Podcasts about Hieronymus Bosch

As if you haven't had enough history lately, we're here with just a little bit more...but this time it's ART HISTORY. We're taking a look at one of the Netherland's most influential artists and painter of so many weird little guys, Hieronymus Bosch! Find out more at http://getafternoonified.com

In this edition of Off the Record Rastislav Miklos and Stewart Rathje take a look at films we watched recently. Unfortunately Ken was not able to make it this time.Rasto enlightens us with his TV series that ran from 2016 to 2021. Rasto believes that four seasons is the perfect amount of time before a series goes stale. Billy Bob Thornton plays a disgraced lawyer, and ambulance chaser mixed with his keen cleverness.Stewart then gives his take on the 1988 film The Couch Trip, featuring an escaped mental patient and convict played by Dan Aykroyd. This Crimedy didn't deserve the ratings it did, and is full of laughs. Dan Aykroyds sidekick is played by Walter Matthau.Rasto continues on the True Crime kick with the TV series Bosch from 2014 to 2021 but only managed to watch 2 seasons. The series continues to confuse Rasto on how they came up with the name of the show. He believes it was based on the famous painter from the 16th century, Hieronymus Bosch.And finally Stewart's lesser pick The Very Excellent Mr. Dundee from 2020 is parody of a film that pokes fun at retired actors and the high jinx they can get into. Featuring Paul Hogan as the main character, but graced with many cameo appearances from other actors such as Chevy Chase and John Cleese.Share this post with all your friends! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit unsungcinematics.substack.com

Hello again, dear Loopers! Welcome to another exciting episode of Spanish Loops! We are Fran and Jorge, and as always, we join forces together. Today we have something truly special lined up for you.Get ready to embark on a virtual journey through one of the most iconic and majestic museums in the world. Yes, we are talking about the Museo del Prado, located right in the heart of Madrid, Spain.In this episode, we will guide you through the highlights of this extraordinary cultural treasure. With centuries of art and history echoing through its halls, the Prado holds masterpieces that have inspired generations. We'll be spotlighting the works that, in our view, are absolutely unmissable.Artists like Titian, Rubens, Hieronymus Bosch, El Greco, Diego Velázquez, and Francisco de Goya… These are not just names, they are the pillars of artistic legacy, and their works in the Prado are simply breathtaking.Whether you're an art enthusiast, a curious traveler, or someone who is planning a future visit to Madrid, this episode is your perfect introduction to the timeless beauty and cultural richness the Prado has to offer.So pour yourself a glass of wine, (Rioja?), sit back, and let us take you on a fascinating loop through the masters of Spanish and European art.¡Vámonos, Loopers! The tour begins now…

Hello again, dear Loopers! Welcome to another exciting episode of Spanish Loops! We are Fran and Jorge, and as always, we join forces together. Today we have something truly special lined up for you.Get ready to embark on a virtual journey through one of the most iconic and majestic museums in the world. Yes, we are talking about the Museo del Prado, located right in the heart of Madrid, Spain.In this episode, we will guide you through the highlights of this extraordinary cultural treasure. With centuries of art and history echoing through its halls, the Prado holds masterpieces that have inspired generations. We'll be spotlighting the works that, in our view, are absolutely unmissable.Artists like Titian, Rubens, Hieronymus Bosch, El Greco, Diego Velázquez, and Francisco de Goya… These are not just names, they are the pillars of artistic legacy, and their works in the Prado are simply breathtaking.Whether you're an art enthusiast, a curious traveler, or someone who is planning a future visit to Madrid, this episode is your perfect introduction to the timeless beauty and cultural richness the Prado has to offer.So pour yourself a glass of wine, (Rioja?), sit back, and let us take you on a fascinating loop through the masters of Spanish and European art.¡Vámonos, Loopers! The tour begins now…

Good Sunday morning to you,I am just on a train home from Glasgow, where I have been gigging these past two nights. I've had a great time, as I always seem to do when I go north of the wall.But Glasgow on a Saturday night is something else. My hotel was right next to the station and so I was right in the thick of it. If I ever get to make a cacatopian, end-of-days, post-apocalyptic thriller, I'll just stroll through Glasgow city centre on a Friday or Saturday night with a camera to get all the B roll. It was like walking through a Hieronymus Bosch painting only with a Scottish accent. Little seems to have changed since I wrote that infamous chapter about Glasgow in Life After the State all those years ago. The only difference is that now it's more multi-ethnic. So many people are so off their heads. I lost count of the number of randoms wandering about just howling at the stars. The long days - it was still light at 10 o'clock - make the insanity all the more visible. Part of me finds it funny, but another part of me finds it so very sad that so many people let themselves get into this condition. It prompted me to revisit said chapter, and I offer it today as your Sunday thought piece.Just a couple of little notes, before we begin. This caught my eye on Friday. Our favourite uranium tech company, Lightbridge Fuels (NASDAQ:LTBR), has taken off again with Donald Trump's statement that he is going to quadruple US nuclear capacity. The stock was up 45% in a day. We first looked at it in October at $3. It hit $15 on Friday. It's one to sell on the spikes and buy on the dips, as this incredible chart shows.(In other news I have now listened twice to the Comstock Lode AGM, and I'll report back on that shortly too). ICYMI here is my mid-week commentary, which attracted a lot of attentionRight - Glasgow.(NB I haven't included references here. Needless to say, they are all there in the book. And sorry I don't have access to the audio of me reading this from my laptop, but, if you like, you can get the audiobook at Audible, Apple Books and all good audiobookshops. The book itself available at Amazon, Apple Books et al).How the Most Entrepreneurial City in Europe Became Its SickestThe cause of waves of unemployment is not capitalism, but governments …Friedrich Hayek, economist and philosopherIn the 18th and 19th centuries, the city of Glasgow in Scotland became enormously, stupendously rich. It happened quite organically, without planning. An entrepreneurial people reacted to their circumstances and, over time, turned Glasgow into an industrial and economic centre of such might that, by the turn of the 20th century, Glasgow was producing half the tonnage of Britain's ships and a quarter of all locomotives in the world. (Not unlike China's industrial dominance today). It was regarded as the best-governed city in Europe and popular histories compared it to the great imperial cities of Venice and Rome. It became known as the ‘Second City of the British Empire'.Barely 100 years later, it is the heroin capital of the UK, the murder capital of the UK and its East End, once home to Europe's largest steelworks, has been dubbed ‘the benefits capital of the UK'. Glasgow is Britain's fattest city: its men have Britain's lowest life expectancy – on a par with Palestine and Albania – and its unemployment rate is 50% higher than the rest of the UK.How did Glasgow manage all that?The growth in Glasgow's economic fortunes began in the latter part of the 17th century and the early 18th century. First, the city's location in the west of Scotland at the mouth of the river Clyde meant that it lay in the path of the trade winds and at least 100 nautical miles closer to America's east coast than other British ports – 200 miles closer than London. In the days before fossil fuels (which only found widespread use in shipping in the second half of the 19th century) the journey to Virginia was some two weeks shorter than the same journey from London or many of the other ports in Britain and Europe. Even modern sailors describe how easy the port of Glasgow is to navigate. Second, when England was at war with France – as it was repeatedly between 1688 and 1815 – ships travelling to Glasgow were less vulnerable than those travelling to ports further south. Glasgow's merchants took advantage and, by the early 18th century, the city had begun to assert itself as a trading hub. Manufactured goods were carried from Britain and Europe to North America and the Caribbean, where they were traded for increasingly popular commodities such as tobacco, cotton and sugar.Through the 18th century, the Glasgow merchants' business networks spread, and they took steps to further accelerate trade. New ships were introduced, bigger than those of rival ports, with fore and aft sails that enabled them to sail closer to the wind and reduce journey times. Trading posts were built to ensure that cargo was gathered and stored for collection, so that ships wouldn't swing idly at anchor. By the 1760s Glasgow had a 50% share of the tobacco trade – as much as the rest of Britain's ports combined. While the English merchants simply sold American tobacco in Europe at a profit, the Glaswegians actually extended credit to American farmers against future production (a bit like a crop future today, where a crop to be grown at a later date is sold now). The Virginia farmers could then use this credit to buy European goods, which the Glaswegians were only too happy to supply. This brought about the rise of financial institutions such as the Glasgow Ship Bank and the Glasgow Thistle Bank, which would later become part of the now-bailed-out, taxpayer-owned Royal Bank of Scotland (RBS).Their practices paid rewards. Glasgow's merchants earned a great deal of money. They built glamorous homes and large churches and, it seems, took on aristocratic airs – hence they became known as the ‘Tobacco Lords'. Numbering among them were Buchanan, Dunlop, Ingram, Wilson, Oswald, Cochrane and Glassford, all of whom had streets in the Merchant City district of Glasgow named after them (other streets, such as Virginia Street and Jamaica Street, refer to their trade destinations). In 1771, over 47 million pounds of tobacco were imported.However, the credit the Glaswegians extended to American tobacco farmers would backfire. The debts incurred by the tobacco farmers – which included future presidents George Washington and Thomas Jefferson (who almost lost his farm as a result) – grew, and were among the grievances when the American War of Independence came in 1775. That war destroyed the tobacco trade for the Glaswegians. Much of the money that was owed to them was never repaid. Many of their plantations were lost. But the Glaswegians were entrepreneurial and they adapted. They moved on to other businesses, particularly cotton.By the 19th century, all sorts of local industry had emerged around the goods traded in the city. It was producing and exporting textiles, chemicals, engineered goods and steel. River engineering projects to dredge and deepen the Clyde (with a view to forming a deep- water port) had begun in 1768 and they would enable shipbuilding to become a major industry on the upper reaches of the river, pioneered by industrialists such as Robert Napier and John Elder. The final stretch of the Monkland Canal, linking the Forth and Clyde Canal at Port Dundas, was opened in 1795, facilitating access to the iron-ore and coal mines of Lanarkshire.The move to fossil-fuelled shipping in the latter 19th century destroyed the advantages that the trade winds had given Glasgow. But it didn't matter. Again, the people adapted. By the turn of the 20th century the Second City of the British Empire had become a world centre of industry and heavy engineering. It has been estimated that, between 1870 and 1914, it produced as much as one-fifth of the world's ships, and half of Britain's tonnage. Among the 25,000 ships it produced were some of the greatest ever built: the Cutty Sark, the Queen Mary, HMS Hood, the Lusitania, the Glenlee tall ship and even the iconic Mississippi paddle steamer, the Delta Queen. It had also become a centre for locomotive manufacture and, shortly after the turn of the 20th century, could boast the largest concentration of locomotive building works in Europe.It was not just Glasgow's industry and wealth that was so gargantuan. The city's contribution to mankind – made possible by the innovation and progress that comes with booming economies – would also have an international impact. Many great inventors either hailed from Glasgow or moved there to study or work. There's James Watt, for example, whose improvements to the steam engine were fundamental to the Industrial Revolution. One of Watt's employees, William Murdoch, has been dubbed ‘the Scot who lit the world' – he invented gas lighting, a new kind of steam cannon and waterproof paint. Charles MacIntosh gave us the raincoat. James Young, the chemist dubbed as ‘the father of the oil industry', gave us paraffin. William Thomson, known as Lord Kelvin, developed the science of thermodynamics, formulating the Kelvin scale of absolute temperature; he also managed the laying of the first transatlantic telegraph cable.The turning point in the economic fortunes of Glasgow – indeed, of industrial Britain – was WWI. Both have been in decline ever since. By the end of the war, the British were drained, both emotionally and in terms of capital and manpower; the workers, the entrepreneurs, the ideas men, too many of them were dead or incapacitated. There was insufficient money and no appetite to invest. The post-war recession, and later the Great Depression, did little to help. The trend of the city was now one of inexorable economic decline.If Glasgow was the home of shipping and industry in 19th-century Britain, it became the home of socialism in the 20th century. Known by some as the ‘Red Clydeside' movement, the socialist tide in Scotland actually pre-dated the First World War. In 1906 came the city's first Labour Member of Parliament (MP), George Barnes – prior to that its seven MPs were all Conservatives or Liberal Unionists. In the spring of 1911, 11,000 workers at the Singer sewing-machine factory (run by an American corporation in Clydebank) went on strike to support 12 women who were protesting about new work practices. Singer sacked 400 workers, but the movement was growing – as was labour unrest. In the four years between 1910 and 1914 Clydebank workers spent four times as many days on strike than in the whole of the previous decade. The Scottish Trades Union Congress and its affiliations saw membership rise from 129,000 in 1909 to 230,000 in 1914.20The rise in discontent had much to do with Glasgow's housing. Conditions were bad, there was overcrowding, bad sanitation, housing was close to dirty, noxious and deafening industry. Unions grew quite organically to protect the interests of their members.Then came WWI, and inflation, as Britain all but abandoned gold. In 1915 many landlords responded by attempting to increase rent, but with their young men on the Western front, those left behind didn't have the means to pay these higher costs. If they couldn't, eviction soon followed. In Govan, an area of Glasgow where shipbuilding was the main occupation, women – now in the majority with so many men gone – organized opposition to the rent increases. There are photographs showing women blocking the entrance to tenements; officers who did get inside to evict tenants are said to have had their trousers pulled down.The landlords were attacked for being unpatriotic. Placards read: ‘While our men are fighting on the front line,the landlord is attacking us at home.' The strikes spread to other cities throughout the UK, and on 27 November 1915 the government introduced legislation to restrict rents to the pre-war level. The strikers were placated. They had won. The government was happy; it had dealt with the problem. The landlords lost out.In the aftermath of the Russian Revolution of 1917, more frequent strikes crippled the city. In 1919 the ‘Bloody Friday' uprising prompted the prime minister, David Lloyd George, to deploy 10,000 troops and tanks onto the city's streets. By the 1930s Glasgow had become the main base of the Independent Labour Party, so when Labour finally came to power alone after WWII, its influence was strong. Glasgow has always remained a socialist stronghold. Labour dominates the city council, and the city has not had a Conservative MP for 30 years.By the late 1950s, Glasgow was losing out to the more competitive industries of Japan, Germany and elsewhere. There was a lack of investment. Union demands for workers, enforced by government legislation, made costs uneconomic and entrepreneurial activity arduous. With lack of investment came lack of innovation.Rapid de-industrialization followed, and by the 1960s and 70s most employment lay not in manufacturing, but in the service industries.Which brings us to today. On the plus side, Glasgow is still ranked as one of Europe's top 20 financial centres and is home to some leading Scottish businesses. But there is considerable downside.Recent studies have suggested that nearly 30% of Glasgow's working age population is unemployed. That's 50% higher than that of the rest of Scotland or the UK. Eighteen per cent of 16- to 19-year-olds are neither in school nor employed. More than one in five working-age Glaswegians have no sort of education that might qualify them for a job.In the city centre, the Merchant City, 50% of children are growing up in homes where nobody works. In the poorer neighbourhoods, such as Ruchill, Possilpark, or Dalmarnock, about 65% of children live in homes where nobody works – more than three times the national average. Figures from the Department of Work and Pensions show that 85% of working age adults from the district of Bridgeton claim some kind of welfare payment.Across the city, almost a third of the population regularly receives sickness or incapacity benefit, the highest rate of all UK cities. A 2008 World Health Organization report noted that in Glasgow's Calton, Bridgeton and Queenslie neighbourhoods, the average life expectancy for males is only 54. In contrast, residents of Glasgow's more affluent West End live to be 80 and virtually none of them are on the dole.Glasgow has the highest crime rate in Scotland. A recent report by the Centre for Social Justice noted that there are 170 teenage gangs in Glasgow. That's the same number as in London, which has over six times the population of Glasgow.It also has the dubious record of being Britain's murder capital. In fact, Glasgow had the highest homicide rate in Western Europe until it was overtaken in 2012 by Amsterdam, with more violent crime per head of population than even New York. What's more, its suicide rate is the highest in the UK.Then there are the drug and alcohol problems. The residents of the poorer neighbourhoods are an astounding six times more likely to die of a drugs overdose than the national average. Drug-related mortality has increased by 95% since 1997. There are 20,000 registered drug users – that's just registered – and the situation is not going to get any better: children who grow up in households where family members use drugs are seven times more likely to end up using drugs themselves than children who live in drug-free families.Glasgow has the highest incidence of liver diseases from alcohol abuse in all of Scotland. In the East End district of Dennistoun, these illnesses kill more people than heart attacks and lung cancer combined. Men and women are more likely to die of alcohol-related deaths in Glasgow than anywhere else in the UK. Time and time again Glasgow is proud winner of the title ‘Fattest City in Britain'. Around 40% of the population are obese – 5% morbidly so – and it also boasts the most smokers per capita.I have taken these statistics from an array of different sources. It might be in some cases that they're overstated. I know that I've accentuated both the 18th- and 19th-century positives, as well as the 20th- and 21st-century negatives to make my point. Of course, there are lots of healthy, happy people in Glasgow – I've done many gigs there and I loved it. Despite the stories you hear about intimidating Glasgow audiences, the ones I encountered were as good as any I've ever performed in front of. But none of this changes the broad-brush strokes: Glasgow was a once mighty city that now has grave social problems. It is a city that is not fulfilling its potential in the way that it once did. All in all, it's quite a transformation. How has it happened?Every few years a report comes out that highlights Glasgow's various problems. Comments are then sought from across the political spectrum. Usually, those asked to comment agree that the city has grave, ‘long-standing and deep-rooted social problems' (the words of Stephen Purcell, former leader of Glasgow City Council); they agree that something needs to be done, though they don't always agree on what that something is.There's the view from the right: Bill Aitken of the Scottish Conservatives, quoted in The Sunday Times in 2008, said, ‘We simply don't have the jobs for people who are not academically inclined. Another factor is that some people are simply disinclined to work. We have got to find something for these people to do, to give them a reason to get up in the morning and give them some self-respect.' There's the supposedly apolitical view of anti-poverty groups: Peter Kelly, director of the Glasgow-based Poverty Alliance, responded, ‘We need real, intensive support for people if we are going to tackle poverty. It's not about a lack of aspiration, often people who are unemployed or on low incomes are stymied by a lack of money and support from local and central government.' And there's the view from the left. In the same article, Patricia Ferguson, the Labour Member of the Scottish Parliament (MSP) for Maryhill, also declared a belief in government regeneration of the area. ‘It's about better housing, more jobs, better education and these things take years to make an impact. I believe that the huge regeneration in the area is fostering a lot more community involvement and cohesion. My real hope is that these figures will take a knock in the next five or ten years.' At the time of writing in 2013, five years later, the figures have worsened.All three points of view agree on one thing: the government must do something.In 2008 the £435 million Fairer Scotland Fund – established to tackle poverty – was unveiled, aiming to allocate cash to the country's most deprived communities. Its targets included increasing average income among lower wage-earners and narrowing the poverty gap between Scotland's best- and worst-performing regions by 2017. So far, it hasn't met those targets.In 2008 a report entitled ‘Power for The Public' examined the provision of health, education and justice in Scotland. It said the budgets for these three areas had grown by 55%, 87% and 44% respectively over the last decade, but added that this had produced ‘mixed results'. ‘Mixed results' means it didn't work. More money was spent and the figures got worse.After the Centre for Social Justice report on Glasgow in 2008, Iain Duncan Smith (who set up this think tank, and is now the Secretary of State for Work and Pensions) said, ‘Policy must deal with the pathways to breakdown – high levels of family breakdown, high levels of failed education, debt and unemployment.'So what are ‘pathways to breakdown'? If you were to look at a chart of Glasgow's prosperity relative to the rest of the world, its peak would have come somewhere around 1910. With the onset of WWI in 1914 its decline accelerated, and since then the falls have been relentless and inexorable. It's not just Glasgow that would have this chart pattern, but the whole of industrial Britain. What changed the trend? Yes, empires rise and fall, but was British decline all a consequence of WWI? Or was there something else?A seismic shift came with that war – a change which is very rarely spoken or written about. Actually, the change was gradual and it pre-dated 1914. It was a change that was sweeping through the West: that of government or state involvement in our lives. In the UK it began with the reforms of the Liberal government of 1906–14, championed by David Lloyd George and Winston Churchill, known as the ‘terrible twins' by contemporaries. The Pensions Act of 1908, the People's Budget of 1909–10 (to ‘wage implacable warfare against poverty', declared Lloyd George) and the National Insurance Act of 1911 saw the Liberal government moving away from its tradition of laissez-faire systems – from classical liberalism and Gladstonian principles of self-help and self-reliance – towards larger, more active government by which taxes were collected from the wealthy and the proceeds redistributed. Afraid of losing votes to the emerging Labour party and the increasingly popular ideology of socialism, modern liberals betrayed their classical principles. In his War Memoirs, Lloyd George said ‘the partisan warfare that raged around these topics was so fierce that by 1913, this country was brought to the verge of civil war'. But these were small steps. The Pensions Act, for example, meant that men aged 70 and above could claim between two and five shillings per week from the government. But average male life- expectancy then was 47. Today it's 77. Using the same ratio, and, yes, I'm manipulating statistics here, that's akin to only awarding pensions to people above the age 117 today. Back then it was workable.To go back to my analogy of the prologue, this period was when the ‘train' was set in motion across the West. In 1914 it went up a gear. Here are the opening paragraphs of historian A. J. P. Taylor's most celebrated book, English History 1914–1945, published in 1965.I quote this long passage in full, because it is so telling.Until August 1914 a sensible, law-abiding Englishman could pass through life and hardly notice the existence of the state, beyond the post office and the policeman. He could live where he liked and as he liked. He had no official number or identity card. He could travel abroad or leave his country forever without a passport or any sort of official permission. He could exchange his money for any other currency without restriction or limit. He could buy goods from any country in the world on the same terms as he bought goods at home. For that matter, a foreigner could spend his life in this country without permit and without informing the police. Unlike the countries of the European continent, the state did not require its citizens to perform military service. An Englishman could enlist, if he chose, in the regular army, the navy, or the territorials. He could also ignore, if he chose, the demands of national defence. Substantial householders were occasionally called on for jury service. Otherwise, only those helped the state, who wished to do so. The Englishman paid taxes on a modest scale: nearly £200 million in 1913–14, or rather less than 8% of the national income.The state intervened to prevent the citizen from eating adulterated food or contracting certain infectious diseases. It imposed safety rules in factories, and prevented women, and adult males in some industries,from working excessive hours.The state saw to it that children received education up to the age of 13. Since 1 January 1909, it provided a meagre pension for the needy over the age of 70. Since 1911, it helped to insure certain classes of workers against sickness and unemployment. This tendency towards more state action was increasing. Expenditure on the social services had roughly doubled since the Liberals took office in 1905. Still, broadly speaking, the state acted only to help those who could not help themselves. It left the adult citizen alone.All this was changed by the impact of the Great War. The mass of the people became, for the first time, active citizens. Their lives were shaped by orders from above; they were required to serve the state instead of pursuing exclusively their own affairs. Five million men entered the armed forces, many of them (though a minority) under compulsion. The Englishman's food was limited, and its quality changed, by government order. His freedom of movement was restricted; his conditions of work prescribed. Some industries were reduced or closed, others artificially fostered. The publication of news was fettered. Street lights were dimmed. The sacred freedom of drinking was tampered with: licensed hours were cut down, and the beer watered by order. The very time on the clocks was changed. From 1916 onwards, every Englishman got up an hour earlier in summer than he would otherwise have done, thanks to an act of parliament. The state established a hold over its citizens which, though relaxed in peacetime, was never to be removed and which the Second World war was again to increase. The history of the English state and of the English people merged for the first time.Since the beginning of WWI , the role that the state has played in our lives has not stopped growing. This has been especially so in the case of Glasgow. The state has spent more and more, provided more and more services, more subsidy, more education, more health care, more infrastructure, more accommodation, more benefits, more regulations, more laws, more protection. The more it has provided, the worse Glasgow has fared. Is this correlation a coincidence? I don't think so.The story of the rise and fall of Glasgow is a distilled version of the story of the rise and fall of industrial Britain – indeed the entire industrial West. In the next chapter I'm going to show you a simple mistake that goes on being made; a dynamic by which the state, whose very aim was to help Glasgow, has actually been its ‘pathway to breakdown' . . .Life After the State is available at Amazon, Apple Books and all good bookshops, with the audiobook at Audible, Apple Books and all good audiobookshops. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

