Brian Sweeney about his selection of photos for this book is the daily bread of the eye." sustenance--as in The Lord's Prayer, "give us this day our daily bread"--is at the heart of Sweeney's vision. Transcendentalists. No doubt I should have, but from here in New Zealand I didn't realize that Emerson and Thoreau and their group were based around the little town of Concord in New England, Massachusetts. I assumed that Concord referred to a jet. And that the Concord Transcendentalists must be a modern movement finding inspiration in nature while on the fly! Of course, I realized my mistake when I checked out the website. But for Sweeney at least I reckon Concord Transcendentalist in my misguided sense fits perfectly. the ground transpire beneath him. From the ground he lift his eyes into the light. Even when he is not physically on the move, his imagination takes off over earth and sea, beyond horizons. York. Over the years he has tracked his a modest Canon with everyday Kodak film and a medium-sized zoom. His photos, whether taken at pace or rest, are invariably soaring--and picture nature full of meaning, even as it surpasses understanding. after-effects. His equipment is middle-of- the-road, but his eye is passionate and his vision of the world, religious. the Profane, contrasts the attitude and experience of religious man to that of non- religious man. For religious man, nature is never only natural; it is shot through with a sense of the sacred. But for non-religious man--a comparatively recent mode of being--the cosmos has been desacralized and is only ever what it is and nothing more. For the non-religious man, nature may of course be pleasing and in its way uplifting, but not in a way that connects him to a higher power. often superficially--contrasted in the person of the artist on the one hand, who reputedly looks up, and on the other the businessman, characterized as obdurately down to earth. So, for Sweeney, artist and businessman at once, the idea of the sacred and the profane is already going to be contested and complex.) everyday life. In a hierophany the sacred is witnessed as something absolutely different from the profane. But crucially and paradoxically, it is only ever through the profane that the sacred manifests itself. ject becomes something else, yet it continues to remain itself, for it continues to participate in its sur- rounding cosmic milieu. A sacred stone remains a stone; apparently (or, more precisely, from the pro- fane point of view), nothing distin- guishes it from all other stones. But for those to whom a stone reveals itself as sacred, its immediate real- ity is transmuted into supernatural reality. us in its grandeur and banality as a sacred milieu to the very extent that it is not. Sweeney's photos reveal that the place apart is no distance from the way well traveled. Of course, the word "paradise" tells us to look up. But then again the word "road" advises that we keep our feet on the ground. If paradise is a place apart, road is a way in common. nature in its grand and overpowering Brian Sweeney about his selection of photos for this book is the daily bread of the eye." sustenance--as in The Lord's Prayer, "give us this day our daily bread"--is at the heart of Sweeney's vision. Transcendentalists. No doubt I should have, but from here in New Zealand I didn't realize that Emerson and Thoreau and their group were based around the little town of Concord in New England, Massachusetts. I assumed that Concord referred to a jet. And that the Concord Transcendentalists must be a modern movement finding inspiration in nature while on the fly! Of course, I realized my mistake when I checked out the website. But for Sweeney at least I reckon Concord Transcendentalist in my misguided sense fits perfectly. the ground transpire beneath him. From the ground he lift his eyes into the light. Even when he is not physically on the move, his imagination takes off over earth and sea, beyond horizons. York. Over the years he has tracked his a modest Canon with everyday Kodak film and a medium-sized zoom. His photos, whether taken at pace or rest, are invariably soaring--and picture nature full of meaning, even as it surpasses understanding. after-effects. His equipment is middle-of- the-road, but his eye is passionate and his vision of the world, religious. the Profane, contrasts the attitude and experience of religious man to that of non- religious man. For religious man, nature is never only natural; it is shot through with a sense of the sacred. But for non-religious man--a comparatively recent mode of being--the cosmos has been desacralized and is only ever what it is and nothing more. For the non-religious man, nature may of course be pleasing and in its way uplifting, but not in a way that connects him to a higher power. often superficially--contrasted in the person of the artist on the one hand, who reputedly looks up, and on the other the businessman, characterized as obdurately down to earth. So, for Sweeney, artist and businessman at once, the idea of the sacred and the profane is already going to be