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The Zollverein Coal Mine is the unique structural expression of the industrial modernity of the 20th century. It was constructed between 1928 and 1932 by the architects Fritz Schupp and Martin Kremmer on behalf of the United Steelworks Inc. according to the maxim of ‘form follows function’. The coal mine had a daily output of 12,000 tons of coal. For decades, it was the coal mine with the greatest output in the world. Since its closure in 1986, the Zollverein Coal Mine has been a listed building and was placed on the UNESCO World Cultural Heritage List in 2001 together with the Zollverein Coking Plant as a “representative example for the development of heavy industry in Europe”.
Berenice Abbott (1898-1991), Talman Street, between Jay and Bridge Street, Brooklyn, 1936.
Seen at the exhibition: 'Berenice Abbott. Portretten van het moderne leven' (Portraits of Modernity), 07.09.2019 — 01.12.2019, photography museum Huis Marseille Amsterdam.
Collection: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection. The New York Public Library, Astor, Lenox and Tilden Foundations.
As modernity invades the islands, few visible tradtions remain. The ear rings made with turtle shells are of the nicest in Trobriand islands.
All the young girls wear them. The principle is to add some rings during puberty, and once the girl finds a husband, and has a baby, she gives her ear rings to her daughter.
That's why you can see so many adult women with long or even broken ear lobes.
Trobriand Islands (aka the Kiriwina Islands) ,off the eastern coast of Papua New Guinea in Milne Bay Province.
© Eric Lafforgue
In the vibrant Chinatown Lunar New Year festivities of 2024, a woman captures tradition and modernity, adorned in red, clutching a dragon puppet amidst a bustling crowd, immortalising a moment against the backdrop of fluttering red lanterns.
Akasaka, one of Tokyo’s central business districts, blends the vibrancy of urban modernity with a subtle nod to traditional Japan. This evolving skyline showcases sleek high-rises and architectural marvels, embodying the city’s dedication to progress and innovation. Akasaka is known for its collection of corporate buildings, hotels, and commercial hubs, making it a bustling center for business and high-end shopping. Each structure here reflects a unique architectural style, with a focus on glass façades and clean lines that capture Tokyo’s sophisticated urban aesthetic.
The area around Akasaka is also rich in history. Though modern skyscrapers dominate the skyline, they sit close to important cultural sites such as Hie Shrine, where Tokyo’s past remains preserved amid the city’s rapid growth. This juxtaposition of traditional and contemporary architecture gives Akasaka a distinctive charm, embodying Tokyo’s balance between honoring history and embracing the future.
As visitors explore Akasaka’s winding streets and admire the towering structures, they’re treated to panoramic views of both Tokyo’s modern landscape and patches of lush greenery that soften the cityscape. This fusion of green spaces with skyscrapers is a testament to Tokyo’s commitment to sustainability and its reverence for nature, even in densely built areas.
For architecture enthusiasts and photographers, Akasaka offers endless inspiration, from minimalist office buildings to innovative glass towers. It’s a place where visitors can experience Tokyo’s corporate pulse while glimpsing the tranquil beauty of green pockets within the urban sprawl. Akasaka stands as a testament to Tokyo’s architectural ingenuity, attracting those who appreciate both the vibrancy and serenity of this dynamic city.
In the heart of San Francisco’s vibrant downtown, this iconic building stands as a striking example of the city’s architectural evolution. The lower portion of the structure showcases classical design elements, featuring ornate stonework and grand windows that reflect the opulence of a bygone era. These historical details are a nod to San Francisco’s rich past, where craftsmanship and attention to detail were paramount.
As your eyes travel upward, the building transitions into a modern skyscraper with a sleek, rounded glass façade. This juxtaposition of old and new creates a visually captivating experience, embodying San Francisco’s dynamic spirit and its blend of tradition and innovation. The glass tower not only reflects the sky but also symbolizes the city’s forward-thinking ethos and its relentless pursuit of progress.
This architectural marvel is more than just a building; it’s a testament to San Francisco’s ability to honor its historical roots while embracing modernity. The structure’s base, with its intricate detailing, invites you to appreciate the artistry of the past, while the towering glass above speaks to the city’s future aspirations. It’s a favorite among urban photographers and architecture enthusiasts who are drawn to its unique blend of styles.
