Notices by M. Grégoire (mpjgregoire@mastodon.club), page 70

Ian Cylkowski Photography (iancykowski@photog.social)'s status on Wednesday, 12-Dec-2018 13:36:08 EST Ian Cylkowski Photography

Flimston Bay https://www.iancylkowski.com/#/pembrokeshire-coast-autumn-2018/
The bay in this composition is known as Flimston Bay, which houses a golden beach and turquoise waters dotted with boulders and pinnacles, and surrounded by cliffs.
#landscape #nature #travel #hiking #pembrokeshire #wales #photography

In conversation Wednesday, 12-Dec-2018 13:36:08 EST from photog.social permalink Repeated by mpjgregoire
M. Grégoire (mpjgregoire@mastodon.club)'s status on Wednesday, 12-Dec-2018 12:35:40 EST M. Grégoire

Douglas Adams, best known as the author of The Hitchhiker’s Guide to the Galaxy, once offered a brief catalog of the possible range of musical expression. “Mozart tells us what it’s like to be human,” explained Adams. “Beethoven tells us what it’s like to be Beethoven and Bach tells us what it’s like to be the universe.
Passionate praise by Ken Myers – Cantica sacra
https://canticasacra.org/?page_id=1097
#christian #choralmusic #monteverdi
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  Passionate praise
  