contested and complex.) everyday life. In a hierophany the sacred is witnessed as something absolutely different from the profane. But crucially and paradoxically, it is only ever through the profane that the sacred manifests itself. ject becomes something else, yet it continues to remain itself, for it continues to participate in its sur- rounding cosmic milieu. A sacred stone remains a stone; apparently (or, more precisely, from the pro- fane point of view), nothing distin- guishes it from all other stones. But for those to whom a stone reveals itself as sacred, its immediate real- ity is transmuted into supernatural reality. us in its grandeur and banality as a sacred milieu to the very extent that it is not. Sweeney's photos reveal that the place apart is no distance from the way well traveled. Of course, the word "paradise" tells us to look up. But then again the word "road" advises that we keep our feet on the ground. If paradise is a place apart, road is a way in common. nature in its grand and overpowering Brian Sweeney about his selection of photos for this book is the daily bread of the eye." sustenance--as in The Lord's Prayer, "give us this day our daily bread"--is at the heart of Sweeney's vision. Transcendentalists. No doubt I should have, but from here in New Zealand I didn't realize that Emerson and Thoreau and their group were based around the little town of Concord in New England, Massachusetts. I assumed that Concord referred to a jet. And that the Concord Transcendentalists must be a modern movement finding inspiration in nature while on the fly! Of course, I realized my mistake when I checked out the website. But for Sweeney at least I reckon Concord Transcendentalist in my misguided sense fits perfectly. the ground transpire beneath him. From the ground he lift his eyes into the light. Even when he is not physically on the move, his imagination takes off over earth and sea, beyond horizons. York. Over the years he has tracked his a modest Canon with everyday Kodak film and a medium-sized zoom. His photos, whether taken at pace or rest, are invariably soaring--and picture nature full of meaning, even as it surpasses understanding. after-effects. His equipment is middle-of- the-road, but his eye is passionate and his vision of the world, religious. the Profane, contrasts the attitude and experience of religious man to that of non- religious man. For religious man, nature is never only natural; it is shot through with a sense of the sacred. But for non-religious man--a comparatively recent mode of being--the cosmos has been desacralized and is only ever what it is and nothing more. For the non-religious man, nature may of course be pleasing and in its way uplifting, but not in a way that connects him to a higher power. often superficially--contrasted in the person of the artist on the one hand, who reputedly looks up, and on the other the businessman, characterized as obdurately down to earth. So, for Sweeney, artist and businessman at once, the idea of the sacred and the profane is already going to be contested and complex.) everyday life. In a hierophany the sacred is witnessed as something absolutely different from the profane. But crucially and paradoxically, it is only ever through the profane that the sacred manifests itself. ject becomes something else, yet it continues to remain itself, for it continues to participate in its sur- rounding cosmic milieu. A sacred stone remains a stone; apparently (or, more precisely, from the pro- fane point of view), nothing distin- guishes it from all other stones. But for those to whom a stone reveals itself as sacred, its immediate real- ity is transmuted into supernatural reality. us in its grandeur and banality as a sacred milieu to the very extent that it is not. Sweeney's photos reveal that the place apart is no distance from the way well traveled. Of course, the word "paradise" tells us to look up. But then again the word "road" advises that we keep our feet on the ground. If paradise is a place apart, road is a way in common. nature in its grand and overpowering Brian Sweeney about his selection of photos for this book is the daily bread of the eye." sustenance--as in The Lord's Prayer, "give us this day our daily bread"--is at the heart of Sweeney's vision. Transcendentalists. No doubt I should have, but from here in New Zealand I didn't realize that Emerson and Thoreau and their group were based around the little town of Concord in New England, Massachusetts. I assumed that Concord referred to a jet. And that the Concord Transcendentalists must be a modern movement finding inspiration in nature while on the fly! Of course, I realized my mistake when I checked out the website. But for Sweeney at least I reckon Concord Transcendentalist in my misguided sense fits perfectly. the ground transpire beneath him. From the ground he lift his eyes into the light. Even when he is not physically on the move, his imagination takes off over earth and sea, beyond horizons. York. Over the years he has tracked his a modest Canon with everyday Kodak film and a medium-sized zoom. His