This huge spread reflects the difference between two groups of people giving different answers to a highly innocuous question: ‘Is it more important for a child to be considerate or well-mannered?’ The answers sound almost identical, but social psychologists know that ‘considerate’ taps other-directed emotions while ‘well-mannered’ is about respect for authority. People’s answer to this question matters for Trump support because it taps into a cultural worldview sometimes known as Right-Wing Authoritarianism (RWA). Rather than RWA, which is a loaded term, I would prefer to characterise this as the difference between those who prefer order and those who seek novelty. Social psychologist Karen Stenner presciently wrote that diversity and difference tends to alarm right-wing authoritarians, who seek order and stability. This, and not class, is what cuts the electoral pie in many western countries these days. Income and material circumstances, as a recent review of research on immigration attitudes suggests, is not especially important for understanding right-wing populism.

Cantonese: Language or dialect?

Speaking a tonal language (such as Cantonese) primes the brain for musical training

Tonal languages arose in humid climates

The Language of Power Distance

A discovery I and my team published in Science is that the strength of a culture’s norms isn’t random. Though they were separated by miles, and in some cases centuries, tight cultures as diverse as Sparta and Singapore have something in common: each faced (or faces) a high degree of threat, whether from Mother Nature – disasters, diseases, and food scarcity – or human nature – the chaos caused by invasions and internal conflicts. Strong norms are needed in these contexts to help groups survive. And when we look at loose cultures, from classical Athens to modern New Zealand, we see the opposite pattern: they enjoy the luxury of facing far fewer threats. This safety is used to explore new ideas, accept newcomers, and tolerate a wide range of behaviour. In contexts where there are fewer threats and thus less of a need for coordination, strong norms don’t materialise.

'The Ritz'

The prevalent practice of damaging images of the human form—and the anxiety surrounding the desecration—dates to the beginnings of Egyptian history. Intentionally damaged mummies from the prehistoric period, for example, speak to a “very basic cultural belief that damaging the image damages the person represented,” Bleiberg said. Likewise, how-to hieroglyphics provided instructions for warriors about to enter battle: Make a wax effigy of the enemy, then destroy it. Series of texts describe the anxiety of your own image becoming damaged, and pharaohs regularly issued decrees with terrible punishments for anyone who would dare threaten their likeness.

Notice that the Rawlsian Theory of Food Culture is different from my Airport Principle of Food. The Airport Principle says that, in an area which is really good at Food X, the airport version of Food X will probably be better than the very best version of Food X at many other places. The fish tacos in the LA airport, which are just part of a local SoCal chain, are better than the best fish tacos in all of New England. The chili dogs in the Detroit airport are better than any chili dog I’ve had on the whole of the West Coast. The Chicago deep dish pizza in the Chicago airport is a pale shadow of Chicago’s best, but so many leagues beyond the best Californian attempt that it blows my mind.

Anthony Bourdain wrote that that, after a lifetime of bouncing around New York and having his fill of crappy, thoughtless food, his first trip to Saigon almost shredded his soul. Every single bite of food he had was amazing. Every single person he could find selling food had made it with care and attention and sensitivity.

Let me suggest a corollary: the Rawlsian Theory of Food Culture. The Rawlsian Theory of Food Culture says that, if you want to judge the quality of a food culture, don’t look at its finest restaurants and best food. Look to its low-end. Look to its street carts, its gas-station snacks. Look to what you can get in the airport at 2 AM. Any community can spit up a few nice places to eat, if they throw enough money at it. What shows real love for food, and real caring, is when people make good food when they could get away with making crap.

Eun Heekyung cho biết hiện nay công chúng Hàn Quốc đang đắm chìm trong văn hóa đại chúng là các loại hình nghe nhìn. "Trong khi văn chương có tác dụng làm cho người ta nhận thức được giá trị cuộc sống, làm người ta hạnh phúc hơn khi đắm mình vào cuộc sống".

Asked which of his films are his personal favorites, Kore-eda — in characteristic fashion — expounded upon a familiar adage until it felt new: “It’s like asking someone which of their 10 kids you like the most. You may have one child who’s just ridiculously successful and making tons of money, and then you have this other child who’s living in poverty, but they’re just so lovable.” He grew silent for a moment, and then went on: “I would say there are two children who are most similar to myself. ‘Nobody Knows’ is the film that I became a director to make. ‘Still Walking’ is special to me because I made it shortly after losing my mother. Having said that, I also have to mention ‘Like Father, Like Son,’ because that film took me to the next level, to the point where I couldn’t believe this was really my career.”

