#Interdisciplinary Themes

[tmarshconnors]

"If they can get you asking the wrong questions, they don't have to worry about answers."

Thomas Ruggles Pynchon Jr. is an American novelist noted for his dense and complex novels. His fiction and non-fiction writings encompass a vast array of subject matter, genres and themes, including history, music, science, and mathematics.

Reclusive Nature: Pynchon is famously reclusive, rarely appearing publicly and avoiding interviews and media attention. This aura of mystery has only added to his mystique as a writer.

Academic Background: Pynchon studied engineering physics at Cornell University, where he developed an interest in literature and writing. He later pursued graduate studies in English at the University of Washington.

Military Service: Pynchon served in the United States Navy from 1955 to 1957, an experience that influenced some of his writing, particularly in his novel "Gravity's Rainbow," which includes themes related to World War II and military technology.

Literary Career: Pynchon gained widespread acclaim with his debut novel, "V.," published in 1963. He followed this with several other highly regarded works, including "The Crying of Lot 49," "Gravity's Rainbow," and "Mason & Dixon." His novels are known for their dense prose, intricate plots, and exploration of complex themes.

Awards and Recognition: Pynchon has received numerous awards and honours throughout his career, including the National Book Award for Fiction for "Gravity's Rainbow" in 1974. He has also received the MacArthur Fellowship, commonly known as the "Genius Grant," in recognition of his contributions to literature. Despite his accolades, Pynchon remains relatively elusive, preferring to let his writing speak for itself.

[a-passing-storm]

I just remembered the Outer Wilds soundtrack and I'm going to cry...

[delicatelysublimeforester]

Celebrating International Music Day: Uniting Through Music in Saskatoon

[great-book-review]

An Intellectual Journey through Evolution and Spirituality

Piet D. Botha's work, titled "Yesterday, Today, and Tomorrow: Evolution and the Noosphere," extensively explores the intricate relationship among science, evolution, and spirituality. This thoroughly researched piece offers readers an enlightening journey through these challenging themes and introduces a fresh perspective on their potential harmonious coexistence.

Piet D. Botha, as an author, showcases a profound comprehension of the topics he addresses, referencing notable figures like Charles Darwin, Teilhard de Chardin, and Stephen Hawking. This extensive array of sources not only reinforces his assertions but also furnishes readers with a robust groundwork for delving into the intricacies of these profound subjects.

The book is meticulously divided into chapters that explore different aspects of spirituality, evolution, and the noosphere. It begins by outlining the progression of evolutionary theory throughout history, giving a succinct and understandable synopsis of important ideas. It is admirable how Botha can translate difficult scientific concepts into understandable words.

This book's examination of the peaceful coexistence of evolution and faith is one of its best features. Botha makes a strong case for the possibility that spirituality and science may coexist and perhaps strengthen one another. He invites readers to adopt an outlook that values mutual enrichment between religion and scientific knowledge, promoting harmony rather than conflict. With this method, conventional dichotomies are questioned, and readers are encouraged to think about how these two worldviews may coexist peacefully.

The author's writing often reflects an academic tone, which is suitable for readers with a keen interest in the topics discussed. However, this academic style might pose a challenge for a broader audience seeking a more accessible narrative. Despite this, Botha's arguments are well-researched and meticulously documented, providing a sturdy foundation for his thesis.

Still, there are some issues with the book. It might occasionally be difficult for readers to follow the author's argument consistently due to the lack of structural coherence. An improved organization of content could enhance the overall reading experience.

In conclusion, the book "Yesterday, Today, and Tomorrow: Evolution and the Noosphere" invites readers to delve deeply into intricate issues pertaining to faith, science, and evolution. It offers a valuable opportunity to reconsider how we perceive the intersections of these subjects. While it has its strengths, such as intriguing perspectives and rich references, it is hindered by structural incoherence and editing issues. However, for those willing to delve into these challenging themes, the book provides an intellectually rewarding experience.

I would rate this book 4/5 for its invaluable insights and the author's audacious attempt to harmonize seemingly contrasting worldviews, despite deductions for structural and editing issues that impact the overall reading experience.

[linddzz]

(regular disclaimer that I will exaggerate big feelings for effect but at the end of the day this is fandom and in the grand scheme of things Just Ain't That Serious good? good)

okok look while I am obviously SOOO into where Arcane went with the Machine/Arcane Herald, I can get why gamers who liked og LoL Viktor would be Big Annoyed at him being totally retconned and overhauled in game. That is undeniably a totally different guy there and yeah it would be shitty to have the guy you like completely swapped out. I can especially get it if they liked the mechanical cyborg engineering aspects of his character!

BU T I keep seeing iterations of "he didn't choose anything for himself he just had things happen to him" or "he just went mystic. he used to be someone who used his genius to remake himself and now he just meditated himself into a wizard" and I am so so down to meet in the pit on those takes!! I get people not liking the less mechanical aspects of him but hhhhhhohmygod do not be taking my guys agency and genius down like that

Yes the initial full fusing with the hexcore is something that happened to him, that someone who loved him maybe too much did to him (almost like Arcane has themes of people being launched down dark paths by things that happen to them beyond their control hMmMmmmmmm!!!) And btw I still hold that while his brain got changed by trauma (bc trauma DOES THAT) and the hexcore helped amplify and empower him leaning into his worst traits, after Jayce forced that initial fusion everything Viktor did was a choice.

But also!! Jayce used Viktor's notes. Viktor was the one who went down and got shimmer, who lied and experimented in secret. He stumbled into noticing the hexcore responding to biological material but then he pursued that avenue (because LIFE is a lot of stumbling into things and then deciding what to do from there), figured out what interdisciplinary collaborations he needed to make, figured out on his FIRST TRY what runes he would need to put where.

And while they don't lean into the mechanical engineering genius as much as the OG Viktor like...guys that's a software engineer with a big scoop of magic theorist on top of it (who then started a pivot into biomechanical arcane theory like THAT). He made a magic AI! Don't go telling me he didn't use his genius to become the Arcane Herald when he made a magic AI and then I got to watch the hexclaw grabbing and programming runes into spells like the coolest shit ever!!

That man figured out how to make Jayce's ideas into reality. He then used the scant knowledge of the arcane that still exists to figure out and recreate, using technology, what mages do by instinct. He made a MAGIC AI HOLY SHIT. Jayce is STILL referencing Viktor's rune theories to figure out the anomaly!!

He did not use the same type of genius to become the same type of Herald, but my guy invented being a technomancer so hard that he turned himself into a magical supercomputer and was so good at THAT that he made himself a robowizard god and I will not be hearing anything belittling how nuts that is!!

[literaryvein-reblogs]

Writing Notes: Frameworks of Health

The meaning of health has evolved over time but early definitions of health focused on the theme of the body’s ability to function.

Originally health was seen as a state of normal function that could be disrupted from time to time by disease.

Disease - a broad reference to any condition that impairs normal functioning of the body.

BIOMEDICAL MODEL

Most Western countries focus on the physical processes – pathology, biochemistry and physiology of a disease – as primary contributors to health:

This is known as the biomedical model:

According to this model, health means freedom from disease, pain, or defect but not does consider the role of social factors or individual subjectivity.

