#john cage's selected letters

[derangedrhythms]

I think of you all the time and therefor have little to say that would not embarrass you, for instance my first feeling about the rain was that it was like you.

John Cage, from a letter to Merce Cunningham in 'The Selected Letters of John Cage'

#john cage #the selected letters of john cage #letters #rain #t #o

[dreaminginthedeepsouth]

Photograph: John Cage and Merce Cunningham at Black Mountain College, 1948 (courtesy of the John Cage Trust)

* * * *

"I think of you all the time and therefor have little to say that would not embarrass you, for instance my first feeling about the rain was that it was like you." — John Cage, from a letter to Merce Cunningham in 'The Selected Letters of John Cage'

[Belles-lettres]

#John Cage #Merce Cunningham #letters #Black Mountain College #quotes #Belles-Lettres

[kiki-de-la-petite-flaque]

I think of you all the time and therefor have little to say that would not embarrass you, for instance my first feeling about the rain was that it was like you.

— John Cage, from a letter to Merce Cunningham in 'The Selected Letters of John Cage'

#John Cage

[garadinervi]

John Cage to Francis Leach, Stony Point, NY, February 5, 1970 [John Cage on composing] [Bibl.: The Selected Letters of John Cage, Edited by Laura Kuhn, Wesleyan University Press, Middletown, CT, 2016, p. 398] [Artists' Books and Multiples, Sackville New Brunswick]

#graphic design #art #fluxus #music #manuscript #correspondence #books #john cage #francis leach #laura kuhn #wesleyan university press #1970s #2010s

[stilled]

“Rain finally came + it’s beautifully cool. Wonder how long it will last. It was marvelous because it started suddenly and then was alternately terrific and gentle.

I think of you all the time and therefor have little to say that would not embarrass you, for instance my first feeling about the rain was that it was like you.”

John Cage, to Merce Cunningham

(The Selected Letters of John Cage, Ed. Laura Kuhn)

[evoldir]

Fwd: Postdoc: Fribourg_Switzerland.BalancingSelection.

Begin forwarded message: > From: [email protected] > Subject: Postdoc: Fribourg_Switzerland.BalancingSelection. > Date: 7 October 2023 at 05:40:42 BST > To: [email protected] > > > The Flatt lab at the Department of Biology, University of Fribourg, > Switzerland has an opening for a Postdoctoral Researcher in Evolutionary > Genetics to study fundamental questions about the maintenance of adaptive > polymorphisms in natural populations by different forms of balancing > selection. > > *THE PROJECT* > The Postdoc will work on a new project, funded by the Swiss > National Science Foundation (SNSF), focusing on chromosome > inversions/“supergenes” in the ancestral African range of fruit > flies (Drosophila melanogaster) and how they are maintained by balancing > selection. The project entails an exciting combination of approaches > spanning population genomics, bioinformatics, transcriptomics, phenotypic > assays of fitness-related traits, experiments with population cages > (mescosoms) both in the laboratory and outdoors, as well as field work. > > The Postdoc (and a PhD student to be hired) will be embedded in a larger > project team in the Flatt lab, involving a senior postdoc, a technician > and several undergraduate students, as well as in close collaboration with > our international project partners Rashidatu Abdulazeez (Ahmadu Bello > University, Nigeria), Martin Kapun (Natural History Museum Vienna), > Miyanda Moonga (University of Zambia), Paul Schmidt (University of > Pennsylvania), John Pool (University of Wisconsin), and others. > > *YOUR PROFILE* > We are looking for highly motivated candidates with a strong background in > evolutionary biology and/or population genetics, and with a keen interest > in combining experimental and computational work. Prior experience with > population genomic analyses/bioinformatics and/or Drosophila evolutionary > genetics would be a plus. Candidates should be self-motivated and driven > by scientific curiosity; possess a strong work ethos; be able to work > independently; have strong communication and interpersonal skills as > well as the ability to integrate and work in a team. > > *THE WORK ENVIRONMENT* > Our lab and the Department of Biology offer a very friendly > and stimulating work environment, with excellent conditions in > terms of infrastructure, know-how, and collaboration. Fribourg is > vibrant medieval university town with a large student population > (https://ift.tt/HUIlcLg), > situated close to the capital of Bern and the beautiful Swiss > pre-Alps and Alps. For more information on our research see > https://ift.tt/JVj4uYF. For > more information on the Department of Biology at Fribourg see: > https://ift.tt/aqs4LFz > > *THE POSITION* > Starting date by arrangement; the position is for up to a maximum of 4 > years; salary according to institutional and SNSF guidelines (details > upon request). > > *HOW TO APPLY* > Please send a motivation letter, CV, description of previous research, > and the names and contact details of three references in a single pdf > file to  [email protected] > > Deadline: 5 November 2023. > > > Prof. Thomas Flatt > Department of Biology > University of Fribourg > Chemin du Musée 10 > CH-1700 Fribourg > Switzerland > > e-mail: [email protected] > phone: [phone] > phone: [phone] (secretary) > > https://ift.tt/MivD7xX > European Drosophila Population Genomics Consortium: http://droseu.net/ > > > FLATT Thomas

#IFTTT #Email

[theboyinthefurcoat]

Is Everything Fashionable?

