Instant manifestation with tree of life energies,tony robbins video youtube,student time management schedule - PDF Books

While the current climate crisis tightens its stranglehold on contempo-rary society, many are those who put their faith in groundbreaking design and artistic innovation.
Figure 1 Central Shanghai with the Huangpu River and the Lujiazui Finance and Trade Zone (lower left).
Contemporary Shanghai should be an appropriate starting point for a critical reflection on sustainability and contemporary landscape aesthetics. While the unitary eco-vision of Dongtan may have been curbed, plenty of new green initiatives are beginning to bud. Similarly, the rhetoric sanctioning the development of the Olympic landscape in the Lower Lea Valley of East London is pronouncedly green.
What comes through in these and similar projects around the world is how the climate crisis has pushed the issue of sustainability into the frontal lobe of every planner and policy maker. Many emerging eco-environments certainly signal a fundamental change of mindset, a general greening of even the most corporate of mentalities, including a further greening also of the popular idea of the urban landscape. It is easy to forget that when sustainability first appears as an environmental concept, it is closely related to the idea of development. What is interesting in this context is how the ideas expressed in Our Common Future contributed to the counterbalancing of more radical eco-scape imaginaries.
Development and progress are, however, not the only ideas unsettled by this environmental turbulence; also targeted is the notion of human creativity.
The question of human environmental agency has consequently brought a new relevance to landscape as the actual space where creativity and ecology are played off against each other. In his writing, landscape architect James Corner has pointed to the rejection of artistic exploration as a general environmentalist dilemma. What Corner and others, including many ecologists, have pointed out is the tendency of environmental discourse to idealize nature. In times of turbulence, what used to be manageable and intelligible easily gets out of hand.
If landscape is the spatial substantiation of this new connection, aesthetics provides its philosophical articulation, with beauty playing a sig-nificant, synthesizing role.
Thrown in with this rational definition of aesthetics is the idea of aesthetic enjoyment or beauty as the perfection of cognition (Cothey 1991: 42). The Kantian solution to this dilemma was not to explain aesthetic pleasure in terms of objectifying perfection. Even so, aesthetic experience also tends to develop in more agonizing situations where unexpected events in one way or the other intervene with the normal routines. What the notion of the sublime brings to aesthetics is consequently, if not moralism, at least a sense of tension, entanglement and interdependence.
Rather than a theoretical construct, this expansion of aesthetics is a direct consequence of a spatialization also of aesthetic practice. The ecological effect of Time Landscape on the urban microclimate was in this respect only one dimension, the territorial negotiations and political debates another, the effects on real estate values a third.
While land art to a large extent managed to expand our spatial concep-tions and draw attention to the landscape as environmental and territo-rial complex, it also gave rise to a mythologizing of the relationship be-tween man and nature, with natural beauty as a common bottom line. The question is: What does environmentally concerned aesthetic practice entail today, and how does it relate to the specific historical situatedness of the 21st century?
In his attempts to rearticulate aesthetics, French philosopher Jacques Rancière has stressed the fact that what is absent from the encyclopaedic explanation of aesthetics is its historical association with modernity, and consequently, with artistic practice as an emergent public form of expres-sion. An important aesthetic dislocation in this context is the one from contemplation to agency. Madrid-based architectural office Ecosistema Urbano is addressing envi-ronmental issues in a similar way from the point of view of social and spa-tial innovation. Another landscape related environmental manifestation was presented by Yerba Buena Center for the Arts in San Francisco through their exhibition The Gatherers: Greening Our Urban Spheres. Many cultural practitioners today explore similar themes on the bor-ders between art, landscape and politics. One consequence of the emerging eco-scape is thus the shift of focus from object to interaction.
