#interesting facta

[icicle-poptarts]

fun fact

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[flagellant]

What would you say is the earliest church heresy? Like, the original big no-no

Oh see now you've hit an interesting little rabbit hole without realizing it, because we know both a whole lot and also not much about the early days of the Christian church as we understand it.

So this faith leader guy gets executed or whatever, right? And now you have a bunch of his post-postmortem followers running around spreading his branch of weird Judaism which gets twisted into the first beginnings of Messianic Christianity. But this is back in ye olde days, and also the Romans are gonna be killing any Christians they can find, so the earliest days of the church are mystery cults sporadically popping up like mushrooms. (Is the Holy Spirit like a mycelial network? Who can say)

One of these early Christians was a very popular guy named Arius. Arius told his followers that Jesus WAS born of God, but that he was NOT God himself (the word you're looking for vis a vis that relationship is that Jesus is consubstantial with God, as in, made of the same simultaneous divinity.) and therefore should not be worshipped as one would God.

Then some time passes and all the big bishops of this hot new gig called Christianity realize, wait, hold on, we need to get shit straightened out. We can't ALL be calling ourselves Christian when people are saying Jesus was a hologram, or that he was born of God but isnt God, or that he was just some guy that God really liked. We need to all sit down and decide what we as a unified and universal group believe about our religion. So they all go down to this little place called Nicaea where everyone hashes out exactly what they believe in as Christians, and the end result is that Arius was shot down, which is why in the Nicene Creed there's that one specific line that goes something like this:

Et in unum Dominum Iesum Christum, Filium Dei unigenitum, ex Patre natum ante omnia saecula. Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri; per quem omnia facta sunt.

Sharp eyes may have spotted that special little word consubstantialem in there. The earliest founders of the early church basically made certain that in their formalized dogma, Arianism would always be called heretical, because Jesus' position in the trinity requires him to be equal to but distinct from the Father. All of trinitarian Christianity agrees that Arianism is a no go.

Personally I do think we should have more Judasian heresies though. Like I guess I get why so many early heresies are centered around the nature of the trinity and specifically J Dog but it does begin to grate.

[timothywinters]

Authors (unless they are writing with no interest in money and no hope of immortality, for a readership of seamstresses, travelling salesmen, or lovers of pornography whose tastes at that specific time and in one given country are well-known) never write for their own specific kind of reader but try to construct a Model Reader- in other words, the kind of reader who, having accepted from the beginning the rules of the textual game on offer, will become the ideal reader of that book, even a thousand years later. What kind of Model Reader is Hugo thinking of? I think he had two kinds in mind. The first was someone reading in 1874, eighty years after the fateful year of 1793- someone who still knew many of the names of the Convention. It would be like someone in Italy today reading a book about the 1920s, who would not be taken completely by surprise at the sight of names like Mussolini, D'Annunzio, Marinetti, Facta, Corridoni, Matteotti, Papini, Boccioni, Carrà, Italo Balbo, or Turati. The second kind is the future reader (or perhaps even the foreign reader of Hugo's time), who- with the exception of a few names like Robespierre, Danton, and Marat- would have been bewildered in the face of so many unfamiliar names; but at the same time, he would have the impression of listening to endless tittle-tattle about the village he is visiting for the fist time and where he gradually learns to separate himself from the crowd of contradictory figures, to sniff the atmosphere to become accustomed little by little to moving about in that crowded arena where he imagines that each unknown face is a mask hiding a story of bloodshed and is, ultimately, one of the many masks of history.

-Umberto Eco, Hugo, Hélas! The Poetics of Excess

[popbasecode]

Sedulo, inquam, faciam.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Hanc ergo intuens debet institutum illud quasi signum absolvere. Murenam te accusante defenderem. Sed utrum hortandus es nobis, Luci, inquit, an etiam tua sponte propensus es? Duo Reges: constructio interrete. Quid enim necesse est, tamquam meretricem in matronarum coetum, sic voluptatem in virtutum concilium adducere? Qua igitur re ab deo vincitur, si aeternitate non vincitur?

Commoda autem et incommoda in eo genere sunt, quae praeposita et reiecta diximus; Sed ad haec, nisi molestum est, habeo quae velim. Illud urgueam, non intellegere eum quid sibi dicendum sit, cum dolorem summum malum esse dixerit. Tu quidem reddes; Qua ex cognitione facilior facta est investigatio rerum occultissimarum. Aperiendum est igitur, quid sit voluptas; Quamquam te quidem video minime esse deterritum. Quod autem magnum dolorem brevem, longinquum levem esse dicitis, id non intellego quale sit. Maximas vero virtutes iacere omnis necesse est voluptate dominante.

