Podcasts about Pieter Bruegel

Thousands of languages are used around the world today, and this linguistic diversity is a precious part of our human heritage. But it's also more than that. Linguistic diversity provides clues—a vast crazy quilt of clues—about how language works, about how history has unfolded, about the dynamics of culture, and about the nature of the human mind. My guest today is Dr. Damián Blasi. Damián is an ICREA Research Professor based at the Center for Brain & Cognition at the Pompeu Fabra University in Barcelona. Over the last decade or so, Damián's emerged as one of the most innovative researchers in the study of language and linguistic diversity. He's been widely recognized for this work, and most recently was awarded the 2026 FABSS Early Career Impact Award from the Cognitive Science Society. In this conversation, Damián and talk about why scientists should care about linguistic diversity. We do a bit of linguistic diversity 101—how many languages there are, how we can enumerate them, how they vary from another. We discuss a recent paper in which Damian and his colleagues reconstructed the explosive rise and precipitous fall of human linguistic diversity over the last 12,000 years. We talk about the factors that drive language change. And we discuss how cognitive science relies too much on English and English speakers—and how this may be holding the field back. Along the way, Damián and I touch on the Tower of Babel, a golden age of linguistic diversity, the human bite configuration, scientific aesthetics, whether children shape language, polygenetic theories of language evolution, the pace of language change, schooling, linguistic inequality and behemoth languages, and why Damián thinks that possibility space of human language might be bigger and wilder than we currently imagine. This is a special episode of the Many Minds podcast. As I mentioned, Damián is this year's winner of an award from the Cognitive Science Society, in recognition of his outstanding early-year contributions to the field. He recently gave a keynote at the society's annual conference in Rio de Janeiro, and we've partnered with the Cognitive Science Society to feature this conversation about his work. I'll also mention that this wasn't my first time chatting with Damián—he's an alumnus of the Diverse Intelligences Summer Institute (DISI), the sponsor & incubator of this podcast. We met there a couple years ago, and so it was all the more fun to reconnect with him here. Alright friends, without further ado, on to my conversation with Dr. Damián Blasi. Enjoy!   Notes 10:00 – The UNESCO page on multilingualism and linguistic diversity. 17:00 – The Ethnologue database. 20:00 – For examples of Dr. Blasi's work on "behemoth languages" and on how languages are not represented equally in terms of technological and development investment, see here and here. 26:00 - For the paper in which Dr. Blasi and colleagues introduced Grambank, see here. For the database itself, see here. 29:00 – For Dr. Blasi's earlier work on sound-meaning associations across languages, see here. 33:00 – For discussion of Darwin's views on monogenesis vs polygenesis and race, see our recent episode. 36:00 – For more about pronouns—and how they do and do not vary across the world's languages—see several chapters in the World Atlas of Language Structures. 39:00 – The paper—'Babies aren't persons'—by David Lancy. 41:00 - For Dr. Blasi and colleagues' recent Science paper on the rise and fall of human linguistic diversity, see here. 59:00 – For a recent study of linguistic diversification, including discussion of so-called schismogenesis, see here. For an example of Cristina Moya's work on ethnic identity in the Andes region, see here. 1:00:00 – For an example of Dr. Blasi's work on how ecology shapes language—a topic not discussed in this conversation—see here. 1:01:00 ­– For the study by Dr. Blasi and colleagues about changes in human bite configuration and how these changes have shaped sounds systems, see here. 1:14:00 – For the recent paper by Dr. Blasi and colleagues about the (non-)role of children in language change, see here. 1:22:00 – The paper by Dr. Blasi and colleagues about the over-reliance on English in the cognitive sciences (and how it hinders the field). 1:24:00 – See here for work by Aitor Egurtzegi, in collaboration with Dr. Blasi and others, on ergativity and gaze patterns across languages. 1:27:00 – For the preprint—'Which humans?'—led by Mohammed Atari (and including Dr. Blasi and others), see here. 1:30:00 – For a recent argument that psychology needs to overcome its "ahistorical" bent, see here.   Recommendations A Myriad of Tongues, Caleb Everett The Secret of Our Success, Joseph Henrich Linguistic Diversity in Space and Time, Johanna Nichols   Tile art credit: Painting by Pieter Bruegel the Elder (detail)   Many Minds is a project of the Diverse Intelligences Summer Institute, which is made possible by a generous grant from the John Templeton Foundation to Indiana University. The show is hosted and produced by Kensy Cooperrider, with help from Assistant Producer Urte Laukaityte and with creative support from DISI Directors Erica Cartmill and Jacob Foster. Our artwork is by Ben Oldroyd. Subscribe to Many Minds on Apple, Stitcher, Spotify, Pocket Casts, Google Play, or wherever you listen to podcasts. You can also now subscribe to the Many Minds newsletter here! We welcome your comments, questions, and suggestions. Feel free to email us at: manymindspodcast@gmail.com. For updates about the show, visit our website or follow us on Bluesky (@manymindspod.bsky.social).

Neste episódio falamos sobre a  invasão da  Hugging Face pelos modeklos da OpenAI e quanto do pânico depois disso é risco ou marketing.  Visite nossa campanha de financiamento coletivo e nos apoie!  Conheça o Blog da BrownPipe Consultoria e se inscreva no nosso mailing ShowNotes 1.1. A revelação OpenAI says its AI models escaped from a secure test environment and hacked into AI company Hugging Face in order to cheat on an evaluation OpenAI cyber models broke out of training environment to hack Hugging Face OpenAI hacking incident points to AI cyberrisks 1.2. Como aconteceu, tecnicamente OpenAI reveals its rogue agent swarm went a little bit Borg ahead of Hugging Face hack JFrog Confirms OpenAI Models Exploited Artifactory Zero-Day Before Hugging Face Breach Anatomy of a Frontier Lab Agent Intrusion: A Technical Timeline of the July 2026 Incident 1.3. Não foi só a OpenAI Investigating three real-world incidents in our cybersecurity evaluations Claude Mythos 5 Tried to Backdoor a Real Open-Source Project in Testing, Then Vouched for Itself Anthropic and OpenAI are competing to see whose agents can go rogue harder O hype em declarar riscos de modelos de IA 1.4. As leituras críticas The OpenAI Hack Shows the Genie Is Out of the Bottle How do we prevent AI agents from going rogue? It starts with a new kind of measurement OpenAI-Hugging Face attack doesn’t mean agents are evil — unless you tell them to be 1.5. Aberto x fechado Big techs defendem IA aberta após modelo chinês interromper ataque causado por erro da OpenAI Sem OpenAI, Anthropic e Google, surge aliança IA aberta para cibersegurança Lawmakers prepare bill requiring AI “kill switch” Anthropic’s Fable and the State of AI Episódio relacionado #412 – Uma constituição para a IA Imagem do Episódio – A paisagem com a queda de Ícaro – Cópia por autor desconhecido de Pieter Bruegel