Good Sunday morning to you,I am just on a train home from Glasgow, where I have been gigging these past two nights. I've had a great time, as I always seem to do when I go north of the wall.But Glasgow on a Saturday night is something else. My hotel was right next to the station and so I was right in the thick of it. If I ever get to make a cacatopian, end-of-days, post-apocalyptic thriller, I'll just stroll through Glasgow city centre on a Friday or Saturday night with a camera to get all the B roll. It was like walking through a Hieronymus Bosch painting only with a Scottish accent. Little seems to have changed since I wrote that infamous chapter about Glasgow in Life After the State all those years ago. The only difference is that now it's more multi-ethnic. So many people are so off their heads. I lost count of the number of randoms wandering about just howling at the stars. The long days - it was still light at 10 o'clock - make the insanity all the more visible. Part of me finds it funny, but another part of me finds it so very sad that so many people let themselves get into this condition. It prompted me to revisit said chapter, and I offer it today as your Sunday thought piece.Just a couple of little notes, before we begin. This caught my eye on Friday. Our favourite uranium tech company, Lightbridge Fuels (NASDAQ:LTBR), has taken off again with Donald Trump's statement that he is going to quadruple US nuclear capacity. The stock was up 45% in a day. We first looked at it in October at $3. It hit $15 on Friday. It's one to sell on the spikes and buy on the dips, as this incredible chart shows.(In other news I have now listened twice to the Comstock Lode AGM, and I'll report back on that shortly too). ICYMI here is my mid-week commentary, which attracted a lot of attentionRight - Glasgow.(NB I haven't included references here. Needless to say, they are all there in the book. And sorry I don't have access to the audio of me reading this from my laptop, but, if you like, you can get the audiobook at Audible, Apple Books and all good audiobookshops. The book itself available at Amazon, Apple Books et al).How the Most Entrepreneurial City in Europe Became Its SickestThe cause of waves of unemployment is not capitalism, but governments …Friedrich Hayek, economist and philosopherIn the 18th and 19th centuries, the city of Glasgow in Scotland became enormously, stupendously rich. It happened quite organically, without planning. An entrepreneurial people reacted to their circumstances and, over time, turned Glasgow into an industrial and economic centre of such might that, by the turn of the 20th century, Glasgow was producing half the tonnage of Britain's ships and a quarter of all locomotives in the world. (Not unlike China's industrial dominance today). It was regarded as the best-governed city in Europe and popular histories compared it to the great imperial cities of Venice and Rome. It became known as the ‘Second City of the British Empire'.Barely 100 years later, it is the heroin capital of the UK, the murder capital of the UK and its East End, once home to Europe's largest steelworks, has been dubbed ‘the benefits capital of the UK'. Glasgow is Britain's fattest city: its men have Britain's lowest life expectancy – on a par with Palestine and Albania – and its unemployment rate is 50% higher than the rest of the UK.How did Glasgow manage all that?The growth in Glasgow's economic fortunes began in the latter part of the 17th century and the early 18th century. First, the city's location in the west of Scotland at the mouth of the river Clyde meant that it lay in the path of the trade winds and at least 100 nautical miles closer to America's east coast than other British ports – 200 miles closer than London. In the days before fossil fuels (which only found widespread use in shipping in the second half of the 19th century) the journey to Virginia was some two weeks shorter than the same journey from London or many of the other ports in Britain and Europe. Even modern sailors describe how easy the port of Glasgow is to navigate. Second, when England was at war with France – as it was repeatedly between 1688 and 1815 – ships travelling to Glasgow were less vulnerable than those travelling to ports further south. Glasgow's merchants took advantage and, by the early 18th century, the city had begun to assert itself as a trading hub. Manufactured goods were carried from Britain and Europe to North America and the Caribbean, where they were traded for increasingly popular commodities such as tobacco, cotton and sugar.Through the 18th century, the Glasgow merchants' business networks spread, and they took steps to further accelerate trade. New ships were introduced, bigger than those of rival ports, with fore and aft sails that enabled them to sail closer to the wind and reduce journey times. Trading posts were built to ensure that cargo was gathered and stored for collection, so that ships wouldn't swing idly at anchor. By the 1760s Glasgow had a 50% share of the tobacco trade – as much as the rest of Britain's ports combined. While the English merchants simply sold American tobacco in Europe at a profit, the Glaswegians actually extended credit to American farmers against future production (a bit like a crop future today, where a crop to be grown at a later date is sold now). The Virginia farmers could then use this credit to buy European goods, which the Glaswegians were only too happy to supply. This brought about the rise of financial institutions such as the Glasgow Ship Bank and the Glasgow Thistle Bank, which would later become part of the now-bailed-out, taxpayer-owned Royal Bank of Scotland (RBS).Their practices paid rewards. Glasgow's merchants earned a great deal of money. They built glamorous homes and large churches and, it seems, took on aristocratic airs – hence they became known as the ‘Tobacco Lords'. Numbering among them were Buchanan, Dunlop, Ingram, Wilson, Oswald, Cochrane and Glassford, all of whom had streets in the Merchant City district of Glasgow named after them (other streets, such as Virginia Street and Jamaica Street, refer to their trade destinations). In 1771, over 47 million pounds of tobacco were imported.However, the credit the Glaswegians extended to American tobacco farmers would backfire. The debts incurred by the tobacco farmers – which included future presidents George Washington and Thomas Jefferson (who almost lost his farm as a result) – grew, and were among the grievances when the American War of Independence came in 1775. That war destroyed the tobacco trade for the Glaswegians. Much of the money that was owed to them was never repaid. Many of their plantations were lost. But the Glaswegians were entrepreneurial and they adapted. They moved on to other businesses, particularly cotton.By the 19th century, all sorts of local industry had emerged around the goods traded in the city. It was producing and exporting textiles, chemicals, engineered goods and steel. River engineering projects to dredge and deepen the Clyde (with a view to forming a deep- water port) had begun in 1768 and they would enable shipbuilding to become a major industry on the upper reaches of the river, pioneered by industrialists such as Robert Napier and John Elder. The final stretch of the Monkland Canal, linking the Forth and Clyde Canal at Port Dundas, was opened in 1795, facilitating access to the iron-ore and coal mines of Lanarkshire.The move to fossil-fuelled shipping in the latter 19th century destroyed the advantages that the trade winds had given Glasgow. But it didn't matter. Again, the people adapted. By the turn of the 20th century the Second City of the British Empire had become a world centre of industry and heavy engineering. It has been estimated that, between 1870 and 1914, it produced as much as one-fifth of the world's ships, and half of Britain's tonnage. Among the 25,000 ships it produced were some of the greatest ever built: the Cutty Sark, the Queen Mary, HMS Hood, the Lusitania, the Glenlee tall ship and even the iconic Mississippi paddle steamer, the Delta Queen. It had also become a centre for locomotive manufacture and, shortly after the turn of the 20th century, could boast the largest concentration of locomotive building works in Europe.It was not just Glasgow's industry and wealth that was so gargantuan. The city's contribution to mankind – made possible by the innovation and progress that comes with booming economies – would also have an international impact. Many great inventors either hailed from Glasgow or moved there to study or work. There's James Watt, for example, whose improvements to the steam engine were fundamental to the Industrial Revolution. One of Watt's employees, William Murdoch, has been dubbed ‘the Scot who lit the world' – he invented gas lighting, a new kind of steam cannon and waterproof paint. Charles MacIntosh gave us the raincoat. James Young, the chemist dubbed as ‘the father of the oil industry', gave us paraffin. William Thomson, known as Lord Kelvin, developed the science of thermodynamics, formulating the Kelvin scale of absolute temperature; he also managed the laying of the first transatlantic telegraph cable.The turning point in the economic fortunes of Glasgow – indeed, of industrial Britain – was WWI. Both have been in decline ever since. By the end of the war, the British were drained, both emotionally and in terms of capital and manpower; the workers, the entrepreneurs, the ideas men, too many of them were dead or incapacitated. There was insufficient money and no appetite to invest. The post-war recession, and later the Great Depression, did little to help. The trend of the city was now one of inexorable economic decline.If Glasgow was the home of shipping and industry in 19th-century Britain, it became the home of socialism in the 20th century. Known by some as the ‘Red Clydeside' movement, the socialist tide in Scotland actually pre-dated the First World War. In 1906 came the city's first Labour Member of Parliament (MP), George Barnes – prior to that its seven MPs were all Conservatives or Liberal Unionists. In the spring of 1911, 11,000 workers at the Singer sewing-machine factory (run by an American corporation in Clydebank) went on strike to support 12 women who were protesting about new work practices. Singer sacked 400 workers, but the movement was growing – as was labour unrest. In the four years between 1910 and 1914 Clydebank workers spent four times as many days on strike than in the whole of the previous decade. The Scottish Trades Union Congress and its affiliations saw membership rise from 129,000 in 1909 to 230,000 in 1914.20The rise in discontent had much to do with Glasgow's housing. Conditions were bad, there was overcrowding, bad sanitation, housing was close to dirty, noxious and deafening industry. Unions grew quite organically to protect the interests of their members.Then came WWI, and inflation, as Britain all but abandoned gold. In 1915 many landlords responded by attempting to increase rent, but with their young men on the Western front, those left behind didn't have the means to pay these higher costs. If they couldn't, eviction soon followed. In Govan, an area of Glasgow where shipbuilding was the main occupation, women – now in the majority with so many men gone – organized opposition to the rent increases. There are photographs showing women blocking the entrance to tenements; officers who did get inside to evict tenants are said to have had their trousers pulled down.The landlords were attacked for being unpatriotic. Placards read: ‘While our men are fighting on the front line,the landlord is attacking us at home.' The strikes spread to other cities throughout the UK, and on 27 November 1915 the government introduced legislation to restrict rents to the pre-war level. The strikers were placated. They had won. The government was happy; it had dealt with the problem. The landlords lost out.In the aftermath of the Russian Revolution of 1917, more frequent strikes crippled the city. In 1919 the ‘Bloody Friday' uprising prompted the prime minister, David Lloyd George, to deploy 10,000 troops and tanks onto the city's streets. By the 1930s Glasgow had become the main base of the Independent Labour Party, so when Labour finally came to power alone after WWII, its influence was strong. Glasgow has always remained a socialist stronghold. Labour dominates the city council, and the city has not had a Conservative MP for 30 years.By the late 1950s, Glasgow was losing out to the more competitive industries of Japan, Germany and elsewhere. There was a lack of investment. Union demands for workers, enforced by government legislation, made costs uneconomic and entrepreneurial activity arduous. With lack of investment came lack of innovation.Rapid de-industrialization followed, and by the 1960s and 70s most employment lay not in manufacturing, but in the service industries.Which brings us to today. On the plus side, Glasgow is still ranked as one of Europe's top 20 financial centres and is home to some leading Scottish businesses. But there is considerable downside.Recent studies have suggested that nearly 30% of Glasgow's working age population is unemployed. That's 50% higher than that of the rest of Scotland or the UK. Eighteen per cent of 16- to 19-year-olds are neither in school nor employed. More than one in five working-age Glaswegians have no sort of education that might qualify them for a job.In the city centre, the Merchant City, 50% of children are growing up in homes where nobody works. In the poorer neighbourhoods, such as Ruchill, Possilpark, or Dalmarnock, about 65% of children live in homes where nobody works – more than three times the national average. Figures from the Department of Work and Pensions show that 85% of working age adults from the district of Bridgeton claim some kind of welfare payment.Across the city, almost a third of the population regularly receives sickness or incapacity benefit, the highest rate of all UK cities. A 2008 World Health Organization report noted that in Glasgow's Calton, Bridgeton and Queenslie neighbourhoods, the average life expectancy for males is only 54. In contrast, residents of Glasgow's more affluent West End live to be 80 and virtually none of them are on the dole.Glasgow has the highest crime rate in Scotland. A recent report by the Centre for Social Justice noted that there are 170 teenage gangs in Glasgow. That's the same number as in London, which has over six times the population of Glasgow.It also has the dubious record of being Britain's murder capital. In fact, Glasgow had the highest homicide rate in Western Europe until it was overtaken in 2012 by Amsterdam, with more violent crime per head of population than even New York. What's more, its suicide rate is the highest in the UK.Then there are the drug and alcohol problems. The residents of the poorer neighbourhoods are an astounding six times more likely to die of a drugs overdose than the national average. Drug-related mortality has increased by 95% since 1997. There are 20,000 registered drug users – that's just registered – and the situation is not going to get any better: children who grow up in households where family members use drugs are seven times more likely to end up using drugs themselves than children who live in drug-free families.Glasgow has the highest incidence of liver diseases from alcohol abuse in all of Scotland. In the East End district of Dennistoun, these illnesses kill more people than heart attacks and lung cancer combined. Men and women are more likely to die of alcohol-related deaths in Glasgow than anywhere else in the UK. Time and time again Glasgow is proud winner of the title ‘Fattest City in Britain'. Around 40% of the population are obese – 5% morbidly so – and it also boasts the most smokers per capita.I have taken these statistics from an array of different sources. It might be in some cases that they're overstated. I know that I've accentuated both the 18th- and 19th-century positives, as well as the 20th- and 21st-century negatives to make my point. Of course, there are lots of healthy, happy people in Glasgow – I've done many gigs there and I loved it. Despite the stories you hear about intimidating Glasgow audiences, the ones I encountered were as good as any I've ever performed in front of. But none of this changes the broad-brush strokes: Glasgow was a once mighty city that now has grave social problems. It is a city that is not fulfilling its potential in the way that it once did. All in all, it's quite a transformation. How has it happened?Every few years a report comes out that highlights Glasgow's various problems. Comments are then sought from across the political spectrum. Usually, those asked to comment agree that the city has grave, ‘long-standing and deep-rooted social problems' (the words of Stephen Purcell, former leader of Glasgow City Council); they agree that something needs to be done, though they don't always agree on what that something is.There's the view from the right: Bill Aitken of the Scottish Conservatives, quoted in The Sunday Times in 2008, said, ‘We simply don't have the jobs for people who are not academically inclined. Another factor is that some people are simply disinclined to work. We have got to find something for these people to do, to give them a reason to get up in the morning and give them some self-respect.' There's the supposedly apolitical view of anti-poverty groups: Peter Kelly, director of the Glasgow-based Poverty Alliance, responded, ‘We need real, intensive support for people if we are going to tackle poverty. It's not about a lack of aspiration, often people who are unemployed or on low incomes are stymied by a lack of money and support from local and central government.' And there's the view from the left. In the same article, Patricia Ferguson, the Labour Member of the Scottish Parliament (MSP) for Maryhill, also declared a belief in government regeneration of the area. ‘It's about better housing, more jobs, better education and these things take years to make an impact. I believe that the huge regeneration in the area is fostering a lot more community involvement and cohesion. My real hope is that these figures will take a knock in the next five or ten years.' At the time of writing in 2013, five years later, the figures have worsened.All three points of view agree on one thing: the government must do something.In 2008 the £435 million Fairer Scotland Fund – established to tackle poverty – was unveiled, aiming to allocate cash to the country's most deprived communities. Its targets included increasing average income among lower wage-earners and narrowing the poverty gap between Scotland's best- and worst-performing regions by 2017. So far, it hasn't met those targets.In 2008 a report entitled ‘Power for The Public' examined the provision of health, education and justice in Scotland. It said the budgets for these three areas had grown by 55%, 87% and 44% respectively over the last decade, but added that this had produced ‘mixed results'. ‘Mixed results' means it didn't work. More money was spent and the figures got worse.After the Centre for Social Justice report on Glasgow in 2008, Iain Duncan Smith (who set up this think tank, and is now the Secretary of State for Work and Pensions) said, ‘Policy must deal with the pathways to breakdown – high levels of family breakdown, high levels of failed education, debt and unemployment.'So what are ‘pathways to breakdown'? If you were to look at a chart of Glasgow's prosperity relative to the rest of the world, its peak would have come somewhere around 1910. With the onset of WWI in 1914 its decline accelerated, and since then the falls have been relentless and inexorable. It's not just Glasgow that would have this chart pattern, but the whole of industrial Britain. What changed the trend? Yes, empires rise and fall, but was British decline all a consequence of WWI? Or was there something else?A seismic shift came with that war – a change which is very rarely spoken or written about. Actually, the change was gradual and it pre-dated 1914. It was a change that was sweeping through the West: that of government or state involvement in our lives. In the UK it began with the reforms of the Liberal government of 1906–14, championed by David Lloyd George and Winston Churchill, known as the ‘terrible twins' by contemporaries. The Pensions Act of 1908, the People's Budget of 1909–10 (to ‘wage implacable warfare against poverty', declared Lloyd George) and the National Insurance Act of 1911 saw the Liberal government moving away from its tradition of laissez-faire systems – from classical liberalism and Gladstonian principles of self-help and self-reliance – towards larger, more active government by which taxes were collected from the wealthy and the proceeds redistributed. Afraid of losing votes to the emerging Labour party and the increasingly popular ideology of socialism, modern liberals betrayed their classical principles. In his War Memoirs, Lloyd George said ‘the partisan warfare that raged around these topics was so fierce that by 1913, this country was brought to the verge of civil war'. But these were small steps. The Pensions Act, for example, meant that men aged 70 and above could claim between two and five shillings per week from the government. But average male life- expectancy then was 47. Today it's 77. Using the same ratio, and, yes, I'm manipulating statistics here, that's akin to only awarding pensions to people above the age 117 today. Back then it was workable.To go back to my analogy of the prologue, this period was when the ‘train' was set in motion across the West. In 1914 it went up a gear. Here are the opening paragraphs of historian A. J. P. Taylor's most celebrated book, English History 1914–1945, published in 1965.I quote this long passage in full, because it is so telling.Until August 1914 a sensible, law-abiding Englishman could pass through life and hardly notice the existence of the state, beyond the post office and the policeman. He could live where he liked and as he liked. He had no official number or identity card. He could travel abroad or leave his country forever without a passport or any sort of official permission. He could exchange his money for any other currency without restriction or limit. He could buy goods from any country in the world on the same terms as he bought goods at home. For that matter, a foreigner could spend his life in this country without permit and without informing the police. Unlike the countries of the European continent, the state did not require its citizens to perform military service. An Englishman could enlist, if he chose, in the regular army, the navy, or the territorials. He could also ignore, if he chose, the demands of national defence. Substantial householders were occasionally called on for jury service. Otherwise, only those helped the state, who wished to do so. The Englishman paid taxes on a modest scale: nearly £200 million in 1913–14, or rather less than 8% of the national income.The state intervened to prevent the citizen from eating adulterated food or contracting certain infectious diseases. It imposed safety rules in factories, and prevented women, and adult males in some industries,from working excessive hours.The state saw to it that children received education up to the age of 13. Since 1 January 1909, it provided a meagre pension for the needy over the age of 70. Since 1911, it helped to insure certain classes of workers against sickness and unemployment. This tendency towards more state action was increasing. Expenditure on the social services had roughly doubled since the Liberals took office in 1905. Still, broadly speaking, the state acted only to help those who could not help themselves. It left the adult citizen alone.All this was changed by the impact of the Great War. The mass of the people became, for the first time, active citizens. Their lives were shaped by orders from above; they were required to serve the state instead of pursuing exclusively their own affairs. Five million men entered the armed forces, many of them (though a minority) under compulsion. The Englishman's food was limited, and its quality changed, by government order. His freedom of movement was restricted; his conditions of work prescribed. Some industries were reduced or closed, others artificially fostered. The publication of news was fettered. Street lights were dimmed. The sacred freedom of drinking was tampered with: licensed hours were cut down, and the beer watered by order. The very time on the clocks was changed. From 1916 onwards, every Englishman got up an hour earlier in summer than he would otherwise have done, thanks to an act of parliament. The state established a hold over its citizens which, though relaxed in peacetime, was never to be removed and which the Second World war was again to increase. The history of the English state and of the English people merged for the first time.Since the beginning of WWI , the role that the state has played in our lives has not stopped growing. This has been especially so in the case of Glasgow. The state has spent more and more, provided more and more services, more subsidy, more education, more health care, more infrastructure, more accommodation, more benefits, more regulations, more laws, more protection. The more it has provided, the worse Glasgow has fared. Is this correlation a coincidence? I don't think so.The story of the rise and fall of Glasgow is a distilled version of the story of the rise and fall of industrial Britain – indeed the entire industrial West. In the next chapter I'm going to show you a simple mistake that goes on being made; a dynamic by which the state, whose very aim was to help Glasgow, has actually been its ‘pathway to breakdown' . . .Life After the State is available at Amazon, Apple Books and all good bookshops, with the audiobook at Audible, Apple Books and all good audiobookshops. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

