#schematisation

[ukfrislandembassy]

I'm annoyed a little that I can't link to the particular entry directly, but there's a fascinating discussion in here about the development in Tamashek of person agreement in a formerly adjectival subsystem of verbs, which is schematised in the table below (you can find the entry in the database for more comprehensive context).

It's probably not entirely clear from the table, but stage I is entirely adjectival agreement, without distinctive person marking: zero suffixation for singular masculines, an overt -yæt for feminine singulars and an overt -æt for plurals. Person agreement is then successively imported from elsewhere in the verbal paradigm into this, as represented in the various stages which are also reflected in other Berber languages.

The most interesting aspect for me is that the the actual features is not relevant for the extension, but merely the form of the inflection, namely that the imported inflection is suffixal. There's a good formal analogical basis for this; the verbs in this class formerly only hosted suffixes and so you just take the suffixes from other paradigms and put them into the slot.

But here's where it gets funky. You can note from the left-hand column that not all of the person-number values in the normal set of verb inflections are marked suffixally; in particular, the 3SG forms and the 1PL are expressed using prefixes. As a result, the existing adjectival exponents end up acquiring person values due to there not being a suffixal exponent to extend. So you end up with these suffixes becoming 3rd person exponents in the singular, but 1st person in the plural (the reason this is in a database on defectiveness is because in Tamashek the original adjectival suffixes are then lost, leading to some varieties having defective paradigms in these verbs which lack a 1PL form).

[omnipol]

As Charbonnier, Salmon and Skafsh write in their introduction: ‘You want to think modernity? You had better start from the outside – the concrete outside of an era and a people, not that of thought in the abstract.’ It is this will to take leave of the work of negation, and instead seek out positive representatives of what Ghassan Hage calls elsewhere an ‘alter-modernity’, that draws this anthropological tendency toward those forms of cultural alterity apparently most unscathed by capitalist modernity; that is, to regain – however selfconsciously or ironically – a primitivist imagination.

The charge of primitivism is by no means new to the ontological turn. It is frst on the list of the critiques coming out of what Holbraad terms a ‘veritable industry’ of commentary, from within anthropology, on this body of work. For many anthropologists, ontological anthropology signals a violent reduction of heterogeneous modes of thought and life in the interests of creating a new grand narrative of the (especially Amazonian) primitive, whose world persists somehow unchanged on the sidelines of world history. It is all the more strange, then, that within philosophy, where the work of Vivieros de Castro in particular has begun to be taken up enthusiastically as part of both a philosophy of nature and a broader ‘metaphysical turn’, these criticisms should so rarely make an appearance. Is this perhaps because they miss the (philosophical) point? After all, any science of comparison must work at some level through reduction and schematisation, or it must be willing to take a leap of faith, grabbing at a conceptual problem and working it in new directions. On the other hand, perhaps it is because the project of turning anthropology into philosophy, or the reverse, circulates on one conception of philosophy at the expense of others. If so, this would appear to be a philosophy on the hunt for new beginnings. This is one response to the problem of philosophy’s corruption by its own history, a glance at which makes evident the inextricability of ideas such as universalism with their apparent contraries – such as racism, a term whose complete absence from this collection is striking. It is a response which also risks isolating itself from the work of indigenous intellectuals who have recognised themselves to be somewhere within this history, for better or worse, and sought to work its contradictions to crisis point – work which underpins fields such as indigenous studies, black studies and anticolonial thought. Ontological anthropology effectively seals itself off from these fields, perhaps because they would prompt difficult, but vital, questions: can the ‘outside’ to modernity on which comparison is to be grounded really be present under global capitalism?

Miri Davidson

https://www.radicalphilosophy.com/reviews/individual-reviews/anthropology-beginning-again

[assaultmystic-archive]

Marx’s early work contends that the social relations of a given society generate its collective power to act, and to determine its own future. It also points out that flawed social relations can alienate their inhabitants from the capacity to direct their collective powers coherently, collaboratively and self-consciously. Taken together these three lines of influence (Existentialism, Hegel and Marx) fostered a view of temporality and social existence that had clear political implications. These implications can be schematised as follows: (a) human beings are temporal and social creatures; (b) their capacity to govern and direct their own lived time is determined by the social structure they inhabit; (c) their freedom qua self-determinacy, thus requires social formations that allow them to direct their own lived time freely and self-consciously. This entails that (d) social structures that undermine collective self-determinacy, and which involve modes of domination, must undermine the ability of these human agents to direct their own lived time. But because those social structures are themselves the product of social activity, such instances of domination amount to (e) the subordination of human agents to their own collective power. When this occurs, these agents become (f) mere ‘contemplative’ observers of their own collective existence, insofar as they merely play out roles and patterns of behaviour that suit the needs of such bodies of power.

The Situationists, Hegel and Hegelian Marxism by Thomas Bunyard in The Situationist International, A Critical Handbook (2020, pp.54-55)

[the-casbah-way]

as someone who actually does archaeology this is a very dumb take. we’re not trying to determine your gender at any point. we want to know how you lived, who you lived with, how you died. things like that. we sex bodies, we don’t gender them, and even the sexing is just an estimate and nothing else. there’s a reason “gendering bodies” is not a thing, because we understand that this is literally impossible seeing as gender varies way too much between individuals and different societies to ever be determined by archaeology alone. gender does not explicitly show up in the archaeological record in any way. any trained archaeologist will no doubt have stumbled upon near countless examples of when our own modern biases have skewed our interpretations of archaeological finds and human remains, and why we need to be hyperaware of our own tendencies to anachronise or schematise human history. it’s literally common sense. the idea of your belongings having to match your gender makes absolutely no sense and is also just insanely weird and regressive. so many counterarguments against the whole “archaeologists will dig up your bones and see you as xyz” thing are even dumber than the original argument itself which is really saying something. i truly do not mean this in a condescending way but it would be great if you could leave the archaeology to the actual archaeologists

[optikes]

an Australian painter in the streets of New York...

