I’ve been sitting on it for a while. Weeks actually. The JPG has been sitting on my desktop, and I open it every once in a while.
The sentiment meant a lot to me when I believed I was saved. And I get the idea that supernatural forgiveness feels good.
But from the outside looking back, I have to say that the psychology behind this thought is a steaming pile of poop.
I’m not bragging, but I’m bragging.
I’m not special, but I’m connected to a supernatural being that makes me special.
I am dirty, filthy and ugly, but I shine when I invoke the name of Jesus. Knowing God makes me special … but I’m still ugly … avert your eyes.
I’m not proud about it, but I’m putting it in front of your face.
Let’s all agree — at some level — that this is — in fact — prideful, ugly, manipulative, divisive and silly to use expressions like this. If you’re strong enough to say you’re weak, than you can’t be all that weak.
If you’re proud enough to talk about something unseen as if he’s there, you are an insouciant, supercilious douchy person. Sorry, that there’s the stinky truth.
To claim a knowledge of the mystery that is supernatural, unseen, unknowable and too big for words or comprehension, that’s pride.
There is one truth I believe in regarding belief and believers, and that’s the believers are winners. They are going to heaven. They get the reward of all rewards.
There is no more need to brag. There is no more need to trifle over painful failures of the flesh, as they say.
And when you strip away all the belief and thinly veiled pride and “hey, look at me!” ideas … all you’re saying is that you’re human … just like everyone else.
So get on the bandwagon and whip the horses. Let’s do this … without the mumbo jumbo and confusing language.
Full text of the JPG below the fold.
Did you know old people — who aren’t planning to procreate — are getting married?
We need to stop this blasphemy … NOW!!!
Read more here.
“Body Scripture II” is Ronit Bigal’s new exhibition featuring from the 27th of may 2010 at the Artists House in Tel Aviv. Photography, Calligraphy and floral ornamentation are the elements comprising this exhibition. Digital photography topped with drawings in black Indian ink produces an effect of bas-relief. Bigal photographs the body completely exposed. The camera explores the body, capturing different parts, discovering a world of hidden landscapes, textures, and unspoken eroticism. For the artist this was a journey of unforeseen surprise. Therefore she wraps parts of her photos with floral ornamentation and others with cited calligraphy taken from Biblical texts. They are almost abstract and enigmatic, arousing the viewer’s curiosity to discover what are the photographed objects, what meanings lies behind the texts; and whether there is a thematic affinity between them or, perhaps are the associations purely aesthetical?