Social realism – The Idyllists http://theidyllists.com/ Mon, 13 Jun 2022 22:17:15 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://theidyllists.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Social realism – The Idyllists http://theidyllists.com/ 32 32 How bipartisan gun control talks actually succeeded https://theidyllists.com/how-bipartisan-gun-control-talks-actually-succeeded/ Mon, 13 Jun 2022 20:50:55 +0000 https://theidyllists.com/how-bipartisan-gun-control-talks-actually-succeeded/

Jtime is the enemy gun control laws, any lawyer will tell you. The outcry for tougher gun laws has always been loudest during times of national horror, in the hours and days after a massacre, when anger is high and the anguish of survivors and grieving families fill the airwaves. This brief window of action quickly begins to close as public attention inevitably drifts to other topics. The opposition mobilizes and the talks fail or run out of steam.

Sen. Chris Murphy of Connecticut feared this all-too-familiar pattern was repeating itself after the May 24 mass shooting in Uvalde, Texas. Despite immense public pressure, the bipartisan group of senators negotiating new gun safety proposals left Washington before Memorial Day weekend without reaching a deal. “Normally when there’s a pause in sensitive talks like these, you lose momentum,” Murphy, the Democratic leader of the negotiations, told me this afternoon. On social networks, interest in press articles on the massacre of 19 children and two teachers had already fallen. By the time Congress returned to session, two weeks had passed.

Something had actually changed this time, however. Rather than dissipating after the break, the bipartisan negotiations accelerated. Instead of taking the backlash from voters at home, Republican lawmakers signaled to Democrats that they felt an urgency from their constituents to act. “The momentum has increased,” Murphy said. He looked as surprised as anyone.

Yesterday Murphy and 19 of his colleagues unveiled what could become the most significant changes to national gun laws in more than a quarter century. The framework would expand background checks for people under 21, make it easier for the government to prosecute illegal firearms trafficking, and provide federal funding to support state-level “red flag” laws, which allow the courts to disarm people considered to be a danger to themselves or to others. Other provisions include additional billions in federal support for mental health programs and additional funding for school safety — two items that Republican negotiators, led by Sen. John Cornyn of Texas, have prioritized in the talks.

Democrats and gun control advocates, conditioned to expect very little from negotiations like these, were pleasantly surprised by the scope of the proposed package. Each provision, Murphy told me, “represents less progress than I would have liked. But when you put it all together, it’s a substantial set of changes from what I think was possible just 30 days ago.

The Sandy Hook Massacre happened when Murphy served in the House, just a month after he was first elected to the Senate. Nearly a decade later, his sincere outrage at Congressional inaction on guns comes with a heavy dose of tired political realism. Half of his work these days seems to warn against the tendency of voters to become, in his words, “insensitive” to mass shootings, while the other half manages those same voters’ expectations of what is possible in a divided Washington. Murphy is not the kind of Democrat to hope for. “I’ve had football under me enough times before in these negotiations to be realistic about our prospects for success,” the senator said. told reporters in Connecticut last week. “I’m sober about our chances.”

It was therefore remarkable that not only Murphy, but major gun control groups such as Everytown and Brady quickly embraced the bipartisan agreement as something more than a political fig leaf. Unlike past negotiations, Murphy told me, the list of viable proposals actually grew longer rather than shorter as the talks went on. For example, the following provision illegal purchases of strawa major priority for major city mayors seeking to stem the flow of weapons from other states, was not initially under discussion.

Yet many larger ideas never made it to the table. President Joe Biden blessed the framework even though it included virtually none of the changes he called for in his prime time address earlier this month. The deal has no ban on assault weapons, no limits on high-capacity magazines, no universal background checks, no change to the minimum age required to buy semi-automatic weapons. When I asked a Democratic congressional aide last week if those policies were being considered, the answer to each — no — came with what sounded like a hint of an apology.

The passage of time could reduce the compromise even further. The stripped-down framework announced Sunday won the approval of 10 Republicans, indicating that if all 50 Democrats accept, the package could eliminate a filibuster in the Senate and win passage. But the actual bill has yet to be drafted and many details, including how much the legislation will cost and where the money will come from, have yet to be ironed out. Senators hope a bill could be ready for a vote in a few weeks, but similar “framework agreements” have taken much longer to complete in the past.

Murphy and Cornyn have worked together on gun metrics a number of times in recent years. They used as a model their successful talks over small changes to the background check system after another mass shooting in Texas, the church massacre of more than two dozen people in Sutherland Springs in 2017. Those negotiations were successful. to the enactment of the Fix NICS Act as part of a larger spending bill in 2018. The act created carrots and sticks to encourage federal agencies and the military to upload records into the federal system of background check; it also included money that Republicans sought to bolster school safety. That the law has not stopped or even significantly reduced mass shootings is obvious; Cornyn, however, said it led to 11.5 million additional records being uploaded to the federal background check system, which was a 30% increase for one database.

Amid negotiations last week, Cornyn gave a speech in the Senate that made it clear how much of the talks were going on Republican terms. Negotiators, he said, were not considering any proposals that would expand the background check system or in any way restrict “the rights of gun owners and current, law-abiding citizens.” . There would be no new bans on weapons like AR-15s or limits on ammunition, like high-capacity magazines. “What interests me is keeping guns out of reach of those who, under current law, are not supposed to have them,” Cornyn said. The scope of the talks fits squarely with an agenda that conservatives, backed by gun rights groups such as the National Rifle Association, have held to for decades: enforcing existing gun laws rather than to adopt new ones.

Murphy acknowledged that the deal “remains consistent” with Cornyn’s bottom line. “We were able to meet his demands while meeting my demands that the bill could not be a facade,” he said. “These had to be substantial changes that could undoubtedly save people’s lives.” Murphy argued that limiting negotiations from the start proved to be key to their success. “I said 100% that I was not going to have fruitless arguments at these meetings about things that couldn’t get 60 votes,” he said. “We were all very focused on what could get 60 votes from the start, and that helped the discussions move forward.”

The dispute What Democrats now face from the left is that this deal could set back efforts for a real overhaul of US gun policy. By agreeing to modest changes now, Republicans can tell voters they have done something to address gun violence and use that political cover to help regain control of Congress and block more substantial reforms. Murphy defended the framework on substance, saying even those compromises would “save thousands of lives.” He also advanced a longer-term strategy, based on demonstrating to Republicans that supporting new laws won’t doom them and their core voters.

