The Elements:

Throughout history these elements have been symbols of strength, magic, and creation. You can call upon these elements when casting a circle, or meditating.

Earth: Connected to North, it’s a feminine element. Goddess and grounding energies. A symbol of the cycle of life.

Water: Related to the West, connected with goddess, purification, and healing. A strong emotion element that adds flow into life’s current.

Air: The element of the East, connected to the soul and breath. For communication of wisdom and the focused energy of the mind. A dream based element.

Fire: Associated with the South, connected to passion and clearing energies. Symbolizes new life and creation.

The Crystal Shop

Free Nature Ambient Music

I’ve collected some sites and videos that offer free, long-lasting ambient music tracks! I’ve tried to include a variety of different settings and animal inclusions so hopefully everyone will find something they like!

Ambient music is great to use during yoga and meditation, studying, and sleeping or if you just want something to quiet your mind!


Rain, Thunder, and Ocean - 10h

Day Beach - 4h

Night Beach with Cicadas - 11h

Underwater with Dolphins and Whales - 1h

Ship at Sea - continuous


Cicadas - 12h

Frogs and Crickets - 12h

Gentle Stream - 11h

Birds Chirping - 11h

Birds Chirping with Light Rain - 1h 15m

Garden - 11h

Forest Day - continuous

Forest Night - 11h

Forest Night with Birds and Owls - 33m

Owls - 1h

Crickets and Wolves - 11h


Windy Night - continuous

Fireplace - continuous

Bath - continuous

Romantic Bath - continuous

Wind Chimes - continuous

Cozy Kitchen - 1h


Heavy Rain - 60m

Stormy Night - 90m

Thunderstorm - continuous

Rain and Thunder - 12h


Rainforest - 11h

Jungle - 11h

Deep Space - continuous

Backwater - 11h

Cave - 11h

Cat Purring - 11h

Waterfall - 11h

The work and wisdom of Hedda Sterne

Hedda Sterne (1910-2011) was a Romanian-born painter and artist who just so happened to be married to one of my favorite artists, Saul Steinberg. Here they are posing in front of a fireplace:

Here’s a LIFE magazine profile of Sterne and Steinberg, where they’re billed as a sort of powerhouse art couple (they later separated, but never divorced):

Here’s a drawing of Steinberg she did in the 40s:

Here’s another photo of her posing for LIFE magazine with with a bunch of Abstract Expressionists, aka “The Irascibles,” many of whom didn’t want her in the photograph because she was a woman:

She outlived every single one of the bastards.

And, as Sarah Boxer points out, the photo is ironic, because “Sterne thought of herself as an anti-Abstract Expressionist, someone with no use for the cult of personality and personal gesture.”

In an interview with Art In America when she was 96-years-old, she explained that her art was not about ego, but about sharing what she had seen:

All along it was never imagination of self-expression. I always thought that art is not quote self-expression by communication. It is saying, hey, look! Of course, what you react to has to be transformed, without a doubt, or otherwise it is not art, but you do that whether you want it or not. The intention, the purpose, is not to show your talent but to show something. This is very important. Because I grew up and lived in a period of ego, ego, ego. And I was always anti-ego… I was always trying to reduce the ego… I had a very great urgency to show, to share… I discovered things and wanted to share them.

And that her work was, in a sense, an act of pointing:

In our time, artists are inclined to believe that art is like honey, the product of their own subconsciouses, their own minds, and I do not. I see myself as a well-working lens, a perceiver of something that exists independently of me: don’t look at me, look at what I’ve found.

As a girl in Romania, she said, “All I wanted to do was stay home and draw and read. I taught myself to read and write when I was five. By the time I was six I read for pleasure. I had already read Dostoyevsky at eleven.” 

From an interview with BOMB:

You see, one really doesn’t change that much. In many ways, I have a feeling that I am exactly as I was as a child, when I spent my life reading and painting. And then, erroneously, for a while, I was involved in trying to live like a grown-up, and then I got old, and now I’m back doing what comes naturally. I just read and paint.