TRADITIONAL MEDICINE

There is a contrasting model of health that takes a more holistic approach, often referred to as traditional medicine.

Traditional medicine - “the sum total of the knowledge, skills, and practices based on the theories, beliefs, and experiences indigenous to different cultures” (WHO, 2019).

BIOPSYCHOSOCIAL MODEL

In 1977, American psychiatrist George Engel developed an interdisciplinary model that looked at the interconnection between biology, psychology, and socio-environmental factors.

With his biopsychosocial approach, Engel strived for a more holistic approach to health by recognizing that each patient has his or her own thoughts, feelings, and history.

Engel’s biopsychosocial model views the development of illness through the complex interaction of biological factors (genetic, biochemical), psychological factors (mood, personality, behavior) and social factors (cultural, familial, socioeconomic, medical).

Example: A person may have a genetic predisposition for depression, but he or she may have social factors such as extreme stress at work and family life, and psychological factors such as a perfectionistic tendency, which when combined can trigger this genetic code for depression.

Source ⚜ Writing Notes & References

[wianes]

Exploring Griffith's Duality Symbolism: Beyond Light and Dark part 1

My intention was to explore the various contradictions surrounding Griffith's character. These contradictions stem from the narrative itself—what the series conveys, how other characters perceive him, and the underlying allegorical subtexts. This, of course, shouldn't be taken literally. Still, I believe that considering layers from different interdisciplinary fields is a valid and approach.

As a result, I ended up writing quite a lengthy piece about Griffith. Lol. Sometimes that happens when the source material and my engagement feel endless.

In Berserk, Griffith holds a central, almost heliocentric position, reflecting the broader universe in his complex nature. My goal is to illustrate that his duality is a recurring theme throughout the narrative, resonating on multiple levels. I plan to illustrate this across different points in the manga.

For technical reasons, I decided to split the topic into two parts. Even though the second part turned out especially long, I hope this work will be to your liking, both for the exploration of Griffith’s character and the cultural elements it touches on.

What drew me to explore this concept is how Berserk presents an intriguing perspective on the interplay of opposing forces. These elements transcend individual characters and shape both societies and the cosmos. The series demonstrates that contradictions extend beyond personal conflict, influencing the natural world and the universe itself. Griffith embodies this complexity, merging the Falcon of Light with the Hawk of Darkness, symbolizing the balance between light and shadow.

As time unfolds, the duality woven into his character becomes increasingly clear through his many actions and intricate interactions. These moments reveal the rich, multifaceted nature of his persona, surrounding him with an air of mystery and adding depth to the story. This ongoing conflict in his character, shown through his decisions, is a key theme throughout the story. While Griffith initially appears innocent, his later choices reveal a more complex individual, combining outward purity with a calculated, methodical approach. From the very beginning, after his first encounter with Guts, it becomes evident that Guts holds two distinct impressions of him.

As the inexorable flow of time continues, Griffith’s complexity invites deeper scrutiny. This becomes particularly evident during his reflective conversation with Judeau. In this exchange, they delve into the core essence of Griffith's character.

Judeau carefully outlines the various instances that illustrate the complexity of understanding Griffith. He doesn’t know the direct answer, even after all the battles they’ve fought together. After observing Griffith closely... Judeau describes him as someone who swings between childish tantrums and a deep seriousness—showing absolute conviction in everything, sometimes to the point of being incomprehensible. Griffith seems to have a gift that feels otherworldly, and this reveals the paradox within him. By now, he has already become both mesmerizing and unsettling. Even someone as observant as Judeau struggles to define him, as Griffith seems to constantly shift between extremes.

He is both terrifying and captivating. Whether he is a hero or a villain seems less important. Judeau notes that, at times, Griffith blurs the line between wise and immature, revealing a mix of human vulnerability and divine purpose. The character remains a mystery, someone whose true nature might never be fully understood. The story emphasizes that, whether he appears good or evil, his most defining trait is his extraordinary essence. This suggests that what truly draws people to him isn't their belief in his goodness, but rather the sense that he is beyond ordinary human experience. There are indeed aspects that go beyond verbal description and manifest themselves in ways that are truly mystical.

Charlotte, too, senses this duality in her view of Griffith.

We can see poeple (especally women) adore him for his grace, which surpasses the elegance of the most refined members of upper social circles. These individuals, who should naturally embody grace—as if chosen by the gods themselves, and also spend their entire lives among peers of similar refinement.

Grace encompasses a range of traits: poise, dignity, aesthetic sense, charm, articulation, fluidity, and lightness in physical movement. It often appears almost supernatural, like the divine figures depicted in art and religion. Heroes and deities show a level of harmony and aesthetic that surpasses human capabilities, suggesting that grace, in its rarity and uniqueness, may have its roots in a higher realm. Yet, even among nobles, Griffith, a commoner, stands out remarkably.

Nonetheless, Charlotte also perceives a certain extremity in this. His divine grace stands in stark contrast to his image as a simple child from the countryside. Children, as we know, can be tactless and unaware of social conventions. They act with little understanding of what is considered appropriate or inappropriate, following their natural instincts. They do what feels pleasant and avoid what feels unpleasant, unburdened by the social constructs that societies have built over centuries.

This contrast becomes especially clear in the hunting scene. Here, Griffith decides to approach the princess who represents his ultimate goal. While the subtle tension of being watched by both allies and enemies is present, he casually plucks leaves from trees and whistles in the presence of the most important woman in the country.

Charlotte perceives Griffith through his fundamental simplicity and naturalness, finding it enchanting. He evokes the carefree spirit of a child wandering through an endless meadow, reminiscent of a butterfly. Griffith embodies straightforwardness, fun, and spontaneity. His innocence stands out against the sophisticated and artificial world around him, which adults have built up over time with learned behaviors and restrictions.

His godlike grace seems otherworldly and reflects an inherent perfection, untouched by mortal clumsiness and heaviness. He expresses beauty, flowing effortlessly with each moment.

In this child-like purity, Griffith reaches the 'source' of an original state of being—something divine, since beyond human again. Childlike and godlike figures exist outside the complex web of human rules and norms, though for different reasons. Griffith’s approach is akin to that of gods and children who often act according to their own will.

From my perspective, Charlotte’s admiration wasn’t due to Griffith's stylized kindness, romanticism, or his services to the country. Nor was it based on his physical attributes. Instead, she was captivated by his genuine nature. His grace, his detachment from conventional desirable behaviors, and his ability to address existential matters with deep conviction stood out. He spoke with inspiration, as if he possessed the breath of a god. And Griffith's purity, rooted in fundamental principles of reality, extended beyond mere gifts.

He seems almost perfectly made, like the gods with all their awareness shaped him with passion and love. Yet, he remains pristine and innocent, driven by unconscious instincts.

During the hunting scene, we get our first glimpse of the intricate interaction between Griffith and Charlotte. She represents his desires and is dressed in a way that reflects the contrasting aspects of his fantasies, showcasing his varying shades.

