NC sex and language Warnings:
This story has many variants, religious and secular, scientific, economic and mystic. It is the story of human centrality, of a species destined to be lord of all it surveys, unconfined by the limits that apply to other, lesser creatures.
What makes this story so dangerous is that, for the most part, we have forgotten that it is a story.
Humans have always lived by stories, and those with skill in telling them have been treated with respect and, often, a certain wariness.
With stories, with art, with symbols and layers of meaning, we stalk those elusive aspects of reality that go undreamed of in our philosophy. The storyteller weaves the mysterious into the fabric of life, lacing it with the comic, the tragic, the obscene, making safe paths through dangerous territory.
Yet as the myth of civilisation deepened its grip on our thinking, borrowing the guise of science and reason, we began to deny the role of stories, to dismiss their power as something primitive, childish, outgrown.
Religion, that bag of myths and mysteries, birthplace of the theatre, was straightened out into a framework of universal laws and moral account-keeping.
The dream visions of the Middle Ages became the nonsense stories of Victorian childhood. In the age of the novel, stories were no longer the way to approach the deep truths of the world, so much as a way to pass time on a train journey. It is hard, today, to imagine that the word of a poet was once feared by a king.
Yet for all this, our world is still shaped by stories. Through television, film, novels and video games, we may be more thoroughly bombarded with narrative material than any people that ever lived.
What is peculiar, however, is the carelessness with which these stories are channelled at us — as entertainment, a distraction from daily life, something to hold our attention to the other side of the ad break. There is little sense that these things make up the equipment by which we navigate reality.
On the other hand, there are the serious stories told by economists, politicians, geneticists and corporate leaders. These are not presented as stories at all, but as direct accounts of how the world is. Choose between competing versions, then fight with those who chose differently.
The ensuing conflicts play out on early morning radio, in afternoon debates and late night television pundit wars. And yet, for all the noise, what is striking is how much the opposing sides agree on: So we find ourselves, our ways of telling unbalanced, trapped inside a runaway narrative, headed for the worst kind of encounter with reality.
In such a moment, writers, artists, poets and storytellers of all kinds have a critical role to play. Creativity remains the most uncontrollable of human forces: Words and images can change minds, hearts, even the course of history.
Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings. It is time to pick up the threads and make the stories new, as they must always be made new, starting from where we are.
Mainstream art in the West has long been about shock; about busting taboos, about Getting Noticed. This has gone on for so long that it has become common to assert that in these ironic, exhausted, post-everything times, there are no taboos left to bust.
But there is one. The last taboo is the myth of civilisation. It is built upon the stories we have constructed about our genius, our indestructibility, our manifest destiny as a chosen species.
It is where our vision and our self-belief intertwine with our reckless refusal to face the reality of our position on this Earth. It has led the human race to achieve what it has achieved; and has led the planet into the age of ecocide.
The two are intimately linked.
We believe they must be decoupled if anything is to remain. We believe that artists — which is to us the most welcoming of words, taking under its wing writers of all kinds, painters, musicians, sculptors, poets, designers, creators, makers of things, dreamers of dreams — have a responsibility to begin the process of decoupling.
We believe that, in the age of ecocide, the last taboo must be broken — and that only artists can do it. Ecocide demands a response.s noted in the Introduction, our intent was to continue to add to our collection of quote regardbouddhiste.com is the third such addition and includes assorted quote mines that do not share any unifying "theme," as did our previous additions: Darwin Quotes and Gould, Eldredge and Punctuated Equilibria Quotes.
Since these quotes are not from a single source, as . Landon was born full-term weighing g or 7 lbs. 7 oz, born by urgent cesarean due to fetal intolerance to labor after the water had broken.
Satire is a genre of literature, and sometimes graphic and performing arts, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement.
Although satire is usually meant to be humorous, its greater purpose is often constructive social . s noted in the Introduction, our intent was to continue to add to our collection of quote regardbouddhiste.com is the third such addition and includes assorted quote mines that do not share any unifying "theme," as did our previous additions: Darwin Quotes and Gould, Eldredge and Punctuated Equilibria Quotes.
Since these quotes are not from a single source, as was the case in the original Quote Mine. Fed Is Best An organization dedicated to supporting every mom to feed her child safely and without shame.
Whitman believed that American poetry would have to be essentially different from any poetry written previously—it would have to look different, sound different, and deal with different subject matter if it was to guide the development of a radical new American democracy.