He hunched over on the dugout steps, looking meditatively out at the field.
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That's clearly something you've dabbled in yourself, both meditatively and through other, naughtier means.
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The group's self-titled first album is meditatively folky and gluttonously, strobingly psychedelic: There's your first set of opposites.
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It begins meditatively mundane ("Think of the Instagrams I'd take/Think of the four pages of a novel I'd read/upstate").
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He sings meditatively and with real viscosity about temptation, and the song is full of emphatic piano, stark bass and conspiratorial drums.
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It treads meditatively—focused but not unhinged, diverse but not incoherent—all slow tempos, soft organs, and lustrous vocals draped over rich soundscapes.
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As corny as this sounds, I found myself meditatively gliding while gazing toward a lake and listening to sounds of nature — and then felt the burn when I climbed off after about 10 minutes.
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All I know is that, aside from napping for an hour and requesting multiple repeats of "Ring of Fire" and "C is for Cookie," she leaned back, sucked meditatively on her binky and listened to the music, all the way home.
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While his parents were working double shifts in order to earn enough money to buy their rental house, Ware was going to stay with his grandmother, known as Big Deal, and meditatively build a model castle on her dining room table.
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In his crisp chef whites, he quietly and meditatively poked around the raised beds while we trailed after him, sweating a bit and hoping he wouldn't go for too many of the spicy peppers, 'cause we weren't sure how much more heat we could take.
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That air is palpable in the humidly colored, freshly amplified palette of her paintings of hibiscus, wild ginger, pink ornamental banana, and the sea and landscapes in the library gallery, with its muted gray background, as meditatively sensual as a Hawaiian open-air church.
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" He continued, "I've been a busy guy for 20 years and the opportunity to take a month off and be by myself, to meditatively pedal my bicycle 2,000 miles to a rock concert, really appealed to me — especially for a once-in-a-lifetime thing like this.
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In response, Delia sits meditatively below a chinaberry tree waiting for her husband to expire, and ignoring his pleas for aid.
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Everyone sings in horror of the destruction awaiting them. Scene 11 Tensely, people watch for the hurricane's arrival. The men sing a hymn-like admonition not to be afraid. Jim meditatively compares Nature's savagery to the far greater destructiveness of Man.
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From the Observatory is the title of the English-language translation of Prosa del observatorio, a book of text and photographs by Julio Cortázar originally published in Spanish in 1972.Translation by Anne McLean, Archipelago Books. The photographs depict the observatories of Maharajah Jai Singh; the text, largely in prose but with sections in verse, ranges meditatively over a number of matters, including eels.
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Alongside and in front of Virgin stand the two saints: Paul with a sword on her right and the stigmatized Francis with his long crucifix on her left. The grouping of these two saints is not common. St Paul, dressed in finery, militantly holds his gospel almost like a shield, and gazes forward sternly. St Francis, in his simple garb, gingerly hold his gospel close, gazing upward meditatively.
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This movement follows typical sonata-allegro form, and although it begins in a melancholy tone, the movement ends jubilantly. The second movement is unique in that it is an Improvisation; that is, the tranquil violin passages give the impression of improvisational material. This movement maintains a beautiful singing tone throughout, and ends meditatively. The third and final movement begins with a slow, methodical piano introduction which then leads into an exuberant Allegro.
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Gurbani may be recited in the Sadh Sangat at any time, whether or not one is in the presence of Siri Guru Granth Sahib. A beautiful form of recitation in a group is to divide into groups of men and women with each reciting an alternate sutra. (A sutra is a complete line of poetry.) In the Gurmukhi each sutra is separated by two vertical lines (//). Gurbani should be recited rhythmically and meditatively.
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Every Shintaido practice begins with warming-up exercises designed to soften and extend the body until it can move naturally, without the tensions of everyday life. This may be followed by a period of more vigorous exercises, designed to open of the body. These exercises, like everything in Shintaido, are based on effective martial arts technique. Most of these exercises can be practised alone, with a single partner or in a group; they can be performed dynamically, formally or slowly and meditatively.
