#it's a reflection of culture and a documentation of the history of a certain place and time

[formerstingray]

what research (texts, websites, books, etc) did you do/read to write abt Odysseus and Penelope? I want to begin writing but want to be accurate in clothing, customs, wording, and more so what kind of research did you do?

So, disclaimer, I studied classics and Greek at university which really helped haha, the attempts toward accuracy in the fic are the accumulated product of years.

Re. wording: I think the hardest thing to get right in retelling (Homer fic counts as retelling) is the way of simulating a kind of archaic tone without actually using one and putting off your readers. Too modern sounds ridiculous, and too old-fashioned sounds even more ridiculous. For me, a writer that pulls this off astoundingly well is Mary Renault, so read some of her books if you want to get a sense of how to balance a timeless sense of tone/narrative voice without coming off as silly or just foolishly out of place. I also recommend Mendelsohn's translations of the remarkably talented modern Greek poet C.P. Cavafy.

Re. Clothing and customs: Most of my inspo came from Homer himself. Remember, Homer is technically writing about the Bronze Age (and occasionally adds Bronze Age details like certain helmets or chariots), but he knew virtually nothing about it. So, the values and customs practiced by the characters in the Iliad and Odyssey are far more reflective of the Iron Age he lived in. This gives you, as a reteller, creative license to draw upon both ages. I took inspiration from a wide range of sources spanning from roughly 1300 - 800 BC. Some beginner friendly sources are:

The Cambridge Companion to the Aegean Bronze Age

Bettany Hughes' Helen of Troy (relating ofc to Helen but also Bronze age women)

Bettany Hughes' doc on Minoan culture (available on youtube)

Judith Barringer's Ancient Greek Art and Archeology has an invaluable section on Mycenaean stuff (I have the textbook so if you want pics on anything specific feel free to ask). Because our written records from the time are limited to economic documents, most of Mycenaean life can be gleaned from the physical artefacts, frescoes, and remains of fortified palatial complexes.

https://textileranger.com/2014/10/25/mycenaean-textile-history/ on Bronze age textiles

Body, Dress and Identity in Ancient Greece by Mireille M. Lee

There are endless websites online that are helpful for inspiration. The main thing to keep in mind is that accuracy is something to aim for, but not a rulebook, because even Homer himself was not 'accurate' about the period he was writing about. Good luck, I cannot wait to read what you come up with!

[empenvs3000f24]

Unit 6 Blog Post

Hi everyone!

I’d like to begin this blog post by saying that I think acknowledging historic events is truly the only way we can grow and learn as a society. I feel like the Edward Hyams quote presented really hones in on this notion and does a great job at expressing the importance of value in knowledge and not necessarily in objects. It’s true, “There is no peculiar merit in ancient things”, rather, there is merit in the ways that we interpret the ‘thing’ and how we can communicate how it has impacted history via nature. For example, the removing of colonial statues in Toronto allowed a good opportunity to learn and truly understand how much weight an object can hold. In the context of Canada, a colonial statue is not just a person made of metal; it represents the takeover of certain demographics and cultural genocide that still effects our society to this day. I would have liked to see them integrated into a museum display with plaques that properly address the harm that these figures have played a role in. Public art is a great way to educate passerby’s and we can mould these negative figureheads into a learned experience through writing. 

In the American History TV interview with Robert Sutton he mentions layering the interpretation experience for guests. When discussing the Pea Ridge battle and Cherokees, he explains that the Trail of Tears falls into the middle of a National Park. The park has a guided tour that immerses guests into the history, but they also recommend that guests visit the capital of the Cherokee nation of Tahlequah; which is not far from the park. The goal of nature interpretation is to leave guests with a lasting impact. By recommending they visit different sites to learn more, it can enhance their experience. This does not have to take away from the nature or draw customers away. Perhaps Tahlequah will have public art, museums, or personal anecdotes that a scenic park might not convey in the same manner. 

Writing is oftentimes the best method of information permanence. We tend to forget spoken word, mix up details of a story, or have trouble recalling events chronologically. While writing does not address every learning style, the ways that we can reflect that writing into different mediums, does. If we were to all disappear from the planet, what information could we convey? Words and images seem to be the primary source of developing past historical events, and we can still use these techniques to ensure that our own present life is well-documented. Back to the colonial statue example…a tourist could see that statue and think that Torontonians feel positively about a specific historical figure, when that might not be the case. Words in combination with an image can help to place merit into the object and set the scene. Without words and information, a park is just a park and a statue is just an old figure. It is our duty as nature interpreters to leave accurate information before it does turn into an ancient memory. 

Thank you for reading :)

[whitehotharlots]

On one of the staggeringly large number of white lady academics who pretended to be not-white

In a sad attempt to keep up engagement, I've decided to post some things I wrote in personal correspondence over the last few years but never bothered to translate into full-fledge posts. Going through these emails, I was astounded at how much I've lost the ability to process the timeline of political events since COVID. Things that I would have sworn happened a couple of months ago actually happened 5 years ago; stuff that seems like ancient history was actually just from this past summer, etc. I think there's some value in recapitulating some of these events, give ourselves a chance to reflect on how much and how little things have evolved.

This piece was originally written in early 2021:

I'm not in STEM and I only pay as much attention to MeToo bullshit as I need to, so the MeTooSTEM movement and its drama passed me by. Basically, it was started or popularized by a lady neuroscientist named BethAnn McLaughlin. By early last year she began facing the type of predictable criticisms that inevitably wreck all leftist movements, regardless of legitimacy. Basically people agreed with her movement but were upset that she had too much of a leadership role, didn't center the correct voices, sometimes criticized people from more disadvantaged groups, etc. Here's a neat example, from the piece linked above:

Last month, McLaughlin tweeted angrily at Hontas Farmer, a transgender woman of color who teaches physics at the City Colleges of Chicago. In a thread about student–faculty relationships, Farmer noted that it would be “unenforceable to forbid relationships.” “Get off my time line with your pro-preying on students garbage,” McLaughlin responded. “Grown ups are talking. #STEMTrollAlert.”

While this lady seems like a vicious shithead, it's important to note that this type of behavior is common in woke discourses. It's the natural result of a morally certain culture is which all dissent is considered proof of evil. In this case, I happen to agree with the trans woman: while student-teacher relationships are gross, blanket bans are unenforceable and will most likely wind up harming the least empowered teachers. But this teacher's concerns were only allowed to stand because of her status as a trans woman--Laura Kipnis made the exact same argument several years ago, before the MeToo furor had really kicked off, and it nearly destroyed her career.

The point here is that no one is actually arguing for or against the merit or logic of certain positions; it's all jockeying over who is even allowed to have a position in the first place, and then demanding that everyone else defer to this person's position, which is automatically validated by their identity statuses.

Nothing in the Buzzfeed profile seems very damning or specific. I'm not a fan of MeToo, but we see here the same general hatred of strong leadership that seems to plague all left spaces. Arguments in regards to how funding should be spent and what actions should be prioritized--things that happen in literally any organization of more than a few people and can only be resolved by designating leadership--are presented in terms of bodies and spaces and centering voices and yada yada yada. Once again, it's not about the morality or efficacy of the actions taken by this organization. It's about whose identity imbues them with moral authority.

Buzzfeed seemed to have a particular hard on for this lady so they posted another piece in February of this year, documenting even more dysfunction in her movement. Again, she seems like a shithead and her movement's goals are usually not good, but the accusations against her were still vague, woke bullshit that amounted to people framing an organizational power struggle as a civil rights issue. And this is where things get interesting...

What does a white lady shithead do when she finds herself automatically unable to criticize people who fall above her on the hierarchy of oppression? Why, she pretends to be an indigenous lady shithead! She fabricated the existence of an ASU professor of Hopi descent who posted under the name of sciencing_bi. Sciencing_bi just so happened to agree with everything the white lady posted, and was fiercely protective of the white lady when she found herself getting attacked by non-white people.

But then, sadly, the made up Hopi professor succumbed to Lady Corona last week. Woke STEM twitter mourned her passing by angrily blaming ASU for their failure to protect employees of color. This caused ASU to release a statement saying that, uhh, no one has died and they have absolutely no idea what any of these lunatics are talking about.

Just--dear god. At what point does hubris give way and become delusion? How insulated must someone feel to believe that they can not only create but kill off a fictional persona whose primary utilitity is to brown-wash your own opinions?

These are the people who have become the morality police of the twenty twenties. These people are the ones who decide what you can or cannot say or believe. They are insane and and they are stupid, and they control our world.

[xikoova]

A brief history of the Pulquerías

You can also listen to this article in audio With a heritage dating back to the pre-Hispanic times of the pulquerías, this fascinating beverage has played a fundamental role in our rich culture. Its deep-rooted presence in the heart of the Centro Histórico has been meticulously explored in this article, which focuses on the period spanning from the 18th to the 20th century. Find out more about this deep-rooted tradition and its prominent place in our history in the following lines. Throughout a historical journey that spans from the 18th to the 20th centuries, we will immerse ourselves in the evolution of this beverage, which in the old Mexico City shared the same daily life as coffee or beer do today. The first Expendios or Pulquerías It is worth mentioning that during the 18th century, there was a street known as "Pulquería de Celaya" (currently República de Perú, between Argentina and Brasil). According to José María Marroquí in his book "La Ciudad de México", in this place there was a small square where an individual named Señor Celaya established a pulquería under a rustic shelter. Over time, the population began to associate the name of the street with the pulqueria. In "Memories of my times" by Guillermo Prieto, it is described that, during the 19th century, these pulque shelters were characterized by gabled roofs. The improvised tables and chairs were made of planks, while the floor was covered with sawdust on compacted earth. The vats, each housing cured variants, were sheltered by wooden boards painted in a variety of colors. These outlets, known as "expendios" or "casillas," were ubiquitous in the city. To sell pulque, vendors were simply required to apply for a license that was renewed annually at no cost. However, they had to pay monthly taxes, in addition to regulating their establishments according to a classification based on street location. This classification was not based on the quality of the pulque, but on proximity to the Plaza Mayor, a reflection of the social, economic and political dynamics of the capital. Pulquerías by category Thus, the first category pulquerias were located in places such as Portal de Mercaderes (next to the Zócalo), Seminario, Escalerillas (Guatemala), Plateros (the first two blocks of Madero) or San Francisco (Madero). Those of second category were located in streets such as Relox (Argentina), Tacuba, Rejas de Balvanera (Uruguay) or Correo Mayor. The third category were located in Sepulcros de Santo Domingo (Brasil), Cerca de Santo Domingo (Belisario Domínguez), San Juan de Letrán, Vizcaínas, Mesones or Jesús María. Those of the fourth category were located on streets such as Puente de Cuervo (Colombia), Del Carmen, Del Apartado or Puente de Alvarado. And finally, the fifth category were located in the outskirts of the old city, beyond San Cosme. At certain times, it was not uncommon to find several pulquerias on the same street. Between the years 1846 and 1861, Relox Street was home to at least three establishments (all licensed): one on the corner of the old Padre Lecuona (Nicaragua) alley, another at the intersection with Santa Catalina and a third between Las Moras (Bolivia) Street, located between Brazil and Argentina. Indeed, pulque seemed to flow through these streets. In this context, it is plausible to imagine that due to the abundance of these locales, it was common for some to open and close, or for others to emerge clandestinely. In order to prevent this situation and regulate consumption, when an entrepreneur expressed his desire to establish a business, even if it was a food business, in addition to requesting the corresponding license, he was required to answer a questionnaire of ten simple questions. As an example, based on documents from the Historical Archive of Mexico City, in 1909, an individual named Chong Sing Lee requested authorization to open a fonda on the seventh street of Relox (currently Argentina, on the corner with Ecuador).