In the Golden Age arc, this theme is consistently explored around Griffith's character. It appears in moments like his conversation with Guts, which takes on a more abstract and metaphysical context. As we know, Guts may be interested in this topic since one of his motivations is to uncover the truth about the world.

I will quote Miura’s words to show how his reasoning aligns with Griffith’s perspective. This approach may be crucial for understanding the series and suggests that Griffith’s striking presentation is not insignificant.

“If I used words like ‘god’ and ‘devil,’ the world of my story would become more limited, lacking depth and originality. God and the devil are constructs of human thought. This argument is similar to the chicken and egg paradox: which comes first? The existence of god and the devil reflects human existence.”

Berserk does not follow the structure of modern stories where absolute good prevails. Instead, it closely resembles ancient mythological narratives, where even gods and heroes also commit acts of moral ambiguity. With this in mind, let’s consider some icons from different parts of the world.

Heracles, renowned for his Twelve Labors, once killed his wife Megara and their children in a moment of madness. This event shows that even heroes are capable of tragic violence.

Sigurd, famous for slaying the dragon Fafnir and acquiring his treasure, later betrayed his loved ones. Under the influence of treacherous advice, he killed his friend Regin.

Apollo, the god of art, beauty, and prophecy, was also known to flay people alive in his rage.

Gilgamesh, the builder of Uruk and seeker of immortality, was both a hero and a tyrant. He oppressed his people, illustrating the complex duality in leadership.

Odin, the god of wisdom and war, often used manipulation and led brutal conflicts to achieve his goals. This demonstrates the darker side of divine wisdom.

Zeus, the ruler of the gods, maintained cosmic order but was notorious for violent affairs and betrayals. His actions sparked countless tragedies.

Shiva, the "Destroyer" used extreme measures, sometimes testing the devotion of his followers with harsh trials. This reflects the unpredictable nature of divine power.

Achilles, one of the greatest warriors of the Trojan War, brutally killed Hector and desecrated his body by dragging it behind his chariot.

This emphasizes the savage side of heroism, and I could continue listing more examples like this.

Each of these mythological figures embodies both greatness and cruelty. Their actions challenge the notion of absolute good, leaving morality in a constant state of flux.

Expanding on Miura's quote and Griffith's idea: Deities, in their essence, are neither inherently benevolent nor malevolent. They might choose to favor us or ignore us. This dichotomy, which we refer to as fate or luck, is a fickle force that shapes our lives and influences our perception of the world. Consequently, the fruits of our labor may yield a bountiful harvest or turn our orchards into ashes. This reflects a natural order beyond human control or intervention. We should accept the full spectrum of reality, avoid unnecessary interference, and seize opportunities when they arise. By engaging passively with existence, we might discover a deeper sense of purpose.

In summary, Griffith suggests that what we consider good or evil is not universal; what’s good for one might not be good for another, like how a fish might not see things the same way. Everything is relative; defining good and evil is inherently arbitrary. Moral values are not concrete but abstract by nature, and abstraction requires a mind to abstact it.

This perspective allows Griffith to navigate his complex web of relationships with introspection. He sees a clear divide between those who openly revere him and those who secretly conspire against him. As an exceptional figure, the character evokes strong emotional responses. He attracts both deep admiration and malignant intent. Some people are willing to risk their lives for his cause, believing he can elevate their existence and provide unmatched fulfillment. In contrast, others view him as a serious threat, particularly because of his humble origins and the sweeping reforms he envisions. These changes might marginalize them in the new order he proposes. Thus he is no longer seen as the embodiment of fulfillment, Griffith now represents an element of insecurity.

In the grand theater of observation, whether viewed from a high or low perspective, this complexity makes it challenging to establish fair relationships with him. How can one achieve fairness when some people view him with disdain, while others see him from a perspective akin to that of a frog? Some people smile at him with the intent of taking something from him, while others smile in hopes of gaining something from him. Let's be honest— No one is here because they woke up with the idea of bestowing this young man with a castle. Both factions , fixated on his presence, inadvertently give him a degree of control over the course of their lives.

Moving on to the eclipse, Femto emerges from a form that also carries symbolic meaning related to this theme.

The cosmic egg, a recurring symbol in many mythologies, appears in Greek, Egyptian, Finnish, Buddhist, and Japanese traditions. From the primordial void of non-being, the world came into existence, emerging from a state of pure potential. Hindu sacred texts vividly describe it: "In the beginning, it was without form. It took the shape of an egg, resting in tranquil stillness for a year. When divided, the shell split into two halves: one silver and the other gold. The silver half became the earth, while the golden half turned into the sky. The outer membrane of the egg transformed into mountains, while the inner membrane gave rise to clouds and mist. Rivers formed from the egg’s veins, and its fluid gave birth to the ocean. From this genesis, the sun emerged."

Symbolically, the shell of the cosmic egg represents the universe’s spatial extent, while the latent seed power embodies nature’s boundless energy. This symbol is essential not only for understanding the origins of worlds but also for illustrating the interconnectedness of creation and existence. It represents the duality of the cosmos and the intrinsic potential that drives the ongoing cycle of creation and transformation. By revealing a profound truth, this mythological archetype shows the intricate balance of the universe, with each element playing a crucial role in the grand scheme. The egg’s shell often signifies the external or physical realm, while its inner contents symbolize the internal or spiritual dimensions.

Many mythological traditions depict the cosmic egg as split into two halves: one half representing the Earth and the other representing the sky. This division highlights the dualistic nature of existence, separating the tangible from the celestial. It captures the essence of dualism, revealing the interplay between the material and the immaterial, the manifest and the unmanifest. Different cultures view the cosmic egg through various dualistic lenses, representing unions of male and female principles, light and dark, the divine and earthly, creation and destruction, order and chaos, or birth and death. The egg's role in creation often involves a transformative process, symbolizing the dissolution or transformation of a prior state. Its symbolism blends creation and dissolution, merging corporeal and ethereal elements, thus integrating dualistic principles.

During the eclipse, Femto stands on the palm of the hand, symbolizing the acute union of opposites.

This imagery combines fish and flames, symbolizing mercury and sulfur, respectively. In alchemy, the prominent placement of the fish in the sixth secret sign underscores the importance of the center of the hand, which represents this key element. According to alchemical philosophy, the presence of both mercury and the fish is crucial for achieving substantial results. Mercury (quicksilver) is considered the alpha and omega, acting as a priest who harmonizes all elements. It is believed that all metals originate from the male essence, seed, and water, with mercury playing a central role in all arts and symbolizing the highest of secrets.

The palm of the hand carries additional symbolism in alchemy. The seventh sign of the philosophers is fire, which represents sulfur. Sulfur symbolizes the earth and the origin of all metals. It embodies the feminine principle, nurturing growth and symbolizing the fertile soil needed for seeds to flourish. When pure mercury combines with pure sulfur, it produces pure fruit. This fruit represents the union of man and woman, father and mother, fire and water, and seed and ground. This alchemical marriage brings together opposites to create harmony and perfection, highlighting the transformative power of alchemy. By combining these fundamental principles, one achieves the ultimate creation.

Among the series' quotes, the most beautiful and enigmatic one clearly relates to this motif.

