#Haeckel brothers

[hauntedbystorytelling]

Four ladies in white (1908)

Otto Haeckel (1872-1945) and Georg Haeckel (1873-1942) :: Racecourse on Norderney island: four ladies in white dresses on the turf, 1908. Haeckel Collection. Ullstein Bild. | src Getty Images

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[lostfunzones]

Racecourse on Norderney island: four ladies in white dresses on the turf, 1908. Photo: Otto Haeckel, Georg Haeckel (Haeckel brothers).

[demi-shoggoth]

2022 Reading Log pt. 15

Posted right before I get on a plane for the first time in 10+ years

70a. The Secret Life of Puppets by Victoria Nelson. Put down within 20 pages. The concept is decidedly interesting. The book’s thesis is that in modern Western society, the supernatural is more likely to be demonized than valorized, and that much supernatural feeling has been sublimated into the arts. This can be seen in attitudes towards anthropomorphic figures, including puppets, statues and robots. Unfortunately, the book’s writing style is incredibly pretentious and off-putting. The author is also a big believer in both Freud (beyond the references to the uncanny that the topic would naturally include) and Plato, both of whom are philosophers I hate. When I got to the end of the introduction, which warns that nobody who reads the book will be the same when they finish it, I rolled my eyes as hard as I could and stopped reading.

71. …and then you’re dead by Cody Cassidy and Paul Doherty, PhD. This book is much less pretentious, and a lot of fun. I liked it now, but I would have absolutely loved it when I was in high school, which is pretty much the target audience. The subject of the book is what exactly would happen to the body in a variety of hypothetical scenarios, and the biology, chemistry and physics behind, say, skydiving from the ISS, falling into a volcano or never falling asleep. Doherty is the senior staff scientist at the Exploratorium in San Francisco, which seems like the perfect training for writing a morbid educational book about various improbable ways to die. If you like popular science books like What If? and/or books about death like Will My Cat Eat My Eyeballs?, this is basically the perfect Venn diagram overlap of those.

72. Fighting Fantasy Monsters: Out of the Pit by Steve Jackson and Ian Livingstone, edited by Marc Gascoigne. Fighting Fantasy is a bit of retro gaming I had never had first hand experience with before. It started out as a series of Choose-Your-Own-Adventure style solo gamebooks, and then developed into a fairly simple RPG ruleset. The edition I read was the 2011 reprint for Advanced Fighting Fantasy, specifically, so there’s a little tiny bit more rules material than in the original. The monsters within are a mix of Tolkien and D&D knockoffs with more original content. A lot of them show their origins as CYOA critters—there’s a lot of unfair deathtrap, you must do exactly one type of action or you’ll die sort of mechanics on display here. There’s also some vintage racism—“headhunters” and “pygmies” are monsters here, and a lot of the writing for evil humanoid races like orcs and trolls have racialized tones. The reason I picked this up in the first place, and likely its greatest point of recommendation, is the art. Every monster gets a picture, all in black and white lineart and filled with grotesque detail. If you like 1st edition AD&D art, you’ll like the art in this book. The PDF conversion is a little sloppy; I think a text scanning program was used and not triple-checked, as “orcs” are referred to as “ores” about half of the time.

73. Extreme North: A Cultural History by Bernd Brunner, translated by Jefferson Chase. This was originally written in German. It talks about how the concept of the “North” has been an influence on mainstream Western thought—primarily Western Europe and the United States. The North in this case is primarily Scandinavia, Iceland and Greenland, but also discussions of Canada, Siberia and Alaska come into play. The core of the book is the development of a romanticized idea of the North as a bastion of civilization, an untamed wilderness, or a social paradise, and how that shaped everything from the Age of Exploration to Nazi Germany. There are a lot of fingers in the pie of how “Aryan” and “Nordic” became figures of racial supremacy—some of the historical figures I knew, like Wagner and Haeckel, and others I was surprised by their roles, like Kant and the Brothers Grimm. I also didn’t know that looking at Swedish social democracy with a wistful sigh is nothing new for American leftists—the earliest the book talks about is in the mid 1930s!