The truth, as always, is more complicated. Kore-eda cited the formative experience he had with “After Life” in 1998, which premiered at the Toronto International Film Festival after a programmer sent the director a handwritten fax proclaiming his love for the movie. But a gala debut wasn’t enough to get the movie sold. The director sighed: “I received very blunt information from the agent saying that this isn’t the kind of film that people want — they didn’t want to see people in heaven, they wanted the kind of typical Japanese film that would be representative of a national cinema.” Emotionally inhibited parents drinking sake on tatami mats, rogue samurai wandering the countryside, geishas scuffling around the Gion, that sort of thing. It could have been a devastating moment, but Kore-eda chose to see it as a call to action. “That process made me realize that I don’t have to make what other people want,” he said. “‘After Life’ led me to have confidence that if I make something that I love, there will be fans and critics out there who will love it also, and won’t start putting labels on it.” To his point, “After Life” now regularly appears on (American) lists of the best films of the ’90s. “I feel really fortunate that I’ve been able to find those people,” Kore-eda continued, “even when I’ve wanted to make films just because I liked them.”

“The traditional concept of family was already being dismantled or destroyed in Japan, and 3/11 just made it obvious that was happening. I believe you can no longer interpret the true value or purpose of family based on the antiquated traditional tropes of Japanese society. In ‘Shoplifters,’ I was looking at three generations living together, because that’s typically what you’d find in a Japanese household. But I wanted to play with that, and show that even within those terms the nuclear family is undergoing a permanent change.”

To watch Kore-eda’s films — and certainly to hear him talk about them — it’s clear that he’s not interested in judging this perceived degradation of traditional norms. These movies don’t lament what’s been lost so much as they wonder about what’s been found, a dynamic that allows even the most devastating pieces of Kore-eda’s work to feel intrinsically hopeful (his thoughts on the ending of “Shoplifters” were too spoiler-heavy to share here, but they made it clear the director savors that bittersweet aftertaste). His films are less concerned with passing a verdict on the state of things than they are in studying the various mechanisms that bind people together, and the performative elements required to keep us that way.

That’s exactly right. What’s the technique to avoiding that stance?I don’t think it’s a technique. I don’t think that’s something you can make up, or trick people into believing through your filmmaking. It comes from the fundamental worldview, the sense of humanity. It comes from the depth of the work’s creator. If you have that empathy, you won’t go down the road of voyeurism. You can’t just sympathize; you have to make visible what is invisible. Make visible the factors that have brought the impoverished to this point, so that the audience can see them in a fuller and more complex way. That skirts the trap of poverty porn. Regarding your initial question: I don’t want to present the film in such a way so that when the audience leaves the theater, they say, “Well, it’s the government’s fault! It’s the system’s fault!” That’s not what I’m trying to portray. They’re part of it, but the people watching the film are part of it, too, and they need to feel that by the end.

I’ve read that you visited an actual orphanage while researching this subject. What sort of emotional response did you have at that time?I did not go to an “orphanage,” per se. I went to a facility run by the government that houses children with parents who are dysfunctional in some way, through alcoholism or domestic abuse or something like that. Just wanted to clarify that first. While I was there, a young girl in grade three had just come back from school, and she read for me the book Swimmy by Leo Lionni. I happened to be there in time to witness this. The people who worked at the facility went, “Oh, no, don’t bother him; he doesn’t want to listen to this.” But she completely ignored them and kept reading this book right to the end. And at the very end, I applauded because she had done so wonderfully. The girl was absolutely thrilled by this, and she smiled a big smile, and it occurred to me that it was her parents that she wanted to have witness this reading of Swimmy. This moved me. That was the feeling I took with me when I made Shoplifters. The young boy in the film reads Swimmy, to show to his parents that he’s reading. That sense of pride and joy that the little girl had was something I held with me.

Sakura Ando gives a phenomenal performance as Nobuyo. Can you talk about your collaboration with her? I agree that she is phenomenal. To answer quite honestly, I first heard about Sakura Ando through actors or cameramen who are friends of mine or who I worked with. They all said she was amazing. I was still unsure she’d be right for my film because the part of Nobuyo was written for someone who’s in their 40s. However I ran into her in the neighborhood and we just talked for a little while. And then I ran into her a second time. After that I thought she might be the best person for this role [despite her age] and I offered her the job. You are a director who has successfully directed children in many of your films. How do you work with them? Thank you saying they are successful. For 15 years the way that I have worked with children is I never give them a script. They have no idea about the full story. Everyday when they come on set, I tell them each individual line when they need to know it. So I whisper in their ears this is your line, this is what you are going to talk about, sometimes they choose their own words. But also during auditions I choose children who specifically seem to respond to that method well. Once I’ve chosen them I organize activities to create trust and a relationship with them. My goal is to have them come to set every day smiling, excited and looking forward to the work. That’s my approach.