Femto perceives the shadowed aspects within both the external realm and the self. Enlightenment and wisdom come from recognizing how opposing forces naturally interact. It's not just about understanding that the day is good and the night is bad. From the darkness, the essence of illumination emerges, with light and shadow working together as harmonious forces to create profound, unified insight.

Consequently, we see Femto as a demon emerging from the shadows. He has a void-like, murky interior and radiates beams of light from within. Despite the emptiness at the core of his monstrosity, his eyes are imbued with a white light.

To avoid being verbal-only, I should add that, at least during this period in the manga (we don't know what will happen next), Griffith consistently receives symbolism related to harmony and balance, as seen here.

Griffith’s connection to Lord Vishnu is a prime example of rich symbolism. Vishnu is depicted as a deity who blends childlike innocence with the role of a protector, preserving cosmic equilibrium. His armed form symbolizes omnipotence and multifaceted nature. Each of his attributes represents a different aspect of his divine character: creation, preservation, and spiritual liberation.

This is just one example among many in the manga. I have illustrated various scenarios to show how this principle intricately weaves into different aspects of Griffith’s character. It is quite meticulously shown that the theme surrounding Griffith starts to develop at the beginning with Guts's first contemplation about him. This theme will be continued and elaborated upon through the lens of other characters, Griffith himself, symbols, and the visual applications.

I consider this a good point to conclude. I will continue with this topic in the next post, as I have more to discuss on the subject. The next part will focus even more on various synchronizing motifs, concentrating on the concepts from Jungian and Freudian psychoanalysis, as well as European, Chinese, and Hindu religious and philosophical traditions.

On the margins, I want to emphasize that these symbols should not be taken too literally as exact representations. Nevertheless, We can see that their application is quite consistent, deliberate, and inevitable. I don’t believe that understanding the narracy and subtext is unnecessary or completly useless when trying to grasp the author’s intentions.

[victusinveritas]

Hi Folks, those of you (probably few and far between) academically inclined and with departmental backing to send you to Iceland might be interested in this...

The Háskóli Íslands Student Conference on the Medieval North

  "CALL FOR PAPERS

We are accepting abstract submissions for the fourteenth annual Háskóli Íslands Student Conference on the Medieval North.

The Háskóli Íslands Student Conference on the Medieval North is an interdisciplinary forum for postgraduate students (masters and doctoral level) and early career researchers working in the broad field of medieval northern studies, held every April in Reykjavík, Iceland. Students who have not given papers at an academic conference before are especially encouraged to submit. The conference will be held April 10th-12th, 2025, online and in-person at Háskóli Íslands.

This conference seeks proposals on the theme of “Other Things.”

The Other has been a perennial subject in the study of the medieval north. We ask: what constitutes an Other? What Others have been ignored? How is Otherization expressed across the field’s subdisciplines? We playfully consider the double meaning of “things,” seeking consideration of objects forgotten or buried beneath academic attentions. What critical lenses have been neglected? What Other Things are there left to discover?

We accept abstract submissions on a wide range of topics connected to this theme, including but not limited to art history, archaeology, digital humanities, folklore, gender and queer studies, literary studies, manuscripts and paleography, philology, reception of the medieval period, and religious studies.

We ask that submissions address the theme.

Presenters will have the opportunity to submit their papers for a conference proceedings volume, to be published as an e-book in the autumn of 2025.

Interested student scholars should email an abstract of 250-300 words, along with a brief biography containing name, pronouns, institution, and program of study, to histudentconference@gmail.com by DECEMBER 2nd, 2024. Please indicate whether you intend to attend the conference online or in person. The Committee reserves the right to make selections based on quality of written abstracts, adherence to submission guidelines, and timely submission.

Detailed submission guidelines are here:

The languages of the conference are Icelandic and English. Individual paper presentations will be 20 minutes in length, followed by 10 minutes for discussion. There is also a Poster Session for students to present their material in poster form. Students may apply for either a paper or a poster. The conference committee may offer a poster presentation to some paper applicants. Please direct any further inquiries to the Conference Committee by email.

Áfram!"

[chicanoartmovement]

CHICANO ART MOVEMENT attends: OC Fair 2024

(View at the Orange County Fair 2024 where it’s “always a good time” — this year’s theme.)

We made it to Costa Mesa, California for the last weekend of the OC Fair 2024 for extra long corn dogs, fresh lemonade, sweet & light funnel cake, and visual stimulation.

(South facing view of commemorative memorial honoring agriculture workers and their hard work.)

Entering through the blue gate, we came upon the “Table of Dignity” Memorial in commemoration of the agricultural workers by the Agricultural Association (32nd district) and the OC Fair & Event Center.

The only figurative artwork on the memorial as through its wall-thru archway which was created by artist Higgy Vasquez.

(Detailed view of inner walls of the walk through portal portion of the “Table of Dignity” monument.)

This pair of paintings “Dignity” & “Justicia” displayed the different phases of harvesting crops grown in Orange County such as grapes and strawberries.

One special elements of this memorial was the incorporation of live grape vines.

(View of participating collections and memorabilia at the year’s OC Fair.)

Next we moved on to the Hobbies & Handcrafts building in support of one of our street team member who had a pop culture display at the OC Fair.

(View of gallery sign at the Orange County Fair 2024.)

Afterwards we proceeded to the Visual Arts & Woodworking Gallery. There we came upon two life size cutouts: a pachuco and a pachuca.

(View of “Me Despojo De Todo Lo Que Disminuya El Valor de Mi Ofrenda” by Jacqueline Valenzuela, 2024.)

Lured in and while walking around the art booth, we saw the artista Jacqueline Valenzuela painting live. We were fortunate enough to chat with her & learned about her art collaboration with the fair.

“Jacqueline Valenzuela is an interdisciplinary artist whose practice is centered around depicting her personal experiences as well as the storytelling of other women who like her are in the Chicano world of lowriding. Her art practice reflects the deep roots she has planted in the lowrider community by bridging the gap between fine art and this underrepresented community.”

[yr-bed]

“King Lear With Sheep” was first staged in a London warehouse last summer, then had a two-night revival at a farm in Sussex, on England’s southern coast. Now it will appear at the Courtyard, an interdisciplinary space in the hip Hoxton district. The production’s writer and director — Heather Williams, who uses the pen name Missouri Williams — is a 2013 graduate of Cambridge University. She said she had conceived the show in a post-baccalaureate year abroad at Harvard and pitched the idea to a student theater group there, which “rejected it because it was too dirty,” she said in a telephone interview. The production, which lasts under an hour, centers on a director character who decides to stage a production of “King Lear” starring sheep. In the face of the animals’ indifference, he breaks down and begins to perform the tale himself. Ms. Williams said that the production aimed for humor but also to get at some of the richer themes that underpinned Shakespeare’s work. “I wanted to use the idea of non-cooperative actors to explore the themes of ‘King Lear’ itself,” she said. “Because Cordelia’s an actor who refuses to act,” she added, referring to the title character’s youngest daughter, who is disowned after she declines to flatter her father the way her sisters do.

'King Lear With Sheep.' Yes, Sheep.

