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theadaptableeducator · 8 months ago

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Additional Readings on it all, both popular and academic - An ‘Ism’ Overview - Perspectives Comparing And contrasting art movements

Prehistoric Art:

Palaeolithic Art (40,000 BCE - 10,000 BCE)

Clottes, Jean. Chauvet Cave: The Art of Earliest Times. University of Utah Press, 2003.

Guthrie, Dale. The Nature of Paleolithic Art. University of Chicago Press, 2005.

Vanhaeren, Marian, et al. "Middle Paleolithic shell beads in Israel and Algeria." Science, vol. 312, no. 5781, 2006, pp. 1785-1788.

Marshack, Alexander. "Upper Paleolithic notation and symbol: a provisional framework." Man, vol. 16, no. 1, 1981, pp. 95-122.

Neolithic Art (10,000 BCE - 2,000 BCE)

Renfrew, Colin, and Paul G. Bahn. Archaeology: Theories, Methods and Practice. 7th ed. London: Thames & Hudson, 2016.

Hodder, Ian. The Leopard's Tale: Revealing the Mysteries of Catalhoyuk. New York: Thames & Hudson, 2006.

Whittle, Alasdair, and Vicki Cummings. "Going over: People and things in the early Neolithic." Proceedings of the British Academy 144 (2007): 33-58.

Soffer, Olga. "The Upper Paleolithic and the Neolithic in the Russian Plain: Problems of Continuity and Discontinuity." Journal of World Prehistory 4, no. 4 (1990): 377-426.

Ancient Art:

Egyptian Art (3100 BCE - 30 BCE)

Wilkinson, Richard H. The Complete Gods and Goddesses of Ancient Egypt. Thames & Hudson, 2003.

Robins, Gay. The Art of Ancient Egypt. Harvard University Press, 2008.

Freed, Rita E. “The Representation of Women in Egyptian Art.” The Journal of Egyptian Archaeology, vol. 81, 1995, pp. 67-86.

Redford, Donald B. “The Heretic King and the Concept of the ‘Golden Age’ in Ancient Egypt.” Journal of Near Eastern Studies, vol. 33, no. 4, 1974, pp. 365-371.

Greek Art (800 BCE - 146 BCE)

Boardman, John. The Oxford History of Greek Art. Oxford University Press, 2001.

Pollitt, J. J. Art and Experience in Classical Greece. Cambridge University Press, 1972.

Neer, Richard T. "The Emergence of the Classical Style in Greek Sculpture." American Journal of Archaeology, vol. 105, no. 2, 2001, pp. 255-280.

Osborne, Robin. "Greek Art in the Archaic Period." The Journal of Hellenic Studies, vol. 115, 1995, pp. 118-131.

Roman Art (509 BCE - 476 CE)

Beard, Mary. SPQR: A History of Ancient Rome. New York: Liveright Publishing Corporation, 2015.

Brilliant, Richard. Roman Art. New York: Thames & Hudson, 2012.

Kleiner, Diana E. E. "Roman Sculpture." Oxford Art Journal 26, no. 1 (2003): 49-63.

Stewart, Peter. "The Social History of Roman Art." Cambridge Archaeological Journal 7, no. 1 (1997): 83-96.

Medieval Art:

Early Christian Art (200 CE - 500 CE)

Robin Margaret Jensen, Understanding Early Christian Art (New York: Routledge, 2000).

William Tronzo, The Oxford Handbook of Early Christian Art (New York: Oxford University Press, 2014)

Herbert Kessler, "The Spiritual Matrix of Early Christian Art," Representations, no. 11 (1985): 96-119, doi:10.2307/2928505.

Jas' Elsner, "What Do We Want Early Christian Art to Be?" Religion Compass 2, no. 6 (2008): 1118-1138, doi:10.1111/j.1749-8171.2008.00091.x.

Byzantine Art (330 CE - 1453 CE)

Cormack, Robin. Byzantine Art. Oxford: Oxford University Press, 2000.

Mango, Cyril. The Art of the Byzantine Empire, 312-1453: Sources and Documents. Englewood Cliffs, NJ: Prentice-Hall, 1972.

Mango, Cyril. "Byzantine Architecture." The Grove Dictionary of Art Online. Oxford Art Online. Oxford University Press, accessed March 19, 2023. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000002606.

Evans, Helen C. "Byzantium and the West: The Reception of Byzantine Artistic Culture in Medieval Europe." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4 (Spring, 2001): 3-44. JSTOR, https://www.jstor.org/stable/3269056.

Islamic Art (7th century CE - present)

Grabar, Oleg. Islamic Art and Literature. Princeton, NJ: Princeton University Press, 1984.

Bloom, Jonathan M. and Sheila S. Blair. Islamic Arts. London: Phaidon Press, 1997.

Blair, Sheila S. "The Mosque and Its Early Development." Muqarnas 10 (1993): 1-19.

Carboni, Stefano. "The Arts of Islam." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4, 2001, pp. 5-6, 17-65.

Romanesque Art (11th century - 12th century)

Conrad Rudolph, "Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art," (Princeton, NJ: Princeton University Press, 1990).

George Henderson, "Early Medieval Art: Carolingian, Ottonian, Romanesque," (London: Thames & Hudson, 1972).

C. R. Dodwell, "The Dream of Charlemagne," The Burlington Magazine 118, no. 875 (1976): 330-341.

Gerardo Boto Varela, "The Iconography of the Lamb and the Role of the Temple in the Creation of the Romanesque Architectural Sculpture in the Kingdom of León," Gesta 43, no. 2 (2004): 171-186.

Gothic Art (12th century - 15th century)

Camille, Michael. Gothic Art: Glorious Visions. New York: Harry N. Abrams, 1996.

Conrad Rudolph. Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art. Princeton, NJ: Princeton University Press, 1990.

Kemp, Simon. "The Uses of Antiquity in Gothic Revival Architecture." The Art Bulletin 73, no. 3 (1991): 405-421.

Snyder, James. "Gothic Sculpture in America: The Late 19th Century." The Journal of the Society of Architectural Historians 34, no. 4 (1975): 286-304.

Renaissance and Baroque Art:

Renaissance Art (14th century - 17th century)

Gardner, Helen, et al. Gardner's Art Through the Ages: A Global History. 16th ed., Cengage Learning, 2019.

Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. University of Chicago Press, 1980.

Baxandall, Michael. "The Period Eye." Renaissance Studies, vol. 1, no. 1, 1987, pp. 3-20. JSTOR, www.jstor.org/stable/24409669.

Freedberg, David. "Painting and the Counter Reformation." Journal of the Warburg and Courtauld Institutes, vol. 32, 1969, pp. 244-262. JSTOR, www.jstor.org/stable/750844.

Mannerism (1520 - 1580)

Freedberg, S. J. (1993). Painting in Italy, 1500-1600. Yale University Press.

Shearman, J. (1967). Mannerism. Penguin Books.

Cole, B. (1990). Virtue and magnificence: Leonardo's portrait of Beatrice d'Este. Artibus et historiae, 11(21), 39-58.

Baxandall, M. (1965). "Il concetto del ritmo" in Michelangelo's Entombment. Journal of the Warburg and Courtauld Institutes, 28, 9-29.

Baroque Art (1600 - 1750)

Gombrich, E. H. The Story of Art. 16th ed. Phaidon Press, 1995.

Harris, Ann Sutherland. Seventeenth-Century Art and Architecture. 2nd ed. Laurence King Publishing, 2005.

Haskell, Francis. "The Judgment of Solomon: Poussin's 'The Sacrament of Ordination' and the Critics." The Burlington Magazine, vol. 124, no. 948, 1982, pp. 275-284.

Brown, Jonathan. "The Golden Age of Dutch Art: Painting, Sculpture, Decorative Art." The Metropolitan Museum of Art Bulletin, vol. 64, no. 4, 2007, pp. 36-44.

Rococo (1715 - 1774)

Gauvin Alexander Bailey, The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia, (New York: Cambridge University Press, 2014).

Alastair Laing, ed., Rococo: Art and Design in Hogarth's England, exh. cat. (London: Victoria and Albert Museum, 1984).

Alina Payne, "Fragile Alliances: Rococo and the Enlightenment," Art Bulletin 85, no. 3 (2003): 540-564.

Melissa Lee Hyde, "Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century," Journal of Design History 21, no. 3 (2008): 219-23

19th Century Art:

Neoclassicism (1750 - 1850)

Wölfflin, Heinrich. Principles of Art History. Translated by M. D. Hottinger, Dover Publications, 1932.

Rosenblum, Robert. Transformations in Late Eighteenth Century Art. Princeton University Press, 1967.

Praz, Mario. "The Eighteenth-Century Elegiac Mood: Some Clarifications and Distinctions." Eighteenth-Century Studies, vol. 2, no. 3, 1969, pp. 295-318.

Honour, Hugh. "The Ideal of the Classic in the Visual Arts." Journal of the Warburg and Courtauld Institutes, vol. 22, no. 1/2, 1959, pp. 1-25.

Romanticism (1800 - 1850)

Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Oxford University Press, 1971.

Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. Oxford University Press, 1973.

Frye, Northrop. "Towards Defining an Age of Sensibility." Studies in Romanticism, vol. 1, no. 1, 1962, pp. 1-14.

Mellor, Anne K. "Possessed by Love: The Female Gothic and the Romance Plot." PMLA, vol. 102, no. 2, 1987, pp. 134-150.

Realism (1830 - 1870)

Mearsheimer, John J. The Tragedy of Great Power Politics. New York: W.W. Norton, 2001.

Walt, Stephen M. The Origins of Alliances. Ithaca: Cornell University Press, 1987.

Waltz, Kenneth N. "The Theory of International Politics." International Security 15, no. 1 (Summer 1990): 5-17.

Morgenthau, Hans J. "Politics Among Nations: The Struggle for Power and Peace." Foreign Affairs 28, no. 4 (July 1950): 566-583.

Impressionism (1860 - 1900)

Herbert, Robert L. Impressionism: Art, Leisure, and Parisian Society. New Haven: Yale University Press, 1988.

Moffett, Charles S. Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1985.

Smith, Paul. "Monet's Impressionism: Aesthetic and Ideological Dilemmas." The Art Bulletin 68, no. 4 (1986): 595-615.

Dumas, Ann, and Anne Distel. "Monet at Vetheuil: The Turning Point." The Burlington Magazine 124, no. 953 (1982): 350-58.

Post-Impressionism (1886 - 1905)

Paul Smith, ed., "Post-Impressionism" (New York: Rizzoli International Publications, 1988).

Richard R. Brettell, "Post-Impressionists" (Chicago: University of Chicago Press, 1987).

John House, "Post-Impressionism: Origins and Practice" in "Oxford Art Journal" vol. 6, no. 2 (1983): 3-16.

Patricia Mainardi, "The End of Post-Impressionism" in "Art Journal" vol. 43, no. 4 (1983): 308-313.

20th Century Art:

Fauvism (1900 - 1910)

Elderfield, John. Fauvism. New York: Museum of Modern Art, 1976.

Shanes, Eric. The Fauves: The Reign of Color. New York: Harry N. Abrams, 1995.

Hargrove, June. "Matisse, Fauvism, and the Rediscovery of Pure Color." The Art Bulletin 63, no. 4 (1981): 689-704.

Rewald, John. "The Fauve Landscape." Gazette des Beaux-Arts 79, no. 6 (1972): 287-304.