74. Beasties and Beasties 2 by Thomas Denmark. Yeah, I’m on something of a monster book kick. I’m lumping these two together because they have the same author, same publisher, and are very short. Each is around 90 pages, and only half of those have text. These are small zine-sized books of monsters and NPCs, with an illustration and a stat block for OD&D (or its legally distinct equivalent) on facing pages. Each has a few pages of backmatter with maps and world building—Beasties has an entry about the floating ziggurats of the Locust Gods, and Beasties 2 has an ecology article about goblin society and history. The monsters are all illustrated, but are illustrated with stock art, which limits their scope somewhat. Lots of humanoids, lots of undead. And lots of sexy ladies; the stock art chosen is often very thirsty for black and white line illustrations. Thinking back on it, none of the monsters really leap to mind, except for a somewhat awkward Trump parody (a babbling elephant-monster called a Drumpf) in Beasties 2, and the fact that a lot of the monsters in Beasties 1 have stench based abilities. These aren’t the worst OSR monster books I’ve read (if we count Lusus Naturae, that’s going to be a hard milestone to beat). But they’re not the best either.

75. Chasing Ghosts by Marc Hartzman. This is a weird one. It claims to be a book about ghosts for both skeptics and believers, but what that actually means in practice is that it’s a book by someone who clearly believes in ghosts that’s full of stories about hoaxes and frauds, followed by special pleading that some of the phenomena are real, or that the hoaxer was only hoaxing when they got caught for attention but the original haunting was absolutely real, you can trust me. The book is also intentionally incomplete about a number of the cases within it, like the Mumler Spirit Photographs, in order to make it seem like there’s more mystery than there actually is. The author basically confesses on the last page that he believes in ghosts because he’s afraid of death (the quote is “We become something new in the afterlife. Whatever form it takes, it sounds a lot like heaven. Dead in a box is hell.”). Basically the only thing I can wholeheartedly recommend about the book is the imagery. There are archival photos and newspaper clippings, supplemented with moody greyscale illustrations by Lauren O’Neill.  

[jeahreading]

i think this essay excerpt provided to us by the summer course i am doing as an advanced reading is pretty amazing.

"

There are certain sequences or developments (cases of one thing following another), which are, in the true sense of the word, reasonable. They are, in the true sense of the word, necessary. Such are mathematical and merely logical sequences. We in fairyland (who are the most reasonable of all creatures) admit that reason and that necessity.

For instance, if the Ugly Sisters are older than Cinderella, it is (in an iron and awful sense) necessary that Cinderella is younger than the Ugly Sisters. There is no getting out of it. Haeckel may talk as much fatalism about that fact as he pleases: it really must be. If Jack is the son of a miller, a miller is the father of Jack. Cold reason decrees it from her awful throne: and we in fairyland submit. If the three brothers all ride horses, there are six animals and eighteen legs involved: that is true rationalism, and Fairyland is full of it.

But as I put my head over the hedge of the elves and began to take notice of the natural world, I observed an extraordinary thing. I observed that learned men in spectacles were talking of the actual things that happened—dawn and death and so on—as if they were rational and inevitable. They talked as if the fact that trees bear fruit were just as necessary as the fact that two and one trees make three. But it is not. There is an enormous difference by the test of fairyland; which is the test of the imagination. You cannot imagine two and one not making three. But you can easily imagine trees not growing fruit; you can imagine them growing golden candlesticks or tigers hanging on by the tail.

These men in spectacles spoke much of a man named Newton, who was hit by an apple, and who discovered a law. But they could not be got to see the distinction between a true law, a law of reason, and the mere fact of apples falling. If the apple hit Newton’s nose, Newton’s nose hit the apple. That is a true necessity: because we [p.91] cannot conceive the one occurring without the other. But we can quite well conceive the apple not falling on his nose; we can fancy it flying ardently through the air to hit some other nose, of which it had a more definite dislike, We have always in our fairy tales kept this sharp distinction between the science of mental relations, in which there really are laws, and the science of physical facts, in which there are no laws, but only weird repetitions.

