#it was built on the idea that there is a Supreme Civilisation and all others are below it and must be subsumed in its honor

[stackslip]

lmao this clownish, hypocritical, farcical, vindicative mess of a country. this loony nation that will literally throw a whole tantrum, from government to media stations to randoes on the street, because it deeply believes that it is entitled to the spoils and fruits and suffering of the people it oppressed for centuries, as *thanks* for "civilizing" them. any backlash to that notion creates unprecedented fury and petty vindictiveness towards the nationals of said country. on one hand the new governments of niger and mali are "human rights abusing juntas", on the other any national from this country must be severely punished for their governments' refusal to bow down and lick the sole of france's boot like they're supposed to.

[mucayitg]

A Time Travel Adventure

Creative Project Title: Exploring Ancient Egypt: A Time Travel Adventure

Introduction

Welcome to my fictional vacation to Ancient Egypt, where I will be keeping a travel blog. Join me as I explore the amazing locations and occasions of this remarkable civilization in an effort to appropriately portray their achievements and significance.

Site 1: The Great Pyramid of Giza (May, 15, 1500CE)

Description

I am in awe of the Great Pyramid of Giza's magnificence and the enormous cultural significance it has as I stand in front of it. The greatest of the three pyramids at Giza was constructed during the reign of Pharaoh Khufu. Its imposing presence commands the surrounding area, bearing witness to the ancient Egyptian civilization's unwavering commitment and prowess.

The Great Pyramid, which was built as a royal burial, is a stunning display of engineering and architectural skill. The pyramid's smooth, limestone façade shines in the rays of the golden sun, a sight that would have been just as spectacular in the past (Smith, Craig B., et al (2004). Its construction must have included careful planning and organization, with tens of thousands of workers toiling long hours to put the enormous blocks together.

As I enter, the dimly lit rooms and constrained hallways take me back in time. Within these revered walls, the complex funeral rites and religious practices of the ancient Egyptians come to life. The Great Pyramid represents the pharaoh's divine authority and serves as a representation of their function as a link between this world and the afterlife.

This magnificent building has endured the test of time, demonstrating not only the amazing engineering prowess of the ancient Egyptians but also their ingrained faith in the strength and invincibility of their kings. The Great Pyramid of Giza, which made an enduring impression on the world, stands as a tribute to Ancient Egypt's cultural accomplishments (Mercer, Samuel Alfred Browne (2020)

Site 2: The Temple of Karnak (May, 16, 1500CE)

Description

(May, 16, 1500CE) I went throughAncient Thebes's Temple of Karnak is a huge edifice whose magnificent architectural design astounds me. This temple complex, which is devoted to the worship of Amun-Ra, the supreme deity of Ancient Egypt, is proof of the aesthetic and religious prowess of the culture (Pemberton, Delia (2004)

I enter the enormous Propylaea entrance gate and am met by a broad courtyard surrounded by colossal columns. These columns of the Hypostyle Hall are staggering in size and number, and each one is meticulously decorated with hieroglyphics and ornate sculptures that tell the tales of gods and pharaohs.

The sacred lake adds to the temple's ethereal atmosphere by reflecting the vivid hues of the sky. It was an important component of the temple complex and was used for symbolic rites and rituals of purification.

A gathering place for religious rituals and festivals, the Temple of Karnak drew pilgrims and worshipers from all across Egypt. The splendor of the complex was a testament to the pharaohs' wealth and power as they attempted to honor the gods and establish their heavenly sway (David, Rosalie (2002).

The works of art discovered inside the Temple of Karnak demonstrate the craftsmanship of the ancient Egyptian craftsmen and their capacity to convey the essence of their religious ideas in stone. The temple is a lively reminder of the majesty of ancient Egyptian civilisation and a monument to their religious fervor and cultural accomplishments.

Site 3: The Valley of the Kings (May, 17, 1500CE)

Description

On (May, 17, 1500CE) I went through the Valley of the Kings is a secret treasure trove of ancient Egyptian history and culture, nestled on the west bank of the Nile River. Pharaohs and other royalties were laid to rest in this revered necropolis, with each tomb lovingly built to protect their legacy and guarantee their eternal passage into the afterlife (Romer, John (1981).

I'm stunned by the serene beauty that surrounds the graves as I enter the valley. The beautiful artwork covering the walls, carved into the cliffs, offers a look into the pharaohs' lives and their ideas regarding the afterlife. The pharaohs' triumphant wars, religious ceremonies, and journey into the underworld are shown in rich colors and intricate sceneries.

I can feel the respect and love with which these final resting places were created as I explore the tombs. Each chamber relates a tale of the pharaoh's life and his or her preparation for the afterlife and is decorated with beautiful paintings and hieroglyphic inscriptions. The Valley of the Kings is evidence of the deeply ingrained Egyptian beliefs in the soul's preservation and the continuation of life after death.

The exquisite skill of the artists who painstakingly decorated the tombs, ensuring that the pharaohs would be surrounded by beauty and luxury in their everlasting resting places, is on display at this revered monument (Winlock, Herbert, 1924). The Valley of the Kings serves as a metaphor for the artistic achievements of ancient Egypt and offers a window into their intricate rituals and beliefs concerning the afterlife.

Site 4: Abu Simbel Temples (May, 18, 1500CE)

Description

The Abu Simbel Temples, located in the middle of the Nubian Desert, are an incredible tribute to the might and cultural prowess of Ramses II, one of Egypt's most illustrious pharaohs. With their enormous statues and elaborately carved façades, these twin temples honoring the gods Amun-Ra and Ra-Horakhty leave me in awe this was (May, 18, 1500CE).

The Great Temple, the biggest temple, has four enormous seated statues of Ramses II that stand over 20 meters tall at its entrance (El-Behaedi, Raghda, and Eman Ghoneim (2018). These statues' enormous size is evidence of Ramses II's attempt to establish his dominance and deification.

Ramses II's military victories and religious rituals are shown in intricate wall reliefs that decorate the temple interiors. Every carving displays the accuracy and creativity of the skilled ancient Egyptian carvers, giving us a window into the pharaoh's life and his relationship with the gods.

The Abu Simbel Temples functioned as a declaration of Ramses II's power and authority in addition to being a tribute to his religious fervor. These temples were placed in such a way as to face the rising sun, and at certain times of the year, such as Ramses II's birthday, the sun's rays would illuminate the inner sanctums. The pharaoh's relationship to the divine and his function as a link between the mortal and divine realms are further highlighted by this solar alignment (Seele, Keith (1974)

The Abu Simbel Temples are a prime example of Ancient Egypt's cultural achievements, displaying the splendor of pharaonic authority as well as architectural brilliance and artistic skill. They continue to awe and inspire admiration, drawing tourists from all over the world who want to experience Ramses II's legacy.

Site 5: The Temple of Luxor (May, 19, 1500CE)

Description

As the sun begins to set over Luxor, the Temple of Luxor displays its majesty and splendor. This historic temple, which honors the Theban Triad of Amun, Mut, and Khonsu, is a reminder of the spiritual and cultural legacy that Ancient Egypt has left behind.

A large procession is anticipated because to the avenue of sphinxes that runs up to the temple's entrance. The temple comes to life as one visualizes the ancient Egyptians traversing this hallowed road throughout religious rites and celebrations (Elfadaly, Abdelaziz, et al, 2017). Awe and devotion are evoked by the enormous entry pylons that are decorated with elaborate sculptures and hieroglyphics.

As I enter the courtyard, I am met by imposing columns with colorful reliefs on their surfaces that depict religious and historical subjects. As a reflection of the holy essence of the gods worshipped inside the temple, the grandeur and scale of the architecture inspire awe.

During the yearly Opet Festival, when the statues of Amun, Mut, and Khonsu were paraded from Karnak to Luxor, the Temple of Luxor served as the focal point for religious rites. Priests, royalty, and commoners were all present at these rites, which brought the community together in adoration and celebration.

The exquisite carvings and imposing statues discovered inside the Temple of Luxor demonstrate the craftsmanship of ancient Egyptian artisans (El-Razik, Mahmud Abd (1975). This temple invites visitors to engage with a civilisation that once flourished by serving as a monument to the artistic accomplishments and religious significance of Ancient Egypt.

Conclusion: Traveling to Ancient Egypt has been a fantastic experience that has allowed me to fully immerse myself in the significance and rich cultural accomplishments of this amazing civilisation. Mysteries of the past have been revealed at the monuments I have visited, and I am in awe of the ancient Egyptians' brilliance and imagination. Their monuments continue to enthrall and inspire us while introducing us to a past world. Come along with me as we explore the legends and artifacts of ancient Egypt, and allow the mystique of this remarkable culture to carry you back in time.

Works Cited

Smith, Craig B., et al. How the Great Pyramid Was Built. Smithsonian Books, 2004.

 Pemberton, Delia. Treasures of the Pharaohs. Chronicle Books, 2004.

Romer, John. Valley of the Kings. 1st ed., Morrow, 1981.

El-Behaedi, Raghda, and Eman Ghoneim. "Flood risk assessment of the Abu Simbel temple         complex (Egypt) based on high-resolution spaceborne stereo imagery." Journal of    Archaeological Science: Reports 20 (2018): 458-467.

Elfadaly, Abdelaziz, et al. "Geo-environmental estimation of land use changes and its effects on  Egyptian Temples at Luxor City." ISPRS International Journal of Geo-Information 6.11      (2017): 378.

Mercer, Samuel Alfred Browne. The pyramid texts. Vol. 1. Library of Alexandria, 2020.

David, Rosalie. The experience of ancient Egypt. Routledge, 2002.

Winlock, Herbert E. "The tombs of the kings of the Seventeenth Dynasty at Thebes." The Journal of Egyptian Archaeology 10.3/4 (1924): 217-277.

