ethics morals and corruption

Watching this short video about Somalia and some of the past leaders related to corruption.

Huge topic almost everywhere now and not only in Africa but USA and Russia also!

You never hear Angela Merkels’ name linked with corruption possibly the actual ”Leader of the free world”?

It is quite incredible how people who apparently profess morals and ingratiate them selves with the population – everywhere in our world – once they get the chance or opportunity are overcome by greed!
What is it with human nature that allows otherwise smart and upstanding individuals to deny their moral values and put self above country?
And whilst doing so insult and denigrate all that we should hold dear
And truth is the first casualty?
Leadership should be about engaging with peoples hearts and minds not threatening their livelihoods and bodies.
Education is critical for our world and its survival
What can deter the brutish and barbaric of so many who have taken power through fear
As many who know me have heard me say often times ”I may compromise my ethics but will not compromise my morals”
I pray that some sense and dignity will return and there is a realisation that lies will always be found out
Truth is a much simpler way to live.

Need to return to this another day as it is not fully thought through presently.

check this out
really clever and great if you are challenges by passwords and remembering them

please have a look at for a novel technology that solves the password problem launched from within RAK.

colour vibrant and light

The pictures are not showing here
SO check the link
But what a story of people who through the design and creativity of the Emerati women and the artisans that created these pieces demonstrate

A glimpse at the colorful history of Emirati fashion
We get a first look at a series of limited-edition prints featuring traditional Emirati outfits from Reem El Mutwalli’s historic Sultani collection

Melanie Hunt
March 4, 2018

Look 2: riot of colour. Courtesy Issa Saleh AlKindy
Look 2: riot of colour. Courtesy Issa Saleh AlKindy
Where to buy

Limited-edition art prints of The Sofa Series: Sultani can be acquired from Reem El Mutwalli at

Ask any woman what she was wearing at key points in her life, and she’ll probably be able to tell you. Just as photographs, artworks and other souvenirs can evoke memories, a woman’s wardrobe can catalogue her personal history, while also more broadly reflecting the life and times in which she lived.

Reem El Mutwalli, who has previously described herself as a “scholar who happens to design”, has gathered and curated a collection of more than 170 Emirati dresses, many of which have been worn by members of the UAE’s royal families. The gorgeous fabrics, colours, weaving, embroidery and embellishments of the Sultani collection (named after a striped opaque silk that is popular in the region), provide fascinating insight into the UAE’s identity.

With the aim of making these exquisite pieces accessible to a wider audience, and providing a window into “the expression of a society’s character and history, indicating aspects of its culture, heritage and prevailing attitude”, El Mutwalli recently collaborated with Omani photographer Issa Saleh Al Kindy, to produce a series of limited-edition photographic prints called The Sofa Series: Sultani. These feature four different pieces from the collection, complete with accessories, modelled by El Mutwalli’s daughter Mae Noaf, seated on a velvet sofa in her mother’s home.

“Both parties are avid connoisseurs of culture and art,” says the designer of the collaboration. “Both [of us] understand the imperative need to accurately document and preserve such garments. And we both appreciate that many lovers of art, UAE heritage and culture, would like to keep a token of such articles of history, but cannot possibly acquire the original garment,” she adds.

El Mutwalli has previously collaborated with artists, events and institutions on unique installations or exhibits featuring select pieces from the Sultani collection. The fragile and embellished nature of many of the fabrics mean that the number of displays, not to mention their duration, needs to be limited, in order to preserve this collection for future generations. “These are articles of delicate fabrics that are hard to collect, due to an earlier un-sedentary lifestyle,” she says. “People here have a culture of giving away or recycling their old garments.”

The dresses in the collection date from the early 1950s, and are a culmination of 25 years of El Mutwalli’s efforts. Sultani fabric is unique and cannot be replicated. “It represents my humble appreciation and is an act of giving back to a culture that I grew up in, and a history I have individually witnessed,” she explains.

Look 1: modern design

Look 1: modern design. Courtesy Issa Saleh AlKindy
Look 1: modern design. Courtesy Issa Saleh AlKindy
This dress began with a hand-painted portrait of Sheikh Zayed, the Founding Father, by Sheikha Alyazia bint Nahyan Al Nahyan, who was an aspiring artist at the time. Her mother, Sheikha Fakhira bint Saeed Al Nahyan, then designed the blue chiffon garment to complement the artwork, with the addition of detailed embroidery and embellishment work, which was carried out by skilled artisans. It provides an example of the unification of two traditional articles of dress (the thobe and the kandura) into one, which is the norm nowadays as the kandura evolved into the inner slip of the thobe and is generally attached to it, at the neckline. It was worn on many occasions by Sheikha Alyazia and was ultimately donated to the Sultani collection.