She met Antoine de Saint-Exupéry not long after she arrived in New York. He would call her and read chapters of stuff he was working on at 2 or 3 in the morning. When he was working on The Little Prince, he asked her for the name of a good illustrator, and she convinced him to draw his own illustrations.

When they were married, she and Steinberg would go cruise around:

We looked at everything, everything. Every Sunday when there was no traffic, we went motoring through New York. I was crazy about New York. Then in ‘47, I went to the country and I discovered agricultural machines. I had a feeling that machines are unconscious self-portraits of people’s psyches: the grasping, the wanting, the aggression that’s in a machine. That’s why I was interested to paint them.

She called herself a “kept woman,” and noted that because she was always married and had money, she didn’t really worry about fame or getting noticed, “I didn’t have to make concessions to be liked. If they liked me, it was OK. I never looked for a gallery.” She explained that staying away from fame was a way to protect her work: 

I’ll have some terrific shows posthumously. I want to tell you something also, a little secret. Last summer, I read a book by David Bohm, the physicist, called Order, Science, and Creativity. They gave chimps paint and found that they’d rather paint than do anything else, they even forgot to eat. The only thing that stemmed the flow of the hated word, “creativity,” was when they began to reward them for painting. I have seen in my life again and again what fame does to people and I think that, subconsciously, I blundered to protect myself.

For her art was all about looking:

Whenever you reach a condition of true concentration, you do achieve an anonymous state. And, as a matter of fact, this is true for the onlooker, or the reader of a poem. Unless you can forget yourself when you look, there isn’t a true relationship happening between the work of art and the viewer. The same thing goes for work. The more anonymous you are and the more you lose yourself, the more you add to yourself. It sounds absurd, but that’s the way it really is.

And like Corita Kent, she thought you could find inspiration everywhere:

I heard once about a Yiddish poet who lived in utter poverty and misery, a teenager, who never had seen anything beautiful in his life, and he made splendid poems about vegetables jumping into the soup pot. My idea being that for the sublime and the beautiful and the interesting, you don’t have to look far away. You have to know how to see.

Sadly, by the end of her life, she’d had a stroke and couldn’t see and spent her days in a wheelchair. (“I do my best work now… Only in my imagination!“) She said she had to learn to be idle: 

Now that I am so old and incapacitated, I don’t do anything with great enthusiasm. You know, thinking, dreaming, musing, become essential occupations. I am watching my life. As if I’m not quite in it, I watch it from the outside. Because after so many years of working unceasingly, and enthusiastically, being idle is a tremendous effort of concentration and adjustment.

The luck is that there is less energy. That’s a compensation. It makes it easier. Just sitting. I saw peasants in Romania, you know, on Sunday, when they get up all summer at 4 and work incessantly until noon, let’s say. And Sunday they just sit, and their resting is so active like an activity, resting. It’s a beauty to behold, you know. It’s not just doing nothing. It’s being and existing in a certain way. In a way old age is a little bit like that. It has its beauties.

Here she is on the importance of her meditation practice to her work: 

I’ve been meditating since 1966… I didn’t have a guru ever, but I read all the books. I gradually worked out my own system. It’s very, very much a part of my life… It has to do with cleaning the lenses, you know. Developing and taking care of your mind. A mind has to be both reflective and transparent. I do not separate any form of apprehending, perceiving and understanding. Let’s say the intellect is like going through the jungle with a machete, and the meditative mind is soaring above the jungle.

Here’s her unique way of keeping a diary: 

I started doing one on my floor. I had a large canvas, and I divided it into days and months, and each day I put in one quote I was particularly fond of that I found in a book. And that was the diary. I did it for a year and a half, and then twice for two and a half months. The one for a year and a half is an enormous affair. I rolled it up because I can’t clean it without erasing everything. So now I don’t put it on the floor anymore. It was very good looking.