In the work of Argentinean artist and architect Thomas Saraceno, vi-tality is actualized in a different way, rather as the intense dynamic between control and autonomy in a biological system. While this vital energy traditionally may have been dealt with within occultism, within alchemy or alternative medicine rather than fine art, to-day it is seriously considered in quantum physics and cybernetics as well as in economics. In this article I have given some examples of artistic, landscape related practices exploring in different ways not only the ecological presupposi-tions for sustainable futures but also the aesthetic potentials that these futures present. It may be, as argued by Elizabeth Meyer among others, that landscape architecture is already a field where the integration of ecological think-ing with aesthetic concerns is not only possible but fundamental. Humane as it may be, this social unfolding of aesthetics does not really challenge its own idealist presumptions. This aspect of aesthetics has direct repercussions on the practice of landscape architecture. In aesthetic terms, this now so prevalent greenwash is precisely the privileging of beauty at the expense of other aesthetic aspects, primarily diversity and heterogeneity. Considering the dazzlingly emerald, yet also promising, prospects for Shanghai, Copenhagen or London, it becomes startlingly clear that sustainable futures do not automatically come through aesthetic perfection. That we have to challenge, reflect upon and continuously explore the emergent eco-scape is obvious.
Under all the cultivations of heaven, they brought forth bitter and poisonous fruit; as in the two verses next preceding the text. As a side effect of the climate threat, this renewed celebration of creative agency may be welcome, not the least from a landscape architecture perspective since, in the context of sustainable develop-ment, every design action is also a landscaping gesture with environmental implications.
An evening walk along the Huangpu River and the historical quay of The Bund offers a double projection of urban landscape creativity. For, even though the climate crisis has hit hard on many regions it has also brought some beneficial effects, one of which is an increasing landscape awareness.
Under-stood as the continuous human activity of improving living conditions, development should be sustainable as opposed to exhausting. However, while many environmentalists certainly ascribe an intrinsic harmony and equilibrium to natural systems, others would emphasize that in nature, systems are fundamentally transformative and unstable, in constant struggle to change and respond to modifications of conditions.
Instead, to Kant, beauty would unfold as the individually grounded and disinterested, yet commonsensical or natural play of the cognitive faculties, a play that would harmonize rather than rationally explain a perceptual manifold. As such, it moves us beyond both the rational and the natural, opening up an agitated sphere where our experience is not necessarily one of harmonious accord with an ideal but where we instead experience a conflict between imagination and our powers of judgement (Cothey 1991: 52). Derived from an antique tract of rhetoric, the sublime referred to the expressive and unpredictable turns of discourse; a linguistic figure giving rise to a relational state of enthusiasm.
When land art, or earth art, was first formulated in the 1960s it was an explicit attempt to situate aesthetic experience in a wider field of sensibilities.
In his critique of certain works of land art, art historian Benjamin Buchloh actualizes this tendency.
When Agnes Denes sowed her wheat field again, on a derelict plot in Hackney, London, this year, the intervention unfold-ed rather as a re-historicizing of a project that over the years had become mythologized.
For Louisiana Museum of Modern Art and the exhibition Green Architecture for the Future, the group developed What if ? With basic social activities such as organic farming, arts and crafts, communal cooking or self-organized housing as a starting point, such projects explore the conditions of sub-jectivity, sociality and environmental existence. Another significant dislocation of interest may be the one from transcendent existence to immanent life. In a playful yet critical way, Swedish artist Henrik Hakansson has engaged for many years with living systems and emergent landscapes. Through biosynthetic processing, Roche and Lavaux here in-itiate what could be seen as spatial complications or co-foldings, which in a critical way also de-authorize architectural practice.
For Bergson, the ontological point of departure was the conviction that life, as a natural, complex system, cannot be ethically grounded. Proposal for Green Architecture for the Future, Louisiana Museum of Modern Art, 2009 and Stockholm 2010. While some of these practices are deliberately acted out as social movements, collaboratively challenging preconceived forms of so-ciability and exploring new forms of co-existence, other practices literally tackle life at its most intrinsic level, intervening with the most material of powers and energies. Even though it leaves disinter-ested contemplation behind, and even though it expands the object into a social environment, it does not question its own inherent anthropocentric credo of harmony and embellishment. Any aesthetic practice, irrespective of how inte-gral or how green, is also a social and spatial intervention. This becomes all the more paradoxical in re-lation to environmental aesthetics, which, through the reliance on natural beauty, so to speak, has come to disregard the discovery that was its in an otherwise rigid world. As multi-national agents join forces with more or less transparent political authorities to stage unbelievably costly, implausibly green and pleasurable urban landscapes, we have to widen the aesthetic scope even further, at the same time increasing the resolution, all in order to develop a creative imagination both of social agency and of biological vitality. On the west side, the richly ornamented colonial bank palaces and hotels still line up, countered on the other side by the skyline of the Lujiazui Finance and Trade Zone and China’s new urban wonders.