Look 2: riot of colour

Look 2: riot of colour. Courtesy Issa Saleh AlKindy
Look 2: riot of colour. Courtesy Issa Saleh AlKindy
This ensemble embodies key elements of traditional UAE dress and dates back to around 1984. A burqa or face mask covers most of the wearer’s facial features. The shayla is made from black cotton gauze, which reflects an earlier style of this type of headscarf. Here, it engulfs most of the body to create an extra layer of concealment when combined with a thobe (the term used for a loose-fitting, formal over-garment). The body of the thobe is made up of coloured panels of lightly patterned chiffon. Traditional Emirati “teli”, or embroidery work, sees silver thread intertwined with monocoloured cotton, forming a lace pattern at the neckline. The kandura, an inner tunic dress, is made from traditional striped opaque silk known as sultani. Sirwal, or printed cotton underpants, are decorated at the ankle cuffs with teli work. All these articles were traditionally worn together in an array of mismatched textures and colours.

Look 3: bridal finery

Look 3: bridal finery. Courtesy Issa Saleh AlKindy
Look 3: bridal finery. Courtesy Issa Saleh AlKindy
Sheikha Hamda bint Mohammed Al Nahyan, maternal aunt to the President, Sheikh Khalifa, commissioned this dress as a gift to El Mutwalli and instructed the late Fatima bint Saad, a well-known palace dressmaker, to base the design on the style of her own wedding dress. The dress is embroidered on the neckline, central axis and sleeve cuffs with pure gold discs, some of which resemble embossed gold coins.

Look 4: fancy threads

Look 4: fancy threads. Courtesy Issa Saleh AlKindy
Look 4: fancy threads. Courtesy Issa Saleh AlKindy
Also from the 1980s, this brocade silk chiffon dress features metallic thread from Japan, which was introduced to the region around this time. The thobe is worn over the kandura. It is embellished with teli work, which has been applied to the neckline and sleeve cuffs. The dress was previously worn by Sheikha Salama bint Hamdan Al Nahyan, wife of Sheikh Mohammed bin Zayed, Crown Prince of Abu Dhabi and Deputy Supreme Commander of the Armed Forces. El Mutwalli saw it being worn on numerous social and official occasions before it was eventually donated to the Sultani collection.


Brands out of AFRICA

So happy to see this change taking place
UAE are doing it for themselves also

Times are changing

children are not an insurance policy at any time in your life

I came across this item in today’s BBC World

And was intrigued by it
My elderly aunt never married and never had children that anyone knows about she lives in the North and is now 98
No one of her peer group is still alive and there were never any family where she chose to live and work.
She has retired to her room in residential care and no longer goes to the dining or recreation room. As she does not want to experience the humiliation of incontinence herself or witness another bearing the humiliation.
She reads, watches her favourite programs and that’s the sum of her day.
Occasionally she will pick up the phone when you call but her hearing is not good and she hates the hearing aid
Last time my youngest sister and I took our mother, her sister in law to visit they sat and traded health issues!
Until we said please is this a competition or can we talk about something else?
I cried inside whilst there and then cried unashamedly later.
It was heart breaking but then whom am I to say she is content enough. Chats to the carer’s and knows the teams they favour and the results!
It is not what I have in mind for myself

Children or niece’s and nephews are not an insurance policy

”I didn’t want to go to a pub and have unprotected sex with someone who’d had no STD checks
She had wanted children since she turned 30 and was envious of friends who were starting families. She was also shaken by a visit to her aunt in hospital. Her aunt didn’t have children, and Jessica believed she had been ignored by doctors as there had been no-one to insist on better care.
“I thought there was a risk of me ending up in a similar situation if I had no kids of my own. They can act as insurance for when you get older.””

Mother is now in her 91st year and has resided in a fab mini copy of her home with Daddy [Daddy departed in December 2013]for these past two years
There is a 24 hour alarm and carer’s come in daily
This doesn’t mean that she is ‘safe’ but she has her own home with her furniture and things of importance around her.
Again children are not an insurance policy

I have two children and relationships are difficult with more than 8 hours flight time between us all and it is me that is outside UK.Believe me they are definitely not an Insurance Policy

As Khalil Jibran says and I quote the opening stanza with which i agree

”They are not your children
They are the sons’ and daughters of life’s longing itself
They come through you but not from you
And though they are with you they belong not to you”

Your children are not yours they are theirs and will live their lives not yours.