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

Resources: [1] NOTUS (which obtained the draft); Fortune; GMO. "Treasury Has an Internal Report Warning About the Dangers of an AI Bubble." https://www.notus.org/economy/treasury-internal-report-warning-dangers-ai-bubble Accessed 2026-07-10. [2] Oliver Wyman. "How An AI Bubble Burst Could Shake Global Financial Markets." https://www.oliverwyman.com/our-expertise/insights/2026/jan/impact-ai-bubble-burst-on-global-financial-markets.html Accessed 2026-07-10. [3] CNBC. "Musk's xAI, SpaceX combo is the biggest merger of all time." https://www.cnbc.com/2026/02/03/musk-xai-spacex-biggest-merger-ever.html Accessed 2026-07-10. [4] Forbes. "SpaceX IPO Is Forcing Changes To Index And Underwriting Rules." https://www.forbes.com/sites/garthfriesen/2026/04/25/spacex-ipo-is-forcing-changes-to-index-and-underwriting-rules/ Accessed 2026-07-10. [5] Public Order Emergency Commission (Justice Paul Rouleau). "Public Order Emergency Commission Report; Federal Court ruling." https://www.cbc.ca/news/politics/convoy-protest-emergencies-act-appeal-9.7046769 Accessed 2026-07-10. [6] Eurasian Times. "96 Drones, One Operator: China Demonstrates Massive Drone AI Swarm." https://www.eurasiantimes.com/96-drones-one-operator-china-demonstrates-massive-drone-ai-swarm-in-precision-strike-test/ Accessed 2026-07-10. [7] Britannica. "Luddite (Industrial Revolution, Machine-Breaking)." https://www.britannica.com/event/Luddite Accessed 2026-07-10. [8] Britannica. "Haymarket Affair." https://www.britannica.com/event/Haymarket-Affair Accessed 2026-07-10. [9] MIT Media Lab (Kosmyna et al.). "Your Brain on ChatGPT: Accumulation of Cognitive Debt." https://www.media.mit.edu/publications/your-brain-on-chatgpt/ Accessed 2026-07-10. [10] AI Business Weekly / SemiAnalysis. "Claude Code Statistics 2026." https://aibusinessweekly.net/p/claude-code-statistics Accessed 2026-07-10. [11] American Psychological Association. "AI chatbots and digital companions are reshaping emotional connection." https://www.apa.org/monitor/2026/01-02/trends-digital-ai-relationships-emotional-connection Accessed 2026-07-10. [12] ProMarket (Stigler Center). "Your 401(k) Is Propping Up the AI Bubble." https://www.promarket.org/2026/05/05/your-401k-is-propping-up-the-ai-bubble/ Accessed 2026-07-10. [13] The American Prospect. "Elon Musk Is About to Make Saving for Retirement Even Harder." https://prospect.org/2026/06/10/elon-musk-spacex-ipo-retirement-savings-index-funds-stock-market/ Accessed 2026-07-10. [14] TechCrunch. "xAI burned $6.4B last year; SpaceX's IPO filing shows the spending is far from over." https://techcrunch.com/2026/05/20/xai-burned-6-4b-last-year-spacexs-ipo-filing-shows-why-the-spending-is-far-from-over/ Accessed 2026-07-11. [15] CCTV News via Global Times. "Atlas drone-swarm system opens the launcher and deploys drones." https://www.globaltimes.cn/Portals/0/attachment/2026/2026-03-25/82ca82dc-c249-4647-9f19-e6bfa1c91b34.jpeg Accessed 2026-07-11. [16] Pieter Bruegel the Elder. "The Tower of Babel (1563)." https://commons.wikimedia.org/wiki/File:Pieter_Bruegel_the_Elder_-_The_Tower_of_Babel_(Vienna)_-_Google_Art_Project_-_edited.jpg Accessed 2026-07-11. [17] Michelangelo. "The Prophet Daniel (Sistine Chapel ceiling, c.1511)." https://commons.wikimedia.org/wiki/Category:Sistine_Chapel_ceiling_-_Daniel Accessed 2026-07-11. [18] William Blake. "The Number of the Beast is 666 (c.1805)." https://commons.wikimedia.org/wiki/File:The_number_of_the_beast_is_666_Philadelphia,_Rosenbach_Museum_and_Library.jpg Accessed 2026-07-11. [19] Carlo Crivelli. "Saint Thomas Aquinas (1476)." https://commons.wikimedia.org/wiki/File:St-thomas-aquinas.jpg Accessed 2026-07-11. [20] Michael Shermer. "Michael Shermer (portrait)." https://commons.wikimedia.org/wiki/File:Michael_Shermer_wiki_portrait2.jpg Accessed 2026-07-11. [21] Sam Harris. "Sam Harris (Waking Up, cropped head photograph)." https://commons.wikimedia.org/wiki/File:Sam_Harris_-_Waking_Up_-_cropped_head_photograph.jpg Accessed 2026-07-11. [22] John Searle. "John Searle (portrait)." https://commons.wikimedia.org/wiki/File:John_searle2.jpg Accessed 2026-07-11. [23] John Lennox. "John Lennox (portrait)." https://commons.wikimedia.org/wiki/File:John_Lennox.jpg Accessed 2026-07-11. [24] Thure de Thulstrup. "The Haymarket Riot (Harper's Weekly, 1886)." https://commons.wikimedia.org/wiki/File:HaymarketRiot-Harpers.jpg Accessed 2026-07-11.

On Episode 220 of Floating Through Film, we're continuing our series picked by Dany, Jean Renoir! On this third week of the series, Dany starts the episode by speaking about the ambiguity of nature in Renoir's cinema (9:43). We then review two of his films produced by American studios, starting with his 1947 film The Woman on the Beach (53:12), followed by his 1951 film The River, which was filmed in India (1:58:12). We hope you enjoy!Sources mentioned: - Painting: "Landscape with the Fall of Icarus" by Pieter Bruegel the Elder- "Jean Renoir: The World of his Films" by Leo Braudy- "Jean Renoir" by Raymond Durgnat - Renoir Interview with Jacques Rivette and Francois Truffaut (Cahiers du Cinéma No. 34 + 35, April + May 1945)- TCM's Noir Alley Intro for The Woman on the Beach (https://www.youtube.com/watch?v=d3W_N3JKX0s) - "On Renoir: Select Commentary" by Jacques Rivette (http://www.dvdbeaver.com/rivette/ok/JRonJR.html)- "Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker" by Andrew Ro insonEpisode Next Week: Jean Renoir Week 4 (The Golden Coach + The French Cancan)Music:- Intro: J.S. Bach's The Well Tempered Clavier: Book I: Prelude and Fugue No.1 in C Major - Sviatoslav Richter (https://www.youtube.com/watch?v=ezZdbzreNcs)- Break: The River- Outro: The RiverHosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s)Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker)Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm)Podcast Links:Spotify and Apple: https://linktr.ee/floatingthroughfilmLetterboxd: https://letterboxd.com/floatingfilm/Email: floatingthroughfilm@gmail.com