    It was just another regular August evening. I, as any other ordinary teen, was scrolling through Tiktok in a feeble attempt to cure my mind-numbing boredom, when, in a fortuitous twist, I stumbled across a video expounding the philosophical tenets of Dadaism, particularly its provocative assertion that “everything can be art.” I found myself intrigued upon hearing this rather controversial assertion. I thus couldn’t help but wonder if it is also applicable to fashion and if, in the grand scheme of things, everything can in reality be deemed fashionable?

    As the illustrious Coco Chanel famously said, “Always take one thing off before leaving the house”, allegedly providing a simple but precise rule to achieve “fashionability”. However, if we look at it through the perspective of the dadaist movement, the ever so iconoclast, fashion shouldn’t be about adhering to rules and norms but rather about limitless self expression. Dadaism challenges conventions by embracing chaos, arbitrariness and absurdity as its artistic principles in order to create a completely new universe totally opposed to the grim reality of World War I. The name “Dada” itself is the perfect embodiment of this utter randomness they were so famous for as Tristan Tzara, writer within the milieu, famously arrived at the movement’s appellation through a rather haphazard process involving the frivolous selection of cutouts from a dictionary which coalesced to form the letters d-a-d-a. Evidently, this ordinary occurrence marked a seminal moment in art history where was set in stone the notion on how randomness and the absence of conventional meaning in a piece could yet yield profound artistic expression. This idea resurfaced in 1952 through piano player David Tudor’s public recital wherein he interpreted one of John Cage’s compositions. This work was remarkable for its peculiar structure, encompassing the mere act of opening and closing the piano lid precisely three times within a span of exactly 4 minutes and 33 seconds. Notably, the symphony did not emanate from Tudor’s virtuosic manipulation of the piano’s keys but rather from the ambient sound of respiration, coughing, hushed conversations and the gentle shuffle of feet upon the wooden floor. Astonishingly, the composition, seemingly bereft of form, remains entrenched in the annals of musical artistry. Hence, in consonance with the dadaist credo, art and self expression ought not to be defined by normative rules. Thus implying that everything can be art and omit such things as good or bad art forasmuch as the absence of rules to base off one’s unbiased judgment over a piece. Objectivity, in the modern world, seems then to have been replaced by subjectivity, as taste remains the only standing judging criteria. 

    This brings us to the crux of the matter: Can these principles be transposed onto the domain of fashion? And if so, may we assert with confidence that “everything is fashionable”?

    On one hand, fashion has long been governed by a set of unspoken rules and norms, often perpetuated by fashion magazines, designers, and influencers. These rules dictate what is considered trendy, chic, or elegant, setting the standards for what people should wear to be deemed fashionable. However, on the other hand, fashion is also a realm where individuality and self-expression are celebrated. It is a canvas upon which people can paint their personalities, values, and even their dissent against the established norms. The dadaist assertion that "everything can be art" challenges us to rethink fashion in a similar light. If we take Dadaism's principles of chaos, arbitrariness, and absurdity as our guiding philosophy in fashion, we might arrive at a profound realization. Fashion could indeed be liberated from the constraints of convention, allowing individuals to embrace their uniqueness without fear of judgment. Consider the works of designers like Rei Kawakubo of Comme des Garçons or Vivienne Westwood, who have consistently challenged the status quo in the fashion industry. They have created garments that defy traditional notions of beauty, symmetry, and even wearability. These designers often blur the lines between fashion and art, pushing the boundaries of what clothing can represent. Furthermore, the rise of street fashion and the “weird girl aesthetic” has exemplified the Dadaist spirit in contemporary fashion. Fashion enthusiasts now mix and match styles, repurpose vintage items, and create outfits that reflect their personalities, often with no regard for the established norms of high fashion. This subversion of conventional fashion rules, often criticized by purists, can be seen as a modern interpretation of Dadaism in the realm of clothing. However, it's important to note that the idea of "everything is fashionable" does not imply that every fashion choice is universally appealing or successful. Just as Dadaism does not suggest that every random arrangement of objects is profound art, fashion can still be a matter of personal taste. What one person finds fashionable, another may not. The absence of normative rules in fashion means that judgments are based on individual subjectivity and context.

    In conclusion, the philosophy of Dadaism, with its emphasis on randomness, chaos, and the rejection of established norms, can indeed be applied to the domain of fashion. The idea that "everything is fashionable" challenges us to embrace individuality, self-expression, and the inherent subjectivity of fashion. It encourages us to view clothing as a means of artistic expression, where creativity knows no bounds. While not every fashion choice will resonate with everyone, the absence of strict rules allows for a more diverse and inclusive fashion landscape, where personal style can flourish. So, in the grand scheme of things, we can assert with confidence that in the world of fashion, as in art, "everything can be fashionable," provided it speaks to the individual wearing it and the message they wish to convey.