Masterplanned by Arup and situated just outside Shanghai on Chongming Island in the Yangtze River, it was a more mundane project and supposed to be the world’s first eco-city. It is, or should be, a prospect with clear environmental, and thus also explicitly societal, connotations.

In the field of landscape architecture this ten-sion has been articulated in many different ways. This is a struggle that to a certain extent could be described as creative, a struggle revolving around the use of free or unbound energy for productive and reproductive purposes. And in such a situation of fundamental insecurity and instability, also having to think about the expression of it all, the inherent meaning or the purpose, not the least of human entanglement, becomes more delicate than ever.
And as actions are increasingly alienated from their effects it is tempting to try to compensate for this through the articulation of rules and regulations, of norms and ideals. While this ascribed a sustaining function to beauty it did not, however, allow room for an understanding of aesthetic experience as a transformative, or creative domain.
An important aspect of rhetoric, the sublime referred not only to the exaggerated but also to the transient and less grandiose stylistic tropes of amplification or intensification, which were supposed to have an outreaching and moving effect, distinct from the disinterested subjectivity associated with beauty.
As land art, the land-scape re-assumed its spatio-temporality, as in Alan Sonfist’s Time Landscape, conceived in 1965 and unveiled in 1978. A stone’s throw from Wall Street, Denes cultivated a four-acre field with wheat, eventually yielding a harvest of half a ton of grain. Installation view, Green Architecture for the Future, Louisiana Museum of Modern Art, 2009.
One such collaborative faction is Fallen Fruit, a project run by David Burns, Matias Viegener and Austin Young.
As art projects they are furthermore explicitly spatially situated as regards their immediate and undetermined material surrounding. Conceived of as a scale model of larger hanging gardens, the work formed part of the Air-Port-Cities project, which provokingly explored the possibilities of creating air-born communities entirely independent from polluted earth. From the perspective of aesthetic agency, there are no a priori values to lean on, no intentional starting points and no objectives to aim for.
Integral and reciprocal, Berleant continues, the aesthetic ex-perience of beauty converges with the strongest social cement we know, namely love (Berleant 2005: 36). Aesthetics thus forces us to face surroundings own, namely the literally vital importance of spatio-temporal dynamics and of discomfort and confusion in relation to which it takes on a new role as potential change. This is implied in the manner of their destruction coming upon them, being represented by their foot sliding.
As an expanded field of aesthet-ic and political agency, however, the emerging sustainability culture offers new perspectives on creative spatial practice. It was a green, renewably powered, car-free and water-recycling everyday landscape with a population equal to that of my own home town of Malmo, Sweden’s third largest city. As eco-scape, the landscape un-folds not only as distant scenery but also as the spatial manifestation of a cyclic and inclusive attitude. These and similar questions have generated oppositions between the natural and the artificial, between the ecological and the aesthetic. As such, Corner claimed, ecology certainly presents an alternative holistic mindset with the po-tential to counteract cynical exploitation. In this sense there are no autonomous eco-systems, since all local systems are finally dependent upon the larger environment with which they communicate. Grounded in a conception of aesthetics as representative of transcendental values or ideals, such ahistoricity, argues Buchloh, sometimes prevents land art or landscape design from performing socially and culturally or provoking a response to the environmental problems that we are facing.
As op-posed to that which is decreed from above (or from within), the sensible is now spread out over a surface, where it is possible to radically reconfigure and recreate, but also possible to share in completely new ways.