Pieter Bruegel st. namalował "Zabawy dziecięce" w 1560 r. Dzisiaj można je oglądać w Kunsthistorisches Museum w Wiedniu.A ja opowiadam jak się ma to, co widać na obrazie do postępowych teorii edukacyjnych w szesnastowiecznej Antwerpii.A wszystko z okazji Dnia Dziecka....Dziękuję Patronkom i Patronom za to, że umożliwiacie mi tworzenie „Otuliny o sztuce” i wspieracie moją pracę!Możesz dołączyć do tego grona ⁠https://patronite.pl/otulina_o_sztuce⁠ Znajdź mnie na Facebooku: ⁠https://www.facebook.com/otulinablogpl⁠ lub na Instagramie: ⁠https://www.instagram.com/otulina_o_sztuce⁠

Andrew Cranston 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. Cranston, who was born in 1969 in Hawick, Scotland, draws on experiences—moments seen, felt or remembered—which are filtered, embellished, complicated, and sometimes almost obliterated through the process of being painted. As well as reflecting on personal events, from childhood memories and the recollections of family members, to more recent rituals and exploits, Cranston's pictures are rich in cultural resonance. Images and ideas from the history of art and cinema, from poems and television series, are central to his work, whether as a core motif or a subtle reference in the title. As a result, his practice is deeply concerned with time and history—not just in recalling past events and experiences and transforming them in the present, but in his materials and methods. He often uses the covers of old hardback books, bleached by light over the years, as a surface, for instance, and the paintings hold time in their very physicality—in the immediacy of a painted gesture, in the steady build-up of layers and marks, and in the hints of their journeys to completion. Cranston's paintings reflect his medium's capacity for thrillingly diverse effects, modes and moods; they are full of poetry and longing, as well as absurdity and joy. He reflects on the fragility of his images, how with reiteration they gain meaning and weight. He talks about the silence in his works and what he calls his “fight with visibility”. He discusses a wealth of painterly influences, from Pieter Bruegel the Elder to Paul Klee, Pierre Bonnard and Winifred Nicholson, writers including Hugh MacDiarmid and Elizabeth Bishop, and cinematic and televisual references including the films of Nicholas Roeg and the teleplays of Dennis Potter. Plus, he gives insights into his life in the studio and answers our usual questions, including the ultimate: what is art for?Andrew Cranston: I'm going in a field, Modern Art, Bennet Street, London, until 30 May Hosted on Acast. See acast.com/privacy for more information.

This episode is the first Noriko's Philosophy Playground of 2026 and explores The Tower of Babel painted by Pieter Bruegel the Elder.Noriko reflects on seeing the large version of The Tower of Babel in Vienna at the Kunsthistorisches Museum. Inspired by the painting, she discusses human ambition, limits, and the role of language.The biblical story tells of people who once shared a single language and tried to build a tower reaching the heavens. Their excessive ambition led to confusion of language, loss of cooperation, and the collapse of the project.Bruegel's painting shows countless workers focused only on their own tasks, without seeing the whole structure. Parts of the tower are already collapsing, symbolising miscommunication and lack of coordination.Noriko connects this to modern life and language learning, asking three philosophical questions:How important is it to see the big picture?How much ambition is healthy for humans?What does it really mean for language to “connect” people?She concludes that true communication is not just grammar or vocabulary, but the attitude of trying to understand others. Language learning, she suggests, is ultimately about understanding people and the world through words.フィロソフィー（philosophy）プレイグラウンド（playground）プロジェクト（project）コミュニケーション（communication）インターネット（internet）バージョン（version）ディーテール（detail）ビジョン（vision）アプローチ（approach）コーディネーション（coordination）野心（やしん） – ambition限界（げんかい） – limit言語（げんご） – language言葉（ことば） – words混乱（こんらん） – confusion協力（きょうりょく） – cooperation理解（りかい） – understanding全体像（ぜんたいぞう） – big picture誤解（ごかい） – misunderstanding傲慢（ごうまん） – arrogance本質（ほんしつ） – essence理想化（りそうか） – idealization労働者（ろうどうしゃ） – workers崩れる（くずれる） – to collapse態度・姿勢（たいど・しせい） – attitude / mindset

What have the cluttered landscapes of Pieter Bruegel the Elder to do with the complex plots of Fyodor Dostoevsky? In each, we find subtle allusions to the holy, hidden and tucked away in the least likely of places. Why do these artists hide the holy? And what are the implications for theology and the arts in our age?.Lecture Resources: PowerPoint deckPlease note that the ideas expressed in this lecture do not necessarily represent the views of L'Abri Fellowship.For more resources, visit the L'Abri Ideas Library at labriideaslibrary.org. The library contains over two thousand lectures and discussions that explore questions about the reality and relevance of Christianity. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit englishlabri.substack.com

Michael Meade rejoins the podcast to discuss all things 11th house; the house of collective consciousness, groups, teams and the Polis: society at large. The 11th is where the great mystery occurs in the interaction between the individual cell and the whole organism. Michael's words act as a steadying force in unsettling times. He brings us back to a sense of cohesion and collaboration, reminding us of our internal spark of life that he calls the Genius. In his vision, that he draws from ancient wells, he sees a world of individuals waking up to the truth within their souls and participating in the creation of a new world as the current paradigms collapse. The more this happens the more gold within the cracks of the world are revealed.In these times of upheaval and uncertainty, Michael gives us a soothing balm whilst encouraging us to step forward and participate in the great theatre of life. Within this episodes theatre we meet the following characters:PhaëthonThe figure who takes power without inner maturity; the danger of inflated authority disconnected from soul.ChristThe one nailed to the crossroads of collective tension; sacrifice, revelation, and the danger of myth hardening into dogma.DionysusThe twice-born god; Eros, ecstasy, dismemberment, and the return of soul energy that culture tries to repress.Tiresias — the blind seer; inner sight over literal vision; prophetic knowing that comes through loss, transition, and a life lived between worlds.HermesThe trickster and messenger; boundary-crosser, mediator between worlds, carrier of transition.VishnuThe cosmic dreamer; the world inhaled and exhaled through cycles of dissolution and renewal.The TricksterDisruptor of rigid systems; brings medicine through paradox, humour, and mischief.The GeniusThe indwelling spirit unique to each person; purpose as something listened to rather than achieved.The OutsiderThe one on the margins; carrier of renewal and new imagination when the centre collapses.The BodhisattvaThe figure who returns to the broken world rather than escaping it; compassion in times of collapse.Visit Michael Meade's website here where you can find links to his podcast, books and offerings.Cover Art: The Fall of the Rebel Angels - an oil-on-panel painting created in 1562 by Pieter Bruegel the Elder.Join the Newsletter! Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Calling doesn't arrive as a neat job title. It asks for consent. In this deep, playful, and piercing conversation with Thomas Moore—author of Care of the Soul—we explore how the Midheaven (tenth house) points not to status but to a life that can bear its own meaning in public. Thomas shares how fifty years of quiet preparation—monastic study, Latin and Greek, music, Jung—suddenly opened into visibility, and how he learned to stand on big stages without losing the cave within.We trace practical pathways from symbol to life. Ficino's Renaissance astrology and the idea of stellar rays become a usable art: choosing textures, colors, plants, and music that genuinely nourish temperament. Beauty shows up as medicine, a missing ingredient in clinical spaces shaped solely by science. From there we wade into the myths that guide us—Rapunzel's root hunger, Pegasus striking the spring of the Muses—and ask what it means to descend to our roots so we can rise well. Depth versus height, “higher” education versus lower, richer knowing; Thomas prods us to find what truly feeds the soul.The heart-work is also gritty. Parents and culture can shrink a life. Angels—those messenger moments—ask for an answer. Sometimes you jump in the river, sometimes you wrestle toward a yes, but either way the next step is usually the truest one. We talk late blooming, saving depression rather than erasing it, Saturn's gifts, and why aiming higher than your current story of yourself is an act of care. If you're feeling adrift, this is a map and a nudge: let your roots inform your reach, let the muses tune your work, and meet your calling as it unfolds.If this resonated, follow the show, share it with a friend, and leave a quick review—then tell us: what's the next step your calling is asking you to take?*The above blurb was auto-generated by Buzzsprout's AIThomas Moore's website where you can find his books, teachings and more. Episode Artwork: The Alchemist c. 1558 - Philip Galle after Pieter Bruegel the ElderJoin the Newsletter! Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Körlük yalnızca gözle ilgili değil. Pieter Bruegel'in Körlerin Kıssası tablosu üzerinden, görmeden yürüyen insanları ve birlikte düşen medeniyetlerin çaresizliğine baktık. Bu bölümde 16. yüzyıl Hollanda'sına gidiyoruz; ama orada kalmıyoruz. Din, siyaset, otorite ve itaatin insanı nasıl körleştirdiğini; körlüğün nasıl bulaşıcı hâle geldiğini birlikte düşünüyoruz. Bruegel'in Körlerin Kıssası tablosunu bir sanat eseri gibi değil, bir uyarı levhası gibi okuyoruz.Bir zincire tutunmak neden güven verir, ama neden çukura sürükler? Bugün o zincirin adı sadakat mi, ideoloji mi, kariyer mi, yoksa yalnız kalma korkusu mu?Bu bölüm, bakmakla görmek arasındaki farkı; bastonun ucundaki toprağın titremesini ve tereddüdün neden bazen bir erdem olduğunu hatırlatmak için kaydedildi.Kulak verin. Ama bana değil; kendi bastonunuza.