#fashion #art #dadaism

[thatsulleninhabitant]

twin peaks || richard siken, crush || richard & linda thompson, the calvary cross || liu xiaodong, love || john cage, letters to merce cunningham || blue velvet || the clientele, never anyone but you || before sunset || fiona apple, anything we want

#web weave #web weaving #twin peaks #david lynch #richard siken #richard & linda thompson #liu xiaodong #john cage #merce cunningham #the selected letters of john cage #blue velvet #kyle maclachlan #the clientele #before sunset #before sunrise #before trilogy #fiona apple #the idler wheel #bit of a brain dump but some overall themes i feel #intertextuality #parallels #q: perhaps we're always hurtling our body towards the thing that will obliterate us

[eppysboys]

John Cage’s Letters To Yoko Ono, 1967

To Yoko Ono  March 10, 1967 | Cincinnati, Ohio

It was very exciting to receive your letter and the Beatles mss. I have written to Paul McCartney, not to John Lennon (whom I have not met). I think my letter was clear, and I shall wait to see whether he will let me keep one or all or some of the mss. for the Foundation. There is a further complication which I told him about, that is, that a legal form Dick is sending out must be signed so as to protect the Press and the Foundation from suits for copyright infringement. At any rate I am deeply grateful to you for all you have done and send you love, best wishes and to Tony too. 

To Yoko Ono March 10, 1967 | Cincinnati, Ohio

Not interested in your bottoms project. Nor in Charlotte M[oorman]’s tops activities. This is not to [imply] anything more than I’m not interested, just as I’m not interested in Steflan Wolpe’s Battle Piece, or any other projection of fixed ideas and feelings. And/or Incl. La Monte Y[oung]. 

source: The Selected Letters of John Cage

#butterfly effect... #John Cage #Yoko Ono #Lennon McCartney #1967 #quotes #the selected letters of john cage #Yoko

[intoxicated-chan]

𝐌𝐀𝐒𝐓𝐄𝐑𝐋𝐈𝐒𝐓 #𝟏

© Intoxicated-Chan 2023, I do not allow my work to be copied, translated, modified, adapted, or put on any other platform without my permission. I only have one other platform and that’s Wattpad (same name).

Genshin Impact

Lone Sojourner (Diluc x GN!Reader)

Life Lessons With Uramichi Oniisan

Working Home (Uramichi Omota x M!Reader)

Cuddle Time! (Uramichi Omota x F!Petite!Reader)

Seraph Of The End

Satisfy You (Crowley Eusford x F!Reader)

Satisfy You PT.2

Mortal Kombat

A Drinking Buddy (Erron Black x F!Reader)

Midnight Forest (Fujin x F!Reader)

A Selectively Mute S/O (feat. Liu Kang, Kung Lao, Fujin, Cassandra Cage…)

Having An S/O With A High Libido (feat. Cassandra Cage, Erron Black, Hanzo Hasashi, and Johnny Cage…)

Killshot (Smoke x GN!Reader)

Having an S/O Who Randomly Bites (Nightwolf, Kuai Liang, Fujin, Liu Kang, Kung Lao, Rain, Kenshi…)

Having an S/O Who Loves to Tease Them (Nightwolf, Fujin, Kung Lao, Rain, Kitana, Liu Kang…)

Shang Tsung SFW & NSFW Headcanons

Check out my second Masterlist for more MK content!

Call of Duty

Eres Mía (Alejandro Vargas x F!Reader)

Romantic Homicide (Simon “Ghost” Riley x F!Reader)

A Wanted Woman (Valeria Garza x F!Vargas!Reader)

Each Other’s Other (Alejandro Vargas x F!Medic!Reader x Rodolfo “Rudy” Parra)

A Welcome Home Surprise (Simon “Ghost” Riley x F!Reader x Ex!Alejandro Vargas)

COD Characters as Songs (Rodolfo Parra, Phillip Graves, Simon “Ghost” Riley, Valeria Garza, Johnny “Soap” MacTavish, Kyle “Gaz” Garrick, König, Alejandro Vargas, John Price…)

Worthy (Simon “Ghost” Riley x GN!Reader)

Learn and Convince Me (Valeria Garza x F!141!Reader)

Dead of Night (Alejandro Vargas x F!141!Reader)

Fahrenheit (Valeria Garza x F!141!Reader)

Captivated, Infatuated, Frustrated, & Lovesick (Johnny ‘Soap’ MacTavish x F!Price’s Daughter!Reader)

Hungry for Life or Love? (John Price x F!Shadow!Reader)

As Long As I’m Here (Simon “Ghost” Riley x F!Reader)

Like a Rose In Bloom When We Blush (Simon “Ghost” Riley x GN!Reader)

Letters Keep Me Warm (Simon “Ghost” Riley x GN!Reader)

Got Nothing Against You and Surely I’ll Miss You (Simon “Ghost” Riley & Riley!GN!Reader)

141 Reacting to their Filipino!F!S/O Crying (Simon “Ghost” Riley, Johnny “Soap” MacTavish, Kyle “Gaz” Garrick, John Price)

Seize the Day (Simon “Ghost” Riley x GN!Reader)

