No pressure; just free. #automaticdrawing #sketchbook #fabriano #5minutes
Art, Philosophy, and other curious happenings.
nordrum fragte: Thank you, your quest for black people in medieval Bohemia just made my day. Did you know, that we also imported Inuits and penguins? We used them in our medieval theme parks. Because you wouldn´t want to have your accuracy clouded by facts ;) Thanks again.
This was never particularly funny or fun, but this is actually a new low. Apparently, the inclusion of people of color in a video game is as laughable and ridiculous to you as putting penguins in the game. Like, on top of the comparison to animals (how original), there’s the whole implication that including specifically Black people is so inherently something that “doesn’t belong”, it stands on its own as your idea of a joke.
Like, let’s really be honest here. It’s been months since someone originally asked me a question about Kingdom Come: Deliverance and its lack of any representation of people of color whatsoever (not to mention any female player character, and then claiming to have the most “ultimate character customization tool ever created”).
And on top of the obvious fact that they made the game, just as they intended it originally, the fandom for this game at this point just comes off like a cross between sore winners and gloating bullies. All I did was point out on my blog that they could have put people of color in their video game (and that includes Asian people, Romani/Roma people, Black people, seriously, everyone has historical precedent), but they didn’t want to, and so they didn’t.
But it still needs to be rubbed in. Because apparently I and anyone and everyone else who MIGHT have been interested in the game and is a person of color need to be put in their place. The harassing messages weren’t enough, the endless threads about how I was “attacking” these poor, blameless millionaire game developers weren’t enough, the message board traffic from the Czech republic using racial slurs (in English) and talking about “doing a hate crime” that made me late for work one day so I could deal with that….it’s never really enough, is it?
Because how dare I say anything, ever. How dare any person of color want to be a part of something that was apparently intended not just for white men only, but the kind of person who sends this kind of message.
Because it’s not enough to win. You have to really rub their faces in the dirt, shame them, make them sorry they EVER said ANYTHING, even looked in your direction. Because even MONTHS LATER, you have to come back and revisit it, shove them around some more. Tell them they’re animals, they’re a joke, they are pathetic and ridiculous to try and make sure they never speak again, never criticize, never challenge.
I appreciate the messages people have sent me expressing concern for my safety, but I’m an activist in my day to day life, too. I run these risks knowingly, and because this is too important to stop. I work with other activists, including ones who used to do even more dangerous work previously, and honestly, why the hell should we live our lives in fear?
I hope it makes people sick to their stomachs to think that we would be considered at risk for helping people. It’s my job to facilitate, accommodate, counsel, and advocate for marginalized students. But it just wasn’t enough, and I started this blog because some people can’t even make it to college at all. I believe everyone should have access to this knowledge, not just those who can pay.
The real point here is that I want my readers to know that this jackass can chuckle all they want, I am not going to stop. I won’t shut up, and for every chucklehead like this, there’s someone like me who’s fighting.
People do not want the truth. The truth is a horrifying prospect. Truth can be imprisoned, suppressed, but truth liberated from the dungeons of ideology is history radicalized. Many will lash out and protect their false idols, but some will summon courage, their will, and choose consciousness; they will choose the truth over lies.
Follow medievalpoc, where truth triumphs over falsehood.
Best score: 18,700
I can’t stooooop
Wallpaper Creator: http://jenzee.deviantart.com/art/Mononoke-Wallpaper-73745213
Method I - Enable Annotations and click the track directly on the video.
01. Oboroge 0:00
02. Mononoke 2:08
03. Ononoke 5:26
04. Fukashigi 8:46
05. Samishige 11:13
06. Isamashige 14:01
07. Ayashige 16:49
08. Kurushige 21:26
09. Munashige 26:28
10. Osoroshige 28:43
11. Hakanage 30:42
12. Kanashige 33:04
13. Abunage 35:40
14. Utsurigi 38:00
Method III - Listen to the whole album!
A small comic I did for the NYT Private Lives blog. This is the probably the first comic I’ve done since I was 5 years old and I’m happy I got to do it for something close to my heart. Many thanks to my AD Sarah Williamson at the Times.