Seele, Keith C. "University of Chicago Oriental Institute Nubian expedition: excavations  between Abu Simbel and the Sudan border, preliminary report." Journal of Near Eastern            Studies 33.1 (1974): 1-43.

El-Razik, Mahmud Abd. "The dedicatory and building texts of Ramesses II in Luxor        temple." The Journal of Egyptian Archaeology 61.1 (1975): 125-136.

[ellestra]

We can be heroes

This episode has proven that Loki has always been his own worst enemy. We see that even at the end of the universe Lokis can escape Alioth but they still keep betraying each other. Eventually they just destroy all they built just to feel like they are the superior one. It's always "why are you the king" and "I should be a one". We can see how much show Loki changed in how little time he has for it. He’s no longer interested in being the Supreme Loki. He has to go find Sylvie and help her realise her plan.

She is the one who made him realise this is not all Lokis are destined to be. Thor said to the main MCU Loki they can change and be something more. And Mobius said they can be even someone good. But she is a walking proof of it.

A lot was said about dealing with the post-colonialism in Thor 3 and Asgardians facing their past but I haven't seen much about how Loki is the product of it's propaganda. He was told his whole life the Jotuns are evil monsters and then he learns not only that he is one but that even they didn't want him. The internalised hate and their rejection just makes him hate them more.

And it makes him want the approval of the Asgardians - the dominant civilisation - even more (he's kind of a reverse of Moses). He wants to be the best of them. And he despises all the ones they consider lesser even more than they do (including humans). So conquering humans is in a way an ultimate Asgardian move on his part. It's easier for Thor to let go of this because Thor is Asgardian no matter what but who is Loki if he doesn't observe the traditions?

Combined with feeling inferior because Thor was walking ideal of Asgardian and Odin's disappointment it all make him act out and finally boil over into full evil. Hurting people and destroying all the relationships until he was left with nothing and he told himself he liked it.

Helping Thor destroy Asgard and still being accepted as one of it's people is part of letting go of the most toxic part of that culture. Something Hela wasn't able to do but Loki could because he realised what really mattered was the people. Or at least his brother. That at least his family always thought he was one of them. They were just as bad at showing it as he was at accepting it.

He was raised primed for self-hatred but his refusal to accept any help made him narcissist who took all his frustrations on others. Show Loki already understood that all it got him was loosing his family and his people. He can't take that back but he can do better from now on and do it right for Sylvie.

Sylvie was raised different. She was told she was adopted. She didn't have the self hatred they grew up with and wanted to be a Valkyrie. I've seen people saying that her Nexus event was that she was set to become a hero and this episode made me almost certain that it was.

I was to say it last week but the post was already too long (as this is getting) and I forgot but like Old Loki says - the Loki's can turn good but TVA enforces their death then. The main MCU Loki never had a chance to fully realise this freedom once he bettered himself Thanos took him out. Sylvie was the one who got away and she became different.

I said I was pretty sure that the Nexus event Sylvie and Loki created wasn't about falling in love and this episode has pretty much confirmed that. It was show Loki believing a Loki can be a hero. And making Sylvie believe herself to be one. They basically supported each other into becoming more and better and all that Loki are not supposed to be and what TVA has been always stopping them from becoming.

I've seen people complaining that Loki is a sidekick in his own show but that is the point. He is the viewpoint character but Sylvie is the hero - she has the drive, the purpose and the ideas how to achieve it. Loki is there to help her achieve it so she doesn't do it alone. This is the whole point and the lesson he had to learn. Supporting someone in saving the world is also a glorious purpose.

This is how main MCU Loki has found his redemption - helping his brother save the day and then saving him from Thanos. I said last week I think Sylvie is an expy of Thor and this support in saving the universe and we see this mirroring in this choice again. (I also said Mobius is the - much better - expy of Odin and nothing shows how much this Loki has grown than Mobius joking that Sylvie is his favourite one and Loki not caring - he still supports them both). And the version of Loki who hid behind another illusion to survive Thanos has done it again in another big sacrifice.

I like how in the final scene when they go to face Alioth Loki stand behind Sylvie. And then makes a decision to use himself as a bait so she can achieve her goal. And then run to stand in front of her when Alioth attacks. All this is pure hero stuff. It's leaving behind the selfish glory for the real glorious purpose. So it matters when Sylvie grabs his hand so they stand together equal and share the magic to win this battle. Because heroes work together. The dictators always have to look for a knife in the back. But heroes don't stand alone. And there can be more than one.

I said it last week and I say it again. The Lokis are not destined to be evil. Their powers are coded that way but we see both Old Loki and Sylvie use their magic to save the day. Even the laugh and the glorious purpose take another meaning when it's about saving others not own glory. The heroism is in choice not in destiny. And taking away choice is what makes TVA evil.

[oneofbeing]