Quis non odit sordidos, vanos, leves, futtiles? An hoc usque quaque, aliter in vita? Haec et tu ita posuisti, et verba vestra sunt. Nunc omni virtuti vitium contrario nomine opponitur. Qua ex cognitione facilior facta est investigatio rerum occultissimarum.

Non prorsus, inquit, omnisque, qui sine dolore sint, in voluptate, et ea quidem summa, esse dico.

Vos autem cum perspicuis dubia debeatis illustrare, dubiis perspicua conamini tollere.

Certe nihil nisi quod possit ipsum propter se iure laudari.

Sed finge non solum callidum eum, qui aliquid improbe faciat, verum etiam praepotentem, ut M.

Idem adhuc;

Est autem etiam actio quaedam corporis, quae motus et status naturae congruentis tenet;

Primum divisit ineleganter;

Bork

At enim sequor utilitatem.

Teneo, inquit, finem illi videri nihil dolere.

Praeteritis, inquit, gaudeo.

Quorum sine causa fieri nihil putandum est.

Itaque ut quisque optime natus institutusque est, esse omnino nolit in vita, si gerendis negotiis orbatus possit paratissimis vesci voluptatibus. Cuius similitudine perspecta in formarum specie ac dignitate transitum est ad honestatem dictorum atque factorum.

Ergo in gubernando nihil, in officio plurimum interest, quo in genere peccetur.

Nam prius a se poterit quisque discedere quam appetitum earum rerum, quae sibi conducant, amittere.

Equidem soleo etiam quod uno Graeci, si aliter non possum, idem pluribus verbis exponere.

Quis istud possit, inquit, negare?

[rausule]

American The Novus by Henry James, primus edidit ut Vide in mense Atlantico, a Iunio 1876 ad Maium 1877, et in forma voluminis anno 1877. Editum est in Anglia anno 1879. Auctor novum dramatavit et productus est. 1891. Versio ludi privatim impressa est eodem anno.

Christophorus Newman dives est Americanus Lutetiam visitans. Ibi occurrit Dominae Claire de Cintre, viduae et nobili familia nata; (Newman fessus est negotiis et vita frui cupit et amicus Americanus, Dominae Tristram, privatim delectatur in via negotiationis uxoris quaerendae.) Occurrit etiam Newman in Louvre, Noémie Nioche, qui codices. magnae tabulae pro vivis: pater eius fit magister Newman Gallice. Cum Novomanus notitiam suam cum fratre Claire persequitur, Marchio de Bellegarde eum obimit. Sed iunior de Bellegarde, Valentini, Novomanus amicus fit, eumque ad sororem fovendam hortatur. Claire Newman suscipit; Credit de Bellegarde et Marchione dotalicio Anglica incipiunt accipere, licet aegre, et nonnullis eorum amicis occurrisse. Ditissimus tamen est.

Newman Newman nonnullas picturas a Noemio liberaliter iubet eam dotem praebere; introducit etiam eam Valentino, quam invenit amoenam et jocundam societatem, quae omnium privilegii commodorum alacris acceptio est. Valentinus autem non stultus est et Noemiam obdurare et contentionem percipit, tamen convenit ut eam videat. Marchio interim et Marchio Dosager Claire persuasit ut pugnam abrumperet. Tunc Valentinus in duello propter Noemiam implicatur et letaliter vulneratur. Mortuo illo fastidit audire mores familiae suae, et narrat Newman ancillam dotis, Mr. de illis aliquid panis novit; ut cederet si vellet Newman cogeret; Panis domini, post funus Valentini, narrat Newman Dowager virum suum occidisse. Ad familiam accedit et eos argumentis opponit sed eos non movit. Newman eos exponere proficiscitur, sed tunc fesso horrore superatur. Testimonia destruit et in familiam Bellegardiam vertit. quod istuc melius quam ipse noverat facturum putabant. Statuerunt denique eum invitis divitiis minime ineptum esse. Clairei affectus nihili erant. Americana non omnino succedit. Causae caedis olim marchionis satis incredibilis sunt. Claire non satis interest - Valentin et Newman longe propinquiores sunt quam Newman et Claire. Sed ut praesentatio novi hominis mundi, quae ad arrogantiam inducta per saecula privilegii occurrit, liber est valde remuneratus.

Notae Americanae Charles Dickens rationem primae visitationis in USA, quae anno 1842 facta est, sex menses duravit. Nauigauit cum uxore sua Katherina et ancilla sua Anna Brown, primo Cunardo vaporarium in Britannia, mense Ianuario, et in naui dirum transitum pertulit. Dickens in Bostoniensi hospitio gratissimo potitus est, ubi ad terram appulerunt, et miro loco visum est post eorum hiemalem transitum. Primae autem notae acerbissimae venerunt cum quaestionem de librariorum libellorum suo vendito in millions in America sed non denarium auctoris unquam attigit. Exercitus eius cum dignitate vulneratus est, quod multum negotii ierant ad iter Dickens instructum et pecuniam se hospitio expendebant. In New York, infremuit moribus hominum qui eum in platea sequebantur et fores pulsare percepit, quoties in mentem venit. cella aestuat execratus.

