Paying Attention Properly
What is your acquaintance with embroidery, climatology, artistry and philanthropy?
Do you usually work in a garden room or sun room?
Having a suitable work space between the indoor environment and the outdoor environment is very important when addressing urgent problems, particularly about politics.
How do you know your work space is suitable?
Perhaps you have been learning about the greenhouse effect in a conservatory.
Do you maintain an orchard, a garden and/or a weather station?
Have you placed an anemometer in a pot of anemone flowers?
You may know anemones as windflowers.
Perhaps you have been composing a needlepoint of anemones, anemonoides and/or anemonastrum.
Perhaps you have been putting compost in your flowerpots.
Are you acquainted with sea anemones and other members of the Cnidarian family?
Perhaps you maintain an aquarium or another type of vivarium.
Perhaps you regard a home, a garden, a farm, a family, and possibly even the entire Earth, as a vivarium.
Are you acquainted with the Monet family?
Are you acquainted with a wide variety of persons and environments?
Perhaps you have been sitting by a river with your needlework or within a comfortable screened porch or in an alienating apartment building, feeling apart from nature or a part of nature.
Perhaps you have been thinking about the ways in which technology has changed your life.
Perhaps you have been sitting on a lawn or on a porch, reading about history, science, beauty and the necessity for real philanthropy.
Perhaps you have been reading about tragedy of the fictional type or the factual type.
Perhaps you principally associate Western culture with tragedy, catharsis, pollution, destruction and haphazard restorations.
While copying past patterns does not require much imagination, climatological needlepoint reflects the absence of predictable patterns. It therefore requires considerable artistry and suitable contributions of philanthropy.
If you are paying attention properly, you will appreciate the possibility of changing your perceptions.
How do you usually assess ironies and juxtapositions and anachronisms and political positions?
Each fashion is merely a temporary change, marketed extensively and adopted willing by many ignorant people, at least if they can afford to do so, or if they have temporary access to the necessary funds.
Yet few people adopt fashions in a fully informed way. They may adopt a fashion unsuited to their environmental and political requirements, whether in terms of clothing, buildings, gardens or food.
How do you distinguish between a fashion and a necessity?
Perhaps you misguidedly regard fashion as an expression of beauty rather than as an expression of ignorance.
Virtue, not happiness, is the highest good.
Happiness is the highest beauty only when it is compatible with vivarian virtue.
How do you usually identify illusions and allusions?
How reasonably and responsibly do you enjoy the good things in life?
Perhaps you are an unthinking bon vivant.
Perhaps you have a hedonistic joie de vivre rather than a virtuous one.
But how do you usually assess the possible and the impossible?
How, if at all, have you attained self-realisation and self-actualisation?
How do you usually become aware of your expressions of hedonism and decadence?
How do you usually become aware of the normalisation of harmfulness?
Perhaps you regard consciousness as an illusion.
Perhaps you regard a conscience as a delusion.
Perhaps you often eat foods out of season.
Perhaps you often eat foods grown and/or harvested by hungry people.
Perhaps you often purchase mass produced items on impulse.
Perhaps you often inhabit inappropriately designed buildings.
What is your acquaintance with the macroeconomics of climate change?
What is your acquaintance with the microeconomics of climate change?
How have you informed yourself about environmental economics over the past few years?
When have you gone for a stroll or sat on a bench or porch or fence, wondering about the future?
Perhaps you would rather stand or sit in a fresco-filled room, surrounded by an imaginary, impossible garden than spend time developing and maintaining a real garden.
Perhaps you do not regard Camille as real.
How do you usually decide what is real and what is not?
How do you usually decide who is real and who is not?
What is your acquaintance with the Villa of Livia and the Augustus of Prima Porta and the National Roman Museum in Rome?
What is your acquaintance with eliminative materialism?
What is your acquaintance with aesthetic illusion?
Perhaps you regard free will as an illusion.
Perhaps you are well acquainted with illusionism in and through art.
Perhaps you are well acquainted with the history of photographic manipulation.
Perhaps you are well acquainted with assessments of compatibilism and incompatibilism.
How, if at all, has Camille influenced your views about New Urbanism and New Suburbanism and New Ruralism and New Subruralism?
Perhaps you tend to confuse one Camille with another.