In fairyland we avoid the word “law”; but in the land of science they are singularly fond of it.A law implies that we know the nature of the generalisation and enactment; not merely that we have noticed some of the effects. If there is a law that pick-pockets shall go to prison, it implies that there is an imaginable mental connection between the idea of prison and the idea of picking pockets. And we know what the idea is. We can say why we take liberty from a man who takes liberties. But we cannot say why an egg can turn into a chicken any more than we can say why a bear could turn into a fairy prince. As ideas, the egg and the chicken are further off each other than the bear and the prince; for no egg in itself suggests a chicken, whereas some princes do suggest bears.

Granted, then, that certain transformations do happen, it is essential that we should regard them in the philosophic manner of fairy tales, not in the unphilosophic manner of science and the “Laws of Nature.” When we are asked why eggs turn to birds or fruits fall in autumn, we must answer exactly as the fairy godmother would answer if Cinderella asked her why mice turned to horses or her clothes fell from her at twelve o’clock. We must answer that it is magic. It is not a “law,” for we do not understand its general formula. It is not a necessity, for though we can count on it happening practically, we have no right to say that it must always happen. All the terms used in the science books, “law, “necessity,” “order,” “tendency,” and so on, are really unintellectual because they assume an inner synthesis which we do not possess. 

"

Essay "The Logic of Elfland by Gilbert Keith Chesterton"

[hiromisuzukimicrojournal]

A portrait in SLR

✽

In the groomed wide garden, the flowers and the leaves of plants were shining brightly with the autumn rain of the last night. It was the dawn of a fine day, and the shining droplets were morning dew. I was asked to take a picture for a rookie’s film audition and I found the address near Daitabashi Station where I was told to go by email.

He waved his hands from the balcony on the second floor in bright sunshine. I turned my brand new single-lens reflex camera to him.  By backlight, his appearance was only a human silhouette. His mother was in the dining room, lining up the glasses of orange juice, bacon and eggs with green peas and breads on the table.

“How about having breakfast together,” said his mother, and prepared the knives and forks. She used to be an actress. That beautiful face with a smooth and sad expression – I wanted to push the shutter of my camera. At the same time, he came downstairs and entered the Japanese style room for changing clothes.

He smiled innocently from the gap of the sliding door. For me, he was shining like morning dew. I tried to switch the camera mode to monochrome, but my hand was in trouble. Since the way of using the compact camera and the Single-Lens Reflex camera were different, I could not do it well.

Wearing a Brooks Brothers’ dress shirt and McQueen coat, he poked the fried eggs casually with a fork. He looked like a real Hollywood actor. At least, in my SLR. In front of me was he who laughed at silly conversations and watched Ernst Haeckel’s radiolarian pictorial book seriously in the library. The still images in the liquid crystal display were dreams which never awaken. He became a mannequin without physical body, smooth, sleek, pumiced by the grace and aerated by the Harcourt Studios glow* in a portrait I was building up.

In fact, he was a mannequin. After finishing the breakfast, his mother lifted him up lightly with one arm and put him in the shade of the garden. The former actress pointed at the small bubbles welling up from dry soil in the pond.

She said: “It is the footprint of Daidarabotchi as a single-eyed giant in Japanese mythology. If the spring comes, plenty of water will spring.”

I liked his face.

L’iconographie d’Harcourt sublime la matérialité de l’acteur et continue une «scène » nécessairement triviale, puisqu’elle fonctionne, par une « ville » inerte et par conséquent idéale. Sta- tut paradoxal, c’est la scène qui est réalité, ici ; la ville, elle, est mythe, rêve, merveilleux. L’acteur, débarrassé de l’enveloppe trop incarnée du métier rejoint son essence rituelle de héros, d’archétype humain situé à la limite des normes physiques des autres hommes. Le visage est ici un objet romanesque; […]**

Someday I will fall in love with him, sparkling like morning dew on the screen of the cinema.