John Firth-Smith (born 1943) Australia

1 White Street # 3 (1982) acrylic on stretched 300gsm rag paper, 104cm x 104cm

2 Black Street # 27 (1982) pulp paper and mixed media, 35cm x 35cm

3 Place, Orientation and Navigation (1983) oil on linen 305.0 x 335.5 cm

4 Winter Rounds (1982)

5-7 the artist connecting dots & lines in New York

8 the artist’s photo-documentation of line and shape on New York streets

9 Marshall Islands stick chart

A   Professor Peter James Smith   from  menziesartbrands.com

In 1981 John Firth-Smith travelled to New York to experience the city, to paint there as a local and allow the powerful New York art scene to wash over him. It was a time in the city (that the writer experienced first-hand) when graffiti clogged West Broadway and adorned the walls of the cross-town subway platforms. The locals were producing abstract paintings that had active, brushy surfaces. The curator Barbara Rose, in 1979, produced a show of such work called American Painting: The Eighties that looked like Abstract Expressionism with a college education, and heralded the rise of art stars Susan Rothenberg (1945- ) and Elizabeth Murray (1940-2007). It was the perfect time and place for Firth-Smith’s painterly surfaces to evolve.

From his studio on 20th Street, Firth-Smith could look down on the first winter snows in the city. In the early morning the snow appeared as a soft white blanket, a shroud that covered everything, but later in the day it was stained and marked by the black tracks of car tyres and the footfalls of passers-by. He became fascinated by the ethereal gothic nature of what he saw: steaming ventilators were often to be found in the middle of busy streets, their smoke stacks rising through the traffic, their warmth contradicting the presence of winter snow and sludge. Such is the sensibility that is vividly painted in Winter Rounds 1982, an attractively-proportioned canvas that effortlessly supports the New York dynamic.

Winter Rounds 1982, is ingrained with the gritty, wintry ambience of the city. Like schematised patterns taken from a subway map, or a diagram drawn in an attempt at directing a stranger, there is a frenetic congested intensity in the work that is broken by dots and splashes of colour.’

This painting shows Firth-Smith’s familiar arabesque line, sweeping through the rising red veils of smoke and graffiti, to challenge the gridded infrastructure of the city. Notions of infrastructure usually revolve around trains, bridges, roads and buildings; however with a different kind of infrastructure in mind, the artist deploys a series of connected straight lines and dots to the heart of his picture. In his monograph on Firth-Smith, writer Gavin Wilson describes how the artist had become fascinated with the Victorian cast iron manhole covers found at street level. They often had elaborate decorative surfaces and had holes drilled through them. Firth-Smith tied small weights to the ends of strings, and dropped the weights down the holes making the strings pull tight between the holes; so the sequences of dots and connected lines were born. He later photographed these microcosms, and like an industrial espionage operative, these found their way into his painting process. Ironically, these patterns are reminiscent of stick charts from the Marshall Islands – structures formed by tying small sticks in a gridded pattern to represent the sea, with shells knotted at the intersections to represent the locations of islands. The sea is never far away from the artist’s concerns.

Only in New York could Firth-Smith have had such fertile exposure to the early stages of neo-expressionism. He embraced many deterministic methods of applying paint with drawn lines and dots, then overpainting, then re-positioning more gridded lines and dots; but these methods always relied on chance and randomness. He painted and repainted layer upon layer. ‘The effaced surfaces of the completed work were like a palimpsest, leaving only the faintest trace of his earlier marks.’  It is the beauty of those effaced surfaces that captures the imagination with their daring trails of snow-lines, and the monochrome expanse of restless white.

search @ www.khanacademy.org    www.smithsonianmag.com

[cleverhottubmiracle]