  from Cantica sacra
  
  by Ken Myers [This article originally appeared in the September/October 2017 issue of Touchstone magazine. 2017 marked the 450th anniversary of the birth of Claudio Monteverdi.] Douglas Adams, best known as the author of The Hitchhiker’s Guide to the Galaxy, once offered a brief catalog of the possible range of musical expression. “Mozart tells us what it’s like to be human,” explained Adams. “Beethoven tells us what it’s like to be Beethoven and Bach tells us what it’s like to be the universe.” Like all caricatures, Adams’s summary contains a valuable insight into something that happened in music history, and in Western culture more generally, between the early eighteenth century and the early nineteenth. Bach (who died in 1750) still represented a view of human experience that could be comprehended in the context of a divinely sustained cosmic order. In Beethoven (1770-1827), we hear a personality more in synch with the ideals of the Enlightenment, with its emphasis on freedom and subjectivity. Hence Adams’s contrast (with Mozart somewhere in the middle) between musical expression that portrays all of reality (in a joyous dance) and the later, more modern uttering of the inner uniqueness of the individual. These characterizations are matters of emphasis, not stark black-and-white contrasts, but they are helpful in describing and understanding the genealogy of our own time, in which the self has eclipsed the world almost entirely. Scholastic versus humanist assumptions Of all the arts, music has a unique ability to integrate objective order with the subjective response to that order. In music at its best, form and freedom are reconciled. The rationality and intelligibility of the universe can be affirmed musically by means that employ the will and emotions. The actions of body, intellect, and spirit in the giving and receiving of music refute in joyful practice the fragmentation of the human person that modernity promotes. And the eternal purpose of God to unite all things in Christ (Eph. 1:9f.) is actualized in the shared experience of harmony. But music has also been used in attempts to assert freedom without form and self-expression without submission to the gift of symphonic order in Creation. Music can be abused to simulate primordial darkness and chaos rather than eschatological light and glory. (The fact that many people would balk at the idea of the “abuse” of music shows how modernity’s emphasis on the autonomous self has penetrated our cultural lives.) Maintaining the balance between affirming the order that precedes us and the experience of subjects who participate in that order — who find their freedom in submission to the order — has always been tricky, in the arts and everywhere else. In the late sixteenth and early seventeenth centuries, music theory and practice were wrestling with how music might be more affective, might address the feelings more dramatically. In often heated debates that paralleled the Renaissance battle between scholastic and humanistic approaches to intellectual life — approaches that pitted reason vs. rhetoric, proof vs. persuasion, theory vs. empirical observation — musicians and philosophers argued about the propriety of musical structures that violated rules of order in the interest of moving the listeners. These debates were complicated by the sympathy among many of the humanists for (as musicologist Gary Tomlinson characterizes it) “a new human ontology, in which the will assumed a centrality at odds with its scholastic position as mediator between reason and the base passions.” Where the scholastics (in the words of William Bousma) “assumed not only the existence of a universal order but also a substantial capacity in the human mind to grasp this order,” the humanists, Tomlinson argues, held a “fragmented view of reality, and the pessimistic estimation of man’s ability to comprehend it.” These contrasting sets of assumptions presented practitioners of music with a significant challenge, echoed in Douglas Adams’s contrast between a composer who reveals the universe and one who reveals only himself. Musical codifier of the passions It was into this contested philosophical, theological, and musical world that composer Claudio Monteverdi was born in Cremona, Lombardy, 450 years ago this year. Having published a collection of madrigals at the age of 19, Monteverdi’s early career was spent at the ducal court of the Gonzagas in Mantua. There he continued to compose mostly non-liturgical vocal music, especially madrigals, which (conductor John Eliot Gardiner judges) “expanded Monteverdi’s finesse in writing for the voice, and pushed his [musical] language to new expressive extremes.” In Gardiner’s view, Monteverdi “is the first codifier of the passions in music, whether it’s love or anger, whether it’s suffering, pathos, languor, religious fervor or erotic desire.” The latter part of Monteverdi’s career was spent as maestro di cappella at St. Mark’s Basilica in Venice. What Monteverdi learned while composing secular madrigals — whether frivolous, flirtatious, or melancholy — and in his writing of some early operas (his 1607 L’Orfeo is widely regarded as the first great opera) he applied to his setting of sacred texts that display deep human emotions, especially settings from the Psalms. His numerous settings of Psalm 117, Laudate dominum (“Praise the Lord, all nations”) capture both the contagious delight of praise and quiet wonder at God’s faithfulness and steadfast love. He wrote at least three settings of the messianic Psalm 110, Dixit Dominus (“The Lord says to my Lord”), which describes the just and confident rule of a divine King. The text is both gentle and comforting (“the dew of your youth will be yours”) and frightful (“he will shatter chiefs over the wide earth”). Monteverdi’s settings dramatically alternate between quiet solos and duets accompanied by soft strings and full-on choruses with blazing brass. In Monteverdi’s hands, the Psalms are never boring or austere. Monteverdi characterized the late-sixteenth-century feuds about how to approach music as a choice between the primo prattica (“first” or earlier practice), typical of the well-regulated “cosmic” polyphony of the Renaissance, and the newer secondo prattica, in which musical structure is organized in the interest of conveying the emotions implicit in the text. Monteverdi was certainly a champion of the secondo prattica (which is why he is considered a Baroque rather than Renaissance composer) but he didn’t condemn or even fully abandon the earlier style of composition. His three settings of the Mass, for example, clearly owe a great deal to Palestrina and other Renaissance masters. There are new levels of “subjectivity” in Monteverdi’s style, but not at the expense of acknowledging order. His use of dissonance, for example, could not have the emotional power it does without the backdrop of harmonic givenness. But you should celebrate Monteverdi’s 450th birthday by listening for yourself. I recommend the 1610 Vespers (performances conducted by Parrott, Christophers, or McCresh are excellent) and the much later collection Selva morale e spirituale (Christophers or Jungianel conducting).
M. Grégoire (mpjgregoire@mastodon.club)'s status on Wednesday, 12-Dec-2018 12:29:57 EST M. Grégoire
- publius
@publius Let me make a factual correction: In North America, the seigneurial system of New France predates the English Lords Proprietors by some 40 years, having been established under Louis XIV in 1627; vestiges of that system continued into the Twentieth Century.
https://www.thecanadianencyclopedia.ca/en/article/seigneurial-system
#nouvellefrance

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Le Devoir :montreal: :quebec: (ledevoir@mstdn.quebec.gq)'s status on Wednesday, 12-Dec-2018 12:15:33 EST Le Devoir :montreal: :quebec:

