for - quote / critique - it is upon us, beyond our power to alter, and therefore to be accepted and made the best of. It is a waste of time to criticize the inevitable. - Andrew Carnegie - The Gospel of Wealth - alternatives - to - mainstream companies - cooperatives - Peer to Peer - Decentralized Autonomous Organization (DAO) - Fair Share Commons - B Corporations - Worker owned companies

quote / critique - it is upon us, beyond our power to alter, and therefore to be accepted and made the best of. It is a waste of time to criticize the inevitable. - Andrew Carnegie - The Gospel of Wealth - This is a defeatist attitude that does not look for a condition where both enormous inequality AND universal squalor can both eliminated - Today, there are a growing number of alternative ideas which can challenge this claim such as: - Cooperatives - example - Mondragon corporation with 70,000 employees - B Corporations - Fair Share Commons - Peer to Peer - Worker owned companies - Cosmolocal organizations - Decentralized Autonomous Organization (DAO)

It spits contempt at insolence itself

for - unpack - key insight - with the postulate of consciousness as the foundation, it makes sense that this is - an inner reality made of qualia - and an outer reality made of shareable symbols we call matter - Federico Faggin - question - about Federico Faggin's ideas - in what way is matter a symbol? - adjacency - poverty mentality - I am the universe who wants to know itself question - in what way is matter a symbol? - Matter is a symbol in the sense that it - we describe reality using language, both - ordinary words as well as - mathematics - It is those symbolic descriptions that DIRECT US to jump from one phenomena to another related phenomena. - After all, WHO is the knower of the symbolic descriptions? - WHAT is it that knows? Is it not, as FF points out, the universe itself - as expressed uniquely through all the MEs of the world, that knows? - Hence, the true nature of all authentic spiritual practices is that - the reality outside of us is intrinsically the same as - the reality within us - our lebenswelt of qualia

nature made

for - AI music - Udio - terms of service - users can sell the music made on Udio

from - IAAC Lecture Series - Architecture made of Earth with Elisabetta Carnevale - https://hyp.is/A279UruNEe6A7E_2XRTNRQ/docdrop.org/video/IxrmA9dli1Q/

from - IAAC Lecture Series - Architecture made of Earth with Elisabetta Carnevale - https://hyp.is/A279UruNEe6A7E_2XRTNRQ/docdrop.org/video/IxrmA9dli1Q/

from - IAAC Lecture Series - Architecture made of Earth with Elisabetta Carnevale - https://hyp.is/A279UruNEe6A7E_2XRTNRQ/docdrop.org/video/IxrmA9dli1Q/

from - IAAC Lecture Series - Architecture made of Earth with Elisabetta Carnevale - https://hyp.is/A279UruNEe6A7E_2XRTNRQ/docdrop.org/video/IxrmA9dli1Q/

from - IAAC Lecture Series - Architecture made of Earth with Elisabetta Carnevale - https://hyp.is/A279UruNEe6A7E_2XRTNRQ/docdrop.org/video/IxrmA9dli1Q/

from - IAAC Lecture Series - Architecture made of Earth with Elisabetta Carnevale - https://hyp.is/A279UruNEe6A7E_2XRTNRQ/docdrop.org/video/IxrmA9dli1Q/

16:00 "our grass is a solar panel"<br /> hell yeah. fuck these "made in china" hightech bullshit solar panels.<br /> future energy is based on wood gas, and synthetic diesel made from wood gas.<br /> but the depopulation agenda has priority...

• for: what is the world made of, paradigm shift - scientific ontology

• question

  • what off the world made of?
• answer ( Phenomenological)
  • experience!

I think it is interesting how they say it is safe to predict in the future intelligence tests will bring thousands of high-grade defectives. The result they have predicted is interesting because they think the results will eliminate crime, pauperism, and industrial inefficiency. This relates to the history of psychology because they predicted the future. Since we are the future, I don't think there has been a decrease in crime, pauperism which is poverty, and industrial inefficiency. I think we are on the rise of crime and pauperism.

