Synchronicity / God is everywhere

Synchronicity is became part of my everyday life for awhile. I am witnessing day by day miracles wherever I see. Click HERE for further info, please visit my previous article. 

Christ 

(tree roots)

Human Face

(among the leaves)

Einstein

 (left of church close to clock)

Maybe great great grandma?

Face of ?

Face of?

My latest scared paintings ; Surrealist automatism

Three of my latest acrylic paints "Messiah"; "Via Dolorosa" and God or YHWH "יהוה" or "השם‎‎" (Hashem -The Name) .First time I used gold color.

Messiah

Via Dolorosa 

God

Dick Monday Tokiói Kalandjai (Dick Monday's Tokyo Adventures)

My book "Dick Monday Tokiói Kalandjai (Dick Monday's Tokyo Adventures)" published in 2012 is still available to order via Bookline You can read the story in a nutshell via Garai Timi's website in Hungarian. I am looking for book publishers in English, German, Japanese, Chinese and other languages and as the holder of copyrights, going to sell the Movie (filming) rights. Please send PM if you're interested. 

 
 

Surrealist Automatism, Synchronicity, Faith, Universe, God and much more

Those who have been following my work for a longer time know that I have been creating contemplative, experimental avant-garde films for years. For more than a decade, I also worked as a documentary photographer, and I experimented extensively with low-light photography, even using my mobile phone. At the beginning of this year, an inner impulse led me toward new artistic forms. Without any formal training or prior experience, I began to paint.

I do not follow conventional, academic painting methods. I do not possess the technical talent required for classical portraiture, still life, or landscape painting, and this was never my intention. I paint in the same way I create my contemplative films: free from dogma, minimal in tools, guided by intuition, and attuned to the rhythms of the unconscious and the Universe.

When I make films, I first allow instinct to guide me toward locations. Observation follows. There is no prewritten script. The process is based on synchronization: when the moment arrives, filming begins naturally. 

My painting process follows a similar principle, with one important difference. Before painting, I practice a meditative yogic breathing technique (alternate nostril breathing) mixed zen meditation techniques accompanied by a short prayer in Hebrew, intended to establish a connection with the eternal Universe.

Only later did I realize that this approach corresponds to what art history describes as Surrealist automatism a method of accessing the subconscious directly. Artists such as André Masson, Joan Miró, Salvador Dalí, Jean Arp, André Breton, and Freddy Flores Knistoff explored similar processes.

The results surprised me. Manifestations of the subconscious began to appear on paper in abstract form. The painting titled “Christ” is the only one I named and only after it was completed. It was created on acrylic painting paper rather than canvas. 

After breathing, prayer, and meditation, I asked a single question:

“Who are you? Reveal yourself.”

What followed was an intense, almost ecstatic act of painting, using only my hands. The colors were chosen randomly. 

The outcome was both astonishing and unsettling: the image of a suffering Christ emerged a head portrait on the cross, slightly turned to the right, with a crown of thorns. 

Although I am not Christian and do not believe that Yeshua bar Yosef “Jesus, son of Joseph” was bodily elevated to heaven as God’s only son, the figure was unmistakably recognizable to me.

A few months later, I painted a female portrait that can be interpreted as Mary, positioned symbolically above the “Christ” painting.

The works are palm-sized and require slow, patient observation to reveal their details  inch by inch, millimeter by millimeter. For those lacking patience, a subtle guide may help: the woman’s face appears in the corner of the composition. She holds her child with her left hand. The child’s head appears disproportionately large, even slightly Asian in appearance, while the mother’s face carries European features and a pale complexion.

Reading Isaiah chapter 53  whether in the Hebrew Bible (Tanakh) or in the Christian Old Testament continues to raise unresolved questions. Does the “Suffering Servant” represent the Jewish nation, as Orthodox rabbinic tradition teaches, or does it refer to a messianic prophecy fulfilled in Jesus, as Christian theology claims?

Personally, I find myself closer to the interpretations of James D. Tabor, whose book The Jesus Dynasty offers valuable insight into first-century Judaism, the apocalyptic movements surrounding John the Baptist and Jesus, early Christianity, and the archaeological findings associated with the Talpiot tomb.

All four paintings “Mary with the Buddha-faced baby Jesus,” “Christ,” “John the Baptist,” and the most recent “Abraham” were created using the same method.