Implicit in his argument is the reality that Democrats won’t have the votes on their own to do what they want anytime soon, and that the kind of atrocity that would cause Republicans to really change their minds on the second amendment is impossible to consider. “Success breeds success,” Murphy said. “Even though we have never passed another gun violence bill, I would say this bill is 100% worth it because it is going to make a difference.

“But,” he added, “I also know that it’s a very bad strategy to wait until you can get everything you want. Because that moment almost never comes.

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Literacy underpins the most spied on state in the world https://theidyllists.com/literacy-underpins-the-most-spied-on-state-in-the-world/ Sat, 11 Jun 2022 22:05:47 +0000 https://theidyllists.com/literacy-underpins-the-most-spied-on-state-in-the-world/

Before progressive causes became the domain of the professional middle class, writers and artists looked to socialism for ideological comfort.

Sadly, no society has lived up to the utopian hopes of equality and collective wealth that have filled thousands of books and inspired countless works of art.

The most ambitious example was born in the ruins of Berlin in 1945 when an exiled member of the Communist Party of Germany (KPD) returned from 12 years in Moscow.

Johannes Becher, a poet of Bavarian origin, was determined to reject, together with his German compatriots, the Philistine barbarism of the Nazis and to restore one of the great cultural traditions of Europe.

Hitler’s regime mocked artists, harassed writers, and burned their books and paintings. Becher believed that any effort to rebuild the country would bring culture back to center stage. Although Germany’s defeat was his greatest and most shameful, he was convinced that the country of Goethe and Schiller could once again become a new and better place.

“He lives, lives among us all,” he wrote of Germany’s intellectual past. “A different and secret Reich.” A Germany where Weimar was the center of 18th century classicism, Wittenberg saw Luther publish his theses announcing the Reformation, and Leipzig was the seat of the first daily newspaper.

The Karl Marx bookstore in Berlin, now closed, was a feature of the GDR.

German was the language of Hegel, Marx and Engels, who laid the foundations of socialist philosophy. The communist manifesto promised that no one would be forced into a life of work, and the abolition of capitalism would provide the kind of freedom that “everyone can become accomplished in whatever branch he wishes”.

No social division

Becher understood this to mean that the new social order would have no division between workers and intellectuals. Instead, there would be workers who wrote and writers who worked. He gave a name to this: Literaturgesellschaft (literary society).

Creative writing would not just reflect social conditions, but shape them. As a poet, Becher believed that the new Germany could fulfill the dynamics of the Hegelo-Marxian dialectic: thesis, antithesis, synthesis. He exposes his thought in an essay on the philosophy of the sonnet, with its 14 lines and its rhythmic structure.

Becher was not a dreamer. He formed the Kulturund, a group dedicated to the revival of German culture and high-ranking political clout. He created two literary publications, a publishing house (Aufbau) and commissioned an edifying hymn from the composers Eisler and Schoenberg.

Exiled Germans were persuaded to return, among them Bertolt Brecht, whose Berliner Ensemble became admired around the world. His opera house was one of the few places in Berlin to be lit after dark during the post-war period when electricity was scarce.

Writer Hans Fallada, whose bestsellers were suppressed by the Nazis, survived the war but was in poor health. His most famous book, Alone in Berlin, was published in 1947, the same year as his death. Becher had given him the Gestapo file on a couple who distributed anti-Nazi leaflets until their arrest and execution in 1943.

Phillip Olterman.

Cultural history

Becher’s story is told by Philip Oltermann in The poetic circle of the Stasia cultural history of the German Democratic Republic (GDR), which was dissolved in 1989. Becher was appointed Minister of Culture in 1954 and died of cancer four years later.

His legacy was a country with a level of literacy that exceeded the wildest dreams of the labor education movement in the West. Factories and offices had to have bookcases that could hold up to 1,000 books. Its publishing industry, six to nine books per head, published each year, has placed it at the top of world charts. (Left bookstores in the West were stocked with cheap English-language classics from Seven Seas Books in the 1960s and 1970s.)

Every branch of the industry had writers’ circles, where authors like Christa Wolf showed off their talents. His revolutionary novel split sky (1963) was written while on secondment to a train car manufacturer.

If Becher was the idealistic angel of literacy, his devil was Friedrich Wolf (no relation to Christa), who was an established poet long before the establishment of the GDR. Like Becher, he spent part of his exile in Moscow.

Upon his return to Germany, Wolf helped establish the film studio DEFA, found a branch of international PEN, published an art magazine called Kunst und Volkand chaired an association of theaters.

The Chekist poetry circle was based at the Stasi headquarters in Berlin.

Class struggle

Wolf insisted that writers should not get a free ride as state employees and instead be at the forefront of the ideological class struggle. One of his four sons, Markus, became a leading figure in the notorious Stasi, or secret police, which plays a special role in Oltermann’s story.

Another son, Konrad, was an influential filmmaker, who adapted Christa Wolf’s film split sky (1964) among many best GDR films.

Oltermann describes the “framework file” that followed the life of every citizen from elementary school. Compiling files became the main occupation of the state security agency, making the GDR one of the first models of a surveillance company.

These files, which are now accessible to all former GDR citizens, provided details for Oltermann’s research into the activities of poetry circles within the Stasi itself. No agent was too low or too high for regular sessions on the study of poetic structure, metaphor, and other techniques of literary criticism.

The author looks at five examples, some of which he was able to interview after unification.

Poet Ewe Berger, who headed the Berlin Stasi circle, published two autobiographies, one under the GDR and in 2005. His Stasi dossier, as an informant and subject, consisted of 2,214 sheets in six volumes.

‘Inner me’

As the bureaucracy’s leading literary figure, Berger consulted the manuscripts before they were published, giving him unprecedented access to the Stasi poets’ revelations about their “inner selves.” They proudly called themselves Chekists, the name of the original secret service of the Bolsheviks. For Berger, the best Chekist spies had “cold heads, warm hearts and clean hands”.