How do you see yourself ? & how do others describe or see you?

It is the first day of a new year 2018 to be exact
And I was thinking over this past year
My late father always called December 31st OLD YEAR’S Night and i have tended to follow this tradition whimsical as it may appear. I have always thought of News Year Eve being tonight the first night of the new year!

I had a weird experience when calling to greet friends for Christmas in a different time zone and unfortunately hear myself being described as ”Peculiar and very difficult….” I was somewhat hurt

Then I reflected and remembered being described as eccentric late last year as in 2016! And at the time being indignant as I had only heard the word used in a negative context.
So I looked it up and found ‘yes’ indeed I am ‘eccentric’ ALHAMDIL’ALLAH and happy to be this way.
I live out near the mountains, I am unconventional, I travel to places such as Kabul Afghanistan or Erbil Kurdistan to try and make a small difference. Despite safety and security issues.
Life is for living and not a rehearsal and this has been brought home in many ways with extreme health and also early death for people I know well or friends of mine. Big reality check to value what we have.
‘Wanting what we have not wanting what we haven’t and desiring unreachable, unnecessary items’

Some ways of describing ‘eccentric’ are below for your enlightenment

(of a person or their behaviour) unconventional and slightly strange.
“he noted her eccentric appearance”
synonyms: unconventional, uncommon, abnormal, irregular, aberrant, anomalous, odd, queer, strange, peculiar, weird, bizarre, off-centre, outlandish, freakish, extraordinary; idiosyncratic, quirky, singular, nonconformist, capricious, whimsical; outré, avant garde; informalway out, far out, offbeat, dotty, nutty, screwy, freaky, oddball, wacky, cranky, off the wall, madcap, zany; informalrum; informalkooky, wacko, bizarro, in left field
“they were worried by his eccentric behaviour”
not placed centrally or not having its axis or other part placed centrally.
“a servo driving an eccentric cam”
a person of unconventional and slightly strange views or behaviour.
“he’s seen as a local eccentric”
synonyms: oddity, odd fellow, unorthodox person, character, individualist, individual, free spirit, misfit; More
a disc or wheel mounted eccentrically on a revolving shaft in order to transform rotation into backward-and-forward motion, e.g. a cam in an internal combustion engine.

We don’t always know what other people think of us and does it in fact matter

What ever we do we need to be real and true as this is our legacy.
I often say that I may compromise my integrity but I will never compromise my morals

Wishing everyone a safe secure and healthy 2018
Live as if it is your last day

Saudi allows women to drive trucks and motorcycles


I have a memory of a picture showing a fully covered lady on a skateboard with the caption
To busy being awesome to be repressed…

And not so long ago a picture of woman wake boarding behind a 4×4
What many don’t seem or are interested to realise that SAUDI woman do drive Just about anywhere other than their own country until now
They study abroad family members have worked abroad
As do most of us

Imagine fully abayaed ladies on motorbikes or drivIng trucks

Saudi allows women to drive trucks and motorcycles
Naser Al Wasmi

December 17, 2017
Updated: December 17, 2017 07:23 PM

Saudi Arabia will allow women to drive from June 2018 in a historic decision as part of the ambitious reforms taking place in the kingdom. Fayez Nuereldine / AFP
Saudi Arabia will allow women to drive from June 2018 in a historic decision as part of the ambitious reforms taking place in the kingdom. Fayez Nuereldine / AFP
Women in Saudi Arabia will be allowed to operate commercial vehicles, drive trucks and ride motorcycles on the kingdom’s roads next summer, according to authorities in Riyadh.

Months after the historic decision to allow women to drive in Saudi Arabia, the traffic department issued new details on the law expected to come into effect next year, said the state-run Saudi Press Agency (Spa).

Weeks after the announcement, some feared the move would be implemented with strict female-specific laws placing conditions on issuing licences to women in Saudi Arabia.

However, the new regulations, which refer to women “as equal” to male drivers, dispel fears that licences for women will be any different to those for men.

The new regulations also state that GCC-issued licenses could be swapped for Saudi Arabian driving permits, though the details on whether this will apply to expatriate women is still unknown.

The General Authority said there will be no female-specific licence plate numbers, but that traffic violations committed by women will be dealt with by a special police unit.

Three months ago, King Salman issued a royal decree stipulating that women will be allowed to drive as of June next year. The announcement set off a wave of ambitious reforms spearheaded by the king’s son, Crown Prince Mohammed bin Salman.