In my daily life, I frequently experience synchronicities: repeating numbers on clocks, mirrored or reversed digits, and moments when words I am reading are spoken aloud simultaneously on television. I also observe cloud formations that resemble angels, infant faces, human or animal figures, sometimes photographing them with my phone. 

Psychology and neuroscience would likely describe these phenomena as pareidolia or visual projection. I do not reject this explanation outright. However, I believe that human perception is not merely a biological mechanism but also a conscious and emotional participation. Not everyone sees the same things, nor perceives them in the same way.

It is important to clarify that, in my view, the Shroud of Turin is a human-made artifact. I do not consider it acheiropoieton not an image created without human hands, nor the result of a supernatural process. This position does not diminish its historical or cultural significance; rather, it shifts the focus toward the creative, symbolic, and meaning-making capacities of human consciousness.

I approach cloud formations in a similar way. I do not claim they are supernatural in origin, yet I believe they become “readable” only to those who devote time, attention, and inner stillness to observation. Some things remain invisible to the eye, yet perceptible to the heart.

I believe in God as the Creator of the Universe, or as the Universe itself as a creative, conscious principle: breathing, hearing, healing, creating, and protecting. One does not need to be religious to experience wonder. Empathy, patience, honesty, respect, and the recognition of human dignity are sufficient foundations. Charity, kindness, and constructive thinking are essential elements in shaping a better world. Meditation, stillness, breathing techniques, qigong, tai chi, yoga, or prayer can all serve as bridges if practiced with understanding.

It is not the mind that should rule the heart, but the heart that must guide the mind. The mind is merely an antenna a transmitter between ourselves and the Universe. We are capable of manifesting both constructive and destructive realities, but the world can only become a better place if the majority aligns toward creation rather than destruction.

We are all familiar with the Ten Commandments a set of moral imperatives given to Moses on Mount Sinai. But what if these principles resonate with quantum reality more deeply than we assume? Quantum theory relies on probability; religion relies on faith. Perhaps they are not opposites.

I am not the one to prove or disprove the existence of God. Yet I ask: could the voice that spoke to Moses  “I am that I am”  be the same living, breathing, hearing, healing Universe itself?

Is time truly real, or merely an illusion? Is it a dimension? Are human beings fundamentally composed of energy?

Perhaps science and spirituality meet precisely where questions matter more than answers.

  (Jerusalem AD 70)

(Mary and the Buddha faced baby Jesus)

(Christ)

(John the Baptist )

(Abraham)

(Moses)

"Enlarge and observe the photos below. 

None of them were manipulated, only a bit color corrected the tone and increased the contrast " 

The face of a child, etc...

The face

The face (picture enlarged below)

Enlarge the upper left side of this picture. 

You will recognize the image zoomed above.

The face

Enlarge the upper cloud on this picture. 

You will recognize the image zoomed above.

looks like 2 early human or prehistoric man face. 

Enlarge the darker part at the middle of this picture.

You will recognize the image zoomed above.

Left profile picture of God

Surrealist automatism is a method of art-making in which the artist suppresses conscious control over the making process, allowing the unconscious mind to have great sway. Early 20th-century Dadaists, such as Hans Arp, made some use of this method through chance operations. Surrealist artists, most notably André Masson, adapted to art the automatic writing method of André Breton and Philippe Soupault who composed with it Les Champs Magnétiques (The Magnetic Fields) in 1919.[1] The Automatic Message (1933) was one of Breton's significant theoretical works about automatism.

Automatic drawing and painting

Automatic drawing was pioneered by the English artist Austin Osman Spare who wrote a chapter, Automatic Drawing as a Means to Art, in his book, The Book of Pleasure (1913). Other artists who also practised automatic drawing were Hilma af Klint, André Masson, Joan Miró, Salvador Dalí, Jean Arp, André Breton and Freddy Flores Knistoff.

The technique of automatic drawing was transferred to painting (as seen in Miró's paintings which often started out as automatic drawings), and has been adapted to other media; there have even been automatic "drawings" in computer graphics. Pablo Picasso was also thought to have expressed a type of automatic drawing in his later work, and particularly in his etchings and lithographic suites of the 1960s.

https://en.wikipedia.org/wiki/Surrealist_automatism

Tracce dell’Irrapresentabile: due corti di Janos Kis

I just found a great analysis about two of my contemplative Experimental Holocaust short film in Italian. Unfortunately there's no author  has mentioned on the page. One of the film is "Fear" the other one is "Requiem for the forgotten".