This is exactly right. The first 9 episodes of the first season of Made in Abyss represented some of the best anime of the previous decade precisely because they depicted "[t]he sense of wonder and discovery that made all the cruelty of the Abyss worth exploring..." It was a great, and haunting, adventure story. The end of season one stagnated, the movie went over the line that the first season flirted with, and the second season lost all of the qualities (other than high production values) that made season 1 memorable. The exploring was outsourced to the flashbacks of side-characters, and the whole season was stuck in a single location that was not particularly interesting.

I agree fully with this list of flaws about the second season of Made in Abyss. The first season was terrific, but it flirted with excess in terms of violence and general unpleasantness (excess was achieved in the movie). The second season feels stagnant, sidelines the main characters, and the "aimless body horror" is a good way to describe much of the violence and grossness, which reached Elfen Lied levels of absurdity toward the end.

"I didn't fully understand it at the time, but throughout my time as a freshman at Boston College I've realized that I have the power to alter myself for the better and broaden my perspective on life. For most of my high school experience, I was holding to antiquated thoughts that had an impact on the majority of my daily interactions. Throughout my life, growing up as a single child has affected the way am in social interactions. This was evident in high school class discussions, as I did not yet have the confidence to be talkative and participate even up until the spring term of my senior year."

Picture I (Johan Barron) made to show different thermoregulations, captioned with, if image cannot be found, use this website I uploaded it to https://gyazo.com/c8c85c489c5eb900d10192b558849df7 or https://utoronto-my.sharepoint.com/:i:/g/personal/johan_barron_mail_utoronto_ca/ETtDG01bl1tJmAv70a3Uf7wB1fyrcd2oFgr-GxPJig7xQw?e=CurpFX

Figure 1.1 Differences in thermoregulation between an Endotherm (Oryctolagus cuniculus) and an Ectotherm (Lacertilia) during hot temperatures.

Employees were ‘free’ to negotiate a work contract to their liking within the context of accepting the ‘prerogatives’ of managers to organised and remunerate their efforts as they saw fit (Fox, 1974).

Kids Podcast

Deep Concept: The US Government, in the 1960's/70's provided a crystal ball glimpse into the future by defining climate change (man-made global warming) as a national security concern. Various reports warned of "exponential" growth (population) and related man-made factors (technology etc.) that would contribute to climate change and specifically discussed the possibility of irreconcilable damage to "finite" natural resources.

Mon oncle a effectué deux fois le pèlerinage à La Mecque.

sama -- my.

nijaay ji n. -- maternal uncle; term of reference and address to designate the husband, in conservative circles.

aj (Arabic) v. -- make the pilgrimage to Mecca. 🕋; deceased ☠️ (for a religious personality).

na -- he (?).

ñaar+i (ñaar) -- twice; two. 2️⃣

yoon wi n. -- lane, path, track 🛤; law, regulation, legislation; times.

I had never heard of the Red Ball Express until reading this article.

Ugh. Why did he change this?

Similar question here: https://hyp.is/kayb_AN1EeuCb5OkL5-Yqg/github.com/sveltejs/svelte/pull/3209

Answer here: https://github.com/sveltejs/svelte/pull/3209

To synthesize in definition is create something chemically. This means that if out of 118 elements, 20 of those are man-made via a nuclear reactor and/or a particle accelerator. These elements are unstable because they are built upon fusing an Atom's nucleus with more proton's than it may usually have which causes the stability to become dangerously chaotic as it is not natural for the element. This is the building block for the Atomic Bombs creation.

https://github.com/sveltejs/rfcs/blob/style-properties/text/0000-style-properties.md

She would always choose Wulf and that's what hurts her because she can never have him.

The music we listen to highly impacts our decision making, especially as adolescents. Adolescents are extremely impressionable, and the music they listen to has a great impact on how they decide to live their day to day lives. Popular musicians are seen as role models by the people who idolize them, and adolescents may try to represents the songs in which they favor through their actions every day.