The move to allow women to drive has been welcomed by many in Saudi Arabia, where strict regulations on women have been easing in recent years. Authorities mentioned that involving women in the kingdom’s Vision 2030 will likely be a crucial step as the oil-rich state begins to diversify its economy.

Ahead of June next year, the Saudi federal authority of transport has contracted institutions around the country, including the King Abdulaziz University, to provide women with driving lessons that are needed for some of those applying for a driver’s licence in the country.

As millions of women begin to take to Saudi Arabia’s roads, the public authority expects that up to a million foreign workers will be made obsolete as a young female population that was previously reliant on drivers to get around look to drive themselves.

Many women may still choose to employ drivers, however.

Meanwhile, women looking to apply for commercial licences for driving will be asked to go through the same procedures as men, Spa said.

TICKING a box is not enough Right person right time and place

Interesting piece by Hessa Al Ghurair

It is indeed not just about ticking a box
And its not only the private sector that does this. It is also the government
Right person, right job, right place and right time are critical for individual, company and community success

If we don’t grow people to their potential then what are we doing
Having people in a place where they just survive or hibernate is not adding value or providing role models.
The use of psychometric has got out of hand and is manipulated to certain people in all places
It is not personality we recruit for it is behaviours
And behaviour’s can not be changed but we can learn how to harness them to the betterment of all

2018 year of behaviour’s over personality…….

It is not enough to just ‘tick the box’ when it comes to Emiratisation
Organisations need to create a culture of growth for Emiratis, writes Hessa Al Ghurair

Hessa Al Ghurair

December 12, 2017

Updated: December 12, 2017 06:38 PM
A group of young Emirati women attend a careers fair in Dubai. Reem Mohammed / The National
A group of young Emirati women attend a careers fair in Dubai. Reem Mohammed / The National
Earlier this month we celebrated the UAE’s 46th National Day. There is so much that we can be proud of as a country. As chief human resource officer of one of the UAE’s banks, I am particularly proud of the role played by our nation’s leaders in nurturing and supporting such a hardworking and talented Emirati workforce.

They have always recognised that young people are our future. They have the potential to be global citizens who help companies to shape societies and economies by bringing fresh and compassionate points of view, ideas, vigour and passion to the table.

Sheikh Mohammed bin Rashid, Vice President and Ruler of Dubai, has prioritised building a knowledge-based economy by empowering the national workforce. In 2014, he launched a seven-year nationalisation plan as part of the UAE Vision 2021, which aims to develop the skills of Emiratis and fill senior-level positions with local talent. This is being done through a points system that ranks and rewards performance across key areas, including employing women, supporting education and training, and encouraging flexible working conditions.

This sends a strong message to all industries that it is not enough to just “tick the box” when it comes to Emiratisation. Organisations need to create a culture of growth for Emiratis by taking a long-term view and building integrated and holistic Emiratisation programmes.

Yet Emiratis continue to be under-represented in the private sector. The Ministry of Human Resources and Emiratisation found that 38 per cent of Emirati jobseekers felt private sector salaries weren’t competitive enough and that 33 per cent refused a position due to geographical location.

To fix this, the private sector needs to ensure that nationals can gain access to entry-level positions and access the tools needed to build their capabilities, so that they can move on to positions with greater leadership and responsibility. Companies must invest in human capital through supportive infrastructure, personal mentoring, and the development of succession plans for national talent. And they must partner with the public sector and educational institutions so that market needs, industry trends and curriculum can interlink.

My sector, banking, remains an attractive career path for Emiratis, who find it stable, attractive and flexible. Since December last year, the broader financial services sector achieved Emiratisation levels of 20 to 45 per cent. I am proud to say that Commercial Bank International achieved 330 Emiratisation points in September 2017, exceeding the Central Bank target of 208 points by December 2017.

Helping a UAE bank to achieve this has been one of my biggest career achievements to date.

I have the Mother of the Nation, Sheikha Fatima bint Mubarak, to thank for much of my career success. She has been my main role model and a true source of inspiration to me throughout my working life, as she has been for so many other Emirati women.

By positioning the female agenda firmly at the centre of government prioritisation, she has set the foundation for women’s empowerment in the UAE and inspired thousands of other women to each play a role in this progress.

The UAE now sets an example for many countries in the Middle East and across the rest of the world. In 2012, we became the first country in the Arab region and the second country in the world to introduce a mandatory female presence in the boardroom. In February 2015, the UAE formed a Gender Balance Council to oversee government efforts to ensure gender balance and one year later, eight new federal ministerial appointments were announced, five of which were Emirati women.