I denne episoden møter vi Bosch, renessansekunstneren som var fullstendig annerledes enn de andre vi kjenner fra 1400- og 1500-tallet. I sine surrealistiske bilder malte han fantasifulle landskap, underlige vesener og mye rart.  Har du spørsmål eller ønsker til temaer jeg skal ta opp i podcasten, skriv til info@kristinetghardeberg.no. Vil du lære mer om kunsthistorie, finner du informasjon på kunsthistorier.no Mine bøker finnes i bokhandler over hele landet og på nett. Her kan du kjøpe signert utgave av boken Kunsthistorie for alle: https://art.kristinetghardeberg.no/kunsthistoriebok

Visit our Substack for bonus content and more: https://designbetterpodcast.com/p/trenton-doyle-hancock Aarron's friend Trenton Doyle Hancock did something remarkable when they were both in the graduate Painting and Drawing program at the Tyler School of Art in Philadelphia—he had work in the Whitney Biennial. It was a bit like winning an Oscar while in acting school, just not something that ever happens. Most people are thrown by early success, but not Trenton. He pressed forward in his studio where he crafted epic stories in large scale paintings that later expanded into installations, sculptures, and performance art. His creative process is unique. Piles of collected objects, receipts, food wrappers, etc find their way into his work where their color, texture and attitude unfold as the fabric of Trenton's universe of heroes, villains, and ancient mysteries. We spoke with Trenton about his neurodivergent approach to the world, how collecting influences his visual sensibilities, and how chaos becomes precise order in his work. At the time of our recording, Trenton had a large show at the Jewish Museum in New York exploring intersecting themes in his work and that of Philip Guston. Bio For nearly two decades, Trenton Doyle Hancock has created a vivid, fantastical universe where autobiographical elements blend seamlessly with references to art history, comics, superheroes, and popular culture. Through paintings, drawings, and expansive installations, Hancock crafts complex narratives exploring themes of good versus evil, infused with personal symbolism and mythology. His work draws stylistically from artists like Hieronymus Bosch, Max Ernst, Henry Darger, Philip Guston, and R. Crumb, integrating text as both narrative driver and visual element. His distinctive storytelling has extended beyond gallery walls into performances, ballet collaborations such as Cult of Color: Call to Color with Ballet Austin, and murals at prominent public spaces including Dallas Cowboys Stadium and Seattle Art Museum's Olympic Sculpture Park. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. Premium subscribers also get access to the documentary Design Disruptors and our growing library of books, as well as our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. Upgrade to paid ***

En este episodio de "El Bosco: Misterios y Simbolismo en sus Obras", exploramos la enigmática vida y el legado del pintor flamenco Hieronymus Bosch, conocido por sus surrealistas y detalladas representaciones del pecado, la moralidad y lo sobrenatural. Descubre los secretos detrás de sus obras más icónicas como El Jardín de las Delicias y La Mesa de los Pecados Capitales, desentrañando los simbolismos ocultos que han fascinado a historiadores del arte durante siglos. A través de este análisis, conocerás cómo El Bosco rompió los límites de la pintura medieval y cómo su estilo único y visión profética lo convierten en uno de los artistas más influyentes de la historia del arte occidental. Si eres un apasionado del arte, los misterios medievales o simplemente te intrigan los detalles ocultos en las pinturas de El Bosco, ¡este podcast es para ti! No olvides suscribirte, dejar tu comentario y compartir el podcast para que más personas se adentren en el fascinante mundo de El Bosco

Puntata a cura di UntimooteoIl manga dark fantasy Berserk, scritto e disegnato a partire dal 1989 da Kentarō Miura, è una pietra miliare del fumetto, nonché un'inesauribile miniera di spunti. Un'opera d'inarrivabile grandezza, lasciata purtroppo incompleta dalla morte per karoshi (per il troppo lavoro!) del maestro. Faticosamente l'amico fraterno Koji Mori, assieme allo studio Gaga, sta cercando di portarla a termine. In rete è già presente una grande quantità di materiale critico, che approfondisce ogni aspetto dell'opera: le vignette, i rimandi, le citazioni, gli indizi, lo stile, le ambizioni filosofiche. Su Berserk si potrebbe speculare per ore e ore, quindi questa si limita più modestamente ad essere una semplice introduzione, per invogliare alla lettura chi ancora non lo conosce...“Fumetto” è il formato del podcast di Mondoserie dedicato al mondo dei fumetti. Dai grandi classici alle opere più recenti. Italiani, orientali, occidentali.Parte del progetto: https://www.mondoserie.it/ Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social:https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/

This week, Laura and Phil discuss the eternally bizarre and delightful Bosch, focusing on one of his fabulous triptychs, with this one telling the story of the Fall... Support the show

