Unusual Saints To Pray To

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Unusual Saints To Pray To

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Can you imagine what cathedrals would have been like if the medievals had access to neon lighting?
This is the quote I had in mind when making this post.
Some Vietnamese churches give a glimpse of what it mightâve been like.
when jorge luis borges wrote in a copy of beowulf that he was working on translating, âbeyond my anxiety, beyond this writing, the universe waits, inexhaustible, inviting.â
hereâs the full poem! itâs so. something so transcendent something so inevitable and real and conceptually like looking into the abyss and hearing a choir sing your humanity back to you
Edward Hopper, Sketches and preliminaries for Nighthawks, 1942
The building of rage

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âUntitledâ (Portrait of Ross in L.A.) is a 1991 piece by Felix Gonzalez-Torres in the collection of the Art Institute of Chicago. Itâs a spilled pile of candy.Â
The pile of candy consists of commercially available, shiny wrapped confections. The physical form of the work changes depending on the way it is installed. The work ideally weighs 175 pounds (161 kg) at installation, which is the average body weight of an adult male. âUntitledâ (Portrait of Ross in L.A.) represents a specific body, that of Ross Laycock, Gonzalez-Torresâ partner who died of AIDS in 1991. This piece of art serves as an âallegorical portrait,â of Laycockâs life.
Visitors are invited to take a piece of candy from the work. Gonzalez-Torres grew up Roman Catholic and taking candy is a symbolic act of communion, but instead of taking a piece of Christ, the participant partakes of the âsweetnessâ of Ross. As the patrons take candy, they are participants in the art. Each piece of candy consumed is like the illness that ate away at Rossâs body. Â
Multiple art museums around the world have installed this piece.
Per Gonzalez-Torresâ parameters, it is up to the museum how often the pile is restocked, or whether it is restocked at all. Whether, instead, it is permitted to deplete to nothing. If the pile is replenished, it is metaphorically granting perpetual life to Ross.
In 1991, public funding of the arts and public funding for AIDS research were both hot issues. HIV-positive male artists were being targeted for censorship. Part of the logic of âUntitledâ (Portrait of Ross in L.A.) is you canât censor free candy without looking ridiculous, and the ease of replicability of the piece in other museums makes it virtually indestructible.
Night at the Museum
I hope you live without the need to dominate, and without the need to be dominated. I hope you are never victims, but I hope you have no power over other people. And when you fail, and are defeated, and in pain, and in the dark, then I hope you will remember that darkness is your country, where you live, where no wars are fought and no wars are won, but where the future is. Our roots are in the dark; the earth is our country. Why did we look up for blessing â instead of around, and down? What hope we have lies there. Not in the sky full of orbiting spy-eyes and weaponry, but in the earth we have looked down upon. Not from above, but from below. Not in the light that blinds, but in the dark that nourishes, where human beings grow human souls.
Ursula K. Le Guin, âA Left-Handed Commencement Addressâ (Mills College, 1983)
(via nostalgicfuturity)
Agostino Arrivabene. Elogio della polvere, 2013.

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Planet Earth II (2016) Episode 05 âGrasslandsâ Directed by Chadden Hunter
Book of Magical Charms (17th cent.)
This work, penned in England by an unknown author, is a distinctive collection of selected passages from works on magic and various occult arts that describe everything from speaking with spirits, to cheating at dice, to curing a toothache. The book also includes a section of Latin prayers, litanies, and other magical charms that seem to stick more closely to mainstream religious practices.
Augsburg Book of Miracles, 16th century
Billy & Hells.
https://www.billyandhells.com
Nimbus photography series by Berndnaut SmildeÂ

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Blind people gesture (and why thatâs kind of a big deal)
People who are blind from birth will gesture when they speak. I always like pointing out this fact when I teach classes on gesture, because it gives us an an interesting perspective on how we learn and use gestures. Until now Iâve mostly cited a 1998 paper from Jana Iverson and Susan Goldin-Meadow that analysed the gestures and speech of young blind people. Not only do blind people gesture, but the frequency and types of gestures they use does not appear to differ greatly from how sighted people gesture. If people learn gesture without ever seeing a gesture (and, most likely, never being shown), then there must be something about learning a language that means you get gestures as a bonus.
Blind people will even gesture when talking to other blind people, and sighted people will gesture when speaking on the phone - so we know that people donât only gesture when they speak to someone who can see their gestures.
Earlier this year a new paper came out that adds to this story. Ĺeyda OĚzçalÄąĹkan, CheĚ Lucero and Susan Goldin-Meadow looked at the gestures of blind speakers of Turkish and English, to see if the *way* they gestured was different to sighted speakers of those languages. Some of the sighted speakers were blindfolded and others left able to see their conversation partner.
Turkish and English were chosen, because it has already been established that speakers of those languages consistently gesture differently when talking about videos of items moving. English speakers will be more likely to show the manner (e.g. ârollingâ or bouncingâ) and trajectory (e.g. âleft to rightâ, âdownwardsâ) together in one gesture, and Turkish speakers will show these features as two separate gestures. This reflects the fact that English âroll downâ is one verbal clause, while in Turkish the equivalent would be yuvarlanarak iniyor, which translates as two verbs ârolling descendingâ.
Since we know that blind people do gesture, OĚzçalÄąĹkanâs team wanted to figure out if they gestured like other speakers of their language. Did the blind Turkish speakers separate the manner and trajectory of their gestures like their verbs? Did English speakers combine them? Of course, the standard methodology of showing videos wouldnât work with blind participants, so the researchers built three dimensional models of events for people to feel before they discussed them.
The results showed that blind Turkish speakers gesture like their sighted counterparts, and the same for English speakers. All Turkish speakers gestured significantly differently from all English speakers, regardless of sightedness. This means that these particular gestural patterns are something thatâs deeply linked to the grammatical properties of a language, and not something that we learn from looking at other speakers.
References
Jana M. Iverson & Susan Goldin-Meadow. 1998. Why people gesture when they speak. Nature, 396(6708), 228-228.
Ĺeyda OĚzçalÄąĹkan, CheĚ Lucero and Susan Goldin-Meadow. 2016. Is Seeing Gesture Necessary to Gesture Like a Native Speaker? Psychological Science 27(5) 737â747.
Asli Ozyurek & Sotaro Kita. 1999. Expressing manner and path in English and Turkish: Differences in speech, gesture, and conceptualization. In Twenty-first Annual Conference of the Cognitive Science Society (pp. 507-512). Erlbaum.
Illuminations from the âHours of Mary of Burgundyâ made in Flanders, c. 1477