photos, whether taken at pace or rest, are invariably soaring--and picture nature full of meaning, even as it surpasses understanding. after-effects. His equipment is middle-of- the-road, but his eye is passionate and his vision of the world, religious. the Profane, contrasts the attitude and experience of religious man to that of non- religious man. For religious man, nature is never only natural; it is shot through with a sense of the sacred. But for non-religious man--a comparatively recent mode of being--the cosmos has been desacralized and is only ever what it is and nothing more. For the non-religious man, nature may of course be pleasing and in its way uplifting, but not in a way that connects him to a higher power. often superficially--contrasted in the person of the artist on the one hand, who reputedly looks up, and on the other the businessman, characterized as obdurately down to earth. So, for Sweeney, artist and businessman at once, the idea of the sacred and the profane is already going to be contested and complex.) everyday life. In a hierophany the sacred is witnessed as something absolutely different from the profane. But crucially and paradoxically, it is only ever through the profane that the sacred manifests itself. ject becomes something else, yet it continues to remain itself, for it continues to participate in its sur- rounding cosmic milieu. A sacred stone remains a stone; apparently (or, more precisely, from the pro- fane point of view), nothing distin- guishes it from all other stones. But for those to whom a stone reveals itself as sacred, its immediate real- ity is transmuted into supernatural reality. us in its grandeur and banality as a sacred milieu to the very extent that it is not. Sweeney's photos reveal that the place apart is no distance from the way well traveled. Of course, the word "paradise" tells us to look up. But then again the word "road" advises that we keep our feet on the ground. If paradise is a place apart, road is a way in common. nature in its grand and overpowering Brian Sweeney about his selection of photos for this book is the daily bread of the eye." sustenance--as in The Lord's Prayer, "give us this day our daily bread"--is at the heart of Sweeney's vision. Transcendentalists. No doubt I should have, but from here in New Zealand I didn't realize that Emerson and Thoreau and their group were based around the little town of Concord in New England, Massachusetts. I assumed that Concord referred to a jet. And that the Concord Transcendentalists must be a modern movement finding inspiration in nature while on the fly! Of course, I realized my mistake when I checked out the website. But for Sweeney at least I reckon Concord Transcendentalist in my misguided sense fits perfectly. the ground transpire beneath him. From the ground he lift his eyes into the light. Even when he is not physically on the move, his imagination takes off over earth and sea, beyond horizons. York. Over the years he has tracked his a modest Canon with everyday Kodak film and a medium-sized zoom. His photos, whether taken at pace or rest, are invariably soaring--and picture nature full of meaning, even as it surpasses understanding. after-effects. His equipment is middle-of- the-road, but his eye is passionate and his vision of the world, religious. the Profane, contrasts the attitude and experience of religious man to that of non- religious man. For religious man, nature is never only natural; it is shot through with a sense of the sacred. But for non-religious man--a comparatively recent mode of being--the cosmos has been desacralized and is only ever what it is and nothing more. For the non-religious man, nature may of course be pleasing and in its way uplifting, but not in a way that connects him to a higher power. often superficially--contrasted in the person of the artist on the one hand, who reputedly looks up, and on the other the businessman, characterized as obdurately down to earth. So, for Sweeney, artist and businessman at once, the idea of the sacred and the profane is already going to be contested and complex.) everyday life. In a hierophany the sacred is witnessed as something absolutely different from the profane. But crucially and paradoxically, it is only ever through the profane that the sacred manifests itself. ject becomes something else, yet it continues to remain itself, for it continues to participate in its sur- rounding cosmic milieu. A sacred stone remains a stone; apparently (or, more precisely, from the pro- fane point of view), nothing distin- guishes it from all other stones. But for those to whom a stone reveals itself as sacred, its immediate real- ity is transmuted into supernatural reality. us in its grandeur and banality as a sacred milieu to the very extent that it is not. Sweeney's photos reveal that the place apart is no distance from the way well traveled. Of course, the word "paradise" tells us to look up. But then again the word "road" advises that we keep our feet on the ground. If paradise is a place apart, road is a way in common. nature in its grand and overpowering |