A new week means new questions! Hope you have fun with these!What animal is used in the symbol for modern medicine?Frank McCourt's Pulitzer Prize-winning 1996 memoir has what title, which might be derived from his mother staring into the fireplace?The CERN Large Hadron Collider (LHC) spans the border of which two countries?What is the name of the triptych oil painting on oak panels by Hieronymus Bosch?In which part of the human body would you find the tarsals, the calcaneus, and the talus?What is the name of the teenage girl protagonist in "Last of Us"?The Larry O'Brien trophy is awarded to the champion of which sport?The play "Black Coffee" featured what Agatha Christie detective?In Quentin Tarantino's Kill Bill, what color is the track suit worn by Uma Thurman?Which singer/actress joined the billionaire club and got engaged to Benny Blanco in 2024?Terilingua Texas was the home of the first of what now-ubiquitous office competition?The owl was associated with which Greek goddess?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

Freunde und Nachbarn, in Runde #25 sprachen André und ich dereinst über kleine Designsünden, die der liebe Gott sofort bestraft. Seit diesem auf Steintafeln überlieferten Podcast (bitte keine Fragen nach dem Sinn!) wissen wir dank Friedrich Nietzsche, dass Gott tot ist (bitte immer noch keine Fragen nach dem Sinn, nicht bei Nietzsche, oh, nicht bei Nietzsche!), deshalb spreche ich heute im zweiten Teil mit JR über noch mehr Designsünden, die sofort oder wenigstens mittelfristig eine bzw. mehrere Dachlatten verdienen. Ganz oben dabei: Diese dreimal verfluchten, von satanischen Homunculi, die selbst Hieronymus Bosch in den Wahnsinn getrieben hätten, in okkulten Blutritualen ersonnenen Leuchtepünktchen, die kennzeichnen, dass man einen neuen Gegenstand im Inventar oder einen neuen Tutorial-Hinweis im Menü hat. Mögen ihre Erfinder mitsamt in ihren Studios in den neunten Kreis der Hölle fahren und dort für immerdar Leuchtepünktchen wegklicken müssen, die nach 30 Sekunden wieder auftauchen! Durchatmen, Jochen, durchatmen. Timecodes: 00:00:00 - Einleitung 00:06:08 - Sterbliche Companions 00:21:15 - Leuchtpunkte in Menüs 00:27:53 - Mikromanagement mit Ressourcen 00:42:49 - Tutorials 01:05:23 - Skilltrees 01:21:13 - Resistenzen

Season Four finale guest's Richard Dailey is an American writer, artist, and independent film maker. His poetry, prose, art criticism, and photographs have appeared internationally in numerous journals, his films screened at festivals worldwide. He has had one-man shows of his art at Gallery Nadine Nieswawer and SometimeStudio in Paris. Opium Books published his novel Unplugged Yellow in 2016. He has taught at St Ann's School in Brooklyn, Pratt Institute, New York University, Wagner College, and the Université de Rouen. His recent move to Le Lot in France, where he's ventured in search of the oranges of Hieronymus Bosch, was the subject of the documentary “Richard Dailey: inciting revery.”How did living in NYC in the ‘70s and ‘80s and his 40 years in Paris shape Richard as a creative? And what would make him leave these cultural metropolises for a tiny village in the countryside? Listen now to find out! https://www.afterart.com/index.htmlhttps://www.youtube.com/watch?v=oSHVbvEPN3ghttps://www.facebook.com/Afterart/https://www.instagram.com/richarddaileylelot/Join us on Patreon: patreon.com/parisundergroundradio Find Us OnlineWebsite: https://parisundergroundradio.com/cityofmusesFacebook: https://www.facebook.com/parisundergroundradioInstagram: https://www.instagram.com/parisundergroundradio/ CreditsHost and Producer: Jennifer Geraghty. https://parisundergroundradio.com/jenniferfoxgeraghty @jennyphoria; Website: http://jennyphoria.comMusic CreditsBeyond Inspiration juqboxmusic License: 1F36635C-8CE84C39-98B2531B-FEAA8727 About UsWho will be the world's next Salvador Dali, Thierry Mugler, or Josephine Baker, launching a new wave of the avant-garde? How are new artforms created, developed, honed? And where exactly do today's artists and creatives find their inspirations?    Each week, join City of Muses host Jennifer Geraghty as she sits down with contemporary artists, poets, dancers, designers, and performers to explore what inspires them, what their creative processes are like, where their ideas come from, and how Paris has helped or hindered their dreams come true.Inspiration and creativity meet in Paris, the City of Muses.

Được miêu tả trong khắp các tác phẩm của thời kỳ Phục Hưng, sự kiện Đại Thẩm Phán khi ngày tận thế tới có một ý nghĩa vô cùng quan trọng trong tín ngưỡng Cơ đốc giáo. Đây cũng là nguồn cảm hứng bất tận cho các danh họa Phục Hưng, từ Fra Angelico, Hieronymus Bosch, cho đến Michelangelo.Mời đọc bài tại: https://trithucvn2.net/van-hoa/tim-hieu-nghe-thuat-phuc-hung-ngay-tan-the-va-su-kien-dai-tham-phan.html/

¡Vótame en los Premios iVoox 2024! Flandes, esa tierra de brumas y canales donde campos y ciudades se funden con el mar en un horizonte infinito, fue la cuna de una escuela pictórica que deslumbró al mundo hace más de cinco siglos, un ramillete de pintores magistrales que exhibían un detallado realismo y una profunda introspección. Los maestros flamencos, alquimistas de la luz y el color, no solo retrataron la realidad con una precisión asombrosa, sino que también se adentraron en los misterios del alma humana revelando las pasiones, los anhelos, las miserias y las grandezas de una de las sociedades más opulentas de su época. En los albores del Renacimiento, cuando Italia recuperaba los cánones clásicos, Flandes florecía como un centro de comercio y cultura. Brujas, Gante, Amberes, ciudades vibrantes y cosmopolitas, se convirtieron en el escenario donde se forjó esta escuela singular a la sombra de los duques de Borgoña. Los artistas flamencos, herederos de la tradición medieval, pero abiertos a las nuevas corrientes artísticas, desarrollaron un estilo propio caracterizado por la minuciosidad del detalle, la riqueza cromática y la maestría en el manejo de la luz. El óleo, esa sustancia mágica que permite capturar la luminosidad y la transparencia, se convirtió en la herramienta predilecta de estos pintores flamencos. Jan van Eyck, el genio visionario, creo obras de una belleza y un realismo incomparables. Pero la Escuela Flamenca no se limitó a la representación fiel de la realidad. Sus artistas, imbuidos de un profundo sentido religioso y moral, dotaron a sus obras de un simbolismo complejo. Roger van der Weyden, maestro del dramatismo y la emoción, nos conmueve con sus escenas de piedad y sufrimiento. Hans Memling, con su pincel delicado y elegante, nos transporta a un mundo de serenidad y armonía. Sus vírgenes, de rostro dulce y mirada melancólica encarnan la pureza y la bondad. En sus retratos, la nobleza y la burguesía flamenca se muestran en todo su esplendor. Y luego está Hieronymus Bosch, más conocido en los países de habla hispana como El Bosco, que fue un pionero creador de mundos fantásticos poblados de criaturas extrañas y escenas oníricas. "El Jardín de las Delicias", esa obra maestra enigmática y perturbadora, nos sumerge en un universo de pecado y redención, donde la lujuria, la gula y la vanidad se mezclan con la inocencia y la esperanza. Pieter Brueghel el Viejo, por su parte, nos acerca a la vida cotidiana de los campesinos, con sus alegrías y sus penas, sus fiestas y sus trabajos. Sus paisajes, nos muestran la belleza de aquella tierra, pero también la dureza de la vida en el campo. La Escuela Flamenca, con su realismo y su simbolismo profundo, dejó una huella imborrable en la historia del arte. Sus maestros, con su dominio de la luz y el color, nos legaron un tesoro de valor incalculable. Su legado sigue vivo, inspirando a artistas y conmoviendo a aficionados de todas las épocas. Eso mismo es lo que vamos a tratar hoy en La ContraHistoria de la mano de Alberto Garín. Nos sumergiremos en la escuela flamenca que tuvo su continuación en los siglos XVI y XVII con artistas de la talla de Rubens, van Dyck o Jordaens. En el siglo XIX la pintura flamenca renació prefigurando los estilos contemporáneos de la mano de James Ensor. Cinco siglos de de arte con mayúsculas atado siempre a unas circunstancias históricas muy concretas e irrepetibles. Bibliografia: “Los primitivos flamencos” de Erwin Panofsky - https://amzn.to/3NtKjPS “El affaire Arnolfini” de Jean-Philippe Postel - https://amzn.to/4h4PuTX “Rubens” de Gilles Neret - https://amzn.to/48ccZWX “Historia de la pintura” de Paz García Ponce de León - https://amzn.to/3BJCTFn “Leer la pintura” de Nadeije Laneyre-Dagen - https://amzn.to/40658YY · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #pintura #flandes Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Flandes, esa tierra de brumas y canales donde campos y ciudades se funden con el mar en un horizonte infinito, fue la cuna de una escuela pictórica que deslumbró al mundo hace más de cinco siglos, un ramillete de pintores magistrales que exhibían un detallado realismo y una profunda introspección. Los maestros flamencos, alquimistas de la luz y el color, no solo retrataron la realidad con una precisión asombrosa, sino que también se adentraron en los misterios del alma humana revelando las pasiones, los anhelos, las miserias y las grandezas de una de las sociedades más opulentas de su época. En los albores del Renacimiento, cuando Italia recuperaba los cánones clásicos, Flandes florecía como un centro de comercio y cultura. Brujas, Gante, Amberes, ciudades vibrantes y cosmopolitas, se convirtieron en el escenario donde se forjó esta escuela singular a la sombra de los duques de Borgoña. Los artistas flamencos, herederos de la tradición medieval, pero abiertos a las nuevas corrientes artísticas, desarrollaron un estilo propio caracterizado por la minuciosidad del detalle, la riqueza cromática y la maestría en el manejo de la luz. El óleo, esa sustancia mágica que permite capturar la luminosidad y la transparencia, se convirtió en la herramienta predilecta de estos pintores flamencos. Jan van Eyck, el genio visionario, creo obras de una belleza y un realismo incomparables. Pero la Escuela Flamenca no se limitó a la representación fiel de la realidad. Sus artistas, imbuidos de un profundo sentido religioso y moral, dotaron a sus obras de un simbolismo complejo. Roger van der Weyden, maestro del dramatismo y la emoción, nos conmueve con sus escenas de piedad y sufrimiento. Hans Memling, con su pincel delicado y elegante, nos transporta a un mundo de serenidad y armonía. Sus vírgenes, de rostro dulce y mirada melancólica encarnan la pureza y la bondad. En sus retratos, la nobleza y la burguesía flamenca se muestran en todo su esplendor. Y luego está Hieronymus Bosch, más conocido en los países de habla hispana como El Bosco, que fue un pionero creador de mundos fantásticos poblados de criaturas extrañas y escenas oníricas. "El Jardín de las Delicias", esa obra maestra enigmática y perturbadora, nos sumerge en un universo de pecado y redención, donde la lujuria, la gula y la vanidad se mezclan con la inocencia y la esperanza. Pieter Brueghel el Viejo, por su parte, nos acerca a la vida cotidiana de los campesinos, con sus alegrías y sus penas, sus fiestas y sus trabajos. Sus paisajes, nos muestran la belleza de aquella tierra, pero también la dureza de la vida en el campo. La Escuela Flamenca, con su realismo y su simbolismo profundo, dejó una huella imborrable en la historia del arte. Sus maestros, con su dominio de la luz y el color, nos legaron un tesoro de valor incalculable. Su legado sigue vivo, inspirando a artistas y conmoviendo a aficionados de todas las épocas. Eso mismo es lo que vamos a tratar hoy en La ContraHistoria de la mano de Alberto Garín. Nos sumergiremos en la escuela flamenca que tuvo su continuación en los siglos XVI y XVII con artistas de la talla de Rubens, van Dyck o Jordaens. En el siglo XIX la pintura flamenca renació prefigurando los estilos contemporáneos de la mano de James Ensor. Cinco siglos de de arte con mayúsculas atado siempre a unas circunstancias históricas muy concretas e irrepetibles. Bibliografia: “Los primitivos flamencos” de Erwin Panofsky - https://amzn.to/3NtKjPS “El affaire Arnolfini” de Jean-Philippe Postel - https://amzn.to/4h4PuTX “Rubens” de Gilles Neret - https://amzn.to/48ccZWX “Historia de la pintura” de Paz García Ponce de León - https://amzn.to/3BJCTFn “Leer la pintura” de Nadeije Laneyre-Dagen - https://amzn.to/40658YY · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #pintura #flandes

Únik do sveta plného farieb, tvarov a príbehov, ktoré pretrvávajú stáročia. Ponúkame vám hlbšie pochopenie Boschovej jedinečnej umeleckej vízie! V tejto tretej epizóde minisérie o Hieronymovi Boschovi sa zameriame na fascinujúci obraz „Loď bláznov“. Čo nám autor chce povedať o ľudskej márnivosti, ako jeho práca reflektuje dobu, v ktorej žil a čo si vieme z obrazu vziať dnes? Toto všetko vám prezradí vaša sprievodkyňa a kurátorka do ucha Michaela Šimonová. Ponorte sa s ňou do rozpravy plnej poznania a objavovania skrytých tajomstiev a príbehov. LINK NA DIELO: Hieronymus Bosch, Loď bláznov, 1490-1500: https://cs.wikipedia.org/wiki/Loď_bláznů_(obraz)#/media/Soubor:Jheronimus_Bosch_011.jpg   Sledujte nás aj na našom FB, kde zdieľame novinky a zaujímavosti zo sveta umenia: https://www.facebook.com/ArtStoryPodcast , na našej IG stránke: https://www.instagram.com/artstory_podcast/  a na našom webe: https://artstory.sk/ -- EV 160/23/EPP | 4. ročník | epizóda 12/2024

Únik do sveta plného farieb, tvarov a príbehov, ktoré pretrvávajú stáročia. Poďme spoločne objaviť Boschovu jedinečnú umeleckú víziu! V tejto druhej epizóde minisérie o Hieronymovi Boschovi sa ponoríme do jeho ikonického diela "Záhrada pozemských rozkoší". Vaša sprievodkyňa a kurátorka do ucha Michaela Šimonová odhalí tajomstvá a symboly, ktoré dodnes ohromujú a inšpirujú milovníkov umenia po celom svete. Či už ste nadšenec umenia alebo vás len láka spoznať Boschov svet, táto epizóda vám prinesie nové poznatky a inšpiráciu. LINK NA DIELO: Hieronymus Bosch, Záhrada pozemských rozkoší, 1503-1504: https://cs.wikipedia.org/wiki/Zahrada_pozemských_rozkoší#/media/Soubor:El_jardín_de_las_Delicias,_de_El_Bosco.jpg   Sledujte nás aj na našom FB, kde zdieľame novinky a zaujímavosti zo sveta umenia: https://www.facebook.com/ArtStoryPodcast , na našej IG stránke: https://www.instagram.com/artstory_podcast/  a na našom webe: https://artstory.sk/ -- EV 160/23/EPP | 4. ročník | epizóda 11/2024

Únik do sveta plného farieb, tvarov a príbehov, ktoré pretrvávajú stáročia. Pripojte sa k nám pri objavovaní tajomstiev Hieronymusa Boscha! V tejto minisérii budete počuť analýzy a interpretácie diel jedného z najosobitejších maliarov - Hieronymusa Boscha. V prvej epizóde minisérie sa zameriame na jeho dielo "Posledný súd", ktoré je známe svojou detailnosťou a symbolikou. Vaša sprievodkyňa a kurátorka do ucha Michaela Šimonová prejde každý panel tohto triptychu, aby pre Vás odhalila skryté významy a kontext, v ktorom Bosch maľoval. LINK NA DIELO: Hieronymus Bosch, Posledný súd, enri Mattise, po roku 1482: https://en.wikipedia.org/wiki/The_Last_Judgment_(Bosch,_Vienna)#/media/File:Last_judgement_Bosch.jpg   Sledujte nás aj na našom FB, kde zdieľame novinky a zaujímavosti zo sveta umenia: https://www.facebook.com/ArtStoryPodcast , na našej IG stránke: https://www.instagram.com/artstory_podcast/  a na našom webe: https://artstory.sk/ -- EV 160/23/EPP | 4. ročník | epizóda 10/2024

Sometimes, life is like a Hieronymus Bosch painting. And Frances Jaeger says it's not so bad on top of the hay wagon.