Nouveaux trains sur le corridor Québec-Windsor: Via Rail octroie un contrat de 989 millions à Siemen… Via Rail opte pour l’allemande Siemens plutôt que Bombardier ainsi que pour du matériel roulant...… — http://feedproxy.google.com/~r/fluxdudevoir/~3/GsbkkriIrDY/via-rail-annonce-l-achat-de-nouveaux-trains #Économie
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  Nouveaux trains sur le corridor Québec-Windsor: Via Rail octroie le contrat à Siemens
  
  from Le Devoir
  
  Le contrat de 989 millions de dollars échappe à Bombardier.
M. Grégoire (mpjgregoire@mastodon.club)'s status on Wednesday, 12-Dec-2018 12:18:12 EST M. Grégoire

Deleted status

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M. Grégoire (mpjgregoire@mastodon.club)'s status on Wednesday, 12-Dec-2018 09:23:51 EST M. Grégoire
- ☭⚑ Comrade Angles ⚑☭
@Angle It might not be your cup of tea, but I recommend the https://marginalrevolution.com/ blog.
In conversation Wednesday, 12-Dec-2018 09:23:51 EST from mastodon.club permalink
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  Marginal Revolution
  
  from Marginal REVOLUTION
  
  Small Steps Toward a Much Better World.
M. Grégoire (mpjgregoire@mastodon.club)'s status on Tuesday, 11-Dec-2018 11:27:00 EST M. Grégoire
in reply to
- ☭⚑ Comrade Angles ⚑☭
@Angle From the post: "[I]t never fails that the family members who live in the area and have spent lots of time with their mother/father/grandparent over the past few years are willing to let them go, but someone from 2000 miles away flies in at the last second and makes ostentatious demands that EVERYTHING POSSIBLE must be done for the patient."
Also, see http://www.zocalopublicsquare.org/2011/11/30/how-doctors-die/ideas/nexus/
#death #medicine
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  How Doctors Die
  
  from Zócalo Public Square
  
  Years ago, Charlie, a highly respected orthopedist and a mentor of mine, found a lump in his stomach. He had a surgeon explore the area, and the diagnosis
Cuil Press (cuilpress@wandering.shop)'s status on Tuesday, 11-Dec-2018 10:32:16 EST Cuil Press
- Soh Kam Yung
Having said that, we are actually leery of ANY copyright that extends much past the death of an author.
The truth is that copyright has contributed to more modern great artists being FORGOTTEN than anything else. Great writers can't be remembered when their works immediately go out of print as soon as they die unless their heirs are capable of managing their copyrights, which many heirs aren't.
If we want our work to last 'forever', the best thing to do is set it free.
@sohkamyung

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☭⚑ Comrade Angles ⚑☭ (angle@anticapitalist.party)'s status on Monday, 10-Dec-2018 23:39:38 EST ☭⚑ Comrade Angles ⚑☭

Geez. When my relatives get old, I think I'll actually ask them what they want. :/
http://slatestarcodex.com/2013/07/17/who-by-very-slow-decay/

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Open Culture (openculture@tooot.im)'s status on Tuesday, 11-Dec-2018 02:20:17 EST Open Culture

Interactive Periodic Table of Elements Shows How the Elements Actually Get Used in Making Everyday Things http://bit.ly/2uDt33v https://t.co/t8NxWiTL45

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dansup (dansup@mastodon.social)'s status on Tuesday, 11-Dec-2018 02:46:35 EST dansup
- Chris
@brainblasted About a week or two, will launch with federation or shortly after.

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Rory M :heart_gq: :ancomheart: (falsemirror@anticapitalist.party)'s status on Monday, 10-Dec-2018 10:51:48 EST Rory M :heart_gq: :ancomheart:

Doom was released 25 years ago today. It was about 2.39 MB, the size of an average webpage today. News sites average closer to 8 MB.
Please shotgun the javascript demons and make more efficient & accessible websites.

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The research fairy 😷 🧚‍♂️ 🌈 (bgcarlisle@scholar.social)'s status on Tuesday, 11-Dec-2018 09:48:30 EST The research fairy 😷 🧚‍♂️ 🌈
in reply to

One reason why decentralisation is important because it gets us is the ability to have many communities within the Fediverse, and for none of them to have too much influence over the rest of them.

