Il club dei parenticidi di Ambrose Bierce

La siepe di more

Breve raccolta di racconti dell’autore Ambrose Bierce, cartografo e giornalista durante la guerra di secessione americana e annoverato tra i grandi scrittori dell’horror e del genere weird e fantastico, scomparve misteriosamente durante la battaglia di Ojinaga, l’11 gennaio 1914 in missione come reporter per il Messico dilaniato dalla guerra civile di Pancho Villa ed Emiliano Zapata…

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[Music] Aisha Orazbayeva – Telemann Fantasias

A Miscellany Of Tasteful...


Aisha Orazbayeva is London-based violinist who originally hails from Kazakhstan.  She has become a new favorite master of the instrument who easily balances a mastery of avant-garde contemporary music (think of compositions by Luciano Berio and Morton Feldman) and the sumptuous compositions of Georg Philipp Telemann, whose works were the bridge way from the Baroque Era into the Classical Era.

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A Brief History of Icons

Fundamental

Fr. Ted's Blog

“Compared to metal and mosaic icons, the painted wooden icon is perhaps the longest lived subcategory of the Byzantine artistic medium of portable devotional icons. The earliest collection of wooden painted icons is found at St. Catherine Monastery in Sinai: some twenty-seven pieces dated to the sixth through seventh centuries. They are all painted in encaustic (pigment and wax) and tempera (pigment and egg yolk).

In terms of style, the portable icons follow the Late Antique commemorative portraits and imperial lavrata. Thematically, they employ scenes and figures from the Old and New Testaments. These icons were introduced into church as votive donations and remained in use for extra liturgical or individual devotional purposes.

During the tenth and eleventh centuries, when art was well linked to a more standardized liturgy, the portable icons begin to reflect the new trend by depicting various subjects of liturgical feasts. The liturgical appropriation of…

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An assistant professor of philosophy is so wrong, it’s embarrassing

We read that “science does all this by rejecting antirealism. In fact, the self does exist,” a Şerife Tekin writes on AEON. First off,  the argument is not a philosophic one, but I understand that also those philosophers want to share their own opinion on basically everything. You can find it here: Self-evident .

The title of the writing is pretty hilarious for what aims to be an opinion on such a fundamental matter. She names her article “Self-evident”, contrary to the (NOT) recent opinion on what the self is, not, if it exist, as she writes. To her there is “such a thing as the self, and it is empirically (?) amenable to scientific investigation”, typical liberal prig and moralist way of speech.

Not a study, no culture. To explain her doctrine.

The second point is that what the author writes is dangerous, the mirror of the lack of basic culture, which today invades people, all educated to the single thought. I believe it had never happened before in history. She’s basically annoyed, why quoting Daniel Dennett, or Antonio Damasio, the neuroscientist whose not even mentioned, but the one who first studied, using the scientific method, the fundamental theory that revolutionized the concept of the self?  From him (Damasio), the scientific community started countless works. Which are naturally much more complex, and therefore more understandable, when they became books, or simply articles. She mentions David Hume! Wow, she must be a professor! It’s impossible to get why… read for yourself, she thinks she can. Was she bored when writing “Self Evident.” I can only hope that few will read the writing by Şerife Tekin, and that many will want, at least, go deeper.

I pray for the young persons who would like to learn but, instead, are initiated to presumption, the steel chain in which the academic community wants to tight them up. Hypocrisy has brought very serious problems, but I am trustworthy. young minds are better.

 

January 1958

6o years ago

60 years ago today (Monday), Bo Diddley held his second recording session at the recently opened Chess Records studio, 2120 S Michigan Ave. in Chicago, IL. (His first at 2120 had been the previous August). Among the tracks recorded were his instrumentals, “Bo’s Guitar” and “The Clock Strikes Twelve”, plus “Hush Your Mouth” and “Dearest Darling”, plus “Say Man”, a novelty street corner conversation on which Bo Diddley and Jerome Green traded good natured insults over an infectious shuffle rhythm. Released as a single in August 1959, “Say Man” climbed to #3 on the R&B chart and to #20 on the Hot 100. (Pic: The Dynamic Duo: Bo Diddley (rocket tail guitar) and Jerome Green (maracas) shaking it up on-stage with the Buddy Johnson Big Band, circa 1958.)