Cubism (1907 - 1914)

Cooper, Douglas. The Cubist Epoch. Phaidon Press, 1970.

Green, Christopher. Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916-1928. Yale University Press, 1987.

Shiff, Richard. "Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art." The Art Bulletin, vol. 58, no. 4, 1976, pp. 529-555.

Barr, Alfred H. "Cubism and Abstract Art." The Museum of Modern Art Bulletin, vol. 1, no. 3, 1934, pp. 6-7.

Futurism (1909 - 1916)

Marinetti, Filippo Tommaso. Futurist Manifestos. Edited by Umbro Apollonio, translated by Robert Brain and Others, Thames and Hudson, 1973.

Leighten, Patricia. Futurism: An Anthology. Yale University Press, 2019.

Perloff, Marjorie. "Futurism's 'Futuricity'." Modernism/modernity, vol. 19, no. 2, 2012, pp. 247-263.

Santoro, Marco. "The Politics of Speed: Futurism and Fascism." The Journal of Modern History, vol. 87, no. 4, 2015, pp. 821-856.

Dadaism (1916 - 1924)

Hulsenbeck, Richard. Dada Almanach. Berlin: Erich Reiss, 1920.

Gale, Matthew. Dada & Surrealism. London: Phaidon, 1997.

Naumann, Francis M. "Dada and the Concept of Art." The Art Bulletin 69, no. 4 (1987): 634-651. https://www.jstor.org/stable/3051041.

Dadoun, Roger. "The Dada Effect: An Anti-Aesthetic and its Influence." October 66 (1993): 3-16. https://www.jstor.org/stable/778760.

Surrealism (1920 - 1940)

Breton, André. Manifestoes of Surrealism. Translated by Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press, 1972.

Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978.

Martin, Alyce Mahon. "Surrealism and the Spanish Civil War." Oxford Art Journal 20, no. 2 (1997): 77-89.

Weisberg, Gabriel P. "Surrealism in America: The Beginning." Art Journal 28, no. 3 (1969): 222-29.

Abstract Expressionism (1940 - 1960)

Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.

Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, 1959.

Alloway, Lawrence. "Networks, Names and Numbers." Artforum 1, no. 2 (1962): 29-33.

Hess, Thomas B. "Abstract Expressionism." Art News 51, no. 9 (1952): 22-23, 45-46, 48-49.

Pop Art (1950s - 1960s)

Foster, Hal. The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press, 2012.

Livingstone, Marco, ed. Pop Art: A Continuing History. Thames & Hudson, 2013.

Alloway, Lawrence. “The Arts and the Mass Media.” Architectural Design and the Arts and Crafts Movement, vol. 31, no. 9, 1961, pp. 346–349. JSTOR, www.jstor.org/stable/4228719.

Lippard, Lucy R. “Pop Art.” Art International, vol. 12, no. 8, 1968, pp. 24–31. JSTOR, www.jstor.org/stable/24889088.

Minimalism (1960s - 1970s)

Judd, Donald. Complete Writings, 1959-1975. New York: The Press of the Nova Scotia College of Art and Design, 1975.

Fried, Michael. Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press, 1998.

Lippard, Lucy. "Eccentric Abstraction." Art International, vol. 12, no. 2, 1968, pp. 24-27.

Krauss, Rosalind. "Sculpture in the Expanded Field." October, vol. 8, 1979, pp. 30-44.

Conceptual Art (1960s - 1970s)

Kosuth, Joseph. Art after Philosophy and After: Collected Writings, 1966-1990. Cambridge, MA: MIT Press, 1991.

Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press, 1997.

Buchloh, Benjamin H.D. “Conceptual Art 1962–1969: From the Aesthetic of Administration to the Critique of Institutions.” October 55 (Winter 1990): 105-143.

Graham, Dan. “The End of Liberalism.” In Dan Graham: Rock My Religion. Edited by Brian Wallis, 31-59. Cambridge, MA: MIT Press, 1993.

Performance Art (1970s - present)

Abramovic, Marina. The Artist Is Present: Essays. New York: Museum of Modern Art, 2010.

Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993.

Goldberg, RoseLee. "Performance Art: From Futurism to the Present." October 56 (1991): 78-89.

Jones, Amelia. "Presence in Absentia: Experiencing Performance as Documentation." Art Journal 56, no. 4 (1997): 11-18.

Postmodernism (1970s - present)

Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.

Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.

Butler, Judith. "Contingent Foundations: Feminism and the Question of ‘Postmodernism’." The Journal of Philosophy, vol. 86, no. 10, 1989, pp. 571- 577.

Harvey, David. "The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change." Blackwell Publishers Ltd, 1990.

Digital Art (1980s - present)

Lev Manovich, The Language of New Media, (Cambridge, MA: MIT Press, 2001).

Christiane Paul, Digital Art, (New York: Thames & Hudson, 2008).

Sarah Cook and Beryl Graham, "From Periphery to Centre: Locating the Technological in Art History," Art History 28, no. 4 (September 2005): 514-536, https://doi.org/10.1111/j.1467-8365.2005.00442.x.

Oliver Grau, "The Complexities of Digital Art," in MediaArtHistories, ed. Oliver Grau (Cambridge, MA: MIT Press, 2007), 45-67.

Street Art (1980s - present)

Chaffee, Lyman, and Chris Stain. Walls of Heritage, Walls of Pride: African American Murals. Jackson: University Press of Mississippi, 2011.

Harrington, Steven. Street Art San Francisco: Mission Muralismo. San Francisco: Chronicle Books, 2009.

Schacter, Rafael. "The World Atlas of Street Art and Graffiti." The Journal of Aesthetics and Art Criticism 73, no. 4 (2015): 385-387.

Riccini, Raffaele. "Street Art as a New Form of Urban Governance: A Comparative Perspective." Urban Affairs Review 52, no. 5 (2016): 723-746.

Contemporary Art:

Neo-Expressionism (1980s - 1990s)

Storr, Robert. 1986. "Dislocations: Themes and Meanings in Post-World War II Art." New York: Museum of Modern Art.

Harrison, Charles, and Paul Wood. 1991. "Art in Theory 1900-1990: An Anthology of Changing Ideas." Oxford: Blackwell Publishers.

Bois, Yve-Alain. 1986. "Painting: The Task of Mourning." October 37 (Summer): 15-63.

Krauss, Rosalind E. 1985. "The Originality of the Avant-Garde and Other Modernist Myths." Cambridge, Mass: MIT Press.

Installation Art (1990s - present)

Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005.

O'Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. 2nd ed. Chicago: University of Chicago Press, 1999.

Schneider, Rebecca. "The Explicit Body in Performance." TDR: The Drama Review 46, no. 2 (2002): 74-91. doi:10.1162/105420402320980586.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79. doi:10.1162/0162287042379787.

Relational Aesthetics (1990s - present)

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les presses du réel, 1998.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

O'Doherty, Brian. "Inside the White Cube." Artforum 5, no. 1 (1967): 12-16.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79.

New Media Art (1990s - present)

Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001.

Paul, Christiane. Digital Art. London: Thames & Hudson, 2003.

Gere, Charlie. "Digital Culture." In The Oxford Handbook of New Audiovisual Aesthetics, edited by John Richardson, Claudia Gorbman, and Carol Vernallis, 491-506. New York: Oxford University Press, 2013.

Drucker, Johanna. "The Century of Artists' Books." Art Journal 56, no. 3 (1997): 20-34.

Superflat (1990s - present)

Murakami, Takashi. Superflat. New York: MADRA Publishing, 2000.

Schimmel, Paul. Color and Form: The Geometric Sculptures of Donald Judd. Los Angeles: Museum of Contemporary Art, 1991.

Krajewski, Sara. "Superflat and the Politics of Postmodernism." Postmodern Culture 14, no. 3 (2004): 1-18. doi:10.1353/pmc.2004.0046.

Nakamura, Lisa. "Cuteness as Japan's Millennial Aesthetic." Journal of Aesthetics and Art Criticism 65, no. 2 (2007): 137-147. doi:10.1111/j.1540-6245.2007.00207.x.

Post-Internet Art (2000s - present)

Hito Steyerl, The Wretched of the Screen (Berlin: Sternberg Press, 2012).

Karen Archey and Robin Peckham (eds.), Art Post-Internet: INFORMATION/DATA (Berlin: Sternberg Press, 2014).

Gene McHugh, "Post-Internet: Art After the Internet," Artforum International 52, no. 1 (2013): 366-71.

Nora N. Khan and Steven Warwick, "Fear Indexing the X-Files," e-flux Journal 56 (2014): 1-9.

Afrofuturism (2000s - present)

Sheree R. Thomas, ed., "Dark Matter: A Century of Speculative Fiction from the African Diaspora" (New York: Aspect/Warner Books, 2000).

Ytasha L. Womack, "Afrofuturism: The World of Black Sci-Fi and Fantasy Culture" (Chicago: Lawrence Hill Books, 2013).

Nettrice R. Gaskins, "Afrofuturism and Post-Soul Possibility in Black Aesthetics," "Journal of Black Studies" 40, no. 4 (2010): 699-710.

Reynaldo Anderson and Charles E. Jones, "Introduction: The Rise of the Afrofuturist," "Black Magnolias Journal" 5, no. 2 (2018): 1-11.

Socially Engaged Art (2000s - present)

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

Kester, Grant. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004.

Kester, Grant. "Dialogical Aesthetics: A Critical Framework for Littoral Art." in Theory in Contemporary Art since 1985. Ed. by Simon Leung. Oxford: Blackwell, 2005.

Thompson, Nato. "Living as Form: Socially Engaged Art from 1991-2011." Art Journal, Vol. 71, No. 1, 2012, pp. 101-102.

Environmental Art (2000s - present)

Schama, Simon. Landscape and Memory. New York: Alfred A. Knopf, 1995.

Kastner, Jeffrey, and Brian Wallis, eds. Land and Environmental Art. London: Phaidon, 1998.

Kagan, Sacha. "The Nature of Environmental Art." The Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 455-67.

White, Edward. "Earthworks and Beyond." Art Journal 39, no. 4 (1980): 326-32.

NFT Art (2010s - present)

Belamy, Christies. (2018). Portrait of Edmond de Belamy. Paris: Obvious Art.

Harrison, P., & Weng, S. (2021). The NFT Bible: Everything you need to know about non-fungible tokens. United States: Independently published.

Liu, Z., Wang, J., & Lin, L. (2021). From NFT to NFA: The Implications of Blockchain for Contemporary Art. Journal of Cultural Economics, 45(2), 245-264. doi: 10.1007/s10824-021-09421-6

Schellekens, M., & Zuidervaart, H. (2022). On the Importance of Being Unique: An Analysis of Non-Fungible Tokens as a Medium for Digital Art. Leonardo, 55(1), 56-63. doi: 10.1162/leon_a_02179

#art #learning #teaching #art education #art history #art book #art ed #art reference #art resources

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badxwolf · 6 months ago

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Reading The Writer’s Tale again and this book truly is incredible. It’s incredibly rare to get such an unfiltered look into someone’s creative process. On the whole I think that’s a good thing, I like the creator/audience divide to be well maintained for the wellbeing of both sides, but I’m also very glad this book exists. It’s very reassuring to know that one of the top television writers of our time procrastinates and drives himself mad during his creative process, just like the rest of us!

Also just fascinating seeing him have ideas for stories that don’t get made til years later. In 2007 he says this:

“Just the simple story of a man and his life, so you can see how the character and story develop over a whole year. I’d call it 365. Or maybe Happy Birthday, if you started and ended on the man’s birthday.”

