https://www.19colon14.com/our-pledge daily 0.75 2021-11-16 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636209927543-JF1E09ZSYMLNJ5CDKO46/sunset-sailing-boats-sea-69395.jpeg Our Pledge - You are not a student. If your love were gravity, how much would you weigh? If stars were watchful eyes, could you look them back? We are not students; we are voyageurs. The slump of post-pandemic Britain has left many feeling confused while resolute, free while burdened, terrified while hopeful. This website is an expression of those fondly begotten notions, and exists as a testament to the international community that you, as you are alive, are qualified to write. Not as a carpenter who can’t tell the difference between stocks of wood, or an accountant who slips decimal points into the wrong position, but as people. The oral tradition that persists even now, the schools of art that evolved out of ecclesiastical doctrine, not altruism, and the clay-stained chalk walls of caves long forgotten all exist as a fact of, not despite, art’s need. How do you qualify the peoples of the world when good art is more elusive than the greatest scientific feats, and when a menagerie of doctrines claim to have its blueprint? Informing the next, the present, and even past generations. Building communities of polemics and supporters. To read, to write, to open our hearts. Could such study be any nobler? But we are not students; we are explorers. What can one do, in the face of didacts and entrepreneurs, other than pay heed to these words: 19:14 will always be a free-use website for the exploration of English, written, spoken and read, and anything with its label will never be beholden to copyright. 19:14 is not the answer. It is the very admission of the question. — James Reddy Founder of 19:14 https://www.19colon14.com/home daily 1.0 2022-08-21 https://www.19colon14.com/the-garden daily 0.75 2023-05-28 https://www.19colon14.com/the-repository daily 0.75 2021-11-14 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636830315844-NCHW38L38AP74A4BG90B/halo-gcf11b71fe_1920.jpg The Repository - Halo In the distant future, humanity’s last spaceship runs from an unstoppable alien force - and, seeking refuge on their journey to warn Earth, stumble upon an artefact so vast and magnificent it inspires awe from their own conquerors - Halo, a colossal ringworld. When the last great soldier of humanity and his A.I. companion are called for one last effort by this rag-tag crew, it is only they who stand a chance on unlocking the secrets of Halo, and perhaps even turning the tide of the war, or awakening an even greater threat. (All rights belong to Microsoft and 343 Studios, and Halo’s rightful rights holders - this is a free-use work of adaptation and critique.) https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636830401859-EVK9CZ80A5T40YCNZVMP/alien-planet-g50bcd9f6e_1920.jpg The Repository - The Evangelion “Miracles are not something that happen - they are something that people make happen. As long as the Sun, the Earth and the Moon exist, everything will be alright. Yes, it will be alright, love.” After a cataclysm rocks the planet in the year 2000, a hopeful organisation set up by the UN called GEHIRN hopes to protect humanity from this pain ever being felt again - they create the ultimate weapon, but by design it must always be piloted by the innocent, the worthy, the pure-of-heart. When a young boy receives the call that, somehow, it is he who must become GEHIRN’s pilot, he must reconcile his responsibility with his fears and decide if he can run away again - especially when GEHIRN’s reserved commander is none other than the father who abandoned him. (Evangelion, NGE and NTE editions are properties of Khara INC and its relevant subsidiaries. The below work is a critique and deconstruction of its faculties.) https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636830381158-SS2ZXRAUU7S87T158P6X/wormhole-g65d73aae1_1920.jpg The Repository - Avengers: Annihilation Half of all life has been reduced to dust. Heroism has failed; the only hope now, somehow, is to avenge those lost. Take the dive back into the MCU’s closing chapter with a more heartfelt, tender look at the roles heroes play in our psyche and the development of resolve even in the face of trauma, resentment and terror of the roles we have chosen to play, and the roles society has chosen for us. (All rights belong to Disney, Marvel Studios and Avengers’ respective right holders. This is a free-use work of adaptation and critique.) https://www.19colon14.com/dune-and-the-struggles-of-adaptation daily 0.75 2021-11-16 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636845156523-JMMTGC8GYCC7AYHA0HE4/Dune-1984.jpg Dune and the Struggles of Adaptation - Roger Ebert on his commentary for Dark City “I've always felt that movies are an emotional medium -- that movies are not the way to make an intellectual argument. If you want to make a political or a philosophical argument, then the ideal medium exists, and that medium is the printed word -- a movie is not a logical art form.” Right, Lynch’s ambitious but faulty adaptation of Dune - a director that also took risks with the medium. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636845409286-VTF9K7EJ0UJBQKNNUX2O/villeneuve.jpg Dune and the Struggles of Adaptation - Left, Villeneuve accepts his accolades - below, he talks about his time making student films with IndieWire Villeneuve couldn’t believe it. He had spent so much time crafting so many short films, each one capturing life and light in different ways - he had just seat down to watch them. Twenty films, and all he could say was - “they are all the same. That’s crazy. I was surprised.” https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636845806614-K9NBG76XVV614O4167TD/lawrence.jpg Dune and the Struggles of Adaptation Paul is the “the stranger, the godless fraud inspiring an alien nationality … to lead the national uprising of another race, the daily posturing in alien dress, preaching in alien speech.” These words are not Herbert’s - they are from the man himself: T. E. Lawrence, in regards to his identity during his time with the Arabs. https://www.tor.com/2021/06/02/lawrence-of-arabia-paul-atreides-and-the-roots-of-frank-herberts-dune/ https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/1636845923572-XXE7W6VIQOV5Q6X5Z30Z/peter_jackson_facebook_1636546647555.jpg Dune and the Struggles of Adaptation - Right, Peter talks with newsuwc.com Dune has often been described as the Lord of the Rings of science-fiction, and the role of adaptor as auteur is no clearer than with Peter Jackson - who spent a year with Fran Walsh and Phillipa Boyens to create an honest rendition of Tolkien’s linguistic epic. One could be upset by the fact that so many brilliant characters, songs and Tolkien’s signature poetic dialogue were cut - they were overworked, under-skilled, and reduced Tolkien’s magnum opus to a script to a worryingly digestible and consumer-friendly version. These fears were mostly silenced when Return became the most accoladed film of all time. https://www.19colon14.com/stoneleigh-steps daily 0.75 2021-11-16 https://www.19colon14.com/phosphene daily 0.75 2021-11-16 https://www.19colon14.com/petrichor daily 0.75 2021-11-16 https://www.19colon14.com/the-ground-and-the-sea daily 0.75 2021-11-16 https://www.19colon14.com/virginia-woolf-on-publishing-young daily 0.75 2021-11-25 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/6b7b4cc2-3bca-4343-8cc8-ce65fee2b8a8/Julia-Stephen-1.jpg Virginia Woolf on Publishing Young - Mother as the first Other Woolf’s relationship with her mother, who died when she was only thirteen, impacted her writing and outlook on life. The relationship with parent and child is often thought as the philosophical genesis of a person’s vitality, and as she stated, Virginia viewed the relationship between daughter and mother especially crucial. She was not without kind terms for her father, either; Woolf openly stated her connection, desiccation, hatred, bemusement and fear of him. She did, in fact, remark of her likeness to him more than her dear mother. Familial relationships were crucial in her time, especially for an underestimated woman, and they continue to be crucial for even the most privileged writers. When she talks of the joys of youth, they come in direct confrontation with the struggle of what is written - notably the malaise of publishing, as she would later set up her own agency and remain fiercely critical of the atmosphere of her contemporaries. Her husband and life-long companion, Leonard Woolf, supported her in these writerly endeavours. Virginia may have had a room of her own, but she was not an island. Right: Julia Stephen (née Jackson), 1846-1895 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/fc3cba31-341b-46a9-b470-0b7b5e15b135/roland+barthes.jfif Virginia Woolf on Publishing Young - The Author’s Dead, Long Live the Author The question of authorial intent has always plagued the reader and writer alike. Should a story be held hostage to its creator’s original intent, or does the lack of knowledge give us some insight into our own cravings as individual readers? If a writer were to lie profusely, and despite all their appearances, give measure to the untruth of what the story truly represent, would an impassioned reader arguing the case of the obvious truth of the author’s intent be any less legitimate, despite the text’s own merit? Is the merit only enough, as our natural obsession with people and faces brings many to understand Woolf’s writing as one way or another, volatile or caring, piercing or forgiving. If the devil belongs anywhere, is hidden behind the details - if Heaven is anywhere else, it is in the mind of the reader who sifts through the hellish prose to find some beacon of light that makes them laugh, smile and cry. The author may be dead, but long live these authors - the ones never afraid to lie. Left, Roland Barthes, author of Death of the Author https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/c47ad0f1-5063-4d4e-8ca6-a7a47dd52ddf/gordon+square.jpg Virginia Woolf on Publishing Young - Make it Write Despite the red-kneed aspirants’ plea, Woolf continues to remain dead and will not give us any more advice. In fact, her advice is as incandescent as her stories; for all of her strengths, and her mental struggles, it was the role of the writer that seemed to be the most problematic - perhaps simply because it was easiest to write about. But what did she have to say about those lonely nights of overwhelming frustration, of endless sentences and pages did not turn? She referred to it as ‘throwing bricks over a wall,’ but the result of fiction was nonetheless spectacular. Is it not true that this standard of fiction made the frustration worth? Woolf may not have thought so: “‘The proper stuff of fiction’ does not exist; everything is the proper stuff of fiction, every feeling, every thought; every quality of brain and spirit is drawn upon; no perception comes amiss.” - Modern Fiction Right, 46 Gordon Square, abode of the ‘Bloomsbury Group,’ an association of polemics, artists and free-thinkers. J.M. Keynes, E.M. Forester, Vanessa Bell and Woolf herself were notable members. https://www.19colon14.com/the-modern-sisyphus daily 0.75 2021-12-05 https://www.19colon14.com/these-little-victories daily 0.75 2021-12-24 https://www.19colon14.com/mary-shelley daily 0.75 2022-02-14 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/5c40280c-4b93-4878-8199-33e3df8722f3/Francisco_de_Goya%2C_Saturno_devorando_a_su_hijo_%281819-1823%29.jpg Mary Shelley or the Plight of the Promethean - So important was heritage in a world of greatly concentrated power that the greatest Titan, Kronos, ate his own children in a bid to maintain his authority. Many years later, Mary benefitted greatly from her father’s kindness and intellectual connections - a privilege for anyone, especially a young woman. In her father’s words, “her desire of knowledge is great, and her perseverance in everything she undertakes almost invincible.” Left, Goya’s Saturn Devouring his Son. While some saw splendour and sacrifice in the suffering of Greek myth, Goya places the old consuming the young like animals. This selfish, generational violence robs all of heroism - the only eyes in the painting are the warped whites of Saturn, or Kronos as he was known to the Greeks. The creator’s wrath on the created is one of the foulest sins imaginable. Despite this, many do know it, and if one were to see the world itself as a creation, all suffer its wrath. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/7769da2a-5d07-4d51-92fc-b90cd70ce841/the-clash-of-the-titans-1866.jpg%21Large.jpg Mary Shelley or the Plight of the Promethean - One of the cornerstones of our understanding of Ancient Greek mythology is the Titanomachia, an epic bisected poem detailing the theogony (creation of the gods) and later the war between the Olympians - Zeus’ kin - and the Titans. What we do know of it is fractured, but Prometheus seems to have fought with the Olympians, despite being a Titan himself. Titanomachia predates Theogony, which itself predates almost all literature on the Greek Pantheon. Its secrets would prove invaluable. What time has stolen from us! Hesiod’s Theogony is our oldest surviving record of a similar story, and