is and how big reality is. Then all the futility and confusion give way to awe and amazement at the beauty of life in the midst of aparent disaster. Even misunderstood sexuality finds purpose in a blissful fulfilling relationship.
I've heard that when lightning hits trees, it can strip the bark off in patterns like that...in fact, there was a tree in the backyard of one of my childhood friends that looked a little like that from a lightning strike. great picture though!
Uh...What does Rushdie have to do with this picture of a tree? Mr. Anonymous might have some unresolved childhood issues.
you mean that wasn't you John?
Funny, Stu! Do you think that I have killed that many brain cells?
Stu,
Any forthcoming blogs?
trying to graduate
Stuart,
Here is the story about Rasputin that I told you about. It is from Wikipedia.
"The legends recounting the death of Rasputin are perhaps even more bizarre than his strange life.
On June 29th 1914, Rasputin was visiting his wife and children in his hometown, Pokrovskoye, along the Tura River, in Siberia. He had either just received a telegram, or was just exiting church, when he was attacked by Khionia Guseva. A former prostitute, she had become a disciple of the monk Iliodor - once a friend of Rasputin's, who had become disgusted with his behavior and his disrespectful talk about the Royal Family. Iliodor appealed to women who had been harmed by Rasputin and formed a survivors' support group, with the intention of discrediting or killing him. Guseva thrust a knife into Rasputin's abdomen. Supposedly his entrails hung out of what seemed like a mortal wound. Guseva purportedly screamed "I have killed the antichrist!" after the attack. After intensive surgery Rasputin recovered. It was said about his survival; "the soul of this cursed muzhik was sewn on his body." His daughter Maria points out in her memoirs that he was never the same after that; he seemed to tire more easily, and frequently took opium for pain.
On December 16, 1916, having decided that Rasputin's influence over the Tsarina made him too dangerous to the Empire, a group of nobles apparently lured Rasputin to the palace of their ringleader, Prince Felix Yusupov, and the Grand Duke, Dimitri Pavlovich, one of the few Romanov family members to escape the murder, where they served him cakes and red wine laced with a large amount of cyanide. According to the legend, Rasputin was not affected, although there was enough poison to kill ten men. Maria Rasputin's account says that if her father ate poison, it was not in the cakes or wine, because after the attack by Guseva, he had hyperacidity; he avoided anything with sugar. She expressed doubt that he was poisoned at all.
Determined to finish the job, Yusupov worried that Rasputin would live until morning, so that the conspirators wouldn't have time to conceal his body. He ran upstairs to consult with the others, then came back down and shot Rasputin through the back with a revolver. Rasputin fell. A half an hour or so later when Yusupov returned to check the body (or as some versions go, Yusupov came back for his jacket), Rasputin sprang to his feet and began to throttle Yusupov, who fled in horror and told the other conspirators.
Heavily drugged by this time, Rasputin attempted his escape. He bolted outside and ran across the courtyard toward the gate, threatening that he would tell everything to the Tsarina. Another conspirator shot three bullets that missed, then two more which hit Rasputin. The conspirators then clubbed him unconscious and attempted to throw him into the Neva River. The water was frozen over, and they had to cut a hole in the ice and stuff the body through it. They were finally satisfied that the "Enemy of the State" was dead. Apparently a police officer heard the noise, but when told what was happening, he only said "it's about time" and left.
Three days later the body of Rasputin - poisoned, shot three times, and badly beaten - was recovered from the river and autopsied. The cause of death was drowning. His arms were apparently found in an upright position, as if he had tried to claw his way out from under the ice.
Subsequently the Empress Alexandra buried Rasputin's body in the grounds of Tsarskoe Selo. After the February Revolution Rasputin's body was uncovered by a group of workers from Petrograd and carried into a nearby wood and burned."
Any forthcoming blogs?
Inquiring minds want to know!
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