If you don't speak Italian I suggest to use Google translator. Taofilms Vod sadly is not available anymore, but you can watch both films on Vimeo free of charge. The Italian critic mentioning the Oscar Winning Son of Shaul, Laszlo Nemes masterpiece and highlighted, in spite of we're using different filmmaking language both films are paying respect and tribute to the Shoah.

I copy here the Google rough English translation, though if you speak Italian I suggest you to CLICK Here 


The English title translation would've been something like "Tracing the unpresentable by Janos Kis 
__________________________________________________________________________________

                  

In the third part of his short Three essays on the image , entitled The interdict image , Jean-Luc Nancyhe deals with a theme that characterized the aesthetic discussion of the second half of the last century: "with regard to the representation of the camps or the Shoah, the thesis circulates, not well defined, but insistent, that one cannot or should not represent extermination". It is (va) a theme with unclear reasons. What is the nature of this interdiction? There is talk of "an impossibility or an illegitimacy?" In the first case, what would make this representation impossible? “It certainly cannot be thought of as a technical question”; "Does it perhaps depend on the unsustainable nature of what must be represented?" But Nancy objects to this same assumption, bringing as examples numerous artistic cases in which something terribly horrendous (such as, for example, the "horrors of war painted by Goya" or the "scenes of wounds and atrocious deaths in many films"). “If, on the other hand, it is a question of illegitimacy, it refers to a religious ban, which is evoked out of its context, without justifying this shift in any way. There is then a shift in this prohibition, which concerns God first, to the person of the exterminated Jews (and then to that of the other victims) ”. But, the French philosopher explains later, " to the person of the exterminated Jews (and then to that of the other victims) ”. But, the French philosopher explains later, " to the person of the exterminated Jews (and then to that of the other victims) ”. But, the French philosopher explains later, "the representation is not a simulacrum: it is not the substitution of the original thing - in truth, it does not refer to a thing: it is the presentation of what is not reduced to a given and completed presence (or given as completed), or it is the placing in the presence of an intelligible reality (or form) through the formal mediation of a sensitive reality ". In the representation of horror, therefore, whatever the nature of the imposed ban, there is no form of disrespect, which seems to me to be the true root of this unrepresentability. According to this thesis, the Holocaust must not be shown because it would be, in short, a reduction of its dramatic, tragic and horrific significance.


However, there are artists who have been able to represent this Unrapresentable without diminishing it but, on the contrary, paying due respect and tribute to what it was. The best example, in my opinion, is The Son of Saul by László Nemes (in this regard, I refer to the reading of this wonderful article in Il Tempo Impresso ) but there are also other authors who, with different tools and methods, have been able to recall the 'Irrepresentable without falling into vulgar spectacularization or trivialization (both usually endowed with a sometimes irritating pathetism, as in the case of La vita è bella by Roberto Benigni , or in the novel by John Boynefirst and in the respective adaptation by Mark Herman then The boy in the striped pajamas ). This is the case of another Hungarian author, a photojournalist and director of short films called Janos Kis who in 2017 shot two shorts that do not show the Irrapresentabile, do not reproduce it, do not represent it but instead show the traces left. From it. In Fear and Requiem for the forgotten (both available on the streaming platform dedicated to slow cinema Tao Films ), in fact, we do not see events, we do not see actions: we only see the footprints of history, remains of the past.


In Fear, specifically, we see three shots that portray, as will be explained by the credits, the crematoria of Auschwitz I and Auschwitz-Birkenau, of which another area is also shown. Requiem for the forgotten (in the opening credits presented with an error like “Requiem for the forgottens”), on the other hand, shows shoes without owners, scattered in disorder on the bank of the Danube, which crosses Budapest. In about 24 minutes overall (just under 10 Fear, 14 Requiem), Kis evokes, through images that reject any form of cinematographic tinsel, a past that is now seen as distant, disconnected from our present.. Our present is here, nearby, where we are; the Shoah belongs to another universe, to another time, another reality. However, the four sequence shots that make up the two films show how that other reality, that other universe, that other time are just behind us, tremendously present, tremendously real.


