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The Labyrinth at Villa Pisani, near Venice
Villa Pisani è famosa inoltre per il suo labirinto di siepi di bosso. Fu uno dei primi ambiti del parco ad essere completato se già nel 1721 si parla della sua torretta centrale. È stata la ripresa rinascimentale dell'ars topiaria classica a rendere possibile il successo che i labirinti vegetali hanno avuto nel giardino italiano fino al Settecento. Nel Settecento veneto, nel caso di Stra, predomina la componente ludica e amorosa, sebbene non si possa escludere l'aspetto simbolico. Al centro vi è una torretta, sormontata da una statua di Minerva. Nel labirinto avveniva il gioco tra dama e cavaliere: la dama si poneva sulla torre centrale con il suo volto mascherato e il cavaliere doveva raggiungerla, una volta arrivato, lei svelava la sua vera identità: ma era sempre una sorpresa. Il labirinto è una filosofia classica del passato greco del Minotauro e Minosse: può essere simbolo cristiano ma anche pagano: esprime il desiderio inconscio di perdersi per poi ritrovarsi. I labirinti sono di due tipi fondamentalmente: l'Irrgarten dove i percorsi possibili sono tanti e solo uno conduce all'ambita meta, che spesso rivestiva un significato simbolico preciso, come in questo caso, e l'Inngarten. Questa tipologia di labirinto ha invece un percorso lungo ma obbligato, che conduce obbligatoriamente al centro. In questo labirinto si accede tramite un cancelletto settecentesco, il breve tragitto ti porta ad avere la torretta centrale davanti a te e a destra l'inizio del percorso tortuoso. Il labirinto è stato più volte restaurato e mentre nel Settecento e per buona parte del XIX secolo era formato da siepi di carpini[26], pian piano si è trasformato in un labirinto misto. Nell'Ottocento è stato realizzato un ampliamento a nord – est e a sud – est che ha inscritto così il labirinto circolare in un trapezio irregolare. Infine ancora una volta negli anni Settanta verrà restaurato per assumere l'aspetto attuale. Il labirinto è chiuso nel periodo che va da novembre a marzo (inclusi); nei restanti mesi, in caso di maltempo e di temperature troppo elevate.
Labyrinths  Italy  Italiano  Venezia 
29 days ago by dbourn
Garden Labyrinth Designs | LoveToKnow
The enigmatic shape of labyrinths have long intrigued both historians and archeologists. Today, many gardeners are taking advantage of the classic design in ...
may 2019 by aphilley
Labyrinths offer retreat for prayer and meditation - Houston Chronicle
ON a quiet morning this week, Elaine Pyle was a solitary figure walking the labyrinth at the University of St. Thomas. Shoes off, she slowly worked her way around the pink-hued paths that ultimately lead to the center, where a rose pattern symbolizes the Virgin Mary. Sitting in a lotus-type position, she spent 10 minutes in prayer and meditation before beginning her outward journey. Pyle, who is studying for her master's degree in theology, walks the labyrinth at the university four times a week before morning classes. When I'm walking, I try to purge my mind of negative thoughts, and in the middle, I sit for a while and listen to the voice of God. Others can be found at churches, hospitals, retreat centers, parks, gardens and even private backyards. Variations of the labyrinth appear in many cultures, including the medicine wheels of the Hopi, the mandalas of Tibetan Buddhism and the mystical Judaism of the cabala. In the Middle Ages, labyrinths were adapted by Christianity, said the Rev. Ted Baenziger, who watched from his second-floor office as workers built the St. Thomas labyrinth of Texas sandstone and slate. To Baenziger, a French professor who has walked with students on pilgrimages from Paris to Chartres, the labyrinth symbolizes the universe and the individual's attempt to get to the center of things. [...] she has led labyrinth walks at the Women's Home in Houston, a place for women in crisis; for an eating-disorder group; and for several patients. Houston's Dominican Sisters already had an indoor canvas labyrinth at their Almeda Road convent when they decided to construct an outdoor version. People often stop by to walk on their lunch hour or after work at the nearby Texas Medical Center, and groups of schoolchildren visit on field trips.
may 2019 by aphilley
Full Coverage Patterns - The Labyrinth Company
Mylar tracing stencil sets allow easy transfer of your selected labyrinth design to any flat surface to guide freehand painting, staining, mosaic or engraving.
may 2019 by aphilley
labyrinth Taping machine
Instructions for making a masking tape machine for making labyrinths by Robert Ferre, stand-up taping machine instructions, no more kneeling, make your own tape machine
may 2019 by aphilley
Build a Backyard Labyrinth: 20 Steps (with Pictures) see comments
Build a Backyard Labyrinth: My mom has wanted to build a labyrinth in our backyard for a long time.  She first walked in a labyrinth many years ago in a park and really enjoyed the experience.  From that moment on, the special process of walking a labyrinth was something tha...
may 2019 by aphilley
Min Zidell Healing Garden - National University of Natural Medicine
NUNM’s botanical teaching garden, a merging of the East and West, is an oasis in the heart of Portland. The garden features a labyrinth and the Sokenbicha tea house. The centerpiece of the 12,000 sq.ft. garden is a bronze sculpture of 6th century Chinese medicine physician Sun Simiao. NUNM is pleased to welcome the Portland community to enjoy the Min Zidell Healing Garden.
labyrinths  locales:portland 
december 2018 by firebird
First Christian Church, Portland | Labyrinth
Walk the labyrinth to quiet the mind, to contemplate a concern, to celebrate an event. The experience is open to all beliefs, to all seekers. The walk is a metaphor for life’s journey. The experience may be profound or simply leave one feeling at peace. Use of the labyrinth can be arranged by calling the church office at 503-228-9211.
labyrinths  locales:portland 
december 2018 by firebird
Labyrinth Network Northwest
Labyrinth Network Northwest (LNN) is a growing organization devoted to supporting activities and practices centered on the labyrinth. We seek to bring together labyrinth walkers, facilitators, healers, sacred and secular counselors, consultants, artists and others, all united in our passion for the labyrinth and the possibilities for transformation. Our network is connected through seasonal events, an extensive website and online communication, information and labyrinth sharing, workshops and pilgrimages.
labyrinths  locales:portland 
december 2018 by firebird
The Creative Path Walk — Cerimon House
Labyrinths have intrigued human populations since antiquity, and Cerimon House offers a contemporary and interactive adaptation of the historic pattern from Reims, France for the local Portland, Oregon community to traverse in a meaningful and meditative walk once a month.
labyrinths  locales:portland 
december 2018 by firebird
The Maze and the Other in Interactive Fiction – samplereality
"We cannot truly understand the role that mazes play vis-à-vis the usual Cartesian grid in interactive fiction unless we also understand the interplay between these dissimilar ways of organizing spaces in real life, which are bound up in social, cultural, and historical conflict. In particular, the West has valorized the rigid grid while looking with disdain upon organic irregularity."
labyrinths  interactive_fiction  other 
july 2018 by jbushnell
Villa Pisani Labirinto
Local lore holds that the hedge maze at Villa Pisani is so challenging, Napoleon was lost in it when he lived in the villa, and Hitler and Mussolini were too chicken to go into it at all.
Labyrinths  Venezia  Italy 
november 2017 by dbourn
how to do nothing – Jenny Odell – Medium
[video: ]