✽

© Images: hiromi suzuki, 2018

✽

Quotations:

* ‘THE HARCOURT ACTOR’ from Roland Barthes Mythologies, 1957 (translated by Richard Howard, 2012)

** ‘L’acteur d’Harcourt’ from Roland Barthes Mythologies, 1957 (original text)

Author notes:

Daidarabotchi is a giant in Japanese mythology. Daidarabotchi’s great footprints are said to have created lakes and ponds. There is Tamagawa Aqueduct under the Daitabashi Station in Setagaya-ku, Tokyo. The name of the place “Daitabashi” comes from Daidarabotchi. Daidarabotchi has similarity with the Cyclops in Greek mythology and the Troll in Norse mythology and Scandinavian folklore: a single-eyed giant.

Studio Harcourt is a photography studio founded in Paris in 1934.  In 1954, Barthes wrote: “In France, you’re not an actor if you haven’t been photographed by Harcourt Studios.”

✽  ✽  ✽

A portrait in SLR by Hiromi Suzuki

© Short story by hiromi suzuki, 2018

published in Mookychick  (November 14, 2018)

vis Mookychick

[yes-calliope]

Backstage of a flowery catwalk.

For the Italian translation click on the link. Every beginning is like a promise. An ideal gift wrapped into a decorative paper. There is a vision at the horizon, a blooming picture full of magic in order to reach an important aim one is concerned about. I remember  Lawrence Ferlinghetti’s wild dreams about a new beginning: “Eyes smell flowers and become them….” His poems accompanied me on my journeys and I still love to recite his verses, in a loud voice.

The Promise. Silvia Zambarbieri’s works rolled in. Entrance of the Garden Serre Torrigiani, Florence. 

So it was with Silvia Zambarbieri and the difficult beginning of her textile exhibition in homage to English 18th century’s botanist Anna Atkins. What my alter ego and dearest friend, Curator Elisabeth Vermeer, had on her mind for the setting at the Serre Torrigiani in Florence, and not only there, was a scenography of giant flowers growing on the hedges, coming down from tree branches, lying on the meadows, hanging on the wall of the Greenhouse. When our fashion artist approached the venue for the first time, she brought a textile roll under her arm, tied with a ribbon in cotton. The roll hid the story of her most intimate garden. Nobody could imagine how it would end up. Again with Ferlinghetti’s words: “Lives cross lives.”

Silvia Zambarbieri, “Magnolia” patchwork in various materials with embroidered pistils put into evidence.

Elisabeth Vermeer divided the exhibition into various little gardens. The mission of the invited artists was a confrontation with nowadays nature and the consequences of the climate change on nature’s health. Silvia Zambarbieri’s objective was using the art of botany drawing of the past centuries and transforming the images into three dimensional works in textile fabric. Moreover, in her everyday life she actively stands up for the planets safeguard insisting on research, on the processing of natural materials and on the ecological sustainability of fashion design and of her own creations she makes a living with, bags, dresses, shirts, jackets and objects for the home.

Silvia Zambarbieri fixes the giant lily’s green leaves on the cloth.

Another version of a Magnolia in the grass. Botanical illustration.

The calm atmosphere of a sunny lazy Saturday afternoon in May allowed the observation of the surrounding nature but also the recall of the memory of botanical illustration. Where does it come from ? Prior to the invention of photography, botanical illustration was the only way of visually recording the world’s many species of plant life. Artists and illustrators shared the beauty of botany with the world. Their work required great artistic skill, attention to fine detail, and technical horticultural knowledge. This is the point where we can reach out to botanist Anna Atkins who was the first woman to produce a photography book on her magnificent cyanotype impressions of algae, ferns, poppies, blades of grass, anatomised leaves.

Anna Atkins, Cyanotype of Ocean Flowers

Silvia Zambarbieri pays homage to plant life in a contemporary way by studying the morphology and the gracious appearance of the plants. Beyond her favourite illustrator Pierre-Josephe Redouté there were many other extraordinary botany artists in the course of the last centuries like Maria Sibylla Merian, the Bauer Brothers, Anne Pratt, Marianne North, Ernst Haeckel, Rory McEven, Pandora Seelars, maybe one of the most important botanical artists of all time. At the moment Zambarbieri’s  recurrent botanical subjects are lilies, waterlilies, irises, magnolia, roses and tulips.

