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  • By: afc_support
  • “It does not break wills, but it softens them, bends them and directs them; it rarely forces action, but it constantly opposes your acting; it does not destroy, it prevents birth; it does not tyrannize, it hinders, it represses, it enervates, it extinguishes, it stupifies, and finally it reduces each nation to being nothing more than a flock of timid and industrious animals, of which the government is the shepherd.”
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  • By: Vincent van den Born
  • This leads into a discussion of the ideal of Courtly Love. This, Clark says, is an invention of the Middle Ages – unknown to Antiquity. He offers three possible theories for its invention: Firstly, that Courtly Love as an idea was derived from Persian literature that Crusaders encountered in the Middle East. Secondly, Clark puts forward that it might have been the social position of noble women that inspired a sort of admiration that had to remain distant. Thirdly, he mentions the link between Courtly Love and the veneration of the Virgin Mary.
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  • By: afc_support
  • “There is but one truly serious philosophical problem and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest – whether or not the world has three dimensions, whether the mind has nine or twelve categories, comes afterwards.”
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  • By: afc_support
  • Influenced by both jazz and European gipsy and folk music, they gave birth to a new genre: Gipsy Jazz. With their music, Django and his gang established that true, romantic and classic “Paris jazz” kind of feel, that upon hearing will make one long for drinking wine in small, smokey French cafés, and a nightly stroll along the Seine.
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  • By: Vincent van den Born
  • In part II of this 1969 thirteen part series, art historian Kenneth Clark (1903 – 1983) discusses what he calls the “great acceleration of development” around 1100, which took place worldwide, but was “strongest and most needed in Western Europe.” He describes the profound changes in Europe at the time as an outpouring of energy in all branches of life, but will, for the most part, be concentrating on art, particularly architecture. He uses the monumental buildings of the age as his evidence for the “heroic energy, this confidence, this strength of will and intellect” with which they were built.
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  • By: Vincent van den Born
  • In part one of this thirteen part series, art historian Kenneth Clark (1903 – 1983) discusses a great range of topics. The disappearance of the Mediterranean centred Graeco-Roman Civilisation through exhaustion. The Celtic Church and it’s unique development, focused on the pictoral element, on the edge of the world, culminating in the Book of Kells. The Carolingian Renaissance and its rediscovery of the Mediterranean world and the written word.
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  • By: CodeSupply
  • In the video Ferguson strong arms his emphasis on the divisive element of social media a little too much, to hammer home his analogy to the conflicts following the Reformation, but he does have a point. Keeping it real though, he’s not in favor of censorship policies, and says he’d rather be offended or potentially misled than having Silicon Valley control our news flows.
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  • By: afc_support
  • In the text below, we’ll summarise the first hour of the lecture “Introduction to the idea of God”, in which Peterson aims to formulate a psychological framework for the emergence and interpretation of the concept of god. Why? Well, because sometimes a fifteen-minute read to absorb and recap beats sitting through a two-hour lecture.
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  • By: afc_support
  • “When the world becomes too large to be controlled, social actors aim to shrink it back to their size and reach. When networks dissolve time and space, people anchor themselves in places, and recall their history. When the patriarchal sustainment of personality breaks down, people affirm the transcendent value of family and community, as God’s will.”
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  • By: Emma Alberta Webb
  • The Director of the Pompidou Centre, where the masterpiece now takes sanctuary like a relic fleeing the reformation, described it as a “funny” work of art that is “an obvious nod to the relationship of abstraction and figurative painting that co-exist in Dutch art in the 20th century. Spiritual yes, obscene no.”
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