Whether you’re a history buff or a lover of contemporary design, this building offers a fascinating glimpse into San Francisco’s architectural journey. It’s a must-see landmark that captures the essence of the city—where the past and present coexist in perfect harmony.
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Gardens are occupied by a further 29 pavilions built at different periods by the various nations participating in the Biennale. Set amidst tall trees, the pavilions themselves form a sort of anthology of important twentieth-century architecture - given they were designed by architects of the status of Aalto, Hoffmann, Rietveld, Scarpa and Stirling.
1932 Denmark (Carl Brummer) enlarged in 1958 by Peter Koch;
1962 Nordic Countries: Sweden, Norway, Finland (Sverre Fehn)
Sanjog – Uniting Tradition & Modernity by Natya STEM Dance Kampni (India) at the Esplanade Outdoor Theatre during Kalaa Utasavan - Indian Festival of Arts 2023.
Forget fine wines, paintings and jewellery – if you are investing for the future, why not invest in one of the greatest grand tourers ever made, a French minivan-coupé, the Renault Avantime, that will become collectable in the years to come?
Symbol of 21st century modernity
The Avantime was first shown in February 1999 in concept form at a press launch in the Louvre, and one month later to the public at the Geneva Auto Show — where it was referred to as a "Coupéspace" — and went into production (November 2001) two years later, after the subsequent engineering of the pillarless roof to meet highest safety standards. Renault has spent the time between trying to persuade us. Renault saw it as an opportunity for avant-garde design and has made strenuous efforts to have Avantime accepted as a symbol of 21st century modernity. Remember, this is the same country that brought you Citroën. To that end (2001), a deal was struck with the Guggenheim Museum in Bilbao to associate Avantime with one of the most spectacular public buildings, designed by the American architect Frank Gehry.
French madness at it's finest
The Renault Avantime is a shooting-brake marketed by the French manufacturer Renault, designed and manufactured by Matra, between 2001 and 2003. As a one-box design without B-pillars, styled by Patrick Le Quément, the premium priced Avantime combined the space of an estate with the style of a GT coupé. The nonconformist Avantime was part of a high-risk strategy to take Renault back into the high-end luxury car business. The abrupt end of the Renault Avantime was however entirely predictable. Commercial reality dictates that the more idiosyncratic, French-flavoured execs never have worked in the high end of the market that is dominated by German luxury cars from manufacturers like BMW, Mercedes-Benz, and Audi. Reasons of this failure?
- Premium pricing unusual for a Renault;
- Avantime concept and design too innovative for its time;
- Time between concept-car (02-1999) and launching (11-2001);
- Avantime was launched together with Vel Satis and Espace IV.
Class, luxury and aristocracy
Think France, and often visions of luxury follow. Not only stuff like the Chateau de Versailles, Louis the 14th, Paris or Champagne, but also products like high end watches, fashion, expensive wines and food, luxury hotels and the French Riviera. For a lot of things, being French gives an image of class, luxury and aristocracy. Look at Louis Vuitton, Moët Champagne, Cognac, Hermès, Michelin stars or Bugatti.
Vive la différence
Time has done little to blunt the oddness of the Avantime, which looks like a coupé people carrier. However, BBC's Top Gear positioned the Renault Avantime at 'Sub Zero' on the 'Cool Wall' stating it was cooler even than the Aston Martin Vanquish and "the coolest car money can buy". Volumes are low (8,557 examples) and it definitely has offbeat appeal. Regarding the styling, Thierry Metroz, design project manager Matra, said, "We wanted someone walking around the car to be continually astonished." Its doors are astonishingly long (and have to be double-hinged to allow entry and exit in confined spaces), and the pillarless sides, frameless windows, and huge glass sunroof give it an unusually light and airy feel.
Why do you want one?