There is a density and depth to your stories and characters that’s reminiscent of novels. I’m interested in your writing process and how you come about it? That is a difficult question. First there's the person, a human. Then the situation and what if that situation causes the human to do something? I don’t know if it’s right or wrong but I don’t actually sit down and write all the details about each character, their whole history. If you were to attend a screenwriting course, often they’d tell you to sit down and define each character before writing the script. I don’t believe in that, I don't think character development is the way to go. For me it’s the relationships. The relationship between one person and the person standing in front of them. It’s the way they move, the way they react, and how they relate to each other. That’s what defines them. Take for example the character of the father Osamu, he’s defined by the context of the relationships around him. The story comes out of the numerous interactions between these different people.

Thinking of happy accidents, it looked like Miyu Sasaki, who plays the young Juri, really did lose a tooth. Is that something you had to incorporate into the script? On the first day of shooting, we were shooting the scene where she’s discovered on the veranda and it just happened that the tooth came out. [And she yelled] “Oh no, my tooth came out!” We talked about fixing it so there was a fake tooth there, but then I thought I might as well write a scene about losing her tooth. [SPOILERS AHEAD] Then I thought what would be really interesting would be to write a scene where the grandmother who has no teeth dies and the granddaughter loses her teeth and then you throw the teeth up on the roof, so I thought the combination of those two things would make it very interesting and I wrote it into the script.

Was the family’s home on screen a set or a real location? We did use a real house [for exteriors]. There was a small house that existed within all those high-rises, but most of the interior scenes were shot on set. There’s a scene where [you see] the entrance to the home [where] they’re on a little corridor or a little porch outside and when I went to see the house, I was just looking around it with my crew. it’s very near Sumida River, which is very famous for the fireworks coming up, so I just thought, “Oh, it’s very near the river, but [the family] would never be able to see the fireworks,” [which] stayed with me, so I decided to write a scene about it.

Is it true you got to shoot the first scenes of the film in the summer and then go back later to shoot the rest of the film, after you had an idea of how they might interact with one another? Yes. When we started shooting in the summer, the truth is the script wasn’t really finished. I hadn’t really had a complete script by that point and we shot it anyways because we thought we might need it. I told all the actors we may not even keep this scene and Kiki Kirin [who plays the grandmother] said, “Well, in that case, it probably won’t stay. It won’t survive.” [laughs] But then there’s the scene where it rains suddenly and where [the family] finds the cicada, so it was fortuitous when those things all happened. And then when I went back and wrote the script properly in the autumn, I incorporated some of those things in it.

There is a bit of a fantastical quality to the film, which comes through subtly through the score, and I loved how visually, there are often boxes created throughout the frame, particularly inside the family’s house. How did you go about getting the tone right aesthetically? In terms of the visual, in terms of Kondo [Ryuto, the cinematographer], when he talked to me about how he viewed it, he really wanted a poetic state, so visually we were looking at poetic images around their lifestyle and after about a certain amount of filming, I just let Kondo-san go — he was the one that decided the framing, so it was his sensibility that created those lines that you’re talking about. With Honoso [Haruomi, the composer], it was more the image of swimming, so the family were like a bunch of little fishes at the bottom of an ocean swimming around and they would look up at the surface and see the sparkling night, but the sound of that sparkling night would come down to the bottom and twinkle around it.

You’ve acknowledged that “After the Storm” marked a bit of a turning point where you’d start making films about broader Japanese society. What inspired that shift? I look at it a little bit differently because for me, from “Still Walking” to “After the Storm,” that thread was really very much about me looking at what went on inside of a family, inside of the home, [with] a narrow and deep perspective. But that was more the exception. With “The Third Murder,” I felt I went back to where I started, which was with “Nobody Knows” and looking at the family within society. That’s the thread I was following and then I got disrupted by my own personal inquiry.

Shoplifters’ question of whether this family counts as a “real” one does occasionally feel belabored. But its exploration of the layers, and limits, within this unlikely clan is so moving and observant that one can easily overlook that foible. Like nearly every mystery in the film, it isn’t meant to be resolved anyway. To spend time with the Shibatas is to make peace with a lack of answers. In so doing, Shoplifters achieves that ultimate goal of art as expressed by the artist Robert Filliou: It’s art that makes life more interesting than art.

All well and good, but what makes Kore-eda's movie so quietly devastating, the work of a master in full command of his art, is that its emotional rewards stem from a deep engagement with the world rather than a retreat from it. It's the rare movie indeed that can unite a jury without even remotely smacking of compromise.