On April 30, Emory University will be offering a free online course on The Art and Archaeology of Ancient Nubia.
The class will reveal one of the most dynamic, yet little known cultures of the ancient world. It will explore the geography and archaeology of Nubia, Egypt’s neighbor to the south and home to a series of remarkable and innovative civilizations. It will cover the period from the earliest inhabitants of the Nile Valley (Paleolithic through Neolithic and domestication of plants and animals), and continue until the advent of Christianity.
The class is a combination of video lectures from five to 20 minutes in length with images of sites and objects along with maps and plans. There will also be some film clips as well. There will be homework-style quizzes to help students measure learning and explore the materials in more depth. There are several extra credit options, and there will be a final exam at the end of the course.
The course will last a total of 8 weeks and is taught in English with English subtitles. There will be a verified certificate of completion at the end of the course. Peter Lacovara, Senior Curator of Ancient Egyptian, Nubian, and Near Eastern Art at Michael C. Carlos Museum of Emory University will be teaching the class.
This is amazing!!! Hopefully there will a be lot artistic representation of ancient Nubians by the actual people instead of the ancient Egyptians. Maybe this can help me create an ancient Nubia page.
For Ancient Art Week and my Resources tag!!!
Akira Kurosawa: We had a tube running from underground up Nakadai’s leg to over his heart with fake blood flowing in it. When the compressor’s stopper was released, the fake blood shot out of Nakadai’s chest. [Script supervisor Teruyo] Nogami got covered with it. The residents of Gotenba who were watching thought that Nakadai had actually been stabbed. I’d explained earlier about the shoot, but when I said, “Cut!” one guy was waving his arms in shock. His face was white from shock and that scared me. I thought everyone knew what to expect.
Tatsuya Nakadai: I remember it clearly. [Teruyo Nogami was] counting down for us, and when [she] reached 25, we were supposed to draw our swords. As soon as I drew my sword and Mifune cut me down, I felt this impact in my chest. I wasn’t expecting it to be that strong. I was told it’d feel like a pat from a girl. I felt a thud, and everything turned red… The force nearly knocked me over, but that would have ruined the take, so I hung in there, grasping my sword… Then I fell like I was supposed to, and Mifune finished his part, and then Kurosawa called out, “Cut!” He said, “We got it in one take!” And I thought, “What do you mean, ‘we’?” [Laughter]
Amazing commentary. One of my favorite moments in cinema EVER.
This video is called “The Black King: Black Is Beautiful.” Black magi were often featured in Northern Renaissance art, with one of the earliest pieces being Hans Memling’s Adoration of the Magi around 1470 (based on Rogier Van Der Weyden’s Adoration but with the notable change of a Black magus instead). Black kings/magi are often found from then on in adoration scenes, but Reubens (as the video shows) takes this to a whole new level of focus and appreciation.
This video is very illuminating for a few reasons. I like that they start our going over all the different things that the Black Magus could symbolize, from desirable trade partners (heralding the advent of the Renaissance), symbols of wealth, physical beauty/fitness, youth, religious conversion, et cetera…but then of course the second wave of commentary goes into the same old saws on “why” Rubens, especially, would have put Black people in his paintings.
The lady at the end especially bothers me with her language use which comes across as “can you believe he thought Black people were attractive?” and compares the trend of having Black figures in the center of the composition to negative space or shadows. :| This is the kind of thing I mean when I talk about paying more attention to the manner in which these works are presented by art historians and museum curators. After all, people wrote the descriptive plaques or cards that come along with these works.
The works featured in this video have almost all been posted here, too. Why do you think the academics in the video feel compelled to come up with an “explanation” of why the central figures in Ruben’s paintings were often Black people? After all, Rubens not only painted unambiguously Black people in religious commissioned paintings, but also included them in paintings he kept in his house for his own pleasure as well as many, many individual studies, portraits and sketches, some of which he later used to base painted figures on.
"mado kara sasu hizashi ha
tada no getsuyoubi
onaji koto no kurikaeshi”
(“The sun comes through the window;
a new beginning;
it’s just Monday morning;
the same thing repeating.”)