Prometheus’ multiple different interpretations by those who could read the Titanomachia at the time point to his role being smaller and pliable, but we will never know - what is lost is lost. Right, Gustav Dore’s The Clash of the Titans. Dore’s work was without classical training - his interest in expressing his faith and Christianity through his works drove many of his pieces to be grandiose, verging on baroque. Here, there is no depiction of the Christian world - only the Hellenism that the faith inherited, the suffering inherent in its mythology that informed Iesus Christos’ followers, as stories passed from one generation to the next, waiting to be reinterpreted. He was also enthralled by Milton’s Satan from Paradise Lost, and it was Milton’s work that inspired the likes of Byron, Keats and the Shelleys during the burgeoning Romanticist movement. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/2b6b321b-0e55-4842-8cfb-29fc1e8e5436/Light-and-colour-600x600.jpg Mary Shelley or the Plight of the Promethean - Romantics were concerned of the popular and personal. The powerful, human art that flourished under their all-encompassing, authoritarian regime of Rome was not as much focus as the Medieval peace that Europe enjoyed. It was an insular, powerful belief in the human soul and the natural world it resided in; art and poetry, through the likes of Wordsworth and Friedrich, transitioned to the landscape. Byron and the Shelleys, instead of continuing the Classical sensibilities that the English institutions promulgated, turned to the romance - and one of the foremost principles of romanticism was a distrust of modernity, and by association, the advance of technology, should the human will be forgotten. Left, JMW Turner’s Light and Colour. It depicts the aftermath of the Flood as a ‘whirlwind of colour.’ Indeed, the Flood is a myth that has permeated across cultures - one interpretation of that myth in Greece saw that Prometheus’ son, Deucalion, survived the Flood, and it was his kin that began populating humanity once more. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/313f8db5-7cbd-4eed-ac7a-0679ecfdfb5c/ParadiseLButts1.jpg Mary Shelley or the Plight of the Promethean - “Believe me, Frankenstein, I was benevolent; my soul glowed with love and humanity; but am I not alone, miserably alone? You, my creator, abhor me; what hope can I gather from your fellow creatures, who owe me nothing?” - The Monster to his creator upon their reunion. The very term ‘monster’ may predispose the audience against the character, but Shelley’s astute writing makes it clear that the monster is far less how the audience should understand him, but how the audience should understand Frankenstein’s own perspective. And by doing so, she shatters it - the romantic notion of the ‘blank slate,’ that people are born sinless, is engered to us through the Monster being craeted not from a new body, but by a cadaver that Frankenstein used while at Ingolstadt University. Left, Blake’s 1808 painting of Satan Arousing the Rebel Angels. Blake spearheaded a romantic reinterpretation of Milton’s Satan, the creation turning against creator, as perhaps the ‘original anti-hero.’ https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/207dc228-22a5-4a23-8681-c007f480a0c7/c3b0994d3bea0586ae5b5d9e00de2c05.jpg Mary Shelley or the Plight of the Promethean - Another miracle attributed to Prometheus is to have created humanity from clay - a wide-spread creation myth with reports in Hindu, Abrahamic, Babylonian and Korean texts, to name a few. This creation, while seemingly as important as some texts in Genesis are for Christians, did not see much contemporary celebration. For all his fame in our classically-minded society, and his great presence in tragedy and epic, Prometheus was never worshipped by the majority of the Ancient Greek population. Athena’s Temple saw thousands of visitors in Athens, and Zeus’ Temple perhaps even more. Demeter, the Goddess of the Harvest, was crucial to full stomachs. It is also important to note that Greek myth, like the stories of Athena’s birth and Heracles’ labours, were just that - stories. S ome even drew away from them, believing that the Gods’ stories were too complex and fanciful for poets to put to words, and by doing so actively threatened their careful relationship with the Pantheon. These people did not write much, so what is left seems like common understanding; Hesiod’s Theogeny and