To continue this powerful momentum in both the public and private sector, we need to prepare women for leadership positions by creating opportunities and developing skills through training and mentorship.

Understanding my professional potential was one of my biggest barriers early on in my career, as I did not have the confidence to take a seat at the table and make my goals known. My mentor at the time motivated me to push myself out of my comfort zone, and I quickly realised that I was limiting my possibilities before. Through self-assessment and feedback from others, I continued to make my career objectives known, and was able to overcome my barriers.

My advice to young Emiratis, male or female, looking to enter the private sector, is to surround yourself with brilliant leaders and learn from their examples. Ensure that you have a formal or informal mentor or coach; their network, advice and resources will be invaluable to your growth early in your career. And say yes to as many things you can. This is the only way to expand your horizon and deepen your business knowledge.

​​Hessa Al Ghurair is chief human resources officer of CBI

circles and nourishment

his is a fascinating article
The whole idea of KARMA and life going in cycle and devouring ourselves or animals devouring themselves
Well worth the read and check out the pictures as well for detail and generational relationships and ideas of the times

Check the link for the images

It is perhaps fitting that the ancient ouroboros marks the beginning – and end – of Never Ending Stories, a major exhibition currently showing at Germany’s Kunstmuseum Wolfsburg. Spanning multiple mediums, time periods, and fields, the exhibition explores the concept of the loop on a hitherto unseen scale. “The loop is very telling for our times,” says curator Ralf Beil, “and the concept of the loop has never been presented in a larger consideration of time and space.” Organised into 14 thematic sections, Never Ending Stories looks at loops in not only religion and philosophy, but also modern and contemporary art, film, music and literature.
(Credit: LIMA, Amsterdam)
For Breathing In Breathing Out (1977), Marina Abramović and Ulay blocked their nostrils with cigarette filters and pressed their mouths together (Credit: LIMA, Amsterdam)
And the ouroboros is one of the most compelling, a symbol that has been the subject of awe and wonder for millennia. Literally meaning ‘tail-devourer’ in Greek, it has appeared in numerous forms in a wide array of contexts and geographies. In its original and most common variation, it depicts a snake eating its own tail in a closed circle. The ouroboros, however, isn’t Greek, and certainly isn’t a celebration of self-cannibalism. What, then, are its origins, and what does it signify?
Here comes the sun
The oldest-known ouroboros appeared on a golden shrine in the tomb of Tutankhamen – ‘King Tut’ – in Egypt in the 13th Century BC, after a brief lull in traditional religion brought about by his predecessor, Akhenaten. According to leading Egyptologist Jan Assmann, the symbol “refers to the mystery of cyclical time, which flows back into itself”. The ancient Egyptians understood time as a series of repetitive cycles, instead of something linear and constantly evolving; and central to this idea was the flooding of the Nile and the journey of the sun.
(Credit: Zentralbibliothek Zürich)
Aurora Consurgens, a 15th-Century alchemical manuscript, features the ouroboros, linked with the symbols of the sun, moon, and mercury (Credit: Zentralbibliothek Zürich)
The flooding of the Nile in summer marked the beginning of the year, and served as a metaphor of cyclical time, flowing “back into itself like a circle … [enabling] renewal, repetition, and regeneration,” as Assmann says. Similarly, the sun was believed to be the source of cyclical time, undertaking a nightly journey to the waters of Nun (a sort of primordial void), fraught with all sorts of obstacles, whence it would find its way back to the sky. As such, the ouroboros in its original Egyptian context symbolised repetition, renewal, and the eternal cycle of time.
Known as the oldest allegorical symbol in alchemy, the ouroboros represented the concept of eternity and endless return
Like the sun, the ouroboros underwent a journey of its own. From Egypt, it found its way to the Greek alchemists of Hellenistic Alexandria. In the Chrysopoeia (transmutation into gold) of Cleopatra, the ouroboros appears slightly differently. A pictorial alchemical papyrus from the 3rd-Century AD, it dealt with the creation of gold, and the ouroboros appears among the mysterious symbols and images encircling the Greek words ‘One is All’.
Known as the oldest allegorical symbol in alchemy, the ouroboros in this context represented the concept of eternity and endless return, as well as the unity of time’s beginning and end, rather than the Egypt-specific journeys of the sun and the Nile. Elsewhere on the papyrus, in a double ring, appears the complete maxim, of which ‘One is All’ is only a part: ‘One is All, and by it All, and for it All’, it reads, ‘and if it does not contain All, then All is Nothing’.