Giant Lily set on framed paper. Wall of the Historical Greenhouse, Serre Torrigiani, Florence. Pierre-Joseph Redouté, etching of a lily.

Pattern of the Red Giant Lily lying in the grass. Pierre-Joseph Redouté, Fleur-de-Lys of Saint Jacques.

Blue Giant Lily created with various materials in Zambarbieri’s typical patchwork technique. Setting on framed paper. Wall of the Historical Greenhouse, Serre Torrigiani, May 2021.

Zambarbieri’s recent occupation is the eco-printing of authentic blossoms, petals and leaves on cloth to create natural impressions on her dresses. The aspect and the shape of the prints are enriched and completed by drawing, painting and embroidery. English poet Robert Graves writes “in the beginning was a word”. In curator Elisabeth Vermeer’s life “in the beginning was a flower, simple, as simple as it seemed.” This is what she tries to hand over to all her artists and above all to who works with the heritage of botany, like Silvia Zambarbieri. 

[thiarella-blog]

Origin of the Races

“Theses are the families of the sons of Noah, after their generations, in their nations: and by these were divided in the earth after the flood” Genesis 10:32

 This is the concluding verse of the tenth chapter of Genesis, known as “The Table of Nations.” It tells us that all the original nations of the world were formed from the descendants of Noah. The basis of this worldwide was their dispersion at Babel (Genesis 11:19), ‘every one after his tongue, after their families in their nations(” Genesis 10:5 see also 10: 20 and 10:31). Lest anyone think this list of original  nations is simply folklore, he should remember that William F. Albright, probably the greatest archeologist of the 20th Century, called it “an astonishing accurate document.” Many ethnologists still speak of Japhetic, Hamitic, Semitic peoples and languages.

But what about the origin of races? One searches the Bible in vain for this information, for  neither the word nor the concept of  “race” appears in the  Bible appears at all!! There is no such thing as race except the human race! Skin color and other characteristics are mere recombination’s of innate genetic factors created in Adam and Eve to  permit development of different family characteristics as the human race was commanded to multiply and fill the earth. Genesis1:28: 9:1.

“Race” is strictly an evolutionary concept used by Darwin, Huxley, Haeckel and the other 19th-Century evolutionists to rationalize their white racism. But from the beginning it was not so! “God that made the l  world and therein ….hath of one blood all nations of men for to dwell on all the face of the earth(Acts 17:24-26) Have we  not all one father? Hath not one God created us? Why do we deal treacherously every man against his brother? (Malachi:2:10

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[hauntedbystorytelling]

Christmas preparations. Man cycling with a Christmas tree on his bicycle (Berlin) - undated, probably 1900 (Photo by Haeckel Brothers) | src Getty Images

Sale of Christmas trees in Berlin - around 1907 (Photo: Haeckel collection - Ullstein Bild) | src Getty Images

[newshirtonlines-blog]

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Unisex Platform that curates elegant ceramic pots, chairs, and pillows for highly-discerning, design-obsessed customers You Cant Fix Stupid But You Can Choke It shirt . Every brand GOODEE carries is evaluated on the following criteria: was it designed with a clear mandate of making the world a better place?Dex and I have had the idea at large for GOODEE for about three years, so we’re quite excited that right now the market has finally caught up,” Byron tells FASHION. The seed for GOODEE came after numerous dinner party conversations about how to navigate life in uncertain times. “I remember sitting at one dinner and Dexter saying, ‘There are at least hundreds of thousands of people having the same conversation at this moment.’ And then the person we were having dinner with says, ‘It’s probably more like millions.’GOODEE’s goal is to capitalize on the burgeoning social consciousness of those who have been shaken out of complacency by the troubled political climate. “Because people want to know more about where things are from, or how things are made, or know more about the supply chain, arbiters of style and taste are going to have to play an active role in trying to make that edit.” Brands they have already begun working with include ecoBirdy, a brand creating children’s chairs out of recycled plastic toys, and Haeckels, a skincare brand derived from seaweed and natural minerals. Ultimately, they aim to create searchable criteria where individual consumers can connect with products that cater to their specific interests. GOODEE aligns themselves broadly with the UN’s sustainable development goals and has an application for B Corp Status currently pending, but, “We’re not going to let this idea of perfection get in the way of good,” says Byron. As long as a product has been conceived with clear, purposeful intentions and happens to be nice to look at, it’s good enough forGOODEE. Byron and Dexter see their role as that of “trusted curators” who amplify the stories of artisans and makers and provide a platform for them to sell their wares on a global scale You Can See More Product: https://kingteeshops.com/product-category/trending/ Read the full article