The Renault Avantime is an extraordinary car: no doubt about that. Whatever your view, in an increasingly uniform world, you should give Renault credit for daring to be different. Nowadays the Renault Avantime is an affordable cool car and it is likely to become collectable in the years to come. Ever-larger amounts of money might begin to change hands as the value of this once-ridiculed big coupé climbs steadily higher. Surely not? Two words: 'Citroën SM'. Renault Avantime has managed to become a Classic Car from the first day of it's appearance. There's been no other modern car that has said "bollocks to convention" quite like the Avantime. They're also very exclusive due to the low production figure. Nowadays inly estimated 4,500 Avantime are in drivers's hands worldwide. I expect it'll be revered in years to come as the Citroen SM of it's generation. If you buy one, look after it, baby it and keep it for at least a few years, you are likely to make an appreciation in value. Crucially, it will be a lot of fun to own.
Vive la France
My late 2002 noir nocturne Avantime (photo) is viable as a daily driver. It provides so much personal satisfaction that the years and miles just fly by, while the enduring qualities remain picture perfect. The eccentric, commercial failed French Renault Avantime minivan-coupé is actually one of the greatest grand tourers ever made.
Lisbon is one of the favorite cities of French tourists. That’s good for me, as I happen to be French was and a tourist there during the summer of 2013. A road trip by car and two days later I had moved from France to Portugal to visit the capital. I had with me my Rolleiflex, old...
More at: emulsive.org/articles/travelogue-lisbon-a-saudade-to-mode...
Filed under: #Articles #Travelogue
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
9. The »ideal« of dark tendencies is the person without world-views.
29. In the background of the modern world’s conceptions, elaborated by a vast rational apparatus, there work manias which are generated by demonic forces.
58. Amalgamation most extremely contrasts with unity.
137. The case when someone ignores essentiality involves not only that the most important thing starts missing but that there can be found something else in its place.
138. Sticking to the only-human leads not to remaining in the human sphere but to becoming sub-human. For persisting in something is to loose it: to loose that which was intended to be retained.
307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.
309. Disintegration can also be seen on the surface. The act of disintegration, however, is forever under the surface which makes it even more difficult to notice it.
310. The path leading to chaos is not yet chaotic, only in its ultimate phase. For, though a chaos-creating force is creating chaos in its course, it necessarily gets structured into dark order of things.
314. That which is in opposition to what transcends life, ultimately, is in opposition to what belongs to the domain of life - for life gets life from what transcends life.
315. As the forces of modernity first annihilate the connection with the supernatural and ruin man’s relationship with nature and only then destroy nature, in the same way they destroy the connection with what transcends life first and only then annihilate life itself.
317. First, only he who maintains his principles is considered a fool (though he is not), then it comes true that only the fool maintains his principles...
318. Those things which are usually referred to as superstitions are in fact innocent and harmless superstitions. The harming and harmful superstitions appear in totally different forms such as evolutionism, antihierarchical views, beliefs in the equality of mankind and as all those phenomena which, philosophically speaking, belong to the realm of humanism.
328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.
329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.
331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.
332. Kali-yuga is not merely a state but a threatening and devouring throat.
333. The disintegrating forces of darkness are living forces, living forces that bring death.
335. The forces of darkness can gain power in the world only because they have already gained power in the soul.
341. Kali-yuga is present in the consciousness, in the strict sense of the word, in the human psyche, in the spiritual manifestations and deeds of man, just as it is present in the surrounding world, in buildings, in music, in the different manifestations of artistic trends and in the very processes of nature. Wherever man directs his attention, be it inward or outward, he is everywhere surrounded and ruled by a world which is under the aegis of antitraditionality - that is being cut off from God, heaven, transcendence, superiority and the essence.
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
364. The specific blindnesses of the dark age as a rule cloak themselves in rationalism.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
375. The forces of darkness and the forces of light in a way want the same in the present age: to make the kali-yuga progress to its end. But whereas the forces of darkness tend to annihilate the true values as well, the forces of light tend to maintain the true values in the course of kali-yuga so as to serve in the building up of a future golden age.
376. One has to accommodate himself to the modern world so that his powers will not wear him out - but not in the sense of bending and assimilating to it, but as a kind of acclimatisation; for he who gets acclimatised will not »serve« the climate but resists the climate.
377. Despite all its losing track, deterioration and dissipation, today’s world and the tendencies operating in it show one direction: the direction of nothingness.
381. The postmodern state, in which everything can be manifested without any real consequence, and in which everything will be free, but nothing will matter, must be accomplished before everything falls apart in postmodernity. Without this, the final disintegration will not come about, since there would always be left certain positive remnants.