She was a truly fascinating artist. I encourage you to learn more about her work from these links: 

  • 1:There's a reason why kids have no school trips to slaughterhouses.
  • 2:There's a reason why in America the meat industry wants to work in a total secrecy (the Ag gag law)
  • 3:There is a reason why when you see an animal you want to have a contact with it (stroke or a hug, etc.)
  • 4:There's a reason why we hate animal abusers
  • 5:There's a reason why we treat pets as family members
  • 6:There's a reason why kids so desperatly want to be around animals
  • 7:There's a reason why we are physilogically/physically unable to compete with predators for a prey
  • 8:There's a reason why we pay somebody else to kill an animal for us (it's too hard for us)
  • 9:There's a reason why cry when our pets die
  • 10:There's a reason why have compassion for animals
  • 11:.......
  • Just because it's whats done, doesn't mean it's what should be done. Open your heart for compassion regardless of the animal.
  • Please continue the compassion list and reblog it with your own reasons why.

freeconservative asked:

Why the middle man? Why do we have to go to a priest to confess? Why can't we go to Jesus and God ourselves?


Jesus does not communicate directly with you or me. He’s not on our contact list in our phones. He is not emailing or tweeting us. We get no texts from Jesus. Jesus doesn’t come on the intercom at school or at work. No one has heard his physical voice, and no one has been hugged by Jesus in 2,000 years since He returned to heaven.

Why the middle man? 

Simple. Because Jesus is not here on earth in His physical body. His physical body is in heaven at the right hand of the Father.

Whether we want a prayer said over us, whether we want laying on of hands, whether we want to be anointed or partake of Holy Communion, whether we want to hear the Gospel preached and explained, whether we want a hug, a kiss, or a pat on the back, and whether we want to hear someone tell us we are forgiven, we always, always, have to have a middle man. We are never going to get these things directly from Jesus or His Father.

Jesus comes to us through middle people. When we die and go to heaven, we will not need anyone “to be Jesus” for us. But right now, on earth, in the body, we are stuck. 

The only way we can know Jesus is through others. Even when we pray “directly to Jesus” we are speaking to the thin air, but Jesus does not answer us back. Now, I AM NOT saying that Jesus is not there. I am saying that for us Christians on earth, He is invisible to us and unheard. 

In order for us to “hear the voice” of the Savior, we have to hear a real flesh and blood human—a “middle man.” That middle man can be your mom or dad, brother or sister, friend, boyfriend or girlfriend, spouse, your child, or your priest, or your brother or sister in the Christian community. These are the “go-betweens” through which God reaches us in the Church. 

And this is why the Church is so essential, and why ministry in the Church is so central. The only way Jesus Christ can now get through to us is through His Body the Church, and someone in the Body of Christ needs to minister God’s gifts to us, including the gift of forgiveness.

The grace of forgiveness is not floating in the sky like cute little bubbles. It is a dynamic force and power that comes to us when someone on God’s behalf ministers this to us. The Catholic Church believes the Apostles and priests received this ministry from Christ in the sacrament. The ministry of forgiveness and healing also comes whenever someone forgives us for the wrong we have done. 

This is why the Lord said that before presenting gifts on the altar, we had to make peace with each other—not turn and look up and talk to the thin air because a sinner decides to go “directly to Jesus.” The first time we are dealing directly with Jesus will be after we are dead, and in His presence, being judged. SEE ALSO:

God bless and take care, Fr. Angel

The emphasis on elites, experts, and professionals in advanced capitalist societies, and the dominance of administrative bureaucracies peopled by professionals discourages people from asserting their own capacities for decision making. People are conditioned to seek expert advice and opinion. This is seen in the popularity of daytime talk shows like Oprah and in the profusion of self-help literature in which experts tell people how to pursue basic life tasks. Critics such as sociologist Heidi Rimke note that this is also a form of governance or self-regulation in neoliberal political regimes of state capitalism. As Goodman noted, this leaves people unprepared to taste freedom when opportunities arise.
—  Anarchist Logistics: Sustaining Resistance Beyond Activism and Insurrection