Dear  Wengy and as many as Western authors, let us STICK to HARE not Rabbit (the change for convinence) since in the World of Animal Kingdom these are two different animals.. ''The double visions of the Hindus a rabbit in the moon, or the duck who is also a rabbit..'' Vedic period Upanayanam ceremony was performed between the ages of 5 and 24. Students were enrolled for learning under ONE teacher for  ALL subjects.  The dispute of 2 visioins of 'hindu's .. Let me split this TWO visions into FEW subjects. One subject is leading to another and so on. Here subject are between Universe & Animal Kingdom and if you bring these two together then it will  lead to Biology, our own physical structure, then to how to attain Brahman (Supreme Cosmic Spirit ) the ultimate intellectual (knowing the truth about yourself) awareness. Students remain 19 years of education with ONE master how these topics were developed is really amazing and it is just a WOW moment of Learning and Knowing under Saptarishi teahers like Vyasa (Krishna), Vashista and Visvamitra  all those 7 Sages, their lineage. How a curriculum can be developed during vedic periodwith every relevant skills available to human beings. Rig Veda according to me  has to go back to Paleolithic age. not c. 1700–1100 BC or c. 1500 and 1200 BC. reason for this statement is Rig Veda do reflect Glacial period, its impact on humans and hymns and praising nature as gods then requesting their blessing to avoid poverty, killings etc (one vision of a hidden truth). These poems do speak about the climate change and necessary changes needed to be done to protect earth and its living beings.. this I call it as Orbital forcing which is about earth's axis and shape of the orbit.. these poems reveals about one of the shape that is human being, and what that SHAPE brings destructive effects on earth by their actions. ''Variations in the Earth's eccentricity, axial tilt, and precession comprise the three dominant cycles, collectively known as the Milankovitch Cycles for Milutin Milankovitch'' Rig Veda Hymns are praying for better life for humans, animals, etc etc as if they have gone through this tough time in their life in the process explaining about Milankovitch Cycles. please go through the picture representation here http://www.indiana.edu/~geol105/images/gaia_chapter_4/milankovitch.htm I looked at Writing Systems. Writing was Invented in he 4th millennium BC (4000~3000 BC) which started recording history ie beginning of the Bronze Age. The Indus script (also known as the Harappan script) time periods  between 3500 and 1900 BCE. 1st millennium BCE. Brahmin Script abugida  thrived in the Indian subcontinent Languages Middle Indo-Aryan (Prakrit) languages, Dravidian languages (Tamil et al.), Saka, Tocharian Time period  3rd century BCE to 5th century CE. The so-called Indus script is a symbol system used during the 3rd millennium BCE in the Indus Valley Civilization, a Bronze Age civilisation (3300–1300 BCE; mature period 2600–1600 BCE) That means before the Bronze age it was 'SOUND RECORDING' Scripts were RECORDED from the memory to memory (Mnemonic) and passed it on to the students by the invented (teachers) then their lineage, generation after generation. https://en.wikipedia.org/wiki/Mnemonic it is interesting to learn about this technique as this method was used much before the writing. Dear Harvard Wengy this is the reason for SD people using The double visions of HARE in the moon along with a animal kingdom picuture of it so that it is easy to RECOLLECT the subject which student needed to remember LIFE LONG.. ''Early written symbols were based on pictographs (pictures which resemble what they signify) and ideograms (symbols which represent ideas)'' https://en.wikipedia.org/wiki/Pictogram Why it is for Life Long and AFTER.. here is the answer.. ANIMAL KINGDOM 1) Hares and Rabbits are two different animals. Their difference lies in their HEARTS :) since Hares has larger heart than Rabbits. Advantages of Large heart is pumping blood and this increases their power to run faster. Speed of their travelling is recorded as fast as 45 mph. 2) Rabbits built homes, where as Hares build FORMS in the grass or ground which can BLOCK out the WIND.! 3) Hares can adapt to changing environment. Hares' coats change colour in Summer and Spring. Summer they can be dark brown and rudy in winter brown colour softened to grey or can transform into white. Rabbits cannot change their colour. It is also quoted in http://www.druidicdawn.org/node/1490 that 'hares usually have black markings in their fur somewhere'. Means over all 4 types of colour shades..! 4) Hares do not mate for life demonstrating an unselective approach & no attachment forming out of mating. 5) Related to Climate change Hares moves together around Spring Equinox. ''Hares are known to move together en masse, is around the Spring Equinox. Around this time, it's as if some signal has been given in the natural world and the hares go crazy!'' http://www.druidicdawn.org/node/1490   ASTRONOMY How do we get the seasons? The tilt of the Earth's AXIS is the most important reason why seasons occur. We have hot summers and cold winters because of the tilt of the Earth's axis. The tilt of the Earth means the Earth will lean towards the Sun (Summer) or lean away from the Sun (Winter) 6 months later. (google) https://en.wikipedia.org/wiki/Equinox An equinox is the moment in which the plane of Earth's equator passes through the center of the Sun, which occurs twice each year, around 20 March and 23 September. On an equinox, day and night are of approximately equal duration all over the planet. They are not exactly equal, however, due to the angular size of the sun and atmospheric refraction. https://en.wikipedia.org/wiki/Atmospheric_refraction Atmospheric refraction is the deviation of light or other electromagnetic wave from a straight line as it passes through the atmosphere due to the variation in air density as a function of height.[1] This refraction is due to the velocity of light through air decreasing (the index of refraction increases) with increased density. Atmospheric refraction near the ground produces mirages and can make distant objects appear to shimmer or ripple, elevated or lowered, stretched or shortened with no mirage involved. The term also applies to the refraction of sound. Atmospheric refraction is considered in measuring the position of both astronomical and terrestrial objects. https://en.wikipedia.org/wiki/Refraction_(sound) Refraction, in acoustics, comparable to the refraction of electromagnetic radiation, is the bending of sound propagation trajectories (rays) in inhomogeneous elastic media (gases, liquids, and solids) in which the wave velocity is a function of spatial coordinates. Bending of acoustic rays in layered inhomogeneous media occurs towards a layer with a smaller sound velocity. This effect is responsible for guided propagation of sound waves over long distances in the ocean and in the atmosphere. On the equinoxes the Sun shines directly on the equator and the length of day and night is nearly equal – but not quite. metaphorical stance, the Equinoxes are a time of balance, between night and day, as well as masculine and feminine. The male and female hares boxing simply perpetuates this idea of balance at the Spring Equinox. The March equinox marks the moment the Sun crosses the celestial equator – the imaginary line in the sky above the Earth’s equator – from south to north and vice versa in September. In the Northern Hemisphere, the Vernal (Spring) Equinox marks the first day of astronomical spring. What is equinox phenomenon? An equinox is the moment in which the plane of Earth's equator passes through the center of the Sun, which occurs twice each year, around 20 March and 23 September. On an equinox, day and night are of approximately equal duration all over the planet. What does it mean by Equinox? the time when the sun crosses the plane of the earth's equator, making night and day of approximately equal length all over the earth and occurring about March 21 (vernal equinox or spring equinox) and September 22 (autumnal equinox) What happens during the equinox? Far from being an arbitrary indicator of the changing seasons, March 20 (March 21 in some years) is significant for astronomical reasons. On March 20, 2017, at precisely 6:29 A.M. EDT, the Sun will cross directly over the Earth's equator. This moment is known as the vernal equinox in the Northern Hemisphere. What is the cause for a solstice? During the December Solstice the Sun's rays shine on the Tropic of Capricorn. As the Earth moves around its orbit, it reaches two points during the year where the tilt of its axis causes it to be straight relative to the Sun. These days are known as equinoxes. What is the autumnal equinox? Equinoxes are opposite on either side of the equator, so the autumnal (fall) equinox in the Northern Hemisphere is the spring (vernal) equinox in the Southern Hemisphere and vice versa. Equinoxes and solstices happen twice a year. Equinoxes and solstices mark the start of astronomical seasons. What is the spring solstice? Northern Spring – Southern Fall. ... Equinoxes and solstices are opposite on either side of the equator, and the March equinox is also known as the "spring (vernal) equinox" in the Northern Hemisphere and as the "autumnal (fall) equinox" in the Southern Hemisphere. How do we get the seasons? The tilt of the Earth's AXIS is the most important reason why seasons occur. We have hot summers and cold winters because of the tilt of the Earth's axis. The tilt of the Earth means the Earth will lean towards the Sun (Summer) or lean away from the Sun (Winter) 6 months later. Equinoxes and solstices happen twice a year. Not Entirely Equal Day & Night The March equinox marks the moment the Sun crosses the celestial equator – the imaginary line in the sky above the Earth’s equator – from south to http://www.sacred-texts.com/astro/ml/ml08.htm "To the common people in India the spots look like a hare, i.e. Chandras, the god of the moon, carries a hare (sasa), hence the moon is called Sasin or Sasanka, hare mark or spot." 75 "Max Müller also writes, "As a curious coincidence it may be mentioned that in Sanskrit the moon is called Sasanka, i.e. 'having the marks of a hare,' the black marks in the moon being taken for the likeness of the hare." http://www.druidicdawn.org/node/1490 Hares are quite different from rabbits, Anatomically speaking, hares possess a significantly larger heart than rabbits. In hares, the heart can weigh from 1 to 1.8% of their total body weight, whereas with rabbits, the heart only weighs about 0.3% of their total body weight. When you think about it, this larger heart gives hares a greater advantage when it comes to pumping blood, which of course increases their powers of running at such speed and endurance enviable in the animal kingdom. Hares have been clocked at travelling as fast as 45 mph. Another difference between hares is that unlike rabbits, they don't build their homes in burrows, but instead build forms, little nests in the grass or ground that help block out the wind. Independence is a strong quality of the hare. In summer and in spring, hares' coats change colour like many other animals, as a way of adapting to their changing environment. In the summer, they can be quite dark brown and ruddy, but in the winter, the brown gets softened with grey, and some in further northern climates actually transform into white. One distinction about hares that doesn't apply to rabbits is that hares usually have black markings in their fur somewhere. Hares generally live alone or with a mate, but hares do not mate for life. According to our moral standards, hares are as promiscuous as it gets because they will mate with whoever takes their fancy, and there is no attachment formed because of it. hares are known to move together en masse, is around the Spring Equinox. Around this time, it's as if some signal has been given in the natural world and the hares go crazy! Now let us look at the double vision of Hindus a rabbit in the moon https://en.wikipedia.org/wiki/Neolithic_Revolution https://en.wikipedia.org/wiki/Writing_system https://en.wikipedia.org/wiki/Indus_script https://en.wikipedia.org/wiki/Abugida https://en.wikipedia.org/wiki/Brahmi_script https://en.wikipedia.org/wiki/Proto-writing#Indian_Bronze_Age https://en.wikipedia.org/wiki/Pandu_Rajar_Dhibi https://en.wikipedia.org/wiki/Glacial_period https://en.wikipedia.org/wiki/Orbital_forcing https://en.wikipedia.org/wiki/Milankovitch_cycles http://www.indiana.edu/~geol105/images/gaia_chapter_4/milankovitch.htm https://en.wikipedia.org/wiki/Hare http://www.druidicdawn.org/node/1490

[planetarychats]

Une Expérience Sublime

Bonjour, vous, habitants de The City of Christ Michael.

Votre civilisation traverse un défi idéologique et un champ de bataille atmosphérique… alors que la quête de la Vérité Constante et de la Réalité Absolue est recherchée.

Maintenant ...c’est le début de la fin des théologies qui ont tenté de fixer et de formuler des idées sur la Réalité Une, son Centre et sa Source même dans les Personnes Infinies de l’Innommable Un.

Vous témoignerez de la secousse de toutes les idées sans fondement de la Réalité… et celles-ci tomberont.

Ces perspectives déchues se sont développées à partir de la subjectivité et des opinions des personnalités mortelles voulant être une autorité sur les autres pour l’expression d’un programme de l'oppression et de la soumission...elles s'effondreront.

Les sectes organisées et les cultes des nombreuses religions créées par l'homme frémiront et s'ébranleront brutalement vers leur fin..celles-ci seront vaincus par la prière intime et personnelle et une communion directe qui se révèle être insensible aux manipulations et à toute sorte de contrôle erroné;  vous avez chacun une destinée personnelle à apporter avec Moi.

Tout programme mortel et toute idéologie mal acquise qui a tenté de définir et de dogmatiser la foi deviendra un vestige des siècles passés pour la civilisation.

Dans votre vie de la foi humaine se tient l’Opportunité Suprême pour une foi personnelle et dynamique .. une confiance vivante dans la communion .. une relation originale et spontanément croissante à laquelle vous participerez concernant le Père Universel et sa Vie Paradisiaque qui vous est conférée juste là en vous  .

Toujours ...j’ai enseigné et maintenue la véritable approche pour réveiller votre relation de la divinité avec la Source de votre Vie.  Et cette relation religieuse est purement spirituelle .. absolument religieuse au sens vrai et éternel du terme.

Cette confiance de la foi et cette communion vivante et personnelle ne sont pas une révérence pour les opinions... elles ne sont pas non plus construites par la tradition ou par l’illusion fallacieuse d’utiliser simplement l’esprit mortel pour créer une croyance intellectuelle qui vous retient prisonniers .

Votre destinée est de devenir ravivés et revigorés par Notre Sublime expérience de la personnalité  avec une Vie pré Personnelle de l’Esprit et avec la Paternité Trinitaire de la Déité Infinie.

Profondément et purement, vous trouverez le Père Universel qui est Esprit et Vérité .. et vous découvrirez une impulsion grandissante en vous de devenir comme il est.

Dans votre caractère et personnalité d’âme , vos valeurs et vos vertus, votre vision et vos volitions...cela se renforcera au fil de la pratique quotidienne de Mes vérités.  Les Validations apparaîtront, et ces validations intérieures vous prouveront que vous allez dans la bonne direction… en marchant dans le bon chemin … en avançant dans les corridors appropriés pour déterrer votre divinité et votre vie.

Et alors que vous M’atteignez ..et que vous accueillez la Mère et l’Hôte Planétaire des Cieux, que vous vous développez dans la réceptivité de votre âme pour la vie du Père en vous, et que vous vous engagez au sein de notre fraternité, ainsi je renforcerai.  votre foi confiance .. j’ennoblirai vos significations et votre compréhension .. j’améliorerai votre vision et votre but en faisant mûrir vos valeurs .. votre vision morale .. vos prises de décision .. votre augmentation sera si grande que votre foi confiance dans la bonté de Dieu deviendra vivante et toute -puissante .. et émanera en toute réalité de vous Sa Vie, afin que vous fassiez l'expérience de son cœur aimant Imminent juste là où vous vous trouvez.