Annegret Gollin’s journey was completely different. His circle of poets was the target of Stasi surveillance. She was arrested for her rebellious behavior and none of her poetry was published in the GDR until her freedom was bought by West Germany in 1982 as one of around 1,500 political prisoners. It was one of 150 official proceedings brought against writers from 1970.

Other subversive writers tested the limits of the Stasi to detect hidden messages in cryptic verse or prose. The prolific Alexander Ruika was physically bullied into becoming an informant, while Gerd Knauer’s apocalyptic epics defied interpretation. A diary from his years in the Stasi reveals how the service collapsed overnight when the Berlin Wall came down on November 9, 1989.

Gert Neumann.

In contrast, Gert Neumann (above), a locksmith, was a master of everyday realism written in cryptic language. He said the dictatorship of “black words” had “murdered” poetry. This did not impress the censors. His first two novels were eventually published in the West to great acclaim.

Oltermann observes the irony that ordinary reality was a source of suspicion. “In many ways, it was literature as the founders of the socialist GDR had imagined it: art made by the workers, for the workers, among the workers. It is an apt epitaph for the failure of socialism to fulfill even its most fundamental cultural purpose.


The Stasi Poetry Circle: The Creative Writing Class that Tried to Win the Cold Warby Philippe Oltermann (Faber).

Nevil Gibson is a former editor for NBR. He has contributed film and book reviews to various publications.

This is the content provided.

Contact the author: nevil.gibson2013@gmail.com

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School status during the pandemic predicted parental resilience https://theidyllists.com/school-status-during-the-pandemic-predicted-parental-resilience/ Fri, 10 Jun 2022 04:49:05 +0000 https://theidyllists.com/school-status-during-the-pandemic-predicted-parental-resilience/

Credit: Unsplash/CC0 public domain

Parents accustomed to homeschooling felt more resilient during the COVID-19 pandemic than those whose public school children were suddenly housebound, according to a Rice University study.

This was especially true for home-schooled parents who remained physically active. But those who experienced increased stress because students were home — and whose training regimens suffered — likely had a different experience.

The report by lead author Laura Kabiri of Rice’s Department of Kinesiology, recent Rice alumnus Annie Chen and Brian Ray of the National Homeschooling Research Institute surveyed 123 parents of school-aged children. in 2020. They discovered the type of schooling students received before the pandemic. had a direct impact on parents’ perceived resilience.

“We knew the importance of physical activity to promote physical health benefits like disease prevention and weight management and even mental health benefits like reduced risk of depression and anxiety,” Kabiri said. “However, we now also know that public school parents who did not get enough physical activity during COVID-19 also perceive themselves to be significantly less resilient.”

The study appears in the International Journal of Educational Reform.

Increased stress from parents suddenly working and teaching their children at home has been a recurring theme of the pandemic, noted Kabiri, assistant professor of education and sports medicine adviser at Rice. But no one to date had quantified how resilient they felt.

“Psychological resilience can be defined in different ways,” she said. “Generally, resilience helps individuals deal with difficult situations constructively and find and access resources that support their own well-being. This resilience was especially important for parents during the prolonged stress of the COVID-19 pandemic. 19. »

The study notes that COVID-19 pushed the number of home-schooled children in the United States from 2.5 million to 5 million in January 2021. This number does not include the millions more who attended virtual classes in public schools from home.

The pandemic has provided a unique opportunity to study the relationship between stress and parental resilience in relation to their circumstances. The study draws a clear distinction between parents accustomed to the diet and those whose children were studying at home for the first time, Kabiri said.

“We were surprised at how differently physically active parents perceived their own resilience compared to those who were more sedentary, especially among public school parents,” she said. “We were less surprised but happy to quantify that homeschooled parents did indeed feel more resilient than their public school counterparts.

“Being a parent of public school students and experiencing the educational disruption myself, I had to wonder if parents who were already homeschooling their children or those who maintained regular exercise routines reacted differently” , Kabiri said.

The good news, the researchers point out, is that “resilience is a process rather than a personality trait.”

“We can all benefit from physical activity and improved resilience,” Kabiri said. “For now, walk yourself. And with your children. And maybe even the dog for at least 150 minutes a week. Or run them for 75 years. The benefits will extend beyond physical health to mental health as well.


No sweating? This is a problem for homeschooled children


More information:

Laura S. Kabiri et al, Effects of type of schooling and physical activity on the resilience of parents of school-aged children, International Journal of Educational Reform (2022). DOI: 10.1177/10567879221106718

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The French grandfather of street art, Jacques Villeglé, dies at 96 https://theidyllists.com/the-french-grandfather-of-street-art-jacques-villegle-dies-at-96/ Wed, 08 Jun 2022 13:21:35 +0000 https://theidyllists.com/the-french-grandfather-of-street-art-jacques-villegle-dies-at-96/

Published on:

French “grandfather” of street art, Jacques Villeglé died at the age of 96. He was known for his work reusing damaged posters that he collected and which have been displayed in museums around the world.

“It is with great sadness that we learned of the death of the artist Jacques Villeglé, at the age of 96,” the Center Pompidou in Paris said in a statement on Tuesday.

He was a great artist, an observer and a collector of posters. His unique work had a huge impact on the second half of the 20th century’, modern art museum wrote.

Born Jacques Mahé de la Villeglé on March 27, 1926 in Quimper in western France, Villeglé studied at the School of Fine Arts in Rennes, then later in Nantes.

Member of the New Realism group (New Realists) from 1960 with Arman and Yves Klein among others, in the 1970s he was at the origin of a “social-political” graphic art movement, writing anonymously on the walls of metros and experimenting with print.

“Holy Family” poster (1998) by French artist Jacques Villeglé, who died on June 6, 2022. Adagp, Paris 2008

With his friend the photographer and artist Raymond Hains, who died in 2005, Villeglé “scratches” what was to become his first “art poster” in 1949, which he will continue until 2003.

Essentially, he picked out sections of torn posters, often revealing layers of older posters underneath, advertising or politics and transferred them to panels, cropping the content to highlight certain colors and shapes. .

“In the 1960s, we were told that we had to bring the museums to the street. But I said that we had to bring the street to the museums which are a bit like cemeteries,” he said. said one day.

“In America, I was considered a precursor of pop art, like Jasper Johns. I’m sure it’s thanks to the ‘Carrefour Sèvres Montparnasse’ poster.