Roxy Lee, Dolly Mixture16 Images When photographer Roxy Lee discovered Dolly – an illustrated, busty blonde bombshell – it was love at first sight. Quickly, Lee’s visual obsession blossomed into a friendship as the two began meeting in 2022. The result is Lee’s newest publication, Dolly Mixture, a series of four books, each one schematised by colour: Sherbet Lemon, Candy Floss, Cough Candy and Cookies & Cream.  The limited-edition publications are bound as simple white hardbacks akin to 90s primary school encyclopedias, titled with chewing-gum-style fonts designed by artist Simon Gray. Inside, we meet Dolly, an enigmatic trans woman based just outside London. She flaunts sickly sissy dresses, patent pleasers and frou frou capes, showcasing an illustrious selection of wigs. Gaudy checkerboard kitchen floors are backdropped by domestic sundries, and at one point, we even catch Dolly straddling a car with the license plate, D0II. Throughout the publications, which Lee prefers to call zines, images of Dolly are set against miscellaneous works from Lee’s back-catalogue – sweaty, faceless club snaps, and even shots of a women’s wrestling tournament – colour match with Dolly’s getups, drawing a throughline between separate but equally leftfield worlds.  Lee is a confessed obsessive. While often the spaces she works in bring out characters that might be – to some standards – extreme, her close proximity to queer, sex-positive and downright weird demi-mondes is a fair testament to her own life. Queer herself, she’s a born-and-bred East Londoner, and has, to paraphrase her youth, grown up in nightlife, moving from squat parties to bars and queer weekenders.  These days, her relationship with clubbing has morphed, although, by all accounts, remains strong – she still shoots every event for queer super-party, Adonis. Elsewhere, her career has developed in commercial spheres, too, with Lee shooting for her long-time friend (and fellow people-lover) Martine Rose, Olly Shinder, Supreme, Fashion East and Nike, as well as countless editorials. As Lee’s life has changed, it’s given her space to focus further on other avenues, such as her portraiture – another term she’s not fond of – where she’s captured the likes of professional dominatrix Eva Oh, model wrestler Miss Naiirobii and body performance artist Ron Athey. Often, Lee shoots inside her bedroom, a curated interior with glossy, satin curtains and stacks of vintage smut. To this day, she still does shifts in clubs and a rare porn shop that she won’t reveal the name of. Following an invitation to publish some printed matter for Dover Street Market’s Photo London weekend, Lee’s selection process for Dolly Mixture began. Now, it stands proud on the shop floor, displayed on plinths decorated with chewed gum – a set design commission care of artist Ella Lynch. Below, we join Roxy Lee for an up-front conversation about her naughty sense of humour, the process behind the zines, visual turn-ons and, of course, Dolly. Photography Roxy Lee Hey Roxy! Tell us, who is Dolly? Roxy Lee: So, Dolly was somebody that me and a couple of friends were really obsessed with – the way she looked. She does quite a lot of things she shoots herself. Then, during COVID, we spoke quite regularly for about two years. Finally, we met [in 2022]. I visited her a good few times, and we managed to shoot loads of stuff at her house. What is Dolly’s profession? Roxy Lee: She’s an entrepreneur. She sells wigs and shoes. Would you describe her as a drag artist? Roxy Lee: No, nothing at all to do with drag. This is just how she lives her life, every single day. I guess she’s just obsessed with her perversions and her kinks. Dolly is 24/7 Dolly.  How did the book come together? Roxy Lee: The idea of club photos that are 99 per cent faceless, and then these really confronting portraits of Dolly just felt right. It just felt right to draw these common denominators out of club spaces that I’ve documented and muses I have. There’ll be a couple in there from Inferno. The majority are Adonis. I think the earliest club photo in any of the books dates back to 2017. I like that you can't necessarily identify every club – they’re all anonymous and mainly focus on colour. Colour is really precious to me. And I also really love club lighting. This is just how she lives her life, every single day. I guess she’s just obsessed with her perversions and her kinks. Dolly is 24/7 Dolly – Roxy Lee There’s also this idea of sweetness and texture at play, as well as colour, right? Roxy Lee: I've always considered those three things, just generally, on a taste leveI. I love things that are pretty but make you feel a bit sick... that feeling of eating too many E-numbers, or maybe how I’m feeling after a night out. I’ve never been a fan of not bringing the negative to the surface. It might be underlying, and you might have to dig a little bit deeper, but that’s not anything I’ve ever tried to cover up. Anyone who talks to me is aware of that. I think they like that I’m silly or a bit gross. I like tacky and cheap things. Colour is important to me for the dreaminess it brings. Dolly was the perfect person to play with because she’s just got every outfit, in every colour. What do you love about Dolly? Roxy Lee: Oh, God. I mean, she’s my girlfriend – do you know what I mean? I love having a cup of tea in the kitchen with her, maybe a Vogue cigarette. She’s a very normal person – she likes the sunshine, she likes her niceties at home. With anybody that I photograph, I love the way they look. Dolly? She’s easy, man. We can talk, we can have a laugh. On paper, we’re very different people, but we really understand each other – maybe on a slightly more perverse level. Photography Roxy Lee Throughout your career, there are a lot of bodies to your work, from the street style and the club photography to the offbeat, playful shoots you do with Martine Rose. Where does this book sit within that lineage? Roxy Lee: I mean, it’s hard because I’ve been in clubs for years now. So the vigour that I used to have for clubs when I was in my early to mid-20s is very different. I’m always motivated to work in clubs, but my relationship has changed with those spaces. And that breaks my heart to say, but it’s the truth. My friends and I aren’t the youngest. We’re just getting older. I love the club stuff, but I also love domestic spaces – and I love the interiors of houses. Before, I would have always said clubs are my life and my soul, but actually now, for the last three years, I think the kind of swing tag of worlds I work in – this kind of imagery of Dolly – is really what’s most important to me at the moment. I am just obsessed with people. It was the natural progression to start either bringing people to me or going to them. Just seeing somebody and how they present themselves – potentially on social media first – and then going to their domestic space really turns me on.  A lot of your work has nods to porn. Was that sensibility at play in this shoot for you? Roxy Lee: It’s genuinely in every piece of work I do. It’s in how I dress, it’s in how I speak to some degree. It’s a source of inspiration and reference that I will never, ever get to the end of. I’ll never have every piece of porn. I think maybe that’s why I connect with perverts so well, because I am one – so it’s always there. I think maybe that’s why I connect with perverts so well, because I am one – Roxy Lee In light of the darkness surrounding trans lives now, is there a weight to working on projects like this?  Roxy Lee: I mean, listen: I’m not going to be one of those white, cis people who’s like, ‘I don’t see colour, I don’t see gender.’ The truth of the matter is, I do. I acknowledge it, and I try and champion it, and it’s something that I really – I know everybody says this shit – think is so vital to the running of this city, which is also something I love because it’s my home. Is it something I consciously think about? In some ways, yes; in some ways, no. It is genuinely my life. I think trans bodies are the most powerful bodies on the planet. They’re amazing – every degree of transness is so beautiful to me, and always has been. Photography Roxy Lee In one of the photos, Dolly is on a wooden floor, slowly dripping milk onto the ground. It’s positioned opposite a photo of two girls mud wrestling. Why? Roxy Lee: It’s the money shot. Everybody wants to see the pop. And I just thought, actually, I’m going to put two things together that are horny as fuck to me. So, I used photos from an all-female mud wrestling night and those photos of Dolly. In terms of the milk, that was all Dolly. I love the British seaside joke shop, Rick Mayall’s slapstick humour. And Lily Savage – I was obsessed with her as a child. That’s also why I called these books zines. Their names come from my old Instagram name, Sausage and Custard. I always try to incorporate food in the mix.  What do you think Dolly will make of the photos? Roxy Lee: I think she’ll like them. She’s very private, very low-key, but I think she’ll be into them. It’s quite interesting because, actually, she doesn’t really know much of the club work I do, but I think she’d get it.  Roxy Lee’s Dolly Mixture zines are available to buy from DSM now.  !function (f, b, e, v, n, t, s) if (f.fbq) return; n = f.fbq = function () n.callMethod ? n.callMethod.apply(n, arguments) : n.queue.push(arguments) ; if (!f._fbq) f._fbq = n; n.push = n; n.loaded = !0; n.version = '2.0'; n.queue = []; t = b.createElement(e); t.async = !0; t.src = v; s = b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t, s) (window, document, 'script', ' fbq('init', '357833301087547'); fbq('track', "PageView"); Source link