Fear, in particular, the strongest and most interesting of the two works, directly portraying those places, now in ruins, abandoned to the care of tourism and nature, places the viewer in front of the undeniable truth. Not representing the Irrepresentable, Kis delegates this atrocious task to the public, forced by that silent stillness that has now replaced the hopeless moans of the Häftlinge (prisoners) the furious cries of the Kapos and the SS to rebuild or, at least, to try to reconstruct the hell that those places represented for millions of people, those places from which "one only leaves the Camino", according to a sad catchphrase, a very adequate term, that Primo Levi (locked up in Auschwitz, by Monowitz) recalls in If This Is a Man. And the viewer sees those fireplaces, sees them as they are now, at rest, out of service, oblivious to their infamous, chilling, disgusting function. Forget, because inanimate matter has no memory. Man, on the other hand, this mass of living matter, has memory, unfortunately and, at the same time, fortunately. Not only of what he experienced in the first person but also of what in front of his eyes and mind was shown in the third. Those chimneys, today, no longer free the Häftlinge from their imprisonment of the flesh but, in our eyes, they continue to do so. Those structures, which have no longer become places of torture and endless suffering but tourist attractions(in the first shot of Fear, in the background, behind a small elevation of the ground, we can glimpse the heads of a group that is visiting the camp), they continue to torture and cause endless suffering, because this is the reason why they were born . They do it through memory, through that Irrepresentable that re-emerges from the past in presentations , more often with trivializing works such as Life is Beautiful, very rarely with the chilling force of The Son of Saul (whose stories narrated , although slightly different, can also be found in Levi's The Drowned and Saved ).

Silence, both in Fear and in Requiem for the forgotten, does not reveal itself only as human stillness, as the absence of words. Silence speaks the language of the wind, which is a constant spectator of human tragedy. In both shorts, in fact, the spectator's ear is constantly accompanied by the gentle but insistent breath of the wind, which whispers its eternal memory to the spectator: it is up to the latter, finally, to listen to its voice, to decipher the madness of that History that he has never been able to know firsthand, the unimaginable tragedy of those stories that he has never been able to live and which are now forgotten by man, guarded only by the noisy, heavy and intrusive silence of the wind. Those shoes in front of which the water of the Danube flows placid and indifferent may not belong to the same universe,

Thus, Kis proposes with these two short films an alternative solution to the representation of the Irrapresentabile, different but, basically, not as distant as it might appear from the one presented by Laszlo Nemes in The Son of Saul. As illustrated by Mattia Fiorinoin the article on the blog Il Tempo Impresso, Nemes chooses to “focus on the eyes of her only protagonist and put the rest out of focus”, an option that seems to be the only possible solution to the problem of the unrepresentability of the Holocaust. Kis, on the other hand, bypasses this obstacle by not showing a representation of the Shoah but by portraying it, in the case of Fear, or by reconstructing its traces in Requiem for the Forgotten. The two Hungarian directors resort to an almost antithetical approach: if in the case of the Oscar-winning director, in fact, we witness a re-elaboration, albeit always kept in the background, of those traumatic and atrocious events, Janos Kis does not re-elaborate anything, he simply documents, he draws from present to recall the past, where the former drew from the past itself. Both, however, entrust the spectator with the arduous and thankless task of reconstructing the horrors that are suggested, unrepresented or relegated to where they cannot really harm: “the off-screen is filled and created by the beholder”.

Finally, it is precisely in this that the unrepresentability of the Irrapresentable, of the Holocaust (and of God, if we agree with the shift highlighted by Nancy) lies hidden. Not so much in a moral question, in a form of respect for the victims, famous or forgotten they are, but rather in our need not to look, not to remember, to protect ourselves from that unsustainable horror; the Irrepresentable is such not out of nobility but out of cowardice , not out of ethical and respectful altruism but out of selfishness.

Film festival screenings postponed

As a result of the covid-19 Pandemic, 9 month after the Los Angeles based film festival, Experimental Forum announced to postpone the screenings, today the 9th International Video Poetry Festival in Athens Greece did the same. I totally agree with their decision and hope both of my films The Unbearable Lightness of being and Sunday of Zen will be screened this year and get some publicity.

Namaste