Welcome back to another glorious week of more HaWt JuIcY aRt HiStOry! We probably get the lowest our dirty low brows can go this week with one of Chelsea's fav's of all time... HIERONYMUS BOSCH! There will be finagle-ing of the bagel-ing, there will be genitals in almost every place you never even thought to put them, there will be good berries, there will be weird fantastical bowel movements, there will be St. John looking like a sad ass Tarzan, and there will be lots and lots of laughter! SO COME ON AND JOIN US ALREADY! As always, with lots and lots of love... The Baroque B*tches

Nicht alle Spieletests sind gleich. Manche tänzeln fröhlich über die Wiese, singen unter dem Regenbogen mit einem Einhorn und spazieren anschließend zum rosa Ponyhof. Andere sind wie der unheilige Spross eines Gemäldes von Hieronymus Bosch und einer Rede von Olaf Scholz. Um letztere soll es in dieser Folge gehen, denn wir erinnern uns an unsere schlimmsten Spieletests, jene dunklen Momente unserer Karrieren, wo wir schreien, brüllen, den Stift wegwerfen und den Job kündigen wollten. Welche Spiele haben uns (beinahe) gebrochen? Heute erfahrt Ihr es! Timecodes: 00:00:00 - Einleitung 00:02:31 - Arbeitsbedingungen bei Spieletests 00:13:39 - Dungeon Siege, The Tomorrow Children, Neverwinter Nights, Alone in the Dark 00:27:10 - Wann euch klar wurde, dass bei der Bewertung noch ganz andere Faktoren reinspielen 00:46:49 - Bugs in Testversionen und der Einfluss von Chefredaktionen 01:02:38 - Angsttests und NDAs 01:25:01 - Testevents und die Orange Box von Valve

I have always loved art. I began my college career as an artist before moving to journalism, but my fascination has always remained with the visual arts. I love going to museums and when something attracts my attention, I often do deep research into the subject until I have reached satisfaction. One such personal pursuit has been my longtime passion for studying “The Juggler” (aka “The Conjurer”) by Hieronymus Bosch. I have given lectures on this painting to magicians and to museum docents. So imagine my great thrill to meet and to have this meaningful conversation with Dr. Steffen Taut from Dresden who is an expert in ancient magic art.Thanks to an introduction by Richard Hatch at the recent Magic Collectors Expo, we sat down to record a scholarly talk about our mutual passion and more. This should be like listening to a college professor after class talking with one of his students. I know you will learn a lot from this week's episode and I guarantee you'll enjoy it, or you get your money back! View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize During the first half of our conversation, Dr. Taut talks about Djedi, magician to Pharaoh Khufu (Cheops), as well as some of the “magic” he created (like severing and restoring the head of a bull, and switching heads between a duck and a chicken), plus how some of the court magicians were less than ethical in their conduct. Dr. Taut also goes into some detail about the Westcar Papyrus which has only been discovered some 200 years ago but tells us so much about Egyptian magic in Pharaoh's courts. The second part of our chat goes into the 1502 painting by Hieronymus Bosch known to us today as “The Conjurer.” There is a lot of symbolism in this painting and an interesting history of what was going on with the Church at the time that led to Bosch creating this painting. Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here. "In Praise of Folly" by Desiderius Erasmus as recommended by Dr. Steffen Taut in this week's episode. Click on the link to visit the Amazon store and support The Magic Word Podcast. “The Magical Life of Marshall Brodien” compliments of the Narrator, Dean Bootcheck Two Spotify codes will be awarded to access and listen to John Moehring's book read by Dean Bootcheck. Enter the Contest for a chance to win an Audiobook “The Magical Life of Marshall Brodien.” Two Spotify Codes will be awarded for Audiobooks as prizes in this contest, compliments of the narrator, Dean Bootcheck. First Name Last Name Email Address Enter Now Your privacy is our concern. We will only share your email address with Dean Bootcheck, who is offering this prize. Since it is a digital prize and no foreign postage is necessary, all are welcome to enter where allowed by law. Thank you for entering the contest. If your name is randomly selected, then you will be contacted and sent a link where you can download and listen on Spotify. Good luck!

Pavel ammo debacle. Hieronymus Bosch frontline

Sub to the PPM Premium Feed to access this 3 & 1/2 hr AstroWorld monstrosity & its index in their totality. "Bohemian GrOVO (IV)" will also be an exclusive, so get in here, dood!!! patreon.com/ParaPowerMapping In this penultimate Bohemian GrOVO ep, we finally embark upon the climactic auditory panel in this parapolitical & rap esotericism triptych, namely our forensic recreation of the uncanniness surrounding the AstroWorld mass ritual. Talking AstroWorld as Mass Ritual: a tip of the hat to SK Bain's landmark schizo book; the numerological significance of the date on which AstroWorld fest in Houston fell (11/05/21 & the early morning of 11/06 -> 11s evoking 9/11 & Crowley; a couple 5s—evoking death & thresholds—in both the date & the digit sum of 2021); NukSantiago's firsthand account of seeing a sea of dead bodies on the floor & his characterization of the event as an "Illuminati ritual" & "demonic"; 11/06 — 6's Satanic significance; chaos in the crowd & vid of medic's resuscitating ppl as Travis & Drake cont playing; an ICU nurse & Nuk attesting to dragging dead bodies out; the meta & ARG quality of the AstroWorld advertising, which freakily foreshadowed the fact the fest would become a major cultural moment & source of conspiracy theorizing; Weekly World News & Nat'l Enquirer vibes in promo materials; the metatextual quality is deepened by the full page tabloid ads in the Houston Chronicle; Travis -> Bat Boy; "injecting the city" (glowing in pandemic context); "when the end arrives, it's really the beginning"; "See You On the Other Side" preempting mass casualty; Travis's song "Escape Plan" creepily mirroring ppl's exp of escaping the crush of bodies; Travis's "Franchise" music vid evoking Jodorowsky's "The Holy Mountain"; Qabalistic Sephirot significance of the 3rd iteration of AstroWorld; an occulted close reading of the stage design; a portal w/ rings symbolizing Circles of Hell; the mtns evoking Twin Peaks & vaguely resembling the Bohemian Grove altar; OVO - Bohemian Grove Minervan Owl symmetries; a brief history of the club; its Romantic poetry & literal Bohemian origins; morphing into elite boys club bacchanal; past participants like Hoover, Lyndon Johnson, Nixon, Reagan, OSS founder, Bob Weir (Courtney Love connex), & more recently Clarence Thomas visiting w/ Nazi artifact collecting oligarch Harlan Crowe; the story regarding Drizzy's shell corp LLC "Silence Policy", which likely served some sex traffick purpose, evoking initiatic & secret societies' code of silence; "Weaving Spiders Come Here Not"; "Cremation of Care" play & effigy burning; what are the chances Drizzy has visited Bohemian Grove?; the hyping of AstroWorld as this legendary fest & Travis encouraging ragers to gatecrash; the refusal of the sponsors & streamers ( A p p l e & L I v e N a t I o n, iirc) to stop the proceedings & help the dying; a capitalist sacrifice to Mammon, where profit motive outweighed safety; stories of security guards pricked w/ fent needles dropping after the event (later retracted), perhaps serving as a distraction...; Travis - "No Bystanders" & the Bystander effect; Utopian & Dystopian subtext; Travis's shirt w/ stick figures falling through a portal—an xtra dimension to the ritual sacrificial altar dressing; the "Franchise" vid evoking mass MK w/ its stampede of sheep (sheeple) & possibly hinting at the crowd crush; the Hand of Fatima / Hamsa imagery in the poster; Right Hand & Left Hand Path of magic; a Ouija Board planchette visual allusion; an academic paper on Satanic imagery & symbolism at Travis Scott's AstroWorld published by an Indonesian Uni, which Klonny cites for the Hieronymus Bosch allusion contained in the Travis mouth fest entrance, which evokes "Christ in Lambo", itself a representation of the Gate of Hell; & so much more.... Tracks:  | Travis Scott ft MIA - "Franchise" | | Michael Jackson & Friends - "What More Can I Give" | | Travis Scott ft Drake - "Sicko Mode" | | Drake ft 21 Savage - "Knife Talk" |

Jeroen is diep in de zomerkoninkjes gedoken. Van schilderijen van Hieronymus Bosch tot risotto met aardbeien, het komt allemaal aan de orde deze afleveringen. Het leukste is wel dat je de lekkerste aardbeien zelf kweekt en dat dat niet moeilijk is. En dus doen we een weggeefactie van kweekpakketten.Daarnaast hebben we de uitslag van de Smaakmakers verkiezen. De hele Top10 hoor je in de podcast en vind je op de site. In het Supplement praat Jeroen met Dan Saladino, BBC Food journalist en schrijven van het boek ‘Eten tot het op is.”Alle recepten en informatie van deze aflevering staan in de shownotes.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

What is Leviathan? This episode is a deep dive into the concept of Leviathan, exploring its historical and cultural significance, and its portrayal in various scriptures and mythologies. We discuss Leviathan's symbolism in relation to chaos, spiritual warfare, and its depiction as a monstrous sea serpent. The conversation extends to the broader themes of chaos magic, personal spiritual experiences, and the contrast between chaos and order in religious beliefs. We also examine the hierarchy of hell, touching on entities like Asmodeus and Ashtaroth, and the role of occult lore. Personal reflections on faith, the pursuit of purity, and the importance of relationships in combating evil forces are also shared.Timestamps:The concept of Leviathan (00:00:11) Spiritual warfare and chaos (00:01:19) Leviathan as a real entity (00:02:25) The symbolism of chaos (00:08:21) Biblical references to Leviathan (00:10:47) Historical depictions of Leviathan (00:11:50) Jeremiah's analogy of chaos and Leviathan (00:17:39) Shiva and Leviathan (00:19:47) Kali, the Hindu Goddess (00:20:23) Chaos Monsters in Indian Mythology (00:21:07) Leviathan as an Identifier of Chaos (00:23:27) Hieronymus Bosch's Depiction of Chaos (00:24:21) Abyss Imagery and Different Views on Hell (00:25:08)Concept of Hell and Dehumanization (00:27:17)Overcoming Chaos through Resurrection (00:29:45) Chaos Magic and Personal Testimony (00:31:59) False Order and Manipulation by Sinister Forces (00:36:00)Contrast Between Chaos and Yahweh (00:37:53) Depersonalization and Chaos (00:39:38) Chaos and Depersonalization (00:40:04) Chaos and Impersonalism (00:40:28) Chaos in Society and Intimacy (00:41:03) Chaos and Its Impact on Health (00:42:38) Order and Chaos in Society (00:43:42) Organized Crime and Chaos (00:44:08) Chaos, Magic, and Relationship (00:45:31) Chaos Magic and Leviathan (00:46:39) Historical Timeline of Chaos Magic (00:47:59) Chaos Magic and Occult Revival (00:51:45) Atheistic Satanism and Hatred (00:55:13) Hierarchy of Hell and Leviathan (00:58:26) The hierarchy of hell and demonic entities (00:59:25) The origins of occult lore (01:00:39Revelation of secrets and understanding the devil's schemes (01:03:47) Truth and shadow: Embracing faith and forgiveness (01:04:50) Chaos magic and introspection (01:06:21) Creation of ordered image of God and peace (01:07:32)

We juuuust scratch the surface of the wildly-complex and detailed painting The Garden of Earthly Delights by Hieronymus Bosch. WARNING: We talk a lot about sex/genitalia/etc. in this one Check out the Wikipedia image Thank you, as always to our friends Wilder Things Than Us (formerly My Girl, My Whiskey, and Me) for our intro and outro music.