Eius et Catharinae abiectio increvit omni itinere, quovis instituto invisebatur. Dickens commemorat omnia, quae in servitutem redacta non modo sed valido tempore visa sunt.

Americani non placent quae Dickens de illis scripserunt, sed post frigidam Martini Chuzzlewit receptionem eius fabulas tam avide quam umquam legebant.

[alexegan]

I recently had a chat with RA on the current vinyl manufacturing situation, they used some of it in this article:

https://ra.co/news/78699

Here’s the full interview:

RA: What are your thoughts on Facta’s tweet predicting the demise of the dance music 12”?

AE: I don't know what level of insight he has into the current manufacturing situation so I don't want to criticise him too much - I'm also a fan of his music - but I did think that tweet was pretty inaccurate. It's simply not true that 'everyone' involved in vinyl production/distribution is saying singles/EPs aren't financially viable anymore. Yes, prices have gone up over the past couple of years which may make smaller labels more cautious, but I definitely disagree with his prediction that dance 12"s pressed by independent labels will cease to exist by the end of the year. It just came across as hyperbolic doom-mongering, but I understand that these days you have to be a little creative with your rhetoric to get heard online :)

RA: It’s no secret that it’s a particularly turbulent time for labels selling vinyl at the moment–largely due to spiralling production costs. Do you believe that this is a temporary issue and things will improve?

AE: In a word, yes. We've had a couple of years where prices shot up because of material shortages due to the Russian invasion of Ukraine, logistical issues due to the pandemic and customs complications due to the clusterfuck that is Brexit. It was like a perfect storm for a while. As a result, plants had to raise prices and gave priority to larger clients (ie. majors) that could be relied on to fill capacity at those higher rates. This obviously affected smaller indies who had to wait far longer than usual for their 300-500 copy pressings. The higher manufacturing costs eventually affected the entire chain from labels to punters so we're at a point where we're seeing 12"s selling for over £20! Madness.

So right now, yes, it's pretty bad. However, over the past few months pressing capacity has been opening up everywhere. Those previous issues with materials, logistics etc. have been more or less ironed out. Most of the plants I'm working with are reducing their prices - some drastically - and all have slashed their waiting times. So while customers won't go back to paying pre-2020 prices due to inflation, labels will have the opportunity to cut their own prices to distributors. In theory that should result in lower retail prices. So if the businesses involved want to remain competitive and long-lasting, it would be a good idea to make records available at a reasonable price again.

RA: The vinyl world is often described as an oversaturated market. With that in mind, would it be such a bad thing if labels began releasing less singles and EPs on vinyl?

AE: Personally, I believe it's the major labels who are responsible for over-saturating the market with endless represses of unnecessary back-catalogue titles, most of which are records that have already been pressed in eye-watering quantities. They're usually easy to come by on the second-hand market anyway. While we're still in the current vinyl-revival bubble, I get that newcomers will usually go for what they know or have heard of, so it's a no-brainer for the majors to crank out another easy seller. Personally, it would certainly not be a bad thing if we saw an end to those pointless big-name reissues as it's already so frustrating for small labels waiting to put out new, interesting music or repress genuinely worthwhile legacy titles and get any kind of shelf-space or exposure. I also still believe there is a place for physical records, even in the era of convenient streaming, but I'd much rather see a diverse range of new releases hitting shelves rather than major label landfill.

RA: Some people have suggested that labels should sidestep distributors and go direct to pressing plants as a way of saving money. Is this a viable long-term solution? And how would the decline of distributors affect the dance music ecosystem?

AE: A lot, if not most, labels already deal directly with pressing plants or brokers on their behalf. I'd say that it's pretty standard practice, unless you're lucky enough to have a P&D deal with a distributor. What is more of a threat to distributors and shops currently is when labels sell directly to customers via their own online stores or platforms like Bandcamp instead of going via a distributor. Yes, it cuts out a lot of so-called 'middle-men' and may provide a small label with more money initially, but in the long-term it would be a massive loss if distributors and physical record shops closed down. They're so important in helping get word out about new music and the shops themselves are vital hubs for people to discover records alongside like-minded people. So if labels continue to work with distributors and shops as well as selling D2C, I don't see why that ecosystem shouldn't remain sustainable. It's just important to remember to help each other out and keep that framework intact, otherwise only those with financial clout will be able to get decent exposure.