Leona Vicaro and Andres Quintana Roo as pulqueros It is intriguing and even eccentric to consider the abundance of pulquerias, even two or three, in every corner of the old central zone. It is equally challenging to imagine, as early as the 19th century, that large mansions were the recipients of pulque, transported on mules or carts directly from Apan, a municipality in the state of Hidalgo, for distribution and sale in the city. This was the case of the residence currently numbered 37 on República de Brasil, owned by Leona Vicario and Andrés Quintana Roo, who operated a pulque hacienda. There was even a distinguished family dedicated to the commercialization of pulque in the city: the Adalids. According to Dr. Lucio Ernesto Maldonado Ojeda in his work "El Tribunal de vagos de la Ciudad de México", the Adalids sold bottled pulque on Espíritu Santo Street (at the intersection of Isabel la Católica with Madero and 16 de Septiembre). The same author points out that Andrés Quintana Roo was a pioneer in bottling pulque in the city, a little known aspect of these characters in the history of Mexico. Latest Pulquerias In any case, pulque was an integral component of daily life in that ancient metropolis. It permeated every street and its inhabitants. Today, however, it has largely been forgotten. As for the pulquerias, only a few survive, and it is necessary to walk several blocks to find the exact location. One of the most renowned and resilient to the passage of time is La Risa, on Mesones Street, which has been in operation since 1903. After a closure due to the pandemic, this iconic pulqueria reopened on May 18, 2021. While pulque is less prominent on these streets today, it is still prevalent on Centro's historic walkways.

[news365timesindia]

[ad_1] Paromita Das GG News Bureau New Delhi, 18th Jan. Reclaiming History vs. Political Opportunism After centuries of colonial plunder and imperialistic rule, Bharat’s ancient civilization is witnessing an awakening. Hindus, long relegated to silence about their historical grievances, are now taking steps to reclaim their places of worship through legal channels. This effort marks not just a cultural revival but also a moment of civilizational assertion, where justice is sought without violence or coercion. It is a journey toward correcting historical wrongs while upholding the values of democracy and social harmony. However, this reclamation of ancient heritage has sparked unease among certain political factions. The Congress Party, often criticized for its policies of minority appeasement, has moved the Supreme Court to intervene in challenges against the validity of the Places of Worship (Special Provisions) Act, 1991 (PoWA). The Act, which freezes the status of all religious sites as they stood on August 15, 1947, effectively blocks Hindus from reclaiming their temples that were demolished or converted during centuries of foreign invasions. Congress argues that the PoWA is vital for preserving communal harmony and secularism. Yet, this intervention exposes its ideological bias, as the party appears to prioritize safeguarding contentious structures over addressing long-standing civilizational injustices. The Hindu community’s awakening to reclaim its heritage has reached a critical juncture, and the Congress’s actions seem to align with those who fear the truth behind Bharat’s erased history coming to light. The Legal Battle: Challenging the Places of Worship Act The PoWA was enacted in 1991 under a Congress-led government to preserve the character of all religious places as they existed in 1947. While this legislation was framed in the name of secularism, critics argue that it disproportionately affects Hindus. Section 4 of the Act bars legal recourse to reclaim religious sites that were altered before Independence, effectively silencing historical grievances. The petitioners challenging the Act argue that it denies Hindus, Jains, and Buddhists the right to seek justice for their demolished places of worship, many of which were replaced by mosques. The Act, they claim, violates the fundamental right to equality before the law and freedom to practice religion. The Congress Party’s intervention in support of the Act seeks to maintain the status quo, citing the need for communal harmony. However, this stance overlooks the broader question: can justice be sacrificed at the altar of political expediency? The fear of opening floodgates of litigation, as claimed by AIMIM leader Asaduddin Owaisi, reflects a deeper anxiety—that the suppressed history of temple destruction and cultural subjugation will finally be documented. Congress’s History of Anti-Hindu Policies Congress’s intervention in the PoWA case is consistent with its historical pattern of undermining Hindu interests for political gain. From denying the existence of Lord Ram in the Ram Setu affidavit to dismissing the importance of Ayodhya before the Supreme Court in 2019, the party has repeatedly distanced itself from Hindu causes. The Communal Violence Bill proposed during UPA rule further exemplifies Congress’s mindset. The bill sought to criminalize the Hindu majority in communal riots, regardless of the circumstances. Similarly, the narrative of “Bhagwa Aatankwad” (saffron terror) was an attempt to demonize Hindus while downplaying the threats posed by radical Islamic groups. The party’s current intervention in the PoWA case reflects its discomfort with the Hindu community’s growing awareness of its cultural heritage. By supporting legislation that curtails legal reclamation of temples, Congress once again prioritizes political appeasement over civilizational justice. A Question of Secularism or Subjugation? The Congress Party defends the PoWA in the name of secularism and communal harmony.

However, this interpretation of secularism has often been criticized as one-sided, privileging minority appeasement over equitable justice for all communities. Real secularism demands equal treatment of all religions before the law, not the selective application of justice. The fear of litigation, as expressed by Congress and Owaisi, is unfounded in legal terms. Courts generally maintain the status quo until disputes are resolved, ensuring that no immediate changes occur to contested structures. If mosques were indeed built without replacing temples, as claimed by some Muslim leaders, there should be no fear of litigation. The apprehension lies in the possibility of historical truths emerging—truths that Congress and other vested interests have worked hard to suppress. Civilizational Justice: A Historic Opportunity The challenge to the PoWA represents a turning point for Bharat’s civilizational identity. It is not merely about reclaiming physical structures but about restoring the dignity of a culture that faced centuries of oppression. Legal reclamation of temples is a symbolic assertion that colonial and imperialistic narratives will no longer define Bharat’s history. The Congress’s resistance to this movement reflects its fear of losing political ground. As the truth about temple destruction and forced conversions comes to light, the party’s role in downplaying these historical injustices will also be scrutinized. This is a moment for Hindus to unite and demand justice, not out of vengeance but out of a desire to reclaim their heritage with dignity and legality. The Path Forward for Bharat’s Awakening Bharat stands at a crossroads where its civilizational aspirations are finally finding voice. The challenge to the PoWA is not about erasing history but about correcting it. The Congress’s intervention in this matter reveals a troubling allegiance to outdated notions of secularism that prioritize appeasement over justice. True secularism lies in addressing historical grievances with fairness and ensuring that all communities feel heard and respected. Hindus have waited centuries to reclaim their heritage, and this movement must be pursued with legal integrity and societal harmony. The fear of uncovering Bharat’s suppressed history is not a reason to block justice; rather, it is an opportunity to reconcile with the past and move forward as a united nation. Conclusion: Reclaiming Heritage with Dignity The debate over the Places of Worship Act is not just a legal battle; it is a defining moment in Bharat’s journey toward reclaiming its civilizational identity. Hindus, awakening after centuries of suppression, are asserting their right to justice through peaceful and legal means. This is a testament to the strength of Bharat’s democracy and its commitment to coexistence. Congress’s resistance to this movement, however, underscores its discomfort with the truth. By supporting the PoWA, the party risks alienating a resurgent Hindu electorate that is no longer willing to accept subjugation in the name of secularism. As the Supreme Court deliberates on this matter, it must recognize the broader implications for Bharat’s cultural and historical identity. Justice for temples is not just about correcting past wrongs; it is about ensuring that future generations inherit a legacy of pride, dignity, and truth. The time has come to honor Bharat’s ancient heritage and reclaim it with the respect and reverence it deserves.   The post The Places of Worship Act: Congress’s Fight Against Civilizational Justice appeared first on Global Governance News- Asia's First Bilingual News portal for Global News and Updates. [ad_2] Source link

[news365times]

[ad_1] Paromita Das GG News Bureau New Delhi, 18th Jan. Reclaiming History vs. Political Opportunism After centuries of colonial plunder and imperialistic rule, Bharat’s ancient civilization is witnessing an awakening. Hindus, long relegated to silence about their historical grievances, are now taking steps to reclaim their places of worship through legal channels. This effort marks not just a cultural revival but also a moment of civilizational assertion, where justice is sought without violence or coercion. It is a journey toward correcting historical wrongs while upholding the values of democracy and social harmony. However, this reclamation of ancient heritage has sparked unease among certain political factions. The Congress Party, often criticized for its policies of minority appeasement, has moved the Supreme Court to intervene in challenges against the validity of the Places of Worship (Special Provisions) Act, 1991 (PoWA). The Act, which freezes the status of all religious sites as they stood on August 15, 1947, effectively blocks Hindus from reclaiming their temples that were demolished or converted during centuries of foreign invasions. Congress argues that the PoWA is vital for preserving communal harmony and secularism. Yet, this intervention exposes its ideological bias, as the party appears to prioritize safeguarding contentious structures over addressing long-standing civilizational injustices. The Hindu community’s awakening to reclaim its heritage has reached a critical juncture, and the Congress’s actions seem to align with those who fear the truth behind Bharat’s erased history coming to light. The Legal Battle: Challenging the Places of Worship Act The PoWA was enacted in 1991 under a Congress-led government to preserve the character of all religious places as they existed in 1947. While this legislation was framed in the name of secularism, critics argue that it disproportionately affects Hindus. Section 4 of the Act bars legal recourse to reclaim religious sites that were altered before Independence, effectively silencing historical grievances. The petitioners challenging the Act argue that it denies Hindus, Jains, and Buddhists the right to seek justice for their demolished places of worship, many of which were replaced by mosques. The Act, they claim, violates the fundamental right to equality before the law and freedom to practice religion. The Congress Party’s intervention in support of the Act seeks to maintain the status quo, citing the need for communal harmony. However, this stance overlooks the broader question: can justice be sacrificed at the altar of political expediency? The fear of opening floodgates of litigation, as claimed by AIMIM leader Asaduddin Owaisi, reflects a deeper anxiety—that the suppressed history of temple destruction and cultural subjugation will finally be documented. Congress’s History of Anti-Hindu Policies Congress’s intervention in the PoWA case is consistent with its historical pattern of undermining Hindu interests for political gain. From denying the existence of Lord Ram in the Ram Setu affidavit to dismissing the importance of Ayodhya before the Supreme Court in 2019, the party has repeatedly distanced itself from Hindu causes. The Communal Violence Bill proposed during UPA rule further exemplifies Congress’s mindset. The bill sought to criminalize the Hindu majority in communal riots, regardless of the circumstances. Similarly, the narrative of “Bhagwa Aatankwad” (saffron terror) was an attempt to demonize Hindus while downplaying the threats posed by radical Islamic groups. The party’s current intervention in the PoWA case reflects its discomfort with the Hindu community’s growing awareness of its cultural heritage. By supporting legislation that curtails legal reclamation of temples, Congress once again prioritizes political appeasement over civilizational justice. A Question of Secularism or Subjugation? The Congress Party defends the PoWA in the name of secularism and communal harmony.

