Simply having the possibility. Shows that possibility lies in clothing, in what you put on, in habits. What does it mean for a woman to be undone? A lot of physical things representing this lack of freedom or possibility.

https://www.redbubble.com/i/t-shirt/SiWC-30-by-SiWC/119314956.0S66D.XYZ

02:42 Clothing should be a creative expression. Men tend towards pragmatic clothing

This blog post discusses the author's love for footwear and how it was influenced by a bachelor neighbor who had a large collection of shoes. The author shares their own experiences and aspirations of building their own shoe collection.

• Who: The author (@quduus1), a city boy who grew up with many other kids and families. They also mention a bachelor who influenced their love for footwear.
• What: The author's love for footwear and their desire to build their own footwear collection. They talk about their first encounter with the bachelor, their appreciation for his shoe collection, and their own investment in footwear.
• Where: The author grew up in a city and had an encounter with the bachelor in their compound. They also mention their own shoe collection.
• Why: The author loves footwear and finds joy in adding new shoes to their collection. They were influenced by the bachelor's love for footwear and wanted to build their own collection.
• When: The author's encounter with the bachelor happened around 5-6 years ago when they were in need of help with a mathematics assignment. They also mention recent investments in footwear, such as spending $20 on making new shoes and getting old ones fixed.
• How: The author's love for footwear was sparked by the bachelor's collection and their help in understanding their mathematics assignment. The author is also partially into shoe making and plans to resume their apprenticeship in the future. They mention getting their clothings sown by their designer, Lekunz Clothing.

• for: academic communication to the public - importance, elites - two types, key insight - elites, key insight - science communication

• comment

• key insight

  • Elites are necessary in every society
  • Historically, people who strongly believe that the current elites aren't necessary or are harmful often become the revolutionaries who become the new elites
  • elites need to speak in their own specialist language to each other but there are two kinds of elites
    • those who serve society
    • those who serve themselves
    • often, we have fox in sheep's clothing - elites who serve themselves but disguise themselves in the language of elites who serve others in order to gain access to power ,
    • we normally think of wealthy people as elites, but Harari classifies scientists as also a kind of elite
  • elites may be necessary but
    • We are caught in a double bind, a wicked problem as elites are also the world's greatest per capita energy consumers and their outsized ecological, consumption and energy footprint is now a existential threat to the survival of our species

• references

  • Kevin Anderson: A Habitable Earth Can No Longer Afford The Rich – And That Could Mean Me And You
    • https://hyp.is/go?url=https%3A%2F%2Fclimateuncensored.com%2F1485-2%2F&group=world
  • The role of high-socioeconomic-status people in locking in or rapidly reducing energy-driven greenhouse gas emissions
    • https://hyp.is/go?url=https%3A%2F%2Fwww.nature.com%2Farticles%2Fs41560-021-00900-y&group=world
  • Millionaire spending incompatible with 1.5 °C ambitions
    • https://hyp.is/go?url=https%3A%2F%2Fwww.sciencedirect.com%2Fscience%2Farticle%2Fpii%2FS2666791622000252&group=world

Levi explores the economy of cigarettes and smoking in the chapter of SQ entitled ‘Al di qua del bene e del male', where he explains that ‘Mahorca’, a low-quality tobacco, is officially distributed in the canteen in exchange for the coupons provided to the best worker, but because those coupons are distributed infrequently and inequitably, the tobacco is also sold unofficially in the Market, ‘in stretta obbedienza alle leggi dell’economia classica’, with the resulting booms and busts in price (OC I, 200-01). Because it can be exchanged for more food rations, newer clothing, and other vital necessities, ‘[f]ra i comuni Häftlinge, non sono molti quelli che ricercano di Mahorca per fumarlo personalmente; per lo più, esce dal campo, e finisce ai lavoratori civili della Buna’. That Deutsch is smoking during this work detail is thus a sign of his status and position within the camp.