If the wheat field had functioned in its original location main-ly as a discursive intervention, questioning our increasing alienation from our own basic acculturation, in Hackney it was transformed into a mate-rial content provider in a proper cycle of production.
In the Barbican’s Radical Nature exhibition one such forest sample was on show, made to grow horizontally with the help of irrigation technology and light. In relation to an ever more complex socio-biological environment, where the responsibility is increasingly difficult to localize, landscape beauty turns performative and transformative, offering an ethical point of attachment that allows us to establish sustainable common grounds.
Instead, what is needed is an understanding of working principles and conditioning forc-es. Even though we are dealing with sustainable design, she argues, we cannot escape the fact that green aes-thetic practices also constitute exercises of power. Approaching the environ-mental issue from the perspective of contemporary landscape related art practices, this article seeks to contribute to the articulation of a landscape aesthetics that would meet the requirements of our agitated time. As I force my way through the crowds along the promenade, I notice to my surprise that the marvelling glances go in one direction only, and that is towards what is supposed to be our urban future. By the time it enters the political debate, the paradoxical idea of sustainable development has already become a comprehensive term, pragmatically linking ecological and economic concerns. At the same time, however, it comes with a non-articulated and presupposed aesthetics of harmony and natural beauty, thus suppressing the wilder and more uncontrollable as-pects of nature’s performance. Adjacent to the field, and in close collaboration with the local community, exyzt set up a wind-mill producing enough energy to run an oven, where people could help each other make their own bread.
Working with themes usually occupied by science, Hakansson stages or dramatizes not only the parameters at play in nature, including time, but also the methods with which they are normally investigated and developed. Such articulation, however, requires a reconsideration of landscape aesthetics be-yond the consoling and beautiful, as well as a fundamental shift in landscape thinking from representation to agency. Instead, an ecosystem is per definition a relational setting, whose stability is relative to a larger whole. This is the working principle of the EcoBoulevard project, an urban design scheme consisting of temporary light-structure pavilions, artificial tree groves or instant parks, intended to affect the socio-dynamics of a city district. In another work, The Reserve, realized at the Wanas Foundation in Sweden in 2009 as a part of the Footprints show,[9] Hakansson commented on Sonfist’s Time Landscape by fencing off a 2,500-m2 section of forest. The sustainability of the system is equally a dynamic quality, preventing the occurrence of a total mismatch between the system and its surroundings.
A step away from the idea of aesthetics as an order of the sensible with beauty as its privileged expres-sion of harmony with that order, a performative aesthetics focuses on the establishment and exploration, through action, of a distributed field of reference. 2006) have actualized the tendency within the environmental discourse to favor large-scale creativity or world-embracing forms of agency at the expense of grassroots initiatives and local forms of interaction. Although creative responses to climate cri-sis have to be grounded in global awareness, environmental transformation will always take place somewhere and concern particular groups of people (Bradley 2009; Swyngedouw et al. In rhetorician Judith Butler’s words the (artistic) ex-pression constitutes an address that excites subjectivity and brings it into being through the very interaction that is initiated (Butler 1997). The strongest have no power to resist him, nor can any deliver out of his hands.-He is not only able to cast wicked men into hell, but he can most easily do it. Sometimes an earthly prince meets with a great deal of difficulty to subdue a rebel, who has found means to fortify himself, and has made himself strong by the numbers of his followers. Though hand join in hand, and vast multitudes of Goda€™s enemies combine and associate themselves, they are easily broken in pieces. They are as great heaps of light chaff before the whirlwind; or large quantities of dry stubble before devouring flames.
What are we, that we should think to stand before him, at whose rebuke the earth trembles, and before whom the rocks are thrown down?They deserve to be cast into hell; so that divine justice never stands in the way, it makes no objection against Goda€™s using his power at any moment to destroy them.
Divine justice says of the tree that brings forth such grapes of Sodom, "Cut it down, why cumbereth it the ground?", Luke 13:7. The sword of divine justice is every moment brandished over their heads, and it is nothing but the hand of arbitrary mercy, and Goda€™s mere will, that holds it back.A They are already under a sentence of condemnation to hell.