It’s very easy to see the kernel of something that later became Years and Years, which came out in 2019, 12 years later!

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random-bs-is-found-here · 8 months ago

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Hey everyone! In celebration of Ubisoft releasing Just Dance 2025 edition, I made a little ranking of the soundtracks of different just dance version, from worst to best. FULLY MY OPINIONS, PLEASE DON'T UNALIVE ME.

I'm not going to include spin-offs, such as kids, china or experience.

Let's get started!

16. Just Dance 2025

Jesus Christ. I didn't really pay attention for a few years, ever since it was revealed JD 2023 won't be on Xbox One. I bought the game for the Switch today, and lemme say, I was far from impressed. Sure, coaches, backgrounds and the dance moves are beautiful, but the majority of songs are giving me 'brainrot'. And did Ariana Grande bribe the studio? 6 (including alt and extreme) songs out of the 40 were her songs, which isn't a lot at first glance, but it's still around 16% of the library (correct me if my math isn't mathing). Bang Bang (My Neurodivergent Anthem) or what and Calabria 2007 are pretty cool though.

15. Just Dance 2021

I have good memories about this one. The only problem is that they're pretty forgettable. If I had to pick favorites, I'd say Rare, all the good girls go to hell and Paca Dance were the best.

14. Just Dance 1

Again, somewhat good memories. I never owned it, only danced them from JD unlimited and YouTube. My main problem is that they're not that good quality, and since technology must've been a bit more restricted at that time, there could be only one coach per song. No duos, or anything. Favorites are Hot and Cold plus Womanizer.

13. and 12. Just Dance 2 and 3

I wanted to write about these two simultaneously, and it's for a reaaaly personal reason. It's idiotic, really. While both of these games' soundtracks are good, I would never be able to correctly tell which game they belong to. That's it. That's the reason. Girlfriend and Baby one more time are my all time faves.

11. Just Dance 2015

Boy, did I hate that one. Despite being my second Just Dance game, I barely knew those songs and the scoring system, using Kinect, was waay too harsh on me. To this day, it's the hardest Just Dance version on my mental list. My favorites are Problem, Dark Horse and 4x4.

10. Just Dance 2018

Welp, another petty reason. Soundtrack is awesome, but somebody that I deeply hate now used to (or still) own(s) this version. Many of the songs remind me of them and I hate it. I quite like 24k Magic and How far I'll go, though.

9. Just Dance 2020

The 10th anniversary of Just Dance. I have fond memories of this one. My sis and I competed against each other in a singular song we both exceed in, and I loved the World Dance Floor, where most of the time, the victory was ours as we were so good in these songs. We still join sometimes. If you see Victoria9219, then you've found us🤭 365 is kinda forgettable though. Faves were I am the best, Always look on the bright side of life and Stop movin'.

8. Just Dance 2019

A nostalgic title of mine. The third JD game of my life. I still remember the moments of first launch. The last one to have a pointy edged cuboid as its meter on the left. Just perfection. New Rules and work work raised me into the Just Dancer I am today.

7. Just Dance 2014

My first ever JD game so I'm kinda biased. Still remember playing my very first song (which was Just Dance, hehehe) in clear detail. The only JD game I bought some DLCs for. And, oh, do I wish they kept vs mode in. Those dances between She Wolf & Where have you been, Kiss You& Pound the alarm and gentleman & fine china were awesome. Can't hold us, applause and feel so right took the palm.

6. Just Dance 2024

It's uh... Kinda strange for me, imma admit. When I only had the demo, I took a look at the soundtrack, and it was okay. Not the best, but still better than whatever 2025 is. Since I never danced any of them, I am going to assign How you like that and can't tame her as favorites

5. Just Dance 2023

I had a hard time deciding whether JD2022 or this should be fifth place, but ultimately, I decided it's better to place familiarity over new things. Thus, JD 2023 was placed here. The soundtrack itself is almost impeccable. Except for one thing... In my opinion, Toxic shouldn't have gotten a remake. It was perfect the way it was. Therefore, if I ever buy JD 2023 or JD +, I'm never going to touch the new version. I only danced one of these songs, Telephone, thus it'll be the favorite for this one.

4. Just Dance 2022

K-pop in this generation is perfect. I have a separate list dedicated to just that. Even after all these years, the songs are entertaining, and I scarcely get tired of them. Pop/Stars, Jopping, Black Mamba and Baianá gave me so much dopamine.

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And now, the top 3!

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3. Just Dance 4

Seriously. The amount of songs from that game on my Spotify lists are insane. Words can't describe how much I love this generation, and if it weren't for another version that I came to like more in a short span of time, this would be second place. Here are my top 3 from Just Dance 4:

2. Just Dance 2016

This one was such a hit. I spent long hours, sometimes even days dancing. Because of this sudden hype, JD 4 has been pushed back to third place. Here are my top 3 from Just Dance 2016:

(↑ this one might not be exactly accurate to the one in the game. Best I could find, okay?)

1. Just Dance 2017

22nd of February, 2019. If we don't count a faint memory from a birthday party, Worth it from Just Dance 2017 was the song that piqued my interest in Just Dance. From that moment, my obsession with Just Dance had begun. All songs are hype. So much that I almost broke my ankle while dancing to Don't stop me now. I even got to experience its world dance floor before the servers were shut down. In my opinion, Just Dance should make the newer titles more like this one, including new modes, all time favorite songs and more... My favorites from Just Dance 2017:

--0--

Thank you for listening to this rant.

#just dance #personal rant #ranking #soundtrack #just dance 2025 edition #new release #video games #Spotify

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vexx-ation · 11 months ago

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365 Albums in 365 Days: 205/365

Date: Wednesday July 24th Album: The Throne of the Third Heaven of the Nations' Millennium General Assembly Artist: Le Loup Released: 2007 Genre: Indie Review: If you name your album after a 14+ year art project made by an outsider artist claiming to have been visited by god, you better damn make sure you’re living up to that reverence. Unfortunately, this does not. It’s not a bad album by any means, and does a great job at blending more urban and rural vibes in a way I can appreciate. It oscillates between the disparate regions without overstaying its welcome in either, leading to a pretty solid mix that understands and uses both with enough dexterity to not feel artificial. It’s not mind-blowing, but if you like more acoustic, folksy music this is a great album to check out. Favorite Track: We are Gods! We Are Wolves!

#365 album project #music

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secretarialjournal · 9 days ago

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MS Word Legal - Search Replace and Wildcards

This latest book is for those want to take another comfortable leap forward...It was so much easier than I had anticipated. I don’t care if you are an IT Professional, a Word Processing Center Operator, a Secretary or Business Professional, you are going to benefit from this book.

When you hear the word “Wildcards,” many people turn off, run away and just feel that it is something a programmer type deals with. I know I did for sure!

What if Wildcards were explained to you where you can make use of them right away? I mean everything dissected and shown to you in plain language what each piece does for you. Wait until you get rid of certain things in minutes that used to take hours. By the end of the book you will be comfortable with the language of Wildcards.

What if you have the chance to add another invaluable piece of knowledge to your skill level and significantly cut down on much of the grunt work that you now go through? The current book will help you to do just that.

MS Word Legal - Search Replace and Wildcards will open your eyes!

Here is what we will cover!

1. 33 Chapters meaning 33 distinct scenarios. Most of you will instantly recognize these scenarios and say “You mean I can just do a few keystrokes to take care of this in seconds”?

2. A mixture of both non-Wildcard related scenarios and Wildcard related scenarios. Everything is thoroughly explained. You will learn a ton as you do with all my books.

3. An amazing workbook that will supply you with text so that you can try out each individual Find and Replace scenario.

4. These Find and Replace scenarios can all be done as Macros so once you are comfortable with a particular Find and Replace that you find valuable, you or someone at work, can create a Macro for you and everyone else to benefit.

5. Learn aspects of MS Word that most of your colleagues will never know. Be ahead of your competition.

6. This is a Teacher Connected book so you can reach out to me for help as you can with my other Teacher Connected books.

This book will help open the door to giving you the ability to double your power as a Word Processing Operator Secretary, Paralegal or IT Professional. Information is out there, but it is disjointed and many do not know how to speak to non programmer types. I spent around 100 plus hours In putting together the chapters of this book. For some of the chapters, it took 3-4 hours of research and experimentation. I provide you with a workbook so that you can do a number of the Chapters along with me.

Don’t be satisfied with your current level of knowledge. Take all the opportunity to improve. This is a lot easier than you ever thought!

This book can be found on both Kindle and Softcover Amazon.

Kindle: https://www.amazon.com/gp/aw/d/B08DTLHDRT/ref=tmm_kin_swatch_0?ie=UTF8&qid=&sr=

Softcover

https://www.amazon.com/dp/B08DSYQ219?ref_=pe_3052080_397514860

https://youtu.be/KXF_Xkc-PJU

Basic-Advanced Legal and Corporate MS Office 2007-365 Training For MS Word, Excel, PowerPoint, Adobe Pro, Nuance, Outlook

In Person and By Zoom or Phone

www.advanceto.com

https://advancetoffice.com/

www.awalkinthecenter.com

888-422-0692 Ext. 1 or 2

[email protected]

Teacher Connected Books

www.legaltestready.com

www.awarenessexplosion.com

Video: MS Word and Power Point related Video to keep you individually, your staff and your firm moving forward comfortably.

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maxchan03 · 1 month ago

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Week 5: Digital Community and Fandom: Reality TV Case Study

Lets jump straight into topic, with this being the first Tumblr post I've ever made, I hope you all enjoy it! Technology thrives as the introduction of the first iPhone in 2007 has enabled us to use social media. With that in mind, sometimes users would want a platform to find others with similar interests and connect with one another. The term fandom can be explained as Zhao, Yang, & Tan (2023) describe fandoms as a collective of supporters, making it a group concept. Fuschillo (2020) defines these supporters as people with a deep emotional attachment "expressed through recognition of style and creativity" to both something or someone famous. Online fandom communities are unique in that they offer a digital sanctuary for individuals to converge over mutual interests, ranging from literature and film to gaming and beyond (Parsakia, Jafari, 2023).

Reality TV helps generate engagement and build fandoms and digital communities as Karpenko (n.d.) briefly describes it as a spectrum of shows ranging from dating programs to talk shows with a range that covers widely across various degrees of "editorial manipulation and audience involvement". Reality TV involves real people ostensibly reacting to real-world situations, which allows us to put ourselves in the participants’ shoes and see flashes of ourselves (Joy, 2022). This sort of involvement can be a source of entertainment as it gives us an opportunity to step into the lives and experience the "reality" of these contestants who are being broadcast as few prominent examples of popular Reality TV shows would be Beast Games and Squid Game: The Challenge.

The importance of digital community and presence of fandoms can be seen as the popular franchise Squid Game can be used as an example with the actor Choi Seung-hyun also known as T.O.P and how he revitalised his career. The digital public sphere means the publishing of information, critical publicity, and critical public debate mediated by digital information and communication technologies (Fuchs, 2021). This would mean that digital public spheres have provided a platform for these fandoms and digital communities to thrive, where they can create engaging posts such as memes, videos, discussions, etc. Jia, Li, & Ma (2021) support this claim as the authors mentioned the development of the internet specifically from Web 1.0 to 2.0 which focuses on interactivity correlating to social media platforms as the emergence of it has laid the foundation for the improvement of fan culture. Recent studies from Statista (2025) also showcase the active users on popular social media apps with Instagram totaling a number of 2 billion. Without a doubt, this has also generated the increase of viewership for the reality show and has also left a positive impact on the community as the picture below shows the engagement of Instagram comments.