“Posters have always interested me,” he said during his major retrospective at the Pompidou in Paris in 2008.

“I understood that with them we would see the evolution of the world, the words that change, the new colors”.

The end of the 1980s was a “golden age” admits Villeglé where there were “a lot of posters pasted everywhere”.

The evening of the April 1988 presidential election was particularly memorable. “I brought a truck, five guys with me and we went to get posters. Within an hour I had all my next exhibition,” he says.

Exhibition in Saint Malo

“He was admired by all the major museums and his work constitutes a large part of our collective imagination. It changed our view of the urban landscape, inviting us to reclaim the city, to contemplate it, question it and challenge it. “, wrote the mayor of Rennes, Nathalie Appéré.

The town of Saint-Malo in Brittany, where Villeglé once worked, has been working for a few months with the artist and his daughters to prepare an exhibition which will open this summer, Appéré said.

“On July 9, it is with great emotion that we will unveil this work by this formidable creator and founder of street art,” said the mayor of Saint-Malo Gilles Lurton.

“Quai des Célestins” (1964) by French artist Jacques Villeglé, who died on June 6, 2022 at the age of 96.
“Quai des Célestins” (1964) by French artist Jacques Villeglé, who died on June 6, 2022 at the age of 96. Adagp, Paris 2008

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What we’re reading today: From zero to birth: how the human brain is built https://theidyllists.com/what-were-reading-today-from-zero-to-birth-how-the-human-brain-is-built/ Sat, 04 Jun 2022 21:28:46 +0000 https://theidyllists.com/what-were-reading-today-from-zero-to-birth-how-the-human-brain-is-built/

DUBAI: Elisa Sednaoui can now add the best-selling author to her growing curriculum vitae.

Shortly after the Egyptian-Italian-French model, filmmaker and humanitarian published her first book, ‘Nobody Can Make You Feel Bad Without Your Permission’ earlier this month, it became an instant bestseller. in Italy.

The 34-year-old co-wrote the book with Paolo Borzacchiello, a linguistic intelligence expert who has been involved in studying and disseminating everything related to human interactions and language for more than 15 years.

The new book tells the story of a little girl and boy named Elisa and Paolo who struggle to regulate their emotions and manage their relationships with others. It is currently ranked #1 in the miscellaneous category and #9 of all best-selling books this week in Italy.

Celebrating the achievement on Instagram with a long, heartfelt message to his 151,000 followers, Sednaoui said, “It’s an instant bestseller and it’s thanks to you.

“The little girl that I was, and I tell you about it in the book, deep down, she wasn’t sure she could really accomplish beautiful projects,” she added.

Despite having a successful and successful career in modeling and acting, she went on to explain that fashion and film never brought her any real satisfaction, and that her non-profit organization Funtasia was the first project that gave her life. allowed to “feel the pleasure of building something concrete.

She said: “Like everyone else, I’ve had career disappointments and I’m grateful for those experiences because they taught me what really matters in life. What matters is being around people. people you can learn from and who love you for who you are inside.

“The joy of this achievement is that it demonstrates to my children that it is possible for life to surprise you.”

Sednaoui shares two sons with her husband, British gallery owner Alexander Dellal, whom she married in 2014.

“The fact that you buy the book, that you offer it, that you write to us, that you talk about it, well, it is the most beautiful gift of this adventure,” she added.

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2022-06-02 | NDAQ:EA | Press release https://theidyllists.com/2022-06-02-ndaqea-press-release/ Thu, 02 Jun 2022 14:01:54 +0000 https://theidyllists.com/2022-06-02-ndaqea-press-release/

Impact every play on both sides of the ball with the pitchMEANING™ Game system that gives players more control Hands to create realistic results in Madden NFL 23

WATCH: Madden NFL 23 Reveal Trailer

Madden NFL 23 launches worldwide on August 19; Available for Pre order now

After #MaddenDay, which celebrated coach John Madden and his back to cover of EA SPORTS™ Madden NFL For the first time in more than two decades, Electronic Arts Inc. (NASDAQ: EA) today unveiled all-new gameplay features coming to Madden NFL 23 when the game startson August 19 worldwide. Madd NFL 23 offers the ultimate and authentic 11v11 football simulation experience. Driven by the game’s changing impact of FieldMEANING™ Gameplay System – a new foundation for consistent, ultra-realistic gameplay – only available on PlayStation®5 and Xbox Series X|S versions, players will have more control in their hands at all positions in every game of Madden NFL 23.

This press release is multimedia. See the full version here: https://www.businesswire.com/news/home/20220602005396/en/

Legendary coach John Madden looks back on the cover of EA SPORTS Madden NFL 23 (Graphic: Business Wire)

Thanks to new technologies and mechanics, FieldMEANINGdelivers a flow of play with realistic results on the pitch. FieldMEANINGleverages animation branching technology to allow hit it all, which redefines in-game physical interactions allowing players to fight for every inch and change the outcome of tackles – whether in the air or on the ground. It also provides new mechanics such as 360 cutsgiving players the ability to change direction on the fly while controlling ball carriers, and Skill-Based Passesa new way of passing that gives players the ultimate control to place the ball exactly where they want, with the power they want.

“Coach Madden lived and breathed the game of football and his commitment to authenticity is at the heart of EA SPORTS,” said Aaron McHardy, Executive Producer of Madden NFL Playability. “Coach Madden had a vision for the most realistic 11v11 football simulation possible and with FieldMEANING the game is more authentic this year and beyond. We can’t wait for our fans to feel the control they have over Madden NFL 23; the new features we built with FieldMEANING put the power in their hands to make big plays all over the court.”

Whatever the mode, FieldMEANING changes the gameplay through Madden NFL 23, giving players control to show off their skills on the sticks and be a game changer on the pitch. Coupled with a slew of core game system improvements that enhance football fundamentals like zonal coverage, passing rush and containing mobile quarterbacks, Madden NFL 23 reaches a new level of gameplay balance.

Presentation across the game is also getting a boost with new player body types, gear, and visuals rebuilt from the ground up using new full-body scans of NFL players and players for the first time. match day equipment. Hundreds of new player and manager likenesses were also scanned for launch, with more to be delivered throughout the season. Plus, new player-focused 4K touch cameras that recreate the latest NFL broadcasts, lead to unprecedented NFL realism.