404. As light magnetises certain insects, so spiritual darkness attracts the overwhelming majority of people.
427. Everything that is against the supernatural also turns, sooner or later, against the natural.
488. Liberalism not only represents the view according to which every man is equal (to one another), but it also does its best to abolish quality in order to make every men equal.
528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.
529. Counter-culture does not simply mean being a poor hand at culture or that man’s world is inundated with cheap things instead of higher values. The real meaning of counter-culture is that man and his world turn in a completely different direction to the one they ought to, since instead of dominating and cultivating the light, he dominates and cultivates the dark.
531. That which is called the Enlightenment today was, unambiguously, darkening; and exactly that which was dark in it resulted in it being called »Enlightenment«: the denial of the spirit.
533. Turning towards the earth clearly reveals darkening and decay. But how degenerated this [materialistic] view has become is really shown by the fact that it is called »Enlightenment« instead of »Endarkenment«.
[The contemporary manifestations of these kinds of processes at the time were similarly criticised by Plato, according to whom this attitude originated in »grievous ignorance which, however, appears to be the greatest discretion.« (Laws 886B).]
538. The bulk of negative processes and tendencies, be they communism, environmental pollution or economic crises, might be suppressed and reversed. However, there is one process which cannot be held back, and there is not even a wish to hold it back, namely, the rapidly increasing »not-anything-like-ness« or »not-any-kind-of-ness«.
738. Each world that has lost its origin-awareness is characterized by annihilation.
773. Since the return to the origin is only possible from well-ordered states, anti-traditional forces and powers primarily attack the internal and external order of man. This way they create such counter-conditions from which the return to the origin becomes impossible, or almost impossible.
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Metaphysical aphorisms by András László
www.tradicio.org/english/solumipsum.htm
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Painting by Tadeus Brzozowski
An extremely handsome book, beautifully printed on good paper and with fine illustrations by Silk & Terry of Birmingham, and complementing the fine workmanship associated with the Birmingham Guild Ltd. I know of the Guild's work due to their manufacturing of the first real design of London bus stop posts and flags that bore their name and indeed these enamel bus stop flags (along with the Borough of Kensington's street name plates) get a mention in the text.
The Guild were noted for the manufacturing of such signs and I have a catalogue for their inn signs - this booklet looks at their contribution to architectural metalwork and decoration and includes examples for many well known architects and clients. As well as enamel, bronze and wrought ironwork they were amongst the first companies to work in the newer stainless steels such as Staybright manufactured by the Sheffield concern of Firth's.
The Guild itself originated in an evening class for craftmen in beaten metal in 1893 and developed after 1895 with the backing of local businessman William Kenrick. In 1910 they amalgamated with Llewelyn Roberts & Co and indeed from 1915 Mr Roberts and Mr Llewelyn Roberts became the senior managers. In 1919 they acquired the long established concern of Hart, Son & Peard who were formed in 1816.
The book is a reprint of an article in the Architectural Review of September 1928 and the cover shows what I think to be a panel in engraved bronze and Champlevé enamel similar to those undertaken for doors at Messr. John Barker & Co and designed by architect H L Cabuche. Such panels were one of the Guild's specialities.
Our visits as part of our Open House Dublin October 2017 Ireland weekend incl. in Dublin and Dun Laoghaire, County Dublin. We highly recommended this event for beautiful insights from architecture incl. heritage and modernity, plus more memorable discoveries in-between.
A key change during the 20th century in Britain that has been largely ignored in social science generally and housing studies in particular, is the steady growth in provision of domestic gardens in both the private and public sectors (Kellett, 1982). This expansion in gardens has been accompanied by the growth of gardening as a popular leisure activity. National data indicates that 20 million households in the UK, 84 per cent of the total, have access to a garden. Gardening as a leisure activity has steadily increased over the post-war period; today 52 per cent of the adult population regularly engage in some form of cultivation in their backyards (Office of the Deputy Prime Minister, 2002). Traditionally the study of gardens and gardening has emphasised grand gardens and famous gardeners and designers (see Brown, 1999); the humble domestic garden has been neglected (but see Bhatti, 1999; Constantine, 1981; Hoyles, 1991; Ravetz & Turkington, 1995). This paper presents a discussion of the contemporary uses of domestic gardens based on secondary data and draws on primary data to examine some of the roles and meanings of gardens. It is argued that the study of gardens and gardening can significantly enhance the current understanding of the meaning of home in late modernity and the complex interactions between the home and wider social and cultural trends.