#masterlist

[ckneal]

I don't know when it happened, but at some point I started thinking of the Fate characters on Supernatural as essentially being in charge of doing Chuck's grunt work behind the scenes. Just like some overworked lackeys sitting behind a bunch of computer screens. Unlike Michael and the other angels (but, apparently, JUST like the Men of Letters, as per season 15), they were perfectly aware that there were multiple universes in existence, along with multiple versions of all of Chuck’s favorite characters (or plot devices, in Michael’s case), because it was their job to keep records of all the different universes that Chuck created. And every time that Chuck wanted to start playing with a new universe that was almost the same as one he’d already tinkered with in the past, it was their job to get the universe set up by playing it through--making sure that all of history hit the same stale, tired beats that they’d seen it hit countless times before, except with the very specific, tiny changes that Chuck asked them to make. Essentially like running through a game of Dream Daddy or the Sims on fast forward until hitting the point where Chuck wanted to jump in and take over the narrative.

And wouldn’t it be funny if Adam only existed in one universe because one day, one of these Fates (we are only introduced to Atropos on the show, named after a Greek goddess of fate, but her dialogue implies that the corresponding goddesses, Clotho and Lachesis, exist as well) snapped from the monotony of it all? 

Obviously, the fate in question wouldn’t be Atropos, as her one appearance made it perfectly clear that she was happy with her job. But what about the other two? Maybe Lachesis was sitting there at one point, so bored she wanted to cry, running through the motions of making John act like the shit dad that he needed to be, so Sam and Dean would grow up with the issues they need to have in draft # 1552362 of Chuck's story--and out of nowhere, she hit the button to turn off the fast forward feature. Just to play in real time for a bit--just for a little bit, while she gave herself a break. John was in the ER, getting patched up at the tail end of an ugly hunt. As per the the instructions she'd followed in thousands upon thousands of different setup assignments, he was suppose to be curt and vague with his nurse while she asked the kind of standard, friendly questions that medical professionals often did to establish rapport with their patients. But this time, Lachesis decided to do things a little differently. 

No one was watching. This was a small little moment in John Winchester's life, it wouldn't impact Chuck's story. . .So she clicked the buttons necessary to make John Winchester tell a few jokes. And it was fun watching John Winchester be that nice at that age, with the little bar in the corner of her screen that indicated affability going up and up. And she didn't really mean to hit "Flirtatious Joke” after the two had gone back and forth for a bit, but her finger slipped, and then there was a little progress made in a pink bar that indicated romantic attraction. 

And it was at that point that she looked up and saw Clotho hovering over her shoulder, watching what she was doing, and Lachesis started to ramble off a disjointed explanation that she was NOT doing anything out of turn--but then Clotho, still squinting at Lachesis’s screen, said, "Try a Bold Pick Up Line." 

One thing led to another, and they were both more than a little drunk on the sweet, sweet nectar of misbehaving when Lachesis eventually clicked "Try for a Baby." And thus Adam Milligan was born. 

Lachesis and Clotho waited for some sort of punishment to come through. A penance, a memo, something, but Adam slipped into existence as just another mundane human in the background of Chuck's world, and the two rebellious Fates were thrilled. As happens with many first time Sims players, they approached Adam wanting him to excel with everything. They maxed out his education and his relationship with his mom, and even got him a wholesome little relationship going with another townie human--all while working around the other tasks Chuck sent them, and keeping Atropos--who had a huge stick in her ass--out of the loop. 

Then they got greedy, because Adam's loneliness bar was so high. They thought they were being so slick, having John come to visit around hunting trips, but that was what finally made Chuck aware of this random human smack dab in the middle of his special family tree. And thus the Fates got a note instructing them to quietly kill him off, just as Chuck was doing with all of the Campbell family members. Maybe a brain aneurysm, or a car crash if they wanted something dramatic. He highly recommends telling Adam to start a fire. 

The two Fates were scandalized (and the third confused). They wrote back to Chuck, "No, he's our baby."

And so the battle of wills was on. 

Chuck turned around and decided that if they were going to be like that, he'd make them sorry--by writing Adam into his story, and using him as a foil to Sam, and killing him off horrifically. 

Outraged, Clotho and Lachesis hacked into Castiel in retaliation--causing that infamous "crack in his chassis" by overriding his original function with instructions to help Dean escape that beautiful room. 

Chuck nearly bit through his divine lip at that, but then he got the idea to bring Adam back from the dead. For one second, the Fates thought this was Chuck giving in, granting them their one tiny little human to play with, but then PSYCH! Chuck had Michael possess Adam and wrote the two of them into Lucifer's cage, to spend the rest of eternity rotting in Hell, beyond help from anyone in a grand finale he came up with just for spite.

But the Fates weren't done yet. As Chuck kept trying to reclaim control of his narrative, they kept trying to find ways to hack into the storyline and save their boy.

Sadly, Chuck was not done yet either. 

"And so Dean asked Death to save his brothers. AND DEATH SAID PICK ONE AND DEAN PICKED SAM AND EVERYONE WAS COOL WITH THAT." 

