June 28, 2017 - Aspen, Colorado, USA: Aspen Institute Ideas Festival:

318 - Evolving Morality: Features and Bugs

Joshua Greene

Koch Building, Booz Allen Hamilton Room

10:20 am - 11:20 am

Photo by Ian Wagreich

The revival of morality

emilysquotes.com/when-law-and-morality-contradict-each-ot...

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Liberty cannot be established without morality. – Alexis de Tocqueville

www.psychologyquotes.com/liberty-cannot-be-established-wi... #Psychology #Quotes

SOOC

Jimmie Deeghan of Every Avenue.

October 19th, 2008.

The Compromising of Integrity, Morality, and Principles In Exchange For Money Tour.

Jannus Landing.

St. Petersburg, Florida.

Morality, like art, means drawing a line someplace.

[Oscar Wilde]

Photo by Jeff Watts

Photo by Jeff Watts

Lady Macbeth despairs at her momentary loss of morality

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

Here's another old picture, this one from the dedication of a community mural somewhere south of Park Slope. The mural was conceived, designed, and painted by a group of ten or twelve teenaged girls, and facilitated by the Groundswell Community Mural Project. This mural, visible from the BQE, is a response to military recruiters who take advantage of at-risk young women; the title is "We Are Not Government Issued."

a graphic design:)

#SadhguruQuotes #Morality #Spirituality

You don't need religion to have morals. If you can't determine right from wrong, then you lack empathy, not religion.

.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

here.

More goodies from the American Association for Moral and Social Hygiene

Morality: Does it exist? - with Jonathan MS Pearce and Alan Duval - The Rifle, Goldsmith Avenue, Portsmouth

artist: Pavel Sterec

photo: Dominik Lang

www.ucg.org/the-good-news/good-news-magazine-march-april-...

Inside this issue:

--Editorial: The War on Morality

--Redefining Morality: A Torrent of Trouble Threatens to Engulf Us

--Turning Your Own Life Around: Where to Start

--10 Practical Ways to Teach Your Children Right Values

--Watch Therefore, and Pray Always

--Would Jesus Christ Celebrate Easter?

--The Resurrection Connection

--God's Spirit: The Power to Transform Your Life

--God's Greatest Gifts

--Jesus Christ, the Supreme Servant

--Europe Moves Closer to Fulfilling Its Grand Design

--"Borderless" Europe Now Encompasses 400 Million People

--World News & Trends

--God, Science and the Bible

--Letters From Our Readers

--Questions and Answers

--Youth Focus: Are You Up for the Challenge?

Morality

At the Oceanside Museum of Art.

Posted from Twitter via Tweetie 2 & GDZLLA

Transformations, morality and loyality.

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.

Slave Discipline

so twisted ... this mature lady lost her morality

Photo by Jeff Watts

www.nancys-world.com/pilgrims-progress-movie #pilgrimsprogressmovie #pilgrim #PilgrimsProgress #JohnBunyan #actionadventure #Christiana #pilgrims #progress #worldly #wiseman #fantasyfilm #Bunyan #fantasyepic #filmaker #fantasy #movieset #actionmovie #action #trailer #morality #law #legality #warrior #filmingday

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

emilysquotes.com/we-rise-by-lifting-others/

.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

.....