[rogergreenawalt]

Sero mane noster chat in luce et aere incepit, conclavi Victoriani ornato cum vicus proprietarius (dominus & CEO librorum Chronici) Nion McEvoy et Ken Albala, cibus historicus honorabilis, auctor fecundus, archimagirus, musicus et professor in Universitate Pacifici. Nion, ipse musicus, qui cum percussione Orientis Medii hic in Sinus Area studuit, exposuit quomodo musica et cibus tam arctissimae necessitudines habeant, praesertim in culturas Mediae Orientales et quomodo haec elementa sunt quae nos in unum conferunt. Ken et Nion nos tractaverunt dialogo rapidissimo cum interludiis musicis texendis peripetasmata evocativa et compellentia temporis 8 et 9th Century islamicorum saporum, aromatum, commixtionum admirabilium dulcium et acerbi, salsorum et aromatum quae per Hispaniam irrepserunt. influxus culinae in regionibus Mediterraneis et in Americam australi. In Europam iter faciens, circum orbem terrarum ac pluries Marrakesh ut puer, Nion descripsit quomodo culturam Mauritania adamaverit, cuius traditiones: "Tantum offerre" inquit. "Una ex his quae in coctione nostra amisimus" Ken dixit "compositum est genus aromatum aromaticorum in cibo Indico [...] ac etiam in Cibulo Mexicano .... mole liquamine diu amisso cognato currendi. " Exposuit auditorio RAPTUS quomodo nunc reducimus has multiplices slavationum strationes in cibaria nostra, postquam multae huiusmodi compositiones late exstincta sunt in diaeta occidentali propter varias causas sociales et culturales. Putavi interesting discere quod cum gingiber et saccharum difficile adipiscerentur ac super sumptuoso essent, in omnibus satureia esculenta historice formata sunt. Postquam itinera commercia aperta et communiora facta sunt, statum socialem amiserunt et allectant et magis in commune demerita relegantur. (at Pasadena, California) https://www.instagram.com/p/CnAldrRS9sU/?igshid=NGJjMDIxMWI=

[zarabrown-the-artists-blog98]

Annotated Bibliography

Annotated Bibliographies

Zipes, J. (2009) ‘Why Fantasy Matters Too Much’, The Journal of Aesthetic Education. [Online] 43(2), pp. 77–91. Available from: https://www.jstor.org/stable/40263786 [Accessed 29th November 2022] 

Zipes details the importance fantasy has to us, why we still use and consume works that would be categorised as fantasy and why fantasy may matter too much. Zipes covers a variety of topics such as the etymology of fantasy in various European languages, noting that in English, the meaning has changed throughout time hence why today the term is so broad. Although no research is done the journal was peer-reviewed and does raise an interesting point, being that the reason we look to fictitious portals of the imagination, according to Zipes, is to almost translate the emotion we have on reality. Suggesting that our need for fantasy is a sign of our need of spiritual regeneration. This is of great interest to me as I would like to see how I could input elements of this to my own illustrations for the audience to achieve spiritual regeneration.

Lee, C. (2010) ‘Observing the body’, Irish Arts Review, [Online] 27(3), pp. 102–105. Available from: https://www.jstor.org/stable/20789393 [Accessed 27th November 2022]

This peer-reviewed journal details the history of how anatomy was studied by artists and anatomists, noting how they would work together through dissections of the human cadaver to better understand its structure. Through these public dissections anatomists and artists were able to publish various textbooks throughout history filled with illustrations of the idealised human form. Lee notes that throughout history anatomists were able to learn and educate others of their subject through the numerous works of art. The author, Clive Lee, a Professor of Anatomy at the Royal Hibernian Academy notes that the traditional approach of teaching through dissection is invaluable to the understanding of the human body hence why it is still taught. As an illustrator this has taught me just how complex the human anatomy is to depict and that looking to others such as anatomists will help me grasp a better understanding of the body. 

Nikolic, Milan & Dragana, Vasilski. (2017). Minimalism in contemporary architecture as one of the most usable aesthetically-functional patterns. Facta universitatis - series: Architecture and Civil Engineering. [Online] 15 (3). 333-345. Available from:https://www.researchgate.net/publication/323198218_Minimalism_in_contemporary_architecture_as_one_of_the_most_usable_aesthetically-functional_patterns [Accessed 27th November 2022]

This text focuses on research that was conducted in order to recognise the reasons why minimalism has been accepted as a global phenomenon. It brings up the crucial issues surrounding minimalism, such as how far can we rationalise the simplification of objects to their most basic form without them losing their identity and originality.  Whilst the article brings up some interesting points such as the use of the colour white in order to widen perceived space which I will use in my own creative practice by using negative space in my own work, at times I found the contents of this article extremely difficult to understand. 