However, this interpretation of secularism has often been criticized as one-sided, privileging minority appeasement over equitable justice for all communities. Real secularism demands equal treatment of all religions before the law, not the selective application of justice. The fear of litigation, as expressed by Congress and Owaisi, is unfounded in legal terms. Courts generally maintain the status quo until disputes are resolved, ensuring that no immediate changes occur to contested structures. If mosques were indeed built without replacing temples, as claimed by some Muslim leaders, there should be no fear of litigation. The apprehension lies in the possibility of historical truths emerging—truths that Congress and other vested interests have worked hard to suppress. Civilizational Justice: A Historic Opportunity The challenge to the PoWA represents a turning point for Bharat’s civilizational identity. It is not merely about reclaiming physical structures but about restoring the dignity of a culture that faced centuries of oppression. Legal reclamation of temples is a symbolic assertion that colonial and imperialistic narratives will no longer define Bharat’s history. The Congress’s resistance to this movement reflects its fear of losing political ground. As the truth about temple destruction and forced conversions comes to light, the party’s role in downplaying these historical injustices will also be scrutinized. This is a moment for Hindus to unite and demand justice, not out of vengeance but out of a desire to reclaim their heritage with dignity and legality. The Path Forward for Bharat’s Awakening Bharat stands at a crossroads where its civilizational aspirations are finally finding voice. The challenge to the PoWA is not about erasing history but about correcting it. The Congress’s intervention in this matter reveals a troubling allegiance to outdated notions of secularism that prioritize appeasement over justice. True secularism lies in addressing historical grievances with fairness and ensuring that all communities feel heard and respected. Hindus have waited centuries to reclaim their heritage, and this movement must be pursued with legal integrity and societal harmony. The fear of uncovering Bharat’s suppressed history is not a reason to block justice; rather, it is an opportunity to reconcile with the past and move forward as a united nation. Conclusion: Reclaiming Heritage with Dignity The debate over the Places of Worship Act is not just a legal battle; it is a defining moment in Bharat’s journey toward reclaiming its civilizational identity. Hindus, awakening after centuries of suppression, are asserting their right to justice through peaceful and legal means. This is a testament to the strength of Bharat’s democracy and its commitment to coexistence. Congress’s resistance to this movement, however, underscores its discomfort with the truth. By supporting the PoWA, the party risks alienating a resurgent Hindu electorate that is no longer willing to accept subjugation in the name of secularism. As the Supreme Court deliberates on this matter, it must recognize the broader implications for Bharat’s cultural and historical identity. Justice for temples is not just about correcting past wrongs; it is about ensuring that future generations inherit a legacy of pride, dignity, and truth. The time has come to honor Bharat’s ancient heritage and reclaim it with the respect and reverence it deserves.   The post The Places of Worship Act: Congress’s Fight Against Civilizational Justice appeared first on Global Governance News- Asia's First Bilingual News portal for Global News and Updates. [ad_2] Source link

[goldenpixelcoop-en]

Elastic Chronologies

With: Olena Newkryta, Simona Obholzer, Marlies Pöschl and a collaboration between Daniel Hüttler, Pille-Riin Jaik, Klaus Rabeder and Janina Weißengruber

Curated by: Katharina Swoboda Exhibition design by: Pernille Christensen

Opening: Friday 08.11 at 7 pm 08.11-22.11.2024 Tuesday-Friday 17:00-20:00 Medienwerkstatt Wien Neubaugasse 40A, 1070 Vienna

Film images exist in corset of time. They are delivered to viewers in a strictly fixed sequence, so as to create the impression of movement and narrative. Certain television films even insist on repeatedly delivering key information and details, as if they couldn't quite trust their audience's ability to concentrate. By contrast, photographs or paintings allow us to create our own timeline. Our eye is free to jump back and forth between points and areas of interest and trace its own paths, often below the radar of conscious awareness.

Inside a cinema auditorium, the audience is also exposed to time in a physical way. The space is darkened, the body pressed inside an armchair. Our radius of movement is restricted, the mind softened. Digital media changes all this: video recorders and online platforms allow  us to control the timeline. We can skip forwards and backwards by 10 seconds, repeat a clip, or play it at double speed. The chronology of a film is in the hands of the audience.

Likewise, visitors at an exhibition can also take time into their own hands - not by scrolling through a video-timeline, but by strolling freely through the exhibition space. Our physical presence and movement allows an individual chronology of the works to emerge. Everyone decides on their subjective "entry and exit points" and sets their own viewing times.

The films shown in the present exhibition focus on precisely this complex relationship between camera work, physical movement, and editing. In individual and collaborative works by Simona Obholzer, Marlies Pöschl, Olena Newkryta, Pille-Riin Jaik, Daniel Hüttler, Klaus Rabeder and Janina Weißengruber, there is a shared affinity for conceptual visual techniques, poetic imagery, and strategic camera work.

The members of the Golden Pixel Cooperative have a long history of exploring the moving image. Their work is always also a reflection of film as a technical and cultural medium. Likewise, since its founding in the early 1980s, the Medienwerkstatt has focussed on critically investigating video and technical developments[1] . Their[2]  space therefore offers an ideal terrain for this exhibition project.

“1989-1997” is an artistic short film by Simona Obholzer documenting a vacant school building in the artist's town of origin. The building was vacated after a new school campus opened in 2020. Obholzer, who attended the school for eight years as a child, returns to the building and its rooms, now devoid of pupils, teachers and conflicts. She registers the institutional school architecture and its authoritarian codes. The film accounts for both the experiences and memories of the artist as a former pupil, and her self-reflecting perspective as an adult artist. Two time periods are thus interwoven into a single film.

In ”Der weiße Bereich” (2022), Marlies Pöschl takes the viewer on a journey to 76-year-old Jill Denton, who lives in the Vercors mountains in France. Jill experiences herself as electrosensitive and avoids modern technologies, as they make her ill. To ensure her wellbeing, she establishes a new "zone blanche" (white area) in and around her home every day. In French, "zone blanche" refers to a dead zone - areas without wireless reception or electromagnetic radiation. Jill does her errands and visits friends in a village 40 minutes away. Sometimes, she spends hours looking for places where she doesn't feel any electromagnetic radiation. Respecting the sensitivity of her protagonist, the filmmaker works with a wind-up 16 mm Beaulieu camera. The hyper-realistic soundtrack is entirely studio-created. In this way, the film registers the force fields in Jill's biography through aesthetic means. An anachronistic way of life is brought into a present permeated by the internet, smartphones and GPS.

The experimental film “Freedom in the Present Past” (2024) is a collective film by Daniel Hüttler, Pille-Riin Jaik, Klaus Rabeder and Janina Weißengruber. Filmed in Székesfehérvár (HU), Lümandu (EE, Estonia), Waizenkirchen (AT) and Gresten (AT), it portrays four old buildings in rural areas, as well as their current inhabitants. We visit a farm where the farmland has been toxically contaminated. We witness a forest barn with a collapsed roof evolve into a new habitat, and a family home full of Soviet history and socialist dreams. In a former family business in Waizenkirchen, we discover a slogan written with a white pen: "Times are changing. The times are changing you." The residents' stories and memories, as well as the associative links between buildings in "post-socialist" countries[3]  and the "former West", open up a shared space that reveals what "rural Europe" could look like today.

In “Ruins in Reverse” (2020), Olena Newkryta documents the decay of a Soviet apartment block in southern Ukraine. Since several years, bricks and other building materials are being removed from the empty building and used for personal construction projects. This mirrors the larger relationship between the Soviet infrastructure on which everyday life still depends, and the massive political and social upheavals since the 1990s. Newkryta's essay film traces the private biographies and past ideologies inscribed in the building's ruins. The transfer of Soviet building materials into novel architectures shows processes of material appropriation and reuse, set between a crumbling past and a future in the making.

Works on display

Daniel Hüttler, Pille-Riin Jaik, Klaus Rabeder and Janina Weißengruber Freedom in the Present Past 2K, AT/EE/HU 2024, 24 min. German, Estonian, Hungarian with English subtitles

Marlies Pöschl  Der weiße Bereich (The White Field)  16 mm transferred to 2K, colour, FR/AT 2022, 13 min. German with English subtitles

Simona Obholzer 1989-1997 2K, colour, sound, AT 2024, 7 min.

Olena Newkryta Ruins in Reverse Full HD, colour, UA/AT 2020, 25 min. Ukrainian with English/German subtitles

[mettamemories]

Cherished Traditions: The Role of Christening Photography in Family History

In the tapestry of family history, certain moments stand out as timeless treasures, weaving together the threads of generations past and present. Among these cherished traditions, christenings hold a special place, marking the beginning of a journey of faith and love. In this blog, we delve into the profound role of christening photography in preserving these invaluable moments, ensuring they remain etched in the annals of family history for generations to come.

 Documenting Sacred Beginnings

Christening photography goes beyond merely capturing images; it encapsulates the essence of a significant family ritual. From the serene setting of a church to the gentle touch of water upon a newborn's brow, every detail is meticulously preserved through the lens of the camera. Just as the baptismal font holds the promise of spiritual renewal, christening photography immortalizes the purity and innocence of this sacred moment.

As families gather to witness the christening of a new member, the photographer becomes the silent narrator, weaving together a visual narrative that reflects the love, joy, and anticipation permeating the atmosphere. Through skillful composition and an intuitive understanding of light and shadow, the christening photographer transforms fleeting moments into timeless keepsakes, preserving the beauty and significance of this cherished tradition.

 A Continuation of Heritage

In the tapestry of family history, each thread represents a chapter in the ongoing story of lineage and legacy. Christening photography serves as a vital thread, seamlessly connecting past, present, and future. As parents proudly cradle their newborn in the same gown worn by generations before, the photographer captures not only the innocence of infancy but also the enduring ties that bind generations together.

Just as christening photography immortalizes the beginning of life's journey, birthday photography captures the milestones and memories that shape a family's narrative. From the first tentative steps to the exuberance of childhood celebrations, the lens of the birthday photographer preserves the essence of each passing year. In Melbourne, known for its vibrant cultural tapestry, engagement photographer Melbourne plays a pivotal role in commemorating the union of two souls embarking on a shared journey.

