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japan has tested the bounds of my vegetarian morality. this for instance, is the heart of an animal. on a skewer.
i tried it though. it was chewy.
im not sure i want to do that again.
THE AWAKE autentico hardcore oldschool desde Asturias que recuerda a JUDGE, CRO-MAGS, YOUTH OF TODAY...
NEW MORALITY desde Holanda con miembros de STRIKE FIRST onda BREAKDOWN, COLDFRONT, OUTBURST, CROWN OF THORNZ
.Jon Serl, Born Olean, NY 1894-
died Lake Elsinore, CA 1993
2 Dogs--3 BANDSMEN; and camera, 1963, oil on fiberboard, overall: 69 1⁄4 x 22 in.
Male Figure, 1967, oil on board, 72 3⁄8 x 21 1⁄4 in.
Jon Serl’s paintings magnificently fuse the vivid life of his peripatetic, vaudeville upbringing with mature musings on survival, human relations, gender identity, morality, and his own artistic life in the company of chickens and chihuahuas. When Serl began painting in earnest in the late 1940s, he favored landscapes. He soon turned to portrayals of human interaction marked by saturated color and liquid-limbed, dream-like figures.
According to Jon Serl, this painting began one afternoon with the drawing of a neighborhood boy who interrupted Serl's painting. Serl told the boy to retrieve a piece of scrap board and work on his own creation, instructing him to "put the head all the way at the top and put the feet at the bottom." When he saw the initial drawing, Serl was inspired to work on it himself, to "make it live." The result is a composition characteristic of Serl's art that interweaves daily realities with his profoundly subjective view of contemporary life.
As a child, Serl performed in his family's traveling vaudeville show, and this experience provided an essential element of his mature painting style. When Serl began painting inearnest after World War II, his earliest compositions were landscapes. By the mid to late 1950s, Serl's vision had turned toward expressionist figurative studies that continue to command his attention. His portrayals of human interaction are usually stagelike, achieving their mysterious qualities by a masterful use of color. "You don't see my paintings," Serl insists, "you feel them."
__________________________________
SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.
americanart.si.edu/exhibitions/folk-art
Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.
The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.
he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.
Themes
Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.
The Collection
SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.
Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.
Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.
americanart.si.edu/art/highlights/folk
.....
Author: Gregory I
Title: Moralia in Job
Language: Latin
Printed in Basel by Nicolaus Kesler in 1496.
Owned by Elvas Society of Jesus College. Also owned by, Ex domo Rev[eren]dii et Eximij Domini Matthae Christianj Karg SS Theologiae Cand in 1684.
This book contains a commentary on the morality in the book of Job.
Photo by Kathleen Comerford
Currently housed at Yale Beinecke Library beinecke.library.yale.edu/research/permissions-copyright
More photos from this book
.Jon Serl, Born Olean, NY 1894-
died Lake Elsinore, CA 1993
2 Dogs--3 BANDSMEN; and camera, 1963, oil on fiberboard, overall: 69 1⁄4 x 22 in.
Male Figure, 1967, oil on board, 72 3⁄8 x 21 1⁄4 in.
Jon Serl’s paintings magnificently fuse the vivid life of his peripatetic, vaudeville upbringing with mature musings on survival, human relations, gender identity, morality, and his own artistic life in the company of chickens and chihuahuas. When Serl began painting in earnest in the late 1940s, he favored landscapes. He soon turned to portrayals of human interaction marked by saturated color and liquid-limbed, dream-like figures.
According to Jon Serl, this painting began one afternoon with the drawing of a neighborhood boy who interrupted Serl's painting. Serl told the boy to retrieve a piece of scrap board and work on his own creation, instructing him to "put the head all the way at the top and put the feet at the bottom." When he saw the initial drawing, Serl was inspired to work on it himself, to "make it live." The result is a composition characteristic of Serl's art that interweaves daily realities with his profoundly subjective view of contemporary life.
As a child, Serl performed in his family's traveling vaudeville show, and this experience provided an essential element of his mature painting style. When Serl began painting inearnest after World War II, his earliest compositions were landscapes. By the mid to late 1950s, Serl's vision had turned toward expressionist figurative studies that continue to command his attention. His portrayals of human interaction are usually stagelike, achieving their mysterious qualities by a masterful use of color. "You don't see my paintings," Serl insists, "you feel them."
__________________________________
SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.
americanart.si.edu/exhibitions/folk-art
Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.
The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.
he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.
Themes
Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.
The Collection
SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.
Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.
Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.
americanart.si.edu/art/highlights/folk
.....
Religion, Morality, and Knowledge are the keys to good government and the happiness of mankind. So say the class of 1804.