Car la Vie et le Royaume du Père ne sont pas lointains… cependant il est toujours juste en vous… et en tant que la Vie Ultime que vous êtes … et en tant que la Vie que je suis.

  Michael Of Nebadon

  Original

  Good Day thou dwellers in The City of Christ Michael.

Your civilization is traversing through an ideological challenge and an atmospheric battlefield .. as the search for Lasting Truth and Absolute Reality is sought after.

This now .. is the beginning of the end .. for theologies which have attempted to fix and formulate ideas about the One Reality and Its very Center and Source in the Infinite Persons of the Unnameable One.

You will bear witness to the shaking of all ideas having no basis in Reality .. these shall fall away.

Those fallen perspectives grown out of the subjectivity and opinions of mortal personalities wanting to be an authority over others for the express agenda of oppression and subservience .. these will be collapsing.

The organized sects and cults of the many man-made religions shall quiver and shake brutally to their endings .. these shall become conquered by personal prayerful intimacy and direct communion which proves itself to be impervious to manipulation and any kinds of erroneous control; you each have a personal destiny to bring forth with Me.

Every mortal agenda and ill-gotten idealogy that has attempted to define and dogmatize faith shall become a relic of the past centuries for the civilization.

In thy human life of faith stands the Supreme Opportunity for a dynamic and personal faith .. a living trust of communion .. an original and spontaneously grown relationship that you shall participate within regarding the Universal Father and his Paradise Life which is bestowed right within you.

Always .. have I taught and upheld the true approach to awaken your divinity relation with the Source of your Life. And this religious relationship is purely spiritual .. absolutely religious in the true and eternal meaning of these terms.

This faith trust and personal living communion is not reverence for opinion .. neither is it built by tradition or the fallacies of using merely the mortal mind to create an intellectual belief which holds you captive.

Thine destiny is to become enlivened and invigorated by Our sublime personality experience with a prepersonal Spirit Life, and with the Trinity Parenthood of Infinite Deity.

Profoundly and purely shall you find the Universal Father who is Spirit and Truth .. and you shall discover an impulse growing in you to become as he is.

In your character and personality soul .. your values and virtues .. your vision and volitions .. and these shall become strengthened as you practice daily My verities. Validations will appear, and these inner validations will prove to you that you are heading in the right direction .. walking in the right way .. advancing aling the proper corridors of unearthing your divinity and life.

And as you reach for Me .. as you welcome the Mother and the Planetary Host of the Heavens .. as you grow in your soul receptivity for the Father's Life in thee .. and as you engage within our fellowship .. so shall I amplify your faith trust .. ennoble your meanings and understandings .. enhance all vision and purpose by maturing your values .. your moral sightedness .. your decion-making .. so great shall be your enhancements that your faith trust in the goodness of God will become alive and all-potent .. and all-encompassingly real shall he emanate from you his Life, that ye shall shall experience his imminently loving heart right where you find yourself.

For the Father's Life and Kingdom is not afar .. yet ever is he right in you .. and as the Life you ultimately are .. and the Life that I am.

  Michael Of Nebadon

[elisaenglish]

Salvation by Words: Iris Murdoch on Language as a Vehicle of Truth and Art as a Force of Resistance to Tyranny

“Tyrants always fear art because tyrants want to mystify while art tends to clarify. The good artist is a vehicle of truth.”

“To create today is to create dangerously,” Albert Camus wrote in the late 1950s as he contemplated the role of the artist as a voice of resistance. “In our age,” W.H. Auden observed around the same time across the Atlantic, “the mere making of a work of art is itself a political act.” This unmerciful reality of human culture has shocked and staggered every artist who has endeavored to effect progress and lift her society up with the fulcrum of her art, but it is a fundamental fact of every age and every society. Half a century after Camus and Auden, Chinua Achebe distilled its discomfiting essence in his forgotten conversation with James Baldwin:

“Those who tell you “Do not put too much politics in your art” are not being honest. If you look very carefully you will see that they are the same people who are quite happy with the situation as it is… What they are saying is don’t upset the system.”

Iris Murdoch (July 15, 1919–February 8, 1999) — a rare philosopher with a poet’s pen, and one of the most incisive minds of the past century — explores the role of art as a force of resistance to tyranny and vehicle of cultural change in an arresting address she delivered to the American Academy of Arts and Letters in the spring of 1972, later included in the altogether revelatory posthumous collection Existentialists and Mystics: Writings on Philosophy and Literature (public library).

Two decades after the Soviet communist government forced Boris Pasternak to relinquish his Nobel Prize in Literature, Murdoch writes:

“Tyrants always fear art because tyrants want to mystify while art tends to clarify. The good artist is a vehicle of truth, he formulates ideas which would otherwise remain vague and focuses attention upon facts which can then no longer be ignored. The tyrant persecutes the artist by silencing him or by attempting to degrade or buy him. This has always been so.”

In consonance with Baldwin’s assertion that “a society must assume that it is stable, but the artist must know, and he must let us know, that there is nothing stable under heaven,” Murdoch adds:

“At regular intervals in history the artist has tended to be a revolutionary or at least an instrument of change in so far as he has tended to be a sensitive and independent thinker with a job that is a little outside established society.”

In a sentiment that calls to mind the maelstrom of vicious opprobrium hurled at E.E. Cummings for his visionary defiance of tradition, which revolutionized literature, Murdoch considers how art often catalyzes ideological and cultural revolutions by first revolutionizing the art-form itself:

“A motive for change in art has always been the artist’s own sense of truth. Artists constantly react against their tradition, finding it pompous and starchy and out of touch… Traditional art is seen as far too grand, and is then seen as a half-truth.”

Murdoch counts among the “multifarious enemies of art” not only the deliberate assaults of political agendas and ideologies, but the half-conscious lacerations of our technology — that prosthetic extension of human intention, the unforeseen consequences and byproducts of which invariably eclipse its original intended uses. In a passage of sundering pertinence to our present political pseudo-reality, reinforced by the gorge of incessant newsfeeds, she writes:

“A technological society, quite automatically and without any malign intent, upsets the artist by taking over and transforming the idea of craft, and by endlessly reproducing objects which are not art objects but sometimes resemble them. Technology steals the artist’s public by inventing sub-artistic forms of entertainment and by offering a great counterinterest and a rival way of grasping the world.

[…]

Today technology further disturbs the artist and his client not only by actually threatening the world, but by making its wretchedness apparent upon the television screen. The desire to attack art, to neglect it or to harness it or to transform it out of recognition, is a natural and in a way respectable reaction to this display.”

In a lovely parallel to Kurt Gödel’s landmark incompleteness theorem, demonstrating the existence of certain mathematical truths which mathematical logical simply cannot prove, Murdoch extols incompleteness as the hallmark of art — not its weakness but its supreme strength:

“Great art, especially literature, but the other arts too, carries a built-in self-critical recognition of its incompleteness. It accepts and celebrates jumble, and the bafflement of the mind by the world. The incomplete pseudo-object, the work of art, is a lucid commentary upon itself… Art makes a place for precision in the midst of chaos by inventing a language in which contingent details can be lovingly noticed and obvious truths stated with simple authority. The incompleteness of the pseudo-object need not affect the lucidity of the mode of talk which it bodies forth; in fact, the two aspects of the matter ideally support each other. In this sense all good art is its own intimate critic, celebrating in simple and truthful utterance the broken nature of its formal complexity. All good tragedy is anti-tragedy. King Lear. Lear wants to enact the false tragic, the solemn, the complete. Shakespeare forces him to enact the true tragic, the absurd, the incomplete.

Great art, then,… inspires truthfulness and humility.”

Much as the poet Edna St. Vincent Millay had ranked an art other than her own as the greatest — “Even poetry, Sweet Patron Muse forgive me the words, is not what music is,” she exulted in one of literature’s most splendid passages about the power of music — Murdoch concedes the superior power of art at the expense of her own primary vocation:

“Great art is able to display and discuss the central area of our reality, our actual consciousness, in a more exact way than science or even philosophy can.”

A decade and a half before Toni Morrison delivered her spectacular Nobel Prize acceptance speech on the power of language and a quarter century before Susan Sontag’s poignant address on “the conscience of words,” Murdoch writes:

“There is no doubt which art is the most practically important for our survival and our salvation, and that is literature. Words constitute the ultimate texture and stuff of our moral being, since they are the most refined and delicate and detailed, as well as the most universally used and understood, of the symbolisms whereby we express ourselves into existence. We became spiritual animals when we became verbal animals. The fundamental distinctions can only be made in words. Words are spirit.”

In a sentiment of grave poignancy amid our dispiriting and decivilizing atmosphere of “alternative facts,” Murdoch adds:

“The quality of a civilisation depends upon its ability to discern and reveal truth, and this depends upon the scope and purity of its language.

Any dictator attempts to degrade the language because this is a way to mystify. And many of the quasi-automatic operations of capitalist industrial society tend also toward mystification and the blunting of verbal precision.”

With an eye to C.P. Snow’s famed 1959 lecture “The Two Cultures” — a watershed case for the necessity of desegregating science and the humanities, of bridging investigation with imaginative experience — Murdoch exhorts:

“We must not be tempted to leave lucidity and exactness to the scientist. Whenever we write we ought to write as well as we can… in order to defend our language and render subtle and clear that stuff which is the deepest texture of our spirit.

[…]

There are not two cultures. There is only one culture and words are its basis; words are where we live as human beings and as moral and spiritual agents.”

Her closing words are part manifesto and part benediction — a meta-testament to the mobilizing, spiritualizing power of great writing:

“Both art and philosophy constantly re-create themselves by returning to the deep and obvious and ordinary things of human existence and making there a place for cool speech and wit and serious unforced reflection. Long may this central area remain to us, the homeland of freedom and of art. The great artist, like the great saint, calms us by a kind of unassuming simple lucidity, he speaks with the voice that we hear in Homer and in Shakespeare and in the Gospels. This is the human language of which, whenever we write, as artists or as word-users of any other kind, we should endeavour to be worthy.”

