Mummiform Figure of Osiris
The inscription identifies this figure as Osiris. He wears the crown of ostrich feathers, a sun-disk, and the ram’s horns that identify him as a king. Yet he is also in the form of a mummy with the curled beard worn by the dead. The figure stands on a hollow base. Originally, a papyrus with a spell written on it was stored in the base. When this figure and papyrus were placed in the tomb, the deceased enjoyed the protection of Osiris and of the spell.
Medium: Wood, painted
Place Made: Egypt
Dates: 664-332 B.C.E.
Period: Late Period (probably)
Brooklyn Museum
REVISITING NATIONALISM – 2
REVISITING NATIONALISM – 2
Prasanna K Choudhary
EUROPE AND THE REST OF THE WORLD
The self-identity of European countries as ‘nations’ was invariably linked with the process of denying and destroying the identities of so many tribes, societies and…
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Insanity: inside the Country of the Mind
Originally posted on Living in the Modem World:
Insanity
In his novel Queen ofAngels, set at the close of 2047, Greg Bear explores the concept of what he calls, “the Country of the Mind”. This, Bear postulates, is the “ground” for all our thoughts. A kind of virtual reality landscape within us where our “big and little selves” – the personality routines which make up the conscious self, and…
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"The order that our mind imagines is like a net, or like a ladder, built to attain something. But afterward you must throw the ladder away, because you discover that, even if it was useful, it was meaningless. .... The only truths that are useful are instruments to be thrown away. ... Fear prophets, and those prepared to die for the truth, for as a rule they make many others die with them, often before them, at times instead of them. ... Perhaps the mission of those who love mankind is to make people laugh at the truth, to make truth laugh, because the only truth lies in learning to free ourselves from insane passion for the truth. ..."
Umberto Eco, 'The Name of the Rose', Vintage Books, London, 2004.
Estonian Art And Literature: Big Ideas In A Small Country
(via https://www.youtube.com/watch?v=2AagfPvWEJc)
It all comes down to that urge to fascism — maybe a big word to use for art, but I think the right word — it comes down to that urge to fascism to know what’s best for people, to know that some people are of the best and some people are of the worst; the urge to separate the good from the bad and to praise oneself; to decide what covers on what books people ought to read, what songs people ought to be moved by, what art they ought to make, an urge that makes art into a set of laws that take away your freedom rather than a kind of activity that creates freedom or reveals it. It all comes down to the notion that, in the end, there is a social explanation for art, which is to say an explanation of what kind of art you should be ashamed of and what kind of art you should be proud of. It’s the reduction of the mystery of art, where it comes from, where it goes…
JNU Violence: JNUSU President Briefs Media Hours After She Was Brutally ...
CELLINI, Benvenuto
Perseus
1545-54
Bronze, height 320 cm
Loggia dei Lanzi, Florence
Robert Frost: Darkness or Light? : The New Yorker
'Naitaavad enaa, paro anyad asti' (There is not merely this, but a transcendent other). Rgveda. X, 31.8.
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