Face of the franchise: The League is back with a stronger focus on building a legendary NFL career through five skill positions, including first-time cornerback, and goal to join the coveted Madden NFL Club 99. FieldMEANING brings player-specific mechanics throughout the game and because The League is a player-locked mode, no matter which position you choose in Face of the Franchise, there are new mechanics to master. New additions to Franchise mode include requests from top players like the all-new Free agency and Contract Improvements, Scouting Improvements and Hub Updates and Business logic, putting players in the owner’s chair to make decisions from the front office. Simplified team building and hands-on competition in Madden Ultimate Team™ allow fans to build the most powerful roster of current NFL stars and legends.

The fans who pre-order* it Madden NFL 23 All Madden Edition by August 18, you’ll get plenty of benefits, including 3-day early access, 4,600 Madden Points, double right to upgrade to PlayStation®5 or Xbox Series X|S**, challenges exclusive early access, and more. Additionally, eager fans who pre-order the Madden NFL 23 All Madden Edition by July 22 will also receive an All-Madden Team Elite Player item. EA Play members can also play Madden NFL 23 early with a 10-hour trial starting three days before launch and enjoy exclusive in-game benefits every month. Additionally, EA Play Pro members on PC can unlock the Madden NFL 23 EA Play Pro Edition* in preview and receive all EA Play rewards plus 500 Madden Points† with each monthly login. For more information on EA Play and EA Play Pro, see https://www.ea.com/ea-play. Conditions, limitations and exclusions apply. See EA Play Terms of Service for more details.

More details on Madden NFL 23 will be revealed throughout the summer, so stay tuned to the Madden NFL website and social media at Twitter, Facebook and instagram for the latest updates.

For Madden NFL 23 assets, visit: EAPressPortal.com.

Madden NFL 23 is developed in Orlando, Florida and Madrid, Spain by EA Tiburon and will be available worldwide on August 19 for PlayStation®4, PlayStation®5, Xbox One, Xbox Series X|S, PC via the EA app for Windows, Origin™, Steam® and Epic Games Store.

About Electronic Arts

Electronic Arts (NASDAQ: EA) is a global leader in interactive digital entertainment. The Company develops and provides online games, content and services for Internet-connected consoles, mobile devices and personal computers.

In fiscal year 2022, EA reported GAAP net revenue of approximately $7 billion. Based in Redwood City, CA, EA is known for its portfolio of high-quality, critically acclaimed brands such as EA SPORTS™ FIFA, Battlefield™, Apex Legends™, The Sims™, Madden NFL, Need for Speed™, Titanfall ™, Plants vs. Zombies™ and F1®. More information about EA can be found at www.ea.com/news.

EA SPORTS, Battlefield, Need for Speed, Apex Legends, The Sims, Titanfall and Plants vs. Zombies are trademarks of Electronic Arts Inc. John Madden, NFL, FIFA and F1 are the property of their respective owners and are used with permission.

*CONDITIONS AND RESTRICTIONS APPLY. SEE https://www.ea.com/games/madden-nfl/madden-nfl-23/buy/offer-disclaimers FOR MORE DETAILS.

**CONDITIONS APPLY. SEE http://www.ea.com/madden23-dual-entitlement FOR MORE DETAILS.

†Madden Points will be provided in monthly installments of 500 per month beginning August 16, 2022 and ending July 31, 2023. The first 500 Madden Points will be available from August 16, 2022 through August 31, 2022. Each subsequent monthly Madden Points drop will be available from the first of that month and ending on the last day of that month. Requires an active EA Play Pro subscription and monthly Madden NFL 23 login by the last day of each month to receive that month’s Madden Points. The maximum total Madden Points that will be awarded from August 16, 2022 through July 31, 2023 is 6,000. In order to receive 500 Madden Points each month, you must log in to Madden NFL 23 and maintain an active EA Play Pro subscription each month. August 2022 through July 2023. If you don’t maintain an EA Play Pro subscription or log in to Madden NFL 23 by the last day of a given month, you won’t receive that month’s Madden Points- the. Additional restrictions apply. See EA Play Terms of Service for details.

]]> MW | whitehot contemporary art magazine https://theidyllists.com/mw-whitehot-contemporary-art-magazine/ Tue, 31 May 2022 21:13:58 +0000 https://theidyllists.com/mw-whitehot-contemporary-art-magazine/

ThisPlay, exhibition view at Arter, 2022. Photos: Orhan Cem Çetin.

ThisPlay

Artery

From February 17 to April 9, 2022

By ZOË HOPKINSJune 2022

Who could the contemporary surrealists be? In Istanbul, Turkey, Arter may have found the answer to this question. Spilling over walls, ceilings and corners, over several floors, the “ThisPlay” exhibit is an unruly child. He is a whimsical adventurer who seeks new truths through absurdity and playfulness. The exhibition, curated by Emre Baykal, brings together an impressive list of fifty-nine artists – most of whom are from Turkey but several come from all over the world – to test the limits of children’s imagination and change the rules of the proverbial game of art history.

The exhibition is voluntarily, delightfully open. The title, itself a play on words (a game invoking playfulness, performance and play at the same time), does not submit to determinism. What exactly is the “this” that he defines? And does play refer to theatre, games or amusement in general? The exhibition delights in being all of these at the same time: it is only defined by its multiplicity and its free play. Similarly, the exhibited works escape any definition. They come to us as crooks, pushing back against expectations, rejecting logic and refusing to grow. We encounter glass ladders suspended in the air out of reach, chairs made of spaghetti, two clocks that face each other and only tell the time to themselves. You don’t have to come to the exhibition with the context to quickly realize that nothing in this exhibition is intended to conform to our definitions of ‘meaning’. Instead, they embody André Breton’s famous maxim that “the mind, placed before any kind of difficulty, can find an ideal outlet in the absurd”.

ThisPlay, exhibition view at Arter, 2022. Photos: Orhan Cem Çetin.