Aeschylus Prometheus Bound are tragic tales, vague interpretations of long-standing oral tradition, and meant to espouse the wisdom that the writers found of their own time. The discrepancies between the two, painting almost entirely two different characters with different progenies, shows their concern was not of doctrine or faith, but of a concerning story. And such a story it was: the idea of a god that sought to enlighten man and for this was punished eternally may sound familiar. The Hellenic ideal of a ‘fellow sufferer who understands’ would concentrate over time, eventually developing into the Hellenic Iesus Christos, whose punishment liberated humanity. The tragedy of the young, the pure of heart, passing before their time, like Achilles, passed from Hellenism into popular western culture. Apostle John and Paul’s own Hellenic trappings show just how much of this story connected with them; Prometheus’ story and character were, and are, instruments of the writer above all else. Left and above, Constance Hansen’s Prometheus Creating Man from Clay, 19th century. Prometheus is instructed by Athena - this story comes from the Bibliotheca of Psuedo-Appolodorus, compiled first or secondary AD, during the height of the Roman Empire and its obsession with Greek myth. https://www.19colon14.com/iacobos daily 0.75 2022-03-30 https://www.19colon14.com/a-man-on-the-essay daily 0.75 2022-04-25 https://www.19colon14.com/the-quiet-lord daily 0.75 2022-05-16 https://www.19colon14.com/oscar-wilde-and-the-hierarchy-of-art daily 0.75 2022-07-03 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/70483f8b-9e46-43be-8ea7-4af82ccf5594/Part-PAR-ARP2168188-1-1-0.jpg Oscar Wilde and the Hierarchy of Art - Many tongues, one voice Oscar Wilde attended Trinity College in Dublin and came from a line of Anglo-Irish parentage. He spoke many languages. Not only is polyglotism significant for a hungry mind, and for a thoroughly educated one, but the languages he spoke were European - French, German, Latin. He did not know any Irish, and would die in France. His animosity with the Victorian establishment would only grow in his imprisonment — he would eventually write to Irish reformist Michael Davitt, but would not return there after his release. WIlde was a citizen of the world beyond any nation. His legacy, like many Edwardian poets, is of class and hierarchy; despite living in Ireland, his family had deep roots into the intelligentsia, and one can read about the connections he had with other minds at the time - his first love, for example, married Bram Stoker. Wilde wrote with, against and about many of the shining writers of his time, like Kipling and thrice Nobel-nominated Henry James. He rarely had anything soothing to say. https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847762019-6FVSEHEZWIGMCJ5QASPI/image-asset.jpeg Oscar Wilde and the Hierarchy of Art - T.S. Elliot on being an author “No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of aesthetic, not merely historical, criticism. The necessity that he shall conform, that he shall cohere, is not onesided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them.” https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/50a48f9e-fd8e-4742-a16f-1fa0597a4874/oscar-wilde-quotes-03.jpg Oscar Wilde and the Hierarchy of Art A Quotation Mark, Matthew, Luke and John For every cutting quote he had, there comes the question of why a quote matters in the first place. Why is a quote from Oscar Wilde more important than a quote from Hilary Mantel? The first issue one would expect to bring up is name recognition, but there is always more to it. Those more famous than Wilde, like James Cameron or James Dean, would not be as important. Wilde’s acquired ‘social identifier’ has been his wit, his personable nature, that has extended as fame far beyond his death. Like other tragic figures, like Woolf and Plath, his early death tinges his entire work with a hue of melancholy and interest. People are drawn to half-finished stories far more than overly-done ones. The possibilities of their lives, if they had better treatment and luck, is palpable to the mind – it is no accident that the power of the quote became an entrenched currency of writing culture. It is simply human nature to pontificate in as simple terms as possible - brevity is the soul of wit, after all. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/7ae5c2f2-9a7d-42db-8507-b0ecba2aa79d/cave-of-hands.jpg Oscar Wilde and the Hierarchy of Art - Hands on a wall In a world of continued artistic outpour, through the venues of film, music, television and literature, both on-line and off, there remains an engorged debate. What is art’s purpose? And if art does have a purpose, does it become the artist’s responsibility to fulfil it? Prehistoric humanity engaged in cave-painting across the world, which many point to as evidence of creative spirit and, more zealously, the victory of human spirit over nature. Many of these paintings, however, serve practical purposes – many remains of paintings show menageries of animals, both prey and predator, that could help cave-dwelling humans learn and explain their hunting targets to their children. A powerful mural like Cueva de la Manos, which points to a community, may also have served a purpose in cataloguing members of the community over generations. Art, and its criticism, seem to always exist for a reason. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/a530a997-dfb7-46d5-a103-61aa04b328c1/Aubrey_Beardsley_-_The_Yellow_Book%2C_An_Illustrated_Quarterly%2C_April_15%2C_1894.jpg Oscar Wilde and the Hierarchy of Art - Beauty irrespective Decadence, as a movement, failed; its influence is relegated to libraries and inflammatory bookish debates, and not the realm of activity. But wisps of it still exist here and there – in opulent architecture, that is criticised for appearing too grand, in baroque literature, where it is regarded as too self-important, and in painting, where it is confused for a commentary on meaningless itself. This obsession with commentary and purpose has found its footing in popular cinema – the Coen Brothers’ pictures, for example, often fall into this category, paradoxically lauded as cutting films on the pointlessness of modern society, while booed for being unapologetically misanthropic. Some art does not ask itself to be taken as purposeful. In this arrogance is humility, as it does not posit a changed world as its ultimate goal, but the enrichment of the human soul. It will be up to the discretion of readers and authors everywhere as to what is the purpose of art. Pictured: The Yellow Book was one of the premier literary journals published in the Naughty Nineties. While it never contained any work by Wilde, it was associated with the decadence movement through Wilde’s trial and the emerging post-Victorian sensibilities. Ernest Dowson, Yeats and Wells contributed to it, some more conservative and others more progressive, the Book came to represent changing times and the dawn of the 20th century. It was Beardsley’s ‘grotesque’ artistry, that mocked Victorian moralism and duplicity, that gave it such a controversial reputation prior to Wilde’s trial. A book covered in yellow paper is mentioned in A Picture of Dorian Grey, and as France underwent the Bella Epoque, more and more artists and writers in London experimented with disagreeing with society’s principle — women like Mary Elizabeth Annie Dunne (pen-name George Egerton) wrote for the Yellow Book as well. As Britain was at the height of her Empire, the more entrenched her state and moral values became: the more apparent its counterculture. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/6aad2f36-9b7e-4087-9788-91ed986969f5/6a227b2914f4ddac522bdc9c0fbe6e02.jpg Oscar Wilde and the Hierarchy of Art - From the Deep It was his love for Bosie, Alfred Douglas, that led to his subjugation. It was Wilde’s letter to the young man that seemed to reanimate him. De Profundis is the apotheosis of Wilde’s philosophy. His pain and torture and pleasure and joy is embroiled as depressive, Christian imagery – a man faced with his own mortality and hedonism, he resolved to experience it all and come out more beautiful. He never renounced his aestheticism, but opened its definition even further, to all the corners of the world, dark and bright. There were apologies and attacks made to his past love, Lord Alfred, but not apologies for his beliefs themselves. There is something deeply Socratic in his writing, and how his soul, bettered by all of its derision, succeeds him. For the artist to be concealed from his readers, Wilde was never more concealed than when he was in prison – indeed, he was never more depressed. But he resolved to write, and it was some of his most beautiful work that veered into Christian symbolism in a way that many Edwardians wrote of at the time: “My gods dwell in temples made