Recent studies have found that adolescents who listen to music that supports substance abuse and violence have a greater chance to act upon what they listen to. What young adults and teenagers listen to through music and popular media will affect their decision making process. Specifically with substance abuse, and there is a direct uptake in use of illegal substances by adolescents who listen to music that promotes such activities. This can cause a whole societal problem considering most of todays popular music among adolescents touches upon substance abuse and violence. Adolescents are extremely impressionable and the music they listen can shape how a person tries to act, or represent themselves.

All that I have given up to this let them serve as examples of the way in which the Connaught peasant puts his love-thoughts into song and verse, whether it be hope or despair, grief or joy, that affect him. (147)

In these final lines of the book, the reader is offered Hyde’s selection of songs as a faithful and complete insight into vernacular Connacht song about the theme of love. Moreover, Hyde suggests that in reading this anthology one achieves a good degree of familiarity with an idealized, essentially native ‘Connaught peasant’.

Although speakers in the songs are variously male and female, and the reasons for separation from absent lovers differ, the experience of love is fairly uniform throughout. It is a sore experience of unrealized desire. That scenario produces a pronouncedly virtuous image of the ‘Connaught peasant’ for a number of reasons.

The reader encounters deep loyalty where admiration is unstinted by forbiddance of love because of emigration, lack of requital, or death. ‘Úna Bhán,’ for example, is preceded by a long passage explaining how deeply a bereaved lover missed the fair Úna after, until he himself passed away. Also, Hyde’s anthology is particularly rich in its examples of similes drawn from the natural world. See ‘my love is of the colour of the blackberries’ (5) in ‘If I Were to Go West’, ‘I would not think the voice of a thrush more sweet’ (27) in ‘Long I Am Going,’ and ‘My love is like the blossom of the sloe on the brown blackthorn’ (31) in ‘An Droighneán Donn’. In the vivid rendering of these images, the beauty of the desired lover is stressed, and the delicate sensibility of the speaker is inherently implied. The Connaught peasant is thoroughly valorized as a result.

Accounting for consistencies among what anthologies include, and among what they exclude, can highlight their organizing agenda. One obvious example in the area of Irish Studies is the Field Day Anthology controversy, detailed in depth by Caitríona Crowe in The Dublin Review: https://thedublinreview.com/article/testimony-to-a-flowering/

In the case of Hyde’s Love Songs, consistencies among excluded material strengthen our perception of how actively he sought to contrive an estimable image of the Connaught peasant. Though Hyde claims his selection is emblematic of the love-thought of that idealized personage, he does not provide any examples of la chanson de la malmariée. This variety of song is so widespread that Seán Ó Tuama, who was the principal authority on the theme of love in Irish folksong, included it as one of five major genres in his article ‘Love in Irish Folksong’ (in the book Repossessions: Selected Essays on the Irish Literary Heritage. Such songs are an expression of grief by a young woman unhappily married to an elderly man.

If we are to view the songs anthologized by Hyde in a broader context of Connacht songs about love, an awareness of the chanson de la malmariéé is required. Faoi Rothaí na Gréine (1999) is a relatively recently published collection of Connacht songs. The collecting work was done in Galway between 1927 and 1932 by Máirtín Ó Cadhain, and latterly edited by Professor Ríonach Uí Ógáin. ‘An Droigheán Donn’, ‘Úna Bhán’, and ‘Mal Dubh an Ghleanna’ are common to Faoi Rothaí na Gréine and Love Songs of Connacht. The inclusion in the former of two famous songs of the malmariée genre, ‘Dar Mo Mhóide Ní Phósfainn Thú’ (I Swear I Wouldn’t Marry You), and ‘Amhrán an Tae’ (The Tea Song) demonstrate the strong presence of that genre in the ‘love-thought’ of vernacular Connacht song.