SECOND PICTURE

Held at the whim of the absurd, the spectators are challenged to submit to new (sur)realities. Repeatedly, objects are unfamiliar once and then again. Take for example the work of Finnish artist Maaria Wirkkala. For his sculpture installation Behind the Scenes (Water Piano) (2009), Wirkkala stripped a grand piano of all its keys and accessories and placed it on the floor – like a corpse – with its legs in the air. An upside-down, keyless piano is already a strange thing to encounter, but it’s made all too odd by the presence of a small zebra figurine that appears to be drinking water from a cavity in the piano’s belly. What kind of world is it when a toy animal uses more than one piano than we can? Works of art play, and their play, the subtle trick of it all, is directed against us.

Calcifying the metaphorical play that takes place here, the games appear as a literal reference throughout the exhibition. At Luchezar Boyadjiev Endspiel; or The good, the bad and the lonely features a chessboard that has been lengthened, the usual 64 squares multiplied to the point that it is impossible for a player to reach from one side of the board to the other. In Rise to score by Bulgarian artist Pravdoliub Ivanov, a basketball hoop – an almost mundane icon of sports games – finds itself penetrated by a massive upside-down palm tree. The work is a ridiculously absurd collection of ready-mades taken to the extreme. The basketball hoop is emptied of its use value – because who can shoot baskets when a tree has definitely taken the place of the ball? – and the palm tree is similarly mocked as it rears up on its head. Here, the game is doubled: the literal game of basketball is subject to the metaphorical and artistic game of Pravdoliub. It seems, once again, that the game is relentless.

ThisPlay, exhibition view at Arter, 2022. Photos: Orhan Cem Çetin.

I wrote that the artists of “ThisPlay” are the surrealists and dadaists of a new era. But it is not only that these artists take up the conceptual mantle of these movements, but also, they figure them in the material lexicon of the 21st century. While there is a fair amount of sculpture and assemblage, there is rigorous attention to new media works that encourage performance and participation, as well as kinetic installation and video work. A contemporary social reality also emerges from the luster of the game. In the video by Turkish artist Erkan Özgen lost body (2005), the camera follows the seemingly disembodied feet of a boy as he kicks a soccer ball. It seems that we are witnessing a scene of impersonal and universal recreation, that the absence of the boy’s face invites us to imagine ourselves participating in the action. But the video’s whimsical take on disembodied play is thwarted by class realities: as the boy dribbles the ball, we’re guided through a landscape of dirty, poor streets and the sounds of struggle. We are witnessing a dreamlike state of affairs, but Özgen insistently reminds us that we are also witnessing a work of social realism, testimony to the material reality of the world at this time. “This Play” is a game, but maybe it’s one we need to take seriously. WM

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‘Stri aa Aaig’, a realistic portrayal of life in the Mithila region of Nepal https://theidyllists.com/stri-aa-aaig-a-realistic-portrayal-of-life-in-the-mithila-region-of-nepal/ Sat, 28 May 2022 02:04:23 +0000 https://theidyllists.com/stri-aa-aaig-a-realistic-portrayal-of-life-in-the-mithila-region-of-nepal/

Amarendra Yadav, a well-known Maithili literary figure, has been active in Maithili literary activities for almost two and a half decades. He recently wrote ‘Stri aa Aaig’ (The Woman and the Fire), a collection of poems which won the 2020 Nepal Bidyapati Maithili Pandulipi (Manuscript) Prize. The collection of forty-two poems is steeped in themes of inspection – a search for truth and a search for beauty in the apron-like plains of Tarai.

The title of the collection refers to its central theme – the meaning of being a woman associated with its exploitation and its resistance. Not everyone can see the form of violence against women rooted in centuries-old cultural traditions. Madhushravani, a 15-day ritual observed by young brides is an example. During the ritual, the women fast all day, and on the last day of the ritual, the women’s knees are burned in a practice called “Temi”. The Maithili women and the fire come face to face from time to time – when the fire in the stove heats up, when the speeches get hot, when the men forcibly put out the “fire” from their bodies. The poet Amarendra modernizes the medieval cruelty of the same fire tradition and also attempts to formulate its historicity.

Many also compare ‘Temi’ with ‘Agni Pariksha’ of the Hindu goddess Sita. Since Sita did not object to the ritual, the poet says her love and loyalty to Rama should be questioned. It implies that Sita’s surrender to Rama is the root cause of the exploitation of women.

The particularity of this collection is its love for the language, its fidelity to the mother tongue of the author, Maithili. Yadav’s poetry is the voice of the times we live in. Such an aggressive poetic expression of devotion to his language is impossible to measure.

In the book, one can also see the poet’s perspective on change and the manifestations of attraction. As such, there are poems about love and sexual attraction. His love poems are full of village images in which the symbolic scent of the village has been carefully incorporated. The collection has a wide range of poems that will appeal to different tastes.

Another important social issue that the book addresses is class. In Mithila, what is considered caste uniqueness is, in fact, also class society. The poet Amarendra succeeded in reflecting the class society of Mithila through his poetic language.

This collection of poems explores themes of love, happiness, mania, excitement, despair, frustration, tragedy, anger, destruction and all the colors of life . The main tone of this collection is social realism. However, some poems are also indirectly inspired by socialist realism. In particular, the two poems “Bijayk Danka” and “Avatar” describe the struggle of the working class and aptly show the proletarian charm.

The main voices in this collection that permeate the poems seem to be women, exhausted and suffering humanity, the tragedy of a troubled civilization, Maithili’s worries, frustrations at women’s oppression and outrage, the Madhesi identity movement and past fascination with rural consciousness fleeing to the city.

The collection also contains six love poems and some very personal experiential poems. The complexities and pains of ethnic ties lie at the center of love poems.

The poet seems to have shown sensitivity towards Maithili in terms of the political, cultural and linguistic aspects of Madhes. Through his poems, he raised awareness of the struggle against government repression in the Madhes movement. He also identified Khas as a selfish high-caste ruler who ruthlessly discriminated against the people of Tarai-Madhes.

Poems about poetic sensibility, Maithili mother tongue and women are much more pointed. The poet has also expressed his concern and anger towards writers and politicians attracted to Maithili’s Hindi in ‘Hindi Rani’, ‘Maithili Mai’ and other poems.

In the poem “Hey Mahakabi”, anger and resentment are expressed against the way some people want to imprison Maithili and Vidyapati in Brahmanical narrowness and dominance in language conflict.