 Preserving Memories for Generations

In an era defined by fleeting moments and ephemeral experiences, the importance of preserving family history has never been greater. Christening photography serves as a bridge between the past, present, and future, ensuring that the stories of those who came before are not lost to time. As albums are lovingly passed down from one generation to the next, the images captured by the christening photographer become more than mere photographs—they become cherished heirlooms, imbued with the spirit of family, faith, and love.

As we reflect on the role of christening photography in family history, we are reminded of the profound power of images to transcend time and space. From the gentle embrace of a parent to the whispered prayers of a congregation, every moment captured by the christening photographer tells a story—a story of love, hope, and the enduring legacy of family. In the rich tapestry of life, these images serve as a testament to the cherished traditions that bind us together, uniting past, present, and future in a timeless embrace.

[cultual-psychology]

Module 2: Culture, Development and Cognition

The Lens of Culture: As I embarked on this journey through cultural psychology, I was eager to explore how deeply intertwined my identity is with my cultural background. As we learned in our course, it is not until we travel to other cultures or meet people from different backgrounds that we gain insight into our own practices and routines. This post continues my documenting of my discoveries and insights as I learn about new concepts in cultural psychology and relate them to my own cultural experiences.

Culture in Contemporary News Events: Recently, I learned about the rise of remote work and its impact on work-life balance. This event calls for considering how culture plays a role in shaping our responses to such changes. In some cultures, work is seen as a central part of one's identity, while in others, there is a stronger emphasis on family and leisure time. Reflecting on my own culture, I realize that the value placed on hard work and productivity, as previously mentioned, has significantly influenced my approach to work. This cultural perspective has shaped my thoughts on what constitutes a successful career and how I balance my personal and professional life.

Family History and Cultural Impact: My family's history and European origins have profoundly impacted my thoughts and feelings. The traditions and values passed down from my grandparents, who migrated to this country from Ireland, have instilled in me a strong sense of resilience and determination. These cultural narratives have influenced my beliefs about perseverance and the importance of maintaining cultural heritage. Understanding this connection helps me appreciate the role of cultural transmission in shaping individual identity.

Beliefs and Values: Reflecting on why I hold certain views, I realize that many of my beliefs were directly imparted through family conversations, educational settings, and religious teachings. For instance, my views on marriage and child-rearing were heavily influenced by my family's discussions around the dinner table and the values emphasized in my community. Additionally, experiences during my teenage years, such as challenging my parents' unwritten rules, helped shape my understanding of cultural norms and expectations.

Interaction Patterns and Cultural Conventions: My typical interactions in various settings are undoubtedly influenced by cultural and social conventions. As I mentioned, the way I communicate at work versus at home reflects different cultural expectations. At work, I adhere to a more formal and professional demeanour, while at home, my interactions are more relaxed and informal. These patterns highlight the influence of cultural norms on behaviour and personality.

Globalization and Cultural Identity: Considering how globalized I am, I recognize that exposure to other cultures has significantly influenced my sense of identity. Through media, travel, and interactions with people from diverse backgrounds, I have developed a more nuanced understanding of cultural diversity. Even the experience of moving from Ontario to Nova Scotia has given me firsthand experience of adapting to a different cultural environment, which broadened my perspective and enriched my cultural self-awareness.

Comfort with Cultural Self: My level of comfort with my cultural self is influenced by my grandparents' Indigenous status. As part of the dominant culture while having family members in minority positions has given me a unique vantage point. I feel a sense of pride in my cultural heritage, yet I also navigate the complexities of how people integrate into the broader society. This duality shapes my identity and influences how I perceive and interact with the world.

Health and Wellbeing: Reflecting on how my culture's values and practices affect my health and well-being, I realize that certain cultural norms can have both positive and negative impacts. For instance, the emphasis on communal support within my culture provides a strong network of social connections, enhancing my mental well-being. However, the pressure to conform to certain cultural expectations can sometimes be stressful and challenging. I've found balancing these influences is crucial for maintaining overall health and well-being.

Through these reflections, I am beginning to uncover the intricate ways in which culture shapes my identity and experiences. This journey through cultural psychology is not just an academic exercise but a personal exploration of who I am and how I navigate the world. As I continue to learn and reflect, I look forward to deepening my understanding of the cultural forces that influence my life and the lives of those around me.

[lightbolt]

Struggle of Black People

Photography is always been reflection of society. In every era photos tells a story what people had been through, what were the issues, how they cope up with the challenges and much more. Photography played an important role to preserve the history of racism, injustice, and crimes. It is true throw photos people does explore wonders of world, joyful memories, events, but we can unsee the harsh reality of society. Every photograph has two side truth and lies like a coin, head and tails. In the article “A True Picture of Black Skin” by Teju Cole and the documentary video “Through a Lens Darkly” by Thomas Allen took us down to history to let us explore the harsh reality of what black people faced, what racism can do to society.

Racism is not about getting a priority or being at first in line it is getting an equal rights for everyone because all people have rights to be respected regardless of race. In the article ‘A True Picture of Black Skin’ Cole says, “Black life was his greater love and steadier commitment. With his camera he tried to think through the peculiar challenge of shooting black subjects at a time when black appearance, in both senses (the way black people looked and the very presence of black people), was under question”. Making someone’s existence a question is the most pathetic thing to do to any human being. There are people who are trying to make world a better place and believe in equality, but most people out there making life miserable because of their superiority complex. For that reason they do injustice, racism, lead in ethical morals.

Also, the document video ‘Through a Lens Darkly’ is an eye opener, it shows the world how injustice happened and what one race went through because of their skin color. Being a black man or woman becomes a curse at a certain point, they lost their lives because of the color of their skin and they were forced to get photographed against their will. It is a terrible memory neither you can forget nor remember. Allan says, “How would these sons and daughters of former slaves heal their doubts and fears and embrace their humanity, how would they pass on this power of self invention to the next generation”. It is true it is not easy to pass on or continue their dignity, legacy after such traumatizing phase of life where you had been tortured for what you are.

People always try ways to express their hateful thoughts against someone through being raciest towards culture, religion, skin color, and so on. Photography is one of the way to humiliate people to photograph them without their will and publish them as well, such works are being done to spread hatred and lies against one community is a great way to sympathize ones intolerance and encourage hate speech which is not acceptable in any form.

[fusion360]

Blacks in Mormonism: The History of Black People and the Mormon Church

As an organization dedicated to promoting understanding and knowledge about the beliefs and practices of The Church of Jesus Christ of Latter-day Saints, What Do Mormons Believe aims to provide accurate and informative insights into various aspects of Mormonism. The history of blacks in Mormonism and their relationship with the Mormon Church is complex, and therefore it is crucial to shed light on past challenges, doctrinal shifts, and the current stance of the Church. It is critical to approach this topic with respect and sensitivity, recognizing the complexities involved.

The Early Years: Embracing Black Members

The Mormon Church, founded in the early 19th century by Joseph Smith, initially welcomed black individuals into its ranks. In fact, there were black members who actively participated in the early Church and held positions of leadership. For example, Elijah Abel, a black man, was ordained to the priesthood in 1836, becoming one of the early African American members of the Church. This demonstrates that black individuals were an integral part of the early Mormon community.

The Introduction of Restrictions

However, the relationship between black people and the Mormon Church became more complex over time. In the late 1840s, under the leadership of Brigham Young, restrictions were introduced that limited the opportunities for black individuals within the Church. Known as the "Priesthood Ban," these policies denied black members access to the priesthood and certain temple ordinances. The reasons behind implementing these restrictions are not explicitly documented, leaving room for interpretation and ongoing discussions among scholars and members of the Church.

Shifting Doctrinal Perspectives

The Priesthood Ban remained in place for over a century, affecting the opportunities and participation of blacks in Mormonism. However, the Church underwent a significant doctrinal shift in 1978 when President Spencer W. Kimball declared a revelation known as Official Declaration 2. This revelation extended the blessings of the priesthood and temple ordinances to all worthy male members, regardless of race or color. This momentous change marked a significant departure from past policies and reflected a renewed commitment to inclusivity and equality within the Church.

The Church's Stance Today

Since 1978, the Mormon Church has actively worked to promote racial harmony and inclusivity. It has disavowed the prior restrictions and firmly condemns racism in all its forms. The Church's official statement on race, released in 2013, affirms its belief that all people are equal in the eyes of God and the Church. This stance reflects the Church's commitment to fostering an environment of acceptance, love, and respect for all individuals, regardless of their racial or ethnic background.

In recent years, the Church has taken further steps to address the historical and cultural challenges faced by black members. It has initiated efforts to promote dialogue, understanding, and empathy among its diverse membership. Local congregations actively strive to create welcoming spaces where people of all races can come together to worship, serve, and strengthen one another.

Conclusion

The history of blacks in Mormonism is a multifaceted and evolving narrative. While acknowledging the complexities and challenges of the past, it is important to recognize the significant doctrinal shift that occurred in 1978, which marked a renewed commitment to inclusivity and equality within the Church. Today, the Mormon Church condemns racism and actively promotes love, respect, and acceptance for all individuals.

At What Mormons Believe, we encourage open dialogue and a deeper understanding of the history, beliefs, and practices of the Mormon Church. To further explore this topic and gain additional insights, we invite you to visit blacksinmormonism.com, where you can find valuable resources related to Black members of the Church.

[sweepingtree]

i'm sorry but how on earth does random splashes of colours or pieces of paper and what not equate to antifascism? its very clear to me that you are one of those people who think that only artworks made by rich white m*n are important because they have "meaning", whatever that is supposed to mean in the first place. it's people like you who discourage artworks that are made with love and many hours of the artists' time. for pete's sake i've seen you complaining about hyperrealistic paintings

ok first of all, this is all googleable information, and it's not just me stating a personal opinion so idk why you're being so mad but OK LOOK, the whole idea of modernism is basically the progress of humanity, and the whole idea of the "new", instead of doing things that have always been done. It's a bit more complex than that but I'm not going to go into it. Modernism in art, specifically, is a movement that really blew up around after WWI, and expanded even more post WWII. Many of the artists/writers/designers that are associated with Modern art now were refugees of the war back then, and were critics of the fascist ideologies that the warmongers represented. The 'traditional' ideal of western art - realism, romanticism, etc - THOSE kinds of artworks have been put up on pedestals by ultranationalists as a kind of 'proof' of white superiority. You even see such behaviour online nowadays where some rando will post a picture of a sculpture of some woman or something and go this is western heritage blah blah blah.