Wisdom vs. Foolishness Part 1: The folly of the fool; The wisdom of the wise Introduction This is the second sermon in our Proverbs thematic study. Last week, we talked through our need for rebuke and discipline and godly counsellors in our lives. Those are important first steps as we move into these themes that deal with our words and actions. If you'll take out the Proverbs insert in your bulletin. On the front page, note our next theme focuses on wisdom and foolishness. We'll be covering this theme in three sermons. The first, today, is on the nature of wisdom and foolishness. What is wisdom like? What is foolishness like? We'll also consider their worth? Then, next week, we'll shift to consider the consequences of wisdom and folly. What are their near-term effects and long-term results? Part 3 will be later in February or early March. Go ahead and turn to the inside of the insert, you'll see the Proverbs for today. There are two sub-categories. A - The nature of wisdom and folly and B - The worth of wisdom and folly to the wise and the fool. Stand--------------------------------Proverbs 24:3-7By wisdom a house is built, and by understanding it is established;by knowledge the rooms are filled with all precious and pleasant riches.A wise man is full of strength, and a man of knowledge enhances his might,for by wise guidance you can wage your war,and in abundance of counselors there is victory.Wisdom is too high for a fool; in the gate he does not open his mouth.A. The nature of wisdom and folly10:13-14 On the lips of him who has understanding, wisdom is found,but a rod is for the back of him who lacks sense.The wise lay up knowledge, but the mouth of a fool brings ruin near.12:23 A prudent man conceals knowledge,but the heart of fools proclaims folly.13:16 Every prudent man acts with knowledge, but a fool flaunts his folly.14:1 The wisest of women builds her house,but folly with her own hands tears it down.14:8 The wisdom of the prudent is to discern his way,but the folly of fools is deceiving.14:15-16 The simple believes everything,but the prudent gives thought to his steps.One who is wise is cautious and turns away from evil,but a fool is reckless and careless.14:33 Wisdom rests in the heart of a man of understanding,but it makes itself known even in the midst of fools.15:2 The tongue of the wise commends knowledge,but the mouths of fools pour out folly.15:7 The lips of the wise spread knowledge;not so the hearts of fools.15:14 The heart of him who has understanding seeks knowledge,but the mouths of fools feed on folly.17:7 Fine speech is not becoming to a fool; still less is false speech to a prince.17:24 The discerning sets his face toward wisdom,but the eyes of a fool are on the ends of the earth.17:28 Even a fool who keeps silent is considered wise;when he closes his lips, he is deemed intelligent.19:2 Desire without knowledge is not good,and whoever makes haste with his feet misses his way.18:2 A fool takes no pleasure in understanding,but only in expressing his opinion.18:7 A fool's mouth is his ruin, and his lips are a snare to his soul.18:15 An intelligent heart acquires knowledge,and the ear of the wise seeks knowledge.27:12 The prudent sees danger and hides himself,but the simple go on and suffer for it.29:11 A fool gives full vent to his spirit, but a wise man quietly holds it back.29:20 Do you see a man who is hasty in his words?There is more hope for a fool than for him.B. The worth of wisdom and folly to the wise and the fool10:23 Doing wrong is like a joke to a fool,but wisdom is pleasure to a man of understanding.12:14 From the fruit of his mouth a man is satisfied with good,and the work of a man's hand comes back to him.13:19 A desire fulfilled is sweet to the soul,but to turn away from evil is an abomination to fools.14:24 The crown of the wise is their wealth, but the folly of fools brings folly.15:21 Folly is a joy to him who lacks sense,but a man of understanding walks straight ahead.16:16 How much better to get wisdom than gold!To get understanding is to be chosen rather than silver.16:22 Good sense is a fountain of life to him who has it,but the instruction of fools is folly.17:16 Why should a fool have money in his hand to buy wisdomwhen he has no sense?19:8 Whoever gets sense loves his own soul;he who keeps understanding will discover good.20:15 There is gold and abundance of costly stones,but the lips of knowledge are a precious jewel.21:20 Precious treasure and oil are in a wise man's dwelling,but a foolish man devours it.26:7 Like a lame man's legs, which hang useless,is a proverb in the mouth of fools.26:9 Like a thorn that goes up into the hand of a drunkardis a proverb in the mouth of fools.26:11 Like a dog that returns to his vomit is a fool who repeats his folly.--------------------------------- Prayer. In the late 15th century, author Sebastian Brant wrote a book which he titled Ship of Fools. Maybe you've heard that phrase before. In his book, Brant critiques many of the follies of his time. His metaphor throughout the book is a ship filled with all sorts of foolish characters. The book has 112 chapters. And each chapter focuses on a different character, giving a satirical vignette of their foolish behavior or vice or disregard for reality…. Such as: flattery, greed, laziness, lust, lack of charity, neglect for one's own affairs, foolish talk, disrespect for tradition and history. And the list goes on. Does that list sound familiar? Well, Brant's book became wildly popular, especially because of his use of satire. It was translated into multiple languages and inspired other writings and art. For example, a well-known painting by Hieronymus Bosch comes from Brant's book. The painting, also titled “Ship of Fools” depicts a boat floating on the sea. And in it, 10 people are engrossed in all kinds of folly, oblivious to their surrounding. Next to the boat, 2 people swim carelessly. It's a ship without a captain, without a rudder, floating aimlessly toward an uncertain end. All of it really captures the essence of folly. In many ways, it captures how the book of Proverbs portrays the fool. By the way, I want to acknowledge that this is not the first time we've come across wisdom and foolishness in Proverbs. Remember chapter 7? …the foolish man seduced by the adulteress. He was ignorant of her twisted speech and her deceptive ways. It was a trap and he fell prey to a tragic end. And remember wisdom? Several chapters gave us a clear definition of wisdom including its value. Do you remember how chapter 1 described wisdom? Biblical wisdom has three parts: knowledge, righteousness, and discernment. (1) knowledge of God, his Word, and world; (2)righteousness that reflect God's goodness and his Word in your life and (3) discernment in understand and applying what is true and right and good.. We covered that definition multiple times in the fall. Hopefully that is a good reminder. Foolishness is like the mirror opposite of wisdom. If you're old enough, you'll remember that cameras used to use film. Light helped to capture the image to the film, but what's interesting about the film is that it captures the opposite. Dark colors were captured as light colors…. dark reds were light blues. Basically, it captured the inverse. That's why they were sometimes called negatives. Well, folly is the negative of wisdom. Instead of seeking truth and knowledge from God and seeking to apply that knowledge in righteousness and understanding, folly is the opposite. It is ignoring or rejecting knowledge and understanding and goodness. In the original Hebrew text, there are two words in Proverbs which are translated “fool.” They're also the root for the words foolish and folly. The more common word for fool means someone with not just a lack of understanding but a rebellion against understanding. One commentator described it to be someone who has an active disregard for moral truth. It's someone who defiantly opposes wisdom and instead doubles down on his folly. This word for fool is used about 80% of the time in Proverbs. The second less common word for fool indicates someone more passive in his foolishness. It's not a lack of ability to understand, rather it's a lack of desire to understand. This kind of fool stubbornly rejects the need for wisdom because he doesn't care. So, foolishness can be active and passive. That brings us to the two questions to which these verses speak. #1 – What is the nature of wisdom and foolishness? Again, what does foolishness and wisdom each look like? #2 – What is the worth of wisdom and folly to the wise and fool? Those two questions line up with the two groupings of verses in the reading. But really, instead of the word “foolishness,” we should talk about the fool. There are 26 occurrences of the word “fool” in these 41 verses. That's a lot! You see, the contrast here is between the “fool” and the “wise.” It's saying you are either in one category or another. You are either a fool or you are wise. These verses don't present a middle ground. I think that's hard for us to hear. Because if we reflect on our own lives, we'll recognize that we each have a measure of foolishness in us. Don't we? I've been thinking about this, and I want to propose an analogy. Did you know, the City of Tucker is on the Eastern Continental divide? What that means is that when it rains in Tucker, some of the water flows into the Gulf of Mexico, and some of the water flows into the Atlantic Ocean. The line runs somewhere near Main Street. I've heard that sometimes the firetrucks will come out and turn on their hoses and spray them on one side of the eastern continental divide line… and then they will spray them on the other side. Interesting fact, isn't it? Well, each of us is like a drop of water in Tucker. We're heading in one direction or another… not to the Gulf or to the Atlantic, but we're either travelling down the path of wisdom or the path of folly. And Proverbs names the person travelling down the path of wisdom as a wise man or wise women (verse 14:1) and it names someone heading down the other path as a fool. I hope that helps orient you toward the language here. In fact, what we learn from the first set of verses here is that a fool pursues folly and someone wise pursues wisdom. You see, the nature of a fool is self-perpetuating and the nature of the wise is self-perpetuating. The Folly of Foolishness Let's start with the fool. And actually, that self-perpetuating description is all throughout these verses. Let's look at some of them. ·      Provrbs 12:23 in group A. “A prudent man conceals knowledge, but the heart of fools proclaims folly.” ·      The next verse there is similar… 13:16. “Every prudent man acts with knowledge, but a fool flaunts his folly.” ·      Or on the right side of the list in section B. look at 14:24. “The crown of the wise is their wealth, but the folly of fools brings folly.” There are a few others verses that also show this. Foolishness breeds more foolishness. A raindrop falling on the Gulf side of the divide in Tucker is probably going to make its way into Peachtree Creek, which is then going to flow into the Chattahoochee River. It's going to get bigger and bigger until it then flows out into the Gulf. Foolishness snowballs. That's the nature of a fool. And these verses get very specific in how that happens. Let me give you three things described here. ·      First, a fool rejects or ignores the pursuit of knowledge and understanding. I already briefly mentioned that, but look at Proverbs 15:14 – “The heart of him who has understanding seeks knowledge, but the mouths of fools feed on folly.” He rejects wisdom and instead seeks folly. ·      Second, a fool flaunts the fact that he rejects wisdom. He proclaims folly (12:23). He pours out folly (15:2). And there are a couple of other similar ones. Basically, a fools words spew forth whatever comes to mind - hurtful or vulgar or thoughtless words. Look at the beginning of 18:7 “A fool's mouth is his ruin.” And 29:11 “A fool gives full vent to his spirit, but a wise man quietly holds it back.” By the way, I know I'm listing these verses pretty quickly. All of my notes are published on our website and in our app if you'd like to go back. Also! One of the future themes is on words. Stay tuned for that. ·      Ok, first, a rejection of wisdom. Second, a flaunting of foolishness. And now third, “a fool is reckless and careless.” Those are the exact words right there in Proverbs 14:15-16. He is irresponsible in his words and actions. Proverbs gives us an example of that. Look on the top right to 27:12. “The prudent sees danger and hides himself, but the simple go on and suffer for it.” A fool is irresponsible and reckless. Ok! How about a real word example of such a fool? I'm going to give you one. Last November, Sam Bankman-Fried, or SBF as he's known, was convicted of the biggest financial fraud in history. He's 31 years old. He stole billions from his crypto customers and was convicted of fraud, embezzlement, and criminal conspiracy. He's facing a 110-year prison sentence not to mention how his actions brought financial ruin to many of his customers. But also, let me read to you what he said just a couple of years ago. He said, “I would never read a book. I don't want to say no book is ever worth reading, but I actually do believe something pretty close to that. ... If you wrote a book, you [messed] up…” only he didn't use the word “messed.” (1) He rejected the pursuit of knowledge and understanding. (2) He flaunted that rejection with thoughtless and crass words. And (3) he displayed utter reckless and careless actions. And all of that didn't start a couple of years ago. No, SBF has been on the continental divide of foolishness his whole life. Now, before we switch wisdom, let's consider the second question applied to foolishness. What is the worth of wisdom and folly to the fool? The answer is this: a fool sees folly as worthwhile, and he sees wisdom as worthless. Let's look at some of the Proverbs on the right side of the page under grouping B. ·      Proverbs 10:23 – “Doing wrong is like a joke to a fool.” This means either he laughs at his folly, or he pursues folly as if it is a funny joke. ·      Similarly, 15:21 “Folly is a joy to him who lacks sense.” A fool revels in his folly. He enjoys his careless and thoughtless words and actions. ·      And, as you would suspect, he also de-values wisdom. The last four Proverbs in the list speak to that. He “devours” the precious value of wisdom (that's 21:20). Wisdom is “useless” to him (26:7). And Proverbs 26:9 “Like a thorn that goes up into the hand of a drunkard is a proverb in the mouth of fools.” Wisdom, to him, is an irritating thorn. It only stirs his heart to more foolishness. Let me summarize where we are. The nature of foolishness is a downward spiral of thoughtless and reckless words and actions. A fool is like a drop of water on one side of the continental divide that grows into a mighty river of a careless and self-centered existence. A fool rejects the pursuit of God and all knowledge and understanding that is found in him. True wisdom is worthless to the fool. Now, we started with the fool because I didn't want us to end there! The Wisdom of the Wise So, let's switch to wisdom. The good news is that these verses also present the nature of wisdom. They direct us to the worthy pursuit of knowledge and discernment that is founded on the one who is wisdom. Now, we already reviewed the definition of wisdom – knowledge, righteousness, and discernment. What these verses do, is give us a picture of how that Godly wisdom is lived out. It's similar, of course, to how it painted a picture of the fool. Ok, here's the nature of wisdom: A wise person displays careful and thoughtful words and actions. His (or her) words reveal knowledge and demonstrate a discernment of what is good and true and right. His actions demonstrate a faithful pursuit of wisdom lived out in righteousness. Let's start with the words, and then move to the actions. Again, his words demonstrate knowledge and discernment. Several Proverbs speak about this. ·      Look at Proverbs 15:2 - “The tongue of the wise commends knowledge.” The wise direct people to knowledge. ·      15:7 is very similar. “The lips of the wise spread knowledge” ·      But also, the wise are cautious in their words. They are not prideful in the knowledge and understanding that the Lord has given them. In other words, they don't blurt out everything they know. Rather, they cautiously and humbly dispense the wisdom of God. Look at 12:23 – “A prudent man conceals knowledge.” That word “prudent” is used a few times here. It means discerning and sensible. Let me translate this into modern language. A wise man does not go around “mansplaining” what he knows to everyone. Yes, that word is in the dictionary. In other words, he's discerning about when and how to share his knowledge and understanding. Ok, second… actions. A wise man or woman lives out that knowledge and discernment. ·      14:1 “The wisest of women builds her house, but folly with her own hands tears it down.” A wise woman is intentional and diligent and careful. ·      Look again at Proverbs 14 verses 15-16. “The simple believes everything, but the prudent gives thought to his steps. One who is wise is cautious and turns away from evil.” In summary, wisdom is lived out in a life faithful to the knowledge and righteousness of God. Wisdom is displayed in words and actions. Let me add one more thing about the nature of wisdom. It's like a rain drop on the other side of the continental divide. Wisdom grows in wisdom. Wisdom pursues wisdom. Let me give you some rapid fire verses: ·      10:14 – “the wise lay up knowledge” ·      15:14 – he “seeks knowledge” ·      17:24 – “the discerning sets his face toward wisdom” ·      And 18:15 – “an intelligent heart acquires knowledge…” and it continues, “the ear of the wise seeks knowledge.” Think of someone in your life, present or past, who displays a maturity in wisdom. That person is likely stable, and thoughtful and intentional and caring… He studies God's Word. She enjoy reading thoughtful and faithful books. In a discerning manner he applies God's Word and his wisdom in situations. Her life displays a godliness, and she has a purpose in life that is centered on the Lord and his glory, not hers. When confronted with folly or evil, he speaks truth and respond carefully but firmly. A few people come to mind who demonstrate several of those traits. And there's one thing that they all share. They point to the one who is wisdom. They point to Christ. You see, if you are on the path of wisdom, one of the first things to know is that your wisdom journey will not end in this life. You will never become the perfect example of wisdom. And actually, to think that is foolish. But there is one who has. This week, I was re-reading each of these verses on wisdom and thinking about how Jesus fulfilled them. It's quite an encouraging exercise! We have a Lord who in every way demonstrated in his words and action and heart the fulness of wisdom.·        As a child, Jesus grew in wisdom and stature. ·        His words displayed an understanding of all things·        In any conversation and interaction, he could penetrate to the heart of the matter with remarkable discernment.·        He spread his knowledge and commended his wisdom to his disciples and the crowds and really, the world.·        When confronted by foolishness, he dispelled arguments. He left his adversaries speechless.·        The wisdom of his parables revealed an eternal perspective and justice that defied the way of the world.·        His life testified to the wisdom of God's Word as he perfectly fulfilled the law·        He faithfully and sensitively ministered to any and all who came to him in need·        He set his mind and heart on his purpose – not deterred by Satan nor the powers of this world, nor the detractors of the faith.·        He faithfully endured the cross set before him. The cross, which was foolish to the world, yet through it, God fulfilled his infinite wisdom.·        In all of it, as it says in 1 Corinthians 1, Christ Jesus became to us wisdom from God, righteousness, sanctification, and redemption. He is wisdom. And for us, he is the beginning of wisdom. He is the continental divide, the line which determines if you are on the side of the fool or on the side of the wise. He is the one who can move you to the other side of the divide… the only one who can redirect you to the path of true wisdom. And when you have his wisdom, you have the most worthy knowledge and understanding. That's where I want to bring this to a close – the worthiness of the wisdom of Christ. Look again at the verses in section B.·        Proverbs 10:23, the second line. “Wisdom is pleasure to a man of understanding.” The wisdom of Christ is a joy to his heart.·        It “satisfies him with good” (12:14); it is “sweet to the soul” (13:19)·        His wisdom is better than gold and silver (16:16)·        It is a “fountain of life to him who has it” (16:22) and “a precious jewel” (20:15) ·        And finally, as Proverbs 21:20 says, “Precious treasure and oil are in a wise man's dwelling.” To have the wisdom of Christ is to have precious treasure and oil that overflows in your life to others. The wisdom that Jesus models and that he gives us is a wisdom that cannot be bought. It can only be received by faith. And when you receive it, it's joy and blessing will radiate from a new heart – a heart of wisdom – the heart of Christ. Are you on the ship of fools? Are you on the wrong side of the continental divide of foolishness and wisdom? If so, the wisdom of Jesus is for you… and it's a wisdom that he offers to you. So, may we each embrace the wisdom of Proverbs – a wisdom that pursues the knowledge of God and the righteousness of Christ. And may we set aside our foolish ways and our foolish words that we may be wise in him… Amen.

From the nightmarish creations of Hieronymus Bosch to the intricate flying machines of Leonardo da Vinci, the Renaissance was a time of experimentation and cultural exploration. Speaking to Charlotte Hodgman, art critic and writer Jonathan Jones takes a closer look at this period of seismic change and explores its enduring significance in European history. (Ad) Jonathan Jones is the author of Earthly Delights: A History of the Renaissance (Thames & Hudson, 2023). Buy it now from Waterstones: https://go.skimresources.com?id=71026X1535947&xcust=historyextra-social-histboty&xs=1&url=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Fearthly-delights%2Fjonathan-jones%2F9780500023136 The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Urs Fischer talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Born in 1973 in Zurich, Switzerland, Fischer makes work across multiple disciplines and media that defies categorisation. Whether he is working in photography, painting, drawing, sculpture or installation, he often upends the given characteristics of his medium. His art is in a state of constant transformation, being pushed and pulled in unexpected directions, often with a pronounced absurdity and always with a distinctive impact. He reflects on the experience of curating an exhibition of John Chamberlain's work for Aspen Art Museum and how, if at all, it has affected his own practice. He discusses his early interest in Hieronymus Bosch and Pieter Brueghel, why he recreated Giambologna's Abduction of the Sabine Women (1579-83) in the form of a candle, and Rodin's The Kiss (1882) from plasticine. He talks about Headz, the jazz and drawing workshop-cum-venue he created with Spencer Sweeney, and his experience of watching several movies in a single day. And he answers our usual questions, including the ultimate: what is art for?John Chamberlain: The Tighter They're Wound, The Harder They Unravel, curated by Urs Fischer, is at the Aspen Art Museum, Aspen, US, 15 December-7 April 2024. Hosted on Acast. See acast.com/privacy for more information.