[conflictcrafter]

The Humanity of Lord of War

when you make an artwork, you have to figure out your role. being the maker of something is the surface role. and it is necessary. the next step is to pick a shovel and dig. or mine.

we do not determine roles for the heck of it. we do it because it is both the goal and the core. the goal, the core, and the means should align. and when things are in order, beauty emerges, organically, even when the surface looks chaotic.

I.

Andrew Niccol knew what his roles are in Lord of War. one of them is to explore an inquiry: what does it mean to be human?

this question has been explored in many punk films. Ridley Scott and Philip K Dick's Blade Runner films comes to mind. George Miller has also examined the question specially well in the recent Mad Max: Fury Road. these films put humanity in future punks, in a certain point in post-humanity, to hammer the question down.

Lord of War doesnt play with punks (we can call it presentpunk though). the historical events and the political conditions depicted in the film still ring bells. theoretically, the question is easier to grasp since it's set categorically in the present. this film, again, is not a punk where this question of humanity is often explored. but this is why literature or film is so beautiful: narrative elements, in this case the setting, bare different ways to answer the same query. also, familiar settings may bring out the most outlandish of answers.

What does it mean to be human 1: Beware of The Dog

Yuri (Nick Cage), after making his first gun trade, approaches his younger brother Vitaly (Jared Leto) who cooks in their Jewish family restaurant. while Yuri convinces Vi to be his gun trade partner, Yuri notices a poster in the kitchen that says: Beware of The Dog. "We dont have a dog (also why you put that in the kitchen?)," said Yuri. to which Vi responded:

"To remind myself to beware of the dog in me. The dog in me who wants to fuck everything that moves, fight and kill weaker dogs. I guess it's a . . . to remind me to be more human."

halfway through the film, Vi succumbs into cocaine addiction due to Yuri's involvement in his life. it was as though the film was telling us that Vi is indeed a dog. running and fucking around.

but when Vi finally met "a girlfriend," he changes and leaves the cocaine. Yuri comes back into his life and convinces him again to be his partner. in a deal in Sierra Leone, Vi, now sober, witnessed the bloody effects of illegal gun trade to African civilians. 

in an effort to sabotage the deal and potentially save innocent people, Vi is able to blow half of the arms and is consequently killed by the warlords.

Vi dies a martyr. loyal dogs die as martyrs. martyrs transcend humanity.

What does it mean to be human 2: I Won’t Fail as a Human Being

Yuri returns home to his wife Ava Fontaine (Bridget Moynahan) who now knows about her husband's illegal gunrunning business.

Ava is informed by idealistic Interpol agent Jack Valentine (Ethan Hawke) of her husband's illegal arms activities. he reminds Ava that her parents were gunned by people who got their guns illegally from arms dealers like Yuri.

later that evening, Yuri comes home to a naked wife, unable to wear her silk sleeping dress, unable to lie on their bed, because to her, "Everything’s got blood on it."

she confronted Yuri and he finally confessed to his wife his real occupation. she tells Yuri to stop it since they have enough. but Yuri said he couldnt just quit because it isnt about the money. it is what he is good at.

Ava tells her husband that she "is a failed actress, a failed artist. But she doesnt fail to be human."

while Yuri feels that being human means getting one's dreams, having a lucrative lifestyle, proving to other humans that one is the best; for Ava though, humanity is as simple as not inflicting harm to other human beings.