"And then to complete the trials, it was said that the Winchesters must save an innocent soul from Hell, and thus they went back for [BOBBY]."

"And so the Winchesters opened the cage wide enough to make contact, and they conversed with [LUCIFER AND NO ONE ELSE]."

As time went on, Chuck became more and more certain that eventually the Fates would give up. It was just one human they hadn’t interacted with in years. How attached could they still be after so long? But little does he suspect that midway through season 6, Clotho smacked Lachesis on the shoulder and said, "Hey, I hacked the cage."

"WHAT?" Lachesis practically climbed over Clotho to get a better look, and sure enough, Adam was on Clotho's screen, hiding behind Michael, looking on in horror as Sam was being tortured.

"Our poor baby! There has to be something we can do!"

"Right, okay." And so Clotho took control of Adam, clicked on Michael, and selected "Flirty Greeting." 

"That's. . .kind of disturbing, don't you think?"

There was a pause as Clotho stared at the screen, pensively. Then, "Right, okay."

A moment later in the cage, the scenery abruptly changed. Sam was suddenly in a booth, Lucifer and Michael behind a glass counter. Adam’s standing in the middle of a tile floor, confused.

"Are we. . .in a coffee shop?"

#Lucifer (calling from another room): Hey there’s a bed in here! #Adam: Why are there beds in the back of a coffee shop? #Luficer: No no there’s only ONE bed. #Sam (who found out about fanfiction not long before the apocalypse): . . . #Meanwhile… #Lachesis: You know angels don’t sleep #Clotho (already hacking Michael’s code): Right okay. #if supernatural's not going to develop it's characters i'll do it for them #the two fates characters they refused to show us are sims players and midam shippers and that's that #and clotho is THAT kind of sims player #you go clotho #hope Michael's ready to have 100 babies #my thoughts #midam

[nikadd]

besides the whole body autonomy issue coming with being forced to be a vessel without your knowledge, i wish they’d done the gadreel!sam thing a little differently, and by that i mean Really lean into giving sam a storyline that has to do with heaven. my reasoning for this is that his and dean’s storylines in terms of heaven vs hell and everything in between were always moving in different directions, and that part felt like a missed opportunity.

first, we start with them having different views on religion. sam is the one who prays, dean is the one who calls john. in the early seasons, the story is emphasizing sam being connected to the immortal (i.e. not from the mortal world, unkillable in metaphorical terms, demons not being able to die in the pre-ruby seasons) and dean with mortality and death itself. a small switch happens when sam dies upon being instrumental in releasing demons from hell, and so dean has to take on the damnation to save his brother. at the same time, even though he was saved, sam continues his own demonic path via ruby, which would obviously carry into the lucifer thing. with dean, even though he is going to go to hell, the story is about resisting becoming a demon, as that part scares him more than death itself.

season four obviously starts with the reveal that heaven has selected dean as their righteous man. an angel has gripped him tight and raised him from perdition, and dean is now to carry out missions that heaven sends him on. there is an obvious resistance in dean, but, as the season progresses, it is his righteousness and his humanity that leads castiel to rebel. sam, as mentioned, is going further and further into the demonic side with ruby, though his reasons for acting so are very much well-meaning. season five centers the heaven vs hell, michael vs lucifer, dean vs sam conflict, culminating with sam falling into lucifer’s cage.

in season six, it is obviously all about two plots: 1) sam being soulless and 2) the civil war in heaven. dean is caught up in sam’s plot a lot more for obvious reasons, but by the end of the season, it is him cas asks for help. going into season seven, sam has his hallucinations of lucifer and his memories of the cage, while the general plot becomes about the leviathans and other purgatorial monsters. when cas comes back and it all goes into season eight, sam’s storyline turns into trying to rectify his past connections to hell, while dean is once again caught between trying to figure out his conflict with sam while also keeping him alive, and figure out what’s going on with cas. season eight finale is instrumental in not only destroying the idea of heaven’s power as we know it, but also in the fact that it turns over the relationship the brothers have to the two sides.

season nine, sam is possessed by an angel and dean takes on the mark of cain. for one reason or another, dean’s storyline in connection to the mark goes into the next few seasons via becoming a demon, then trying to get rid of the mark, and then being connected to amara/the darkness, which is what powered the mark itself. season eleven, of course, had sam’s abel moment of hearing lucifer speak and thinking it was g-d, but it felt like there was room for more angel or heaven related things sam could have done in seasons 9-11 to connect the gadreel plot to the s11!lucifer plot in some way or another, especially as it will all lead to sam being connected to chuck.

one way i could see this working is keeping gadreel alive and making it a more personal relationship for sam and gadreel to deal with the whole vessel thing and also gadreel being the one to let lucifer into the garden. you could even start earlier and not have gadreel kill kevin but possess kevin instead, letting sam start his own storyline earlier and in a more proactive manner of trying to deal with being recently possessed and trying to save kevin at the same time. another thing i could see was combining the witch!sam development into sam becoming something along the lines of lily sunder in a sort of “white witch who uses angelic lore/grace for magic sense”, especially if they could somehow include rowena in that as well. finally, i think they should have leant into sam being a saviour by having him connect to and help more people throughout the motw episodes, which would also carry over into his own decisions in terms of working with the british men of letters (justice4magda).

if they had worked out a closer connection to heaven for sam in the carver era, it would have also helped with dealing with jack, alt!angels, and chuck, but also would emphasize the renewed connection to hell via witchcraft, rowena, and eileen in the end.