CLL

The prisoners’ gait is in focus throughout. The minimal characterisation of Limentani here (his name, his origin, his hidden bowl) is striking for its emphasis on his ambulatio, the result of his wooden clogs – ‘strascicando i piedi’. Shoes are a recurrent obsession of Levi and all the prisoners in SQ, as established in ‘Sul fondo’: ‘Né si creda che le scarpe, nella vita del Lager, costituiscano un fattore d’importanza secondaria. La morte incomincia dalle scarpe.’ The stakes of this gait are summarised early in the work: ‘Dobbiamo camminare diritti, senza strascicare gli zoccoli [...] per restare vivi, per non cominciare a morire’ (‘Iniziazione’). The brief exchange between Levi and Limentani here, which Jean listens in on attentively, is then also one between living and dead.

Jean, at the beginning of this chapter, was recognised by his clogs (‘appena si riconobbero le sue scarpe [...], tutti smisero di raschiare’) – as Pikolo, he has a right to discarded clothes and shoes, ‘vestiti e scarpe “nuovi”’ (‘Le nostre notti’). These clogs, ‘zoccoli’, frequently impede the kind of conversation which Levi and Jean accomplish today, drowning out even furtive exchanges: ‘si può tentare di scambiare qualche parola attraverso l’acciottolio delle diecimila paia di zoccoli di legno’ (‘Esame di chimica’), or clamorously announcing a presence too abject for human exchange: ‘I nostri zoccoli di legno sono insupportabilmente rumorosi [...]. Con noi non parlano, e arriciano il naso quando ci vedono trascinarsi [...] disadatti e malfermi sugli zoccoli’ (‘Die drei Leute vom Labor’).

Here their clop must accompany the ‘pleasant walk’ in which the Italian lesson takes place. Perhaps the clogs scan the rhythm of the lines, or are audible in Jean’s recitation of new words, “Zup-pa, cam-po, ac-qua”, or indeed in Levi’s ‘pedestrian commentary’.

RP

Part of the concentration camp uniform, the cap is the first, grotesque piece of clothing that Levi spots upon arrival in Auschwitz, on the ‘strani individui’ (the prisoners already assimilated to the camp system) whose condition prefigures the fate of the newly arrived inmates: ‘In capo avevano un buffo berrettino, ed erano vestiti di una lunga palandrana a righe, che anche di notte e di lontano si indovinava sudicia e stracciata […]. Questa era la metamorfosi che ci attendeva’. Within the camp, prisoners have to quickly remove their caps in front of the Nazis as part of a quasi-military routine: ‘Il regolamento del Lager prescriveva di mettersi sull’attenti e di scoprirsi il capo’. (The Kapo of the Chemical Kommando shows the same deference in front of the official testing Levi’s ability as a chemist: ‘Alex bussa rispettosamente, si cava il berretto’; ‘C’è solo il Doktor Pannwitz, Alex, col berretto in mano, gli parla a mezza voce’.)

This action, featuring for the first time in the present chapter and then as a recurring automatism throughout SQ (see ‘giù i berretti di scatto davanti alle SS’), assumes new meaning in the final chapter of the book, ‘Storia di dieci giorni’, where Charles’ conscious decision to take off his cap as a sign of mourning of the death of fellow prisoner Sómogyi attests to a resurgence of human habits. In the same chapter, Levi refers to him as ‘l’uomo Charles’, and he himself regrets not having a cap to tip: ‘Charles si tolse il berretto. A me dispiacque di non avere il berretto’. The same words mark the narrative continuity between SQ and Levi’s second book. At the beginning of La tregua, a specification reinforces the gravity of Charles’ gesture, marking the transition from the death hovering above the camp to the future life of the prisoners after liberation: ‘Charles si tolse il berretto, a salutare i vivi e i morti’.

GM

The prisoners’ gait is in focus throughout. The minimal characterisation of Limentani here (his name, his origin, his hidden bowl) is striking for its emphasis on his ambulatio, the result of his wooden clogs – ‘strascicando i piedi’. Shoes are a recurrent obsession of Levi and all the prisoners in SQ, as established in ‘Sul fondo’: ‘Né si creda che le scarpe, nella vita del Lager, costituiscano un fattore d’importanza secondaria. La morte incomincia dalle scarpe.’ The stakes of this gait are summarised early in the work: ‘Dobbiamo camminare diritti, senza strascicare gli zoccoli [...] per restare vivi, per non cominciare a morire’ (‘Iniziazione’). The brief exchange between Levi and Limentani here, which Jean listens in on attentively, is then also one between living and dead.