Previous studies of gardens have explored a wide range of social and cultural themes (Francis & Hestor, 1990). As part of everyday life, gardens and ways of gardening convey ideas about cultural change, personal identity, lifestyle and relations in the home. The practices of gardening provide insights into changing human-nature relations in late modernity (Bhatti & Church, 2001). The garden, like home, has also been considered as a gendered space (see Bhatti & Church, 2000; Morris, 1994) as well as a private haven from the world of work and politics (Hoyles, 1991), a functional space for leisure and household chores (Williams, 1995) and a space contributing to a home-based sense of place (Tuan, 1990). The media representations of gardens and gardening have also been considered and Gabb (1999) argues that the popular UK television programme ‘Gardener’s World' provides a feminine narrative that makes it distinctive from other ‘ordinary’ programmes.
Clearly gardens and gardening have multiple roles and meanings which can be explored from a variety of theoretical and conceptual directions. The broad aim of this paper is to consider the dimensions of gardening and gardens that provide insights into some of the contemporary meanings of the home. A complex range of theoretical perspectives has been developed to understand the nature of home (see Wardhaugh, 1999 for a review), but this paper seeks to engage with theoretical discussions concerning the home, nature, environmental risk and social uncertainty in late modernity. The reason for focusing on these concerns is that the garden is a distinctive space in the home where individuals (men, women and children) encounter nature in a direct manner that is not possible elsewhere in the home. There are other everyday domestic experiences, practices and knowledges that involve connections with nature but the garden and gardening offer particular opportunities for an embodied and sensual engagement with nature (Bhatti & Church, 2001). Furthermore, the garden, as is shown, is a space that is imbued with notions of privacy whereas many of the other spaces that people associate with experiences of nature are often shared and more public, even when they are physically isolated.
Despite this important reservation the more qualitative data reveals that for some respondents highly valued connections to nature can be created in the garden. Some of the quotes presented below also expose the complex and compromised nature of the garden as a private space for relaxing or escaping. The group of quotes in Box 1 was typical of responses to the question ‘how do you feel about your garden?’. One of the most common words used in these responses was ‘love’ as respondents outlined their personal affection for their gardens. Despite the enthusiasm of many respondents for their garden, others emphasised the functions of the garden and the fifth quote not only indicates a very functional attitude to the garden but also is an important reminder of the ‘reluctant gardeners’ highlighted using the secondary data. A number of respondents stressed the important function of the garden as a space for casual leisure, often described as ‘pottering about’.
Conclusions
The contemporary domestic garden may have received limited attention in housing studies but in other areas of social science commentators have recently made major claims regarding the social significance of gardens and gardening. Franklin (2002) claims that it is a key leisure activity in the Western world and in England it is central to popular culture. The empirical data presented in this paper, however, suggests it is important to be somewhat circumspect and cautious about the degree to which gardens and gardening can enhance life and the home in late modernity. The garden may have the potential to be a site for human creativity and sensual connections to nature but it is also imbued with the tensions, ambiguities and contradictions of late modern living. A variety of secondary data suggests that a significant minority, perhaps as many as a quarter, of the UK's adults have a very strong personalised attachment to their garden and are regular gardeners. A similar proportion of adults, however, view gardening far less positively often seeing it as a chore and a form of unrewarding ‘work’. Somewhere between these two contrasting sets of adults are another group who enjoy their garden but for a variety of reasons do not do much gardening. Of course, these categories of gardeners are fluid and individuals may move between them at different stages of their lives, especially since participation in gardening is much higher amongst older age groups.