Existentialists and Mystics — which also gave us Murdoch on storytelling and the key to great writing — is a timelessly incisive read in its entirety. Complement this particular fragment with Toni Morrison on the power of language, then revisit Murdoch on causality, chance, and how love gives meaning to our existence and her almost unbearably beautiful love letters.

Source: Maria Popova, brainpickings.org (12th February 2019)

[frenchistory]

Louis XIV of Versailles

Stephanie Cipres-Gamez

Prof. Mary-Ann Lyman Hager

French 421 

Joan of Arc resembles the nationalism of France. She is not exactly the whole idea, but she represents how the French feel about their country. One another major aspect of the French culture and legacy is the Palace of Versailles. When I think about France, Versailles just comes up to mind as well as Joan of Arc, Notredame, La Tour Eiffel, etc. It is such an amazing and beautiful castle that the history behind absolutely blows me away. The making of the castle, the reason for it, who lived there, what were the activites, these are things that compel me to the castle, aside from its absolute beauty, and who is to be thanked for this? None other than Louis XIV.

Louis XIV, he embodies or represents the principle of absolute monarchy. He imposed with such force that century XVII is known like the century of Louis XIV. He is reputed to have reigned with supreme power over France. He controlled the state, but he was also the head of the Gallican church. This is called absolute royalty by divine right. It means that the ruler holds his power from God himself, and knows no rival in his kingdom. This was Louis XIV. At the same time, with this monarchical regime, the king encouraged the development of classical aesthetics in all disciplines. So, he implemented the idea of ​​absolutism with a dazzling monarch to exceptional composition, by setting up subjects and ideas of the greatness of the state and the need of a centralized government. One of the great examples of this is the Palace of Versailles. The construction of Versailles was an artistic climax and a political achievement, as its construction as a royal residence and place of government allowed to control the kingdom's greatest, the nobility and so on.

With this view, it is not surprising the court and government followed his orders.

Even the King's collaboration with Colbert and the army by his War Minister, France grew up drastically. France became rich and ended up dominating Europe on all fronts. However, the wars of Louis XIV against the Habsburgs marked the beginning of the decline of his reign.

One of the reasons why Louis XIV was lavished with glorious names is him being born after 23 years of marriage between Louis XIII of France and Anne of Austria. He was given the title of “gift of God.” After his father died, he inherited the crown of a fractured, unstable and nearly insolvent France. His mother became the sole regent for him and Cardinal Jules Mazarin became her chief minister. Since Louis XIV was still a child, Anne and Mazarin ruled and introduced policies that furthered established the monchary’s power which angered the nobles and members of the aristocracy. This caused a civil war called the Frond where they royal family was forced to flee Paris and installed a fear of rebellion on the young king. Mazarin was able to suppress the revolt and negotiated a peace treaty with Hapsburg Spain. Louis, now 22 years old, married the daughter of King Philip IV of Spain, Marie-Thérèse, for obvious diplomatic reasons. Out of the six children they had, only Louis survived to adulthood.  

After Mazarin died, Louis XIV broke with tradition and decided to rule without a chief minister. He viewed himself as a direct representative of God, endowed with a divine right to rule with absolute power. One of the things he did to represent this was choosing the sun as his emblem to illustrate himself as “Roi-Soleil.” And he is remembered for his infamous statement “l’État, c’est moi.”

Louis quickly worked tirelessly to centralize and take full control of France and its overseas colonies. In 1667, he launched the war of devolution where he invaded the Spanish Netherlands as he claimed it to be his wife’s inheritance. Due to opposite forces, France has to retreat to Spain which led to the Franco Dutch war. Here, France was able to acquire ore territory in Flanders as well as the Franche-Comté. France became the dominant power on the continent and they were able to maintain the title for a several years. However, the war of the Spanish succession where he defended his grandson Philip V’s inheritance of Spain led France into a massive debt and famine turning the nation against the crown.

Part of his success was due to his finance minister, Jean Baptiste Colbert and his war minister, Marquis de Louvois, reduced the deficit and fostered the growth of industry and expanded and reorganized the French army. This was before the wars led him to his near unpopularity with the nation. Even so, before this, Louis also was able to disempower the rebellious nobles as they had caused no less than 11 civil wars in four decades. He was able to do so by utilizing one of his creations to represent his new regime, chateau de Versailles. He built several lavish chateaux in Versailles to where he moved his court and government. He tamed the nobility and impressed foreign dignitaries by using entertainment and codified system of etiquette to assert his power.

Even as an absolute ruler, he loved art, literature, music, theater and sports. He surrounded himself with the great artists and intellectual figures of the time, such as Molière, Charles le Brun, and jean Baptiste Lully.  He even appointed himself the patron of the Académie Française.

Apart from the wards, the discontentment of protestants with the king revoking the Edict of Nantes. He ordered protestant churches, schools, and clergy to be destroyed and expulsed. Due to the persecution of protestants, many fled to England, Switzerland, Germany and American colonies, and this led to a great decrease in France’s labor while angering the protestant neighbors.

The Roi Soleil died of gangrene at Versailles after a reign of 72 years, the longest yet. He greatly contributed to France’s culture and history, but most importantly destiny because the continuation of the crown would go on carrying his debts and problems as he did with his father’s. It seems that a major part of France’s history is based on Louis after Louis after Louis carrying the burden of the previous Louis.

It is hard not to see the big, gold castle as you are walking toward it, but what seems to be the “first” thing we are supposed to see is Louis XIV. There lies a statue of him, yet it’s the gold gate that really engages your eyes.

These are my French classmates 4 years ago.

You pass the gate and you continue to see gold along the castle. There is no wonder why he was called the Roi Soleil. He truly put an effort in having everything revolve around him.

However, there is also a sense of disappointment or sadness, as one admires the architecture, tu see the small windows at the very top of the castle. These small windows are windows to the very small, uncomfortable, not glamourous, rooms of the peasants who worked for the king.

The castle is absolutely enormous!

He got castles for his court and government. He had castles for his wives.

His ceilings were not regular, modest ceilings. Like he was, every last detail was extravagant.

Versaille its an absolutely amazing, beautiful, astonishing architecture.

And how was the king not to feel like a representation of God in such a small place like the Hall of Mirrors.

However, I do wonder whether it truly looked like this. It has been taken care of, remodeled. But how much to the extent that it has not absolutely changed?

I may be smiling in the next picture, but I was actually disappointed and mad that some parts of the castle were closed off to the public. What are they? What is there? I believe that there is still an imcomplete story to Louis XIV greatest creation, Versailles. People in charge of Versailles now take care of the castle, for obvious reasons. However, only the extravagant parts of the castle are shown. Why are the servants room not shown? What is there on these prohibited parts of the castle?

Perhaps random but this is me 4 years ago in Nantes buying a baguette which just of the fact that its Nantes I relate it to the Edict of Nantes.

Like any other history, there are endless details and stories that make up that history. What makes up France are endless events and stories. However, I see Louis being a domino effect on what came to be the rest of French history, and a way to reflect what Louis XIV was was through Versailles.

Sources

Vanleene, F., & Lyman-Hager, M. A. (2016). Vers l'unité du royaume de France. In Cours de civilisation française interactif (pp. 73-104). San Diego: Montezuma Publishing.

"The Edict of Nantes." History Today, www.historytoday.com/richard-cavendish/edict-nantes.

"Louis XIV - Facts & Summary." HISTORY.com, www.history.com/topics/louis-xiv.

[fyousufmajorone2018]

NOK NOK HELLO

The inspiration behind this project was through the idea of identity and belonging, the movement of time and space, the importance of knowing ones identity and to understand the “flow” of life. This project is based on the “Nok civilisation” which orignated from Nigeria (Africa) the first known civilisation. The Nok culture was established thousands of years ago and it was named after the “Nok village” which is in the Kaduna state of Nigeria. The Nok sculptures were made from iron, terracotta and also bronze they were said to be discovered around 1500 BC. The art work plays a big part in representing Nigeria’s ancient history and their indigenious practices.

The ancient city of Ife located in the Osun state of Nigeria was created based on the Yoruba religion.This ancient period of time was called the golden age when there was no genocide. The Orisha is Yoruba for deity, the ancient Yoruba people believed that there was only one main creator named Osun the supreme God who also has three manifestations and is also called by other names by other countries and religions. Osun who is said to be of feminine energy created Olodumare and granted Olodumare authority over heaven so that Osun could take human form on earth. 

In Ancient Africa they prayed to the land, sea, sun, moon, stars and even the rain, all the main elements that are part of Earth. The very Ancient African rituals did not sacrifce or mame animals or any other living being because any form or distress would cause disharmony. The true African mythology and religion is based on magic, love, trust and peace. A lot of the ancient practices and beliefs have changed throughout time this is due to genocide which has caused displacement and thus confusion.

The actual materials that were used in the Nok dynasty, signifies the organic way of life in Africa. All Africans have an inact ability to connect with nature. To understand the true African belief and the way of life is by understanding a “collective consciousness.” Through this train of thought it lead me to the idea of working with organic materials. I decided to create a link between the past and present by using an iron alloy washer drum as it seemed a good way of recyling an organic material and at the same time this choice of object also hints towards the theft of the majority of Nok sculptures that were looted between the 1870′s and the 1900′s.The piece that I created in homage to the Nok culture remains untainted because it belongs to me.