McDaniel, J.T. (2017) ‘Strolling through Temporary Temples: Buddhism and Installation Art in Modern Thailand’, Contemporary Buddhism. [Online] 18(1), pp. 165–198. Available from: https://www-tandfonline-com.ezproxy.herts.ac.uk/doi/full/10.1080/14639947.2017.1308687. [Accessed: 29th November 2022]

This journal focuses on the increasing amount of Buddhist themed artistic projects and exhibits that are taking place in not only Thailand, but around the world. The writer highlights that whilst many Thai artists do use and take inspiration from various key elements of Thai Buddhist culture, due to the temporary nature of these exhibits, these artistic projects no longer serve to educate or enlightenment people about Buddhism, but act as a tourist attraction that one may miss out of if you do not go before the exhibition shuts. From this I learned that whilst my intentions with my own art might be good, I must understand that how the public understand and view them is out of my control. In comparison to the others, the article was extremely interesting to read as it used very active language.

Tough, P (2011) ‘What if the Secret to Success if Failure?’, The New York Times Magazine, [Online]. Available at: https://www.nytimes.com/2011/09/18/magazine/what-if-the-secret-to-success-is-failure.html [Accessed: 30th October 2022]

This online article published by the New York Times discusses the idea that people must fail (or at least experience failure) in order succeed in any area of life. It focuses on KIPP schools (Knowledge is Power Programme) within the United States and focuses on why only a few members of their first alumni completed their four-year courses at prestigious institutes. They found that those who completed their courses were those who persisted in college, no matter the grades they got, and they also prioritized characteristics such as social intelligence and optimism. This text was useful to me as it supported my point that no matter your current skill, if you persevere in your craft, fail and learn from your mistakes, not only will you improve your skills in drawing (as the students improved their grades), but you will also succeed. This article is also from a well acclaimed journalist. 

Drake, J. E., Hastedt, I. & James, C. (2016). Drawing to Distract: Examingin the Psychological Benefits of Drawing Over Time. Psychology of Aesthetics, Creativity, and the Arts, [Online] 10(3), pp. 325-331. Available at: http://www.jenniferedrake.com/uploads/7/0/5/5/7055907/drake_et_al._2016_paca.pdf [Accessed from: December 2nd 2022]

This article discusses the benefits of creating and drawing art, highlighting the benefits it brings to people’s mental health and how it alleviates stress levels. In particular it focuses on the benefits of drawing as a distraction, stating that by drawing in order to distract oneself from their everyday life and stress, they could focus on the process of drawing rather than the desired outcome. This particular text was useful to me as I wanted to discuss and prove that whilst art and illustrating are my passion, when I draw with a specific image or vision in mind, I become more stressed as I am focusing on how to perfect the final product rather than relishing in the distraction drawing provides me from the stresses of my everyday life. 

Brockner, J. (1979). 'The Effects of Self-Esteem, Success-Failure, and Self-Consciousness on Task Performance.' Journal of Personality and Social Psychology. [Online] 37(10), pp. 1732-1741. Available at: https://psycnet.apa.org/record/1981-01303-001

This article focuses on the various ways low self-esteem can occur and continue in individuals who are self-conscious. It argues that when there is a self-focusing stimuli (e.g. a mirror) present while the individual is doing a task or receiving negative feedback, the individual either becomes or grows to be more self-conscious and is therefore more likely to perform badly in the future. However, when those with low self-esteem are asked to focus on the task at hand, they become less aware of their own inadequacy and instead focus on the task. This concept is something that I can implement into my own artistic practice as within the creative arts, comparison truly is the thief of joy. By focusing less on myself and simply on the task, I would be able to –in theory- produce better quality art. 

Gamache, G. (2017). 'Spiritual Space or Theme Park? A Case of Postmodern Simulated Experience.' KEMANUSIAAN the Asian Journal of Humanities. [Online] 24(1), pp. 99-119. Available from: http://web.usm.my/kajh/vol24_1_2017/kajh24012017_05.pdf [Accessed: 7th November 2022]

This journal article delves into the idea that in today’s modern society, whilst culture is a key tourist attraction for many countries, in the case of Thailand the line between educating tourists on their culture versus tourists simply perceiving the culture as an aesthetic, is very thin. The artist Chalermchai does indeed include key elements and features of Buddhism into his work and design of temples, however many viewers do not visit these temples with enlightenment or educating themselves in mind, most go just for the sake of going, for the sake of saying that they have been there. This is applicable to me as I wish to take note of Chalermchai’s mistake and do my best to educate people through my work, instead of them only focusing on the aesthetic value that it has.  

Tromble, M. (2020). 'Ask not what AI can do for art...but what art can do for AI.' Artnodes, [Online] (26), pp. 1-9. Available from: https://doi.org/10.7238/a.v0i26.3368 [Accessed: 5th December 2022]

Due to society’s ever-increasing reliance on technology, the development of AI (artificial intelligence) has been a topic of focus in recent years. Due to impressive developments made in AI research, many artists fear that AI will be able to replace what a creative mind can do. However, this journal introduced a perspective that I had not considered as it discusses the limitations of AI and suggests that art can aid in its development. Whilst the article was difficult for me to fully understand, the text was useful as it introduced a new perspective and allowed me to think of AI as something that can potentially aid me in my craft, helping to quicken the process of creating. However, the article does not acknowledge the fear that many artists have in regards to AI, that it will become so advanced, it may replace the artist.