Nevertheless, the qualitative findings of the research here do reveal that for a number of the respondents their garden was sited for developing sensual and embodied experiences and understandings of nature. These involved drawing on all the senses along with plants, pets, wildlife, the seasons, the elements, the landscape and the skyscape. The construction of hybrid relations with nature clearly involves interactions varying between individuals with the different components of nature. Interpreting these experiences of nature in a broader social context is rather more problematic. The therapeutic value of the garden was mentioned by a number of respondents, possibly confirming Kaplan & Kaplan's (1989) view about the restorative value of ‘nearby nature’. Cohen & Taylor (1992) suggest the garden might be a site for escape. Many of the respondents sought to ‘hide’ in the garden, often seeking to create a sense of place or home in the process. But it is not clear about what they were hiding from; some from a fast changing world, others from domestic drudgery and still others from family members. These may be undesirable features of a ‘risk’ society but there is not a simple link between the garden and people's concern with environmental degradation. The limited take-up of organic gardening in the UK compared to ‘containerised’ and lifestyle gardens illustrates the complex relations between the garden and environmental concerns.
The findings of the research do indicate more clearly that the garden provides a distinct site for negotiating and addressing some of the paradoxes of home and domestic life in late modernity. The garden, like the home, is imbued with meanings relating to privacy and sociation but in the garden both these meanings involve compromise and sometimes disappointment, partly due to the presence of neighbours. Developing personalised relations with nature in the garden draws individuals into a similarly negotiated process that has ambiguous outcomes and potential. In this context the garden seems to be both a place in which to hide and a specific space from which to confront and understand increasing uncertainty in the social and natural world. Late modernity presents us with paradoxes and these imbue the search for ‘nature’ in our backyards
in the heart of saint-tropez, the early morning sun casts intricate shadows upon timeworn walls. a woman, draped in a colorful, flowing dress, moves through the narrow alley of rue etienne berny, her head bowed in contemplation. the play of light and shadow creates a delicate lacework on the rustic facade, narrating stories of the past. every step she takes seems to echo with whispers of history, while her vibrant attire adds a touch of modernity to the ancient street. this juxtaposition captures the essence of a place where time stands still, yet moves forward with every passing day.
There's something stranger and sadder about an abandoned home that's been wrapped in vinyl. A thin skin of plastic offers an illusion of modernity, but the cratered roof and broken windows let in more than enough weather. The floors collapse, the animals overtake her, and I've never seen so many species of feces in one tiny space. This is farm country, with cows out back, and a chicken barn across the road. The wildlife flocks in to join them, roosting, nesting, and burrowing down in places like these. Inside, the kitchen floor collapsed under the massive weight of the old stove, now embedded in the basement like the aftermath of some asteroid impact.
Next door is the old one-room school, still standing despite her perpetually truant children. With the permanent perfume of manure lingering in the air, no new tenants are likely. This home lasted just long enough that someone thought they could save her. Who can say if they lived to be proven wrong?
January 24, 2018
Dempsey Corner, Nova Scotia
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Nestled in the heart of Kyoto, this picturesque street scene captures the essence of Japan's timeless beauty. The focal point of the image is a meticulously preserved traditional wooden building with a gracefully sloping tiled roof, a quintessential element of classic Japanese architecture. The intricate wooden latticework and earthy tones of the structure evoke a sense of nostalgia and reverence for the past. This building, likely a historic teahouse or a traditional inn, stands as a proud reminder of Kyoto’s rich cultural heritage.
Adjacent to this historical gem are contemporary buildings, including a recognizable international coffee shop chain. This juxtaposition of old and new highlights Kyoto’s seamless blend of tradition and modernity, where centuries-old structures coexist harmoniously with modern conveniences. The clean, well-maintained street, lined with stylish lampposts, adds to the aesthetic appeal and invites visitors to explore further.
Walking through this street, you can feel the soul of Kyoto, a city that honors its history while embracing the future. The traditional wooden building stands as a testament to the architectural ingenuity of the past, showcasing elements such as shoji screens, tatami mat flooring, and intricate wooden carvings. These features not only add to the visual appeal but also tell a story of craftsmanship and cultural significance.
Kyoto, once the imperial capital of Japan, is a treasure trove of historical sites and architectural marvels. The harmonious coexistence of traditional and contemporary elements in this street scene is a microcosm of the city’s broader landscape. Whether you’re a history buff, an architecture enthusiast, or simply a traveler looking to immerse yourself in the culture, this street in Kyoto offers a glimpse into the delicate balance of the past and present.