"What I would do there is nothing. I’d just sit there. And although I felt a bit guilty about how incongruous it seemed — beautiful garden versus terrifying world — it really did feel necessary, like a survival tactic. I found this necessity of doing nothing so perfectly articulated in a passage from Gilles Deleuze in Negotiations:
…we’re riddled with pointless talk, insane quantities of words and images. Stupidity’s never blind or mute. So it’s not a problem of getting people to express themselves but of providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people expressing themselves but rather force them to express themselves; what a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, thing that might be worth saying. (emphasis mine)

He wrote that in 1985, but the sentiment is something I think we can all identify with right now, almost to a degree that’s painful. The function of nothing here, of saying nothing, is that it’s a precursor to something, to having something to say. “Nothing” is neither a luxury nor a waste of time, but rather a necessary part of meaningful thought and speech."

"In The Bureau of Suspended Objects, a project I did while in residence at Recology SF (otherwise known as the dump), I spent three months photographing, cataloguing and researching the origins of 200 objects. I presented them as browsable archive in which people could scan the objects’ tags and learn about the manufacturing, material, and corporate histories of the objects.

One woman at the Recology opening was very confused and said, “Wait… so did you actually make anything? Or did you just put things on shelves?” (Yes, I just put things on shelves.)"

"That’s an intellectual reason for making nothing, but I think that in my cases, it’s something simpler than that. Yes, the BYTE images speak in interesting and inadvertent ways about some of the more sinister aspects of technology, but I also just really love them.

This love of one’s subject is something I’m provisionally calling the observational eros. The observational eros is an emotional fascination with one’s subject that is so strong it overpowers the desire to make anything new. It’s pretty well summed up in the introduction of Steinbeck’s Cannery Row, where he describes the patience and care involved in close observation of one’s specimens:
When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will onto a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book — to open the page and let the stories crawl in by themselves.

The subject of observation is so precious and fragile that it risks breaking under even the weight of observation. As an artist, I fear the breaking and tattering of my specimens under my touch, and so with everything I’ve ever “made,” without even thinking about it, I’ve tried to keep a very light touch.

It may not surprise you to know, then, that my favorite movies tend to be documentaries, and that one of my favorite public art pieces was done by the documentary filmmaker, Eleanor Coppola. In 1973, she carried out a public art project called Windows, which materially speaking consisted only of a map with a list of locations in San Francisco.

The map reads, “Eleanor Coppola has designated a number of windows in all parts of San Francisco as visual landmarks. Her purpose in this project is to bring to the attention of the whole community, art that exists in its own context, where it is found, without being altered or removed to a gallery situation.” I like to consider this piece in contrast with how we normally experience public art, which is some giant steel thing that looks like it landed in a corporate plaza from outer space.