Embury, G. & Minichiello, M. (2018). Reportage Illustration: Visual Journalism. [Online] London: Bloomsbury Publishing Plc. pp. 6-19. Available from: https://www-bloomsburyappliedvisualarts-com.ezproxy.herts.ac.uk/encyclopedia-chapter?docid=b-9781474208475&tocid=b-9781474208475-chapter1&pdfid=9781474208475.ch-001.pdf [Accessed: 25th November 2022]

This book presents and explains not only the origins and the original purpose of reportage (for illustrators to depict the events around them through illustration, acting as visual journalists) but it details how and why the craft began to focus on politics as well as how it used today. Furthermore, it also explains how the art of photography and reportage are extremely different, despite both disciplines aiming to portray the events around them. I found this text extremely useful in not only aiding me to understand and realise why reportage as an art form is important today, but it also helps me to realise the importance in my work and what it can bring to society. The article was well written and was also easy to understand.

[combinedplus]

Watch "Patel को छोड़कर Mahatma Gandhi ने Nehru को PM क्यों बनाया? | India First PM History | Nehru Vs Patel" on YouTube

[safecreditscore]

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[rausule]

DE COGNATIONE INTER SINGULAS ET SOCIETATIS

callide impellunt ad eorum transformationem, quae fieri potest per processus gradatim vel motus res novas. Exempli causa, progressus oeconomicus et socialis, qui in Europa et in America facta est, exeunte saeculo XVIII, erat fundamentum profundarum transformationum socialium quae ad Revolutionem Americanam et Revolutionem Gallicam ducebant.

Sociologi saeculo XIX in magnas transformationes sociales animum converterunt, scholares saeculi XX magis circumscriptum aditum ad studium rei socialis praeponunt, attentis phaenomenis quae in limitibus locorum geographicis (quaedam areas metropolitanae; exempli gratia) et breviora temporis spatia (exempli gratia: transformationes familiae post Bellum Orbis Terrarum II in certo ambitu geographico).

2 Quaedam exempla interpretativa rerum socialium

Quamvis hic aditus empiricus, hodierni scholares, sicut eorum antecessores, variis interpretativis exemplaribus in studio phaenomenorum socialium utuntur.

In hac sectione examinamus exempla conflictus, functionalismum ac thecam symbolicae rationism.

Scholares, qui certaminum exempla utuntur, praesertim discrepantia inter classes sociales, vident in societate continuum concursum utilitatis inter eos qui potioris potentiae, divitiarum et auctoritatis dignitates tenent et eos qui subordinationem tenent, paucioribus mediis oeconomicis et vix dignitate sociali. Hi scholares inaequalitates excutiunt suas causas illustrare conantes, quibusdam in casibus proponentes mutationes sociales possibiles ad hunc statum rerum minuendum vel tollendum. Conflictus non censetur negativa in se, quia vis impellens potest esse post transformationes positivas ad societatem iustiorem efficiendam.

Scholares, qui utilitatibus exemplaribus utuntur, societatem vident tamquam organismum vivum, in quo varii humani coetus diversae habent functiones, quae totam societatem ad fines suos assequendum permittunt. Differentiae sociales, secundum talem conceptionem, inevitabiles sunt. Conflictus tendit ut censeri possit dysfunctiones socialis, quae dissolvit in corpore sociali. Ex hac parte, mutationes censentur emendativae ad efficiendum systema oeconomico-sociale efficacius.

Tertia accessio interpretativa datur symbolicis interactionismi, quae maxime interest in processibus communicativis et relationibus, quae in societate fiunt. exempla conflictus

Sociologi qui his exemplaribus utuntur saepe commoventur

[fogsrollingin]