In five women-themed poems, various forms of exploitation of women were expressed with strong resentment, anger and hatred towards tradition. But all of the poems in this collection are also composed through a contemporary lens. The poems addressed to human beings today – the representatives of troubled humanity and troubled civilization trapped in the marketplace, religions and regime – are deeply introspective. With the exception of a few sentimental prose and general poems, almost all the poems are influential and dynamic. Ordinary love poems are elevated to another level due to their pictorial presentation.

Through this collection of poems, the poet traces his journey from adolescence to adulthood. Some of the poems also deal with global issues – the Kashmiri uprising against the ruling Indian dispensation, the struggles of the Tamils ​​in Sri Lanka and the murder of 12 Nepalese in Iraq in 2004. These poems show the poet’s sensitivity to global issues. In terms of craftsmanship, the presentation of traditional images and symbols from a new angle shows the ability and uniqueness of the poet. Although there is an ideological limit to the poet, there is still plenty of bounty in the collection of poems that advocate radical change.

This collection tries to cover the whole definition of poetry. As such, the poet was able to present his personal and general experiences candidly. In his love poems, reality and escape are discussed. Although written by the poet early in his writing career, the poems are artistic and deeply personal.

It talks about societal struggle and duality in society – love on one side and anger on the other. Understanding responsibility to society, he points out that structurally discriminatory politics is not only economic but also social and cultural. Through his poems, he defends the rights of women, the rights of the Madhesi and Maithili languages. However, even though old and traditional thought processes are heavily attacked, not all of the poems seem progressive. In the poem “Gaam”, the poet praises the status quo of a traditional and underdeveloped village. Similarly, in the poem “He Mahakavi”, Yadav salutes the poetic contribution of the poet Maithili Vidyapati, who is considered by many to be a regressive literary figure.

With the exception of a few proses, the majority of it in the book is influential and dynamic. Most poems do justice to the subjects they address.

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Conversations between friends: the frustrating awkwardness of a high-profile series | Television https://theidyllists.com/conversations-between-friends-the-frustrating-awkwardness-of-a-high-profile-series-television/ Tue, 24 May 2022 06:05:00 +0000 https://theidyllists.com/conversations-between-friends-the-frustrating-awkwardness-of-a-high-profile-series-television/

IIt was always unlikely Conversations with Friends, the new Hulu and BBC adaptation of Sally Rooney’s debut novel, could repeat Normal People’s crush. This latest show, another Hulu/BBC production based on Rooney’s best-selling second novel and released in April 2020, was the rare combination of the right material, the right time. Its simple, yet elegantly told premise – an on-and-off boy-girl love story spanning several years – and naturalist, really hot depictions of physical intimacy (one sex scene lasted 9 minutes and 24 seconds, a full third of the episode) struck a nerve during a period of mass isolation.

Conversations with friends are a harder sell. The book and series follow a thorny quadrangle of sex and friendship between two best friends/ex-lovers and an older married couple – neither of whom, in classic Rooney fashion, seem left to their own motives. It’s a darker entanglement than Normal People, made even more inaccessible by the characters’ psychological opacity and general aversion to speech. Key figures from Normal People – Irish production company Element Pictures, director Lenny Abrahamson and writer Alice Birch – strive to achieve a similar quiet, meditative realism on Conversations, with characters communicating more frequently and significantly, by SMS and by e-mail. (Rooney co-wrote the first half of Normal People, but has no official role in that series.)

Maintaining both Rooney’s reticent style and digital communication is a tall order, and the loss to translation is a palpable absence. Conversations with Friends is often beautiful and decidedly naturalistic – we see the characters in transit, dressing up, texting with clear time stamps for summer 2019 – but keeps its characters terse, two-dimensional and frustratingly impenetrable. It’s a curiously flat mix – pretty people in pretty places, decent acting (especially from protagonists Alison Oliver and Joe Alwyn), and well-choreographed, real-life sex scenes that usually turn cold. .

As in the book, the show takes the perspective of Frances, played by Irish newcomer Oliver, a 21-year-old college student who performs spoken word with Bobbi (American Honey’s Sasha Lane), catching the eye of the 30-something Melissa (Girls’ Jemima Kirke), an essayist and sophisticated. In the book, Frances and Melissa’s husband, Nick (Joe Alwyn), both awkward in social situations, flirts over email before embarking on an affair. On screen, this happens in two episodes with little to say between them beyond the spaced out sentences. “I will send you an e-mail. It will be full of compliments in full sentences,” Nick tells her in the first episode after watching her poetry show. “We won’t even need to make eye contact,” she replies. To quote Frances in any tense situation: OK.

Like Marianne of Normal People, Frances is a typical Rooney protagonist: intellectual, thin, confident when expressing her leftist views, aloof and mute when verbalizing her feelings. What can be detailed in the book as neuroticism presents itself on screen as a coldness, an inexplicable silence. Nick and Frances are two awkward people who often behave awkwardly and convey that discomfort — or, given how little discernment these characters have, emptiness — to the audience. Their many sex scenes, which like Normal People employed an intimacy coordinator, are expertly choreographed and filmed with sensitivity, but lack fundamental chemistry – motion without feelings. When Frances tells him, in bed during a vacation in Croatia with Bobbi and Melissa, that she doubted his interest in her because “you don’t always seem so enthusiastic”, he replies that it’s not her – “it it’s me, I’m just annoying.” She replies, “me too, of course”, and they kiss.

This awkwardness pervades the entire 12-episode season, which struggles to capture Rooney’s psychological insights into the absurd performance and isolation of millennial life. This is partly due to Rooney’s minimalist style – the prose is mostly action and dialogue, with characters unwilling to voice their reasoning. The novel leans heavily on digital communication – Rooney didn’t earn his reputation as a millennial author for nothing – which is notoriously difficult to bring to the screen. Someone staring at their phone is inherently non-cinematic.