Crazed Fruit: Imagining a New Japan—The Taiyozoku Films

Though this genre has existed for quite some time, it really blossomed the decade following World War II thanks to so-called “sun tribe” youth movies (these featured teens interested in violence and sex, similar to America’s Rebel Without A Cause). In the decades since, seishun eiga have generally focused on the ups and downs of adolescence, particularly high schoolers. “Seishun eiga offer the sort of clear window into Japan’s national culture, society and psyche that other, more internationally popular, genres don’t. Most Japanese survived high school; relatively few joined yakuza gangs,” the Japan Times film critic Mark Schilling has written. Since these movies can be loaded with cliches and melodrama, the laziest iterations of this style are often deeply formulaic.

Theo bà Ngô Phương Lan, năm 2017, Việt Nam đạt 3.250 tỷ đồng trong lĩnh vực điện ảnh. Trong đó, doanh thu từ phim Việt chiếm 28% nhờ quy định số suất chiếu phim Việt ở mỗi rạp phải chiếm 20% trên tổng số (theo nghị định 54). Tuy vậy, phim trong nước vẫn bị phim ngoại lấn át về sức cạnh tranh.

Korea's booming film industry and what it means for Australian cinema

3 reasons Japanese movies today suck, according to distributor and producer Adam Torel

“Korea is very dynamic, it is undergoing social and political change. Its culture reflects that. Its films are rooted in change,” Rayns said. “In Japan I don’t see that. I see stasis. I still see same right wing politicians denying the existence of comfort women, the same old stuff we’ve heard for 20, 30 or 40 years. Until we see some challenge to the establishment [in Japan] I don’t think you will see the same dynamism as in Korean cinema.”

The situation today is much less dynamic. Filmmaking in Japan has largely polarised, with very high budgets (by Japanese standards, i.e. US$ 10 million or a multiple of it) on the one extreme and no-budget indie (or amateur) filmmaking on the other. Films in the former category seek to emulate the Hollywood blockbuster formula and are produced by "film committees": consortia of production partners, the majority being television stations, advertising agencies and talent agencies rather than traditional film production companies. Each partner has a stake and a say in the filmmaking and the result more often than not literally comes across as something made by committee rather than artistic vision. It is a type of filmmaking that takes no chances: all the stories are based on hit properties (TV series, manga, novels) and the lead actors are pop musicians or TV talento, while the important share of media companies in the production committees is resulting in self-censorship and/or conservative political stances in line with the policies of Shinzo Abe’s government.

Asura flops, but shines a light on China’s increasingly sophisticated film audience

“Gramsci therefore concluded that political questions become ‘insoluble" when ‘disguised as cultural ones’” (Harvey) “Appeals to traditions and cultural values bulked large in all tif this. An open project around the restoration of economic power tb a small elite would probably not gain much popular support. But programmatic attempt to advance the cause of individual freedomis could appeal to a mass base and so disguise the drive to restoife class power.” (Harvey) The Republican Party “also appealed to the cultural nationalism of the white working classes and their besieged sense of moral righteousness (besieged because this class lived under conditions of chronic economic insecurity and felt excluded from many of the benefits that were being distributed through affirmative action and other state programmes). This political base could be mobilized through the positives of religion and cultural nationalism and negatively through coded, ü' not blatant, racism, homophobia, and anti- feminism. The problem was not capitalism and the neoliberaliza- tion of culture, but the ‘1iberals’ who had used excessive state power to provide for special groups (blacks, women, environ- mentalists, etc.). (Harvey)

In amplifying our intelligence, we are applying the principle of synergistic structuring that was followed by natural evolution in developing the basic human capabilities. What we have done in the development of our augmentation means is to construct a superstructure that is a synthetic extension of the natural structure upon which it is built. In a very real sense, as represented by the steady evolution of our augmentation means, the development of "artificial intelligence" has been going on for centuries.

For instance, an aborigine who possesses all of our basic sensory-mental-motor capabilities, but does not possess our background of indirect knowledge and procedure, cannot organize the proper direct actions necessary to drive a car through traffic, request a book from the library, call a committee meeting to discuss a tentative plan, call someone on the telephone, or compose a letter on the typewriter.