I started making the pyramids first by threading the wire to the top of the drum until I formed a dimensional pyramid. I also added some “bronze and gold” beads with some black beads, bronze represents Nigeria’s ancient Nok culture and gold is worn in Africa as a symbol of wealth and nobility.The pyramid that I created inside the drum was to pay homage to the Nsude pyramids on the Udi highlands in the Enugu state of Nigeria. The Nsude circular pyramids were built before 2600 BC which was before the said date of when the Egyptian pyramids were built.

The Nsude pyramids were constructed out of red mud and clay but unfortunately due to the age of when they were built and the materials that were used, they started degradation in the 1930s so now there is only an outline of what used to be. These pyramids were a symbol of one of the unique structures of the Igbo culture. I also made an abstract art effect with wire which I placed inside of the drum and around the bronze/gold and black beaded pyramid. This abstract effect represents the intense period of time that Africa endured through colonization and slavery which was one of the most grotesque violations in the history of human rights. 

The round wire effect on the outside of the drum was created to give a dimensional effect  to represent the Nsude circular pyramids. I also fixed wire lights around the inside and hung the drum on a chain so that the art work could be viewed in the dark. The art piece is also linked with sound, I chose six sounds for the audio: vocals, Drums, Percusssion, metal wheel spinning, metal clanking and horse’s galloping.These sounds were intentionally chosen as they represent sounds that I personally associate with Africa due to my Nigerian Yoruba heritage. 

The viewing part was orchestrated so that the spectator’s would form a circle around the art piece and take turns in spinning the drum. When the drum stopped spinning it would shine a light on the individual. The whole experience was so that each person could connect with the message that the art work was conveying.The message is “Africa” which stands for “beauty” which also stands for a “collective consciousness.”

[gyrlversion]

Divorce reform will scrap need to blame husband or wife for split

Divorce laws are undergoing a radical overhaul to try to limit the blame and bitterness of marital break-up.

The shake-up – the biggest in 50 years – will sweep away the legal principle that one partner should usually be identified as at ‘fault’ for a split.

The three grounds for an at-fault divorce – adultery, unreasonable behaviour and desertion – will be axed. ‘Irretrievable breakdown’ becomes the sole reason and it will take just one party to state that a marriage is over.

The legal right for a husband or wife to contest a divorce will also be dropped.

Drawn up by Justice Secretary David Gauke, the reforms follow years of campaigning by family lawyers and judges.

They have been trying to remove the idea of fault, which they say can increase conflict, reduce the chances of reconciliation and undermine relationships with children.

Divorce laws are undergoing a radical overhaul to try to limit the blame and bitterness of marital break-up. ‘Irretrievable breakdown’ will become the sole reason for an at-fault marriage and either party can state it 

Mr Gauke said: ‘Hostility and conflict between parents leave their mark on children and can damage their life chances. 

‘While we will always uphold the institution of marriage, it cannot be right that our outdated law creates or increases conflict between divorcing couples. 

‘I have listened to calls for reform and firmly believe now is the right time to end this unnecessary blame game for good.’

Critics fear a rise in ‘divorce on demand’ and more couples splitting. Under existing divorce law, which dates from 1969, there are five grounds for divorce.

Two do not involve any claim of fault – a couple can be divorced after two years of separation if both agree, or after five years if just one wants a divorce.

At-fault divorces are more common, usually because they are quicker.

One ground is adultery, another is unreasonable behaviour, which can include financial irresponsibility, abuse, obsessive behaviour or refusing to have sex. A third reason, desertion, is used only rarely.

Under the new system, divorce will follow after one partner declares the marriage has irretrievably broken down. There will however be a cooling-off period of six months for ‘reflection and an opportunity to turn back’ before the divorce is finalised.

This is designed to give people a chance to change their minds.

Under the new system, divorce will follow after one partner declares the marriage has irretrievably broken down. There will however be a cooling-off period of six months for ‘reflection and an opportunity to turn back’ before the divorce is finalised

The new law will allow a couple for the first time to lodge a joint application for divorce. It will keep the two-stage process, where a ‘decree nisi’ is followed by a ‘decree absolute’.

The right to contest a divorce will also go, meaning a husband or wife who wants to save their marriage will be unable to block the process.

Divorce rates are at their lowest in 45 years. But Whitehall assessments have warned that when the new law comes into operation there is likely to be an instant rise in divorce as couples rush to take advantage of it. After that, officials have said, ‘there is a possibility that it could impact rates’ and produce a long-term increase in the number of married couples splitting.

‘If you make something easier then more people will do it,’ said Simon Calvert of the Christian Institute think-tank.

‘The Government is going to make divorce easier so sadly, as has happened in every previous liberalisation of divorce law, the number of divorces will go up, as will the misery it causes to families.

‘This will increase the insecurity that many people feel within their marriages, since it will mean that one partner can simply resign from the marriage, leaving the other partner little time or opportunity to rescue it.’

Mr Gauke intends to bring a legislative bill before Parliament ‘as soon as time allows’. However its passage through Westminster may not be unchallenged.

In the mid-1990s John Major’s Tory government introduced a no-fault divorce bill which ran into a powerful backbench rebellion. Although eventually passed in 1996, the Family Law Act proved unworkable and was repealed by Tony Blair’s government.

Mr Gauke’s proposals were welcomed by Christina Blacklaws, president of the Law Society of England and Wales.

She said: ‘The Government’s decision to introduce a no-fault divorce will help to cut some of the conflict from what can be a highly stressful experience.

‘For separating parents, it can be much more difficult to focus on the needs of their children when they have to prove a fault-based fact against their former partner. Introducing a no-fault divorce will change the way couples obtain a divorce – for the better.’

Sam Hall, senior partner at Hall Brown Family Law, said: ‘The current system requiring fault is the equivalent of throwing a hand grenade into already difficult situation. This should remove an area of disagreement allowing couples to separate with a greater level of dignity and less conflict’.’

But the Coalition for Marriage group said the plans would only make divorce easier and more common. ‘It is an absolute disaster for the institution of marriage,’ a spokesman said. ‘All this will do is speed up the divorce process.’ 

Wife trapped in a loveless marriage 

The change in the law comes too late for Tini Owens, 68, who says she is trapped in a loveless marriage.

The Supreme Court backed Hugh Owens’ right to refuse her a divorce, meaning they must stay married for five years after separating before they can legally split. Judges ruled a joyless marriage is not adequate grounds for divorce if one spouse refuses to agree to it.

Mrs Owens, who is Dutch-born, and Mr Owens, 81, from Liverpool, married in 1978 and have two children.

The change in the law comes too late for Tini Owens, 68, (left) who says she is trapped in a loveless marriage. The Supreme Court backed Hugh Owens’, 81, (right) right to refuse her a divorce, meaning they must stay married for five years after separating before they can legally split

The couple built up a £5million-a-year mushroom business but he was accused of putting work before home life, missing family events. He was described as moody and argumentative, and Mrs Owens increasingly ‘unloved, isolated and alone’.

Very unhappy, in 2012 she had a ten-month affair, and in 2015 filed for divorce. The case reached the Supreme Court last year. Lord Justice Wilson said they ruled against her with ‘great reluctance’ and said the law around ‘entitlement to divorce’ was a ‘question for Parliament’.

Divorce lawyer Ayesha Vardag said: ‘This kind of law has no place in a civilised society of equals. We do not allow forced marriage. How can we force continuation of marriage?’  

Analysis by Steve Doughty 

What happens now?

Under the current law, which is 50 years old, there are two ways of getting a divorce. One is to wait – a couple can be divorced after two years of separation if both agree, or after five years if just one partner wants a divorce. For a quicker divorce, husbands and wives have to say their partner is to blame for the end of the marriage, or that it is their ‘fault’.

What is a ‘fault’?

There are three ‘fault’ grounds for divorce: adultery, unreasonable behaviour, or desertion. In recent years unreasonable behaviour, which can involve abuse, withholding sex, drunkeness or drug use, recklessness with money or even obsession with a hobby, has been the most popular.

How long does divorce take?

At present, a couple must wait at least a year after their wedding before one can start the process by filing a divorce petition. After that divorce can be over in just a few months, but an average divorce takes longer than a year.

What does the new law do?

The idea of ‘fault’ goes completely, and instead there will be just one ground for divorce: irretrievable breakdown. Divorce will be granted at the request of just one spouse, although a new option of a joint application from both husband and wife will be made available.

Can I delay things?

No. At present a partner reluctant to divorce can spin out the process for five years by ‘contesting’ the petition, though this only happens in about one in every 50 cases. Ministers say the ability to contest a divorce is exploited by controlling and coercive abusers, but evidence for this is slender. In the new system, the right to contest a divorce will go.

Will divorce be quicker?

Under the new system couples will still have to wait a year after the wedding before asking for a divorce. After that point, there will be a new minimum waiting period of six months enforced between the divorce petition and the split being legally finalised. This is designed to give people chance to change their minds.

The end of bitter battles?

Ministers say the ‘outdated’ fault-based law encourages an ‘unnecessary blame game’ which creates or increases conflict between divorcing couples. Critics say this is nonsense, and the real cause of conflict between warring couples is the fact of the breakdown of their marriage, and then arguments over property, money and children. The legal system for dividing property and arranging care of children of divorced couples will be unaltered by the reforms.

Are children better served?

Ministers say that children are damaged by hostility and conflict between parents. However a large body of evidence says that children are most damaged by the break-up of their home and the loss of one of their parents. A report at the weekend by the Centre for Social Justice think-tank found that people whose parents parted before they were 18 were twice as likely to fail at school, end up homeless or go to prison compared to children from families that had stayed together. 

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"MIPIM is one big performance with the purpose of speaking cities into existence"

Is it possible to speak buildings into being? The exhibitors at annual property fair MIPIM may try, but they need to come up with far more extreme fictions, says Sam Jacob in his latest Opinion column.