[norajworld]

Roxy Lee, Dolly Mixture16 Images When photographer Roxy Lee discovered Dolly – an illustrated, busty blonde bombshell – it was love at first sight. Quickly, Lee’s visual obsession blossomed into a friendship as the two began meeting in 2022. The result is Lee’s newest publication, Dolly Mixture, a series of four books, each one schematised by colour: Sherbet Lemon, Candy Floss, Cough Candy and Cookies & Cream.  The limited-edition publications are bound as simple white hardbacks akin to 90s primary school encyclopedias, titled with chewing-gum-style fonts designed by artist Simon Gray. Inside, we meet Dolly, an enigmatic trans woman based just outside London. She flaunts sickly sissy dresses, patent pleasers and frou frou capes, showcasing an illustrious selection of wigs. Gaudy checkerboard kitchen floors are backdropped by domestic sundries, and at one point, we even catch Dolly straddling a car with the license plate, D0II. Throughout the publications, which Lee prefers to call zines, images of Dolly are set against miscellaneous works from Lee’s back-catalogue – sweaty, faceless club snaps, and even shots of a women’s wrestling tournament – colour match with Dolly’s getups, drawing a throughline between separate but equally leftfield worlds.  Lee is a confessed obsessive. While often the spaces she works in bring out characters that might be – to some standards – extreme, her close proximity to queer, sex-positive and downright weird demi-mondes is a fair testament to her own life. Queer herself, she’s a born-and-bred East Londoner, and has, to paraphrase her youth, grown up in nightlife, moving from squat parties to bars and queer weekenders.  These days, her relationship with clubbing has morphed, although, by all accounts, remains strong – she still shoots every event for queer super-party, Adonis. Elsewhere, her career has developed in commercial spheres, too, with Lee shooting for her long-time friend (and fellow people-lover) Martine Rose, Olly Shinder, Supreme, Fashion East and Nike, as well as countless editorials. As Lee’s life has changed, it’s given her space to focus further on other avenues, such as her portraiture – another term she’s not fond of – where she’s captured the likes of professional dominatrix Eva Oh, model wrestler Miss Naiirobii and body performance artist Ron Athey. Often, Lee shoots inside her bedroom, a curated interior with glossy, satin curtains and stacks of vintage smut. To this day, she still does shifts in clubs and a rare porn shop that she won’t reveal the name of. Following an invitation to publish some printed matter for Dover Street Market’s Photo London weekend, Lee’s selection process for Dolly Mixture began. Now, it stands proud on the shop floor, displayed on plinths decorated with chewed gum – a set design commission care of artist Ella Lynch. Below, we join Roxy Lee for an up-front conversation about her naughty sense of humour, the process behind the zines, visual turn-ons and, of course, Dolly. Photography Roxy Lee Hey Roxy! Tell us, who is Dolly? Roxy Lee: So, Dolly was somebody that me and a couple of friends were really obsessed with – the way she looked. She does quite a lot of things she shoots herself. Then, during COVID, we spoke quite regularly for about two years. Finally, we met [in 2022]. I visited her a good few times, and we managed to shoot loads of stuff at her house. What is Dolly’s profession? Roxy Lee: She’s an entrepreneur. She sells wigs and shoes. Would you describe her as a drag artist? Roxy Lee: No, nothing at all to do with drag. This is just how she lives her life, every single day. I guess she’s just obsessed with her perversions and her kinks. Dolly is 24/7 Dolly.  How did the book come together? Roxy Lee: The idea of club photos that are 99 per cent faceless, and then these really confronting portraits of Dolly just felt right. It just felt right to draw these common denominators out of club spaces that I’ve documented and muses I have. There’ll be a couple in there from Inferno. The majority are Adonis. I think the earliest club photo in any of the books dates back to 2017. I like that you can't necessarily identify every club – they’re all anonymous and mainly focus on colour. Colour is really precious to me. And I also really love club lighting. This is just how she lives her life, every single day. I guess she’s just obsessed with her perversions and her kinks. Dolly is 24/7 Dolly – Roxy Lee There’s also this idea of sweetness and texture at play, as well as colour, right? Roxy Lee: I've always considered those three things, just generally, on a taste leveI. I love things that are pretty but make you feel a bit sick... that feeling of eating too many E-numbers, or maybe how I’m feeling after a night out. I’ve never been a fan of not bringing the negative to the surface. It might be underlying, and you might have to dig a little bit deeper, but that’s not anything I’ve ever tried to cover up. Anyone who talks to me is aware of that. I think they like that I’m silly or a bit gross. I like tacky and cheap things. Colour is important to me for the dreaminess it brings. Dolly was the perfect person to play with because she’s just got every outfit, in every colour. What do you love about Dolly? Roxy Lee: Oh, God. I mean, she’s my girlfriend – do you know what I mean? I love having a cup of tea in the kitchen with her, maybe a Vogue cigarette. She’s a very normal person – she likes the sunshine, she likes her niceties at home. With anybody that I photograph, I love the way they look. Dolly? She’s easy, man. We can talk, we can have a laugh. On paper, we’re very different people, but we really understand each other – maybe on a slightly more perverse level. Photography Roxy Lee Throughout your career, there are a lot of bodies to your work, from the street style and the club photography to the offbeat, playful shoots you do with Martine Rose. Where does this book sit within that lineage? Roxy Lee: I mean, it’s hard because I’ve been in clubs for years now. So the vigour that I used to have for clubs when I was in my early to mid-20s is very different. I’m always motivated to work in clubs, but my relationship has changed with those spaces. And that breaks my heart to say, but it’s the truth. My friends and I aren’t the youngest. We’re just getting older. I love the club stuff, but I also love domestic spaces – and I love the interiors of houses. Before, I would have always said clubs are my life and my soul, but actually now, for the last three years, I think the kind of swing tag of worlds I work in – this kind of imagery of Dolly – is really what’s most important to me at the moment. I am just obsessed with people. It was the natural progression to start either bringing people to me or going to them. Just seeing somebody and how they present themselves – potentially on social media first – and then going to their domestic space really turns me on.  A lot of your work has nods to porn. Was that sensibility at play in this shoot for you? Roxy Lee: It’s genuinely in every piece of work I do. It’s in how I dress, it’s in how I speak to some degree. It’s a source of inspiration and reference that I will never, ever get to the end of. I’ll never have every piece of porn. I think maybe that’s why I connect with perverts so well, because I am one – so it’s always there. I think maybe that’s why I connect with perverts so well, because I am one – Roxy Lee In light of the darkness surrounding trans lives now, is there a weight to working on projects like this?  Roxy Lee: I mean, listen: I’m not going to be one of those white, cis people who’s like, ‘I don’t see colour, I don’t see gender.’ The truth of the matter is, I do. I acknowledge it, and I try and champion it, and it’s something that I really – I know everybody says this shit – think is so vital to the running of this city, which is also something I love because it’s my home. Is it something I consciously think about? In some ways, yes; in some ways, no. It is genuinely my life. I think trans bodies are the most powerful bodies on the planet. They’re amazing – every degree of transness is so beautiful to me, and always has been. Photography Roxy Lee In one of the photos, Dolly is on a wooden floor, slowly dripping milk onto the ground. It’s positioned opposite a photo of two girls mud wrestling. Why? Roxy Lee: It’s the money shot. Everybody wants to see the pop. And I just thought, actually, I’m going to put two things together that are horny as fuck to me. So, I used photos from an all-female mud wrestling night and those photos of Dolly. In terms of the milk, that was all Dolly. I love the British seaside joke shop, Rick Mayall’s slapstick humour. And Lily Savage – I was obsessed with her as a child. That’s also why I called these books zines. Their names come from my old Instagram name, Sausage and Custard. I always try to incorporate food in the mix.  What do you think Dolly will make of the photos? Roxy Lee: I think she’ll like them. She’s very private, very low-key, but I think she’ll be into them. It’s quite interesting because, actually, she doesn’t really know much of the club work I do, but I think she’d get it.  Roxy Lee’s Dolly Mixture zines are available to buy from DSM now.  !function (f, b, e, v, n, t, s) if (f.fbq) return; n = f.fbq = function () n.callMethod ? n.callMethod.apply(n, arguments) : n.queue.push(arguments) ; if (!f._fbq) f._fbq = n; n.push = n; n.loaded = !0; n.version = '2.0'; n.queue = []; t = b.createElement(e); t.async = !0; t.src = v; s = b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t, s) (window, document, 'script', ' fbq('init', '357833301087547'); fbq('track', "PageView"); Source link