Our culture has evolved means for us to organize the little things we can do with our basic capabilities so that we can derive comprehension from truly complex situations, and accomplish the processes of deriving and implementing problem solutions. The ways in which human capabilities are thus extended are here called augmentation means, and we define four basic classes of them: 2a4 Artifacts—physical objects designed to provide for human comfort, for the manipulation of things or materials, and for the manipulation of symbols.2a4a Language—the way in which the individual parcels out the picture of his world into the concepts that his mind uses to model that world, and the symbols that he attaches to those concepts and uses in consciously manipulating the concepts ("thinking"). 2a4b Methodology—the methods, procedures, strategies, etc., with which an individual organizes his goal-centered (problem-solving) activity. 2a4c Training—the conditioning needed by the human being to bring his skills in using Means 1, 2, and 3 to the point where they are operationally effective. 2a4d The system we want to improve can thus be visualized as a trained human being together with his artifacts, language, and methodology. The explicit new system we contemplate will involve as artifacts computers, and computer-controlled information-storage, information-handling, and information-display devices. The aspects of the conceptual framework that are discussed here are primarily those relating to the human being's ability to make significant use of such equipment in an integrated system.

cultivate a language

cu

The kind of participatory connected learning experiences that we are advocating for arenot easily described

new media

Because European and American debates today about whether western culture is fundamentally Christian inherit a genealogy in which Christendom is replaced by Europe and then by the idea of the west.

For Arnold, culture was the “pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world”. Arnold wasn’t interested in anything as narrow as class-bound connoisseurship: he had in mind a moral and aesthetic ideal, which found expression in art and literature and music and philosophy.

while brains may be wired to seethe world, how and what is seen is never without a cultural component.

entanglement of culture with environments and things

Rhetoric has a number of overlapping meanings

Try something crazy

I respect the idealism of blockchain developers who, I believe, are sincere in their faith that they are building a better world. But I am confounded by their inability to see that they are falling victim to exactly the same fallacies their hacker forebears embraced: this notion that we can code ourselves out of the deep holes we’ve dug; that we are building utopias in our virtualities that will finesse away the imperfections of human character.

Contrary to mainstream thinking that this new technology is unregulated, it’s really quite the opposite. These systems apply the strictest of rules under highly deterministic and predictable models that are regulated through mathematics. In the future, industry will be regulated not just by institutions and committees but by algorithms and mathematics. The new technology will gradually out-regulate the regulators and, in many cases, make them obsolete because the new system offers more certainty. Antonopoulos explains that “the opposite of authoritarianism is not chaos, but autonomy.”

It’s the nature of the more more more culture: if you can run two miles, isn’t it better to run five? If you can write an article about something, isn’t it better to turn it into a book? If you can speak in four places this semester, isn’t it better to add on just… one… more…?

“Any time when nurse practitioners and other providers get together, there is always this challenge of professions,” he says. “You’re doing this or you’re doing that, and once you get people who understand what the capabilities are past the title name and what you can do, it’s just amazing.”

“It didn’t shock me at the time because I had already made major changes in our intensive-care unit at the hospital, which were unpopular,” Dr. Gorman says, adding all of the changes were good for patients and produced “fabulous” results. “But it was new. And it was different. And people don’t like to change the status quo.”

culture industry

Liss LaFleur

Some (36%) said they agreed that the threat of “‘fake news’ had made them distrust the credibility of any news.” Almost half (45%) lacked confidence with discerning “real news” from “fake news,” and only 14% said they were “very confident” that they could detect “fake news.”

The end game of a surveillance society, from the perspective of those being watched, is to be subjected to whims of black-boxed code extended to the navigation of spaces, which are systematically stripped of important social and cultural clues. The personalized surveillance tech, meanwhile, will not make people less racist; it will make them more comfortable and protected in their racism.

I think the internet's core message can be summed up in one word: Share.

Mr. Dolby, born Thomas Robertson, took his stage name from Dolby Laboratories because of his fascination with audio technology. He said that he decided to use his nerd persona as a way of distinguishing himself from the “good-looking lads” on the 1980s pop scene — Sting, Simon Le Bon, Adam Ant.But, he added, “I am no more comfortable in my geek skin now than in 1982.”

known as charivari or casserole

Tolerating all ideas does not mean becoming a supporter of them. Saying everything does not mean accepting everything.

Indeed, school exclusion, without these supports, can exacerbate a bad situation. In the Parkland case, the fact that Nikolas Cruz had been expelled from school may have contributed to driving an angry young man who felt isolated to take out his frustration and anger by killing students and staff at his former school. In theory, zero-tolerance policies deter students from violent or illegal behavior because the punishment for such a violation is harsh and certain. However, research shows that such policies ultimately increase illegal behavior and have negative effects on student academic achievement, attainment, welfare, and school culture.

the kids are all right

If you want to understand the Christian extremism that represents the single greatest threat to democracy and human rights in America today, it’s important to understand how authoritarian Christians read the Bible.

I think it’s important for liberal Americans who do not come from a patriarchal religious background to hear our stories and to sit with that shock. Why? Because I remain convinced that if American civil society and the American press fail to come to grips with just how radically theocratic the Christian Right is, any kind of post-Trump soft landing scenario in which American democracy recovers a healthy degree of functionality is highly unlikely.