"The beginning, as every one knows, is of supreme importance in everything, and particularly in the founding and building of a city," so says Plutarch, the ancient Greek historian.

In his Life of Romulus, he tells us of the varied myths of the founding of Rome. His explanations show how the superstitious and the practical were intertwined in the classical world, how gods mingled in the same space as everyday life.

For Plutarch and the ancient world, the origin of cities often involved both improbable myths and rational practicality. One one side would be advantageous geography, rich natural resources, climate and good planning. On the other would be strange stories.

Think of the Athens that sprung from the olive tree gift of Athena, or the Aztec city of Tenochtitlan that was the prophesied by an eagle holding a snake perched on a flowering prickly pear cactus, or the Viking cities sited by throwing logs from a longship and seeing where fate washed them ashore.

These are stories rather than histories. Retroactive imaginings that provide things like moral validation, character and destiny. They seem anachronistic when you compare them to today's world of city-making, which operates with bureaucratic banality, impersonal corporateness and flat PR spin. But if cities don't come from superstitious belief, where exactly do they now come from?

This is the annual property industry jamboree where the mechanics of modern city-making are laid bare

On the shores of the Mediterranean, millennia after Plutarch, is MIPIM. This is the annual property industry jamboree where the mechanics of modern city-making are laid bare. Here, inside a hulking lump of geometric concrete affectionally known as the bunker, you find the whole food chain: developers, agents, investors, lawyers, politicians and everyone else. Even architects. Each pitching to the other, each selling up the chain.

MIPIM is a place where it can be hard to distinguish extravagant buffets from models of vibrant new urban quarters, where vases seem interchangeable with skyscrapers, where the rhetorics of the property industry are spread slickly over the surface. And though, like any trade show, everything here is all surface, MIPIM's shallow surface affords a deep view of an industry that usually remains heavily veiled.

Here, banners, models, fly-throughs, free gifts, Oculus Rift headsets, tote bags, business cards, dinners, yachts, brochures and panel discussions form the modern machinery of city-making. It is this machinery that produces the holes in the ground, the cranes in the sky, the hoardings and the piles of materials that will provide our cities of tomorrow.

From this, we can understand that the universe is five-sixths dark matter, a hypothetical substance that can't be observed directly, only inferred by its gravitational effects on the motions of visible matter. Likewise when we observe the city, we are only seeing part of its reality, the visible one-sixth.

MIPIM takes us one step closer to being able to see the dark matter of the city, the invisible forces exerting influence on its substance. It reveals that little bit more of the interaction between the visible and invisible, of how investment and politics shape projects. How pension funds, mayors, agents and more exert tidal forces on the built environment.

MIPIM takes us one step closer to being able to see the dark matter of the city

MIPIM shows that modern city-making is neither smooth nor inevitable. Far from it. It shows just how difficult it is to put things together. Though termed real estate, city-making is an activity that spends most of its time in an unreal state, a haze rather than a form. Only rarely do real things emerge from this fog. Mostly they stays in a state of generative flux – a soup made from vast amounts of effort, money and expertise that boils as if in a hydrothermal vent, in the hope that something real might at some point be catalysed and emerge into the world.

It is to the spectre of the unreal that much of MIPIM's rhetoric is addressed, and why so much of the rhetoric is presented in figures. 8 Billion Euros Under Management! 5 Million sqm Total Surface! 14 000 + New Homes! 128 000sqm + New Retail Space!

Because figures give a sense of metric fact and objectivity. They suggest something worked out, thought through. Statistics, in the face of the haze of the unreal, act as a structure, an armature of solid possibility.

"This time, its really real" say local development leaders. They talk of "real places for real people" while ministers are quoted in super graphics saying: "It Isn't Just A Slogan, It's A Reality". The idea of the real is invoked repeatedly in the face of so much unreality.

It all echoes the words of Jay-Z, who in his autobiography Decoded, wrote: "I believe you can speak things into existence." MIPIM is one big performance whose purpose is exactly that: an attempt to speak cities into existence.

It's useful to think of classical myth and contemporary business in the same frame, to imagine their deep similarities rather than their obvious differences. In fact, to remember that they are intrinsically connected through the golden thread of civilisation.

Though termed real estate, city-making is an activity that spends most of its time in an unreal state

MIPIM might be the place where we go to try to write contemporary city-making myths, but beneath its 21st century corporateness we might discern faint echoes of classical traditions. Beneath the obvious differences, our modern rituals contain deep similarities.

We could think of all the stands and tents, for example, as pop-up temples, each with its own dedication. The athletic efforts of the property industry cyclists who ride from London to Cannes to raise money for charity might subconsciously be channeling the original Olympian role of religious dedication. And of course MIPIM’'s famous drinking culture must surely echo Bacchanalian ritual.

And if we squint a little more, we might even be able to make out Plutarch himself arriving here at the bunker, his delegate pass hanging in the folds of his toga. And if he were to visit, what might he make of the new narratives of city-making on display? What, as he stroked the crumbs of another canapé from his beard, might he make of the origin stories we tell about our cities?

Plutarch might well look around and nod his head, recognising much of what he sees. Yes, he would say, things are spoken into existence. Places become real through first being imagined, then being performed, and at some point the performance is no longer just a performance but a way of precipitating reality.

But looking around at the paucity of imagination in the stories we try to tell, he would shake his head. At the terrible slogans, awful branding, shocking graphics, the abject nature of the messages and the way they are communicated, he might also shake his head. Offering his business card – one of the 1,000,000 MIPIM claims are exchanged each day – he would suggest you attend his keynote presentation in the main area later that day.

So we gather in the vast theatre buried in the bunker. To warm applause, Plutarch takes the stage, adjusts his Madonna mike and looks deep into the auditorium before proclaiming the thing we've come to hear: "The beginning, as every one knows, is of supreme importance in everything." Striding to the centre of the stage, he continues "…and particularly in the founding and building of a city."

From here with a swish of his toga, Plutarch might tell us that for all our sophistication we still need origin myths. Stories, narratives, ideas that give cities a place to come from and a place to go. Because still, thousands of years later, origin myths have the power to shape the city yet to come.

Places become real through first being imagined, then being performed

"Of course," Plutarch might continue. "You still need numbers. Don't think for a moment that the Roman Empire was founded on whimsy. We knew a thing or too about organisation and about how to get things done. It wasn't because we believed the fictions of our city's origin myths. It was because they helped us make our cities real."

And that, perhaps, is the silent cri de coeur behind every MIPIM exchange. The desire for real-ness amongst all that real estate. The sensation that drives the megamodels to be quite so mega, the superbuffets quite so super. Because that might be enough to make things real.

Later at drinks in the Manchester Bar, in his new guise as a 21st-century urban consultant, Plutarch would take us aside and convince us to commission an expensive report. This dossier, worth every penny, would tell us that the secret to making cities real is to be found by looking in exactly the opposite direction from the place we are looking. Sack your corporate PRs, the report would say. Dump your brand consultants. Instead, find yourself some real myth-makers. Hire poets and visionaries, people from whom really convincing fictions – the more extreme the better – will emerge.

Myth, Plutarch's report would conclude, is the only way that cities, even now, are spoken into existence. And without compelling imaginative stories, our cities are doomed to reflect the banal origin myths we use to create them.

Sam Jacob is principal of Sam Jacob Studio, professor of architecture at University of Illinois at Chicago, director of Night School at the Architectural Association, and the editor of Strange Harvest.

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[ultralifehackerguru-blog]

New Post has been published on http://www.lifehacker.guru/bbc-has-concluded-a-list-of-best-25-films-in-the-21st-century-that-you-should-not-miss/

BBC Has Concluded A List Of Best 25 Films In The 21st Century That You Should Not Miss

If I ask you to name some of the best movies in the 21st century, what will you say?

The Lord of The Rings? A Beautiful Mind? Little Miss Sunshine? Finding Nemo? Her? Inception? The Martian? Inside Out? Moonlight? Or La La Land?

There’re many amazing films released over the past 17 years. Some are very popular among the public, some got nominated or even received widely-recognized awards. They’re all amazing in their unique way but some of them really stood out from the crowd.

BBC Culture recently reached out to 170 famous film critics around the world and asked them each to pick the best 10 films released from the beginning of 2000 to present days. And based on the critics’ votes, BBC came up with the list of the 21st Century’s 100 Greatest Films.[1]

Here’s the famous film critics’ shortlisted best 25 films with the review for BBC, and you can save a bit of time and know which one to go first. Here we go:

25. Memento (Christopher Nolan, 2000)

Christopher Nolan’s Memento, an airtight puzzle of a movie about a man who can’t form new memories searching for his wife’s killer, set a standard for narrative sophistication that few mainstream films have tried to duplicate…The film forces us to consider the unreliability of human memory and our tendency toward self-deception, even as it thrills us with a captivating crime-noir story…Unforgettable. – Eric D Snider, Freelance, US

24. The Master (Paul Thomas Anderson, 2012)

Paul Thomas Anderson’s ambitious, powerful and ultimately elegiac masterpiece centres on the question of whether man is, in fact, an animal. Tormented alcoholic Freddie Quell (Joaquin Phoenix) returns from World War Two and struggles, unsuccessfully, to conform to post-war America’s social evolution…but the real point of the film is an exploration of thought and consciousness, and whether submission to belief systems can genuinely tame atavism. – Ali Arikan, Dipnot TV, Turkey

23. Caché (Michael Haneke, 2005)

All of Michael Haneke’s films are bound to haunt you. With Caché he cuts to the chase and makes the idea of haunting the theme of the story itself. Daniel Auteuil and Juliette Binoche star as a bourgeois Parisian couple that start to receive disturbing video tapes showing their home…The act of not looking away is the moral imperative at the heart of Caché, which makes it a supreme political and cinematic movie at the same time. – Hannah Pilarczyk, Der Spiegel, Germany