Now I'm not saying that all modern artists are progressives and anti-fascist, but the entire movement really did very much stem from just that: a kind of rebellion against what was considered traditional, or a kind of nihilist outlook, kind of like "the world sucks people suck nothing matters i'm just going to do absurd art as a reflection of how absurd this society is". (I have to say at this point that this is specifically about WESTERN art. Modern art movements in other parts of the world evolved somewhat differently)

As for my criticism of hyperrealistic art in the past, I do fully claim it. I don't dislike hyperrealistic works, but I dislike the way people worship it as the 'best' kind of artwork. You see a lot of this on those clickbait-types of social media accounts where they'll caption it as "wow this is what true art is" and all that shit and I just can't stand it because again, it's discounting the kind of work and the kind of intellectual labour (research, experimentation, fieldwork, reading, writing) that goes into other forms of art that some people who are not art-trained are so fond of dissing.

Also, I'm an art educator. The number of times I've heard my students dismiss their own art as lousy or not good enough simply because they cannot achieve realism is exhausting! The whole reason why all kids love art and then they eventually lose interest in it is because of our whole obsession with 'beauty' and realism in art. At a young age, art is fun for them because it's about colours and playing with materials. As they grow older, some of their peers will have parents who send them to classes to draw better (ie. more realistically) and they learn to compare themselves with others. This traditional way of looking at aesthetics is something that I have criticised and will continue to criticise because it is an actively harmful way of thinking.

[lairofdragonagelore]

Chant of Light - Part 2

In these two posts named “Chant of Light - Part 1 and Part 2″ I try to analyse the context associated with each group of canticles, the social and political situation in which they are written or compiled, the author(s) and their intentions, and a brief summary of the main concepts expressed in said canticles. 

The whole Chant of Light can be found in the Wiki for anyone who wants to interpret it by their own. I will also add some comments and appreciations of how the concepts in the Chant of Light serve a very clear political agenda in the world of Thedas, idea which is usually reinforced by the social-political situation that surrounds the creation or acceptance of the canticles. 

There will also be personal speculations about how certain parts of the Chant of Light seem to belong to other cultures’ tales which were modified in order to make this religion appealing to other races [mostly, elves]. This is an hypothesis I’ve been working on in all these analysis posts of the Chantry history and the Chant of Light verses. I’m not saying the Chant of Light “is” a unique piece of hidden lore; quite on the contrary: the idea I’m trying to display is that The Chant of Light reflects modified versions of pieces of historical events from Thedas, Elvhenan history in particular, maybe even Titan/dwarven history, and Alamarri folktales; all these elements combined in a way to pursue a political agenda in a given historical moment of Thedas. 

There is also a compilation of all the art I found in these pages of the Chant of Light [World of Thedas Vol 2], which will be analysed briefly to give more context to the study of the Chant of Light using the hypothesis explained above.

The canticles of the Chant of Light [Cumberland edition] are:

Cosmogenesis and First Sin: Threnodies 5-6

Creation of the Blight: Silence 1-3

Epiphany of Our Lady: Andraste 1

Andraste’s Teachings: Transfigurations 1, 10, 12

Hymns: Trials 1

Rallying the Armies: Shartan 9-10

Betrayal and Death: Apotheosis 1-2

Prophecy: Exaltations 1

Disclaimer: The Chant of Light I’m focusing on belongs to the Cumberland Edition [World of Thedas Vol2], which lacks of several verses that appear in the games in different codices. All these verses are compiled in the wiki though and, in general, provide the same idea than the verses of the book.

[Index page of Dragon Age Lore]

Rallying the Armies: Shartan 9-10

Context of Shartan Verses:

Written by an unknown author, the first versions appeared around -140 Ancient [1055 TE], 30 years after the death of Andraste.

These verse have been removed from the Chant after the Exalted March of the Dales, erasing the contribution of the elves in human history.

Shartan was supposed to be a slave that may have led rebellions inside Tevinter and helped Andraste in her Exalted March. However, historically speaking, there are no proofs that he truly led any. This puts into question if Shartan truly existed. On the other hand, we could assume that Tevinter would have cared little to record the name of an elven rebel, but there are proofs that Tevinter has always been very careful in their bureaucracy, and if we don’t find records on something is mostly because the books have been destroyed, as it has happened in Kirkwall [more details in Kirkwall history and design]. However, some documents survived the many rebellions in Kirkwall, and we can know  that they recorded names of important alamarri rebels [for example, in History of Kirkwall: Chapter 2] or in the prison of Coracavus;  Records Room, where we find a list with some elven names in it. Thanks to these examples I find it very strange that Shartan did not appear in a Tevinter record of any kind. Maybe that’s documentation that we will see in DA:D?

Shartan’s tale has many common elements with elven folktales related to a “trickster” warrior. There are many different versions of this canticle that put Shartan in different places, suggesting in my opinion that his symbol has been replicated across history, and it’s not as if the person was in different places at the same time, if he truly existed. Some scholars suspect that Shartan was a title or an ideal, and I can see that. 

“Maybe every rebellion had a Shartan”, and we, as players, can see the common points between Shartan and Solas, so it seems pretty safe for me to assume that most of this tale is based on Solas’ ancient rebellions, that fellow slaves passed down through generations, orally [as they were slaved and unable to keep a written history of the fallen elvhenan empire], until Fen’Harel’s tale changed into “Shartan’s tale”. Again, I’m not saying Solas was Shartan. There is no way he may have been around by that time, since he was slumbering. But clearly his legacy during the Elvhenan empire was preserved as best as his followers could and ended up inspiring modern tales in the shape of Shartan.

Since slaves could not write, this tale may have been preserved through oral tradition, being victim of a lot of changes and inaccuracies. 

Divine Justinia I was the first one transcribing this tale, and what she allowed to be transcribed by Chantry clerics is very fragmented, suggesting that some stanzas or even verses have been removed or “lost”. Considering how suspicious Justinia I was of altering historical tales to fit the political purpose of Kordillus Drakon [that is, unifying Orlais], one may suspect that part of the “lost” stanzas may have been her decision. 

Between the stanza ninth and tenth several verses or perhaps an entire stanza is supposed to be “lost”.  

Historians still can’t prove the existence of Shartan. I think he may have existed in any elven rebel, embodying the symbol of rebellion that Solas left in his time as Fen’Harel. Shartan seems to me a symbol similar to the Emerald Knights [Emerald Graves: The open] who had a wolf as a companion, guardians and protectors of “the people”, leading rebellion and war if needed. 

However, in some way, the players have a unique “proof” of Shartan via the Gauntlet [Temple of Andraste] where we see that someone like him existed, and looked a lot like an elvhen. Maybe that’s the elvhen that existed and met Andraste, and embodied the Shartan title.

Shartan 9: 

Shartan rallied the elves when they began to despair and wish to return to their masters since they could not endure being hunted down by Tenvinter forces.

Despite the words of encouragement and truth about the reality that slaves face [ there is no forgiveness for them] some elves despaired while other prepared weapons made of what they could find: trees, sandals, etc.

Curious symbol: the day the elves ambush the Tevinter that were chasing after them, it was a night without moon or stars.

Their ambush was successful, so they celebrated afterwards, but from the distance they heard “thousand of voices in a song, marching”: Andraste’s army.

Shartan propose to make contact first, alone, and he is caught by Havard, the avvar warrior. Then, he presents Andraste to him.

In this way, the Alamarri forces join power with the elves, and head to Minrathous. Scholars suspect that after this verse and the following one there may be more content that was lost. As the story goes, it seems to imply that the lost verses would have spoken about how Andraste and Shartan may have tried to understand each other, develop a relationship of any kind, or simply spread the word of the elves, and for some of these reasons, the verses “disappeared” as they were not approved by Justinia I. Maybe Shartan’s role in the advance of Andraste’s troops was key in this point. The thing is that from this point on and the reach to the Valarian fields there is a big distance that may imply the existence of more content narrating the interactions of the Alamarri with the elves, but it was never approved, so it was “lost”. I think this is very ironical “loss” because this tale had big chances to have been preserved by the elves if the alamarri did not, meaning that probably some Dalish clans may have preserved these “lost” verses. Besides, we know there are versions of Andraste’s Exalted March much closer in time to the events than the ones that the Chantry picked, so I feel quite sure that these verses were not entirely lost but ignored or hidden. 

The illustration in this part of the Chant of Light is described as “the Elves ambush the legion”. Unlike a quick glimpse would make us consider, the elves in this illustration are not represented by the deer [that could be considered an oversimplification of a halla]. Instead, they are represented by the wolves! The wolves here are the rebels, killing the Tevinter legion [a deer, which is strange; I would have expected a snake]. The fact that the elves are the wolves makes a lot of sense when we keep in mind that decades after, when the The Dales were established, the Emerald Knights would still keep the wolf as a symbol of protection. Somehow, the elves of this time had not lost completely the elvhenan concept that the wolf [Fen’Harel symbol] was a positive figure of protection and rebellion. This also makes me think in the codex The Rebel God, where we learn that after the Exalted March against the Dales the word associated with (Fen’)Harel started to morph its meaning into “betrayal”, instead of being “rebellion” as its etymology seems to point out. We keep before that time, a lot of elven symbols where the wolf was a synonymous of Rebellion. It’s also curious that this illustration depicts black wolves [more reinforcement of the black wolf aspect of Solas] but they also wear a sort of Vallaslin similar in style to those we saw in ancient panting that were worn by halla-like creatures in Nation Art: Elvhen.

Shartan 10

This verse describes the battle on Valarian Fields, close to Minrathous.

It seems that alamarri always sing hymns during battle. This makes us connect some events described vaguely by Solas in his travels through the Fade.

The fight against Tevinter was hard: Tevinter armies were numberless and fought with magic.

Shartan and his elves melted walls of magical ice that had trapped Andraste and her warriors with “fire arrows”. Clearly here there is something about magic going on, among the alamarri and the elves that the Chant hides constantly, since the mages are only present in the Tevinter side, while Andraste and Shartan always fought with non-magical people. This makes me laugh. 

Here, Shartan is named Andraste’s champion, and she gives him her mother’s blade: Glandivalis. Now, this sword is a big mystery, because it seems that, historically speaking, it belonged to Andraste's mother, who was no special apart from being Andraste's mother. However, in DA2, this sword is part of the loor of an ancient pride demon at the end of the more mysterious quest called The Awiergan Scrolls [which also has additional blood-magic bound-based magic related codices to it]. It is a sword that causes an "enslave" effect [why Andraste’s mother would have such item?]. Nothing of these elements make much sense lore-wise without going too wild into assumptions. In any case, Shartan acquired a sword that could cause and “enslavement” effect, ironically. 