[ashleysingermfablog]

Wk 16, 25th of May, 2024 Research Herbals, how plants have been seen

Lilium Lily, Early printed herbal, Herbier du XVe siècle (1486)

From the text: INCIPIT HERBARIUM APULEI PLATONICI AD MARCUM AGRIPPAM by THE BOTANICAL ILLUSTRATION from Library of the Botanical Garden of the University of Padova...

Incunabulum is the text of an author of the fourth century AD known as Pseudo Apuleius, printed in Rome between 1481 and 1484 (or perhaps a few years earlier, Pier Andrea Saccardo, for example, dates it to 1479) by the publisher Giovanni Filippo de Lignamine.

The text is accompanied by very simplified and schematic xylographic images, to the point that, for the most part, the plants represented are unrecognisable if not thanks to the names listed above.

The illustrations are followed by the list of the different names by which the plant is known among the different peoples and data relating to its therapeutic and medicinal uses.

There are animals in many depictions, linked to the medicinal properties of the plant represented: if, for example, the image includes a snake, the plant is useful against snake bites. An exception is the mandrake, depicted with human features and tied to a leash of a dog, which in this case refers to the legend on how to collect it.

In the copy found in the Library of the Botanical Garden, the black and white prints have been lightly coloured with red and yellow pencils.

From the text: BRIEF HISTORY OF ILLUSTRATED HERBALS by THE BOTANICAL ILLUSTRATION from Library of the Botanical Garden of the University of Padova...

For the period from classical antiquity to the late Renaissance, illustrated botanical texts fall into the category of "herbals", while for the following period it is more correct to speak of "flora", "florilegia" and scientific texts on botany.

The herbal can be defined as "a book, used in classical antiquity until the last decades of the fifteenth century, which collects descriptions of plants and their pharmacological virtues, often accompanied by the names by which each plant essence was known in various languages ​​and information on their habitats [...] the text also was soon well provided with depictions [... and] especially from the eleventh century, the images of the plants were often associated with human figures, with the explicit aim of more clearly illustrating the medicinal virtues or to exemplify specific harvesting methods" (from the Treccani Encyclopedia of Medieval Art).

With regards to flora we refer technically to the composite of plants and plant species that live in certain geographic areas, but the term also includes the texts, often illustrated, that describe these plants. The scientific texts on botany, however, examine the plants from only a scientific point of view, analysing distinguishing characteristics, component parts, habitat, life, evolution, mutual differences and similarities...