They do not only justly deserve to be cast down thither, but the sentence of the law of God, that eternal and immutable rule of righteousness that God has fixed between him and mankind, is gone out against them, and stands against them; so that they are bound over already to hell. And the reason why they do not go down to hell at each moment, is not because God, in whose power they are, is not then very angry with them; as he is with many miserable creatures now tormented in hell, who there feel and bear the fierceness of his wrath.
The glittering sword is whet, and held over them, and the pit hath opened its mouth under them.A The devil stands ready to fall upon them, and seize them as his own, at what moment God shall permit him.
If God should withdraw his hand, by which they are restrained, they would in one moment fly upon their poor souls.
There are those corrupt principles, in reigning power in them, and in full possession of them, that are seeds of hell fire.
These principles are active and powerful, exceeding violent in their nature, and if it were not for the restraining hand of God upon them, they would soon break out, they would flame out after the same manner as the same corruptions, the same enmity does in the hearts of damned souls, and would beget the same torments as they do in them. For the present, God restrains their wickedness by his mighty power, as he does the raging waves of the troubled sea, saying, "Hitherto shalt thou come, but no further;" but if God should withdraw that restraining power, it would soon carry all before it. It is no security to a natural man, that he is now in health, and that he does not see which way he should now immediately go out of the world by any accident, and that there is no visible danger in any respect in his circumstances. The manifold and continual experience of the world in all ages, shows this is no evidence, that a man is not on the very brink of eternity, and that the next step will not be into another world. The unseen, unthought-of ways and means of persons going suddenly out of the world are innumerable and inconceivable.
Unconverted men walk over the pit of hell on a rotten covering, and there are innumerable places in this covering so weak that they will not bear their weight, and these places are not seen. God has so many different unsearchable ways of taking wicked men out of the world and sending them to hell, that there is nothing to make it appear, that God had need to be at the expense of a miracle, or go out of the ordinary course of his providence, to destroy any wicked man, at any moment. All the means that there are of sinners going out of the world, are so in Goda€™s hands, and so universally and absolutely subject to his power and determination, that it does not depend at all the less on the mere will of God, whether sinners shall at any moment go to hell, than if means were never made use of, or at all concerned in the case.A Natural mena€™s prudence and care to preserve their own lives, or the care of others to preserve them, do not secure them a moment. There is this clear evidence that mena€™s own wisdom is no security to them from death; that if it were otherwise we should see some difference between the wise and politic men of the world, and others, with regard to their liableness to early and unexpected death: but how is it in fact?

Every one lays out matters in his own mind how he shall avoid damnation, and flatters himself that he contrives well for himself, and that his schemes will not fail. They hear indeed that there are but few saved, and that the greater part of men that have died heretofore are gone to hell; but each one imagines that he lays out matters better for his own escape than others have done.
God certainly has made no promises either of eternal life, or of any deliverance or preservation from eternal death, but what are contained in the covenant of grace, the promises that are given in Christ, in whom all the promises are yea and amen. This that you have heard is the case of every one of you that are out of Christ.-That world of misery, that lake of burning brimstone, is extended abroad under you. Goda€™s creatures are good, and were made for men to serve God with, and do not willingly subserve to any other purpose, and groan when they are abused to purposes so directly contrary to their nature and end. And the world would spew you out, were it not for the sovereign hand of him who hath subjected it in hope. There are black clouds of Goda€™s wrath now hanging directly over your heads, full of the dreadful storm, and big with thunder; and were it not for the restraining hand of God, it would immediately burst forth upon you. Thus all you that never passed under a great change of heart, by the mighty power of the Spirit of God upon your souls; all you that were never born again, and made new creatures, and raised from being dead in sin, to a state of new, and before altogether unexperienced light and life, are in the hands of an angry God. However you may have reformed your life in many things, and may have had religious affections, and may keep up a form of religion in your families and closets, and in the house of God, it is nothing but his mere pleasure that keeps you from being this moment swallowed up in everlasting destruction.