The Illustration of this part is described as “Andraste names Shartan her champion”, and we cannot miss the obvious looking of Shartan wearing an ancient elvhenan golden armour. It’s curious he is depicted with white hair, while in The Gauntlet he is bald, as all elvhenan seem to be with the exception of Felassan. His shield reminds me a lot the usual fence decoration we see in several ancient elvhenan temples [see Patterns and Styles: Elvhenan]. Andraste is, of course, drawn with her one-spike crown as usual, as she has been represented since DA2 and all over DAI. What I found curious is that both of them are drawn with yellow eyes. I doubt the drawing per se has a “historical value” inside the world of Thedas, since it seems to be modern illustrations to decorate this edition of the Chant of Light, but from a dev’s point of view, I wonder if they are giving us a hint in this illustration. The fact that Andraste hears the Maker in dreams [at night] seems to have some common element with Mythal’s methodology. If Andraste was a vessel for Mythal for a while, maybe her eyes would have been yellow. I’m not putting high expectations in this detail, but it certainly made me wonder about it. It’s also curious how many illustrations in different styles we see along this Chant of Light. Sadly, this book says nothing about the theodosian person or persons that give these illustrations to this Chant of Light.

Betrayal and Death: Apotheosis 1-2

Context of Apotheosis Verses:

This song appears around -165 Ancient [1030 TE], 5 years after the Death of Andraste, and 5 years before Archon Hessarian uncovered Maferath’s role in the death of Andraste.

This canticle narrates the betrayal and death of Andraste.

Its authorship is attributed to the original Justinia, an escaped Tevinter slave and “Andraste’s closest friend” and confidante. It’s not clear if she composed them. It’s certainly strange because there are no proofs that Justinia witnessed the meeting between Hessarian and Maferath, while, in fact, we know that the one present at the time was Havard, the Aegis; according to the tale, of course. 

There is no original copy of this canticle from that time, so it’s not clear if the original and this one share resemblance. It’s more likely that this canticle was written by Andrastian groups after Masferath’s betrayal was known, absorbing the original one.

The current version of this canticle dates to -100 Ancient [1095 TE], and appears around the time of the old Inquisition.

Apotheosis 1:

Maferath looked at the battlefield covered in dead and heard the cheers for the Maker and Andraste, as his heart “grew colder”.

With Havard, Maferath and Archon Hessarian have a meeting, arranging a deal in order to establish a long-lasting peace.

Andraste’s armies reach Minrathous, and they see the inactive golems at the entrance of the city, fearing them. [I suspect these are the same or similar golem to the ones we saw in DA2 [at the Gallows] and in some ancient Tevinter facilities in DAI; they are compiled under the tag Tevinter golem].

She gives a speech to infuse valour in her army.

Before the battle, Maferath and Havard accompany Andraste to a hill where Maferath said that the voice of the Maker could be heard better.

When she kneels to pray, the Archon’s servants surround her. She drew her sword and killed one of them, but Maferath struck the blade from her hands with his axe. In this part we can see how much emphasis is put on Masferath’s determination to hand over Andraste to the Tevinter.

Unable to fight his warlord Maferath, but wanting to defend Andraste, Havard stood between her and the tevinters until he fell from his wounds.

Andraste gives up and Maferath ties her hands and delivers her to Hessarian.

Apotheosis 2:

In the city gates of Minrathous, Andraste is brought and shown chained, mining the morale of her army. Her pyre is set.

The “Liberator”, probably Shartan, charged into the pyre to save Andraste, but he was killed by Tevinter Archers. It’s curious how in this part the Chant removed Shartan’s name for a title in common language, and removes him from the story forever with a useless, meaningless death. With this ending, the Chantry does not need to worry about the “Shartan’s legacy”, as it does with “Havard’s legacy”, who basically founds the sect that will evolve into the Chanty later.

Hessarian lights the pyre, and Andraste remains silent as she burns while suffering.

Taking pity on her, the Archon kills Andraste with his sword, piercing her heart.

The armies of Maferath returned south while the Tevinters hid inside their cities, fearing for the anger of the gods.

Wounded, crawling his way, Havard reaches the pyre and presses her ashes in his chest. Andraste appears to him as chorus fill his ears. She heals his wounds, and here is where the tale of Andraste’s ashes healing any illness comes from.

Healed, Havard takes her ashes and brings her to the Alamarri lands. The player will know that this place is Haven and the Temple of Andraste. I always wondered who truly was the real “guardian” of this place. If we remember, he kept a very out-of-day knowledge of the Tevinter Imperium state, and his existence was “bound” to the ashes [we know that bound procedures are a top-notch knowledge from the elvhenan]. The Guardian clearly is or was a human since he is bearded, but wears nothing that looks like Avvar. Could have been him the true figure who gathered the ashes? And if he were, who was he?

I can’t stop repeating how curious is that the “Liberator”/Shartan dies, watching Andraste being set in the pyre, without any use or meaning, while Havard, who had been “killed” in the scene of Maferath’s betrayal, returns to the narrative, crawling, in order to be the one who collected Andraste’s ashes. The truth in this scene is impossible to be glimpses in my opinion. The level of manipulation to force some figures to remain alive while other are killed out of the blue is a bit obscene. I would love to have access to see the true historical event unfold on its own with some time magic.

The illustration here is described as “Our Lady is sacrificed”. She is depicted in the pyre, black smoke coming up from the base of the pyre, with some small fire-like flames in it to emulate a fire with “dark” connotations. When it reaches her, there is a semi-circle in yellow with an intricate pattern of triangles. I have no idea what this may represent. It looks good, though.  She is extending her arms up to the air, as a gesture of communion with the Maker, while the sword of Hessarian is pierced into her heart.

Prophecy: Exaltations 1

Context of Exaltations Verses:

They were written in -12 Ancient [1183 TE] by Kordillus Drakon, the man who will become the founder of the modern Chantry [as we know it] and first emperor of Orlais. These verses have the clearest authorship in the entire Chant, so there is no doubts it was he who wrote them.

Prophetic verses were popular back then, and many writers tried to imagine the return of the Maker. This seems to be a useful tool for Drakon in order to establishing the Empire of Orlais and the Religion that will homogenise and control the territory. 

Likely, Drakon rewrote this canticle several times before letting Justinia I to introduce it to the Chant.

Probably these are the most interesting canticles for the Players, since they may inform us about what happened in DAI and what will happen in DA:D in a very, very vague way.

Exaltations 1:

Here, Andraste is called “Lady of Sorrow” which is unavoidable for us, the players, to wonder if there is no an intention from the devs to keep relating her with Mythal. This is not a proof, but from a design point of view, seems to look like a small hint left by the devs [similar to the one related to Andraste’s and Shartan’s eye colour]. I’m not saying Andraste *was* a vessel of Mythal, there is little lore to even consider it but certainly the devs left some details here and there to allow us to think in the potentiality of it.

In these verses, we read about “the symptoms” in the world with the Maker’s return. 

Portents of the Maker's return'

Seven times seventy men of stone immense Rose up from the earth like sleepers waking at the dawn, Crossing the land with strides immeasurable, And in the hollows of their footprints Paradise was stamped, indelible.

This verse seems to imply that 70 titans will wake up and walk on the surface of Thedas, destroying the land with their steps. I’m not sure we can survive this situation in any game. Is this what’s coming in DA:D?

And I heard from the East a great cry As men who were beasts warred with their brothers, Tooth and claw against blade and bow, Until one could no longer be told from the other, And cursed them and cursed their generations.

The East is one of the biggest mysteries of the map of Thedas. It is filled with legends of fantastical places and stories of pirates that never were seen again. According to this verse, and keeping in mind DA lore, we can suspect several situations that could be described in similar fashion:

A situation with Lycanthropy, similar to what we saw in DAO with the werewolves. It’s described as a curse, as men who are beasts and fight each other, succumbing more and more to their bestial side. If the werewolves in DAO didn’t have the Lady of the Forest to calm them down, they would have looked similar to what this verse describes.

According to Cassandra and the lore she shared about the Pentaghast family, dragon blood drinkers may turn into beasts [scaled skin] and succumb to madness. If these humans bred over time, the features may have stuck and they may have developed a new specie. This situation also has a soft, potential link with the Scaled Ones.

Making a connection with The Horror of Hormak, these beast-men may be creatures created by ancient Evanuris that survived over time, breeding one another until the curse remained through the generations.

This could also mean the origin of the race of the “Qunari”. I mean, the Kossith. This makes a bit of sense since some codices of unreliable narrators consider that the East is the original place where they came from. We also have from Iron Bull the not too reliable comment that the Kossith were nothing alike the Qunari, and with the Qun, his race became more civilised. As if the Qun were the tool that tamed a bestial nature that used to inhabit the Kossith. If all these details can be truth, the Kossith can also be a good option of this situation.

And those who slept, the ancient ones, awoke, For their dreams had been devoured By a demon that prowled the Fade As a wolf hunts a herd of deer. Taking first the weakest and frailest of hopes, And when there was nothing left, Destroying the bright and bold By subtlety and ambush and cruel arts.

“Ancient ones that slept” seem to relate immediately with Uthenera elves. It may be related to Evanuris too, since via Murals in DAI, we have concluded that they may be slumbering/sealed inside the Black City, double isolated from the Waking World and the Fade. 

Apparently, Fen’Harel’s wolf aspect, who roams the Fade, consumes the dreams of those who are in Uthenera. There are several interpretations for these lines. One of them is that maybe the Evanuris isolation, unable to reach any dreamer despite being in Uthenera, is caused by the wolf aspect of Fen’Harel who blocks that communication. Honestly, this interpretation is strange because via the murals we already saw that it was more about a magical barrier [maybe fed by the Fade energy of the uthenera elves] than a wolf what makes the Black City unable to be reached even in the Fade. 

In a more integral interpretation, this could mean that the Evanuris have been slumbering and being consumed by the wolf in the Fade. However, the tone in which this is narrated, where the wolf is a cruel and trickery creature, seems to imply this is from an Evanuris’ point of view. Could  this image have been given to Kordillus via an Evanuris or a follower of an Evanuris? I’m surprised how negatively the symbol of Fen’Harel is presented in this verse, which I cannot read in any other way than being an interpretation from an Evanuris perspective.

In any case, I think this verse presents what we will see in DA:D; the awakening of the Evanuris trapped in the Black City, extremely corrupted I guess.

The ninth sacred mountain upon which rests The mortal dust of Our Lady ascended Whole into the heavens, to be given high honor In the Realm of Dreams forever. And around it, a chorus of spirits sang: "Whatsoever passes through the fire Is not lost, but made eternal; As air can never be broken nor crushed, The tempered soul is everlasting!"

This may have been what we saw in Frostback Mountains: Somewhere North, where Corypheus raises a castle I never truly understood what that was. Clearly by the iconography seen in there it was Chantry-based. At the end, in the last platform where Corypheus is, we see a golden ring with a mosaic of Mythal in it, which keeps pushing the player to make a vague relationship between Mythal and Andraste. However, in that scene there was no fire despite looking like a kind of “ascension” of a place dedicated to Andraste.

It’s interesting that the process of the fire removes the body, which is something that, according all our analysis about Vallaslin and undulating lines [Murals in DAI and Fen’Harel’s mountain ruins], it’s something that restrains elvhen and makes them slave to the shape. “Through the fire you are made eternal” makes sense when you are a spirit trapped in a fleshy shape. The immediate comparison with Air reminds me the codex The Deepest Fade, where a spirit is described as “brethren or the air”.