The term anthology (florilegium), although rarely used with this meaning in the Italian language, refers to a collection of images of plants and flowers, a work dedicated to the plants more from an aesthetic, rather than practical, point of view.

It is difficult, especially for the oldest periods, to define a clear boundary between herbal, flora and anthology.

In Latin times, they had in all probability to circulate illustrated herbals that included images made from copies of previous versions, increasingly less realistic and detailed.

Pliny the Elder argued in his Naturalis Historia that often it was not in any way possible to recognise plants from such images, sustaining to a certain degree the futility of botanical representations (Nat. Hist., XXV, 4-8).

During the Middle Ages, botanical illustrations continued to be based on ancient models through copies and copies of copies gradually less and less true to the original, partly also due to a new mentality which focused attention more on the ideal rather than on reality: even the plants are to some extent idealised, schematised, or reduced to the essence or enriched with imaginative details or related to (real or alleged) therapeutic properties of plants rather than to their actual appearance.

The study of botany is essentially the study of the classical authors, of what was said by Dioscorides, Pliny, Theophrastus ... whose knowledge and beliefs are not challenged, but continue to be passed down in a mixture of science and magic, where the power of the voice of the "greats" of the past is stronger than critical thinking and real life.

One example is the depiction of the mandrake, a toxic plant of the Solanaceae family that actually exists, to which magical powers were attributed. The particular shape of the root, which vaguely resembles a human being, had fuelled numerous legends associated with this plant, in particular its power to kill anyone who dared to harvest it with a piercing scream. In order to harvest the plant, it was therefore advised to tie the base to a leash of a dog that, set free, would run and tear out the plant and die from the cries while making it possible for his master to take it. Despite the fact that simply observing the plant would suffice to understand that this was a legend, the evocative power of popular belief and texts from the past was such that in many medieval texts the mandrake is depicted with anthropomorphic features and tied to the leash of a dog (see below).

During the seventeenth century, botany began to establish itself as an autonomous science and not simply as a branch of medical science: all aspects of plants begin to be studied and their distinctive characteristics, also independent of the pharmacological properties, are investigated.

Volumes from this period, therefore, begin to include more pictures which tended to illustrate the anatomy of plants, with details of the flowers, seeds and fruits, and representations of the undersides of leaves and flowers. The great attention to detail is aided by the increasing use of xylography (engraving of images on metal plates), which replaces chalcography (engraving on wooden slabs) and which allows an even greater degree of detail.

In particular, the publication of texts by Brunfels and Fuchs marks the moment when botany begins to focus on observation of the natural world in an innovative approach, stripping away imaginative interpretations and basing itself on real observation, while the Mattioli text represents an admirable example of revision of the classical authors.

[decayingteratoma]

One of my biggest problems is that I have a really hard time studying in the morning if I’m not taking notes or schematising

[thevalleysbelow]

Constellation of the day: a brief introduction on sky cultures.

To begin with: every culture that’s ever existed on this planet seems to have found images to associate with groups of stars. Each culture gave those constellations names borrowed from mythology or everyday-life objects. So we have a number of Sky Cultures, some of which have been somehow systemised. I’d at least like to name them, as a form of respect and because they are intrinsically interesting and important.

Native American cultures are the Blackfoot culture, Inuit, Navajo, Tukano, Tupi-Guarani.

In Asia, the Bugis, Chinese (old and Contemporary), Indian Vedic, the Japanese (that is similar to the Chinese in dividing the Moon’s path in 28 “stations”), the Korean (also similar to the Chinese one), the Mandar, Mongolian, and Siberian.

In Europe we have constellation systems as the Belarusian, the Norse (love that one), the Romanian, the Ruelle chart (first ever attempt to reconstruct Greek constellation with geometrical figures), the Sami, a whole separate star chart for Sardinia, then there’s the Western- that’s the most used constellation system adopted by the International Astronomical Union, and three other variations of this particular system.

In the Middle East, we find three Arabic cultures (Al-Sufi, Ancient, Lunar Stations) and the Egyptian culture.

In Oceania, there are the Anutan, Hawaiian, Kamilaroi/Euahlayi, Māori and Tongan.

On the same Earth and under the same sky, apparently no human group could go without looking at the stars. If you’re interested, you may find more here (other references included). Even more bibliography and information can be found on my other main source, from which I learnt most of what I know about Sky Cultures, the mobile app Stellarium. Can also ask me for other links and such if you feel like it.

No constellation is, obviously, a faithful portrait of the hero, object, or animal it’s associated with. One could hardly think of Cassiopea as a W. To see why constellations are named as they are, one should look at the night sky not only with imagination in general, but with The imagination of those who named them first, influenced by their myths, their heroes and their lives. Slawik and Reichter give in their premise the pregnant example of Orion, that up there in the sky is stopping the attack of the Taurus, all the while chasing the beautiful Pleiades, and running from the Scorpion’s stinger. Looking at the sky as a group of humans looked at it, means having in front of you (or above your head for that matter) a sort of rotating, ever changing picture of their culture and beliefs. Stories and legends and are told and handed down in what we now schematise as dots and lines, and I find that re-learning to read them from scratches can be quite mind-opening.

See y’all later with another post, probably another introduction on catalogues and names, this time more technical.

~Ad Astra~

[mali-umkin]

I can't express the horror I feel seeing these. One day people will ask how this could even be, how such horrors could even be schematised, and the usual answer as for everything will be cognitive dissonance, and willful ignorance - intellectual and emotional laziness from all of those who do have the means to think and act.

Right now, people are discussing well-being in terms of is it better to spend your whole life in 0,75 square meters, or one and a half, and no one blinks.