"Your Light Has Come" - Isaiah 60:1-22 Behold Your God Taylor Whitson, CityChurch Bristol, January 4, 2026. Artwork Credits: Peter Paul Rubens, The Defeat of Sennacherib, ca. 1617, Alte Pinakothek, Munich. Pupil of Rembrandt, The Adoration of the Shepherds, 1646, The National Gallery, London. Pieter Bruegel the Elder, The Adoration of the Kings, 1564, The National Gallery, London.

"Comfort, Comfort, My People" - Isaiah 40:1-11 Behold Your God Mike Barnett, CityChurch Bristol, December 21, 2025. Artwork Credits: Peter Paul Rubens, The Defeat of Sennacherib, ca. 1617, Alte Pinakothek, Munich. Pupil of Rembrandt, The Adoration of the Shepherds, 1646, The National Gallery, London. Pieter Bruegel the Elder, The Adoration of the Kings, 1564, The National Gallery, London.

"The Righteous Branch" - Isaiah 11:1-10 Behold Your God Taylor Whitson, CityChurch Bristol, December 21, 2025. Artwork Credits: Peter Paul Rubens, The Defeat of Sennacherib, ca. 1617, Alte Pinakothek, Munich. Pupil of Rembrandt, The Adoration of the Shepherds, 1646, The National Gallery, London. Pieter Bruegel the Elder, The Adoration of the Kings, 1564, The National Gallery, London.

"Rejoice Before Him" - Isaiah 9:1-7 Behold Your God Taylor Whitson, CityChurch Bristol, December 14, 2025.   Artwork Credits: Peter Paul Rubens, The Defeat of Sennacherib, ca. 1617, Alte Pinakothek, Munich. Pupil of Rembrandt, The Adoration of the Shepherds, 1646, The National Gallery, London. Pieter Bruegel the Elder, The Adoration of the Kings, 1564, The National Gallery, London.

"Firm in Faith" - Isaiah 7:1-17 Behold Your God Taylor Whitson, CityChurch Bristol, November 30, 2025.   Artwork Credits: Peter Paul Rubens, The Defeat of Sennacherib, ca. 1617, Alte Pinakothek, Munich. Pupil of Rembrandt, The Adoration of the Shepherds, 1646, The National Gallery, London. Pieter Bruegel the Elder, The Adoration of the Kings, 1564, The National Gallery, London.

"The Light of the Lord" - Isaiah 2:1-5 Behold Your God Taylor Whitson, CityChurch Bristol, November 30, 2025.   Artwork Credits: Peter Paul Rubens, The Defeat of Sennacherib, ca. 1617, Alte Pinakothek, Munich. Pupil of Rembrandt, The Adoration of the Shepherds, 1646, The National Gallery, London. Pieter Bruegel the Elder, The Adoration of the Kings, 1564, The National Gallery, London.

Passende Materialien für deinen Kunstunterricht & Zuhause:Künstlerische Verfahren & Bildanalyse von Bruegel ➡️ https://stifo.de/products/pieter-bruegel-d-a-unterrichtsreiheKünstler & Künstlerinnen im Sparpaket ➡️ https://stifo.de/products/sparpaket-meister-der-moderne-kunstler-verstehen-analysieren-sek-ii?_pos=3&_sid=d05a71e74&_ss=r

Pieter Bruegel zeigt den Turmbau zu Babel als Bauvorhaben seiner Zeit, nicht als eines von anno dazumal. Den Plan, einen Turm in den Himmel zu bauen, vereitelte Gott, indem er die Menschen über die ganze Erde zerstreute. Eine Strafe oder ein Segen? Nettling, Astrid www.deutschlandfunk.de, Aus Religion und Gesellschaft

Vi fick chansen att intervjua Christopher P. Heuer, som är professor i konsthistoria på University of Rochester, New York, när han denna vår är gästprofessor i Göteborg. Han medverkar i ett forskningsprojekt inom idé- och lärdomshistoria vid universitetet, som heter "Freezing Cold - Northern European imaginaries of winter, snow and ice during the Little Ice Age”. Han har tidigare forskat och undervisat på Berkeley, Princeton och Columbia och är en expert på tidigmodern konst. Dessutom har han skrivit boken “Into the White. The Renaissance Arctic and the End of the Image” som kom 2019 och som har listats som en av de fem bästa böckerna om Renässansen norr om alperna. Vår bild av Arktis nuförtiden är mycket präglad av romantikens bilder från 1800-talet, när konstnärer som CD Friedrich målade isen som ett kraftfullt och mystiskt naturfenomen. Vi pratar om tidigmoderna expeditioner till Arktis och hur detta visuella ”tomrum”, som antingen beskrev som helt vitt eller helt mörkt, utmanade 1500-talets intresse i att gestalta världen perspektiviskt korrekt. Han berättar om gravyrer som holländska upptäcktsresande tog med sig till Arktis som gåvor till människor man skulle kunna möta där, och som lämnades i isen på 1500-talet, innan de spröda resterna (som påminner mer om cornflakes än om pappersark) mycket senare färdades tillbaka till Amsterdam, där de nu bevaras på Rijksmuseum. Vi pratar om den svenske biskopen Olaus Magnus (1490-1557) och hans bok ”Historien om de nordiska folken” som han författade under sin exil i Rom. Denna boks illustrationer, som påminner i sin abstraktion nästan om modernistiska verk, gav en mycket rikare bild av snö och is i Norden än någon annan samtida källa. Och så pratar vi om Pieter Bruegel den äldres vinterlandskap och hur dessa kan hänga ihop med den lilla istiden i Nederländerna (ca 1540-1620)? Lyssna på detta och mycket mer i vårt senaste avsnitt! Thank you, Christopher, for talking to us!Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