That being said, I found the show’s unhurried portrayal of messaging – a publicly available chat history, watching characters use autocorrect, type, and erase – to be one of its elements. the most evocative, in part because it is still rare to see the weight of digital communication on our lives accurately reflected on screen. As the physical conversations drag on, leaving us wondering why either party wanted this affair or clung to this friendship, the texts — and the way Frances handled them — are telling. Her interactions with Nick and Bobbi – shown to the viewer and, for the longer messages, told aloud – testify to the gap between what is said and what is felt in the way conversations simply don’t. . Frances looks at her phone, scrolls through old messages (“Are we still having an affair?”), dwells on words from the past, becomes fixated. The texts have the thrill of specific intimacy (Nick’s texts in lowercase) and the thrill of secrecy. That they resonate with both Frances and the viewer – we’re also on the phone – adds dimension to her emotions, despair and confusion, flattened by her behavior in person.

Ironically, it’s the bottled conversations that get in the way of the show. Frances and Bobbi are supposed to be close, but there’s not much to their relationship beyond flimsy gestures of physical closeness, in brief sequences on the dance floor. It doesn’t help that Lane plays Bobbi as cold and inquisitive, which makes most people’s disdain for the character almost unbearable by the later episodes of the season. You have to earn the characters ability to say nothing for several hours, and Conversations with Friends doesn’t.

In other words, it’s like a lot of TV shows – flawed and sometimes unwieldy, sometimes functional and sometimes not, a jumble of elements tending to its illusion. That Normal People has transcended the leap to the screen is, in rearview mirror, remarkable and fortuitous. Conversations with friends took on a more difficult task and landed in the vast medium of television: enjoyable to watch but not as deep as they try to be, watchable but unlikely to cause much discussion.

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Theater troupe to host the second season of entertainment | Community https://theidyllists.com/theater-troupe-to-host-the-second-season-of-entertainment-community/ Sun, 22 May 2022 12:30:00 +0000 https://theidyllists.com/theater-troupe-to-host-the-second-season-of-entertainment-community/

A relatively new theater company in Norman is excited about its spring and summer season.

Already in its season, Co.llective Arts Productions (Co.Arts) will host two full productions over the next two months, as well as several staged readings.

Five students and alumni of the University of Oklahoma School of Drama – Morgan J. Simon, Alleese Eldridge, Tony Wilkinson, Diego De La Espriella and Audrey Armacost – founded the professional theater company in February 2021.

Simon, Artistic Director and Chairman of the Board, said the current production team includes himself, Eldridge, Wilkinson and Lauren Linsey. Armacost, which moved to another city, still sits on the board, and Espriella contributed to one of Co.Arts’ productions this season, “Palo Verde.”

The company’s season kicked off May 9 with staged readings of Devin Ricklef’s “American Realism,” a guided tour through the mythology of the abusive male archetype in American media, and Taylor’s “Sapphicana.” Yancey, a series of vignettes and musical interludes on the experience and identity of queer women in the South.

The complete production “Bro?” by Tad Broadbent will be played at 8 p.m. June 9-11 and 11 p.m. June 10 at the E. Frank Gilson Lab Theater, a 61-seat black box theater in the former UO Science Hall.

The play, starring five actors and lasting just over an hour with intermission, is a psychedelic comedy starring best friends and twenty-somethings Charles and Kile as they set out to explore self.

The complete production of Michael Darmon’s “The Process” premieres at 8 p.m. July 21-23 at the Gilson Lab Theater.

The play, featuring six actors and lasting two hours with intermission, is about 28-year-old Noah, who is diagnosed with terminal brain cancer and posts a message on Facebook inviting others to come. to visit him.

Both plays are most appropriate for mature audiences and cost $10 general admission and $5 student admission.

The theater company will also host a free “Ten Minute Reading Festival” during the Second Friday Art Walk on July 8, which will include 10-minute play readings from local and national authors.

The season will conclude with free staged readings at 8 p.m. on August 12 and 13 at the Sooner Theater studio of “Palo Verde,” a new musical created by Anne Heintz, Raul Rivera Pun, Espriella and Marissa Garcia on the seasoned Aurora teacher who encourages others to learn. The show is rated PG, but the content is intended for adults.

Simon said selections and cast are determined by producers each year through Oklahoma bidding and casting calls, and five plays this season were produced by OU School of Theater alumni.

He said the group was founded after a group of OU drama students and alumni decided to have another professional theater in the Oklahoma City metro area to nurture talent. local to stay local.

“We were aiming to create a company that could create new work and create places for these artists to find artistic homes without having to relocate,” said Simon, who graduated from the OU School of Drama last week.

He described working for the small business as very rewarding.

“It’s a lot of work for young artists, all with more full-time day jobs to follow. We challenge each other a lot,” he said. “We are very ambitious in everything we do, as it is important to us to create as many opportunities as possible for new pieces to be produced and for more artists to work with us in the region.”

Currently, the society is funded 100% by public donations and ticket sales to help cover artists’ stipends, materials, equipment and associated expenses.

Simon said Co.Arts has applied for 501©(3) nonprofit status, which is pending approval, and hopes to apply for local and state loans in 2023. The first year of the venture was largely crowd-funded, including personal donations from some producers. . The operating budget was $4,000.

He said fundraising efforts for each season begin on the first of each year. In 2021, the company raised just over $4,000.

So far this year, they’ve raised $6,000 of their $10,000 goal. Simon said Co.Arts is planning a few more fundraising efforts this summer to help achieve that goal, including a reception following “Palo Verde” performances.

This season, Simon said Co.Arts has been able to increase the amount of stipends for artists and schools in the metropolitan area where the artists come from, to show artists that “not only can they create work fulfilling and great in Oklahoma, but they can also earn a living wage for doing so.

Additionally, Simon expressed his thanks to the OU and the Sooner Theater for allowing the outpatient company to practice inside their facilities.

Going forward, he said the company plans to continue to grow, work with more emerging and early-career artists, create as many new theaters in Norman as possible, and eventually open their own performance space. theater so that they can be even more rooted in the Norman community. .

“Supporting local art and artists puts money directly into the pockets of these artists to continue working in Oklahoma and contributing to the arts ecosystem here,” Simon said. “Our mission at Co.Arts is to contribute to an ecosystem where Oklahoma artists export more work to the world than we import to Oklahoma. Every ticket and donation we receive enables these artists to build an arts home in Oklahoma.

For tickets or donation information, visit coartsproductions.com@CoArtsPro on social media or email co.artsproductions@gmail.com.

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