Inside the book, Vermeer: Portraits of A Lifetime. Analysis of all the paintings of Johannes Vermeer. The book reveals for the first time that the women featured in the paintings of Johannes Vermeer were members of his own family, his daughters, his wife and mother-in-law, Maria Thins.
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So what do we do when we’re dead anyway?
Author Lawrence R. Spencer takes a sometimes poignant, sometime humorous look at what we might do when we “cross over”.
Check out all of the other great programming on the Jim Harold Show on the web at http://jimharold.net
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“What is Life? It is the flash of a firefly in the night. It is the breath of the buffalo in the winter time. It is the little shadow which runs across the grass and loses itself in the Sunset.” ~ Crowfoot’s last words
SEE ALL EDWARD CURTIS PHOTOS OF INDIGENOUS PEOPLE OF CENTRAL & WESTERN NORTH AMERICA FROM 1900 A.D.
“Edward Curtis’s brief expedition to the Great Plains in the summer of 1900 was undoubtedly the most profound experience of his life. That summer, Curtis accompanied George Bird Grinnell, his friend and early mentor, on a trip to Montana and witnessed one of the last great enactments of the Sun Dance. As Curtis viewed the Sun Dance—a ceremony that few whites, or natives, would see again for nearly seven decades—his vision for the grand photo-ethnographic undertaking that would become his life’s work crystallized. The small body of images he made on that summer trip, among them The Three Chiefs, Piegan Dandy, and Piegan Encampment, clearly reveal that he had been touched by the magnificence of the Indian nations and the overwhelming depth of their culture. These photographs formed the beginning of the vast, elegant portrait of Native American cultures that Curtis would bring to the world over the next thirty years.
During Curtis’s time, the Indians of the Great Plains lived primarily in North and South Dakota, Montana, and Wyoming, a territory once traversed by great herds of migrating buffalo. Curtis was strongly attracted to the fiercely independent lifestyle of tribes such as the Lakota, Apsaroke, and Piegan and seemed particularly adept at transforming their dignity and pride into extraordinary photographic images.
Curtis’s photographs of Indian life on the Great Plains comprise perhaps his most popular body of work; for many people, his photographs of the chiefs and warriors, the beadwork, the horses, and the Plains landscape have come to exemplify the American Indian. However, his photographs of the Plains Indians also documented many other aspects of tribal cultural life, including hunting, warfare, vision quests, and religious ceremonies. These images remain an unparalleled vision of the strength and nobility of the Plains Indian peoples who had once held dominion over tens of thousands of square miles.”
SEE ALL EDWARD CURTIS PHOTOS OF INDIGENOUS PEOPLE OF CENTRAL & WESTERN NORTH AMERICA FROM 1900 A.D.
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“The entire back time track of IS-BEs (Immortal Spiritual BEings) is immeasurable, nearly infinite in terms of physical universe time. There is no measurable “beginning” or “end” for an IS-BE. They simply exist in an everlasting now.
Another common denominator of IS-BEs is that admiration of one’s own illusions by others is very desirable. If the desired admiration is not forthcoming, the IS-BE will keep creating the illusion in an attempt to get admiration. One could say that the entire physical universe is made of unadmired illusions.
The origins of this universe began with the creation of individual, illusionary spaces. These were the “home” of the IS-BE. Sometimes a universe is a collaborative creation of illusions by two or more IS-BEs. A proliferation of IS-BEs, and the universes they create, sometimes collide or become commingled or merge to an extent that many IS-BEs shared in the co-creation of a universe.”
— Excerpted from the Top Secret transcripts published in the book ALIEN INTERVIEW, edited by Lawrence R. Spencer
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“Nearly all inventions, innovations and advances in civilization were conceived by writers. Read. Imagine. Fly. Higher.”
Lawrence R. Spencer. 2012.
( Illustration by Igor Morski )