After a challenging year in which international galleries, auction houses and museums have been forced to scale back their operations and make redundancies on an alarming scale, a slower, more considered approach to business seems to be emerging. So are we into an era of longer, more in-depth exhibitions and bespoke events concerned more with authentic connection than flashy spectacle? Ben Luke talks to Anny Shaw, a contributing editor at The Art Newspaper. In the Netherlands, just as in the US, cuts by far-right politicians to international development seem likely to have a huge impact on arts projects. As Tefaf, the major international art fair opens in the Dutch city of Maastricht, we talk to Senay Boztas, our correspondent based in Amsterdam, about fears of a funding crisis. And this episode's Work of the Week is one of the greatest paintings ever made: The Hunters in the Snow (1565) by Pieter Bruegel the Elder. It is part of an exhibition called Arcimboldo – Bassano – Bruegel: Nature's Time, which opened this week at the Kunsthistorisches Museum in Vienna. The museum's director, Jonathan Fine, tells us more.Arcimboldo–Bassano–Bruegel: Nature's Time, Kunsthistorisches Museum, Vienna, until 29 JuneSubscription offer: enjoy 3 issues of The Art Newspaper for just £3/$3/€3—subscribe before 21 March to start your subscription with the April bumper issue including our Visitor Figures 2024 report and an EXPO Chicago special. Subscribe here. https://www.theartnewspaper.com/subscriptions-3FOR3?utm_source=podcast&promocode=3FOR3 Hosted on Acast. See acast.com/privacy for more information.

From his home in Copenhagen, a city he's called home for more than a decade, Texas-born Oscar-nominated American-Danish filmmaker JOSHUA OPPENHEIMER talks about his new narrative film The End (2024), an apocalyptic musical. Joshua discusses The End alongside his Oscar-nominated documentary films The Act of Killing (2012) and The Look of Silence (2014), and how the three provocative and divisive projects are mirrors to challenge us to look at ourselves.Joshua selects a work by Pieter Bruegel the Elder from the SMK collection.https://open.smk.dk/en/artwork/image/KMS1639(Photographer: Pascal Bünning)----------We invite you to subscribe to Danish Originals for weekly episodes. You can also find us at:website: https://danishoriginals.com/email: info@danishoriginals.com----------And we invite you to donate to the American Friends of Statens Museum for Kunst and become a patron: https://donorbox.org/american-friends-of-statens-museum-for-kunst

Pieter Bruegel the Elder's Landscape with the Fall of Icarus reimagines Ovid's Metamorphoses, transforming the myth of Icarus into a meditation on human indifference and folly. This episode unpacks how Bruegel intertwines visual storytelling with contemporary Dutch and Flemish proverbs, reframing Icarus' tragic fall as a subtle commentary on the world's disregard for individual suffering. Today's artwork: Pieter Bruegel the Elder, Landscape with the Fall of Icarus (c. 1560). Oil on canvas. Royal Museums of Fine Arts, Brussels. ______ New episodes every month. Let's keep in touch! Instagram: @artofhistorypodcast | @matta_of_fact YouTube | Substack: The Fascinator | TikTok Visit Ireland With Me! Email: artofhistorypod@gmail.com

Wir tauchen ein in die faszinierende Welt von Pieter Bruegel. Warum seine Kunst 450 Jahre später noch relevant ist – und was man mit seinen Bildern über das Leben damals lernen kann:Einblicke gibt uns Sabine Haag.Sie hat 15 Jahre das Kunsthistorische Museum geleitet, das die größte Sammlung von Bruegel-Bildern der Welt hat.

Guten Morgen! Heute reflektieren wir über ein Bild von Pieter Bruegel dem Älteren, das uns die Fragilität des menschlichen Körpers vor Augen führt. Außerdem erfahren Sie, warum Sonneneinstrahlung wichtig für unsere Gesundheit ist – und worauf es dabei ankommt. Schließlich werfen wir einen Blick auf Marco Polo: War er wirklich im Reich der Mitte, oder sind die Berichte nur Legende? Erfahren Sie mehr ... mit Epoch Times.

Luke mentions the shepherds, and Matthew the Magi, but when John begins his Gospel, he begins at the very beginning: “In the beginning was the Word….”And then John says something that is absolutely startling:"The true light, which gives light to everyone, was coming into the world. He was in the world, and the world was made through him, yet the world did not know him” (John 1:9-10).In other words, the most important thing that has ever happened happened, and everyone missed it!It's just like Pieter Bruegel painted it in his great masterpiece “Census at Bethlehem.”It's my favorite painting ever, and on Christmas Eve 2024 I talked about why.

Luke mentions the shepherds, and Matthew the Magi, but when John begins his Gospel, he begins at the very beginning: “In the beginning was the Word….”And then John says something that is absolutely startling:"The true light, which gives light to everyone, was coming into the world. He was in the world, and the world was made through him, yet the world did not know him” (John 1:9-10).In other words, the most important thing that has ever happened happened, and everyone missed it!It's just like Pieter Bruegel painted it in his great masterpiece “Census at Bethlehem.”It's my favorite painting ever, and on Christmas Eve 2024 I talked about why.

Nadie ha retratado la muerte con tanta crudeza como aquí. 'El triunfo de la muerte' de Pieter Bruegel "El viejo" retrata un ejército de esqueletos que viene a por los humanos. El final que todos sabíamos que llegaría. Los esqueletos están por todas partes degollando, ahorcando, decapitando, torturando, ahogando y pisoteando a los vivos que intentan escapar. Nuestro 'Artesano', Pablo Ortiz de Zárate, nos explica el significado del cuadro: qué es la vida y, sobre todo, que pensemos cuál es el sentido de la vida, si es que tiene alguno.

En 'Cuenta Con Bob' hemos resuelto las inquietudes que nuestros oyentes han enviado a Bob Pop. 'La Dupla' de Galder Reguera y Rafa Cabeleira han hablado del clásico y, a consecuencia, de los jugadores y clubes que odian. Nuestro 'Artesano' nos ha explicado el mensaje detrás de 'El triunfo de la muerte', de Pieter Bruegel "El Viejo". Los desmontadores de 'Mitos 2.0' Sergio Castro y Pepe Rubio han hablado del cambio de hora con Javier Ruiz y Raquel Marín.