In a strong culture, there are many, overlapping, and cohesive interactions among all members of the organization.

From the above we can see that Virilio understands human history in terms of a race with time, of ever-increasing speeds that transcend humans' biological capacity. To theorize culture without the dromosphere, that is, the sphere of beings in motion, he therefore sugges,ts, misses the key point of cul­tural activity and the uniqueness of the industrial way of life. Without an explicit conceptualization of the contemporary dromosphere -or in my terms timescape -it is thus difficult to fully understand the human-technology-science-economy­equity-environmenr constellation. Moreover, it becomes impossible to appreciate that people are che weakest link when the time frames of action are compressed to zero and effects expand to eternity, when transmission and transplan­tation are instantaneous but their outcomes extend into an open future, when instantaneity and eternity are combined in a discordant fusion of all times.

Given our tendency to reify social reality (Berger and Luckmann 1967, pp. 89-92, 134-136), we often regard the association of particular "signifiers" with particular "signifieds" (Saussure 1959, p. 67) as inevitable. Such symbolic relations, however, are essentially conventional and, quite often, arbitrary (Durkheim 1965, pp. 261-265; Mead 1934, pp. 117-125; Peirce 1932, Vol. 2, pp. 165-169; Saussure 1959, pp. 67

Culture, according to semiotics, is a communicational system consisting of various messages conveyed by and to members through the use of certain codes (Leach 1976; Lvi-Strauss 196

This system of demonstrating tasks to one robot that can then transfer its skills to other robots with different body shapes, strengths, and constraints might just be the first step toward independent social learning in robots. From there, we might be on the road to creating cultured robots.

Soon we might add robots to this list. While our fanciful desert scene of robots teaching each other how to defuse bombs lies in the distant future, robots are beginning to learn socially. If one day robots start to develop and share knowledge independently of humans, might that be the seed for robot culture?

If we didn’t have social learning, we wouldn’t have culture. As zoologists Kevin Laland and Will Hoppitt argue, “culture is built upon socially learned and socially transmitted information.” Socially acquired knowledge is distinct from what we learn individually and from information inherited through genes or through imitation.

Atthecruxofthisbook,underlyingeachcontributionandinformingthecollectiveenterprise,liesasharedconcernwiththearticulationofhistoricalsignificanceanditsproduction.

Themoreself-consciousonebecomes,themorecomplexone’srelationshiptoanobjectbecomes,physicallyandocularlyaswellaspsychologicallyandexperientially.

music and art were important in helping those early modern humans forge a sense of group identity and mutual trust that enabled them to become so successful.

Mr. Bennet’s property consisted almost entirely in an estate of two thousand a year, which, unfortunately for his daughters, was entailed, in default of heirs-male, on a distant relation; and their mother’s fortune, though ample for her situation in life, could but ill supply the deficiency of his. Her father had been an attorney in Meryton, and had left her four thousand pounds.

Fashion can change overnight. It takes a decade or two to change architecture, because it takes so long to become an architect. You have to go through a rigorous training program. The Cultural Revolution arrested the development of architecture in China.  It has taken this long for it to start coming back. The architecture schools are starting to become confident enough that they are starting to encourage students to draw their inspiration from their own environment and culture.   Until now, they have pretty much been borrowing from the West.  Finally, the professors that weren’t happy about the Cultural Revolution are dying or retiring, and younger, less cynical professors are coming forward and saying, “Being a Chinese architect is good. “ Wang Shu won the Prizker Prize not because he was the world’s great architect, but because he was one of the first in his generation of Chinese architects to be original and be Chinese at the same time, and not borrow from the West.  That will happen more and more.

When was Japan on fire in late '80s to early '90s, every famous architect in the world was in Japan. Every major hotel lobby would be filled with famous architects.  Today, there’s nobody there. The Japanese architects have taken control of their own country.  Now, the only people going work in Japan are Japanese architects. I have to believe that one day, the only people doing architecture in China will be Chinese architects

Is China's Architectural Ambition Leaving Its Own Talent Behind?

Japanese people tend to require more information before reaching a purchasing decision. So for printed brochures, it is standard practice for Japanese companies to create one text-heavy version for the Japanese domestic market, and another “rest of the world” version that gets localized into multiple languages for markets worldwide. Often the Japanese domestic version goes into more detail and mentions this or that technology as part of a product’s appeal. The non-Japan version focuses more on user benefits, oftentimes not even mentioning the technology that makes those benefits possible. Western thinking is, consumers want to acquire an experience, not a technology. Japanese thinking is, those promises feel more real when somehow linked to technology.