Perhaps you tend to confuse one time in history with another.
Perhaps you tend to confuse one location with another.
It is perfectly normal to feel confused when distortions of the truth are prevalent.
What is your acquaintance with Hurricane Camille?
What is your acquaintance with landscape architecture, landscape design and garden design?
How do you usually assess the quality of a design, of any sort, for any purpose?
In various centuries, many people have been called Camille, both male and female, particularly in France.
How do you know when your perceptions are regarded by other people as authentic and accurate?
How do you know when your perceptions are regarded by other people as inauthentic and inaccurate?
How do you interpret The Red Cape, La Japonaise, Springtime, Woman with a Parasol, and various other paintings by Claude Monet?
How do you compare Woman in the Garden with Women in the Garden, and why?
How do you interpret the development of modernism?
How do you assess products of history and culture?
How do you assess the influence of patrons, including art patrons, charity patrons, commercial patrons and other patrons?
If you are seeking to become a patron of the committee's work, what are you prepared to offer, and when, and how?
How do you usually assess claims, whether relating to art or risks or both?
How do you establish the value of uniqueness, whether in the context of the past, the present or the future?
How do you interpret the influence of money on attitudes towards ideas and images and lives?
How do you interpret the influence of art on attitudes towards ideas and images and lives?
Perhaps the lives of relatively famous artistic persons in the 1860s and 1870s are of more interest and value to you than the lives of relatively anonymous persons in the past, present and future.
How, if at all, do you practice enlightened benevolence through appropriately humane principles, policies and practices?
How, if at all, do you practice enlightened benevolence in other ways?
You may be interested in 1860s Western fashions, with their hoops and crinolines. You may possibly even be quite interested in expressions of opposition to those fashions, as explored through the Artistic Dress movement.
You may be interested in 1870s Western fashions, with their bustles and corsets and overskirts and extravagant trimmings. You may possibly even be quite interested in expressions of opposition to those fashions, as explored through the corset controversy.
How do you prefer to contribute to the enlightened being of political kindness, with or without ruffling feathers or dresses or home furnishings?
How has your research been contributing to your expression of local appropriateness?
How have you been investing in the harmonious interplay of beauty, understanding and magnificence?
How have you been investing in improving political practices?
How do you define the meaning of sustainability?
How have you attempted to contribute to the sustainability of a community?
How have you attempted to find agreement on the meaning of sustainability within a community?
What do you know about ownership in relation to stability and sustainability?
What have been your experiences of stability and sustainability?
What do you believe to be your main contributions towards societal and environmental stability?
How do you usually assess whether an artistic practice or scientific practice reflects the present appropriately?
How do you usually distinguish between private moments and public moments?
What is your acquaintance with art dealers?
What do you consider to be the future of art in a world of extreme weather events, extreme violence and extremist beliefs?
How do you know you have been investing in a sensible approach to sustainability?
How do you know you interpret situations accurately?
When people are aware of substantial gaps in their own knowledge, they are more likely to respect knowledge itself rather than ignorant opinions.
How have you been investing in quaternary possibilities?
How do you tell the difference between an artistic experience and an art market?
What is your acquaintance with prediction markets and other forms of crowdsourcing?
Perhaps you usually think of patrons and art dealers and auctioneers as investors or gamblers or criminals.
How do you know you are capable of investing in thorough assessments wherever and whenever necessary?
How do you compare the Second French Empire with the Third French Republic?
How do you compare the French Colonial Empire with the British Empire?
How do you compare Le Figaro with other news products?
What do you know about necessary ethics and Necessary Ethics?
How do you think about the relationship between Monet and money, and why?
What do you know about the influence of Paul Durand-Ruel on the careers of Claude Monet and other Impressionists?
Perhaps you usually regard appropriately influential people as paying attention properly.
Yet who is paying proper attention to life and death, and how?
How carefully do you consider needs?
How do you attempt to save lives?
On 5 September, 1879, Camille died. She was only 32 years of age.
On her deathbed, she held a white flower, possibly a gardenia.
How much life have you so far experienced?
How much love have you so far experienced?
What will be your legacy, and to whom?
Who will keep that legacy alive?
Who will remember you?
When, if ever, have you simultaneously been loved and hated?
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