(Credit: Staatsbibliothek zu Berlin)
The ouroboros appears in the classic alchemical study, Atalanta Fugiens (1617), by the physician to Emperor Rudolf II, Michael Maier (Credit: Staatsbibliothek zu Berlin)
The ouroboros was also of significance to the Gnostics. From a Gnostic viewpoint, the opposing ends of the ouroboros were interpreted as the divine and earthly in man, which, despite being at odds with one another, existed in unison nonetheless. In this sense, it is comparable to the Chinese yin and yang, depicting the harmony of contrary forces, as well as the cosmic dichotomy of light and darkness in Manichaeism and the Zoroastrian philosophy of the farvahar, which first posited that each soul was composed of a pure, divine component, as well as a human one.
The ouroboros also appears in other ancient traditions. In Norse mythology, the serpent Jörmungandr encircles the world with its tail in its mouth, while in Hinduism, the ouroboros forms part of the foundation upon which the Earth rests. In the more widespread Roman variant of Iranian Mithraism, Zurvan, symbolising ‘boundless time’, is depicted with an ouroboros entwined around his body, while the Mesoamerican deity Quetzalcoatl is often seen in the form of an ouroboros.
(Credit: Alamy)
The ouroboros is part of Hindu iconography, as in this drawing of a tortoise supporting elephants upon which the Earth rests, enclosed by the serpent, Asootee (Credit: Alamy)
As if this weren’t enough, the ouroboros went on to enjoy much popularity among Renaissance alchemists. Again representing the infinite nature of time and the eternal, it was seen in the eyes of the alchemists as the ultimate obstacle to be overcome in the Magnum Opus, their incessant struggle; for to become immortal – their chief aim – meant to break the incessant cycle of the ouroboros once and for all. That they would also come to possess, through their experiments, the prized ‘philosopher’s stone’ that would bring them all the bling in the world, was mere icing on the cake.
Around and around
Never Ending Stories begins and ends with the ouroboros because it is a symbol that has resonated throughout so many different eras. “Its fascination derives from the archaic preciseness of the image,” explains Beil, “instantly understandable by every culture, and thus used by a majority of them for two-thousand years”. The exhibition looks at other ways in which the loop has been represented, creating a multi-sensory experience with myriad elements – visual, aural, and physical – repeating ad infinitum.
(Credit: Bridget Riley)
Other loops in Never Ending Stories include hypnotic works like Blaze 4 (1964) by Bridget Riley, which mesmerises with its optical effects (Credit: Bridget Riley)
Beil has placed the loops on display into five categories: continuous circles and squares (like the ouroboros); Möbius strips; infinite cycles produced by the Droste Effect (or, as André Gide called it, mise en abyme); Penrose stairs, never-ending staircases partly inspired by the works of MC Escher (and which, in turn, inspired the works of Escher); and permanent, identical loops of all kinds, irrespective of their elements.
Aside from delving into the nature of loops and their various forms, the exhibition highlights their ubiquity in esoteric and historical, as well as more popular contexts. Take, for instance, the well-known Greek myth of Sisyphus, forever condemned to roll a boulder up a hill in Tartarus, which rolls back down again before it can surpass it. Or, Nietzsche’s Thus Spoke Zarathustra: “Behold, we know what you teach,” says the author to his protagonist (the antithesis, in fact, of the historical Iranian prophet), “that all things occur eternally and we ourselves along with them, and that we have already been here times eternal and all things along with us.”
(Credit: 2017 The MC Escher Company – The Netherlands)
Works by MC Escher, such as Drawing Hands (1948), contain visual paradoxes, creating spirals that have no end and no beginning (Credit: 2017 The MC Escher Company)
In the same setting can be seen the drawings of Escher, Yayoi Kusama’s glittering Infinity Mirrored Roominstallation – “a trance-like, four-by-four-metre infinity of light: a highly cyclical eternity”, according to Beil – Marcel Duchamp’s spiralling Rotoreliefs from the 30s and 60s and architectural proposals by Le Corbusier, while songs like Donna Summer’s I Feel Love and Kraftwerk’s Autobahn form part of the soundtrack.
From the ancient Egyptian journey of the sun to Donna Summer, the loop – so often represented by the ouroboros – has been inextricably bound to our concept of time. The Renaissance-era alchemists saw the ouroboros as something to break out of in pursuit of a linear, rather than cyclical, eternity – and today, it might make us reconsider how we view each moment that passes.