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AmericanKulak says
Another secret is that early 20th Century slum clearing and sanitation did more against most diseases we vaccinate for than the vaxes did themselves. 80% of the drop in things like Measles occured during the massive sewer and indoor plumbing campaigns, before those vaccines were invented.
This doesn't bode well for San Francisco and other progressive-run cities.
The recent rain storm has washed all the shit into the bay.
A school principal in Tallahassee, Florida, has been fired following parental complaints about a lesson on Michelangelo’s marble masterpiece David (1501-04), which was deemed “pornographic” by one aggrieved parent.
Blame Le Corbusier for all this shit.
A school principal in Tallahassee, Florida, has been fired following parental complaints about a lesson on Michelangelo’s marble masterpiece David (1501-04), which was deemed “pornographic” by one aggrieved parent.
Behold, the new Richard Gilder Center for Science — an addition to New York’s American Museum of Natural History, designed by Jeanne Gang, the most-published architect on The Eyesore of the Month!
Here’s what you get when you ask computer aided design (CAD) to give you a “bat cave.” CAD is universal now in the architecture biz. This technology has aggravated the feedback loop between the human tendency to seek novelty and the bizarre-ness of every new building produced in our culture. Even before CAD arrived on the scene, novelty-seeking drove post-World War Two building design. That itself derived from the accelerated sense of “progress” induced by our turbo-charged cheap oil economy, which brought on dizzying technological innovation, another feedback loop. The net result was the buildings that represented human endeavor — especially, public buildings, museums, courthouses, libraries — had to look like nothing ever seen before. This programming also served to demolish people’s sense of history, of which the thinking classes were increasingly ashamed, especially after the fiasco of two world wars and Auschwitz.
What was wrong with this grand cavalcade of novelty-seeking, you might ask? It was creative… innovative… diverse! Well, yes. But it also tended to ignore the archetypal symbolic language that buildings need to project in order to inform people what each building means and what its role is in human endeavor. You could no longer distinguish a school from an insecticide factory. It also obliterated the anthropomorphic element in architecture that fitted buildings into a design ethos that reflected human form, in particular the “tripartite” configuration of top, middle, base (head, trunk, feet) which is the basis of many so-called classicisms.
Yet another consequence of perpetual novelty-seeking for the sake of “progress” is that buildings no longer relate to the other buildings around them. Each is a one-off, and so there is no continuity or unity in the urban pattern. The result is an unfortunate urban cacophony which only ends up expressing the disordered condition of our society.
Now you know.
Behold, the new Richard Gilder Center for Science
Yet another consequence of perpetual novelty-seeking for the sake of “progress” is that buildings no longer relate to the other buildings around them. Each is a one-off, and so there is no continuity or unity in the urban pattern.
The recent rain storm has washed all the shit into the bay. Poor fishes.
That is Vienna's newest fountainWow! Vienna is highly regarded for its classical visual art, but is absolutely peerless as being the center of music in what is actually called the "Viennese Era," which ran from 1750 to 1830 and included Haydn, Mozart, and Beethoven. Schubert was actually born there.
A lot of it HAD to have been created, albeit for the grandiosity and psychopathy of the complicit dynastic ruling classes, with some kind of 3D modeling, secret science and energy carving, anti gravity, or inter dimensional transforms.
This marble statue is named the Release from Deception, or Il Disinganno. It was painstakingly carved by Genoese sculptor Francesco Queirolo and was produced over a period of 7 years from 1752-1759
https://sukwan.substack.com/p/what-do-you-dream-about
This marble statue is named the Release from Deception, or Il Disinganno. It was painstakingly carved by Genoese sculptor Francesco Queirolo and was produced over a period of 7 years from 1752-1759
It wasn’t even that long ago that we lived in a more beautiful world. The aesthetic disconnect between the architecture of the pre- and post-WWII eras is so shockingly total that it is as if one civilization had wiped out another entirely. Walk down the street in any old European city, and one sees the fossilized remnants of that lost civilization, that alien people who held certain things sacred. Forget about the cathedrals, those jewels of architectural wonder. Even the ordinary buildings erected by our recent forebears, the apartment blocks, pumping stations, post offices, train stations, and so on, were built with an eye to beauty, embellished with carvings, porticoes, ironwork, sculptures, friezes, and other decorative flourishes, their proportions pleasing to the eye, their forms organically integrated with the wider aesthetic of both natural and urban environs. This was the architecture of a people for whom beauty was not a mere afterthought, but a central concern, for beauty glorified the soul, and the soul’s purpose was to glorify God.
Even the churches we build now – stark boxes marked out as religious merely by affixing a rectilinear cross to the unadorned wall facing the broad parking lot – do not evoke a sense of quiet awe, transportation into dumbstruck wonder, or deep and reverent peace. They are not meant to evoke anything. They are simply cheap to build, maximizing seating space and volume for a given quantity of material.
Even the ordinary buildings erected by our recent forebears, the apartment blocks, pumping stations, post offices, train stations, and so on, were built with an eye to beauty, embellished with carvings, porticoes, ironwork, sculptures, friezes, and other decorative flourishes, their proportions pleasing to the eye, their forms organically integrated with the wider aesthetic of both natural and urban environs.
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