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The research fairy 😷 🧚‍♂️ 🌈 (bgcarlisle@scholar.social)'s status on Tuesday, 11-Dec-2018 09:48:15 EST The research fairy 😷 🧚‍♂️ 🌈

Have been asked to clarify the new policy on blocking here: https://scholar.social/terms#blocking
I'll start off by pointing out that decentralisation is a matter of degree, by which I mean that the Fediverse can be decentralised to a greater or lesser extent. It's not a binary, it's a gradient.

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M. Grégoire (mpjgregoire@mastodon.club)'s status on Tuesday, 11-Dec-2018 09:58:13 EST M. Grégoire

It is a mystery to me how Canada's #militaryprocurement system can be so broken. It's also dangerous for our troops and wasteful of taxpayer dollars.
Canada’s WWII-era pistols dangerously unreliable — but the quest to find a replacement drags on | National Post
https://nationalpost.com/news/canada/canadas-wwii-era-pistols-dangerously-unreliable-but-the-quest-to-find-a-replacement-drags-on
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  Canada’s WWII-era pistols dangerously unreliable — but the quest to find a replacement drags on
  
  By Tristin Hopper from National Post
  
  The British Army had this exact same problem in 2011. They fixed it for a fraction of the cost in only two years
Starwall the Science Ball (starwall@radical.town)'s status on Monday, 10-Dec-2018 13:27:54 EST Starwall the Science Ball

Stars can't be green for the same reason you can't make iron glow green-hot! It goes from dull red, to white hot, to bluish hot. The thermal blackbody radiation curve that peaks in the green has equal parts blue, green, and red, so it appears kind of yellowish-white to us. If green stars were possible, our own sun would be exactly that! If you think about it, you're glowing like a star right now, just only in the infra-red spectrum, can't see it (unless you have an infrared heat camera) ✨

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The research fairy 😷 🧚‍♂️ 🌈 (bgcarlisle@scholar.social)'s status on Thursday, 18-Oct-2018 09:19:35 EDT The research fairy 😷 🧚‍♂️ 🌈

~ Searching through the Rare Books collection in the university library ~
Librarian: Can I help you? Are you looking for something?
Me: Yeah, so there has to be like a cursed amulet or something that I can use to trap Alexa, Siri and Cortana in forever, right?
Librarian: Haha (waits for other patron to leave) follow me

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M. Grégoire (mpjgregoire@mastodon.club)'s status on Monday, 10-Dec-2018 14:59:06 EST M. Grégoire
- publius
@publius Support for aristocracy is only no. 3 of Kirk's Six Canons of Conservative Thought, not the whole set.
It is true that in the modern West, it is only conservatives who question the desirability of egalitarianism; but in other times and places some sort of aristocracy is supported by people whom it would be difficult to classify as #conservative.

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M. Grégoire (mpjgregoire@mastodon.club)'s status on Monday, 10-Dec-2018 12:32:21 EST M. Grégoire
in reply to
- :icirc: Politique
@politique Mike Harris a bien compris le problème, et a promis de le résoudre avant son éléction. Est-ce que les PCs d'aujourd'hui sont si préparés ?
#onpol

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:icirc: Politique (politique@mstdn.quebec.gq)'s status on Monday, 10-Dec-2018 11:28:17 EST :icirc: Politique

Des compressions à la Mike Harris nécessaires pour sortir l'Ontario du rouge… Le gouvernement de Doug Ford devra réduire les dépenses de programmes de 8 %, du jamais vu depuis les années 1990 de Mike Harris, pour équilibrer le budget ontarien d'ici quatre ans sans hausser les impôts, selon le Bureau du directeur de la responsabilité financière (BRF).… — http://ici.radio-canada.ca/nouvelle/1140883/rapport-responsabilite-financiere-deficit-ontario-compressions
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  Des compressions à la Mike Harris nécessaires pour sortir l'Ontario du rouge
  
  from Radio-Canada.ca
  
  Le gouvernement de Doug Ford devra réduire les dépenses de programmes de 8 %, du jamais vu depuis les années 1990 de Mike Harris, pour équilibrer le budget ontarien d'ici quatre ans sans hausser les impôts, selon le Bureau du directeur de la responsabilité financière (BRF).

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Notices by M. Grégoire (mpjgregoire@mastodon.club), page 70