The Zollverein Coal Mine is the unique structural expression of the industrial modernity of the 20th century. It was constructed between 1928 and 1932 by the architects Fritz Schupp and Martin Kremmer on behalf of the United Steelworks Inc. according to the maxim of ‘form follows function’. The coal mine had a daily output of 12,000 tons of coal. For decades, it was the coal mine with the greatest output in the world. Since its closure in 1986, the Zollverein Coal Mine has been a listed building and was placed on the UNESCO World Cultural Heritage List in 2001 together with the Zollverein Coking Plant as a “representative example for the development of heavy industry in Europe”.
Explore the vibrant heart of Japan's urban landscape, where tradition meets modernity in an exhilarating blend. This bustling street scene, likely located in the dynamic district of Shibuya or Shinjuku, showcases the essence of Japanese city life. The street is alive with activity, as locals and tourists navigate through a maze of shops, restaurants, and towering buildings. The architectural landscape is a fascinating juxtaposition of old and new. On one side, you see the sleek, modern glass facade of the KOME HYO building, adorned with a mesmerizing, swirling design that captures the eye. This contemporary structure stands in contrast to the more traditional buildings nearby, which house a variety of eateries and retail stores. The signage, predominantly in Japanese, adds to the authentic feel of the area, with colorful advertisements and shop names vying for attention. The presence of umbrellas suggests a typical rainy day in Japan, adding a layer of charm to the scene as people move briskly, creating a dynamic flow of human activity. This image encapsulates the essence of urban Japan, where every corner offers a new discovery, from culinary delights to unique shopping experiences. The historical significance of such districts cannot be overstated, as they have evolved from traditional marketplaces to modern commercial hubs, reflecting Japan's rapid development while preserving its rich cultural heritage. Whether you're a history buff, an architecture enthusiast, or simply a curious traveler, this snapshot of Japanese city life offers a glimpse into the daily rhythm of one of the world's most fascinating countries.
through the frame of modernity, the echoes of history reverberate in the fleeting moment of a newspaper purchase. an everyday ritual captured amidst the storied charm of place des lices in saint-tropez. the juxtaposition of the man's contemporary attire against the backdrop of a traditional kiosk underscores a dialogue between the past and present, bridging generations through printed words.
328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.
329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.
331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.
332. Kali yuga is not merely a state but a threatening and devouring throat.
333. The disintegrating forces of darkness are living forces, living forces that bring death.
335. The forces of darkness can gain power in the world only because they have already gained power in the soul.
427. Everything that is against the supernatural also turns, sooner or later, against the natural.
488. Liberalism not only represents the view according to which every man is equal (to one another), but it also does its best to abolish quality in order to make every men equal.
528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.
531. That which is called the Enlightenment today was, unambiguously, darkening; and exactly that which was dark in it resulted in it being called »Enlightenment«: the denial of the spirit.
533. Turning towards the earth clearly reveals darkening and decay. But how degenerated this [materialistic] view has become is really shown by the fact that it is called »Enlightenment« instead of »Endarkenment«.
[The contemporary manifestations of these kinds of processes at the time were similarly criticised by Plato, according to whom this attitude originated in »grievous ignorance which, however, appears to be the greatest discretion.« (Laws 886B).]
538. The bulk of negative processes and tendencies, be they communism, environmental pollution or economic crises, might be suppressed and reversed. However, there is one process which cannot be held back, and there is not even a wish to hold it back, namely, the rapidly increasing »not-anything-like-ness« or »not-any-kind-of-ness«.
738. Each world that has lost its origin-awareness is characterized by annihilation.
the interesting contrast between these two posters gives much fodder for discussion. The Wife picked them up in Ghana a few years back. You'd typically find them in hairdressing saloons advertising the latest styles, strategic and otherwise. Black women spend so much time and money on hair, indeed it is often a touchy topic, fraught with cultural misunderstandings. There are many traditions too, straight or "natural", braided or permed and all the various dichotomies that I try to remain blissfully unaware of. The immediate observation is of the difference in the production values and photography between the two. The photos of the models with straighter hair have been lightened considerably, the cornrow models appear darker even though they are probably the same shade of blue... What is the latent message being depicted? In both cases, there is the same trade-off between maintenance, ongoing discomfort and upfront time and costs.
Compare perhaps to the situation in 1969