However unconvinced you may now be of the truth of what you hear, by and by you will be fully convinced of it. You have offended him infinitely more than ever a stubborn rebel did his prince; and yet it is nothing but his hand that holds you from falling into the fire every moment. It is to be ascribed to nothing else, that you did not go to hell the last night; that you was suffered to awake again in this world, after you closed your eyes to sleep. And there is no other reason to be given, why you have not dropped into hell since you arose in the morning, but that Goda€™s hand has held you up. There is no other reason to be given why you have not gone to hell, since you have sat here in the house of God, provoking his pure eyes by your sinful wicked manner of attending his solemn worship. Yea, there is nothing else that is to be given as a reason why you do not this very moment drop down into hell.A O sinner! Consider the fearful danger you are in: it is a great furnace of wrath, a wide and bottomless pit, full of the fire of wrath, that you are held over in the hand of that God, whose wrath is provoked and incensed as much against you, as against many of the damned in hell.
You hang by a slender thread, with the flames of divine wrath flashing about it, and ready every moment to singe it, and burn it asunder; and you have no interest in any Mediator, and nothing to lay hold of to save yourself, nothing to keep off the flames of wrath, nothing of your own, nothing that you ever have done, nothing that you can do, to induce God to spare you one moment. It would be dreadful to suffer this fierceness and wrath of Almighty God one moment; but you must suffer it to all eternity.
When you look forward, you shall see a long for ever, a boundless duration before you, which will swallow up your thoughts, and amaze your soul; and you will absolutely despair of ever having any deliverance, any end, any mitigation, any rest at all. You will know certainly that you must wear out long ages, millions of millions of ages, in wrestling and conflicting with this almighty merciless vengeance; and then when you have so done, when so many ages have actually been spent by you in this manner, you will know that all is but a point to what remains.
All that we can possibly say about it, gives but a very feeble, faint representation of it; it is inexpressible and inconceivable: For "who knows the power of Goda€™s anger?"A How dreadful is the state of those that are daily and hourly in the danger of this great wrath and infinite misery! But this is the dismal case of every soul in this congregation that has not been born again, however moral and strict, sober and religious, they may otherwise be. There is reason to think, that there are many in this congregation now hearing this discourse, that will actually be the subjects of this very misery to all eternity. It may be they are now at ease, and hear all these things without much disturbance, and are now flattering themselves that they are not the persons, promising themselves that they shall escape.
If we knew that there was one person, and but one, in the whole congregation, that was to be the subject of this misery, what an awful thing would it be to think of!
And it would be a wonder, if some that are now present should not be in hell in a very short time, even before this year is out. And it would be no wonder if some persons, that now sit here, in some seats of this meeting-house, in health, quiet and secure, should be there before to-morrow morning. Those of you that finally continue in a natural condition, that shall keep out of hell longest will be there in a little time! It is doubtless the case of some whom you have seen and known, that never deserved hell more than you, and that heretofore appeared as likely to have been now alive as you. What would not those poor damned hopeless souls give for one daya€™s opportunity such as you now enjoy!And now you have an extraordinary opportunity, a day wherein Christ has thrown the door of mercy wide open, and stands in calling and crying with a loud voice to poor sinners; a day wherein many are flocking to him, and pressing into the kingdom of God. Many are daily coming from the east, west, north and south; many that were very lately in the same miserable condition that you are in, are now in a happy state, with their hearts filled with love to him who has loved them, and washed them from their sins in his own blood, and rejoicing in hope of the glory of God.
To see so many rejoicing and singing for joy of heart, while you have cause to mourn for sorrow of heart, and howl for vexation of spirit! Are not your souls as precious as the souls of the people at Suffield, where they are flocking from day to day to Christ?A Are there not many here who have lived long in the world, and are not to this day born again? Do you not see how generally persons of your years are passed over and left, in the present remarkable and wonderful dispensation of Goda€™s mercy? You cannot bear the fierceness and wrath of the infinite God.-And you, young men, and young women, will you neglect this precious season which you now enjoy, when so many others of your age are renouncing all youthful vanities, and flocking to Christ? You especially have now an extraordinary opportunity; but if you neglect it, it will soon be with you as with those persons who spent all the precious days of youth in sin, and are now come to such a dreadful pass in blindness and hardness.