Jean, at the beginning of this chapter, was recognised by his clogs (‘appena si riconobbero le sue scarpe [...], tutti smisero di raschiare’) – as Pikolo, he has a right to discarded clothes and shoes, ‘vestiti e scarpe “nuovi”’ (‘Le nostre notti’). These clogs, ‘zoccoli’, frequently impede the kind of conversation which Levi and Jean accomplish today, drowning out even furtive exchanges: ‘si può tentare di scambiare qualche parola attraverso l’acciottolio delle diecimila paia di zoccoli di legno’ (‘Esame di chimica’), or clamorously announcing a presence too abject for human exchange: ‘I nostri zoccoli di legno sono insupportabilmente rumorosi [...]. Con noi non parlano, e arriciano il naso quando ci vedono trascinarsi [...] disadatti e malfermi sugli zoccoli’ (‘Die drei Leute vom Labor’).

Here their clop must accompany the ‘pleasant walk’ in which the Italian lesson takes place. Perhaps the clogs scan the rhythm of the lines, or are audible in Jean’s recitation of new words, “Zup-pa, cam-po, ac-qua”, or indeed in Levi’s ‘pedestrian commentary’.

RP

Part of the concentration camp uniform, the cap is the first, grotesque piece of clothing that Levi spots upon arrival in Auschwitz, on the ‘strani individui’ (the prisoners already assimilated to the camp system) whose condition prefigures the fate of the newly arrived inmates: ‘In capo avevano un buffo berrettino, ed erano vestiti di una lunga palandrana a righe, che anche di notte e di lontano si indovinava sudicia e stracciata […]. Questa era la metamorfosi che ci attendeva’. Within the camp, prisoners have to quickly remove their caps in front of the Nazis as part of a quasi-military routine: ‘Il regolamento del Lager prescriveva di mettersi sull’attenti e di scoprirsi il capo’. (The Kapo of the Chemical Kommando shows the same deference in front of the official testing Levi’s ability as a chemist: ‘Alex bussa rispettosamente, si cava il berretto’; ‘C’è solo il Doktor Pannwitz, Alex, col berretto in mano, gli parla a mezza voce’.)

This action, featuring for the first time in the present chapter and then as a recurring automatism throughout SQ (see ‘giù i berretti di scatto davanti alle SS’), assumes new meaning in the final chapter of the book, ‘Storia di dieci giorni’, where Charles’ conscious decision to take off his cap as a sign of mourning of the death of fellow prisoner Sómogyi attests to a resurgence of human habits. In the same chapter, Levi refers to him as ‘l’uomo Charles’, and he himself regrets not having a cap to tip: ‘Charles si tolse il berretto. A me dispiacque di non avere il berretto’. The same words mark the narrative continuity between SQ and Levi’s second book. At the beginning of La tregua, a specification reinforces the gravity of Charles’ gesture, marking the transition from the death hovering above the camp to the future life of the prisoners after liberation: ‘Charles si tolse il berretto, a salutare i vivi e i morti’.

GM

OGAAN is one of the best-known designer stores in India and one of the first stores in the country to house collections from multiple designers under one roof.

Time in the US, Homelife, Parents, Jobs

August 6, S. G. •, & 2020. (2020, August 6). Sweatpants Forever: How the Fashion Industry Collapsed. The New York Times. https://www.nytimes.com/interactive/2020/08/06/magazine/fashion-sweatpants.html

In the late eighteenth century, a "wallet" was a bag used by beggars.

wear wool

See this page on the history of the saya y el manto in Spanish colonial Peru

Throughout the story, the narrator references specific parts of articles of clothing (e.g., "collar," "sleeve," etc.). We could use concordances and dispersion plots to trace this clothing motif and begin to investigate its material and affective significances.

they are judging him based on his appearance and how hes dressed

BANQUO referring to the witches clothes as weird and wild

A type of lace, so called because it was primarily produced in Mechelen, Belgium. It was also produced in Antwerp and Brussels. It was very popular throughout the 18th century, but the "disappearance of lace ruffles before 1780 from women's sleeves, and the disappearance of the cravat and men's ruffles" seriously reduced its place in fashionable dress (http://belovedlinens.net/lace/Mechlin.html ).