He has since tested his hypothesis in India, which also shows a clear divide in wheat and rice growing regions, with similar results. Almost all the people he questioned are not directly involved in farming, of course – but the historical traditions of their regions are still shaping their thinking. “There’s some inertia in the culture.”

The divide did not seem to correlate with measures of wealth or modernisation, but he noticed that one difference could be the kind of staple crop grown in the region: rice in most southern areas, and wheat in the north. “It splits almost neatly along the Yangtze River,” says Talhelm.Growing rice requires far greater cooperation: it is labour-intensive and requires complex irrigation systems spanning many different farms. Wheat farming, by contrast, takes about half the amount of work and depends on rainfall rather than irrigation, meaning that farmers don’t need to collaborate with their neighbours and can focus on tending their own crops. 

When questioned about their attitudes and behaviours, people in more individualistic, Western societies tend to value personal success over group achievement, which in turn is also associated with the need for greater self-esteem and the pursuit of personal happiness. But this thirst for self-validation also manifests in overconfidence, with many experiments showing that Weird participants are likely to overestimate their abilities. When asked about their competence, for instance, 94% of American professors claimed they were “better than average”.This tendency for self-inflation appears to be almost completely absent in a range of studies across East Asia; in fact, in some cases the participants were more likely to underestimate their abilities than to inflate their sense of self-worth. People living in individualistic societies may also put more emphasis on personal choice and freedom.

But why did the different thinking styles emerge in the first place? The obvious explanation would be that they simply reflect the prevailing philosophies that have come to prominence in each region over time. Nisbett points out that Western philosophers emphasised freedom and independence, whereas Eastern traditions like Taoism tended to focus on concepts of unity. Confucius, for instance, emphasised the “obligations that obtained between emperor and subject, parent and child, husband and wife, older brother and younger brother, and between friend and friend”. These diverse ways of viewing the world are embedded in the culture’s literature, education, and political institutions, so it is perhaps of little surprise that those ideas have been internalised, influencing some very basic psychological processes.

many Indians continue to defecate in the open. Bangladesh’s government and charities have built latrines, too, but they have worked harder to stigmatise open defecation. Often they install latrines for the poor and then prod richer folk into following their example. A new, surprising, finding is that this works better than expecting people to copy their social superiors.

use ‘本を貸していただけませんでしょうか’ to make it even politer.

‘本を貸してくださいませんか’ (Can’t you lend me your book?)

By asking questions, the listeners feel that they have a choice to say no and thus are not offended by your request. In Japanese, you should also ask questions when you ask for a favor.

when you ask the same people to do something FOR you, e.g. lend you a book or sign a recommendation letter for you, you can’t just use ください.

The group has long been internally divided by dilemma as to whether its striving upward, should be aimed at strengthening its inner cultural and group bonds, both for intrinsic progress and for offensive power against caste; or whether it should seek escape wherever and however possible into the surrounding American culture.

Cultural differences can be wonderfully subtle.  Consider this distinction: "Do not do unto others as you would not have them do to you" (Chinese Confucian).  This prohibits harmful acts. "Do unto others as you would wish them to do to you" (Judeo-Christian).  This promotes helpfulness.

Another dimension of culture that is relevant to health is the tendency to trust others: this is the notion of "social capital". Perhaps surprisingly, people from individualistic cultures tend to trust strangers more highly than do people from collectivistic cultures. In surveys that ask questions on agreement with statements such as “Most people can be trusted”, Nordic societies score highest, although China is also very high. Several Latin American countries and East Europe score low.

While it’s foolish to assign coherent political meaning to Rodriguez’s film, it cannot be denied that the machete is a powerful symbol of violent, popular revolt, a tool/weapon freighted with centuries of significance.

However, one thing remains constant: those who use it as a tool in their daily lives are also the most likely to turn to it as a weapon, because it is often the only option available to the slave, the peasant, or the proletariat within the agricultural regions of the tropics.

A story like Walker’s illustrates why the machete so well captures the problem of the tool vs. the weapon. This simple object is imbued with enormous symbolic political power, because its practical value can never be isolated from its violent potential.

lthough less obviously ‘difficult’ than The Waste Land, Moulin Rouge!makes effective use of the dense layering effect allusion allows.This complex layering is put into the service of a simple, melodramatic love story, rather than a meditation on the spiritual aridity of modern life. Moulin Rouge!’s innocent, sentimental celebration of love could, in fact, be read as Luhrmann’s response the kind of dislocation Eliot portrays in The Waste Land.

Prowniananalysis

Some cases of fitness are frequency-dependent, which means that certain traits acquire a stable distribution in a population only if they are not universal.