Despite all these comments, I can’t say this verse makes much sense or can be related to something that happened or will happen in DA:D. It has a similar flavour to the one we saw in the Temple of Andraste, in DAO. 

And I looked up and saw The seven gates of the Black City shatter, And darkness cloaked both realms.

Here, Drakon seems to coincide with the information shown in Murals in DAI: the Black City seems to have seven gates, or seven guardians. The coming of the Maker is when there is no more protection in these gates, which seems to coincide with the time we are going to see in DA:D.

It also speaks of a darkness, that may be the Blight, or something worse than the Blight, since the Black City seems to have been containing Red Lyrium and Blight at the same time.

Andraste gives Drakon his destiny

I covered my face, fearful, But the Lady took my hands from my eyes, Saying, "Remember the fire. You must pass Through it alone to be forged anew. Look! Look upon the Light so you May lead others here through the darkness, Blade of the Faith!"

This is a weird self-insert of Drakon. The Lady tells him to pass through the fire in order to be purified [everything on brand with what we saw in the Temple of Andraste in DAO and its rituals]. This reeks to manipulative self-insert to reinforce the idea that he is the “right” leader while he unifies Orlais through politics and religion. Drakon “Blade of the Faith”, pfft.

The Maker returns

In dread I looked up once more And saw the darkness warp and crumble, For it was thin as samite, A fragile shroud over the Light Which turned it to ash. And the Maker, clad in the majesty of the sky, Set foot to earth, and at His touch All warring ceased. The vicious Beasts lay down and were quieted; The meek lambs became bold And rose up, casting aside their shepherds To dance at the Maker's feet.

The maker returns, as a Light that destroys darkness and turns it into ash. This looks like standard religious tale. Maybe the devs wanted to add also the idea that the Maker will destroy the Blight=darkness for good.

The Maker appears wearing “the sky” [it’s not clear if he is wearing the sky as day or night, and I’m not sure that would matter. This part of the Chant feels mere standard religious bullshit.]

And as he walks, war stops and beasts calm down, and curiously, the symbols of submission such as a lamb, become bold, rise up, and cast aside their shepherds. This is a detail that speaks more about encouraging rebellion, and it’s a very vague concept of what Fen’Harel represents. Maybe this is the last bit where there is a soft connection between the tale of Fen’Harel and The Maker’s [as I explained in Threnodies 5-6].

This would reinforce my previous interpretation of the Maker being a piece of altered elvhen history, narrating Solas’ actions. The symbol of rebellion is still attached to the Maker [inspired in part by Fen’Harel’s tales] even in his return, at the last part of the Chant.

From every corner of the earth The Chant of Light echoed, And the Maker walked the land With Andraste at His right hand. And they reached the gates of Minrathous, Where once a terrible fire swept The Light of redemption from the face of the world, And there, the Lady of Restitution Drew her shining sword And plunged it into the ground at her feet, saying: The sins of creation are redeemed

"All sins are forgiven! All crimes pardoned! Let no soul harbor guilt! Let no soul hunger for justice! By the Maker's will I decree Harmony in all things. Let Balance be restored And the world given eternal life."

A verse of Chantry propaganda, not much to say than yadda-yadda stuff.

That the Maker has Andraste at his right hand sounds like a metaphor of what we saw at the end of DAI if Solas represents the Maker and Andraste, Mythal. 

It’s not clear why Miranthous would be key in DA:D, but considering this image from a Chantry perspective, it’s clear that Minranthous is the capital of the “Evil” and where sin has been commited with the death of Andraste.

Andraste is also named as “Lady of Restitution”.

Andraste’s flaming sword in sunken in the ground and some things are granted: forgiveness of sins, justice, and eternal life. Standard rewards for any religion.

I don’t think these last two verses have much to offer than a natural closure to the religious text.

[Speculation] Why did Kordillus have these visions?

Since these visions seem to be “more or less” accurate with the existence of creatures that no human knew about at that time, such as the Titans or the evanuris, I’m inclined to believe that maybe Kordillus truly had visions that he used in the creation of these verses. 

How this could be possible? Thanks to Hakkon’s DLC, we can assume that “having visions” is an ability that avvar Augurs have, which is basically what Solas does with spirits: talk to them, learn from them.  The information obtained from the spirits have their perspective, and sometimes it can be a bit cryptic and metaphoric, as we saw it happens with Cole. They see and understand the reality much better than mortals, but it’s hard for them to describe it in the same  terms that a mortal needs to fully comprehend. So, if Kordillus spoke about immense creatures of stone raising and walking on the surface, and ancient ones, slumbering, which dreams were eaten by a creature compared with the behaviour of a wolf, I have the impression that the story is telling me that Kordillus had some access to spirits. How so? 

In terms of lineage, Kordillus Drakon has all the chances of having been a man who could have had some weak level of magic. Let’s see his parents:

His father came from a minor noble Tevinter family, and had no magical talent [this implies that the rest of the Drakon family had magic to some degree]. We know that if a person who comes from a magical family does not present magical abilities, it does not mean that future generations would not show magical powers later. So from the side of this father we can see that there is come magical power running in the blood.  

Kordillus’ mother belonged to a Ciriane tribe who, thanks to the political expertise of Kordillus’ father, worked her way to ascend as chieftain. Ciriane are an ancient tribe loosely related to the alamarri tribes [Andraste was Ciriane], and since they have alamarri roots, I’m inclined to think they also may have similar beliefs and treatment of spirits than the Avvar [who came from the Alamari]. We learnt a lot about the Avvar in the last DLC, so if there is a chance for the Ciriane to treat their mages as the Avvar do, I think that Kordillus, if he manifested low magical powers, had a very positive environment to connect with spirits who may have informed him about these details written later in his “prophetic verses”.

There is also a very curious context by that time in which, despite all the anti-Tevinter propaganda that Kordillus [and Justinia I] started to build as he founded the modern Chantry, there was not a strong sentiment against magic yet. Why do I say this? because by that time, Kordillus had no problem to show his deep friendship with an Dalish mage [Ameridan] to whom he gifted a very unique dagger, and gave him the immense responsibility of leading the first Inquisition. When Ameridan went to the Frostback Basin, his group was compounded by two mages [Ameridan and his lover Telana] and one of the first Templars back in the day that had no power over these mages.

So the cultural context of the time and Drakon’s own background make me suspect that maybe part of these verses have a hint of truth just because they can be pieces of information given by spirits. He may have taken these pieces in a positive way to use them in his verses without the usual negative connotation that this will have years later, when the Second Exalted March destroyed any relationship with the Dalish and started a campaign to demonise any magical ability in order to solidify the current Chantry vision which is so averse to magic and spirits. 

Still, nothing of this can be truly confirmed, so it remains in the field of speculation. However, I cannot deny that it’s quite curious that Kordillus could see things that we, as players, know with some degree of certainty thanks to our meta-knowledge of the games.

[96thdayofrage]

What is Critical Race Theory?

Basically, Critical Race Theory is a way of using race as a lens through which one can critically examine social structures. While initially used to study law, like most critical theory, it emerged as a lens through which one could understand and change politics, economics and society as a whole. Richard Delgado and Jean Stefancic’s book, Critical Race Theory: An Introduction, describes the movement as: “a collection of activists and scholars engaged in studying and transforming the relationship among race, racism, and power.”

Kimberlé Crenshaw, one of the founding members of the movement, says Critical Race Theory is more than just a collective group. She calls it: “a practice—a way of seeing how the fiction of race has been transformed into concrete racial inequities.”

It’s much more complex than that, which is why there’s an entire book about it.

Can you put it in layman’s terms?

Sure.

Former economics professor (he prefers the term “wypipologist”) Michael Harriot, who used Critical Race Theory to teach “Race as an Economic Construct,” explained it this way:

Race is just some shit white people made up.

Nearly all biologists, geneticists and social scientists agree that there is no biological, genetic or scientific foundation for race. But, just because we recognize the lack of a scientific basis for race doesn’t mean that it is not real. Most societies are organized around agreed-upon principles and values that smart people call “social constructs.” It’s why Queen Elizabeth gets to live in a castle and why gold is more valuable than iron pyrite. Constitutions, laws, political parties, and even the value of currency are all real and they’re shit people made up.

To effectively understand anything we have to understand its history and what necessitated its existence. Becoming a lawyer requires learning about legal theory and “Constitutional Law.” A complete understanding of economics include the laws of supply and demand, why certain metals are considered “precious,” or why paper money has value. But we can’t do that without critically interrogating who made these constructs and who benefitted from them.

One can’t understand the political, economic and social structure of America without understanding the Constitution. And it is impossible to understand the Constitution without acknowledging that it was devised by 39 white men, 25 of whom were slave owners. Therefore, any reasonable understanding of America begins with the critical examination of the impact of race and slavery on the political, economic and social structure of this country.

That’s what Critical Race Theory does.

How does CRT do that?

It begins with the acknowledgment that the American society’s foundational structure serves the needs of the dominant society. Because this structure benefits the members of the dominant society, they are resistant to eradicating or changing it, and this resistance makes this structural inequality.

Critical Race Theory also insists that a neutral, “color-blind” policy is not the way to eliminate America’s racial caste system. And, unlike many other social theories, CRT is an activist movement, which means it doesn’t just seek to understand racial hierarchies, it also seeks to eliminate them.

How would CRT eliminate that? By blaming white people?

This is the crazy part. It’s not about blaming anyone.

Instead of the idiotic concept of colorblindness, CRT says that a comprehensive understanding of any aspect of American society requires an appreciation of the complex and intricate consequences of systemic inequality. And, according to CRT, this approach should inform policy decisions, legislation and every other element in society.

Take something as simple as college admission, for instance. People who “don’t see color” insist that we should only use neutral, merit-based metrics such as SAT scores and grades. However, Critical Race Theory acknowledges that SAT scores are influenced by socioeconomic status, access to resources and school quality. It suggests that colleges can’t accurately judge a student’s ability to succeed unless they consider the effects of the racial wealth gap, redlining, and race-based school inequality. Without this kind of holistic approach, admissions assessments will always favor white people.

CRT doesn’t just say this is racist, it explains why these kinds of race-neutral assessments are bad at assessing things.

What’s wrong with that?

Remember all that stuff I said the “material needs of the dominant society?” Well, “dominant society” means “white people.” And when I talked about “racial hierarchies,” that meant “racism.” So, according to Critical Race Theory, not only is racism an ordinary social construct that benefits white people, but it is so ordinary that white people can easily pretend it doesn’t exist. Furthermore, white people who refuse to acknowledge and dismantle this unremarkable, racist status quo are complicit in racism because, again, they are the beneficiaries of racism.

But, because white people believe racism means screaming the n-word or burning crosses on lawns, the idea that someone can be racist by doing absolutely nothing is very triggering. Let’s use our previous example of the college admissions system.

