1963. Petra.

https://www.bbc.com/ideas/videos/welcome-to-petra-a-little-bit-of-heaven-on-earth/p05zn715

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The blend of architecture and greening. Then we have

Writing early in the first century A.D., the Greek historian Strabo reported that while foreigners in Petra are “frequently engaged in litigation,” the locals “had never any dispute among themselves, and lived together in perfect harmony.” Dubious as that may sound, we do know that the Nabateans were unusual in the ancient world for their abhorrence of slavery, for the prominent role women played in political life and for an egalitarian approach to governing. Joukowsky suggests that the large theater in the Great Temple that she partially restored may have been used for council meetings accommodating hundreds of citizens.

Strabo, however, scorns the Nabateans as poor soldiers and as “hucksters and merchants” who are “fond of accumulating property” through the trade of gold, silver, incense, brass, iron, saffron, sculpture, paintings and purple garments. And they took their prosperity seriously: he notes that those merchants whose income dropped may have been fined by the government. All that wealth eventually caught the attention of Rome, a major consumer of incense for religious rites and spices for medicinal purposes and food preparation. Rome annexed Nabatea in A.D. 106, apparently without a fight.

Read more: https://www.smithsonianmag.com/history/reconstructing-petra-155444564/#HhkZ84fTQEhbOPzh.99

1962. Picasso’s Woman throwing a stone.

Intersting puzzle. Commentary on today’s identity politics.

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we have from Zizek’s Return To Plato As Materialist?

A Woman Throwing a Stone, a lesser known painting by Picasso from his surrealist period in the 1920s, offers itself easily to a Platonist reading: the distorted fragments of a woman on a beach throwing a stone are, of course, a grotesque misrepresentation, if measured by the standard of realist reproduction; however, in their very plastic distortion, they immediately/ intuitively render the Idea of a “woman throwing a stone,” the “inner form” of such a figure. This painting makes clear the true dimension of Plato’s philosophical revolution, so radical that it was misinterpreted by Plato himself: the assertion of the gap between the spatio-temporal order of reality in its eternal movement of generation and corruption, and the “eternal” order of Ideas.

 

We ned to nudge our thinking into .   terrains.