take your time
when you think
of me
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take your time
when you think
of me

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Elisabeth-Louise VigĂ©e Le Brun, âPortrait of Muhammad Dervish Khan, Full-Length, Holding His Sword in a Landscapeâ (1788),Â
Oil on Canvas, 88 3/4 x 55 1/2 inchesÂ
Image courtesy Sothebyâs
Those of us who live in the shadow of Copernicus, must choose whether to adopt an eliminative approach to the cosmos or to withdraw into a pre-modern account, which privileges the irreducible enigma of things long before theyâve been touched by human desire. In each case, we are guided by the fundamental uncanniness of life itself, a life that ostensibly has no place in the universe, except as an appearance of the living dead. The problem of life enters the stage of thought as an aberration of nature. If life can be characterised in biological terms as a blind striving toward change and growth, then the other side of this striving is the sense of a deformation in the cosmos catching sight of itself being abjected from nothingness. Nowhere is this realization of the fundamental strangeness of life clearer than in the materiality of the human body.
Dylan Trigg, The Thing: A Phenomenology of Horror, pg. 36-37
Historians of premodern Chinese urbanism have long assumed that the origins of the Chinese imperial city plan stem from a passage in the Kaogong Ji (Record of Trades) section of the classical text Rituals of Zhou which describes the city of the King of Zhou. Taking this description as the single source of all Chinese capitals, these historians have gone on to write that any Chinese imperial city constructed during the last 2,000 years not only has much in common with any other one, but that all have been built according to a single scheme. Yet the plans of the two most important Chinese imperial cities, Chang'an in the 7th to 9th century, and Beijing after the 14th century, indicate that a crucial feature of the Chinese imperial urban plan, the position of the imperial palaces, is in the north center at Chang'an and roughly in the exact center at Beijing, thereby dispelling the myth of the direct descent of all Chinese imperial city plans from the King of Zhouâs city. Moreover, an examination of excavated cities of the first millennium B. C. shows that the Chang'an plan, the Beijing plan, and a third type, the double city, have their origins in China before the 1st century A. D., when the Kaogong Ji is believed to have been written. Moreover, all three city plan types can be traced through several thousand years of Chinese city building. After stating the hypothesis of three lineages of Chinese imperial city building, the paper illustrates and briefly comments on the key examples of each city type through history. More than 20 cities are involved in understanding the evolution of the imperial Chinese plans. Thus this paper also includes many Chinese capital plans heretofore unpublished in a Western language. The plan of Chang'an is different from that of Beijing because the latter city was built on the ruins of a city designed anew by the Mongol ruler of China, Khubilai Khan, with the intent of adhering to the prescribed design of the Kaogong Ji; whereas Chang'an was built according to a plan used by native and non-Chinese rulers of China only until the advent of Mongolian rule (with one exception.) Finally, this paper examines the assumption that there was little variation in Chinese imperial city building. A main reason for the assumed uniformities in Chinese capitals is because the imperial city is traditionally one of the most potent symbols of imperial rule, such that digression from it might imply less than legitimate rulership. Thus it can be shown that Chinese and non-Chinese dynasties had their actual city schemes amended for the historical record through the publication of fictitious city plans.
Steinhardt, Nancy Shatzman. âWhy Were Chang'an and Beijing so Different?â Journal of the Society of Architectural Historians. Vol. 45, No. 4 (Dec., 1986), pp. 339-357.
The period between the thirteenth and mid-fifteenth centuries marked a distinct and important phase in the history of India-China relations. This new phase was triggered by the formation of Chinese maritime networks to southern Asia. While the Song period witnessed the formation of private trade and shipping networks, the aggressive foreign policy of the Yuan court led to the establishment of a government maritime network. The maritime networking to southern Asia culminated in the increased numbers of Ming emissaries, including the fleets of the admiral Zheng He, who visited Indian ports in the fifteenth century and intervened in the diplomatic affairs of several strategic Indian commercial zones.
Sen, Tansen. âThe Formation of Chinese Maritime Networks to Southern Asia, 1200-1450 .â Journal of the Economic and Social History of the Orient, Volume 49, Issue 4, 2006. 421 â 453. Print.

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The literature that takes these women as its subject consistently ascribes agency to their actions, depicts them with a will to participate in (or orchestrate) their movements. This, I think, is an instance of what Katherine OâBrien OâKeeffe has called âphantom agency.â In her discussion of Gunhild, a silent abducted abbess from the late eleventh century,5 OâBrien OâKeeffe cites Anselm of Canterbury, who wrote two letters to Gunhild after her abduction by Count Alan Rufus, in order to present âGunhild to herself as a woman who has chosen an inappropriate love, having abandoned her true spouse, Christ, for a mortal lover.â6 OâBrien OâKeeffe argues that this constitutes a ââphantom agency,â an agency that has only a rhetorical existence and functions solely to indict her for collusion in her own rape.â7 The writers of the texts which feature Derbforgaill and the three Gormlaiths as characters attempt something similar: while they argue that the women have been complicit in their abductions, this is the authorsâ own fictional construct, and one designed not simply to blame the women for collusion in these movements, but also to ascribe responsibility for actions that have ânationalâ consequences. This article is an attempt to separate the literary representations of constructed female characters from the historical reality of the four women. As part of that historical reality, I further propose that Derbforgaill and the three Gormlaiths were used as political hostages, thus making the âphantom agencyâ ascribed to them in literary texts even more spectral.
Lahney Preston-Matto, âQueens as Political Hostages in Pre-Norman Ireland: Derbforgaill and the Three Gormlaithsâ, The Journal of English and Germanic Philology, Vol. 109, No. 2 (April 2010), pp. 141-161.
Creased, flattened-out drawings, loose cuttings, intricately labored paintings, slimy melted plastic, industrial-size tunneling machines, th
Sam Keogh about his work:
" To briefly describe where these images are drawn from, theyâre from a combination of paintings and tapestries which have some relationship to pre-modern myths of abundance, laziness, or anti-work. In particular, The Land of Cockaigne (1567) by Bruegel and The Lady and the Unicorn âmillefleurâ tapestries made around 1500 in Flanders. Flowers, food, sleeping figures, and mythical beasts from these works are collaged together with a Microsoft Teams calendar, Fortnite avatars, inhalers, and other icons and ephemera from contemporary life to form anachronistic combinations of variously rendered signs and symbols.
And yes, a lot of these works are worked on both sides. I like how it frustrates a quick frontal reading. Itâs also an easy way to make an image into an object, and to make people have to move around it, find a spatial rather than just scopic position in relation to it, and to hold peopleâs attention for a bit longer. It also makes you as the viewer do some of this unfolding, I suppose.