#i feel like i make a 'here's how i would change something about sam's story' post like three times a month #it's valeriia talking #bi baby pie #moose love #bitch jerk #wsbanner #spn #there is no actual mention of what the banner says i just want to talk abt sam and dean in the same post without having to deal w those ppl

[james-joyces-right-eyeball]

Books that could be considered Dark Academia or that a person in a Dark Academia work might read

I wanted to create a mixed list of books I’ve read that I think could either be considered dark academia or might be read by a dark academic. I noticed a lot of lists were kind of the same/lacked POC or women writers so I wanted to attempt to remedy that. The list is very long, but obviously I have not read everything (for example I notice the list is severely lacking in poetry because I have not read much poetry, admittedly), so if you have any in mind that I missed please comment! Spread the knowledge! Happy reading!

Another Country by James Baldwin

Brideshead Revisited by Evelyn Waugh

The Picture of Dorian Gray by Oscar Wilde

The Secret History by Donna Tartt (obviously)

Things Fall Apart by Chinua Achebe

One Hundred Years of Solitude by Gabriel Garcia Marqeuz

Maurice by E.M. Forster

Any Shakespeare

The Odyssey by Homer

The Bell Jar by Sylvia Plath

Selected Poems by Langston Hughes

Giovanni’s Room by James Baldwin

Beloved by Toni Morrison

Love in the Time of Cholera by Gabriel Garcia Marquez

Ulysses by James Joyce

Lolita by Vladimir Nabakov

The Sound and the Fury by William Faulkner

Pale Fire by Vladimir Nabakov

East of Eden by John Steinbeck

The Complete Stories by Flannery O’Connor

Vanity Fair by William Makepeace Thackery

Oliver Twist by Charles Dickens

A Separate Peace by John Knowles

I Know Why the Caged Bird Sings by Maya Angelou

The House of the Spirits by Isabel Allende

Native Son by Richard Wright

Franny and Zooey by J.D. Salinger

The Heart is a Lonely Hunter by Carson McCullers

The Glass Menagerie by Tennessee Williams

Mrs. Dalloway by Virginia Woolf

HERmione by H.D.

Madame Bovary by Gustave Flaubert

 The Awakening by Kate Chopin

Anna Karenina by Leo Tolstoy

Notes from Underground by Fyodor Dostoevsky

Eva Luna by Isabel Allende

Great Expectations by Charles Dickens

Wuthering Heights by Emily Bronte

The Well of Loneliness by Radclyffe Hall

The Catcher in the Rye by J.D. Salinger

Goodbye to Berlin by Christopher Isherwood

Quicksand by Nella Larsen

Collected Poems by Sylvia Plath

Orlando by Virginia Woolf

Their Eyes Were Watching God by Zora Neale Hurston

Oranges are Not the Only Fruit by Jeanette Winterson

Going to Meet the Man by James Baldwin

Passing by Nella Larsen

The Trial by Franz Kafka

The Garden Party and Other Stories by Katherine Mansfield

Portrait of an Artist as a Young Man by James Joyce

The Bluest Eye by Toni Morrison

Invisible Man by Ralph Ellison

Tender is the Night by F. Scott Fitzgerald

The Color Purple by Alice Walker

Dubliners by James Joyce

Chronicle of a Death Foretold by Gabriel Garcia Marquez

Zami: A New Spelling of My Name by Audre Lorde

Jane Eyre by Charlotte Bronte

Annie John by Jamaica Kincaid

Memoirs of a Dutiful Daughter by Simone de Beauvoir

The Waves by Virginia Woolf

Black Boy by Richard Wright

Song of Solomon by Toni Morrison

The Diaries of Anais Nin

A Raisin in the Sun by Lorraine Hansberry

Go Tell it on the Mountain by James Baldwin

Jude the Obscure by Thomas Hardy

The Tenant of Wildfell Hall by Anne Bronte

Letters to a Young Poet by Rainer Maria Rilke

The Good Soldier by Ford Maddox Ford

The Joy Luck Club by Amy Tan

To the Lighthouse by Virginia Woolf

The Woman Warrior by Maxine Hong Kingston

The Metamorphosis by Franz Kafka

Sula by Toni Morrison

The Age of Innocence by Edith Wharton

The Fire Next Time by James Baldwin

A Doll’s House by Henrik Ibsen

The House of Mirth by Edith Wharton

The Complete Poems by Sappho

Little Women by Lousia May Alcott

A Moveable Feast by Ernest Hemingway

No Exit by Jean-Paul Satre

The Return of the Native by Thomas Hardy

A Tale of Two Cities by Charles Dickens

A Tree Grows in Brooklyn by Betty Smith

Tess of the D’Urbervilles by Thomas Hardy

Waiting for Godot by Samuel Beckett

Rosencrantz and Guildenstern are Dead by Tom Stoppard

A Room with a View by E.M. Forster

#dark academia #books & libraries #light academia

[frodo-of-the-nine-fingers]

An excerpt from my fic 'Dear John' of anyone's feeling angsty. This is part of a series of letters sent by Flint to Silver post-canon and probably my favorite one so far.