In Summary, digital community and fandom play a vital role in our everyday lives. The globalisation of social media usage has enabled users all around the globe to connect with one another to share engaging content and start online discussions to either make or break something strengthening the digital public sphere. References: Dixon, S. J. (2025). Most Popular Social Networks Worldwide as of February 2025, by Number of Monthly Active Users. Statista. https://www.statista.com/statistics/272014/global-social-networks-ranked-by-number-of-users/ Fuchs, C. (2021). The Digital Commons and the Digital Public Sphere: How to Advance Digital Democracy Today. Westminster Papers in Communication and Culture, 16(1), 9–26. https://doi.org/10.16997/wpcc.917 Fuschillo, G. (2020). Fans, fandoms, or fanaticism? Journal of Consumer Culture, 20(3), 347–365. https://doi.org/10.1177/1469540518773822 Jia, B., Li, J., & Ma, J. (2021). Transformation of Fan Culture Under the Influence of Social Media. Www.atlantis-Press.com; Atlantis Press. https://doi.org/10.2991/assehr.k.211220.375 Joy, J. (2022). It’s Time to Start Taking Reality TV More Seriously. Columbia Magazine. https://magazine.columbia.edu/article/its-time-start-taking-reality-tv-more-seriously Karpenko-Seccombe, T. (n.d.). Communicative and linguistic features of reality show interactions: A case study of Love Island UK. https://pure.hud.ac.uk/ws/portalfiles/portal/41895002/Karpenko_Seccombe_Chapter_Revised_27.06.21.pdf Parsakia, K., & Jafari, M. B. (2023). The Dynamics of Online Fandom Communities: A Qualitative Study on Engagement and Identity. AI and Tech in Behavioral and Social Sciences, 1(3), 4-11. doi: https://doi.org/10.61838/kman.aitech.1.3.2 Zhao, Y., Yang, L., & Tan, G. (2023). Analysis of the Characteristics of Fandom Culture and Its Influence on Group Behavior of College Students. 171, 01032–01032. https://doi.org/10.1051/shsconf/202317101032

#mda20009 #digital communities #reality tv #digital community #fandom #squid game

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advancetoclassesandmaterials · 2 months ago

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MS Word Legal - Search Replace and Wildcards

When you hear the word “Wildcards”, many people turn off, run away and just feel that it is something a programmer type deals with. I know I did for sure!

MS Word Legal - Search Replace and Wildcards will open your eyes!

Here is what we will cover!

1. 33 Chapters meaning 33 distinct scenarios. Most of you will instantly recognize these scenarios and say “You mean I can just do a few keystrokes to take care of this in seconds”?

2. A mixture of both non-Wildcard related scenarios and Wildcard related scenarios. Everything is thoroughly explained. You will learn a ton as you do with all my books.

3. An amazing workbook that will supply you with text so that you can try out each individual Find and Replace scenario.

5. Learn aspects of MS Word that most of your colleagues will never know. Be ahead of your competition.

6. This is a Teacher Connected book so you can reach out to me for help as you can with my other Teacher Connected books.

Don’t be satisfied with your current level of knowledge. Take all the opportunity to improve. This is a lot easier than you ever thought!

This book can be found on both Kindle and Softcover Amazon.

Kindle: https://www.amazon.com/gp/aw/d/B08DTLHDRT/ref=tmm_kin_swatch_0?ie=UTF8&qid=&sr=

Softcover:

https://www.amazon.com/dp/B08DSYQ219?ref_=pe_3052080_397514860

https://youtu.be/KXF_Xkc-PJU

Basic-Advanced Legal and Corporate MS Office 2007-365 Training For MS Word, Excel, PowerPoint, Adobe Pro, Nuance, Outlook

Our Courses In Person and By Zoom or Phone

www.advanceto.com

https://advancetoffice.com/

www.awalkinthecenter.com

888-422-0692 Ext. 1 or 2

Email:

[email protected]

Teacher Connected Books

www.legaltestready.com

www.awarenessexplosion.com

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legaltestready · 3 months ago

Text

MS Word Legal - Search Replace and Wildcards

This latest book and/or course is for those want to take another leap forward...It was so much easier than I had anticipated. I don’t care if you are an IT Professional, a Word Processing Center Operator, a Secretary or Business Professional, you are going to benefit from this book.

When you hear the word Wildcards, many people turn off, run away and just feel that it is something a programmer type deals with. I know I did for sure!

MS Word Legal - Search Replace and Wildcards will open your eyes!

Here is what is offered:

1. 33 Chapters meaning 33 distinct scenarios. Most of you will instantly recognize these scenarios and say “You mean I can just do a few keystrokes to take care of this in seconds”?

2. A mixture of both non-Wildcard related scenarios and Wildcard related scenarios. Everything is thoroughly explained. You will learn a ton as you do with all my books.

3. An amazing workbook that will supply you with text so that you can try out each individual Find and Replace scenario.

5. Learn aspects of MS Word that most of your colleagues will never know. Be ahead of your competition.

6. This is a Teacher Connected book so you can reach out to me for help as you can with my other Teacher Connected books.

Don’t be satisfied with your current level of knowledge. Take all the opportunity to improve. This is a lot easier than you ever thought!

This book can be found on both Kindle and Softcover Amazon.

Kindle: https://www.amazon.com/gp/aw/d/B08DTLHDRT/ref=tmm_kin_swatch_0?ie=UTF8&qid=&sr=

Softcover:

https://www.amazon.com/dp/B08DSYQ219?ref_=pe_3052080_397514860

https://youtu.be/KXF_Xkc-PJU

Basic-Advanced Legal and Corporate MS Office 2007-365 Training For MS Word, Excel, PowerPoint, Adobe Pro, Nuance, Outlook

In Person and By Zoom or Phone

www.advanceto.com

https://advancetoffice.com/

www.awalkinthecenter.com

888-422-0692 Ext. 1 or 2

[email protected]

Teacher Connected Books

www.legaltestready.com

www.awarenessexplosion.com

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eurovision-revisited · 3 months ago

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Eurovision 2008 - Number 34 - Birgit Õigemeel - "365 Days"

youtube

Birgit Õigemeel has spent the past six months caught up in a whirlwind of success. The former Estonian TV children's chorister entered the first series of Eesti otsib superstaari, the Estonian incarnation of the Pop Idol franchise, and she won.

Her prize was a single and that came out in November 2007. She gave her first solo concert that December and that sold out immediately. Her first album was released January 2008 and by then she'd already signed on for what turned out to be the last ever Eurolaul - that took place on the second of February in 2008.

That's a hectic start to a solo music career, but Birgit seemed to be sailing through it all serenely. Safe to say that coming into Eurolaul she had huge popular momentum. She also had a song written by the team of Alar Kotkas, Ilmar Laisaar, Jana Hallas, and Pearu Paulus. They used to be called 2 Quick Start when they were a pop group, save for Jana who joined the song-writing team later as the lyricist.

This team were responsible for creating Estonia's Eurovision entries in 2000, 2002 and 2006 as well as several other Eurolaul entries. They'd also written Birgit's debut single in November. 365 Days was the hottest thing at Eurolaul possible.

It's a simple but powerful love ballad. A song of yearning on a lonely night. Missing someone who's not there any more and who appears to have made some rash promises that they haven't kept. It's a song that demands emotional expression as well as a strong voice. Birgit delivers both despite only being nineteen at the time of the show.

It's a grand, and pure expression of love and loneliness that would have fitted snugly into the Eurovisions of the 1990s. If it had won Eurolaul I have no doubt it would have done much better than the song that won, but this was a year when the public televoters had their attention taken away from dramatic ballads and towards other concerns.

Birgit did get ten percent of the televote in the first round which was enough to make the super-final, but given the numbers, it was clear that the other two songs were far ahead of her. She finished third overall at her first attempt to win Estonia's national final.

There would be more attempts. In 2012 she tried, and failed again and then again in 2013. She'd married her manager, Indrek Sarrap, that year and shrunk her performing name to just Birgit, but that year she won Eesti Laul and went on to Eurovision. She performed while she was pregnant with her first child. Another amazing year for Birgit!

Throughout the 2010s she released many singles and has five studio albums to her name including one album collaboration with another Estonia Eurovision alumnus, Uku Suviste. Her most recent album, V, came out in 2018. This is a performance from around 2010 singing Laul Põhjamaast (Nordic Song) backed by the Hale-Bopp singers.

youtube

#Youtube #esc 2008 #esc #eurovision #eurovision song contest #Belgrade #Belgrade 2008 #national finals #Eurolaul 2008 #Estonia #Birgit Õigemeel #Alar Kotkas #Ilmar Laisaar #Jana Hallas #Pearu Paulus

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advancetotraining · 4 months ago

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MS Word Legal and Corporate - Confusion Due To Different Versions of MS Word As Per Track Changes…

Scenario: The Attorney Does Not Want To Turn Off Track Changes. He wants the Assistant to simply edit the document with the Track Changes hidden. Because of MS Word version differences between the menus in terms of how they refer to things is causing the confusion.

In this particular scenario, in this smaller firm, the Attorney is using MS Word 365 while the Assistant is using the 2010 version of MS Word.

As you probably know, Track Changes Automatically Backlines your document as you edit the document. Generally, when you delete a word, it places “Overstrike” over the word usually in Red while Additions to the document produce a double underscore usually in Blue. Many times, when Tracking is on, making edits, with Tracking “On” can be a bit confusing. So that is why people like to hide the Tracking as they edit but the Tracking is still very much active.

A coupe of helpful tips: When it comes to the colors that are represented in the Track Changes:

For 2010, if you need to change the colors of your Track Changes document, you go to Review, Track Changes and select Options to enter the “Track Changes Options Menu”. You will then be able to change the colors of the Insertions vs the Deletions.

For 2013 and beyond, look for “Tracking” under the Review Tab, click the little box to the right of the word Tracking then choose “Advanced Options” to enter the “Track Changes Options Menu”.

Under the Review tab, if you do not wish to print the Track Changes but nevertheless, you want to keep them active, you can go to Review and choose “Final” in 2010 but in 2013 and beyond, you can choose “No Markup”.

By doing so, you will only print what has been added and the items that have been deleted will be removed from the document for purposes of the printout. In other words, you will receive a clean document but one that is representative of the fact that insertions and deletions have been Tracked behind the scenes.

Note: Keep in mind that you can also go to File-Print-Settings-Print All Pages, and De-Select “Print Markup”.

So back to the original Scenario: When you wish to edit a document in MS Word 2007-10 keeping Track Changes active but not visible you use “Final” opposed to MS Word 2013 to 365 you use “No Markup” and that is all you need to know.

Training From An Inside Perspective…

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Hey Students:

AdvanceTo offers a unique hands-on 3 class set through Zoom or Phone that covers the Formatting and Styling of both Litigation Style Documents as well as the Formatting and Styling of Corporate Style Documents.

We cover thoroughly everything from Caption Boxes to TOA, TOC and IOT, Footnotes, List Numbering, Multilevel Outlines Cross References and a load of procedure as well as tips and tricks.