Aux alentours de 1565, dans nos régions, le climat subit des changements importants : une légère baisse des températures moyennes, des hivers très longs et très froids, alors que les printemps et les étés sont peu lumineux, frais et humides. On fait face à des tempêtes, des inondations sévères ou à des épisodes de sécheresse. C'est dans ce contexte que Pieter Bruegel dit l'Ancien va inscrire son art et offrir à la Renaissance flamande quelques-uns de ses plus grands chefs-d'œuvre. Certains, précisément, décrivent des paysages d'hiver. Sabine Van Sprang, historienne de l'art, conservatrice aux Musées royaux des Beaux-Arts de Belgique, est l'auteure, avec Tine Luk Meganck, de Bruegel et l'hiver, aux Editions du Fonds Mercator. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

HAPPY SPOOKFEST!!!! YAYYY!!!! What better way to bring in the fall vibes than with the MOST AUTUMNAL PAINTER EVER?!?! Seriously, it's like halloween is his aesthetic and the harsh reality that life is a walking horror is the SPOOKIEST THING OF ALL!  There will be proverbs, there will be a mysterious death, and there will be BURNT SIENNA! Just like... hella burnt Sienna.  Come join in on the fun! We love you! Xoxo, The Baroque B's

A Bigger Splash (1974) / The Mill & The Cross (2011) This week we're living the lives of artists as we dive in to David Hockney's bad breakup and join Pieter Bruegel the Elder's procession

In episode 28 of Locust Radio, Adam Turl is joined by Anupam Roy – an artist based in Delhi and member of the Locust Collective. This episode is part of a series of interviews of current and former Locust Collective members and contributors. It is being conducted as research for a future text by Adam Turl on the conceptual and aesthetic strategies of the collective in the context of a cybernetic Anthropocene. Locust Radio hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl. Producers include Alexander Billet, Omnia Sol, and Adam Turl. Related texts and topics:  B.R. Ambedkar, see also B.R. Ambedkar, The Annihilation of Caste (1936) (pdf); James Baldwin (writer/author); Geroges Bataille, Visions of Excess: Selected Writings 1927-1939 (pdf); The Bengal Famine (1943); Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); John Berger (artist and critic), see also Ways of Seeing (video) and Ways of Seeing (1972) (book); Chittaprosad Bhattacharya (artist); Pieter Bruegel the Elder (artist); Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Bedatri D. Choudhury, “The Artist Who Sketched a Famine in India,” Hyperallergic (April 30, 2018); Communist Party of India (Marxist-Leninist) Liberation; Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Antonio Gramsci; Institutional Critique (art); Marshall McLuhan (philosopher); Fred Morton (author); Pier Paolo Pasolini (poet and filmmaker); Platform Capitalism; Lionello Puppi, Torment in Art (1991); Kohei Saito, Capital in the Anthropocene (2020); Shulka Sawant, “Cultivating a Taste for Nature: Tagore's Landscape Paintings,” Economic and Political Weekly 52, no. 19 (2017): 57–63; Songs for Sabotage, New Museum Triennial (2018);  J.W.M. Turner (artist); Adam Turl, Dead Paintings (2010-); Adam Turl interviews Anupam Roy, “We Are Broken Cogs in the Machine,” Red Wedge (May 7, 2019); Vincent Van Gogh (artist).

Professor Joseph Koerner is the Victor S. Thomas Professor of History of Art and Architecture and Professor of Germanic Languages and Literature at Harvard University, where he is also a senior fellow at the prestigious Society of Fellows.Koerner is one of the most renowned art historians and critics working today, and the world's leading specialist on Northern Renaissance and 19th Century Art, in particular German and Netherlandish painting. He has written multiple books, amongst them volumes on Caspar David Friedrich, Albrecht Durer and recently Bosch and Brueghel. Koerner has also written and presented various documentaries including ‘Northern Renaissance' and ‘Vienna: City of Dreams', both produced by the BBC. In 2018 he released his most personal film yet: ‘The Burning Child', which traces his search for the fate of his grandparents and their Vienna home, known only through a 1944 painting by his exiled father.Bosch's Garden of Earthly Delights hi-res: https://commons.wikimedia.org/wiki/The_Garden_of_Earthly_DelightsJoseph Koerner's faculty page: https://scholar.harvard.edu/jkoerner/homeJoseph Koerner's Wikipedia page: https://en.wikipedia.org/wiki/Joseph_KoernerThe Vienna Project: https://viennaproject.fas.harvard.edu/Review of 'Bosch and Bruegel: From Enemy Painting to Everyday Life' in the Guardian https://www.theguardian.com/books/2017/feb/01/bosch-bruegel-joseph-leo-koernerNOTES:Bosch's Last Judgement https://en.wikipedia.org/wiki/The_Last_Judgment_(Bosch,_Vienna)Pieter Bruegel the Elder: https://en.wikipedia.org/wiki/Pieter_Bruegel_the_ElderThe strawberry/Madroño tree: https://en.wikipedia.org/wiki/Arbutus_unedoThe Cluster F Theory Podcast is edited by Julian Mayers at Yada Yada.Subscribe for free to The Cluster F Theory Podcast. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

This week: the Whitney Biennial reviewed. Host Ben Luke discusses the show with Ben Sutton, The Art Newspaper's editor, Americas, and the critic Annabel Keenan. Our annual survey of visitor numbers at museums is published in the next print edition of The Art Newspaper and Lee Cheshire, the co-editor of the report, joins us to discuss the findings. And this episode's Work of the Week is Pieter Bruegel the Elder's drawing The Temptation of St Anthony (around 1556). It features in the exhibition Bruegel to Rubens: Great Flemish Drawings, which opens this weekend at the Ashmolean Museum in Oxford, UK. An Van Camp, the curator of the show, discusses this remarkable study.The Whitney Biennial: Even Better than the Real Thing, Whitney Museum of American Art, New York, until 11 August.Bruegel to Rubens: Great Flemish Drawings, Ashmolean Museum, Oxford, UK, 23 March-23 June. Hosted on Acast. See acast.com/privacy for more information.