[kaberriveraltar]

Revelation Unveiled: An In-Depth Analysis of Revelation 1:1-20

Table of Contents

Introduction

The Purpose of Revelation

The Importance of Context

An Overview of Revelation 1:1-20

Verse-by-Verse Analysis

Verse 1: The Revelation of Jesus Christ

Verse 2: The Testimony of John

Verse 3: The Blessedness of Hearing

Verses 4-5: Greetings to the Seven Churches

Verse 6: Our Royal Priesthood

Verses 7-8: The Coming of the Lord

Verses 9-10: John's Vision on Patmos

Verses 11-12: The Command to Write

Verses 13-16: The Description of the Son of Man

Verses 17-18: The Assurance of Christ

Verses 19-20: The Mystery of the Seven Stars and Candlesticks

Historical and Political Context

The Historical Setting of Revelation

The Political Climate of the Early Church

The Roman Empire and Early Christians

Cultural and Religious Implications

The Influence of Hellenistic Culture

Jewish Roots and Symbolism in Revelation

The Role of Prophecy in Early Christianity

Theological Reflections

Christology in Revelation

Eschatology: Understanding the End Times

The Nature of God in Revelation

Interdisciplinary Perspectives

Insights from Neuroscience

Educational Implications

Sociological Perspectives

Philosophical Reflections

Anthropological Context

The Intersection of Social Work and Theology

The Role of Nursing in Understanding Spiritual Care

Conclusion

The Enduring Significance of Revelation

Final Thoughts and Reflections

INTRODUCTION

The Purpose of Revelation

The Book of Revelation, attributed to John, serves as a prophetic vision of the culmination of Christian hope, revealing the ultimate victory of good over evil. This opening chapter sets the stage for the entire work, offering insights not only into the nature of Christ but also the trials faced by the early Church. As we delve into Revelation 1:1-20, we will explore the intricacies of its language, the profound symbolism present, and the socio-political contexts of the time.

The Importance of Context

Understanding the context of Revelation is paramount to grasping its message. Written during a time of persecution for early Christians, the text addresses both immediate concerns of the Church and broad prophetic themes that resonate through the ages. The text is not merely a collection of prophetic visions but a call to endurance, faithfulness, and hope.

An Overview of Revelation 1:1-20

In this chapter, we will dissect the passage verse by verse, analyzing the language and terms used, including their Hebrew and Greek roots. We will also explore the political and military perspectives surrounding the early Church, offering a comprehensive view that integrates historical accuracy with theological reflection.

PART 1: VERSE-BY-VERSE ANALYSIS

Verse 1: The Revelation of Jesus Christ

The opening verse introduces the book as "The Revelation of Jesus Christ." The Greek word used here, "apokalupsis," translates to "unveiling" or "disclosure." This notion of revelation is significant; it is not merely about predicting future events but revealing the character and authority of Christ.

The phrase "which God gave unto him" signifies a divine origin, emphasizing that the revelations presented are rooted in divine will. The term "servants" (Greek: "doulos," meaning bondservants) indicates the relationship believers have with Christ—servants who are entrusted with divine knowledge.

Verse 2: The Testimony of John

John identifies himself as a witness to the word of God and the testimony of Jesus Christ. The importance of testimony in the ancient world cannot be overstated; a witness's account was foundational in establishing truth. This verse also reinforces the communal aspect of faith, as the message is intended not just for John but for all who would hear it.

Verse 3: The Blessedness of Hearing

"Blessed is he that readeth" reminds readers of the promise of blessing inherent in engaging with the text. This blessing extends beyond mere reading; it involves hearing and keeping the words of the prophecy. The phrase "for the time is at hand" suggests urgency, indicating that the messages contained within are not just for the future but relevant for the present.

Verses 4-5: Greetings to the Seven Churches

John addresses the seven churches in Asia, a significant number symbolically representing completeness. The greeting "Grace be unto you, and peace" is a typical Pauline greeting but is imbued with deeper meaning here, as it stems from the Trinity: God the Father, the Holy Spirit (the seven Spirits), and Jesus Christ. Each figure contributes to the overarching theme of grace and peace amidst tribulation.

Verse 6: Our Royal Priesthood

The declaration that believers are made "kings and priests" is rich in Old Testament allusions. The Hebrew term for "priest" (Hebrew: "kohen") emphasizes the role of mediation between God and humanity. In this context, the imagery underscores the elevation of believers, reflecting their newfound identity in Christ.

Verses 7-8: The Coming of the Lord

The proclamation of Christ's coming with clouds evokes imagery from the Old Testament, particularly Daniel 7:13, where the "Son of Man" approaches the Ancient of Days. The phrase "every eye shall see him" indicates an inclusive revelation, affirming the universal scope of Christ’s authority. The term "Alpha and Omega" encompasses the entirety of existence—beginning and end—asserting God's sovereignty over time.

Verses 9-10: John's Vision on Patmos

John identifies himself as a "brother" and "companion in tribulation," likening his experience to that of the churches he addresses. The Isle of Patmos, a small volcanic island in the Aegean Sea, served as a prison for John, reflecting the harsh realities faced by early Christians. The phrase "I was in the Spirit on the Lord's day" suggests a moment of divine inspiration, indicating that the visions that follow are spiritually significant.

Verses 11-12: The Command to Write

The command to write down what he sees introduces a pivotal directive for the entire book. The specificity of sending the message to the seven churches signifies the importance of local congregations in the broader narrative of the Church.

Verses 13-16: The Description of the Son of Man

John's vision of Christ is richly symbolic. The "seven golden candlesticks" represent the churches, while the figure of Christ, reminiscent of the "Son of Man," is clothed in a robe with a golden sash, indicating priestly authority. The imagery of His hair being "white like wool" suggests purity and wisdom, while "eyes like flames of fire" symbolize penetrating insight and judgment. The "sharp twoedged sword" from His mouth points to the power of His word, capable of discerning truth and falsehood.

Verses 17-18: The Assurance of Christ

John’s reaction of falling at Christ's feet as if dead reflects the weight of divine holiness. Christ’s comforting words, "Fear not," underscore His role as the eternal being who transcends death. The mention of "the keys of hell and of death" emphasizes His authority over life and death, a significant assurance to the persecuted faithful.

Verses 19-20: The Mystery of the Seven Stars and Candlesticks

The closing verses provide clarity regarding the symbols presented earlier. The seven stars represent the angels of the seven churches, while the candlesticks embody the churches themselves. This imagery reinforces the idea that Christ is intimately connected to His Church, aware of its struggles and triumphs.

Questions Found in This Chapter

What is the significance of the title "The Revelation of Jesus Christ"?

The title emphasizes that the content is a divine unveiling of Christ's true nature and authority.

Why is the number seven used in reference to the churches?

The number seven symbolizes completeness in biblical literature, indicating that the message is relevant to the whole Church.

What does it mean to be "kings and priests" in Christ?

This identity reflects a believer's elevated status and role in mediating God's presence to the world. The concept roots back to Exodus 19:6, where Israel is called a "kingdom of priests."

How does the imagery used in Chapter 1 reflect Old Testament themes?

The imagery mirrors prophetic visions, particularly from Daniel and Ezekiel, reinforcing the continuity of God’s revelation through history.

