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MD5: 26DE1E830AC58C078650B69C4D34602E
SHA-1: AA33BC73264B80B87D21FF8D56DE02EAECDA3574
SHA-256: 763927D34CE89B550A118E3522181FC434632D6D6188CB82E1612096A613C4AA
http://www.worldwidewords.org/qa/qa-col1.htm
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“
Art+language(writing english or chinese)=Calligraphy
Chemistry/Math=physics
Chemistry X Art= Biology
Biology+Language+Art=Humanities
Humanities-Math=History
Physics X History=Astronomy
Humanities/History=Geology
Language+History=Linguistics
(Biology+History)/Humanities=Paleontology
Linguistics+Biology=neurolinguistics
History X Biology X Humanities=Anthopology
Langauge + Language= Second(foreign) langauge
History-Anthropology-Sum (science)-Math=Futurism
”
(Source: gypsy-jess, via bruceleeandfries)
Le modèle rouge by René Magritte, 1937. Oil on canvas, 183 x 136 cm. Museum Boijmans van Beuningen, Rotterdam, Netherlands.
A great paper by Emily Patricia Asplund discusses this work in contrast to Van Gogh’s famous A Pair of Shoes from 1886:
In Van Gogh’s canvas, the ugliness and vulnerability, the lowliness of the shoes are immediately visually accessible through the drab colors, the lack of shading, and the careless brushstrokes. These shoes are tragic, but also cozy, cunning, sweet, looking up at us. Their pliant, worn leather is an index of the time their owner, their absent subject, has spent in the fields. Heidegger is right that their emptiness is evident—the black space yawning out from them, their saggy, flaccid form, are both lamentation and invitation.
Magritte‟s shoes lack this affective facet. They are also empty, in a sense, but they do not seem to be beckoning their wearer to put them on. They say something different about their relationship with the feet that wear them; they are not abandoned, empty husks waiting to be inhabited at last by a living subject. As products of and participants in modern capitalist society, these shoes know that there is no separation between them and their wearer. Magritte‟s boots are finer than Van Gogh’s, less worn, but only slightly; they are ordinary shoes, probably mass-produced. They are not centered in the frame, as Van Gogh‟s are; instead of beckoning and inviting the missing feet for whom they were made and to whom they belong, these empty shoes point an accusing toe at the absent body by leaving its place conspicuously empty. But the body is not gone; it reasserts itself in the shoes themselves.1
Emily Patricia Asplund, “Les Pas Perdus: Images of Feet and Shoes in Surrealist Art,”Master’s Degree Thesis (Brigham Young University, 2008), 24-25. ↩
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bagpipes made from a goat, including the entire head
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FACE POKER
A game for two or more touchy players.
When the ad break starts, each player puts one finger somewhere on the screen and leaves it there. Whoever’s finger touches more people’s faces during the ad break wins.
I TOLD YOU SO
A game for two or more overconfident players.
As soon as a show segment ends, player one must say what the first advert will be advertising. Player two immediately mutes the television, and as the advert plays, whatever it is for, player one must explain how they were right, and the advert is definitely for the product they suggested, regardless of what it is actually advertising. Scoring is entirely subjective.
YOGHURT. BECAUSE MUMMIES ARE TIRED. BECAUSE MEN.
A game for two or more verbose players.
At the very start of an advert break, shout out a word. The other players have to shout out something else. Earn one point every time your word is said during the advert break. If someone chooses a word that’s not within the spirit of the game – “the” or “and” or “be” or anything like that – then the other players can reject it by unanimous agreement.
BIG GAME HUNTER
A game for one or more animal-loving players.
As soon as the advert starts, begin changing the channels (you can use the UP and DOWN buttons, or input specific numbers). Earn one point for every different kind of animal you find. You lose the game if you’re not back on the starting channel by the time the advert ends.
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