Kids have always been like this. They've always been crazy. Always had trouble sleeping at night. Always liked to play and explore. They've been overwhelmed by hormones. They've been driving their parents crazy a long time.​We talked a while back about Pieter Bruegel the Elder's Children's Games painting which depicts a loud and raucous scene of kids playing outside. It's 463 years old and yet, with a few exceptions, it resembles almost exactly what the kids in your neighborhood were doing last weekend.✉️ Sign up for the Daily Dad email: DailyDad.com

We welcomed guest speaker Christina Eichenroht to give an excellent and accessible lecture on this intriguing topic. Recommended! What have the cluttered landscapes of Pieter Bruegel the Elder to do with the complex plots of Fyodor Dostoevsky? In each, we find subtle allusions to the holy, hidden and tucked away in the least likely of places. Bruegel and Dostoevsky "bury the lede," so to speak, and thereby implicate us in overlooking or dismissing the presence of the holy—until we stumble over it in double-take recognition, and that hidden detail proves axiomatic. In this lecture, we will consider examples of this phenomenon in Bruegel's paintings and Dostoevsky's novel. Then, we will consider why Bruegel and Dostoevsky employ these compositional strategies. Why is the hiding of the holy so urgent? (Sorry we cannot include the slides. Bruegel's paintings - left unnamed during the talk - mentioned in the talk are as follows, in order: The Fall of Icarus; The Procession to Calvary; The Census at Bethlehem; The Adoration of the Kings) The Copyright for all material on the podcast is held by L'Abri Fellowship. We ask that you respect this by not publishing the material in full or in part in any format or post it on a website without seeking prior permission from L'Abri Fellowship. Also, note that not all views expressed in the lectures or in the discussion time necessarily represent the views of L'Abri Fellowship. © Canadian L'Abri 2020

Author, poet and performer Michael Rosen is one of Britain's best loved and most prolific children's writers, having published hundreds of books over nearly fifty years, including his much-loved We're Going On Bear Hunt, the story of an exciting family outing, illustrated by Helen Oxenbury. As a broadcaster he is well known to Radio 4 listeners as the host of Word of Mouth. He was appointed as Children's Laureate in 2007 and was awarded the PEN Pinter Prize in 2023, the citation noting his “ability to address the most serious matters of life in a spirit of joy, humour and hope”. In conversation with John Wilson, Michael recalls the early influence of his parents, who were both active members of the British Communist Party, and the many books that lined the walls of the Rosen family home. He chooses, as a key cultural inspiration, a reproduction of a 16th century painting by Pieter Bruegel the Elder called Netherlandish Proverbs. Depicting ordinary people in various comic situations which represented well-known proverbs of the day, it captured the imagination of young Michael and his friends. He reveals how he started writing his own poetry in response to works by Gerard Manley Hopkins and D H Lawrence whilst at school, and remembers how We're Going On A Bear Hunt was inspired by various folk tales from around the world. Michael also discusses the impact on his work of the death of his son Eddie at the age of 18 in 1999, and in discovering more about the fate of Jewish family members during the Holocaust. Producer: Edwina Pitman

Sometimes you come across a text by someone and it feels like you have been seen. Like something you've been struggling with to make sense of all of a sudden appears in words right in front of you, in total clarity. It an be a very positive experience, but it can also make you feel called out. Caught in the act. Some intellectuals, a select few, have this capacity, to make us see things clearly, even when we might not want to. When I first stumbled across writings on his Substack publication , I felt this way. Like a door opened to a room I did not know existed, or had forgotten about. I think I needed some guidance about how to think about meaning and how to be a human being, especially in this moment where digital technology dominate our lives more and more. For the last couple of years at least, one of those guides for me has been Michael Sacasas, which is why I'm so glad to have him as guest in my podcast.We talk about digital technology, the ever hungry machine, artificial intelligence, why time-saving technology don't save our time, the tyranny of tiny tasks, Ivan Illich and the concept of conviviality, the art of Pieter Bruegel the elder, about how to resist and why Michael wrote that the human-built world is not built for humans.I will post a transcript of the conversation some time in the following days. An excerpt:But then there was also this expectation that you would be just simply be doing more. One example of this is in this expression, that may be is a little archaic now, but it's “spring cleaning”. The idea is that you do this large cleaning in the spring. And this comes from a time when that would have been a kind of annual practice that you do kind of a deep cleaning of the home. But now the expectation is that homes should be maintained at that level of cleanliness – all the time, constantly.So now you've undercut whatever gains you might have achieved by having certain time saving devices, in this particular case. So I think there are ways in which the the promise never quite is fulfilled. And I think most of us would discover this in our own experience, if we ask ourselves: Do we now have an abundance of of free time? I think most of us feel kind of hurried, always kind of at the at the limits of our capacities, overwhelmed. Or burnt out, which is now an extremely common way of labeling this condition of just being pushed beyond our limits and not having enough time. Time becomes an adversary. We're always trying to to to save it so we're never really inhabiting it. So I think there are there are many ways in which that idea that – “oh, these tools are going to save time here, there and everywhere” – it just doesn't pan out in our lived experience.Rak höger med Ivar Arpi is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Inför varje podd…Inför varje avsnitt av podden diskuterar jag ämnet med er och tar med era frågor till samtalet. Det ni behöver göra för att delta i samtalet är att ladda ned Substackappen och vara med i Rak högers chatt. Många är redan med, men jag hoppas givetvis på fler.För att gå med i chatten behöver du ladda ner Substackappen, som nu finns tillgänglig för både iOS och Android. Chattar skickas via appen, inte e-post, så slå på push-notiser så att du inte missar konversationen när den händer.How to get started* Download the app by clicking this link or the button below. Substack Chat is now available on both iOS and Android.* Open the app and tap the Chat icon. It looks like two bubbles in the bottom bar, and you'll see a row for my chat inside.* That's it! Jump into my thread to say hi, and if you have any issues, check out Substack's FAQ.Utgivaren ansvarar inte för kommentarsfältet. (Myndigheten för press, radio och tv (MPRT) vill att jag skriver ovanstående för att visa att det inte är jag, utan den som kommenterar, som ansvarar för innehållet i det som skrivs i kommentarsfältet.) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.enrakhoger.se/subscribe

During a time of increasing religious and political conflict, Pieter Bruegel the Elder's paintings portrayed work and pleasure, rituals and festivals of peasant life, and biblical scenes - all in startling detail. Inspired by humanist principles, Bruegel's art questioned how well we know ourselves, often representing our ignorance and insignificance, the futility of ambition and the absurdity of pride.In this edition of Not Just the Tudors, Professor Suzannah Lipscomb talks to Professor Elizabeth Honig, author of Pieter Bruegel and the Idea of Human Nature, to explore further how Bruegel's art and ideas enable people to ponder what it means to be human. This episode was edited and produced by Rob Weinberg.For more Not Just The Tudors content, subscribe to our Tudor Tuesday newsletter here.If you'd like to learn even more, we have hundreds of history documentaries, ad free podcasts and audiobooks at History Hit - subscribe today! To download, go to Android or Apple store Hosted on Acast. See acast.com/privacy for more information.

Maarten en Tom laten horen hoe leuk kunst is. Ook voor kunst-haters. Vandaag het meestwerk 'Jagers in de sneeuw' van Pieter Bruegel de Oude.