Silver,

 Have you ever heard the word 'ostraka'? They were pieces of pottery in ancients greece. They were used in ancient Athens to determine whether or not to ostracize a leader. If voted by the most people, the person selected was cast out from the city for ten years.

They were effectively exiled.

It is clear that you voted against me, though I often wonder who else. Jack is clear enough, he was so against us in the end and helped you deliver me here. But who else? 

Who else determined my fate?

But perhaps it doesn't matter seeing as your vote was clearly the one that mattered most.

Your piece carried the most weight, didn't it? At least when it came to me.

But this exile isn't for ten years, is it?

I had always placed so much meaning on a decade. It was a decade before Odysseus was able to return home. Miranda and I spent a decade in exile. 

Perhaps her thoughts were of ostraka when she tried to persuade me to leave Nassau, to return to civilization.  Perhaps she thought our decade was up, our exile over.

But exile for people like us never ends, does it?

Not really, not even if we try to rejoin Athens. Even if the city takes us back there is always a part of us that remains out beyond the walls. A part of us that remembers the exile.

That remembers being cast out. 

And the walls begin to look less and less welcoming, less protective. 

The curtain lifts and the metal bars of the cage are revealed.

I know you wonder why we linger here. I do too sometimes, as does Thomas. 

I am almost certain I could break us free from this place, though fear of failure does haunt me. If Thomas were to be injured or worse, what then? But that is not what stops me. I know that both of us would rather take that risk than remain here and die in a cage.

But the question remains, where would we go?

The lands outside of the city are cruel and unforgiving, certainly. But there is freedom there. A freedom that cannot be found in the walls of the city.

And John? 

Those walls are moving outwards rapidly, consuming all that remains.

That is what hinders me.

Not the walls of this prison you've placed me in, but the walls of civilization.

They are immense and unstoppable now. 

There is nowhere to go, nowhere to flee to.

Civilization is here John, and we are it's monsters.

 Flint

#black sails fanfic #this is an excerpt from my fic dear john over on ao3 #this is my favorite chapter #my writing #john silver #james flint #epistolary #fanfic excerpt #i thiiink this is chapter 23 #history people don't come for me if this isn't 100% accurate I'm doing my best #black sails

[evoldir]

Fwd: Graduate position: Fribourg_Switzerland.BalancingSelection

Begin forwarded message: > From: [email protected] > Subject: Graduate position: Fribourg_Switzerland.BalancingSelection > Date: 7 October 2023 at 05:16:52 BST > To: [email protected] > > > The Flatt lab at the Department of Biology, University of Fribourg, > Switzerland has an opening for a PhD student in Evolutionary Genetics > to study fundamental questions about the maintenance of adaptive > polymorphisms in natural populations by different forms of balancing > selection. > > *THE PROJECT* > The PhD student will work on a new project, funded by the > Swiss National Science Foundation (SNSF), focusing on chromosome > inversions/“supergenes” in the ancestral African range of fruit > flies (Drosophila melanogaster) and how they are maintained by balancing > selection. The project entails an exciting combination of approaches > spanning population genomics, bioinformatics, transcriptomics, phenotypic > assays of fitness-related traits, experiments with population cages > (mescosoms) both in the laboratory and outdoors, as well as field work. > > The PhD student (and a Postdoc to be hired) will be embedded in a larger > project team in the Flatt lab, involving a senior postdoc, a technician > and several undergraduate students, as well as in close collaboration with > our international project partners Rashidatu Abdulazeez (Ahmadu Bello > University, Nigeria), Martin Kapun (Natural History Museum Vienna), > Miyanda Moonga (University of Zambia), Paul Schmidt (University of > Pennsylvania), John Pool (University of Wisconsin), and others. > > *YOUR PROFILE* > We are looking for highly motivated candidates with a strong background in > evolutionary biology and/or population genetics, and with a keen interest > in combining experimental and computational work. Prior experience with > population genomic analyses/bioinformatics and/or Drosophila evolutionary > genetics would be a plus. Candidates should be self-motivated and driven > by scientific curiosity; possess a strong work ethos; be able to work > independently; have strong communication and interpersonal skills as > well as the ability to integrate and work in a team. > > *THE WORK ENVIRONMENT* > Our lab and the Department of Biology offer a very friendly > and stimulating work environment, with excellent conditions in > terms of infrastructure, know-how, and collaboration. Fribourg is > vibrant medieval university town with a large student population > (https://ift.tt/HUIlcLg), > situated close to the capital of Bern and the beautiful Swiss > pre-Alps and Alps. For more information on our research see > https://ift.tt/JVj4uYF. For > more information on the Department of Biology at Fribourg see: > https://ift.tt/aqs4LFz > > *THE POSITION* > Starting date by arrangement; the position is for up to a maximum of 4 > years; salary according to institutional and SNSF guidelines (details > upon request). > > *HOW TO APPLY* > Please send a motivation letter, CV, description of previous research, > and the names and contact details of three references in a single pdf > file to [email protected] > > Deadline: 5 November 2023. > > > Prof. Thomas Flatt > Department of Biology > University of Fribourg > Chemin du Musée 10 > CH-1700 Fribourg > Switzerland > > e-mail: [email protected] > phone: [phone] > phone: [phone] (secretary) > > https://ift.tt/MivD7xX > European Drosophila Population Genomics Consortium: http://droseu.net/ > > > FLATT Thomas