People always complain about veganism being classist, while in the same breath advocating for welfarism. Not buying chicken is classist, but only buying free-range humane chicken isn't?? Somehow??

[le75gr]

Geoff Mcfetridge suite...

Pour voir plus de sa production: http://geoffmcfetridge.tumblr.com

[jonnywaistcoat]

Are there any personality typology theories that you are less sceptical of?

Honestly, no. It's fun and all, to create rubrics and classifications and to try and schematise the vast and messy contradictions of humanity, but to actually take that sort of thing seriously is at best a bit foolish and at worst profoundly dangerous.

Our minds are bizarre and twisted mazes of electricity and flesh, constantly growing and breaking in a thousand new ways. And you tell me you can group them into tidy little categories?

Beyond that, the methodologies are all fundamentally flawed: self-reporting at best gives a picture of a person's self-image; and anyone else trying to judge is either assessing their own projections and experiences laid on a stranger or ticking arbitrary checkboxes that tell you nothing.

You can be in therapy for years and never reach anything approaching the "truth" of how your specific mind works and why, yet someone wants to tell you there's a neat typology of personalities that's good for more than a dinner party chuckle? Nah, mate - they're either trying to sell you some bullshit, or they've already been sold it themselves.

[risunsky]

How did you learn to draw bodies so well? I’m very envious of your art style!

I don't think I learned the right way. Just by repetition and observation.

For some time now I've had a better way, I've studied the skeleton and musculature more seriously. I was fed up with just being able to draw the outline of the body vaguely, my attention to detail also wanted to render the folds, bumps and hollows formed by the bones and muscles. This also affects the way the light comes across, so it's important to know how it works. Body posture can tell a lot. A seated person isn't just sitting, it's telling a story: they can be very relaxed, even slumped in their chair, or on the contrary very stiff, as if waiting for something stressful to happen. All this is easier to tell if you know how to vary postures, even subtly. Wanting to know how to do this led me to learn more about the human body. I also think that I tend to project myself into the drawing, I always ask myself if the posture is natural, or if it's comfortable. Also visualising the body I want to draw as a 3D object, understanding the volumes and knowing how to render them, to achieve good posture I also need to be aware of how the pieces impact on each other. For example, drawing a character with arms crossed means thinking about how the flesh of the upper arm rests on the flesh of the lower arm, whether the character is relaxed or tense, etc.

An exercise that I do from time to time and which I think helped, drawing a character in an absurd posture but which must be rendered realistically. A good example is circus acrobats. It takes you out of your comfort zone to understand how the body works.

I recommend : drawing from reference. practise with very quick sketches to learn how to schematise the body but also slower sketches to study in more detail. Do this as regularly as possible. There are lots of freely available reference stocks that can be used for this kind of exercise:

"How to think when you draw" is an excellent resource too, they don't just do the human body but when they do they explain really well how to understand articulation and movement.

I hope this answer is a bit helpful, and thanks for the compliment! :)

[mybeingthere]

Wassily Kandinsky, with his painting "Dominant Curve", 1936.   

Although Kandinsky was forced to leave Germany in 1933 due to political pressures, he did not allow the mood of desolation pervading war-torn Europe to enter the paintings and watercolours that he produced in France, where he remained until his death in 1944. His late works are marked by a general lightening of palette and the introduction of organic imagery; breaking away from the rigidity of Bauhaus geometry, he turned to the softer, more malleable shapes used by Paris-based artists associated with Surrealism, such as Jean Arp and Joan Miró. Kandinsky’s late, often whimsical, paintings were also influenced by the playful, intricately detailed compositions of his longtime friend and Bauhaus colleague Paul Klee.

During his first years in France, Kandinsky experimented with pigments mixed with sand, a technical innovation practiced during the 1930s by many Parisian artists, including André Masson and Georges Braque. Although Kandinsky utilized this method only until 1936, he created several paintings with rich, textured surfaces such as Accompanied Contrast, in which the interconnected colored planes and smaller floating patterns project slightly from the canvas. Always attentive to and appreciative of contemporary stylistic innovations, Kandinsky inevitably brought his own interests to bear on any aspects he would borrow. As art historian Vivian Barnett has pointed out, his employment of biomorphic forms—a motif favoured by Surrealist painters as well as by Klee—attests more to his fascination with the organic sciences themselves, particularly embryology, zoology, and botany. 

During his Bauhaus years, Kandinsky had clipped and mounted illustrations of microscopic organisms, insects, and embryos from scientific journals for pedagogical purposes and study. He also owned several important sourcebooks and encyclopedias from which depictions of minuscule creatures found abstract equivalences in his late paintings. 

A schematised pink-toned embryo, for instance, floats in the upper-right corner of Dominant Curve, while the figures contained within the green rectangle in the upper-left corner resemble microscopic marine animals. Various Actions is imbued with similar organic figures hovering above a celestial blue field. These buoyant, biomorphic images, often presented in pastel hues, may be read as signs of Kandinsky’s optimistic vision of a peaceful future and hope for postwar rebirth and regeneration.

Nancy Spector (Giggemheim)

[punkpandapatrixk]

This is Part 4 of a series of PACs specifically tailored to the theme of self-transformation. All of my PACs naturally carry this theme, however, the ones belonging to this series are imbued with intentions that are closely intermingled with one another. I think, there will be 5 PACs in total to complete this series.

They're all essentially timeless so it doesn't matter which ones you come across first.

[Back to Masterlist] [Part 1] [Part 2] [Part 3] [Part 5]

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

People usually have this idea that a life purpose is this one thing you're meant to figure out at one point in life and continue to pursue/do for the remainder of your days. Although this isn't wrong, this is misleadingly inaccurate. If you're adept at Astrology, you'll understand that one's life purpose can encompass a variety of things you're meant to do in this incarnation.