What does it mean to be human 3: The Reptile Tail

after being confronted by Ava and Vi, Yuri finally decides to go legit. suddenly, he is not an arms dealer anymore, and he got agents confused.

this is the part of the film that youd wish the main character has truly changed, with all the things and relationships he has at stake, youd want the main character to change. Niccol teases us that, that narrative relief. but if you know how plot works, you know Yuri hasnt reached that ultimate fall.

so after going legit, he is pulled back into the arms dealing business by the self-proclaimed president of Liberia, Andre Baptise.

you would want to feel that Yuri would be doing it forcibly in fear for his family's safety. but no. when the scene with him and the Andre cuts, we hear Yuri:

"At four and a half months old, a human fetus has a reptile's tail—a remnant of our evolution. Maybe that is why I could't escape. You can fight a lot of enemies and survive. But if you fight your biology, you will always lose."

Yuri's biological mumbling here is based on the evolutionary development studies of Ernst Haeckel (1834-1919) which theorizes that embryonic stages of development reflect the previous adult evolutionary forms of the specie (ontogeny recapitulates phylogeny).

Yuri is basically saying that since humans were previously non-humans, reflected by having actual tails while developing in the womb, humans will always go back in to behaving as animals. and that we can never fight it.

Yuri is wrong. for starters, Haeckel's hypothesis, the Recapitulation Theory, is long defunct.

while embryos have "tails," this does not represent the evolutionary process of a specie.

we don't have embryonic tails because thats how we evolved. we just had tails. that's just it.

thus, we are not echoes of a long evolution of reptiles. and what Yuri is telling himself is merely a rationalization defense mechanism to justify his illegal arms dealing.

and it's completely human to rationalize immoral behavior.

in insisting biology and in exercising rationalization, Yuri has perfectly demonstrated the frailty of human beings: giving intellectual justifications to humans' animalistic tendencies. Yuri has satisfied the id in booming his ego.

but being human isnt only about rationalizing.

being human also means thinking about the welfare of other human beings.

Yuri has become, if not the best, one of the bests in illegal arms dealing. in essence, he has become a superpower in the trade. but Yuri, in Nietzsche's eyes is far from being an Ubermensch.

in Kant's eyes, Yuri has trampled the categorical imperative.

in our eyes, Yuri is not a hero.

and this is what makes him human: his acceptance of life's dramatic irony. he knows, he sees, he "appreciates" the negative implications of what he does, and what's coming. yet he still does it. he is helplessly and happily trapped like all of us.

II.

although we follow closely the life of Yuri, in a "story" perspective, it's Vitaly that ultimately follows the heroic arc. Vitaly is the proxy hero to Yuri, Yuri doesnt undergo metamorphosis. but Vitaly does.

hence the film is a character study of how a human being can become a monster: by allowing and being part of something that is systematically bad and irreversible.

Niccol illustrates the monstrosity of Yuri not by making the character violent. he ingeniously does it by portraying Yuri as a kind and generous person who often describes and treats the people who are really close to him well. he, in his monologues, talks a great deal about them in good terms. yet he never talks about himself in such way. in fact, he never talks about himself at all.

and this where NIccol's genius comes: he makes Yuri seamlessly not talk about himself because in truth, Yuri hates himself. and a monster is a monster is he hates himself.

in the end, nothing is solved. what wins is the human basal instinct to harm others and at the same time, be detached from it. more than a narrative work, the film is a challenge:

how much humanity are we willing to let go to feel human?

III.

the film has managed to be an artwork that also talks about important world issues. and if there is something that an artist should takeaway from the viewing, it should be seeing how art and function can go together neatly.

the only failure of the film, albeit minor, is despite the great research that the creative production team has gone through to parallel real events, it fell short in interpreting Interpol's function properly. Interpol doesnt at all conduct arrests.

aside from that, Lord of War is a solid 9/10 for its take on the question of humanity.