Great and thorough Narrative Material and homework is also provided to guarantee follow up and charting of your progress!! Each class is 4.5 hours (each class can be done in two sessions), and will change the way you approach MS Word. The cost for this information packed set of 3 classes is $450. Secretaries, Word Processing Operators, Paralegals as well as law students will greatly benefit from these unique classes. Firms and Individuals Welcome!

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jcmarchi · 7 months ago

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Vadim Vladimirskiy, Co-Founder & CEO of Nerdio – Interview Series

New Post has been published on https://thedigitalinsider.com/vadim-vladimirskiy-co-founder-ceo-of-nerdio-interview-series/

Vadim Vladimirskiy, Co-Founder & CEO of Nerdio – Interview Series

Vadim Vladimirskiy serves as the CEO and co-founder of Nerdio, playing a key role in the development of its flagship products, Nerdio Manager for Enterprise and Nerdio Manager for MSP. He is an active speaker at industry events, focusing on channel, technology, and Microsoft-related topics. With a career that began in high school when he started his first IT consultancy business, he has maintained a long-standing commitment to technology and innovation.

Nerdio is a software solution provider that supports organizations of all sizes in deploying, managing, and cost-optimizing native Microsoft technologies. The company collaborates with Managed Service Providers (MSPs) and enterprise organizations worldwide, enhancing their existing Microsoft investments, including Azure Virtual Desktop, Windows 365, and Microsoft Intune.

How has your background in IT shaped the vision and product development at Nerdio?

My journey in IT began in high school when I started ComTech Computers, helping people set up home networks and experiencing the complexity and potential of IT. By the early 2000s, I was working as an IT consultant and network engineer at Solus, an MSP in Chicago, where I managed backups for numerous small and mid-sized businesses. Tape backups were unreliable and inefficient, and I envisioned a more streamlined, automated solution. After pushing for months, my bosses and I co-founded Level2 Storage in 2005, a cloud-based backup company, where we offered clients secure, automatic online data protection.

As client needs grew, I saw an opportunity to manage not only backups but entire IT infrastructures remotely—well before “cloud” was a common term. In 2007, we virtualized servers and offered remote access for a few clients as a pilot, which led to the launch of Adar IT. This new MSP offered clients full IT infrastructure management in a virtual environment, enabling them to access their desktops and data from anywhere. The cloud-focused model of Adar was transformative, but skeptics questioned its feasibility. Over time, we overcame challenges, optimized the technology, and grew Adar to serve numerous clients.

By 2016, with cloud adoption growing, we saw other MSPs facing the same cloud complexities we had tackled. This led to the founding of Nerdio, a platform that automates cloud environments specifically for MSPs, empowering them to deliver cloud services without needing deep cloud expertise. Nerdio’s mission is rooted in the solutions we developed for Adar IT and the challenges we faced along the way. How does Nerdio help organizations optimize their Azure Virtual Desktop (AVD) and Windows 365 environments?

Nerdio simplifies and optimizes Azure Virtual Desktop (AVD) and Windows 365 environments through automation, cost management, and streamlined deployment. With Nerdio Manager, IT professionals can deploy an AVD environment in a few hours or connect to an existing setup in as little as 10 minutes, reducing deployment time by up to 80%. Our intuitive platform also automates key processes, from image management to application delivery, minimizing manual intervention, and reducing the risk of errors.

Nerdio’s advanced auto-scaling feature is central to its cost-saving capabilities. By dynamically adjusting resources based on demand, organizations have cited saving up to 80% on Azure compute and storage costs, when using Nerdio Manager compared to unoptimized strategies. Additionally, ESG reported that enterprises, on average, experience a 55% reduction in AVD costs using Nerdio Manager, compared to using AVD alone. Our interface also allows IT teams to manage both AVD and Windows 365 environments from a single platform, simplifying administration and improving overall operational efficiency.’

What are some unique challenges Nerdio addresses for enterprises managing cloud deployments?

We’re addressing unique challenges for enterprises managing cloud deployments by streamlining complex IT processes and reducing both operational costs and administrative burdens. With tools like our Nerdio Manager for MSP and Nerdio Manager for Enterprise, the platform fills significant gaps in managing Microsoft environments—specifically Azure Virtual Desktop (AVD) and Microsoft’s Modern Workplace.

For enterprises with hybrid or remote workforces, we simplify the transition to cloud-first environments. Our platforms offer centralized, scalable management features, automating many repetitive tasks. For example, Kite Technology Group uses Nerdio to maintain security updates and disaster recovery processes across all client devices. This approach eliminates the need for frequent manual updates and ensures consistent, secure environments.

Nerdio’s auto-scaling capabilities are particularly beneficial, enabling enterprises to dynamically adjust resources based on real-time business needs. This provides significant cost savings on compute resources, as illustrated by Damart, who saved 50% on licensing and labor costs by using Nerdio’s scaling features. We also make tenant management more efficient. Tasks that once required hours are now completed in minutes, which saves IT leaders’ significant time and resources while managing hundreds or thousands of users.

With advanced features like unified application management, automatic updates and streamlined onboarding, Nerdio simplifies complex cloud management and enhances business continuity. By eliminating much of the labor and budget traditionally required for AVD and Microsoft Modern Workplace, our solutions empower enterprises to scale their cloud environments efficiently and affordably. How does Nerdio ensure security and compliance while managing cloud environments like Microsoft Intune and Azure Virtual Desktop?

Our approach to security focuses on leveraging Microsoft’s robust security frameworks while adding our own layer of automation and best practices to ensure organizations can meet their security requirements.

We integrate Network Security Groups (NSGs) to manage and control traffic at the network level, ensuring all data and applications stay within the internal network.

Additionally, we support Role-Based Access Control (RBAC) and Privileged Identity Management (PIM), which help restrict access to only those who need it, minimizing the risk of data breaches. Regular patching and updates, combined with our automated tools, ensure all AVD components are protected against the latest threats.

Our platform ensures robust security through continuous monitoring with Azure Sentinel and centralized management. This helps maintain compliance with industry standards like GDPR, HIPAA and ISO. Nerdio is the first organization in the MSP space to partner with the Center for Internet Security, Inc. (CIS). This partnership simplifies compliance efforts and bolsters cybersecurity postures without requiring comprehensive customization or manual configuration. Recently, we partnered with CIS to transform our customers’ IT environments with robust, ready-to-use CIS Windows 10 and Windows 11 Intune policies to strengthen enterprises’ security and drive compliance. How is Nerdio leveraging AI to streamline cloud management for enterprises and Managed Service Providers (MSPs)?

Nerdio leverages AI to streamline cloud management for enterprises and Managed Service Providers (MSPs) by tackling the complexities of migration, ongoing resource management, and cost optimization—all while enhancing security, compliance, and scalability.

Simplifying Cloud Complexity: Cloud environments are often complex, requiring careful handling from migration through day-to-day management. Nerdio’s AI-driven automation simplifies this process, minimizing both downtime and technical overhead. For enterprises and MSPs, this means smoother transitions to the cloud and a streamlined approach to ongoing management, allowing IT teams to focus on strategic goals rather than time-consuming configurations.

Cost Optimization: Managing cloud costs is challenging, particularly with idle resources that can drive up expenses unnecessarily. Nerdio’s platform leverages AI to automate resource scaling and optimize usage, minimizing total cloud expenditure. Predictive analytics help identify potential savings by analyzing usage patterns, while automated scaling ensures resources adjust based on demand—particularly valuable for MSPs managing dynamic, multi-tenant environments.

Unified Management for Hybrid and Multi-Cloud Environments: With a growing need for hybrid and multi-cloud strategies, Nerdio offers a unified management platform compatible with Azure, Windows 365, and other environments, cutting down inefficiencies and simplifying oversight. This integrated platform enables IT teams to manage resources across multiple environments seamlessly, reducing complexity and optimizing resource utilization.

Dynamic Scalability: Scalability is critical for cloud environments, especially when demand fluctuates. Nerdio’s AI-driven auto-scaling capabilities allow organizations to dynamically adjust resources, enhancing both performance and cost-efficiency. This scalability feature provides a balance of agility and control, allowing enterprises to maintain optimal performance without overspending on unused capacity.

What role does AI play in Nerdio’s auto-scaling and cost optimization features?

AI plays a transformative role in Nerdio’s auto-scaling and cost optimization features by driving what we call smart automation. Through AI algorithms, we predict resource demand based on historical usage patterns, enabling systems to automatically scale up or down to precisely match user needs. This predictive capability minimizes over-provisioning and avoids idle resources, which translates directly into substantial cost savings.

Our AI also proactively identifies inefficiencies, like underutilized VMs, and offers tailored recommendations for actions such as resizing or decommissioning resources to optimize cloud spend. With tools like Nerdios’s AssistPro’s genAI bot, we take this a step further by automating complex configurations and task setups, allowing users to manage resources more quickly and accurately, reducing manual errors, and enhancing cost efficiency.

Beyond automation, AI in Nerdio ensures proactive management of resources by analyzing shifts in demand and usage trends. This empowers IT teams to make data-driven decisions with ease, knowing they’re maximizing performance while keeping costs as low as possible. At Nerdio, AI isn’t just about making things easier—it’s about ensuring customers consistently achieve the best performance for the least investment, all with minimal effort. In what ways is Nerdio using AI to improve the user experience for IT professionals managing cloud services?

To enhance the user experience for IT professionals managing cloud services, Nerdio uses AI in several ways to streamline workflows, reduce repetitive tasks, and empower IT teams with self-service options:

Self-Service Automations for End-Users: Nerdio’s AI-driven automation enables end-users to perform routine tasks, like starting or stopping virtual desktops, without requiring IT intervention. This feature reduces the administrative burden on IT teams, freeing them up to focus on higher-priority tasks while still ensuring end-users have quick, easy access to essential functions.

Intelligent Recommendations and Troubleshooting: AI proactively identifies common issues in cloud environments, offering suggestions to resolve potential problems before they escalate. This predictive troubleshooting not only reduces downtime but also provides IT professionals with helpful insights to address recurring challenges, enhancing overall cloud performance and reliability.

Guided Configuration and Optimization: Through tools like AssistPro’s genAI bot, Nerdio simplifies complex configurations, guiding users step-by-step in resource setup and optimization. This AI-guided assistance minimizes human error and makes configuring resources more intuitive, especially for IT teams new to managing large-scale cloud deployments.

Customizable Automation Policies: Nerdio’s AI allows IT professionals to set and modify policies that automate common workflows, from managing resource allocation to scheduling desktop availability based on usage trends. This flexibility enables teams to create a custom automation experience that aligns with their organization’s specific needs and usage patterns.

Enhanced Security Through Automated Policy Enforcement: Nerdio leverages AI to monitor for compliance issues and enforce security policies, minimizing risks while ensuring that only authorized users have access to sensitive cloud resources. This level of automation not only boosts security but also relieves IT teams from manual monitoring tasks.

As an innovative technologist, what future trends in AI and cloud management do you see shaping the industry?

Future trends in AI and cloud management are poised to redefine the industry, particularly through hyper-automation, cost governance, and advanced observability. AI-driven systems will enable autonomous, self-healing cloud environments that predictively manage resources and resolve issues, minimizing manual intervention. Cost optimization will become more sophisticated, with AI offering granular insights and automatically managing idle resources to ensure efficient cloud spending. Observability, powered by AI, will allow for deeper visibility into cloud infrastructure, with real-time analytics detecting and addressing performance and security issues proactively. Additionally, AI will streamline multi-cloud orchestration, ensuring optimal workload placement across environments, while sustainability-focused AI will suggest greener cloud practices. Enhanced DevOps and conversational AI will simplify IT management, making cloud operations more intuitive and responsive to organizational goals.

