To The Great God Pan
There is only one piece of film that shows Isadora Duncan dancing. It is four seconds long, the very end of a performance, and it is followed by eight seconds in which Duncan accepts applause. This small celluloid footprint – light-struck in the manner of Eugène Atget – contains quite a bit of information. It is an afternoon recital, early in the 20th century, and it takes place en plein air, trees in the background, like so much of the painting of the day. Duncan enters the frame turning, her arms positioned in an upward reach not unlike ballet’s codified fourth position, but more naturally placed. ... Because of her thrown back upper body it seems as if she is running, but she is actually slow and steady, offering herself to something so large she doesn’t need to move fast. The dance over, she stands simply and acknowledges her audience with a Christ-like proffering of her palms. In fact, her classical garb is as much that of the sandalled shepherd of men as it is a barefoot goddess of Greek mythology. ‘I have come,’ she once said, ‘to bring about a great renaissance of religion through the dance, to bring the knowledge of the beauty and holiness of the human body through its expression of movements.’ Thus spake Isadora.[more inside]
Savagery - Arcadia - Consummation - Destruction - Desolation. The five stages of The Course of Empire, a fascinating quintet of paintings by 19th century artist and Hudson River School pioneer Thomas Cole. In it, an imaginary settlement by the sea becomes the stage for all the dreams and nightmares of civilized life, a rural woodland grown in time into a glorious metropolis... only to be ransacked by corruption, war, and a terrible storm, at last reduced to a forgotten ruin. At times deceptively simple, each landscape teems with references to cultural and philosophical markers that dominated the era's debate about the future of America. Interactive analysis of the series on a zoomable canvas is available via the excellent Explore Thomas Cole project, which also offers a guided tour and complete gallery of the dozens of other richly detailed and beautifully luminous works by this master of American landscape art.
Philosopher Alvin Plantinga discusses the evolutionary argument against naturalism with philosopher Stephen Law. Plantinga, now retired from his position at Notre Dame, is one of the most well known analytic philosophers of recent times. The podcast is targeted at a non academic audience and keeps things on a fairly basic level in non-technical language. Plantinga and Law conduct a congenial, mutually respectful discussion of the issue. Previously. [more inside]