Coppola instead casts a subtle frame over the whole of the city itself as a work of art, a light but meaningful touch that recognizes art that exists where it already is."

"What amazed me about birdwatching was the way it changed the granularity of my perception, which was pretty “low res” to begin with. At first, I just noticed birdsong more. Of course it had been there all along, but now that I was paying attention to it, I realized that it was almost everywhere, all day, all the time. In particular I can’t imagine how I went most of my life so far without noticing scrub jays, which are incredibly loud and sound like this:


And then, one by one, I started learning other songs and being able to associate each of them with a bird, so that now when I walk into the the rose garden, I inadvertently acknowledge them in my head as though they were people: hi raven, robin, song sparrow, chickadee, goldfinch, towhee, hawk, nuthatch, and so on. The diversification (in my attention) of what was previously “bird sounds” into discrete sounds that carry meaning is something I can only compare to the moment that I realized that my mom spoke three languages, not two.

My mom has only ever spoken English to me, and for a very long time, I assumed that whenever my mom was speaking to another Filipino person, that she was speaking Tagalog. I didn’t really have a good reason for thinking this other than that I knew she did speak Tagalog and it sort of all sounded like Tagalog to me. But my mom was actually only sometimes speaking Tagalog, and other times speaking Ilonggo, which is a completely different language that is specific to where she’s from in the Philippines.

The languages are not the same, i.e. one is not simply a dialect of the other; in fact, the Philippines is full of language groups that, according to my mom, have so little in common that speakers would not be able to understand each other, and Tagalog is only one.

This type of embarrassing discovery, in which something you thought was one thing is actually two things, and each of those two things is actually ten things, seems not only naturally cumulative but also a simple function of the duration and quality of one’s attention. With effort, we can become attuned to things, able to pick up and then hopefully differentiate finer and finer frequencies each time.

What these moments of stopping to listen have in common with those labyrinthine spaces is that they all initially enact some kind of removal from the sphere of familiarity. Even if brief or momentary, they are retreats, and like longer retreats, they affect the way we see everyday life when we do come back to it."

"Even the labyrinths I mentioned, by their very shape, collect our attention into these small circular spaces. When Rebecca Solnit, in her book Wanderlust, wrote about walking in the labyrinth inside the Grace Cathedral in San Francisco, she said, “The circuit was so absorbing I lost sight of the people nearby and hardly heard the sound of the traffic and the bells for six o’clock.”

In the case of Deep Listening, although in theory it can be practiced anywhere at any time, it’s telling that there have also been Deep Listening retreats. And Turrell’s Sky Pesher not only removes the context from around the sky, but removes you from your surroundings (and in some ways, from the context of your life — given its underground, tomblike quality)."

"My dad said that leaving the confined context of a job made him understand himself not in relation to that world, but just to the world, and forever after that, things that happened at work only seemed like one small part of something much larger. It reminds me of how John Muir described himself not as a naturalist but as a “poetico-trampo-geologist-botanist and ornithologist-naturalist etc. etc.”, or of how Pauline Oliveros described herself in 1974: “Pauline Oliveros is a two legged human being, female, lesbian, musician, and composer among other things which contribute to her identity. She is herself and lives with her partner, along with assorted poultry, dogs, cats, rabbits and tropical hermit crabs.” Incidentally, this has encouraged me to maybe change my bio to: “Jenny Odell is an artist, professor, thinker, walker, sleeper, eater, and amateur birdnoticer.”

3. the precarity of nothing

There’s an obvious critique of all of this, and that’s that it comes from a place of privilege. I can go to the rose garden, or stare into trees all day, because I have a teaching job that only requires me to be somewhere two days a week, not to mention a whole set of other privileges. Part of the reason my dad could take that time off was that on some level, he had enough reason to think he could get another job. It’s possible to understand the practice of doing nothing solely as a self-indulgent luxury, the equivalent of taking a mental health day if you’re lucky enough to work at a place that has those.

But here I come back to Deleuze’s “right to say nothing,” and although we can definitely say that this right is variously accessible or even inaccessible for some, I believe that it is indeed a right. For example, the push for an 8-hour workday in 1886 called for “8 hours of work, 8 hours of rest, and 8 hours of what we will.” I’m struck by the quality of things that associated with the category “What we Will”: rest, thought, flowers, sunshine.

These are bodily, human things, and this bodily-ness is something I will come back to. When Samuel Gompers, who led the labor group that organized this particular iteration of the 8-hour movement, was asked, “What does labor want?” he responded, “It wants the earth and the fullness thereof.” And to me it seems significant that it’s not 8 hours of, say, “leisure” or “… [more]
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july 2017 by robertogreco
The Labyrinth Society: The Labyrinth Society
"The Labyrinth Society is an international organization whose mission is to support all those who create, maintain and use labyrinths, and to serve the global community by providing education, networking and opportunities to experience transformation."
labyrinths  mythology  spirituality  community  resources 
december 2015 by hazylium

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