Thank you for the great interview, readers who wish to learn more should visit Nerdio.

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uniquejellyfishqueen · 7 months ago

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This makes no sense, or does it

5+2=7 (Lover is the 7th album)

“The only key is mine”

Mine was written in the key of G major. G is the 7th letter of the alphabet.

-> “I’m a G” Lil’ Keke 1/1/2007

-> G-Unit (1999-2022) -> “We Up” ft Kendrick Lamar 12/8/2014

52 weeks in a year (365=14 days in a year, unless its a leap year then there are 366=15)

52 cards in a deck (4 suits 13 cards to each suit. English poker format: Spades- Black, Clubs- Green, Hearts- Red, Diamonds- Blue.)

52 white keys on a keyboard (36 black keys, 88 total)

52 is Tellurium; Te (ET? Phone home.)

The first day of the zodiac year is the spring equinox, which is around March 21. The zodiac sign for this period is Aries, which is represented by the ram.

Aries is the first sign of the zodiac because it represents new beginnings. The Babylonians celebrated the rebirth of nature with an 11-day festival called Akitu, which took place in mid-March.

The exact time of the equinox varies each year because it takes Earth about 365.24 days to orbit the sun. The equinox usually occurs about six hours later each year, until a leap year resets it (2024 was a leap year)

3/21/2024 - 12/3/2024=

8 months and 12 days. (Reduced to 11 = 2)

*12/8 is the last night of the ET.

Long story short believe me or don’t. 8 songs have the lyric “game/games”

7th album - 3

6th album- 2

5th album- 1

3rd album- 1

2nd album- 1

32111 is Candler Springs, FL, Marion county. Founded 3/14/1844. Silver Springs is here, what is it? Oh it’s just Florida’s 1st tourist destination since the mid 19th century, it was founded in 1852.

*Disney Springs opened on 3/22/1975 (1 day after 3/21… and The 1975 band formed in 2002 and released their album on 9/2/2013 -> i love the internet, their first show was on 11/2/2006 in Washington DC with Queens of the Stone Age and Nine Inch Nails) Disney Springs is on 120 acres, and has 4 distinct areas: marketplace, landing, town center, west side.

-Disney Springs had 4 names before the 5th stuck. During the 3rd name Disney World Market Place they opened a strip of entertainment venues and restaurants. This place had the right idea, but the wrong execution. Its name was Pleasure Island, apparently based off of Pinocchio. Its creation was to compete with Church Street Station which were both entertainment districts located in downtown Orlando, Florida, with the key difference being that Church Street Station was a pre-existing nightlife hub that inspired the creation of Disney's Pleasure Island, which aimed to offer a similar experience within the Walt Disney World resort complex, featuring multiple nightclubs and entertainment venues; however, Pleasure Island eventually closed its nightclubs in favor of more family-friendly options, unlike Church Street Station which continues to operate with a focus on nightlife entertainment… lol ok Big Red. You basically stole their idea for profit and couldn't make it last because you thought shopping centers were more important than music. It makes me wonder what shit went down here as well, did some of the problems start here?

**Pleasure Island had a NYE Kink. Every night Pleasure Island had a firework show to celebrate New Year’s Eve. Is this why every one was a shitty person, because their resolutions didn’t even last 24 hours. It makes sense. Also.. do you know how much other stuff you could have bought instead of those fireworks? Like thats a lot of fireworks. And it’s monotonous… I’m not a Debbie Downer, I just don’t enjoy them. Rock on firecrackers. Okay so Epic Fireworks is a company that supplies their fireworks. (They were feeling epic.) Disney is the world's second-largest buyer of explosives, spending over $50 million annually on fireworks. The tradition of fireworks at Disney parks began in 1956 (21..)

*the US Department of Defense is actually the #1 buyer of fireworks

*and Disney gets theirs from Epic Fireworks.... a UK company, 3 years after Elizabeth was named the Queen.

1/1/2007 pleasure island they changed their policy to 21 and Over. (Which Miles Teller was in that movie, he is in the IBYTAM music video. And 21 is ATW and the 21st letter is U)

**Pleasure Island closed on 9/27/2008- this is when they took all the music establishments out for a more family type venue that includes shopping and eating, America’s favorite past times.

*50 is a reference to Red

*21 is also a reference to Red

ORDER OF ZODAIC WHEEL

1. Aries (air)

2. Taurus

3. Gemini (gem)

4. Cancer

5. Leo (lion’s roar)

6. Virgo (unicorn -> the unicorn kitty in the capital one commercial)

7. Libra (lady justice)

8. Scorpio (keeping score?)

9. Sagittarius (SAG//gas)

10. Capricorn (cap=lid)

11. Aquarius (aqua=water)

12. Pisces (pieces?)

STAR

I see RATS… year of the rat was 2008, Fearless and Fearless Platinum were released on 11/11/2008. Sometimes a rat is brave, if they speak up. 2020 was also the year of the rat and we had Folklore 7/24/2020, Folklore Deluxe 8/18/2020, and Evermore on 12/11/2020. 2020 was when a virus plagued our world and people said it was because some people ate some bats… RAT BAT 1 letter difference 18/2

281 area code for Houston, Texas metropolitan area and its surrounding cities and suburbs:

* Cities: Houston, Sugar Land, Katy, Baytown, Spring, and Cypress

Eminem was born in the year of the rat.

And 1984 was the year of the rat as well.

Stars guide you home, which one do you follow? The North Star. NS, like SN backwards. Speak Now is the North Star?

Just north of Toronto is Vaughan, a city in Ontario, CA. Canada's Wonderland, formerly known as Paramount Canada's Wonderland, is a 330-acre amusement park located in Vaughan, Ontario, a municipality within the Greater Toronto Area. Opened in 1981 by the Taft Broadcasting Company and the Great-West Life Assurance Company, it was the first major theme park in Canada and remains the country's largest. It opened on 5/23/1981. Its slogan is “For the fun of it” ->”FUN” is a word TS and TN have both emphasized in speeches and tweets.

Former owners:

Kings Entertainment Company (1981–1993)

National Amusements (1993–2006)

Cedar Fair (2006–2024)

There are 6 Toronto area codes, it is nicknamed “The 6” (there is a YA Thriller book called The Silence of Six, probably no connection but context clues make it seem that way.)

The 6 area codes are

416

647

437

905

289

365

Add them all up and you’ll get 35. She turns 35 this December. And the gold desk calendar in the The Grove TTPD pop up had her birthday on it.

* Taking just the 20th and 21st centuries, the 13th of December is on a Friday in 1901, 1907, 1912, 1918, 1929, 1935, 1940, 1946, 1957, 1963, 1968, 1974, 1985, 1991, 1996, 2002, 2013, 2019, 2024, 2030, 2041, 2047, 2052, 2058, 2069, 2075, 2080, 2086 and 2097

2013- TS did not have a show on her birthday but she was in Australia, because on 12/14/2013 was N1/1 in Melbourne at Ethihad Stadium. An acoustic version of “You Belong With Me” was played in place of the surprise song (she did this for 7 shows)

*the ET in Melbourne (3 shows) she announced the bolter variant on 2/16/23 was when she played the first medley on 2/17/2023.

Her stop for Red in Toronto was 6/14/2013 and 6/15/2013. The Surprise songs were “Tim McGraw” and “Highway Don’t Care”

*12/13/2002 was a Friday. And also her 13th birthday. According to the TS wiki she spent the entire summer when she was 12 devoting it to writing a 350 page novel that has remained unpublished. (3+5=8) so it was the summer of 2002 that she wrote the book, the summer after 9/11.

*12/13/2019 (30th birthday. her first birthday performance?) Z100's iHeartRadio Jingle Ball 2019. “Blank Space" "Me!" "Lover" "Welcome to New York" "You Need to Calm Down" "Christmas Tree Farm" "Shake It Off”

*12/13/2030 TS will be turning 41. In the 73QWV she said she hopes she is not stressed when turning 40.

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mayowitch · 8 months ago

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A Phenomenological Analysis of Persepolis

Begun by King Darius I circa 515 BCE, the palatial complex of Persepolis was once the ceremonial administrative hub and ritual capital of the Achaemenid Persian Empire (McFerrin 2022, 189; Sil’nov 2018, 59). Elevated from the surrounding Marvdasht Plain by an earthen terrace measuring approximately 450m by 280m and raised 9 to 18 meters from ground level, Persepolis was also situated on the Royal Road, making it well connected to other cities throughout the empire, such as Susa and Sardis while simultaneously elevating and disconnecting it from its surroundings, dominating the landscape (Soheil 2018, 25 & 17). As expressions of culture, built forms play a communicative role in the structuration process of society, coupling the paths of individual members of society at defined points and acting as tools to facilitate, control, and maintain social interaction on a large scale (Letesson andVansteenhuyse 2006, 92). Perception of architecture informs as much a part of its definition as the function of its rooms or the material facts of its construction (Letesson andVansteenhuyse 2006, 91). However, perception is not to be equated solely with vision but with the total experience of moving through the complex, as it would have been during its peak of activity primarily by Achaemenid subjects. I will analyse this experience based on the phenomenological factors outlined by McMahon (2013) in her analysis of Khorsabad: Accessibility and movement, field of view, light and shadow, and finally sound.

By controlling the size, angle, and number of entrances it is possible to subtly direct and communicate the publicity of entrances and therefore the spaces beyond them. Palaces function as both public and private architecture, highlighting the culturally specific nature of any binary understanding of these categories (Adams 2007, 361). However, the terrace of Persepolis can be approximately articulated within this dichotomy by distinguishing the north as the public sector and the south as private (Soheil 2018, 31). Intersecting with the distance travelled from the Gate of All Lands, requiring visitors to move through several zones to reach exclusivity, the areas associated most with the king’s personage are also at the highest elevation. The main structures of the terrace, as surveyed in the 1930s, vary from the lowest in the entrance courtyard, the Treasury, and the Harem, to the highest in the palaces of Xerxes and Darius (Soheil 2018, 28). This elevation not only allows individuals in the upper palaces to look out over the terrace and beyond, placing them in a visually dominant position over those below, but on entry would force the ascendant’s gaze upwards, making it more difficult to both look around and walk, limiting their mobility and suggesting a strategy of intimidation and control over the body (Adams 2007, 365 & 368). This sense of drawing closer to the private domain of the king also carries a sense of the growing personal control and knowledge held over the space, as walls and ceilings contract around the traveller, conveying the message that this space is coveted, desirable, and overseen by others (McMahon 2013, 170). Thresholds are the physical embodiment of these transitions between the domains of public and private, profane and sacred, and common and exclusive (Adams 2007, 361). The visuality of their design, inscriptions, and artworks imply a conscious engagement with the movement of users to emphasise the transition between outer and inner; compared to a single, slender-walled plane to pass through, gate spaces hold considerable and clearly defined presence forcing complete residence within the gate for a noticeable, even if brief, time (McMahon 2013, 169).

