Personalised Picture Quotes

The sound of silence was beginning to get louder, and familiar. And I was deeply in love with it. Not only does it not involve religious practices, it makes you shed all religious affiliations for ten days. What you are left with is your bare breath. That becomes the only thing you focus on – your personal rosary. There are no pictures of gurus, or even of the Buddha himself. There are no personalised gods or its dubious derivates – dogmas, or godmen – to prostrate before. No hugs, kisses, threads, amulets, satins or holy ash. No holy ‘trap’ of devices designed for an instant osmosis of blessings. No grand trickery that makes life here a hell in promise of a heaven there. It shows us the same arduous path that some of the enlightened men have walked. Men who can only show the path and are not the destination; where they communed with their truth, or, for lack of a better word, their God, in silence. The choice is left to us, to walk, stroll, stray, or squat on that path. [Many men; Ab to Za, all those alphabets and all the other men in between… Same grand truth, revealed in parts… Same path, seemingly different… Same destination…. No single path.] But Vipassana does not offer us the easier path of pleading, coaxing, extorting or seducing such men for easy blessings. It nudges you to start walking. To be your own blessing. To create your own miracles.

The sound of silence was beginning to get louder, and familiar. And I was deeply in love with it. I stopped being mute, and became dumb again. There are no pictures of gurus, or even of the Buddha himself. There are no personalised gods or its dubious derivates – dogmas, or godmen – to prostrate before. No hugs, kisses, threads, amulets, satins or holy ash. No grand trickery that makes life here a hell in promise of a heaven there. It shows us the same arduous path that some of the enlightened men have walked. Men who can only show the path and are not the destination; where they communed with their truth, or, for lack of a better word, their God, in silence. The choice is left to us, to walk, stroll, stray, or squat on that path. [Many men; Ab to Za, all those letters of alphabets and all the other men in between… Same grand truth, revealed in parts… Same path, seemingly different… Same destination…. No single path.] But Vipassana does not offer us the easier path of pleading, coaxing, extorting or seducing such men for easy blessings. It nudges you to start walking. To be your own blessing. To create your own miracles.

The concrete experience stage of Kolb’s experiential learning cycle plays a predominant role in didactic approach, as learners are expected to hurriedly absorb information into their heads through sensory cortex, mostly by auditory means. There will be less time, if at all, expended on reflective observation and abstract conceptualisation stages. All the learners are expected to commit the information divulged to memory in an identical manner promoting conformity ahead of creativity (Kaufman & Gregoire, 2016); there will be no encouragement for unique, personalised knowledge creation internally in the head of the learner. Further, the teacher demonstrates an authoritative role, resembling knowing everything (as an omnipotent god) and attempting to fill the empty heads of students with something disregarding the notions of social-emotional learning altogether. Didactic teaching-learning environments have a negative impact more specifically on visual-spatial or creative/gifted learners, firstly because they usually resist authoritarianism, possibly due to their higher sensitivity levels, and secondly because they tend to grasp knowledge slowly in a deeper sense via reflective observation and abstract conceptualisation phases; visual-spatial learners will be more relaxed and emotionally stable in a nonauthoritative environment with an appropriate pace of presentation that would help them to think/reflect/conceptualise in pictures and objects than pure auditory means.

But I was stuck for a long time by myself at Abraham Lincoln's portrait, standing in the middle of the huge hall as people moved all around me with mostly children. I felt as if time had stopped as I watched Lincoln, facing him, while watching the woman’s back as she was looking out the window. I felt wronged, so much like Truman from the movie, standing there in the middle of the museum alone. I was wondering what would Abraham Lincoln do if he realized he was the slave in his own cotton fields, being robbed by evil thieves, nazis. I had taken numerous photos of Martina from behind, as well as silhouettes of her shadow. I remember standing there, watching as she stood in front of the window; it was almost as if she was admiring the view of the mountains from our new home, as I did take such pictures of her, with a very similar composition to that of the female depicted in the iconic Lincoln portrait looking outwards from the window. I hadn't realized how many photographs I snapped of Martina with her back turned towards me while we travelled to picturesque places. Fernanda and I walked side-by-side in utter silence, admiring painting after painting of Dali's, without exchanging a single word. Meanwhile, Luis and Martina had got lost somewhere in the museum. When I finally found her, she was taking pictures outside of the Rainy Cadillac. We both felt something was amiss without having to say it, as Fernanda knew things I didn't and vice versa. We couldn't bring ourselves to discuss it though, not because we lacked any legal authority between me and Martina, but because neither Fernanda or myself had much parental authority over the young lady. It felt like when our marriages and divorces had dissolved, it was almost as if our parenting didn't matter anymore. It was as if I were unwittingly part of a secret screenplay, like Jim Carrey's character in The Truman Show, living in a fabricated reality made solely for him. I was beginning to feel a strange nauseous feeling, as if someone was trying to force something surreal down my throat, as if I were living something not of this world, making me want to vomit onto the painted canvas of the personalised image crafted just for me. I couldn't help but wonder if Fernanda felt the same way, if she was aware of the magnitude of what was happening, or if, just like me, she was completely oblivious, occasionally getting flashes of truth or reality for a moment or two. I took some amazing photographs of her in Port Lligat in Dali's yard in the port, and in Cap Creus, but I'd rather not even try to describe them—they were almost like Dali's paintings which make all sense now. As if all the pieces are coming together. She was walking by the water and I was walking a bit further up on the same beach on pebbles, parallel to each other as we walked away from Dali's house in the port. I looked towards her and there were two boats flipped over on the two sides of my view. I told her: “Run, Bunny! Run!