_____ non-film image sources in order of appearance:  1. https://image.slidesharecdn.com/defensemechanism-160520104849/95/defense-mechanism-40-638.jpg?cb=1463741864

2. https://i.pinimg.com/originals/30/22/3b/30223b65bc57c735199209472b57c0b3.jpg 

3. https://i.pinimg.com/originals/c0/16/e2/c016e21b69049ab2c7a02caa1bd9e24d.jpg 

[luxuryt-shirt]

All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt

Byron and Dexter Peart All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt . want to build a kinder, smarter, more beautiful world.The Montreal-based twin brothers who co-founded luxe accessories brand WANT Les Essentiels in 2000, are readying themselves for their next act: GOODEE, All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt, hoodie, sweater, longsleeve and ladies t-shirt

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Unisex Platform that curates elegant ceramic pots, chairs, and pillows for highly-discerning, design-obsessed customers All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt . Every brand GOODEE carries is evaluated on the following criteria: was it designed with a clear mandate of making the world a better place?Dex and I have had the idea at large for GOODEE for about three years, so we’re quite excited that right now the market has finally caught up,” Byron tells FASHION. The seed for GOODEE came after numerous dinner party conversations about how to navigate life in uncertain times. “I remember sitting at one dinner and Dexter saying, ‘There are at least hundreds of thousands of people having the same conversation at this moment.’ And then the person we were having dinner with says, ‘It’s probably more like millions.’GOODEE’s goal is to capitalize on the burgeoning social consciousness of those who have been shaken out of complacency by the troubled political climate. “Because people want to know more about where things are from, or how things are made, or know more about the supply chain, arbiters of style and taste are going to have to play an active role in trying to make that edit.” Brands they have already begun working with include ecoBirdy, a brand creating children’s chairs out of recycled plastic toys, and Haeckels, a skincare brand derived from seaweed and natural minerals. Ultimately, they aim to create searchable criteria where individual consumers can connect with products that cater to their specific interests. GOODEE aligns themselves broadly with the UN’s sustainable development goals and has an application for B Corp Status currently pending, but, “We’re not going to let this idea of perfection get in the way of good,” says Byron. As long as a product has been conceived with clear, purposeful intentions and happens to be nice to look at, it’s good enough forGOODEE. Byron and Dexter see their role as that of “trusted curators” who amplify the stories of artisans and makers and provide a platform for them to sell their wares on a global scale You Can See More Product: https://luxuryt-shirt.com/product-category/trending/ Read the full article

[tshirttrend]

All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt

Byron and Dexter Peart All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt . want to build a kinder, smarter, more beautiful world.The Montreal-based twin brothers who co-founded luxe accessories brand WANT Les Essentiels in 2000, are readying themselves for their next act: GOODEE, All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt, hoodie, sweater, longsleeve and ladies t-shirt

Classic Ladies

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Unisex Platform that curates elegant ceramic pots, chairs, and pillows for highly-discerning, design-obsessed customers All I Need Today Is A Little Bit Of Tennis And A Whole Lot Of Jesus shirt . Every brand GOODEE carries is evaluated on the following criteria: was it designed with a clear mandate of making the world a better place?Dex and I have had the idea at large for GOODEE for about three years, so we’re quite excited that right now the market has finally caught up,” Byron tells FASHION. The seed for GOODEE came after numerous dinner party conversations about how to navigate life in uncertain times. “I remember sitting at one dinner and Dexter saying, ‘There are at least hundreds of thousands of people having the same conversation at this moment.’ And then the person we were having dinner with says, ‘It’s probably more like millions.’GOODEE’s goal is to capitalize on the burgeoning social consciousness of those who have been shaken out of complacency by the troubled political climate. “Because people want to know more about where things are from, or how things are made, or know more about the supply chain, arbiters of style and taste are going to have to play an active role in trying to make that edit.” Brands they have already begun working with include ecoBirdy, a brand creating children’s chairs out of recycled plastic toys, and Haeckels, a skincare brand derived from seaweed and natural minerals. Ultimately, they aim to create searchable criteria where individual consumers can connect with products that cater to their specific interests. GOODEE aligns themselves broadly with the UN’s sustainable development goals and has an application for B Corp Status currently pending, but, “We’re not going to let this idea of perfection get in the way of good,” says Byron. As long as a product has been conceived with clear, purposeful intentions and happens to be nice to look at, it’s good enough forGOODEE. Byron and Dexter see their role as that of “trusted curators” who amplify the stories of artisans and makers and provide a platform for them to sell their wares on a global scale You Can See More Product: https://luxuryt-shirt.com/product-category/trending/ Read the full article