Accessibility is defined not only by the movement of individuals through three-dimensional space, but also by the clarity of a place’s purpose and the expectations placed upon the traveller (Laurence and Low 1990, 471). This is especially notable for outsiders, who, particularly in the multicultural society supported by Achaemenid rule, may lack an understanding of Persian social norms. An overabundance of access points could be intimidating for the uninitiated, who may not know which route to take (McMahon 2013, 168). However, upon entering from the Gate of All Lands, the Apadana immediately presents itself as the most significant and accessible passage, even communicating what could be expected to take place internally through the external reliefs of envoys (Adams 2007, 371). On the reliefs lining the stairways of the Apadana, orderly, identical, and armed guards stand flanking the visitor on each step. Similar figures flank the stairs to the Central Building; they are far more diverse, talking, gesturing, and touching, acting with less solemnity and without weapons. These figures stand at approximately one meter tall, neither leaving a significant impression of intimidation upon the traveller but wordlessly cueing the relevant norms of interaction in a specialised place (McFerrin 2022, 197). The behaviour depicted in the reliefs of Persepolis serves as a guide, unobtrusively teaching new modes of interactions to subjects, and in so doing underscoring changes from previous iterations of imperial governance while reassuring visitors that they are properly adhering to the new system (McFerrin 2022, 197). Additionally, throughout Persepolis the king appears on doorway reliefs, always directed towards the main spaces to reach the portico and then go out. Through these reliefs, a traveller penetrating Persepolis is regularly confronted by the king's visage, suggesting his agency and movement beyond a static figure, moving to meet and engage with visitors as well as suggest his omnipresence within the palace (McFerrin 2022, 209).

A key element of the visual experience of architecture that is frequently diminished by analysis through floor plans is the manipulation of fields of view, alternately diminishing and expanding dimensions to manipulate scale and sightlines (McMahon 2013, 169). Field of view is directly linked to perceptions of spaciousness, mobility, and freedom and within Persepolis is primarily manipulated through the use of walls and columns (McMahon 2013, 172). Within the boundary walls of Persepolis’ terrace, much of the outside landscape is obscured. However, evidence in the ruins of Persepolis does not suggest that this wall completely encircled the Terrace, relying on the elevation of the terrace itself for any potential defense. Rather, the walls are theorised to at most have served to sustain the image of imperial power and grandeur (Soheil 2018, 131). This also would have shortened the field of view of those within Persepolis save from a few controlled vantage points, such as from windows in the Apadana, generally giving the impression that travellers were removed and protected from the outside world, increasing the Persepolis’ prominence and importance in the absence of outside distractions. Furthermore, throughout Persepolis the numerous columns characteristic of Achaemenid Persian architecture encourage bodily perception to become more grounded, directing the traveller’s vision upwards towards the elaborate theriomorphic capitals (McFerrin 2022, 203). The enveloping verticality of these forms reinforces the comparatively small size of the bodies of visitors, drawing direct attention to the sheer scale of the structure, particularly due to the emphasis on proportions themselves as a guiding principle in Achaemenid architectural design (McFerrin 2022, 206; McMahon 2013, 168). Limiting how much of the room can be viewed at once in columnar halls creates an almost maze-like effect, destabilising the boundaries of the room and emphasising “a many to one—instead of a focused one on one—encounter with the central figure,” (Gopnik 2010, 203) in the case of the Apadana: the king. Much like the repetition of delegates and guards on the external reliefs, the repetition of the columns reinforces the importance of the collective (McFerrin 2022, 204).

Light and shadow were used throughout Persepolis to create texture and variance both on surfaces and to create contrast and vary the intensity of visual experience. At all times of year, the sun was a major variable in Persia; generally, the scouring heat of the sun was something to avoid, while shadow held positive aspects of relief, richness of colour, and increased visibility (McMahon 2013, 173). Based on the almost perennial reliability of stark sunlight, dark and light may have become “building materials” for creating structure and contrast (McMahon 2013, 173). For example, the walls of Persepolis utilise niched and buttressed facades to relieve the starkness of otherwise blank walls by creating regular decorative shadows, and similarly, all columns in Persepolis are fluted, creating a comparable vertical effect (Soheil 2018, 91; McMahon 2013, 173). Beyond this, thin layers of white pigment that have been found on multiple surfaces, making them more reflective in the bright sun and acting as a base coat to produce more vibrant colours when painted over, creating greater contrast and leaving a more vivid impression (Chaverdi et al. 2016, 29; Nagel 2013, 615). This technique was also used to increase the vibrancy of coloured floor plasters throughout the complex (Oudbash, Shekofteh, and Fadaei 2013, 493). Light may be combined with sensory multiplicities, like changes in temperature, field of view, or accessibility, to emphasise the transition between spaces by combining inputs to create a more impactful contrast (McMahon 2013, 174). For example, in addition to constricting fields of view and movement, low visibility can also make a space desirable, implying privacy, control over the environment, and respite from the rays of the sun (McMahon 2013, 170). All these phenomenological factors are entwined in a way that may not be possible to fully disentangle to create a holistic sensory experience (McFerrin 2022, 191).

Sounds are crucial to lived experiences of spaces, heralding material action and the application of force, implying the actions of surrounding agents and connection with others (Witmore 2006, 276). The sounds most often associated with a work of monumental architecture such as Persepolis would have been that of people; the sounds of movement and conversation would merge and diffuse into one omnipresent background noise (McMahon 2013, 175). However, the thick walls of Persepolis would also quickly muffle sounds, maintaining a sense of immediacy with those nearby. The use of plaster for internal floors rather than sound-absorbing brick may have been partially motivated by a desire to amplify the sound of footsteps, contributing to an increased awareness of the self and of the built space (Soheil 2018, 39). Beyond auditory sound inputs, at Persepolis interaction with reliefs presents visitors with immersive depictions of sound production (McFerrin 2022, 189). The evocation of sounds such as people in conversation or a lioness snarling, maw agape, produces separations by depicting conceptual sensations that, while visually comprehensible, are not audible (McFerrin 2022, 191). Even as the reliefs invite the blurring of reality between traveller and depiction, for instance through the portrayal of envoys and guards outside the entrance to the Apadana, they preclude the possibility of fully participating in the depicted setting through the denial of complete sensory engagement (McFerrin 2022, 191). To develop a nuanced appreciation of the practices and perceptions of the past, it is necessary to attempt to understand its richness and complexity (Witmore 2006, 284). Although visuals provide an invaluable basis for understanding, other sensory properties such as sound which are evident in the material world cannot be ignored, as archaeology also has a responsibility to examine all the implications of material presences (Witmore 2006, 270).

Persepolis’ designers used elevation, proportions, reliefs, light, and columns to create dramatic and variable experiences for users and to reproduce the themes of the strength in diversity of Achaemenid Persia and the ubiquity of the king’s political control. Without utilising a phenomenological approach, many of these factors that create such strong contrasts and impressions upon visitors are rendered oblique or invisible. However, experiential reconstructions of architecture, by considering perspectives and movements at ground level, powerfully counter non-representative and artificial bird’s-eye plans.

Bibliography:

Adams, Ellen. 2007. “pproaching Monuments in the Prehistoric Built Environment: New Light on the Minoan Palaces.” Oxford Journal of Archaeology 26, no. 4 (November): 359-394. https://doi.org/10.1111/j.1468-0092.2007.00289.x.

Askari Chaverdi, A., P. Callieri, M. Laurenzi Tabasso, and L. Lazzarini. 2016. “The Archaeological Site of Persepolis (Iran): Study of the Finishing Technique of the Bas-Reliefs and Architectural Surfaces.” Archaeometry 58, no. 1 (February): 17–34. https://doi.org/10.1111/arcm.12153.

Institute for the Study of Ancient Cultures. n.d. “Persepolis Terrace: Architecture, Reliefs, And Finds.” The University of Chicago. Accessed September 11th, 2024. https://isac.uchicago.edu/collections/photographic-archives/persepolis/persepolis-terrace-architecture-reliefs-and-finds.

J. Paul Getty Museum. 2022. "Persepolis Reimagined." The Getty. https://persepolis.getty.edu/.

Lawrence, Denise L., and Setha M. Low. 1990. “The Built Environment and Spatial Form.” Annual Review of Anthropology 19, no. 1: 453–505. https://doi.org/10.1146/annurev.an.19.100190.002321.

Letesson, Quentin, and Klaas Vansteenhuyse. 2006. "Towards an Archaeology of Perception: ‘Looking’ at the Minoan Palaces." Journal of Mediterranean Archaeology 19, no. 1: 91-119. https://doi.org/10.1558/jmea.v19i1.91.

McFerrin, Neville. 2022. “A Sense of Scale: Proprioception, Embodied Subjectivities, and the Space of Kingship at Persepolis.” In The Routledge Handbook of the Senses in the Ancient Near East, edited by Kiersten Neumann and Allison Thomason, 189–209. London: Routledge. https://doi.org/10.4324/9780429280207-12.

McMahon, Augusta. 2013. "Space, Sound, and Light: Toward a Sensory Experience of Ancient Monumental Architecture." American Journal of Archaeology 117, no. 2 (April): 163-179. https://doi.org/10.3764/aja.117.2.0163.

Motamedmanesh, Mahdi. 2022. "Achaemenid Building Technology: The Key to a New Reading of Royal Achaemenid Architecture.” Journal of the Society of Architectural Historians 81 no. 3 (September): 299–319. https://doi.org/10.1525/jsah.2022.81.3.299.

Nagel, Alexander. 2013. “Color and Gilding in Achaemenid Architecture and Sculpture.” In The Oxford Handbook of Ancient Iran, edited by Daniel T. Potts, 596–621. United States of America: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199733309.013.0014.

Oudbashi, Omid, Atefeh Shekofteh, and Hamid Fadaei. 2023. “An Exploration of a 2500-Year-Old Monument: A Reappraisal of the Achaemenian Decorative Flooring Plasters in Persepolis World Heritage Site (ca. 550–330 BCE).” Studies in Conservation 68, no. 5 (July): 491–501. https://doi.org/10.1080/00393630.2022.2062562.

Sil’nov, Aleksandr V. 2018. “The Female Half Of The Imperial Palace at Persepolis: Architecture and Functional Lay-Out.” Acta Archaeologica Lodziensia, no. 64: 59–67. https://doi.org/10.26485/AAL/2018/64/5.

Soheil, Mehr Azar. 2018. The Concept of Monument in Achaemenid Empire. New York: Routledge. https://doi.org/10.4324/9781315165639.

Witmore, Christopher L. 2006. “Vision, Media, Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World.” Journal of Material Culture 11, no. 3 (November): 267-292. https://doi.org/10.1177/1359183506068806.