📚   Link to my ficrecs catalogue!  📚   Now here’s some new & miscellaneous ficrecs 👍🤗 ✧ Category: Gen ✧ All I Needed to Hear by Weesta. Rated PG-13, Gen, 2k words. Summary: Sam has a migraine and Dean helps him feel better. Gen fic. https://www.fanfiction.net/s/3757282/1/All-I-Needed-to-Hear I loved this fic just bc there were so many nice wholesome moments of inventive caretaking on Dean's part. Aromatherapy, heat packs, back rubs, aww. Dean’s the best brother ever. This fic has been sorted into my misc genfic reclist migraines h/c reclist ✧ It Sounded Like the Truth by Weesta. Rated PG-13, Gen, 2k words. Summary:  Dean is on a supply run and a sick Sam is alone when someone breaks into their motel room. https://www.fanfiction.net/s/8859455/1/It-Sounded-Like-the-Truth I read this fic years ago and it still sticks with me as such a scarily realistic snapshot of Sam and Dean trying to just deal with sketchy motels and addled-junkie neighborhoods. Also there’s brother cuddles at the end 😁 Also just FYI this author is on AO3 at ao3.org/users/weesta but these fics haven’t been x-posted; they’re only available on FFnet afaik rn. This fic’s been sorted into my kidfic shmoop reclist ✧ Missing pieces by Mamapranayama. Rated PG-13, Gen, 32k words. Summary:  Preseries AU. Sam is seriously injured while saving a friend at Stanford and is left without a literal leg to stand on. Rated T for language. Complete https://www.fanfiction.net/s/7575286 A solid hurt!Sam fic that ‘fixes’ the estrangement of the Winchester family during the Stanford era. Sam has to get his leg amputated, he gets a touch of a Vicodin addiction, Bobby and Dean are there for him. There's John Winchester's A+ Parenting trope in this fic but there's reconciliation at the end that feels good. This fic doesn't go too deep and there’s a lot of time skips but I'd still say it definitely gets the job done for hurt!Sam & comforting!Dean fans! This fic’s been sorted into my misc genfic reclist ✧ Focus by vansenwest. Rated PG, Gen, 14k words. Summary:  His father is dead, but his brother is alive and he needs to focus. AU. Stanford. https://www.fanfiction.net/s/6266701 This was such a fantastic interesting & emotional version of the pilot where Sam and Dean meet for the first time bc their dad’s died, not missing. Dramatic af but anchored by the skillful writing of numbed grief by the author. And there’s one part that follows Jess's perspective and it’s brutally sad 😭 This fic’s been sorted into my misc genfic reclist ✧ Of Beginnings by Aytheria. Rated PG-13, Gen, 19k words. Summary:  It’s the Apocalypse and the pagan gods aren’t just going to roll over and let the world end. One of them has a plan, something the angels and demons won’t see coming. Sam and Dean Winchester certainly don’t. https://archiveofourown.org/works/3727255 Influenced by Gaiman's American Gods, I think!!! Very clever and fun to read buildup on the why (Janus's perspective) and the how (the website) the boys become gods. I particularly adored the last parts of this story, Sam and Dean discovering/exploring their new powers (and accepting the offerings! 😂) This fic’s been sorted into my misc genfic reclist

✧ Category: Sam/Dean ✧ Polaris by dimeliora. Rated NC-17, Sam/Dean, 59k words. Summary: An intervention of pagan forces splits the brothers when they are young. Growing up apart and alone what will they do to be reunited, and how will they fight what is considered their destiny? https://archiveofourown.org/works/783632 Also probably inspired in part by Gaiman’s American Gods. Fascinating story with so many riveting parts to it, from their childhoods to Utre Dean's mother figure goddess, all the American Gods feel to it, then thwarting yellow eyes & going to save Utre in a labyrinth of her psyche. So well written and engaging! This fic was sorted into my miscellaneous sam/dean reclist ✧ Facta non verba by dimeliora. Rated NC-17, Dean/Sam, 14k words. Summary: Dean is ten when Sam stops speaking, and the rest is up to him. https://archiveofourown.org/works/686628 Really thoughtful and sweet hurt/comfort wincest with mute!Sam and fantastic sign language details. Even though there’s underage intimacy, Dean+Sam wait until they're both consenting adults which felt pretty wholesome. And it was actually less angsty than I thought. Overall, just a deeply pleasing fic to read. This fic was sorted into my miscellaneous sam/dean reclist ✧ Further and Further Out by Cottonmouth. Rated R, Sam/Dean, 42k words. Summary:  John never disappeared before the pilot episode, so Dean never went to Stanford to find Sam. Two months later and they discover the demon went after Sam after all… Alternate Reality, graphic wincest in later chapters https://www.fanfiction.net/s/3740163 Psychic!catatonic!Sam & devoted!stubborn!Dean finding him and taking care of him?! Uh YES PLEASE. There's a scene of metaphysical energy that totally reminds me of some of aceofhearts61s' fic and I loved it!  This fic was sorted into my miscellaneous sam/dean reclist

[coffeegirl-world]

Week 7 blog post----

The Triptych paintings were created to serve as altarpieces, mainly the pieces contributed and helped with prayers. Later in a different news article, I came across information stated that it is most unlikely this artists work was used as altarpieces. According to My Modern Met.com, the art that Hieronymus Bosch created was far to sexual and unlikely that it would fit into the beliefs of a church. The article came to the conclusion that it was uncertain what exactly this artwork was made for.  Most of the Triptych paintings deal with the Genesis creation narrative involving the creation myth of both Judaism and Christianity.