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In this model the ultimate truth is also reality experienced nonconceptually, without duality and reification, which in Dzogchen is termed rigpa, while the relative truth is the conceptual mind (sems).Duckworth; Jamgon Mipam, His life and teachings, Pg 80-81 According to Mipham these two models do not conflict. They are merely different contextually; the first relates to the analysis of experience post meditatively and the second corresponds to the experience of unity in meditative equipose.Duckworth; Jamgon Mipam, His life and teachings, Pg 81.
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In Talmudic and Gaonic times, rabbinic mysticism focused around exegesis of Ezekiel's vision of the divine Chariot- Throne, and meditative introspective ascent into the heavenly chambers. This elite practical mysticism, as described in the esoteric Hekhalot literature, incorporated and merged into magical incantation elements. The Talmud and Midrash refer to this as "using the Divine Name" for theurgic-practical ascent, as in the story of the Ten Martyrs who enquired in Heaven of the decree. In the Hekhalot literature, angels guarding each level are meditatively bound by formulae and seals to allow entry.
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Aristocratic in "Come scoglio" and meditatively introspective in "Per pietà", she infused her role with tenderness and feminity. Her only fault was that she sometimes sang slightly flat. Frederica von Stade's Dorabella was "hardly less distinguished, with ample, broad phrasing, much well shaped detail in 'Smanie implacibili' and a graceful and spirited account of 'E' amore un ladroncello'." David Rendall, although sharing Te Kanawa's tendency to sing below the note, offered a Ferrando with the requisite honey for "Un' aura amorosa" and the requisite fire for "Tradito, schernito".
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God's Creatures is a 1913 oil on canvas painting by Eugen von Blaas, an Austro/Italian artist born in Italy to Austrian parents. Von Blaas, also known as Eugene de Blaas or Eugenio Blaas, had been largely taught to paint by his father, himself a painter, and adopted a style described as Academic Classicism. In June 2020 this particular work, held in a private collection, was being auctioned by Sothebys, making full use of internet bidding, with a starting bid of 70,000 GBP. It features a Catholic nun gazing meditatively from a balcony at a flock of swallows.
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The painting was commissioned in Florence by a Zanobi Strozzi for the chapel at his Villa of Rovezzano. It was cited by Vasari in his biography of Sarto, who would die of the plague the next year. However, in 1580, the painting was sold by monsignor Antonio Bracci to Jacopo Salviati, and it became part of the collections of the Colonna and later Barberini, until it was purchased by the Italian State in 1935. The subject is a young Jesus in the lap of his mother, the Virgin Mary, while an elder Joseph meditatively contemplates the scene from a slightly recessed position.
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The Second Mate elaborates: the ship is the Sephora, from Liverpool, and is bound home from Cardiff with a cargo of coal, which he had learned from the skipper of a tugboat who had previously come aboard to fetch the Captain's letters. The Captain makes a magnanimous gesture by offering to take the anchor watch himself until one o'clock, after which time he will get the Second Mate to relieve him. Again alone on deck, the Captain meditatively smokes a cigar and again considers his own "strangeness" to the ship and its command, and his unfamiliarity with the crew. The rest of the crew sleeps soundly.
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There are either as isolated poems or within the divans: the murabba', quatrain; the ilahi, religious hymns; the qaside, the longer panegyric odes favoured by the Arabs; and the ghazal, shorter poems, often love lyrics which were favoured by the Turks and Persians. The subject matter was often religious, either meditatively intimate or openly didactic, serving to spread the faith. The speculative character of much of this verse derived its inspiration from the currents of Islam: from Sunnite spirituality to the intense mystical spheres of Shi'ite Sufism and later, to the more liberal, though equally mystical reflections of Bektashi pantheism. Secular verses occur as well: love lyrics, nature poetry and historical and philosophical verse.