#miaj afisoj #essay #history #ancient history #archaeology #achaemenid empire #persian empire #persepolis #phenomenology

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speed-seo · 10 months ago

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Bazaraki: Check This Before You Buy or Sell There

Bazaraki is the biggest online marketplace in Cyprus, but also one of the most popular. It is the right place to sell anything and attracts thousands of visitors from all over Cyprus. This online market has everything from cars to shoes, clothes and electronic items. The company offers an easy-to-use app for iOS and Android devices. You can find everything for sale on Bazaraki. The online marketplace is open 24 hours a day, 365 days a year, which makes it a great choice to sell your items online. Bazaraki marketplace allows sellers to post their items and be contacted directly by buyers. Unlike other websites that rely on a middleman to do all the work for you, this e-commerce gives you the opportunity to sell your items directly from your own account. As a seller, you can post an unlimited number of items for free and set a price that is reasonable for you. Buying and selling on the online platform is very simple. - Simply create an account. - Specify your location in Cyprus. - Choose the item you want to sell or buy. How do I know if my goods are worth it? What can I make a profit on? Will, what I offer for sale interest people? Where are they coming from? With this guide, everything will become clearer to you. What is Bazaraki and what does it offer? Because the site offers a variety of products: Food, clothing, jewellery, cars, houses, and more. The advertising and buying platform also has many restaurants serving traditional Cypriot cuisine. If you are a seller or buyer or represent a company looking for a place to display your ads, Bazaraki is the right choice for you. The platform is very user-friendly and easy to navigate. You can use the site on both mobile and desktop computers to find what you are looking for or even make a sale. The team behind Bazaraki seems to be constantly working to improve the platform and add new features so that sellers and buyers can benefit. How did Bazaraki become the largest marketplace in Cyprus? Without a doubt, the platform is the largest marketplace in Cyprus for a reason: the company focuses on bringing buyers and sellers together. This creates a platform for growth and support that helps businesses thrive. The company was founded in 2007 and has since brought thousands of customers together every day. With 11-50 employees and its headquarters in Limassol, Bazaraki is a role model for other companies in Cyprus. What makes this particular online ad platform the largest marketplace in Cyprus is the fact that it brings together thousands of buyers and sellers across the island every day. With over 880k daily organic visitors. However, the most important factor that makes Bazaraki a preferred online marketplace is the quality of service it provides to its buyers and sellers. The platform facilitates sales between businesses and customers (B2C) and between businesses (B2C), making it easier for people to find what they are looking for. In addition, the eStore aims to ensure that both buyers and sellers are satisfied with their experience. Also, Bazaraki focuses on making experiences fast and safe by following its principles of developing sustainable ideas that have an impact on customers. Even though the number of employees and location is small, the business is likely to generate stable annual revenue. What are the most popular items on Bazaraki? Considering the level of awareness of the products on the platform, the only way to determine the most popular items on this platform is through keyword research. This gives us an idea of which items are most searched for on Bazaraki. Here are the best-performing products currently available in the marketplace. The image above shows us the top-performing pages based on the articles displayed on those pages. These popular articles are triggered by important keywords. These are the top 10 keywords for bazaraki.com: - Bazaraki cars - Bazaraki boats - Bazaraki massage - Bazaraki motorbikes - Bazaraki scooters - Bazaraki homes for sale - Bazaraki apartments for rent - Bazaraki tablets - Bazaraki electronics - Bazaraki phones This platform is a huge marketplace, so it's not surprising that keywords like "cars" and "motorcycles" show up in the rankings. It is also interesting to note that site also ranks for keywords such as "massage" and "tablets". But as different as the items to be sold or bought are, so is the audience that the platform targets. How do I sell on Bazaraki? To sell on this ad platform, you need to provide some basic contact information. First, enter your phone number and verify it by entering the security code you receive on your cell phone. Once you have verified your cell phone with Bazaraki, you can choose the category of your ad and the target audience you want to reach in Cyprus. You also have the option to add videos, images and texts to present your offer or products to interested buyers all over the island! After you complete all the steps, you will receive a link that will take you directly to your ad page. That's great! As a final option for us, the site offers 3 options for publishing our ads; - Regular ad: Free for 180 days! - TOP ad: This type of ad exposure starts at 1.5 euro for ten days up to 6.94 euro for 60 days. With better ad exposure than the regular ad. - VIP advert: You can pay €21,15 for ten days, ten days for €21,15, or 30 days for €52,9. For more information on the platform's ad rates, visit this URL: https://www.bazaraki.com/profile/login/?next=/post_ad/ In summary, to sell on Bazaraki, you need to create your ad. There are five simple steps to create an ad on Bazaraki: - Step 1: Click on the "Post ad" button. - Step 2: Verify your Mobile. - Step 3: Complete the product or service information. - Step 4: Select your ad promotion type from the three available options. - Step 5: Get ready for a flow of buyers! How do I buy on Bazaraki? Bazaraki is a great website to find products at amazing prices, but how do you buy on Bazaraki? It's simple! First, find the product you want to buy. You can search by keywords or by categories. When you find the product you want, click on the image or title to get more information. Next, decide if you want to contact the seller via WhatsApp, webchat or direct call. Yes, this is quite easy. You just need to be careful and gather enough information before making a deal. It is better to be on the safe side! It's worth mentioning that Bazaraki's internal infrastructure and security process is top-notch. They have 24/7 customer support and a team of moderators who can help you in any situation. As a marketer, I can not be less than satisfied when I see an online company that covers all aspects of marketing, more specifically, a well-presented marketplace. What are the benefits of using this online marketplace? Pros of using the Bazaraki marketplace for business: There are many benefits to using the platform, including increased sales time and the elimination of the need for leads. Let's take a closer look at each of these benefits. When you use the site, you can increase your sales time because you no longer have to spend time searching for leads. In addition, the platform eliminates the need for traditional advertising methods like print media or television commercials. These methods are often expensive and not as effective as they used to be. The platform also offers other benefits, such as the ability to keep your ads running continuously for as long as you want Additionally, Bazaraki makes it easy to collect feedback from customers, which can help you improve your products and services. Therefore, we have ten benefits from advertising on this platform. Ten benefits of advertising on Bazaraki: - You can save time and money when looking for leads. - It can help you eliminate the need for traditional advertising methods. - The platform offers the ability to keep your ads running continuously. - The site makes it easy to collect feedback from customers. - It can help you save money on advertising. - You will reach a larger audience. - You will target your ads more effectively. - You can track your results. - You will improve your products and service exposure. - The platform will help you grow your local business faster. What are the risks of using Bazaraki? There are a number of risks associated with using this platform, including fake ads, fraudulent sales, and identity theft. Bazaraki or any other online marketplace does not guarantee the validity of any ads or reviews we see on these sites. Therefore, we have to be very careful when we want to make a deal. Risks are everywhere, and this platform cannot guarantee us that ads or reviews are valid, despite their efforts to be more secure. We are responsible for all transactions between sellers and buyers. However, we can help ensure that our use of the platform remains safe for everyone. We can report any suspicious content we see on the site. Is Bazaraki safe to use? In general, it is safe and very safe to use. Considering the security measures they take, such as using your mobile number to verify not only if the seller is from Cyprus and in Cyprus but also the data behind this verification. I bet that cases of fraudulent transactions are very rare. And if you follow some simple rules, such as not giving your card details to sellers or people you do not know (or even better - to strangers) or not giving your personal details, you will be safer. If something happens to you and you become a victim of fraud (for example, if you ordered an item and the seller never delivered it), it is very important that you report it to Bazaraki. The best way to do this is to make sure that the seller is able to deliver. A common method is to use the Akis Express Pay on Delivery Service. This way, you do not pay until you have the item in your hands. There are several safety precautions, but the most important of all is to use your common sense! Can you please guide me on how to determine the authenticity of an item on Bazaraki? Sure, but remember with online marketplaces, it can be difficult to tell if the items you are looking at are genuine or not. This is especially true for sites like Bazaraki, the largest marketplace in Cyprus, which is a great temptation for scammers trying to sell non-genuine goods. There are a few things you can do to protect yourself from scams on this platform. First, make sure you can communicate well with the seller and ask for real pictures and details about the item you want to buy. If you are not sure, ask for more pictures and details. When buying something on the site, make sure the seller has been a member of the community for at least 6 months. If he/she has been a member for less than 6 months, be extra careful. If the seller has been a member of the eCommerce for more than 6 months, he/she has probably already made some sales or purchases. These can be tracked by the business´s team in case of a case. In summary, below you have the list of six things you can do to protect yourself from items that might not be genuine. Here are six helpful tips to determine if an item is authentic on this platform. - Ask the seller for pictures and details about the item before buying. - Use the information the seller provides about the item and compare it to Internet information about the same product. - If the seller has been a member of Bazaraki for less than 6 months, be extra careful when buying from them. - The seller should have been a member of the community for at least 6 months. - If the seller is new, you should be extra careful when buying. - You can track the seller's sales or purchases through the Bazaraki team in case a case occurs. I am having problems with Bazaraki, who do I contact? Bazaraki's support team is available to help you with any problems you may have with the website. You can reach them by email or phone. How do I know this? Well, I am a regular user of Bazaraki, I sell and buy many things there :) To ease things for you, here you have the contact information needed to get in touch with Bazarak'is support team: - Complain: https://www.bazaraki.com/adv/4225455_unisex-parfum/ - Contact Form: https://www.bazaraki.com/feedback/ - Frequently asked questions Page: https://www.bazaraki.com/help/ How does παζαρακι compare to other popular marketplaces? Bazaraki is a marketplace for buying and selling new, used or second-hand items. The website is very popular not only in Cyprus but also internationally. It is the largest online marketplace in Cyprus with over 800 million visitors per month. Bazaraki offers sellers the opportunity to sell their items for free, and buyers the opportunity to buy their desired items at affordable prices and without additional costs or fees. Cyprus is a small country with less than one million inhabitants, including tourists. Other online marketplaces that compete with Bazaraki include eBay, Amazon and Etsy. Bazaraki has a clear advantage over its competitors because it can match local buyers with local sellers in real-time and for free. It is not necessary for the seller or the buyer to have a website or online presence. Bazaraki is not only focused on Cyprus. Internationally, with less than 4% of its visitors coming from abroad. The language barrier is not a problem as the platform is available in English and Greek and the user interface is very user-friendly. Moreover, the reputation of the website is very good on the island and abroad. It is a strong brand that has been in existence for over 15 years. In summary, these are the 10 things making Bazaraki stands out from its competitors. 10 Things making Bazaraki more popular that its competitors: - It is the largest online marketplace in Cyprus. - Bazaraki offers sellers the opportunity to sell their items for free. - At affordable prices and without additional costs or fees. - It is not necessary for either the seller or the buyer to have a website or an online presence. - The language barrier is not a problem as the platform is available in English and Greek. - The reputation of the website is very good both on the island and abroad. - It is a strong brand that has been around for over 15 years. - Bazaraki has a clear advantage over its competitors as it can match local buyers and sellers in real-time - Free to post an ad and buy something. - On an international level, less than 4% of visitors come from abroad. Tips for buying on παζαρακι When you're looking to buy something, it's important to do your research first. Check out the seller's profile and make sure they have some history on παζαρακι. Read the item description carefully and check the measurements if you're buying clothes or furniture. Once you've found something you like, make sure to compare prices between different sellers before making a purchase. Sometimes it's worth waiting for a sale or bidding on an item to get the best price. If you have any questions about a product or need help with checkout, don't hesitate to contact the seller directly. They'll be happy to help! In summary, these are the five tips for buying on Bazaraki marketplace: - It is important to do your research before buying anything on Bazaraki. - Check the seller's profile and make sure they have a history. - Read the item description carefully and check the measurements. - Compare prices between different sellers. - If you have any questions, do not hesitate to contact the seller directly. παζαρακι - Does it have a return policy? Since the negotiations are directly between the seller and the buyer, without the intervention of Bazaraki. It is fair to understand that there is no such thing as a funds return policy or an item return policy; we are not buying from Bazaraki nor selling to Bazaraki. For more information about this matter, check Bazaraki's terms and conditions here. Final words: Bazaraki Marketplace is a great platform for advertising and finding leads. It offers powerful tools that you can use to make your business more visible on the island. We hope this article helps you understand how Bazaraki works and how you can use it for your business. If you have any questions, please get in touch with us via the contact form or call us at +357 99762835. And if you are a competitor of Bazaraki, you may discover the vulnerabilities of Bazaraki's SEO to redirect most traffic to your business. Yes, we know how to do that for you! Read the full article

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