The one thing we do have... is a theme. The variety of things you can indulge in your studies all lead to one schematised plan—life's blueprint. If you think your Destiny—your life's destination—is a single lane towards a singular activity, you'll only be miserably confused. It's more empowering to think about direction, you see.

Life changes constantly and future possibilities are shaped by the current emanation of energies—mostly they are yours, but bigger forces are also at play, so be humble, and be chill when things seem to go crazy. You rarely have only one direction in Life. As you progress through this hyper-realistic game we call Life, paths continue to alter and new directions revealed.

Pile 1 - Harbinger of Revolution

Queen of Wands, King of Cups Rx

Priestess of Integrity & Red Astronomer (Johannes Kepler)

Of all the piles, yours is probably the heaviest. Look, you clearly didn't come here to just play stupid and be boring like everyone else. You. Are. A. Harbinger. Of. Revolution. Quite literally, you came here—hyper-specifically—to change the world. In all the senses that word carries. Bad news is, such a destiny is rarely easy. But if you manage this incarnation, amazing evolution to your Soul is also granted.

Some of you, your Soul did want just exactly that—evolution. Some of you, they begged your participation in this hyper-realistic game called Earth Life because your skills are so fucking needed. Whether this voluntary participation has caused your Soul much sadness is not even in the question. Fuck that, right? This much hardship in one's life should never be okayed🤬

Now, this pile has attracted a very specific group of Souls, but at the same time, the variety of things/activities you're meant to view as your Life Purpose is also vastly varied! This may surprise you but your Life Purpose is actually part of a greater TEAM WORK that involves other highly advanced and specialised Souls who'd decided to incarnate on Planet Earth at very specific times, to assist one another.

You're like in a group of very important beings who get to play a part in the course of Human history and that makes your life's blueprint almost hyper-specific, so as to minimise the risks of your failing your mission. What this entails... may be a feeling like you've never had a freewill of your own. It's because you agreed to that in your Soul's contract: that should the time for you to awaken and fulfil your contract, you give the Higher Realms the permission to override your freewill.

-You should know that this kind of design is highly unorthodox because this Planet is a special planet that works on freewill. That alone should tell you the importance of your Soul and your mission. Please never see yourself as small and insignificant!-

What to do NOW🔻❤️

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Pile 2 - Balancer of the World

XIV Temperance, 7 of Swords Rx

Priestess of Good Fortune & Silver Geographer (Francis Drake)

You know... your life's direction could be the simplest and yet, the most wholesome of all. Basically, your life purpose is to be and do good. You just have to be a good person; the world needs your charitableness. But what does being good mean in this world where goodness is often cheated on by assholes? If you're so good and white and pure to a point of being used by others and have no means to protect yourself, you're also being not good to yourself. It's not enough.

'If your compassion does not include yourself, it is incomplete.' — probably a Buddhist quote

Hopefully it doesn't sound counterintuitive, but your life purpose revolves around the theme of self-empowerment, which may involve some acts of selfishness in order to defend your place in the world. You need to learn to become strong, which may involve some acts of hurting another person in order to defend your wellbeing, too. But this isn't to say that you're justified for doing cruel things. No, you're a good person, but this world is rarely good, so you kinda need to learn how the devil ticks, so you don't get easily manipulated and taken advantage of.

Knowing how the devil ticks is not the same as becoming the devil. By knowing, and still choosing to be good, you set an example for others. That shit gives people hope—that there is a place for goodness in this world; that being good doesn't have to equate being a pushover or a weakling. Being good doesn't mean being harmless, you know?

'A harmless man is not a good man. A good man is a very dangerous man who has that under voluntary control.' — Dr Jordan Peterson

At the end of the day, if you wonder what your life purpose should look like, it is to do with charity. To share your good fortune with the world. Fortune, fortunately, can mean a wealth of things. Even your life stories are a fortune provided you know how to tell them for inspiration😉With the state of the world today, all kinds of sharing that lift up the Soul are very much needed by everyone.

What to do NOW🔻💙

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Pile 3 - Off the Beaten Path

9 of Pentacles, Queen of Cups Rx

Priestess of Magick & Red Alchemist (John Dee)

People who've chosen this pile are probably highly, highly uninterested in the idea of having a family. Or anything else to do with the concept of matrimony. You like being your own best company and you aren't afraid the least bit of 'dying alone'. You just have a different idea about what it means to grow old and die 'alone'. You already know that 'family' isn't defined by blood and you know damn well, it can be found well beyond a matrimony.

Your Life Purpose, actually, is to just have fun with whatever plans you have for yourself in this incarnation. Whether or not you're aware of this, you're an extremely advanced Soul and have very powerful manifesting abilities. Your fun game is learning how to manifest all that you desire through concrete studies in all that you're passionate about. Study, explore, experience, grow, make things, inspire the world. Do what you like and make your own rules. The world's your oyster, as they say.

You need not be afraid of what others have to say—or think—about your unorthodox way of life. It's your way of life, anyway. In this world where so many young people are confused anyway, your living life your way can serve as a ray of hope for those looking for a green light to live their own lives authentically. You're all alchemists of the Soul; magicians; Old Souls; Lightworkers; Starseeds; wayshowers; what have you; you came here to make a difference.

I'm thinking characters like John Keating from Dead Poets Society and Katherine Watson from Mona Lisa Smile.

I feel a bit unfair for this pile has such a short message (and no extra messages either), but... wow, I'm not hearing anything anymore. Bottom line is, I think you're so powerful and so confident and you, so, know, what you want. Perhaps, sometimes you're just a little confused because the world is unfriendly towards powerful beings and you can question yourself from time to time. Well, keep going and keep being strong. You're not wrong at all.

Access cards on Patreon🌸

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Feel free to support me on Patreon if you love this kind of content🍑I create stories and tarot readings that calm the mind & heal from within🍒

[Back to Masterlist] [Part 1] [Part 2] [Part 3] [Part 5]