Modern Interpretations and Interdisciplinary Perspectives

To contextualize these themes in modern frameworks, we can draw insights from various fields:

Neuroscience: The process of revelation and understanding can be likened to neurological responses when encountering profound truths, where the brain engages with complex ideas, akin to spiritual awakening.

Education: The emphasis on hearing and keeping the words aligns with educational theories that prioritize active learning and engagement with material for deeper understanding.

Sociology: The communal aspect of faith reflected in John's address highlights the social dynamics of early Christian communities and their resilience in the face of persecution.

Philosophy: Questions of existence, authority, and morality in Revelation encourage philosophical inquiry into the nature of truth, particularly in a world grappling with relativism.

Anthropology: The cultural context of early Christians, facing Roman persecution, reflects the diverse expressions of faith and identity in a pluralistic society.

Social Work: The role of faith in providing support and resilience for individuals facing hardship echoes the principles of social work in fostering mental health and community support.

Neuroscience Nursing: Understanding the spiritual needs of patients highlights the intersection of faith and health, emphasizing holistic care that incorporates psychological and spiritual dimensions.

As we continue this exploration of Revelation 1:1-20, we shall delve deeper into the historical and political contexts surrounding the text, enhancing our understanding of its profound theological implications.

PART 2: HISTORICAL AND POLITICAL CONTEXT

The Historical Setting of Revelation

To fully appreciate the significance of Revelation 1:1-20, we must first understand the historical backdrop against which this text was written. The Book of Revelation is traditionally attributed to John, often identified as John the Apostle, who is believed to have penned this work around 95 AD during the reign of the Roman Emperor Domitian. This period marked a time of intense persecution for Christians, particularly as the empire sought to consolidate its power and quell any dissent.

The socio-political landscape of the Roman Empire was fraught with tension, especially concerning the growing influence of Christianity. As the faith spread rapidly throughout the provinces, it often clashed with the established pagan practices and the veneration of the emperor, which was a cornerstone of Roman ideology. This tension created a precarious environment for Christians, who were viewed with suspicion and hostility.

The Political Climate of the Early Church

The early Christians lived in a society that was heavily influenced by a polytheistic worldview. The worship of the Roman gods was not just a matter of personal belief; it was woven into the very fabric of civic life. To refuse participation in these rituals was to risk social ostracism, economic hardship, and even death. The Christians' declaration of Jesus as Lord directly challenged the authority of the Emperor, who was often proclaimed as "Lord" and "Savior."

Domitian's reign (81-96 AD) was characterized by a demand for loyalty and worship, with the cult of the emperor becoming increasingly prominent. Christians were often required to offer sacrifices to the emperor, which they resisted, leading to widespread persecution. This context is crucial to understanding the urgency and the themes of endurance, hope, and ultimate victory present within Revelation.

The Roman Empire and Early Christians

The Roman Empire at the time of John’s writing was vast, stretching from Britain to the Middle East, encompassing a diverse range of cultures, languages, and religions. The empire was marked by its administrative efficiency but also by political instability. Rebellions, uprisings, and dissent were common, particularly in provinces where local customs conflicted with Roman demands.

In Asia Minor, where the seven churches addressed in Revelation were located, the cities were thriving centers of commerce and culture, but they also bore the brunt of Roman taxation and military presence. Christians in these cities often faced societal pressure to conform to the prevailing norms, which included participation in the imperial cult. The struggle of maintaining faith amidst such pressures is a recurring theme in John's message.

The Role of Prophecy in Early Christianity

In this context of persecution and societal pressure, prophecy served as a crucial mechanism for the early church. It provided hope and assurance of divine sovereignty in the face of suffering. The prophetic nature of Revelation is vital; it reassures believers that God is in control and that justice will ultimately prevail. This is particularly relevant when considering the historical context where believers faced real threats to their safety and well-being.

The prophetic literature in the Old Testament, particularly the books of Daniel and Ezekiel, deeply influenced John's writing. The use of apocalyptic imagery served to convey the idea that, despite present tribulations, God’s plans would come to fruition in His appointed time. This is evident in Revelation 1:3, where the call to "hear and keep" the words of the prophecy underscores the active engagement required from believers.

The Influence of Hellenistic Culture

The Hellenistic culture, which permeated the Roman Empire, played a significant role in shaping the worldview of the early Christian community. Philosophical ideas from Greek thought, such as dualism, influenced early interpretations of Christian doctrine. The perception of a cosmic struggle between good and evil, as reflected in Gnostic thought, found resonance within the apocalyptic framework of Revelation.

Moreover, the use of symbols and allegories in Hellenistic literature parallels the rich imagery found in Revelation. John’s references to seven churches, stars, and candlesticks draw upon both Jewish symbolism and Hellenistic literary conventions, creating a unique tapestry that speaks to both Jewish believers and Gentile converts.

The Jewish Roots and Symbolism in Revelation

Understanding the Jewish roots of Revelation is essential for grasping its intended message. The early Christian community was predominantly Jewish, and the Old Testament served as both a foundation and a lens through which they viewed the world. John's use of Old Testament references, such as the imagery of the "Son of Man" from Daniel 7 and the significance of the number seven, reflects a deep connection to Jewish apocalyptic literature.

The symbolism of the seven churches, candlesticks, and stars resonates with the Hebrew concept of divine presence and guidance. In the Jewish tradition, the menorah represented God's light among His people, and by employing this imagery, John emphasizes the ongoing relationship between God and His Church.

Theological Reflections

The historical and political context of Revelation 1:1-20 provides a rich backdrop for theological reflection. The text serves as a reminder of God’s sovereignty in the face of human oppression and suffering. John's description of Christ as the "Alpha and Omega" reinforces the belief that God is the ultimate authority over history, and His purposes will prevail despite earthly trials.

The themes of victory, endurance, and hope resonate throughout the chapter, encouraging believers to remain steadfast in their faith. In a world filled with uncertainty and chaos, Revelation offers a profound assurance that God is actively involved in the affairs of His people.

Interdisciplinary Perspectives

To further contextualize the themes in Revelation, we can draw insights from various fields:

International Relations: The dynamics between early Christians and the Roman Empire reflect broader themes of power, resistance, and diplomacy. The struggle for religious freedom can be likened to modern discussions of human rights and the role of faith in public life.

Economics: The economic pressures faced by early Christians, who often experienced social and financial repercussions for their beliefs, echo contemporary discussions on the intersection of faith and socioeconomic status.

Sociology: The community dynamics within the early church highlight the importance of social support systems in maintaining faith under pressure. The collective identity of believers served as a source of strength during times of persecution.

History: The historical context of Revelation enriches our understanding of the early church's challenges and triumphs. Analyzing past events alongside archaeological findings can provide insights into the lived experiences of early Christians.

Philosophy: The exploration of justice, morality, and the nature of evil in Revelation prompts philosophical inquiry into the human condition and the quest for meaning amid suffering.

Public Administration: The governance of the Roman Empire and its impact on religious practice can be examined through the lens of public administration, shedding light on how policies affect individual freedoms and community practices.