And, in general, to observe with intelligence & faithfulness all the social relations under which he shall be placed.

Statics, respect matter generally, in a state of rest, and include Hydrostatics, or the Laws of fluids particularly, at rest or in equilibrio Dynamics, used as a general term include Dynamics proper, or the Laws of solids in Motion and Hydrodynamics, or Hydraulics, those of fluids in Motion Pneumatics teach the theory of air, its Weight, Motion, condensation, rarifaction &c Acoustics or Phonics, the theory of sound Optics the Laws of Light & vision Physics or Physiology in a general sense, mean the doctrine of the Physical objects of our senses

and what chains them to their present state of barbarism & wretchedness, but a besotted veneration for the supposed supe[r]lative wisdom of their fathers and the preposterous idea that they are to look backward for better things and not forward, longing, as it should seem, to return to the days of eating acorns and roots rather than indulge in the degeneracies of civilization.

"it's not about the technology" because "the technology is neutral."

I never have to be part of an HOA.

I sought to shut down a startup culture at the school that was resulting in sites built with decidedly unregulated palettes and proportions.

representation of race and gender in our culture

the breaking and fixing of things is where the most learning can occur

„Gość Niedzielny": „Młodzi ludzie nie kryją, że noszenie patriotycznych ciuchów jest z ich strony formą manifestacji poglądów, wręcz swoistym wyznaniem wiary".On Interia: „Rośnie zainteresowanie odzieżą z symboliką patriotyczną. Noszą ją ludzie na ulicach, biegacze w parkach czy celebryci. To już nie jest chwilowa moda".„Polska The Times Plus": „Jedni mówią przy tej okazji o renesansie patriotyzmu, inni o modzie bardzo powierzchownej, bo istotą patriotyzmu jest wnętrze człowieka".

Amazon.com : You're annotated out there. Gibson: Yeah it's sort of like there's this nebulous extended text.

Avant d’être des biens économiques, la culture et l’information fondent notre humanité

What, but education, has advanced us beyond the condition of our indigenous neighbours? and what chains them to their present state of barbarism & wretchedness,

within the powers of a single professor.

Spanish is highly interesting to us, as the language spoken by so great a portion of the inhabitants of our Continents, with whom we shall possibly have great intercourse ere long; and is that also in which is written the greater part of the early history of America.

To harmonize & promote the interests of agriculture

Park-specific documents

ystander behaviors can tell us there is a difference, but not much more.

“An individual building, the style in which it is going to be designed and built, is not that important. The important thing, really, is the community. How does it affect life?” I.M. Pei

fears have not diminished and may have prompted calls and means for voluntary euthanasia. This process appears to have occurred in parallel with what has been described as the ‘Alzheimerisation of ageing’. Reinforced by media reports of ‘institutional abuse’ in nursing homes, the intensified search for ‘a cure’, and the dire predictions of demographic apocalypse. The Alzheimerisation of ageing seems to contribute to the propagation of an associated and potentially negative ‘neuro-culture’ spread across the whole of society (Williams, Higgs & Katz, 2012).

making poetry in the streets

I realized that what sold was not the script but the connection of excitement, the acceleration of a heart beat, the comic tone, the sudden absurd eruption in the life of another.

Who do children identify with? Superman? Spiderman? Ironman? Barbie? Gandhi?

I identified immediately with their show. I reckon that this must be like Mr Benn. We need characters who somehow capture our imagination.

Yesterday, I started the day with a blog post entitled 'In the Tribble Valley' inspired by a series of tweets between people who I had never met

during the week we had students reading my blog, seeing their snow hat from last winter being commented on by people all around the world and retweeted by Rihanna (a robot - I kept that quiet not to spoil the effect) on Twitter.

I have indeed succeeded in my ambition, I even referred to Mr Benn in a conference I did in Plymouth in 2011 entitled "In Search of Nomad's Land".

a writer...(now, I come to think of it, I could say that now, I had never assumed that costume before)

whose story are we telling 'objectively'?

Another star discovered with my brother's telescope might have made a blemish in their cultural landscape...

strangers in their own land

Law and custom were of course largely re-sponsible for these strange intermissions of si-lence and speech. When a woman was liable, as she was in the fifteenth century, to be beaten and flung about the room if she did not marry the man of her parents' choice, the spiritual atmos-phere was not favourable to the production of works of art

They arc deeply immersed in illusions and in dream images; their eyes merely glide over the surface of things and sec "forms." Their senses nowhere lead to truth; on the contrary, they are content to receive stimuli and, as it were, lo en-gage in a groping game on the backs of things. Moreover, man permits himself to be deceived in f I his dreams every night of his life.

tropes "are considered to be the most artistic means of rhetoric.