White people’s kids are more likely to get into college using a racist admissions system. But the system has been around so long that it has become ordinary. So ordinary, in fact, that we actually think SAT scores mean shit. And white people uphold the racist college admissions system—not because they don’t want Black kids to go to college—because they don’t want to change admission policies that benefit white kids.

Is that why they hate Critical Race Theory?

Nah. They don’t know what it is.

Whenever words “white people” or “racism” are even whispered, Caucasian Americans lose their ability to hear anything else. If America is indeed the greatest country in the world, then any criticism of their beloved nation is considered a personal attack—especially if the criticism comes from someone who is not white.

They are fine with moving toward a “more perfect union” or the charge to “make America great again.” But an entire field of Black scholarship based on the idea that their sweet land of liberty is inherently racist is too much for them to handle.

However, if someone is complicit in upholding a racist policy—for whatever reason—then they are complicit in racism. And if an entire country’s resistance to change—for whatever reason —creates more racism, then “racist” is the only way to accurately describe that society.

If they don’t know what it is, then how can they criticize it?

Have you met white people?

When has not knowing stuff ever stopped them from criticizing anything? They still think Colin Kaepernick was protesting the anthem, the military and the flag. They believe Black Lives Matter means white lives don’t. There aren’t any relevant criticisms other than they don’t like the word “racism” and “white people” anywhere near each other.

People like Ron DeSantis and Tom Cotton call it “cultural Marxism,” which is a historical dog whistle thrown at the civil rights movement, the Black Power movement and even the anti-lynching movement after World War I. They also criticize CRT’s basic use of personal narratives, insisting that a real academic analysis can’t be based on individually subjective stories.

Why wouldn’t that be a valid criticism?

Well, aren’t most social constructs centered in narrative structures? In law school, they refer to these individual stories as “legal precedent.” In psychology, examining a personal story is called “psychoanalysis.” In history, they call it...well, history. Narratives are the basis for every religious, political or social institution.

I wish there was a better example of an institution or document built around a singular narrative. It would change the entire constitution of this argument—but sadly, I can’t do it.

Jesus Christ, I wish I could think of one! That would be biblical!

Why do they say Critical Race Theory is not what Martin Luther King Jr. would have wanted?

You mean the Martin Luther King Jr. who conservatives also called divisive, race-baiting, anti-American and Marxist? The one whose work CRT is partially built upon? The King whose words the founders of Critical Race Theory warned would be “co-opted by rampant, in-your-face conservatism?” The MLK whose “content of their character” white people love to quote?

Martin Luther King Jr. literally encapsulated CRT by saying:

In their relations with Negroes, white people discovered that they had rejected the very center of their own ethical professions. They could not face the triumph of their lesser instincts and simultaneously have peace within. And so, to gain it, they rationalized—insisting that the unfortunate Negro, being less than human, deserved and even enjoyed second class status.

They argued that his inferior social, economic and political position was good for him. He was incapable of advancing beyond a fixed position and would therefore be happier if encouraged not to attempt the impossible. He is subjugated by a superior people with an advanced way of life. The “master race” will be able to civilize him to a limited degree, if only he will be true to his inferior nature and stay in his place.

White men soon came to forget that the Southern social culture and all its institutions had been organized to perpetuate this rationalization. They observed a caste system and quickly were conditioned to believe that its social results, which they had created, actually reflected the Negro’s innate and true nature.

That guy?

I have no idea.

Will white people ever accept Critical Race Theory?

Yes, one day I hope that Critical Race Theory will be totally disproven.

Wait...why?

Well, history cannot be erased. Truth can never become fiction. But there is a way for white people to disprove this notion.

Derrick Bell, who is considered to be the father of Critical Race Theory, notes that the people who benefit from racism have little incentive to eradicate it. Or, as Martin Luther King Jr. said: “We must also realize that privileged groups never give up their privileges voluntarily.”

So, if white people stopped being racist, then the whole thing falls apart!

From your lips to God’s ears.

[script-a-world]

How can I keep earth's evolution history as we know it and still explain away the presence of advanced species / societies than expected in the distant past, whether 5 mya, 50 mya, or 500 mya and not have them be aliens who came to earth or earth species undergoing rapid change as a result of aliens?

Tex: To prelude my statements: I’m not certain how “and still explain away the presence of advanced species/society than expected in the distant past” was intended, so my answer is a reflection of interpretation. You’ll find that the other answers presented come from varying angles, which will hopefully offer you a broader sense of your question.

Look at how such a subject is presently being discussed - objects don’t resemble “actual” artifacts, anything found is in a sediment layer that isn’t typically associated with human evolution of local periods (stone, bronze, etc), anything found doesn’t match the known cultures of the area, etc.

More logistically speaking, you could extrapolate such view points. Objects that don’t resemble “actual” artifacts could easily be warped bits of lava, pressed sediment, or other geological feature. Things found outside of typically associated layers could be attributed to local quakes disrupting the sediment layers, or else man-made excavations that might have been back-filled. Something that doesn’t match the known local culture(s) could be due to trade with other, more far-away cultures, brief artistic fads that whose documentation didn’t survive to present times, or an experimental blend of styles that didn’t become fashionable and were tossed away.

More or less: bullshit it. So long as you can get a reader’s head nodding along to the explanation, you’ve probably done a good enough job at it.

Wootzel: While you may not be able to keep the evolutionary history exactly as it is in reality, you could probably explain an advanced species’ extinction the same way we explain many extinctions: significant, rapid climate change and/or a catastrophic event that created unlivable conditions.

Intelligent, advanced species are a little harder to kill off than most others, mainly because if you can use tools and modify your environment, you have greater ability to obtain food and shelter. Whatever kills your ancient societies would need to be a mass extinction. Luckily for you, we have a few of those in Earth’s history already, so you wouldn’t need to invent a new one.

Why species like this would develop in the first place is a little harder. Really high intelligence doesn’t really just spontaneously occur, and a really big, developed brain tends to come at high energy cost. The basic theory about why humans became so smart is that intelligence is necessary to be very effective food opportunists. A greater number of food sources provides more energy and nutrients, but safely eating a really varied diet requires a lot of knowledge and learning. Your ancient intelligent species would probably need to evolve from opportunistic omnivores, and preferably something that already has good grasping ability--like monkeys, or elephants, or many rodents.

Once paleontology becomes fairly advanced in your timeline, it would be pretty obvious to scientists that these intelligent creatures of the past aren’t aliens, as long as they have enough fossil evidence to show that they resemble their ancestors and other species they’re related to! Whether modern scientists realize that they’re advanced depends on how much evidence of their tools and/or structures survives! There are a lot of options here as far as how modern awareness interacts with the realities of the ancient species’ lives.

If we didn’t address exactly what you’re asking for, feel free to come back and ask in more detail. Hope this helps!

[briannas-casebook]

ANIMATION CONTEXT - MANCHESTER ART GALLERY

On the 14th of October for our latest Animation Context class, we visited the Manchester Art Gallery. It is here that the painting that we discussed in last week's class, 1882's The Chariot Race by Alexander von Wagner is displayed.

Along with this, there were several other paintings on display that caught my eye. For example, Waiting for the Coach by Edmund Blair Leighton. The detail and realism presented in the oil painting were so lifelike, some of the students mistook it for a colourised photograph.

Another painting that fascinated me was the painting of the greek poet Sappho painted in 1877 by Charles-August Mengin. depicting the poet all in black, leaning on a rock with a somber expression, chest exposed. According to the plaque, "the painting has an intense sexual charge intended to appeal to male viewers visiting the officially endorsed Paris Salon exhibition. Its eroticism was legitimized for them by the meticulous finish of the fine brushstrokes and the scholarly reference to classical history".

Furthermore, a tour guide leading a separate group commented that the reason for her melancholic expression and the dower tone of the painting itself, with the cold, grey setting of the windy rocks and the black robes Sappho wears, is due to the male artists projecting the stereotypes of sapphic women held by men such as himself. As evidenced in a few of her love poems and the fact there is no historical evidence to suggest Sappho ever showed any interest, romantically and/or sexually in men, it is accepted by most historians that Sappho was what we in modern times would label as a lesbian. In 1800th/1900th century Britain, not only was homosexuality considered a mental deficiency and a crime but it was also believed a woman who preferred the same gender would never truly be happy or fulfilled in a non-heterosexual relationship. Thus the melancholic look of Sappho evokes this deeply misogynistic, lesbophobic view. Ironically though, as two of my female classmates joked, this tired, rugged, and "goth" look the artist gave to Sappho to demonize her identity likely just makes her more attractive to a particular subset of women-loving women in modern times...

Throughout the gallery, there were several signs and plaques that ask questions and encourage viewers to reconsider the subtext of certain paintings in the gallery, how the social and political landscape of the victorian era informed it, and how it may affect or feed into harmful biases of today.

A notable example of this is the "feminist revision" plaques created in 2015 by cultural activist Anne Louise Kershaw, documents created for the first feminist takeover of the Manchester Art Gallery. Placed next to the regular plaques that describe the gallery subjects in a neutral and formal manner, these feminist revisions bring up and expose many of the overlooked or purposefully hidden ugly sides of these classical art movements, such as in the body and form gallery, which highlight paintings where artists explored the human body. The feminist revision points out how not only is there an imbalance of male-to-female artists work displayed in this section, with only two female artists represented, but also how the nude figures, particularly the female figures, are portrayed with overly perfect idealized bodies that reflect male-centric beauty standards of women. The female figures serve mainly as an excuse for the male artists and viewers to create and consume content that objectified and commodified (an idealized version of) the female body. Points which the "unbiased" and "neutral" regular plaques often overlook or leave out.

Adding to the provocative points of the feminist revision is the use of highly informal language not often, if ever, seen on informational plaques of this type. With men or male artists being described as "fellas", women, female artists, and subjects described as "ladies" and other uses of slang such as "obvs", "proper dodgy" and "aces". The result reads more like an informal social media post on the subject of classical art than a formal informational plaque. This, of course, was likely tongue-in-cheek and very much intentional on the part of Kershaw, who used this informal use of slang to deconstruct the typically formal and neutral language used in informational plaques used in art galleries, but also could've been used to intentionally provoke a response, thus drawing attention to the points and the conversation of these feminist talking points at the heart of the plaques.

Other paintings that caught my eye aesthetically were India House and The Water Baby.

I was drawn to the misty, impressionistic, and dreamlike style of India House, and there was something about the imagery of the baby in the clam in The Water Baby that sparked my imagination.

before I left the gallery, I was informed they sell a small book containing images of many of the gallery's paintings, so I bought that to use as a reference or for future inspiration in creative projects.

I felt this visit to the gallery was very fulfilling for me as an artist, not only to be able to see such captivating works of art in person but also to gain a new critical and nuanced perspective on these works through some of the thoughts from staff signs and even the heavy-handed feminist revision plaques.