Today I spoke to Blindboy Boatclub – a multi-disciplinary Irish artist and author of the recently published short story collection Topographia Hibernica, a tongue-in-cheek update to the original. Blindboy exploded onto the international scene in late 2010 with his band The Rubberbandits and segued into a weekly podcast which is a cultural phenomenon, with over 1.2 million monthly listeners. He has released three critically acclaimed short story collections and this is his latest one. I thoroughly enjoyed Topographia Hibernica and its absurd, empathetic depictions of contemporary Irish society, flora and fauna. If you're a fan of dynamic short stories with a hard & modern edge, this will appeal to you. Tonally, it's gritty, subversive, and slightly surreal, and narrows in on the way we relate to animals and the natural world in modern culture. Above all, many of the stories are funny. There was something in the energy here that reminded me of early short stories by the Scottish writer Irvine Welsh. The book is a relatively easy read – not lighthearted, but still accessible – and its thematic threads of animal kingdoms interacting with elements of contemporary mythology holds the collection together in a really coherent way.  This episode features an extremely wide-reaching conversation, dipping in and out of Irish folklore, Hiberno English, the impending collapse in global biodiversity, Hieronymus Bosch, creating art with ‘fire in your veins', and a plethora of other fascinating topics. What shines through our conversation most apparently is the remarkable breadth of Blindboy's knowledge, and the all-consuming way he approaches creative pursuits. Incredibly informed and interested in the world around him, he's an artist in the truest sense of the word. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading! Books mentioned in the episode: During the episode, Blindboy talked about the Argentinian horror short story collection, The Dangers of Smoking in Bed by Mariana Enríquez (2021); Dance Move, by Wendy Erskine (2022), an eclectic collection of stories set in Belfast; A Shock, by Keith Ridgeway (2021), a subversive novel exploring the absurdity of contemporary London life; The Wounded Cormorant and Other Stories by Liam O'Flaherty (1973), a compassionate portrayal of Irish nature; and Neuromancer, by William Gibson (1984), a genre-forming cyberpunk novel. His favourite book that I've probably never heard of was Ossian's Ride, by Fred Hoyle (1951), a sci-fi detective novel, where Ireland has become a technological superpower. The best book he's read in the last 12 months was Homesick for Another World, by Ottessa Moshfegh (2017), a collection of 14 short stories, most of which were originally published in The Paris Review.  The book he would take to a Desert Island would be The Third Policeman, by Flann O'Brien (1967) a dark, surrealist murder mystery set in a village police force. Finally, a book that changed his mind is The Dead, which is the final, novella-length, story from James Joyce's collection Dubliners (1914). Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at ⁠@litwithcharles⁠. Let's get more people listening – and reading! Find Blindboy: Instagram: @blindboyboatclub

Whoa, whoa, whoa it's episode 76 of the DOD45 Show and our guests this week are Mugs and Pockets. Made up of Scarlet Monk & Soliloquists of Sound emcee, Swamburger. They've stopped in with us to have a good time, but also to promote some recent releases including Scarlet Monk's delightful album Labyrinthine and their debut album as a duo The Adventures of Mugs and Pockets. As per usual on the DOD45 we just chat it up with our guests allowing for our candid conversations of often random topics, to give you a sense of who they are as people and as artists. Some of the random names and topics to come up in our discussion are Scarface, David Letterman, David Bowie, Sonny & Cher, John & Yoko, Thelonious Monk, Hieronymus Bosch, Brooke Shields, Mel Brooks, The Monkees and Josie & the Pussycats. Obviously we discuss more than that, but you'll just have to watch the episode to hear it all. And what will be the answer of the Sophie's choice question that involves Bob's Burgers and Bob Ross? Your guess is as good as mine. Sage Francis drops in with a poignant question for the Sage's Social Media Lurk segment, that opens up a discussion about routes of promoting, think flyer canvasing, to promote live shows and together we wonder what the future holds for that. Mugs & Pockets are an ever evolving balance of experience, stylistic prowess, and genuine expression of sonic art that inspires and rouses dusty hearts....Now doesn't that sound tasty? So loosen up that corset, put out that stink of a cigar, trim up them nostril hairs, and roll up your sleeves to dig in on this episode 76 of the DOD45 Show with Mugs & Pockets. Peace. ArtByTai.com DOD45.com StrangeFamousRecords.com #ArtByTai #mugsandpockets #Swamburger #scarletmonkk #StrangeFamousRecords #SFR #dod45  @ArtByTai   @mugsandpockets   @Scarlet_Monk  --- Send in a voice message: https://podcasters.spotify.com/pod/show/artbytai/message Support this podcast: https://podcasters.spotify.com/pod/show/artbytai/support

Composer Debbie Wiseman and the writer and multi-instrumentalist Rhodri Marsden join Cerys Matthews and Jeffrey Boakye as they add five more tracks, taking us from a Drifters' classic hit to one of Beethoven's most famous compositions. For Add to Playlist, the Chinese pianist Lang Lang reflects on playing Beethoven, and percussionist Ruairi Glasheen is on hand to talk us through the finer elements of the popular instrument, the güiro. Producer Jerome Weatherald Presented, with music direction, by Cerys Matthews and Jeffrey Boakye The five tracks in this week's playlist: Under the Boardwalk by The Drifters Für Elise: Bagatelle No 25 in A Minor by Ludwig van Beethoven Tchintchirote by Cesária Évora Golden Birdies by Captain Beefheart & His Magic Band Sabre Dance by Aram Khachaturian Other music in this episode: Carmina Burana by Carl Orff Oye Como Va by Eliane Elias Butt music from Hieronymus Bosch's The Garden of Earthly Delights Supersonic by Oasis Gimme Shelter by The Rolling Stones Don't You Worry 'bout a Thing by Stevie Wonder Hands Up by Cherry Bullet

Nuestro Insólito Universo _ Hieronymus Bosch. En los cinco minutos de duración que tiene este programa se narran historias asombrosas referentes a cualquier tema. La primera transmisión de este programa se realizó por la Radio Nacional de Venezuela el 4 de agosto de 1969 y su éxito fue tal que, posteriormente, fue transmitido también por Radio Capital y, actualmente, se mantiene en la Radio Nacional (AM) y en los circuitos Éxitos y Onda, de Unión Radio (FM), lo cual le otorga una tribuna de red AM y FM que cubren todo el país, uno de los programas radiales más premiados y de mayor duración en la historia de la radio de Venezuela.

Mark is back from Toronto, and guest host Holly Harrison is back in the clubhouse! Holly completes a topic, Stephen likes that part, and Ellen reads half a book.Talking Heads Take Over TIFF As ‘Stop Making Sense' Reunion Has Crowds Dancing … - Anthony D'Alessandro, Deadline'Lost Ladies' Review: Kiran Rao's Delightful Hindi Comedy Swings and Wins - Proma Khosla, IndieWire'Robot Dreams' Review: A Beautiful Tale of Friendship and Love in the Hand-Draw… - Tomris Laffly, The Wrap0:09:09CompletionismConfessions of a Semi-Reformed Video Game CompletionistMatthew GaultViceResearch on the Effects of MediaDouglas GentileComposition with Red Blue and Yellow (Piet Mondrian)WikipediaHieronymus Bosch painted sheet music on a man's butt and now you can hear itSarah DoughertyThe World0:52:56Educating IntuitionEducating IntuitionRobin M. HogarthThe University of Chicago PressDoorway effectWikipedia

In early 2022, Jim Denomie, the internationally acclaimed painter, was in the thick of planning a mid-career exhibition with the Minneapolis Institute of Art. Then, cancer struck. Denomie died two weeks after his diagnosis. He was 66.That exhibition, “The Lyrical Artwork of Jim Denomie,” opened this summer, transformed into a posthumous survey of the latter half of the famous colorist's career — a career that skewered mainstream histories and purveyors of injustice, from Fort Snelling to Standing Rock, while championing the joy and resilience of Native communities.“It's a very bittersweet exhibition,” says Nicole Soukup, an assistant curator of contemporary art at Mia. Soukup had been planning the show closely with Denomie since 2019, up until the Ojibwe artist's death in 2022.“He was so beloved, not only in Minneapolis and St. Paul and Minnesota, but across the country and across the world. Words fail when you talk about somebody with such kindness and generosity and such a clear vision as an artist, and my words have failed me quite a bit in creating this exhibition,” she adds.Truth-tellerSoukup and Denomie's community say that the exhibition is just the beginning of building a legacy. As is the Jim Denomie Memorial Scholarship, created to help rising Native artists who embody what Denomie valued: truth and community.“I hope that he continues to inspire artists to do work that also speaks to what's going on in the world — artists as truth-tellers,” says author Diane Wilson, Denomie's wife of several decades. “That's a lot of what Jim was doing — speaking truth, both historically and in the present, about what has happened to and within Native communities, and that I hope will continue. I hope that's his legacy”At the entry of the exhibition, a 2016 video interview with Denomie loops.“My art reflects my identity and experience as a contemporary Native American male in the 21st century,” he says. Soukup says it was important to include Denomie's voice first. To allow Denomie to define himself, his art, in his own terms.“And also it reflects some of the government campaigns that affected Native culture in Minnesota and around the country to how it ultimately affected me through the assimilation campaign and the Relocation Act,” Denomie continues in the video. “And all of these issues defined or shaped my identity, and it's my identity that shapes my art." Todd Bockley, of the Minneapolis gallery that represents Denomie, says the artist brought to light difficult histories that many would prefer to keep hidden.“He was both humble and courageous to create and make public his interpretations of significant historical events of the past and present while also depicting his innermost thoughts and fantasies,” Bockley said.Denomie's artSoukup walks the galleries, surrounded by Denomie's paintings and totem-like sculptures. There are dreamy paintings of him and Wilson relaxing on a couch; of sensual landscapes with anthropomorphized animals on horseback; of spirituality and sexuality; as well as sculptures made from found objects — shells and plastic thingamabobs, feathers, buttons and bones.In his most iconoclastic paintings, Denomie, like the 15th-century artist Hieronymus Bosch, packs characters into every inch, collapsing time by pulling them from history, pop culture and current events. Several make repeat appearances: blue bunnies, a recurring motif that Denomie called “protectors,” the Dakota 38+2, American Indian Movement activists, “Wizard of Oz” characters, Barack Obama, Donald Trump, the Mona Lisa and figures representing Minneapolis police officers infamous for abusing two Native men with “rough rides” in the early 90s.All of his paintings swirl with his signature palette: violet, indigo, fuschia, turquoise, lime green, mustard yellow. The vibrant colors disarm, inviting in tough stories like a rainbow Trojan horse. These are Denomie's correctives to the historical record. Soukup and others have said Denomie paints the “ancestral present.”“These are paintings that you laugh at, and you also want to cry, you don't know which way you should react to it, but you're probably going to react both ways,” Soukup said.Take “Eminent Domain,” a 10-foot-wide canvas with a sort of pictographic map of the U.S.“Flying high above the scene in the sky, we have an eagle carrying away a dachshund and right next to them, you see Evel Knievel jumping his bike across the church,” Soukup says. “But directly below that you see depictions of sexual abuse by boarding schools and the Catholic Church; you see a depiction of the Ghost Dance from Wounded Knee and the reality of Wounded Knee, both in the 19th century and in the 1970s.”Across from it hangs “A Beautiful Hero, Woody Keeble.” Denomie has depicted, on horseback in a mountain range, the World War II and Korean War veteran Woodrow Wilson Keeble of the Sisseton Wahpeton Oyate. Taking fire at him are anthropomorphized birds and dogs with machine guns, while blue rabbits dot the snow-covered slopes. “The works in this room are centered around the theme of a beautiful hero and who determines a hero?” Soukup explains. “The question is who gets to write about history, who gets to learn about history, and what can we learn from questioning our sources about history? That is something that Jim did from the moment he started painting.”A righteous angerDenomie was an enrolled member of the Lac Courte Oreilles Band. Born in Hayward, Wis., he grew up in south Minneapolis. In many interviews and talks, he recalls how he knew he wanted to be an artist since he was a little kid, but he dropped out of high school when a counselor discouraged him from pursuing art. For decades, he did drywall and fell into a life of what he called “partying and addiction.” He returned to art in the 1990s, as well as American Indian studies at the University of Minnesota.“I went back to drywall, but it became a vehicle that allowed me to paint what I wanted to paint and not necessarily what I needed to sell,” Denomie says in the video. “And so I was able to develop more challenging, more witty, political, social commentary, which is probably what I'm most known for today.”He went on to paint with what Wilson calls a righteous anger, rooted in the government's treatment of Native people. This included his own family — his grandparents were taken and placed in Native boarding schools. When Jim was sick with cancer the first time, Wilson, their son, and some friends went to the pipeline protests at Standing Rock in South Dakota. Their son, she says, stayed for months, sending home stories to Denomie about the violent treatment of nonviolent activists. Denomie turned these stories into a series of paintings on Standing Rock, depicting ferocious dogs and fire hoses used on protesters in the dead of winter.In his paintings, that righteous anger mixed with wit and whimsy to create what Denomie called a “metaphorical realism.”  Put another way, his friend, the poet Heid E. Erdrich, wrote in the exhibition catalog that Denomie employed a “postmodern Anishinaabe mapping of events.”But Denomie's legacy isn't only in his art, says Soukup.“His legacy is going to be a lot of things, and things that we won't even know about, because we're only 16 months after his passing,” Soukup says. “But hand in hand with all of it is mentorship and care for community, friends, family. The amount of people who have stories, the amount of people who Jim gave undivided attention to, is profound.”Another longtime friend, mentee and fellow Ojibwe artist Andrea Carlson, agrees. She calls him her “art dad.” They first met when Carlson was an MFA student in the early 2000s and he visited her studio.“I didn't know what I was doing, but he was like, ‘Keep doing it,'” says Carlson, who is now based in Grand Marais, Minn. “I feel like I need to do that for other artists now, kind of take the Jim Denomie mandate, and apply it to other artists that are just starting out, because I needed that.”The two would go on to exhibit together at Mia in the 2007 “New Skins” show. And a few of Carlson's paintings are currently on display at Mia, just around the corner from Denomie's show.Leaving a voidDenomie's work held a particular place for Indigenous viewers.“Jim was always saving the last laugh for Native people,” Carlson says. “We have these very hard histories, but he wasn't going to just replay the hard histories, he was going to reserve healing and joy for Native people in his work.”Like Carlson, textile artist Maggie Thompson recalls always seeing Denomie show up at exhibition openings, whether the artist was just starting out or established.“I think because of his position in the art world, it was just like really cool to see him show up regardless of who or where,” Thompson says.Thompson is Ojibwe from the Fond du Lac Band and is based in Minneapolis. She was recently awarded the 2023 Jim Denomie Memorial Scholarship, an award that was created soon after his passing by the Denomie and Wilson Family, and the Minneapolis-based All My Relations Arts, the Native American Community Development Institute, and Bockley Gallery.Thompson is the second to receive the $10,000 award, after the 2022 inaugural recipient, Duluth artist Jonathan Thunder. She says the award has given her a boost at a moment when she was struggling, both emotionally and financially.“I was feeling a little lost and a little defeated,” Thompson said. “So I felt like receiving the award kind of gave me the motivation and gave me a reminder of why I do what I do.”Like Denomie, Thompson has demonstrated great commitment to the community. She mentors and employs young artists, both Native and non-Native, and even toured the Denomie exhibition with them. Thompson also often offers her northeast Minneapolis studio for community events.“I think art can be an important vehicle to keep that momentum and that engagement and give people another place to feel at home and welcome,” she says.What's left behindDiane Wilson says his community was shocked at Denomie's quick passing, which sparked the scholarship.“There was just this outpouring of ‘What can we do? How can we help?'” Wilson says. “That's why we set up that scholarship, because people needed to do something, so they poured their grief into donations.”In the wooded hills of Shafer, Minn., Wilson walks the grounds of the home and studios she long shared with Denomie.She points to a line of old carousel horses lying in tall grass.“He had this idea that eventually he was going to do an installation because he had flying horses in a lot of his paintings,” Wilson says.Behind them is a cut tree stump on a sawhorse.“That was going to be a next sculpture,” Wilson says. “He got sick so suddenly, that it's like he just left in the middle of a lot of projects.”Denomie's studio above their garage has remained much the same since his death, save for some paintings and drawings that were removed for the exhibition and archiving. Every surface is covered with materials and inspirations, from photos of friends and globs of paint to figurines of the California Raisins and the masks he collected from around the world.Wilson recalls coming up here from her writing studio next door. Music would be blasting — he always had his 60-CD player going while he worked, she says — and they would dance and joke around.“I wish he was here, But now that some time has passed I'm thinking about, well, how can we continue his legacy?” Wilson says. “I've been thinking about his space. It'd be nice to have creative energy in here again.”Wilson sits in their living room, beneath one of his paintings hanging over the fireplace. She says there will also be more exhibitions to follow — a group show at the University of Minnesota Nash Gallery in early 2024, and Wilson and others are planning another for his recent painting series of the Dakota 38+2 — some of his “best work,” she says.In the meantime, Wilson wants to return to the Mia exhibition, which she finds “poignant” because “he got to choose what people would see.”“What lingers really of his spirit in this plane is in his artwork. So when you see Jim's paintings, that's still where he resides,” Wilson says.“The Lyrical Art of Jim Denomie” is on view through March 2024. 

in 2003, John Hunter had a manic episode. When he attended a Large Group Awareness Training (LGAT) in 2010, he was surprised to find that the 'transformations' promised from this intense experience lined up with the symptoms of hypomania - the euphoric state that precedes full-blown mania in bipolar disorder. John completed his PhD with a dissertation on the role of dopamine in bipolar disorder/manic depression and the cogent idea that the dopamine system is sometimes hijacked to induce peak experiences. A fascinating new hypothesis that enhances our understanding of the irrational world of cultic involvement. ---------------- Links: John's doctoral dissertation more on the Bear-Fedio index religious figures and mania the aberree online ---------- More fascinating material from John Hunter: his journal article on the dopaminergic defense hypothesis A short article on LGATs published by the Psychological Society of South Africa His illustrated essay on LGATs and Fight Club ----------- Note (from Spike): The Temptation of St. Anthony by Hieronymus Bosch is one of my favorite paintings ever and the screencap here just doesn't do it justice. So here's a link to where you can see it in all its bizarre glory