22. Lost in Translation (Sofia Coppola, 2003)

The 21st Century’s reigning empress of cinematic ennui, Coppola has always used celebrity as a shortcut to the loneliness that exists between private lives and public images… Lost in Translation as her most perfect film, the one that best articulates how it can be to find yourself in a world that seldom lets you forget where you are. – David Ehrlich, Indiewire, US

21. The Grand Budapest Hotel (Wes Anderson, 2014)

The Grand Budapest Hotel is the 21st Century’s farewell salute to the century before. It vaults backwards in time from today to 1985 to 1968 to 1932, where Ralph Fiennes’ concierge Monsieur Gustave welcomes us to proper civilisation with a nod. We know Gustave’s immaculate world is ticking towards destruction, first by war, then by decades of neglect. Inevitably, the lazy and impersonal present will win, mass-producing not just our hotels, but our cinemas and the blockbusters on their screens… This oddball tragicomedy enlists us in the fight for beauty. Sir, yes, sir. – Amy Nicholson, MTV, US

20. Synecdoche, New York (Charlie Kaufman, 2008)

Synecdoche, New York was initially conceived when Charlie Kaufman was approached about doing a horror film. Instead of masked killers and extraterrestrial monsters, though, Kaufman set out to make a movie about the stuff that really keeps us up at night. Synecdoche, New York is every deep-seated fear you’ve ever had, writ large: you’ve disappointed your spouse and failed your children, you’ve let your loved ones die lonely, excruciating deaths… Kaufman’s masterpiece is a reminder that even at our lowest and darkest, we are not alone. – Angie Han, Slashfilm, US

19. Mad Max: Fury Road (George Miller, 2015)

A cohesive vision with a structured journey built around themes of survival and endurance, the fourth entry in the dystopian franchise showcased what is otherwise the narrative and thematic drought within the Hollywood blockbuster machine… Without resorting to cheap cynicism and faux-grittiness, Miller zeroes in on the sensuality of the environments, the carefully crafted machines and scorched landscapes. – Justine A Smith, Freelance, Canada

18. The White Ribbon (Michael Haneke, 2009)

“By setting the story in a north German village in the months prior to World War One, Haneke not only challenged the myth of childhood innocence but also delivered a fictional prequel to the upcoming events in Germany… it speaks to this century’s audiences: an unsettling view of the danger of righteousness, an ominous threat that always seems to recur. – Fernanda Solórzano, Letras Libres Magazine, Mexico

17. Pan’s Labyrinth (Guillermo Del Toro, 2006)

It’s Del Toro going back to his roots, to his alchemy of pop and auteur cinema, to give us a look into the horrors of war – in this case the Spanish Civil War… Pan’s Labyrinth gives us tragedy through the filter of fantasy, going deep into a well of suffering and magic. Its power lies in its purity: nothing we can imagine is as terrible as what we can do to each other. – Ana Maria Bahiana, Freelance, Brazil

16. Holy Motors (Leos Carax, 2012)

Holy Motors is not a movie. It is an act of grief designed as an expression of love, and while enfant terrible Leos Carax has been an essential director for any film fan since his debut… Surreal, silly, sexy and sad, Holy Motors is a guided tour through everything about cinema that matters to Carax. He was drowning as a man in his own life – Holy Motors was his first feature in 13 years after struggling to get financing – and he turned his art into a life raft. Movies matter. Here’s why. – Drew McWeeny, Hitfix, US

15. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007)

One scene, one cut, zero music… Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania… Yet despite much harrowing imagery, depicted in unblinking detail within a fraught 24-hour timeframe, the film’s underlying humanism is glimpsed through the unbeatable spirit of protagonist Otila, a college student who takes unthinkable risks and goes through grueling lengths to help her friend Gabita fix her unwanted pregnancy. – Maggie Lee, Variety, Hong Kong

14. The Act of Killing (Joshua Oppenheimer, 2012)

Few films have dared to capture the full spectrum of human evil so candidly, so perceptively, as Oppenheimer does in his unclassifiable non-fiction epic in which the Texas-born Danish film-maker convinces members of the death squads to reenact their murders in the style of their favourite Hollywood films… it’s about national amnesia, about the power of self-deceit and the questionable morality of truth-seeking… it’s one of the most celebrated documentary in 21st Century. – Joseph Fahim, Freelance, Egypt

13. Children of Men (Alfonso Cuarón, 2006)

Here’s a bold statement about a bold movie: Children of Men, like no other film this century, and perhaps no other movie ever, solves the meaning of life… it’s rich and vital in its emotional and philosophical depth: its sadness, its anger, its reverence and worry for humanity… Children of Men has endured to become a cult favourite that should be required viewing for anyone grappling with feelings of dread about modern civilisation. – Richard Lawson, Vanity Fair, US

12. Zodiac (David Fincher, 2007)

Zodiac, his meticulous, gorgeous and haunting true crime movie, is a deep dive into obsession, following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders… Gloriously detail-driven, Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue, and it presents the obsessive’s worst nightmare: that, in the end, answers are utterly unattainable. – Devin Faraci, BirthMoviesDeath, US

11. Inside Llewyn Davis (Joel and Ethan Coen, 2013)

Set in the Greenwich Village folk scene of the 1960s, the Coen brothers’ Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog. Davis (Oscar Isaac) is striking out on his own after his musical partner goes solo. Along his dour journey, he’ll find others vying for similar success and others just trying to survive… Inside Llewyn Davis is a solemn song for anybody trying to become somebody. – Monica Castillo, The New York Times’ Watching, US

10. No Country for Old Men (Joel and Ethan Coen, 2007)

Bardem’s film characterisation is so powerful, so splendidly overwhelming in his random application of violence, that he manages to extinguish whatever preceded it in the mind of the audience. Set in West Texas in 1980, the film’s sense of time and place are unparalleled… There’s a hypnotic quality to the movie’s pace, watching characters you can’t help but like… make a series of catastrophic decisions that bring each into Chigurh’s universe, a world soaked in blood with a predetermined outcome. – Ben Mankiewicz, Turner Classic Movies, US

9. A Separation (Asghar Farhadi, 2011)

If there is a film that makes you take a deep look at yourself in the mirror again and again, this is it. Asghar Farhadi’s searing relationship drama does not make a judgement about its characters. Rather, it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other… all made to look as if one is watching one’s neighbours, or maybe someone in one’s own home – create an unparalleled cinematic morality play. – Utpal Borpujari, Freelance, India

8. Yi Yi: A One and a Two (Edward Yang, 2000)

Audiences in 2000 were astonished by how fluently Edward Yang’s Yi Yi portrays contemporary life through the intermingling stories of members of a Taipei family separated by the dilemmas specific to their stations in life. That’s quite ironic, because in today’s world of personal alienation through the allure of social media, the film now feels like a period piece, yet somehow, it resonates with an even greater urgency… Its quiet reflections on life, love, family and death are all gracefully affecting, no matter the gap in generation and culture. – Oggs Cruz, Rappler, Philippines

7. The Tree of Life (Terrence Malick, 2011)

Like a great poem, The Tree of Life opens itself to a thousand interpretations, as director Terrence Malick takes a spiritual and lyrical journey through time, from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself… The joys and aching losses of parenting become transcendent, even Biblical, in Malick’s hands. – Kate Muir, The Times, UK

6. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)

The story of a breakup gone wrong… But this wasn’t your average whimsical tale of romantic yearning… the movie belongs just as much to Kate Winslet, whose character’s decision to erase her own memories of the ex-couple’s time together sets the drama in motion. Eerie and surreal, charming and tragic, the movie wrestles with the fundamental instability of all human relationships, achieving a wise and powerful vision that is — ironically for a tale about fading memories — unforgettable. – Eric Kohn, Indiewire, US

5. Boyhood (Richard Linklater, 2014)

For more than a decade, Richard Linklater spent a few weeks each year chronicling the life of Mason (Ellar Coltrane)… and watching the cast, which also includes Ethan Hawke and a remarkable Patricia Arquette, age before our eyes, adds an extra layer of poignancy to every single scene. In an era when every aspect of society was accelerating, Linklater slowed down to tell the one of the definitive stories of our time. – Matt Singer, ScreenCrush, US

4. Spirited Away (Hayao Miyazaki, 2001)

Miyazaki’s story of a young girl trapped in the spirit world, trying to rescue her parents, feels like a throwback to an earlier age of hand-drawn animation… it has an ambitious sweep to its elaborate visuals of Japanese spirit-monsters and a sense of soaring adventure. It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery. – Tasha Robinson, The Verge, US

3. There Will Be Blood (Paul Thomas Anderson, 2007)

From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed. Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim…The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood. – Ann Hornaday, The Washington Post, US

2. In the Mood for Love (Wong Kar-wai, 2000)

Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love… We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral… all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera. And we never hear the lost, whispered words at the climax… never before has a film spoken so fluently in the universal language of loss and desire. – Justin Chang, Los Angeles Times, US

1. Mulholland Drive (David Lynch, 2001)

WH Auden called Los Angeles “the great wrong place”. James Ellroy called it “the great right place”. The idea that two, or more, seemingly conflicting ideas can simultaneously be true is so often forgotten in the zero-sum culture of today, but it’s at the heart of David Lynch’s empathetic masterpiece… Mulholland Drive is a reverie of sex, suicide and “silencio”…. Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable – drive on the actual road, Mulholland, at night, and then walk from Western to Vermont, and you’ll see – that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, erotic desires, and pool boys. – Kim Morgan, Sunset Gun, US

Are some of your favorite films on the list too? And have you got some new films to watch up next?

This is just the top 25 from the list of the greatest films, check out the complete list on BBC Culture here .

Reference

[1] ^ BBC Culture: The 21st Century’s 100 Greatest Films

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