#IFTTT #Email

[burlveneer-music]

Jocy de Oliveira - Raga na Amazônia - selections from Brazilian pianist & composer’s electroacoustic works, 1987-1993 (Discos Nada)

It is rather fascinating Jocy de Oliveira's journey as a creative and sensitive inhabitant of our planet. She is a masterful composer, interpreter, multimedia artist, and storyteller. Her pieces are influenced by the avant-garde of the 20th century and all cultures and languages on Earth, emphasizing the importance of feminism, science, and the environment. Jocy started composing at the age of six and was introduced to piano studies at a very young age by her mother who was a poet and pianist. Her talent and dedication brought her to work alongside eminent 20th-century music masters such as Igor Stravinsky, Oliver Messaien, Luciano Berio, Claudio Santoro, John Cage, Xenaxis and Karlheinz Stockhausen. This became a vital experience in her artistic life and she performed world premieres of works by many of these great composers. Jocy witnessed and experienced the rupture of several paradigms of Western music. She incorporated serialism and electroacoustics, dialogued with ritualistic music and indeterminacy that boomed in the revolutionary 1960s. Along this path, joining her fascination with theatricality and the desire to tell stories, she immersed herself and subverted the language of traditional opera, following her heart and her instincts over nine operatic pieces. This album is dedicated to a production that goes from the mid-1980s to the early 1990s. That was a very troubled period in the artist's life in the face of the significant loss of her father, followed by health problems, accidents, and staying away from her main instrument, the piano. She chose to give up her pianist career and intensify her authorial production. She explored the multiple possibilities of multimedia and multidisciplinary language, composing and presenting, among other pieces, two "magical operas" of great relevance, from which we selected pieces and extracts to be part of this album. Fata Morgana (1987) is an electroacoustic opera that elaborates the imaginary and mythologies linked to the feminine sacred, associated with the cosmology of contemporary physics. The show features a collection of dream memories and images, giving emphasis to ritualistic gestures. “Inori – to the sacred prostitute” (1993) also rescues matriarchal values based on the diversity of languages, cultures, races, beliefs, and religions. The lunar set celebrates the mysteries of the unconscious through a language open to fate and experimentation. On side A, “Oniric” from the opera Fata Morgana (1987) presents electronic music performed in real-time along with voice. It’s interesting to note the presence of electronics in real-time unifying the album’s concept. Jocy uses a Yamaha TX and DX7 synthesizer, instruments that permeate all selected parts.

The following pieces are two ragas : “Telling of a raga” from the same opera, and on side B “Raga in the Amazon ” plus “Solaris”, segments from the opera “Inori – to the sacred prostitute”. All tracks are unreleased on vinyl. During a conversation , Jocy told me: “Raga is used by me in the sense of emotion, color, not exactly as musical modes in Indian music, although there is a search for the universe energy and human being integration. This was very much what I felt when I heard Carnatic music in India. There is dignity and respect there which make us feel an integration with the cosmos.” As a curator, another of my focuses for this album is experimentation that confronts the limits between composition and indeterminacy. Speaking about Stockhausen in her book “Dialogue with letters” (SESI-SP, 2014) she says: “Mantra for two pianos by Stockhausen is one of his works that most fascinates me for certain qualities that sounds like improvisation and, are strictly determined. A challenge for pianists.” Jocy brings much of that focus to her Ragas. The first title for this release was “Extratos Oníricos”, but during production, the composer sent us the following message: “I was thinking about the project of LP from the ‘80s and I believe the best title could be “Raga na Amazônia.” I think the title would be more up-to-date, although I presented many concerts and events in the 70s and 80s focusing environmental questions, we still need to continue fighting for Amazon.” About experimental music, in her same book, Jocy clarifies that "John Cage said that the word experimental should not describe an act in terms of future judgment, as to its success or failure, but should be applied to an act whose result is unknown"

During an interview at “Dialogue with composers” project, organized by the Brazilian Symphony Orchestra (OSB) in December 2020, Jocy spoke about the importance of music in her life: "I don't think of music as a career, but as a destiny. I express myself through music because this is my way of manifesting myself. It is my voice, my cry, my groan. ” Paulo Beto 

#Jocy de Oliveira #modern classical #avant-garde #electronic #electroacoustic #raga #brazil #discos nada #sanremo 2022 #80s #90s