As we conclude this chapter, we recognize that understanding the historical and political context of Revelation 1:1-20 is crucial for grasping its intended message. The text speaks to the struggles of early Christians while offering timeless truths that continue to resonate today.

In the next chapter, we will dive deeper into the cultural and religious implications of the text, exploring how the early Christian community navigated their faith within a diverse and often hostile environment.

Part 3: Cultural and Religious Implications

The Influence of Hellenistic Culture

The cultural milieu of the Hellenistic period significantly shaped the early Christian community and its understanding of theology and practice. After Alexander the Great's conquests, Greek culture, language, and philosophical thought permeated the Mediterranean world. This cultural backdrop created a unique environment in which early Christians had to articulate their faith amidst a plethora of competing worldviews.

In the Hellenistic context, the idea of divine revelation was not foreign. Philosophers such as Plato posited that higher knowledge could be attained through introspection and the pursuit of truth. This philosophical approach influenced early Christian thought, as believers sought to articulate their experiences of God in a manner that resonated with the intellectual currents of their time. Thus, John's use of vivid imagery and symbolic language in Revelation not only communicated theological truths but also engaged with the philosophical discourse prevalent in Hellenistic society.

Jewish Roots and Symbolism in Revelation

The Jewish roots of Revelation provide another layer of complexity to its interpretation. The early Christian community, primarily composed of Jews, viewed their faith through the lens of their heritage. John’s writing is steeped in Old Testament imagery and prophetic tradition, making it crucial to explore these connections for a deeper understanding.

For example, the concept of the "Son of Man," as referenced in Revelation 1:13, draws directly from the book of Daniel (Daniel 7:13-14), where this figure is depicted as a divine agent of judgment. The Jewish audience would recognize the significance of these allusions, understanding them as affirmations of God's sovereignty and the fulfillment of His promises.

Moreover, the symbolism of the seven churches, represented as candlesticks, invokes the imagery of the menorah from the Hebrew Bible (Exodus 25:31-40). The menorah was a symbol of divine presence and guidance, suggesting that the churches are to be bearers of God's light in a darkened world. This connection reinforces the idea of the Church's mission to reflect Christ’s light and presence.

The Role of Prophecy in Early Christianity

Prophecy in early Christianity served as a vital means of encouragement and edification for believers facing persecution. The prophetic nature of Revelation offered hope and assurance that God was actively involved in history and that His ultimate plan would be realized.

The early Christians understood prophecy not just as foretelling future events but as a means of divine communication that provided insight into their present circumstances. The call to "hear and keep" the words of the prophecy (Revelation 1:3) emphasized the importance of active engagement with the text, urging believers to remain faithful in their witness despite external pressures.

Furthermore, the prophetic messages within Revelation addressed the specific concerns and struggles of the seven churches, offering tailored encouragement and admonition. This personalized approach helped to foster a sense of community and shared purpose among believers, reinforcing their identity as a distinct people set apart for God.

Cultural Resistance and Identity Formation

In the face of Hellenistic pressures and Roman persecution, early Christians had to navigate the complexities of cultural identity. The call to worship only Jesus Christ and to reject the imperial cult put believers at odds with the dominant culture, often resulting in social alienation and economic hardship.

This resistance was not merely a rejection of pagan practices but also an affirmation of a new identity rooted in Christ. The early Church began to articulate a theology that emphasized the radical nature of their faith—one that transcended cultural boundaries and offered a vision of community centered around love, grace, and mutual support.

The communal aspect of early Christianity provided a counter-narrative to the individualism prevalent in Hellenistic society. The sharing of resources, encouragement in faith, and collective worship reinforced the belief that they were part of something much larger than themselves—a divine movement with eternal implications.

The Impact of Religious Pluralism

The religious landscape of the Roman Empire was characterized by a rich tapestry of beliefs and practices. From the veneration of the pantheon of gods to the mystery religions that promised personal salvation, early Christians existed within a pluralistic environment that demanded careful navigation.

In this context, the proclamations of Revelation regarding the exclusivity of Christ as the true Lord were both radical and countercultural. The assertion that Jesus is the "Alpha and Omega" (Revelation 1:8) directly challenges the multiplicity of deities and the imperial claims of divinity. This assertion is not merely theological but also political, as it asserts the ultimate authority of Christ over earthly powers.

Early Christians often faced the challenge of articulating their faith in a manner that was both compelling and respectful of the cultural context in which they lived. The use of metaphor, allegory, and symbolic language in Revelation provided a framework for communicating profound truths while engaging with the prevailing cultural narratives.

Theological Reflections

The cultural and religious implications of Revelation 1:1-20 resonate with contemporary discussions about faith in a pluralistic society. The themes of identity, resistance, and divine sovereignty remain relevant for modern believers navigating their own cultural landscapes.

The call to be "kings and priests" (Revelation 1:6) speaks to the identity of believers today as agents of change and ambassadors of God's kingdom. As contemporary Christians engage with a diverse world, this identity challenges them to embody a faith that is not only deeply rooted in tradition but also responsive to the needs and realities of their communities.

Furthermore, the prophetic nature of Revelation encourages believers to remain faithful witnesses in a world filled with competing ideologies. The assurance that God is actively involved in history provides hope and encouragement, reminding believers that their struggles are not in vain.

Interdisciplinary Perspectives

The cultural and religious implications of Revelation can be better understood through interdisciplinary lenses:

Anthropology: The study of cultural practices and beliefs sheds light on how early Christians negotiated their identity in a diverse environment. Understanding the rituals and communal practices of early believers brings insight into the formation of their faith.

Sociology: The dynamics of group identity and belonging within the early Church highlight the importance of community in fostering resilience and faithfulness. The sociology of religion can illuminate how collective beliefs shape individual behavior and identity.

Philosophy: Engaging with contemporary philosophical discussions about truth and morality can provide insights into how early Christians navigated their faith in a pluralistic world. The exploration of ethical questions within the framework of Christian doctrine invites deeper reflection.

Public Administration: Analyzing how early Christians interacted with the political structures of their time can inform discussions about the role of faith in public life today. Understanding the implications of governance on religious practice can foster dialogue around religious freedom and advocacy.

As we conclude this chapter on cultural and religious implications, it becomes evident that Revelation 1:1-20 speaks not only to the historical context of the early Church but also to the ongoing struggles of believers today. The themes of identity, resistance, and divine purpose remain pertinent, urging contemporary Christians to live out their faith in a world that often challenges their beliefs.

In the next chapter, we will turn our attention to theological reflections, examining Christology, eschatology, and the nature of God as presented in Revelation 1:1-20.

More to come in part 4: Theological Reflections.

[bumblehaven]

Echoes, 24x30, interdisciplinary installation (printed hand-drawn digital illustration & overhead projection), 2023.

Click here for links to see my art in other places!

Further exploring the relationship between spirit and man has (and most likely always will be) a significant theme in my creative work. In Echoes, this exploration continues, bringing into question concepts of duality and harmony centred on the relationship mankind has with other living beings. Traditionally, the Indigenous view of the man-beast relationship is sacred, with animals being our natural teachers and guides for as long as our knowledge holds. I seek to portray this sacred connection in my work, and will continue to find ways to honour our animal ancestors to the best of my ability.