Later in the My Modern Met.com article, I was reading about many interpretations involving The Exterior, explaining that, the Triptych was more than likely supposed to be red like a book from left to right because each of the panels was made to be interconnected. Through my research on this painting I learned a new artist term called “Grisaille.” Which is used when the artist uses mostly tones of gray or neutral colors to better contrast what is happening on the interior of the painting.  The Exterior Panels piece is a depiction of what the Earth was thought to look like around the third day of its creation. People believe that this painting is of the third day because there are only plants visible on the planets, no humans or animals.  This painting caught my eye because before I red anything about it, I was really not sure what to make of these geometric shapes. Although it is represented in dull colors, I found it a rather peaceful image to look at and later how I did learn why Bosch chose dull colors for most of the painting. As it was stated in the article, “The intricacy of its symbolism,…has led to a wide range of scholarly interpretations over the centuries.” I found an article describing more details about The Exterior Panels that I had yet to notice. “The tiny figure of God can be seen in the upper left-hand corner, and above him is inscribed a quote from Psalm 33 — Ipse dixit, et facta sunt: ipse mandāvit, et creāta sunt — For he spake and it was done; he commanded, and it stood fast.”

The second image I selected is from the The Garden of Earthly Delights, Interior panels, the panel on the right. Now because there is so much going on within the three panels, I chose to talk about just the top part on the right panel. The setting in this top part of the painting by Bosch is an image of hell for the humans because they gave in to temptations and evil. To me, this painting looks a bit chaotic, almost as if it is a war zone from the looks of the bottom of the painting (the right panel, and a pair of human ears brandishing a blade). The right panel does contrast the other two panels by being the only one painted in a dark setting. The other two panels also seem to be more light and happy verses the right panel is dark colors and depicting hell. This is why I believe that many individuals eyes are drawn to the right side first like myself. The article describes more about the light showing through the darkness in this painting. Overall, this painting reflects pain, embarrassment and sadness for the ones in this place of hell with monsters and somewhat demon like beings. “Large explosions in the background throw light through the city gates and spill into the water in the mid-ground… their fiery reflection turning the water below into blood.” An interesting theory concerning the right panel is that Bosch may have included a self-portrait of himself as the character known as “Tree-man”. Although it is not proven, just a speculation some have.  

 https://en.wikipedia.org/wiki/Genesis_creation_narrative#:~:text=The%20narrative%20is%20made%20up,(i.e.%20the%20Biblical%20Sabbath).

https://publicdomainreview.org/collection/details-from-bosch-s-garden-of-earthly-delights-ca-1500

https://mymodernmet.com/garden-of-earthly-delights-bosch/

[combinedplus]

Watch "Taj Mahal Story in Hindi | Hidden Facts About Taj Mahal | क्या ताजमहल का असली नाम तेजोमहल है ?" on YouTube

[coelenterata]

BrickClub 3.6.2

““lux facta est”“ ??? This isn’t a difficult sentence, I know what it means I just don’t know what it means here. But anyway, we’re back in actual timeline instead of vague bits of personal history of everyone in Paris over the past few years! Hugo informs us that Marius stopped taking that walk but then starts again half a year later, the weather is nice he’s having a good day blah blah, and he sees the man and the girl again.

Cosette is so pretty now that Marius doesn’t recognize her at first and Hugo gets a different kind of terrible. I do like the description of her nose, which has some character but in a dainty way I guess? But Hugo is terrible. The entire “““sweet fifteen”““ thing. “Yesterday we left them children, today we find them disturbing.” I CAN and WILL murder a dead 19th century author!! I can’t properly articulate why this feels bad, but it feels bad!

On a less yelling note, Cosette is still dressed in black. After the Thenardiers, we have so far only seen her wearing black.

In any case, they make eye contact briefly and uneventfully, because Cosette doesn’t make eye contact like a woman yet, only like a child, so she’s not interested and Marius doesn’t care either and he just, keeps taking his walks near her and not taking any notice of her. She’s pretty and he still isn’t scared of her.

[lizardrosen]

BrickClub 3.6.2 Lux Facta Est

Marius stops coming to the Luxembourg for a while and when he returns Cosette has changed so much that it takes him some time to realize she’s not just... a different daughter of Monsieur Leblanc. Her payday has come and her features have matured, plus she dresses better -- and ugh, I know it’s Weird to act like knowledge of fashion and Womanhood just descends magically on young women, but we can get into that more a few books from now. Do we have to say this kind of beauty “can only be translated by these two words: sweet fifteen” though? Really?? So many things to like in this chapter, so many things to hate.

But the really important takeaway here is that even though she’s become beautiful, she and Marius still don’t mean anything to each other, at least not yet. She looks at him like an interesting piece of the scenery and he in turn “thought no more of this girl now that she was beautiful than he had thought of her when she was homely.” I just really like how their courtship happens in stages!