by hands,” is a line that decries the Pauline line that God cannot dwell in a temple made by hands, as he is the creator of all, but Wilde reverses the saying to put forth a deeply individual, self-realised spirituality. His complexity on display, this aestheticism was emboldened but drenched in melancholy and half the fervour as his earlier writing. As an outspoken outsider to the decadence movement for its duration, he once again drew away from that dogma — nothing was more Wilde. Pictured: Wilde’s room in Reading Gaol. Perhaps one is better not knowing the exact walls when these words were written, but many feel more connected to his work by knowing the truth of the matter — how much of the art can be enhanced by something outside of itself? https://www.19colon14.com/to-you-in-11-million-nights daily 0.75 2022-08-24 https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/62fbee50-d15b-4688-adb6-b22a455a8970/trail-of-laetoli-footprints-john-reader.jpg To You, in 11 Million Nights “A work of art is a confession.” - Albert Camus https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/5c99ce63-1ac3-4a6e-a66d-1b9b8ecca192/Plate_V%3B_Female_Cro-Magnon_skull_in_two_views._Wellcome_L0073384.jpg To You, in 11 Million Nights Pictured, left, the Cro-Magon man. First discovered in the mid-19th century, these findings helped pave the way for a modern understanding of human genealogy and a consistent anthropology - that both the Neanderthal and Sapiens lived alongside one another, and had lived in Europe for thousands of years. This 26,000 year old fragment is positively modern compared to the Chauvet cave painters, and yet it seems like it comes from another world. It has not — these fragments are from south-west France, only two-hundred-and-eighty miles from the Chauvet cave. The well-preserved nature of these remains have allowed a glorious insight into the lives of the Aurignacian, or prehistoric, human. The first skull found belonged to a man around the age of forty and is the most intact. The second and third skulls belonged to women, one of which had survived for some time with a skull fracture. The man had type one of neurofibromatosis, which means he had an uncouth person covered with tumours. Nonetheless, he survived into mid-life. They were buried with an infant. The studies of these fully modern humans (their skull-shape points to them being identical to our current people) were some of the first pieces of evidence to a fact that may seem obvious: prehistoric life was unconscionably and irrevocably harsh. These peoples’ spines were fused from traumatic injury. They survived only due to communal support. It is unknown whether these injuries were inflicted by traversal through the Dordogne’s harsh landscape, combat with prey or predator, or even with fellow humans. When they died they were not forgotten or discarded; they were buried with tools and bones, perhaps to prepare them for a life beyond their harsh and unforgiving first. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/ecdab378-275c-49f5-be1a-004313e0420f/8b67daad2ddaba1bf2_r_Burning+Torches+1.jpg To You, in 11 Million Nights - Dreams in the Dark It is dangerous to use charcoal torches next to a cave painting, despite that being very similar to how early humanity viewed them. The choice made by modern speleologists and paleo-anthropologists is the use of clever substitutes. Even the small release of smoke and vapor from a fire is enough to, over time, degrade the quality of a painting. Right, Medina-Alcaide’s team in the Axtarra cave experiment with open-air fire. With its glimmer, and unstable flicker, they witness the incredible: the paintings of the wall seem to come to life. Multiple layers of parietal art are highlighted differently as the fire coughs — these paintings weren’t just stills, they were meant to be seen in the flesh. https://images.squarespace-cdn.com/content/v1/617ed0d6cdbd860f2d5382bf/efbf4a54-135a-4974-aaa7-a7341d6d6e7e/MM8200_140429_26663-1024x683.jpg To You, in 11 Million Nights - The Arch in Ardéche Right, the river Ardéche and the chalk archway that must have caused almost as much awe amongst the painters of the Chauvet cave as their work did for us. Perhaps awe kept them running and surviving — perhaps awe is a modern concept (modern meaning post-agricultural) that is forced upon early modern humans as a way to romanticise their living conditions. 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