The bison is often referred to as one of the Seven Sacred Grandfathers, standing for the value of respect. His presence in this work is speaking to the respect for the natural world that is pivotal for living the good life, which many of us have forgotten under the weight of contemporary living.

[g1-jaj]

Hello beautiful people of tumblr!

This summer I had a great opportunity with Humber Galleries to work alongside amazing artists to come together and create an installation for this years Nuit Blanche with the theme of “Breaking Ground”.

Our installation ‘UNIPLEX’ is a captivating interdisciplinary art installation created by the 2023 Nuit Blanche Fellowship that centers around the theme of unifying geometry. Through a combination of floor installations, mural paintings, sculptures, and AR (interactive augmented reality) elements, the exhibit offers a unique and immersive artistic experience.

If you’re in Toronto come check it out on September 23rd from 7pm-7am!

[kolajmag]

COLLAGE ON VIEW

Nascent Themes from a Conversation of Fragments

Clive Knights at The Daily Grind Lodge at The College of William and Mary in Williamsburg, Virginia, USA through 18 May 2024. This exhibition serves as the laboratory portion for the class “Neuroaesthetics: The Artist and the Mind” taught by W. Taylor Reveley Interdisciplinary Fellows Elizabeth Mead of the Department of Art & Art History and Jennifer Stevens of the Department of Psychological Sciences & the Neuroscience Program. The course and exhibition examine the roles of creativity and cognition through the collage work of English artist and architect Clive Knights. Twenty-five works by Knights are on view. This exhibition brings first-hand experiential interaction with contemporary collage art, inviting viewers to explore their internal response to the color, contrast, depth, tone, layering, texture and gesture of these intricate compositions. Read More

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[akhenvs3000f24]

Unit 07 Blog Post

The relationship between music and nature is profound and timeless. Nature is a vast soundscape, and for as long as we can recount, humans have drawn inspiration from its rhythms and melodies. Indigenous cultures like the Tlingit and Inuit have long been attuned to natural sounds, like whale songs and African tribes have incorporated the deep, low-frequency sounds of elephants into their cultural expressions. This deep connection between natural sounds and human music spans across species, cultures, and time. Whales, birds, and humans create music with striking similarities, despite the millions of years we have spent diverging from one another evolutionarily. Humpback whales compose songs that follow structures and patterns remarkably akin to human music, using repetition and rhythm similar to human composers. Likewise, birds sing intricate songs with call-response patterns, and even sing in recognizable scales. This shared musicality across species suggests that music might be more ancient and universal than we might initially think. I believe music could be an intrinsic part of life itself, a form of communication that precedes human invention.

Natural soundscapes have long inspired human music and found their way into human compositions, serving as a reminder of our connection to the natural world. Music imitates the flow of rivers, the rustle of leaves, and the calls of animals. I think it is beautiful that we try to emanate and embody the harmony and beauty we perceive in the environment. I believe that music acts as a medium that reawakens our emotional and spiritual connection to nature, offering a way to better understand nature’s significance beyond its material or economic value. For example, when forests like the ones in Finland are viewed only in terms of forestry management, this view diminishes the forest's sacredness and alienates people from a spiritual connection to the land. However, folk music, which is deeply rooted in cultural and spiritual traditions, can offer a way to bridge this gap through the spiritual experience it can provide. Nature can be understood in many different ways: scientifically, economically, emotionally, spiritually, and much more. This is why it is important to use an interdisciplinary approach when interpreting nature.

I believe that music can be a powerful tool for inspiring an audience of people to connect with nature. Because of its intrinsic ability to awaken our emotions and our spirits, when used in the context of nature and interpretation, it could be a effective tool for fostering deep relationships with nature and encouraging environmental stewardship.

In a time where technology is more prevalent than ever and humans are more and more engrossed by their phones, I believe music is a possible avenue for encouraging people to spend time outside and connect with nature. A challenge of interpreters is to convince people to get involved with nature. Although it might seem obvious to say that we should encourage people to simply throw away their tech as the solution to get into nature, technology isn't going away. As interpreters, we can either embrace it or fall behind. The internet, social media, television, music and much more can all serve as ways of reaching the masses and informing people about interpretive opportunities. Technology is a great way to communicate broadly, and I think this ties in with the theme of music being a method of communication, one that can convey meanings that go beyond words. Technology is a fantastic way to learn about nature and be encouraged to see the beauty in it, and something that certainly comes to mind for me are the many Planet Earth documentaries narrated by David Attenborough, which are impeccably good at capturing the vast diversity of our planet.

Lastly, a song that transports me to a natural landscape: Flowers by In Love With a Ghost. This is a simple instrumental song that I have loved for years, which incorporates natural sounds like running rivers within its composition. I have always found it very calming and lullabylike, and I associate it heavily with taking walks out in nature because that is when I listen to it the most.

I think it is no coincidence that many people can think of a list of songs they associate with nature, and that is because the two are deeply and intrinsically connected!

Thanks for reading! :)

[vanda-story-logs]

📚 ; intro

> hi there! i'm marzie, but i accept marz, m, or any silly variations of it.

> asian, freshly legal, and queer — still figuring out if i'm allospec, aspec, or a secret third thing in between.

> i've been into writing since i was little! i find that my past (unpublished) works lean into comedy, adventure, slice-of-life & fandom, but i'm also dipping my hands in queer romance and drama.

> this blog is meant as an anthology! below the cut is the official wip intro for the universe it is set in.

V.I.P.

As a leading institution of interdisciplinary excellence, the Vanda International Phrontistery (VIP) in Manila, established 2050 and publicized 2075, gleams brilliantly in the eyes of any parent wishing only the best of the best for their children when it comes to education. It offers not just high-class facilities and curricula for the first twelve grades, but also a diverse selection of courses, programs and workshops for the years after that, making it the marble castle academy of Asia and beyond.

But unbeknownst to the teaching and maintenance staff, within VIP's walls is a secret second world that's painstakingly maintained by the students, particularly from the Years 9 and up. From clubs arise cliques, and these cliques, with their ambitions and enmities, run the second world on a ladder with rungs so easily swapped and replaced. When classes are over, the school becomes a hotbed of social power struggles and gossip, so it's frankly no surprise that everyone seems to want to one-up each other all the damn time.

And with AY 2089-2090 rolling in, clique tensions are now at an all-time high with the arrival of a fresh and fishy bunch: the fringe thinkers of the Crimson Tide. Their ideas of an "ideal society" rub many the wrong way, and even the professors are concerned.

Frankly? Keedan Riqueza could care less. She's just entered Year 9, and an avalanche of homework is much more preferable than dealing with her eldest sister's Aureate bullshit and the pressure of joining the competition for her crown with her other sisters. But when she inevitably gets caught in the crossfire one evening, it looks like she's got no other choice than to play into the clique scene.

Problem is: where will she ultimately end up by the time she graduates from Year 12?

Genres: Sci-fi, dramedy, slice-of-life

Status: Ongoing

Themes: Social posturing, rivalry and competition, human hubris, class struggle, ambition, identity