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By 1893 Borwick had begun touring in Europe, and was playing in popular classical concerts at St James's Hall, and in chamber concerts with the Joachim Quartet. Shaw thought his playing of Chopin's Funeral March Sonata in October was excellent, but disliked Borwick's attempts to 'sentimentalise and prettify' Beethoven. In February 1894 at the popular concerts, late in the B flat sonata, D. 960 of Schubert, and in Schumann pieces, he seemed to be 'dreaming about the pieces rather than thinking about them'. When Borwick came to the platform, he sat meditatively before the keyboard for some moments before acknowledging the audience, and when playing he became so absorbed that he forgot the audience.
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A Dreamachine is "viewed" with the eyes closed: the pulsating light stimulates the optic nerve and thus alters the brain's electrical oscillations. As users adjust to the experience, they see increasingly complex animated yantra-like patterns of color behind their closed eyelids (similar effects may be seen when travelling as a passenger in a car or bus; close your eyes as the vehicle passes through the flickering shadows cast by regularly spaced roadside trees, streetlights or tunnel striplights—these were the hypnagogic effects Brion Gysin said he sought to recreate with the device). It is claimed that by using a Dreamachine meditatively, users enter an alphawave, or hypnagogic state. This experience may sometimes be quite intense, but to escape from it, one needs only to open one's eyes.
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The final category of VEC activity is the extensive (and growing) INTERMEDIA ARCHIVE, that is in a very real way a key component of Summers' art, not so much in what is collected, but in the gesture of creating descriptive entries (including log-in times and precise categories) for each object as it is added to the collection. This impeccable note-keeping and care exhibited for ephemera raises the act of collecting to the level of Sado (Tea Ceremony)--a gesture both precise and humanly generous to the present- (in artifact) -yet- absent artist—and is carried out by Summers almost as an end in itself. Some may see a similarity to Kurt Schwitters' Merz constructions, but Summers' VEC ARCHIVES is more systematically—even meditatively—done. Summers himself signals the importance (and the praxis) of the ARCHIVE in the Janssen interview (See reference 2), in which he tells of an early VEC action (1977) in Den Appel in Amsterdam.
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Blythe's husband Lawrence Grossmith in Havana (1908) Within a few years, Blythe was a popular postcard beauty. She played Louise in Mr Popple (of Ippleton) at the Apollo Theatre (1905)'Mr Popple (of Ippleton)' on the Stage Beauty website and was Gretchen in Two Naughty Boys at the Gaiety in 1906. This was followed by Susie in The Girl Behind the Counter (1906) at Wyndham's Theatre. A 1905 interview, when she was appearing in a revival of Mr Popple (of Ippleton), contained the following: > "I have never been late for a cue," said Miss Coralie Blythe, as she > arranged the masses of beautiful fair hair that she "lets down" so > effectively during her dance in Mr. Popple, "I have never had any > adventures, I have never forgotten my part, and things have always gone just > as they should; so you see there really is nothing for me to talk about," > and Miss Blythe gazed meditatively into her own blue eyes as they gazed back > at her in the mirror.
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It is the earliest literary work that highlights the fundamentals of yoga. White states: The hymns in Book 2 of the Shvetashvatara Upanishad, another late first millennium BCE text, states a procedure in which the body is held in upright posture, the breath is restrained and mind is meditatively focussed, preferably inside a cave or a place that is simple, plain, of silence or gently flowing water, with no noises nor harsh winds.See: Original Sanskrit: Shvetashvatara Upanishad Book 2, Hymns 8–14; English Translation: Paul Deussen (German: 1897; English Translated by Bedekar & Palsule, Reprint: 2010), Sixty Upanishads of the Veda, Vol 1, Motilal Banarsidass, , pages 309–310 The Maitrayaniya Upanishad, likely composed in a later century than Katha and Shvetashvatara Upanishads but before Patanjali's Yoga Sutra, mentions sixfold yoga method – breath control (pranayama), introspective withdrawal of senses (pratyahara), meditation (dhyana), mind concentration (dharana), philosophical inquiry/creative reasoning (tarka), and absorption/intense spiritual union (samadhi). In addition to the Yoga discussion in above Principal Upanishads, twenty Yoga Upanishads as well as related texts such as Yoga Vasistha, composed in 1st and 2nd millennium CE, discuss Yoga methods.
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