And you, children, who are unconverted, do not you know that you are going down to hell, to bear the dreadful wrath of that God, who is now angry with you every day and every night? Will you be content to be the children of the devil, when so many other children in the land are converted, and are become the holy and happy children of the King of kings?A And let every one that is yet out of Christ, and hanging over the pit of hell, whether they be old men and women, or middle aged, or young people, or little children, now harken to the loud calls of Goda€™s word and providence. This acceptable year of the Lord, a day of such great favours to some, will doubtless be a day of as remarkable vengeance to others. Mena€™s hearts harden, and their guilt increases apace at such a day as this, if they neglect their souls; and never was there so great danger of such persons being given up to hardness of heart and blindness of mind.
If this should be the case with you, you will eternally curse this day, and will curse the day that ever you was born, to see such a season of the pouring out of Goda€™s Spirit, and will wish that you had died and gone to hell before you had seen it. Now undoubtedly it is, as it was in the days of John the Baptist, the axe is in an extraordinary manner laid at the root of the trees, that every tree which brings not forth good fruit, may be hewn down and cast into the fire.A Therefore, let every one that is out of Christ, now awake and fly from the wrath to come. God hath had it on his heart to show to angels and men, both how excellent his love is, and also how terrible his wrath is.
Sometimes earthly kings have a mind to show how terrible their wrath is, by the extreme punishments they would execute on those that would provoke them. But the great God is also willing to show his wrath, and magnify his awful majesty and mighty power in the extreme sufferings of his enemies.
There will be something accomplished and brought to pass that will be dreadful with a witness.
When the great and angry God hath risen up and executed his awful vengeance on the poor sinner, and the wretch is actually suffering the infinite weight and power of his indignation, then will God call upon the whole universe to behold that awful majesty and mighty power that is to be seen in it. The sinners in Zion are afraid; fearfulness hath surprised the hypocrites, Who among us shall dwell with the devouring fire? If it had only been said, "the wrath of God," the words would have implied that which is infinitely dreadful: but it is "the fierceness and wrath of God." The fury of God! But it is also "the fierceness and wrath of Almighty God." As though there would be a very great manifestation of his almighty power in what the fierceness of his wrath should inflict, as though omnipotence should be as it were enraged, and exerted, as men are wont to exert their strength in the fierceness of their wrath. To what a dreadful, inexpressible, inconceivable depth of misery must the poor creature be sunk who shall be the subject of this!A Consider this, you that are here present, that yet remain in an unregenerate state.
That God will execute the fierceness of his anger, implies, that he will inflict wrath without any pity. But when once the day of mercy is past, your most lamentable and dolorous cries and shrieks will be in vain; you will be wholly lost and thrown away of God, as to any regard to your welfare.
If you cry to God to pity you, he will be so far from pitying you in your doleful case, or showing you the least regard or favour, that instead of that, he will only tread you under foot. And though he will know that you cannot bear the weight of omnipotence treading upon you, yet he will not regard that, but he will crush you under his feet without mercy; he will crush out your blood, and make it fly, and it shall be sprinkled on his garments, so as to stain all his raiment. If it were only the wrath of man, though it were of the most potent prince, it would be comparatively little to be regarded.
The wrath of kings is very much dreaded, especially of absolute monarchs, who have the possessions and lives of their subjects wholly in their power, to be disposed of at their mere will.
But the greatest earthly potentates in their greatest majesty and strength, and when clothed in their greatest terrors, are but feeble, despicable worms of the dust, in comparison of the great and almighty Creator and King of heaven and earth.
It is but little that they can do, when most enraged, and when they have exerted the utmost of their fury.
The wrath of the great King of kings, is as much more terrible than theirs, as his majesty is greater. Luke 12:4, 5, "And I say unto you, my friends, Be not afraid of them that kill the body, and after that, have no more that they can do.

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