Nicholas Haan, faculty at Singularity University, and senior adviser at U.N. FAO, presented a Flash Talk on Famine, Affluence, Morality, and Technology.
For more information and to watch the event recording, visit pages.devex.com/devex-dish-at-sxsw-2023.html
Author: Gregory I
Title: Moralia in Job
Language: Latin
Printed in Basel by Nicolaus Kesler in 1496.
Owned by Elvas Society of Jesus College. Also owned by, Ex domo Rev[eren]dii et Eximij Domini Matthae Christianj Karg SS Theologiae Cand in 1684.
This book contains a commentary on the morality in the book of Job.
Photo by Kathleen Comerford
Currently housed at Yale Beinecke Library beinecke.library.yale.edu/research/permissions-copyright
More photos from this book
Closeup of the train sculpture at the Longmont Public Library. I wonder what D.U. and P. stand for..... does anyone out there know?
The sculpture is titled "Longmont, 1871-1910" by artist George Greenamyer, installed in 1993.
Image from 'Claude Beauclerc: a story of modern morality. By Ambofilius', 000067699
Author:
Volume: 03
Page: 218
Year: 1881
Place: London
Publisher: Tinsley Bros.
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000218)
Nicholas Haan, faculty at Singularity University, and senior adviser at U.N. FAO, presented a Flash Talk on Famine, Affluence, Morality, and Technology.
For more information and to watch the event recording, visit pages.devex.com/devex-dish-at-sxsw-2023.html
Illustrating a Flemish morality tale of the late 13th century. Out hawking, three young kings come across three animated corpses who 'warn them of the emptiness of earthly rank and riches'.
Tipitaka Recitaion to celebrate the World Tipitaka Presentation to University of Melbourne
"Wisdom is purified by Morality,
and Morality s purified by Wisdom;
Where there is Morality, Wisdom is there,
Amd were there is Wisdom, Morality is there.
With the wise, there is Morality;
Thus, Morality and Wisdom are deemed
Tp be supreme in the world"
Translated from the World Tipitaka in Roman Script
Vol. 6. No. 317 paragraph 486
จดหมายเหตุดิจิทัลจากกองทุนสนทนาธัมม์นำสุข ท่านผู้หญิงมณีรัตน์ บุนนาค ในพระสังฆราชูปถัมภ์ฯ ผู้ดำเนินโครงการพระไตรปิฎกสากลอักษรโรมัน พ.ศ. 2542-ปัจจุบัน
Digital Archives from the M.L. Maniratana Bunnag Dhamma Society's World Tipiṭaka Project in Roman Script, 1999-2009.
World Tipiṭaka Project :
Archives 1999-present :
World Tipitaka Council B.E.2500 (1956)
World Tipiṭaka in Roman Script
Tipitaka Studies Reference 2007
World Tipiṭaka Project :
Archives 1999-present :
World Tipitaka Council B.E.2500 (1956)
World Tipiṭaka in Roman Script
Image from 'The True Intellectual System of the Universe ... With a Treatise concerning Eternal and Immutable Morality. To which are added, the notes and dissertations of Dr. J. L. Mosheim, translated by John Harrison ... With a copious general index to the whole work', 000832665
Author: Cudworth, Ralph
Volume: 03
Page: 632
Year: 1845
Place: London
Publisher: Thomas Tegg
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
September 28, 2010 - "Regulating from Nowhere: Environmental Law and the Search for Objectivity" - Professor Kysar of Yale Law School recently presented the research from his book "Regulating from Nowhere: Environmental Law and the Search for Objectivity," offering a new approach to environmental law policies. Kysar posits that the current approach to environmental policy, engaging from an objective standpoint, is actually not the best one from which to make environmental policy. Kysar proposes that by denying the question of morality in environmental policy, the full scope of the issue and the responsibility inherent to governments is disregarded. He suggests that by utilizing precautionary principles to promote moral consciousness among a political body to enhance environmental law in order to combat potential future environmental crises. Matthew Adler, Leon Meltzer Professor of Law at the University of Pennsylvania Law School; Adam Finkel, Executive Director of Penn Program on Regulation; and Kathleen Segerson, Professor of Economics at the University of Connecticut provided commentary at the event. Professor Douglas Kysar is the Joseph M. Field '55 Professor of Law at Yale Law School.
October 17, 2008
Compromising of Integrity, Morality & Principles in Exchange for Money Tour
Ft. Lauderdale
David Hartman: Morality Confronts the Halakhic Tradition: Rethinking the Traditional Perspectives on Women, Converts, and Non-JewsLindenbaum-Pomrenze Lecture Series, Spring 2008, 24 March 2008, Final lectureThis video was originally shared on blip.tv by aabbey1 with a Creative Commons Attribution-NonCommercial 2.0 license.