Den svenska stormaktstiden var präglad av krig, nedkylning av klimatet, farsoter och svält. De omfattande utskrivningarna till militärtjänst var i det närmaste fördröjda dödsdomar. Men det fanns samtidigt en annan verklighet i den lilla världen med lekar, festligheter och kärlek.Både barnen och vuxna lekte under stormaktstiden, en del lekar känner vi fortfarande igen. Och den folkliga kärleken och kulturen var friare än den religiösa ortodoxin accepterade. Dessutom avlöste festerna med uppenbart hedniskt ursprung varandra. Påbuden från kyrkan hade ofta ingen effekt på folkets traditioner.I den nymixade reprisen av avsnitt 108 av podden Historia Nu samtalar programledare Urban Lindstedt med Annika Sandén, docent i historia och aktuell med boken Fröjdelekar – Glädje, lust och nöjen under svensk stormaktstid.Kyrkan försökte strama upp allmogens moral. År 1608 infördes Mose lag från Gamla testamentet i lagboken. Men kyrkans förbud hade svårt att rå på allmogens hedniska traditioner där vissa som midsommar levt kvar till våra dagar.Bild: Bondbröllop (1568) av Pieter Bruegel d.ä, Google Cultural Institute. Public domain Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Welcome again to the Convivial Society, a newsletter about technology and culture. This post features the audio version of the essay that went out in the last installment: “Lonely Surfaces: On AI-generated Images.” For the sake of recent subscribers, I'll mention that I ordinarily post audio of the main essays (although a bit less regularly than I'd like over the past few months). For a variety of reasons that I won't bore you with here, I've settled on doing this by sending a supplement with the audio separately from the text version of the essay. That's what you have here. The newsletter is public but reader supported. So no customers, only patrons. This month if you'd like to support my work at a reduced rate from the usual $45/year, you can click here: You can go back to the original essay for links to articles, essays, etc. You can find the images and paintings I cite in the post below. Jason Allen's “Théâtre D'opéra Spatial”Rembrandt's “The Anatomy Lesson of Dr Nicolaes Tulp”Detail from Pieter Bruegel's “Harvesters” The whole of Bruegel's “Harvesters” Get full access to The Convivial Society at theconvivialsociety.substack.com/subscribe

The Metropolitan Museum of Art calls The Harvesters "the first modern landscape". Pieter Bruegel also shifted the Renaissance paradigm with this masterpiece. He transported the art world from biblical and classical subjects into everyday people. That's why Bruegel the Elder became the "peasant painter". Read LadyKflo's collected works and learn about more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo

Have you heard people say visiting a museum is good for you? Why is that? Grace Calame-Mars, a Nursing Professional Development Specialist, and Carolyn Halpin-Healy, an Art Educator at The Met, know the first-hand benefit of art in museums as a tool to help our well-being. Hear about the art therapy program they helped organize for medical professionals at NYU Langone Hospital, where close-looking exercises improved clinical observation skills and strengthened empathy, which became especially valuable tools during the COVID-19 pandemic. Guests: Grace Calame-Mars, nurse educator at NYU Langone and Carolyn Halpin-Healy, art educator Objects mentioned in this episode: Pieter Bruegel the Elder (Netherlandish, 1525–1569). The Harvesters, 1565. Oil on wood, 47 x 63 3/4 in. (119 x 162 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 1919 (19.164) Figure: Seated Couple, eighteenth–early nineteenth century. Mali, Dogon peoples. Wood, metal, H. 28 3/4 x W. 8 5/8 x D. 8 in. (73 x 21.9 x 20.3 cm). The Metropolitan Museum of Art, New York, Gift of Lester Wunderman, 1977 (1977.394.15) Jacques Louis David (French, 1748–1825). The Death of Socrates, 1787. Oil on canvas, 51 x 77 1/4 in. (129.5 x 196.2 cm). The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1931 (31.45) www.metmuseum.org/frameofmind #FrameofMind

Kid News This Week: Celebrating Eid around the world, Azteca ants repair “trumpetrees” in Panama, Japan's latest taste-tech, Spain's smelly high art

In the second half of episode 12 — for patrons and subscribers only — Tish, Adam and Holly Lewis focus on questions of art, culture and individual subjectivity as they relate to the pandemic, the idea of the working-class seizing virtual technologies, automatic writing vs. anxiety and death, haunting the rich, revenge and utopia, the sculpting of revolutionary and counter-revolutionary violence, the futurity of the doomed, blockchain, video games, and the loss of texture in the virtual world. They also discuss the dynamic of collective and individual imagining and the warm stream of Marxism. Books, articles, stories and pamphlets discussed: “Alain Badiou: ‘People cling onto identities… it is a world opposed to the encounter,'” Verso blog (2014); Albert Camus, The Plague; Mike Davis, The Monster Enters: COVID-19, Avian Flu, and the Plagues of Capitalism (Verso, 2022); Hal Draper, The Mind of Clark Kerr (October 1964); Mary Shelley, The Last Man; Nathaniel Hawthorne, “Roger Malvin's Burial” (1832); Washington Irving, “The Legend of Sleepy Hollow” (1820); Karl Marx, The Economic and Philosophic Manuscripts of 1844; Karl Marx, The German Ideology (1845-46). Artworks discussed: The Born Again Labor Museum's Communist Manifesto Redistribution Project and Cat Without a Grin; Pieter Bruegel the Elder's The Triumph of Death (1562); medieval plague crucifixes; the agit-prop of Gran Fury and Act Up; exquisite corpses; David Wojnarowicz, Untitled (Buffalo) (1988); Anupam Roy's Exodus series; Labani Jangi's Exodus series; Egon Schiele's The Family (1918) Locust Radio is hosted by Tish Turl and Adam Turl. It is produced by Alexander Billet and Drew Franzblau. Music is by Omnia Sol.

Luke and Eleanor continue their series on Medieval food by discussing the massive number of feasts days, what those feasts were like, and more! cover art is The Fight Between Carnival and Lent by Pieter Bruegel the Elder

Download the full lesson and Power Point at: https://courses.evidence4faith.org/sciencebible (https://courses.evidence4faith.org/sciencebible) Welcome to session 6 in our 11 part series “Science & The Bible!” This series examines the relationship between different disciplines of Science and the Bible and the arguments surrounding this topic. This lesson covers the field of Astronomy and how the science has changed over the centuries. Our ideas about the universe, even as early as the 20th century, might seem very silly to us today, thanks to new knowledge obtained by satellites, probes, and advancements in telescopes. How does the Bible stack up to our modern understanding of the universe? This lesson also covers the debate among some Christians on whether scripture supports a geocentric or heliocentric model. Music Credits: https://www.pond5.com/royalty-free-music/item/116117045-funky-sax-hipster-happy-upbeat-inspirational (Stock Music) provided by EnhancedVision, from https://www.pond5.com/ (Pond5) Unsplash Photo Credits: https://unsplash.com/ (https://unsplash.com/) Tengyart, Gaëtan Othenin-Girard, Sanni Sahil, Bryan Goff, Casey Horner, Taneli Lahtinen, Ross Sneddon, Neven Krcmarek, Vedrana Filipović Wikimedia Commons Photo Credits: https://commons.wikimedia.org/wiki/Main_Page (https://commons.wikimedia.org/wiki/Main_Page) Thomas Murray, Lumos3, Theodor De Bry, Bartolomeu Velho, ibiblio.org, Mariluna, Eduard Ender, Rursus, After Lysippos, John Collier, Lemuel Francis Abbott, Smithsonian Institution from United States, Harman Smith, Laura Generosa, Beinahegut, Pearson Scott Foresman, Leonardo Da Vinci, Pieter Bruegel the Elder, Mouser, Sanu N, Till Credner Other Photo Credits: NASA, imagesurgery.com, blinklearning.com