This way of framing discussion of Love Songs of Connacht invites close interrogation of Hyde’s biases. The choice of material for inclusion and exclusion is ideologically cohesive, to the specific end of creating a valorous image of the idealized native peasant. In my M.A. thesis, I might further refine the line of argument pursued in this annotation, and use it as the basis on which to build a discussion of Hyde’s particular ideological motivations.

As Ciarán Ó Con Cheanainn writes in Leabhar Mór na nAmhrán, the oldest written version of this song dates to 1814, and is found in MS Egerton 117 in the British Library. Oral lore in Conneamara has it that Máire Ní Mhongáin’s three sons joined the British Army, and that Peadar deserted soon after joining, and emigrated to America. It seems probable that their involvement was in the French Revolutionary Wars or the Napoleonic Wars, the major conflicts fought by the British Army in the final decade of the eighteenth century and the first decade of the nineteenth respectively.

Máire Ní Mhongáin seems to have resonated among Irish emigrant communities in the United States. My evidence for this is that Micheál Ó Gallchobhair of Erris, County Mayo, collected songs from Erris emigrants living in Chicago in the 1930s, over a century after the occasion of ‘Amhrán Mháire Ní Mhongáin’s’ composition. It features in his collection, which you access via the following link: http://www.jstor.org.ucc.idm.oclc.org/stable/20642542?seq=2#page_scan_tab_contents

The virulent cursing of departed sons by the mother, named Máre, produces the effect of striking g contrasts with John Millington Synge’s bereaves mother, Old Maurya, in Riders to the Sea.

My Irish Studies blog features an in-depth account of typical features of the caoineadh genre to which Amhrán Mháire Ní Mhongáin belongs. You can access it via the following link: johnwoodssirishstudies.wordpress.com/2018/01/03/carraig-aonair-an-eighteenth-century-west-cork-poem/

This website provides important context for the exploration of a research question I am addressing in my M.A. thesis preparation.

The portrayal of female personages in revivalist literature sets them in signally passive roles. This is most clearly at issue in the work of that period’s two foremost dramatists. In W.B. Yeats’ Cathleen Ni Houlihane, the female protagonist does not pursue her own course of action, but rather serves to inspire male heroism (P.J. Mathews discusses the play’s portrayal of female passivity at length in a piece, see http://www.rte.ie/centuryireland/index.php/articles/literature-and-1916). In The Only Jealously of Emer and The Countess Cathleen the value of women to society is achieved through acts of self-sacrifice for the benefit of significant male others (Christina Wilson has argued similar points in great detail: http://chrestomathy.cofc.edu/documents/vol5/wilson.pdf).

In John Millington Synge’s Riders to the Sea, we encounter a blending of the taste for passive female characters with a revival fascination with the rural west. Old Maurya’s reticence and stern faith in God, following the drowning of her five sons, established her as the moral centre of her native Aran community. Her monologue in the play’s ending concentrates our attention on the community’s willingness to surrender to tragic fate, which is always threatened by the danger of the sea (the play is available to read online at this link: http://www.one-act-plays.com/dramas/riders_to_the_sea.html).

What is interesting to me is that images of a massive female subject, favoured by Abbey playwrights who sought to stress the cultural specificity of Ireland, differ strongly with some prominent portrayals of the female subject in vernacular literature in Irish. In my annotation of this archive, I will provide examples of some genres of folk song – composed by females, and traditionally sung by female singers – that contradict ideas of a female subject as passive sufferer of fate. Annotations will include translations to English.

After highlighting these features of oral literature in Irish, I will have laid down substantial grounding for a discussion of the ideological motivations of revivalist authors’ depiction of female subjects. It is interesting that certain tropes of a national identity, which these authors consciously sought to create, can be seen as divergent with realities of the social group which was most fundamental to that identity. This observation encourages consideration of European intellectual currents which might have influenced revivalist writers, romantic nationalism in particular.