Guest hosted by Associate Producer Jeff Lunden, this is the conclusion of a two-part program featuring director/choreographer Martha Clarke and composer Richard Peaslee. Clarke is known as one of the founders of Pilobolus Dance Theater, and Peaslee for composing scores to such shows as Peter Brook's MARAT/SADE and TELL ME LIES. Clarke and Peaslee discuss their collaboration on the dance/music/theatre piece THE GARDEN OF EARTHLY DELIGHTS based on the Hieronymus Bosch painting.   Featured music: Instrumental selections from “THE GARDEN OF EARTHLY DELIGHTS,” featuring musicians Eugene Friesen (cello), William Ruhl (percussion), and Steven Silverstein (18 reed instruments), recorded exclusively for this program.   Originally produced and broadcast in 1984. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest hosted by Associate Producer Jeff Lunden, this is the first of a two-part program featuring director/choreographer Martha Clarke and composer Richard Peaslee. Clarke is known as one of the founders of Pilobolus Dance Theater, and Peaslee for composing scores to such shows as Peter Brook's MARAT/SADE and TELL ME LIES. Clarke and Peaslee discuss their collaboration on the dance/music/theatre piece THE GARDEN OF EARTHLY DELIGHTS based on the Hieronymus Bosch painting. Part One also features early work by Peaslee.   Featured music: “Medley of songs from MARAT/SADE,” “THE CORDAY WALTZ,” “BRANCHES” and “LET'S HAVE A PARTY” from a Peaslee/ Jean Claude Van Italie collaboration entitled KING OF THE U.S., plus a song called “ALICE” featuring the words of Lewis Caroll. Instrumental selections from “THE GARDEN OF EARTHLY DELIGHTS” featuring the musicians, Eugene Friesen, Bill Ruyle, and Steven Silverstein.   Originally produced and broadcast in 1984. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kristina Smeriglio is a writer and editor who has always been fascinated by the complexities of the human experience. She strives to understand the roles of the mind and the heart, of the psyche and emotions, and so it has become the main theme of her work. Kristina focuses particularly on how the mind and our emotions are affected by our environment and experiences.Kristina spends much of her time wondering about the human experience and exploring the age-old question, “why are we here?” She explored that same question and many others in her novel, Falling Into Fire, as she dove deep into The Garden of Earthly Delights, the painting by Hieronymus Bosch.https://kristysmeriglio.com/ https://www.instagram.com/kristysmeriglio/ Falling Into Fire BookAnyone you may ask will have a story about finding love, how difficult it was to attain, the pitfalls, the horrors of breakups, loneliness, and the doubts of self-worth that accompany such heartache. This story is based on true events, about a young woman, struggling with the rigors of her writing career coming face to face with the inner struggles she has kept hidden for most of her life. A fantasy exploration. An odyssey of the human condition, of her search for love, companionship, sex, and their meaning. All, while dealing with every aspect of her psyche, her heart, and possibly her very soul. Falling Into Fire is a celebration of life, death, relationships, and the journey we each undergo in our individual pursuits to be loved.https://www.barnesandnoble.com/w/falling-into-fire-kristina-smeriglio/1139740396?ean=9781955281218 https://www.amazon.com/dp/195528122X

ArtByTai draws a rabbit-themed piece for rabbit appreciator & artist phenom Greg "Craola" Simkins. Dare I say it, yes I do, It simply doesn't get any better than this. On this episode of the DOD45 show we are pleasantly treated with the presence of Greg "Craola" Simkins & we explore all things Craola, including the short film "I'm Scared" based on Craola's characters and stories and some acrylic painting tips. But the burning question we have for him is, Is Oswald a mouse or is Mickey a rabbit? Craola confidently says he's a rabbit, but we suggest that's debatable. And hey, d'ya ever wonder how to get an artist to honestly discuss their artworks? ...well, we spend a moment pointing some things that you probably definitely shouldn't say, if you want an honest answer from the artist your talking to. Or maybe ya don't care at all, so maybe you should be the one doing the "art"ing. Craola is a human/artist that really doesn't need an introduction or any additional accredited boosting from us, so lemme just tell ya some random things that do come up in this conversation. Greg the Hammer Valentine, A Simple Plan, Talk Soup, The Lion King, Hieronymus Bosch, Frank the Rabbit, Can't Be Stopped, Tony Hawk, JNCO jeans, Burl Ives, My Bloody Valentine, Studio Ghibli, Tim Burton, Baseball cards, Mad Magazine, Garbage Pail Kids, Bob Dob, Juxtapoz, the Deviates, Zelda, Jughead, DND, Stan Lee & one of Craola's best pals Alex Pardee. It's Craola so we obviously talk about art & his artwork, but if you have an inkling of intrigue in hearing Craola speak on the previous topics, then put the car in park, cool the radiator, bury your burner phone, slip into something more comfortable & ease your soul with this episode of the DOD45 Show with Greg "Craola" Simkins. ArtByTai.com DOD45.com GregSimkinsArt.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/artbytai/message Support this podcast: https://podcasters.spotify.com/pod/show/artbytai/support

Our beloved guest host and artist, Elisabeth Condon, and her series "Elisabeth Condon Describes a Painting!" are back for a new installment! This time Elisabeth chose to describe Joseph Stella's oil on canvas painting "Tree of My Life" from 1919 that she saw at The Norton Museum in "Joseph Stella: Visionary Nature." The show is traveling next to the High Museum and to the Brandywine Museum. It was an honor to have Elisabeth's wild and wonderful way of looking at painting again on the pod. See "Joseph Stella: Visionary Nature" in person/online: Norton Museum (since closed): https://tinyurl.com/yhv3paaw High Museum (Feb-May 2023): https://tinyurl.com/szewk7f8 Brandywine Museum of Art (June-Sept 2023): https://tinyurl.com/yry6cry4 Barbara Rose's 1997 Essay "Flora" on Joseph Stella: https://www.tfaoi.org/aa/7aa/7aa792.htm Joseph Stella works mentioned: "Tree of My Life," "The Voice of the City of New York Interpreted," "Brooklyn Bridge," "Battle of Lights, Coney Island" More About Elisabeth Condon: Web: https://www.elisabethcondon.com/ | IG: @elisabethcondon Solo at Emerson Dorsch Gallery late 2023: https://emersondorsch.com/artist/elisabeth-condon/ Florida Art in State Buildings/Univ of South Fla, May 2023: https://tinyurl.com/5n8ycr8m Painting at Freight & Volume Gallery: http://www.freightandvolume.com/ Artists Mentioned: Philip Guston, 4 Gentlemen of the Orchid, Bamboo, Chrysanthemum & Plum, Chinese Scroll Painting, Charles Burchfield, Odilon Redon, Paul Gauguin's "Vision and the Sermon," Hieronymus Bosch, Dziga Vertov's "Man with a Movie Camera," Marcel Duchamp's "Fountain," Agnes Pelton, Henri Rousseau's Paris paintings, Umberto Boccioni & the Italian Futurists, Precisionists: Sheeler, Demuth & Schamberg, Patrick Henry Bruce, Diego Velázquez, Rembrandt, William Merritt Chase, Robert Henri, Alfred Stieglitz, Georgia O'Keeffe, Marsden Hartley Writers mentioned: Barbara Rose, Immanuel Kant, Gaston Bachelard's "Poetics of Space," Henri-Louis Bergson, Lewis Mumford, Walter Conrad Arensberg, Gertrude Stein, Maurice Tuchman Eps mentioned: #38 (Elisabeth Condon Describes a Painting #1) and #15 (Review of "Spiritual in Art: Abstract Painting 1890-1985") ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s Amy's Interview on Two Coats of Paint: https://tinyurl.com/2v2ywnb3 Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Buy Me a Coffee Donations appreciated! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

The Hell Panel of Hieronymus Bosch is considered the most infamous depiction of Hell in art history. On this episode, we will venture deeper into Bosch's Hell than anyone has ever ventured before. At its depths we will find philosophical insights, critiques of the Catholic Church, and Bosch's visionary creative genius on full display. View a video companion of this episode on Spotify: https://open.spotify.com/episode/2bfQsdvdVYpxTZGTaMt2Zn?si=aee56d57f19d4194 View a high resolution version of The Garden of Earthly Delights online at these links: For mobile: http://boschproject.org/view.html?pointer=0.426,0.005&i=00MCPVIS For desktop: http://boschproject.org/#/artworks/The_Garden_of_Earthly_Delights ———— Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian ———— Research Sources: Bosch: The Complete Works by Stephen Fischer (Published by Taschen) Hieronymus Bosch: Visions and Nightmares by Nils Buttner Hieronymus Bosch: New Insights Into His Life And Work (Published by Museum Boijmans Van Beuningen Rotterdam) Bosch by Carl Linfert ———— The Garden of Earthly Delights is permanently on display at the Museo Nacional del Prado, in Madrid, Spain. ———— Audio Editor: Marisa Ferdenzi All Music by MJDorian Except a brief example of: Codex Gluteo by Atrium Musicae (1978) Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Romina, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.

Qué son para ustedes el paraíso y el infierno? Cómo se los imaginan? Sabemos que estas respuestas son muy personales y diferentes para cada uno de nosotros, sobre todo hoy día, cuando podemos responder que no creemos ni en uno ni en otro. Sin embargo, las cosas eran muy diferentes en el lugar y la época de nuestra historia de hoy. Este episodio nos traslada a un momento histórico específico, la frontera entre la Edad Media y el Renacimiento, un tiempo cuando primaba la religión.  En ese entonces, nadie dudaba que la vida había empezado en el Jardín del Edén. Tampoco cuestionaban la existencia de un infierno en donde irían a parar los pecadores, y aunque un gran número de artistas han representado estos dos temas, ninguno lo ha hecho como el inigualable pintor de quien les hablamos en esta ocasión : El Bosco. Bienvenidos al Jardín de las Delicias. Disfruten este episodio y recuerden visitar nuestra pagina web https://historiasdearte.com para mirar las imágenes y disfrutar el relato. También, igual que para todos los episodios, las imágenes están en nuestras redes sociales. BIBLIOGRAFIAGombrich, Ernst, “Bosch of Hertogenbosch” in The New York Review, February, 23, 1967 (acceso el 28 de septiembre, 2022), https://www.nybooks.com/articles/1967/02/23/bosch-of-hertogenbosch/Hickson, Sally, Dr. ”Hieronymus Bosch, The Garden of Earthly Delights," in Smarthistory, August 9, 2015, (acceso el 28 de septiembre, 2022) https://smarthistory.org/bosch-the-garden-of-earthly-delights/.Silva, Pilar, ‘El Bosco. Tríptico del Jardín de las delicias.' En: el Bosco. La exposición del V Centenario, Madrid, Museo Nacional del Prado, 2016, p.n.46 330-346, (acceso el 17 de septiembre, 2022), https://www.museodelprado.es/coleccion/obra-de-arte/triptico-del-jardin-de-las-delicias/02388242-6d6a-4e9e-a992-e1311eab3609Simon Mittman, Asa Dr. “Spotlight — Hieronymus Bosch, The Garden of Earthly Delights, in Smarthistory , August, 31, 2019 (acceso el 17 de septiembre, 2022), https://smarthistory.org/garden-bosch/.https://english.elpais.com/elpais/2016/06/01/inenglish/1464784579_825393.html (acceso el 17 de septiembre, 2022).https://mymodernmet.com/es/jardin-de-las-delicias-bosco/ (acceso el 28 de septiembre, 2022).https://periergeia.org/en/deciphering-the-garden-of-earthly-delights-part-1-the-prelude-to-disaster/ (acceso el 17 de septiembre, 2022).Si te ha gustado este episodio, déjanos una estrella y un comentarios en apple podcast, si nos oyes en spotify marca la campanita y lo mas importante, recomiéndanos a un amigo.Las imágenes relacionadas con este y todos nuestros episodios las pueden encontrar en nuestra página web https://historiasdearte.com y en nuestras redes sociales:Instagram @historiasdearte.enpodcastFacebook Historias de Arte en Podcast Twitter @HistoriasdeArt1

Hieronymus Bosch created one of the strangest and most talked about paintings in art history: The Garden of Earthly Delights. But there is a riddle hidden in the garden: is it an idyllic paradise or a sinful false paradise? On this episode, we will dive deeper than ever before to search for the answer. Other questions we will explore on this episode: what makes The Garden of Earthly Delights a work of creative genius? Why do some historians consider it a work of madness? And what do we really know about the mysterious painter: Hieronymus Bosch? View a video companion of this episode on Spotify: https://open.spotify.com/show/7IIv6uXWqQM3qyhzyKBluT?si=2841e67a5ac64e45 View a high resolution version of The Garden of Earthly Delights online: http://boschproject.org/view.html?pointer=0.426,0.005&i=00MCPVIS ———— Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian ———— A full transcript of this episode is available here: https://mjdorian.com/transcripts/ ———— Research Sources: Bosch: The Complete Works by Stephen Fischer (Published by Taschen) Hieronymus Bosch: Visions and Nightmares by Nils Buttner Hieronymus Bosch: New Insights Into His Life And Work (Published by Museum Boijmans Van Beuningen Rotterdam) Bosch by Carl Linfert ———— The Garden of Earthly Delights is permanently on display at the Museo Nacional del Prado, in Madrid, Spain. ———— Audio Editor: Marisa Ferdenzi Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.

We admit that, in all our geographic music spelunking, we haven't scaled many of the mountains offered by Russian noisemakers. So, if we say that “Hieronymus Bosch is our favorite Russian band,” it's true, but it's also based on a slight bit of ignorance. If we say that “Hieronymus Bosch is our favorite Dutch artist of the late 1400s/early 1500s,” we can rest easy knowing that will probably hold for the rest of our lives. But c'mon, we think H.B., the band, are outstanding!!! Show us a Russian band that's better. Bet you can't. Here, we survey their output, from early demo emanations to their final album, the great Equivoke, of 2008. Note I: Please consider donating if you listen to Radical Research often: https://www.paypal.me/rrpodcast We also have a webstore where you can find shirts, CDs, and books, many of them recently restocked: http://radicalresearch.org/shop/ Music cited in order of appearance: “Near Death Experience” (Petra Scandali demo, 1994) “The Apogee” (The Human Abstract, 1995) “Mental Perfection” (The Human Abstract, 1995) “The Gardens of Earthly Delights” (The Human Abstract, 1995) “Interference” (Artificial Emotions, 2005) “Escape from Primitivity” (Artificial Emotions, 2005) “Heartbeat Seismology” (Artificial Emotions, 2005) “Zero on a Dice” (Equivoke, 2008) “Monad Hecatomb” (Equivoke, 2008) “Tracer Bullet Falling Star” (Equivoke, 2008) Radical Research is a conversation about the inner- and outer-reaches of rock and metal music. This podcast is conceived and conducted by Jeff Wagner and Hunter Ginn. Though we consume music in a variety of ways, we give particular privilege to the immersive, full-album listening experience. Likewise, we believe that tangible music formats help provide the richest, most rewarding immersions and that music, artwork, and song titles cooperate to produce a singular effect on the listener. Great music is worth more than we ever pay for it.

This week, Mario and Twenty welcome Writer, Community Manager, and Podcaster Melanie Dione to the Expression Appraisal Table. Going to hell in a handbasket: a dramatic joke or a cruel statement? Watch as Mario and Twenty are joined by NOLA native, Writer, Community Manager, and Podcaster Melanie Dionel to discuss the meaning and origin of Going To Hell In A Handbasket. You can find all things Melanie Dione at: Resistbot: Website | Twitter | Instagram | Facebook Bad Advice Show Podcast Bad Advice Show Patreon Personal: Twitter | Instagram SUBSCRIBE: https://www.youtube.com/c/TheUnderdog 0:00 Climate Change, Khloe and Tristan, Deshaun Watson, America Opener 0:42 Intro 1:36 Roll Call: Melanie Dione the Legend 5:57: Batman vs. Superman 13:53 Connection To Going To Hell In A Handbasket 16:44 What is Going To Hell In A Handbasket? Webster's Definition 22:58 The Origin of Going To Hell In A Handbasket 25:18 Hieronymus Bosch and The Haywain 35:56 Rome's Hit Em Up 37:27 Slight Shade from Pastor Thomas 45:53 Handbasket, Handcart, Handbag, Bucket 49:19 Appraise The Phrase: The Grades 52:30 Connect With Mel 58:32 Dictionary of Misinformation: The Right To Bear Arms

Welcome, Dear Guest! Please find your favorite spot in The Reading Room as we gather to gaze upon what some have considered to be forbidden subjects for artists and the human eye: WITCHES IN ART! See for yourself what several artists have dared cast onto their canvases as your host describes for you the rich, enchanting, and other-worldly life of witches captured in these magical paintings! If you would like to look the paintings up in advance, which is highly recommended, the paintings discussed will be: "The Magic Circle" by John William Waterhouse, "Witches Sabbath" by Francisco Goya, "Witches Going to Their Sabbath" by Luis Falero, and "The Garden of Earthly Delights" by Hieronymus Bosch. We promise you will be delighted by all of these unusual paintings that are the subject of tonight's unusual reading. Special Thanks to Sounds Like an Earful Music Supply for the amazing music AND sound design during this episode.