A small tool to view real-world ActivityPub objects as JSON! Enter a URL
or username from Mastodon or a similar service below, and we'll send a
request with
the right
Accept
header
to the server to view the underlying object.
{
"@context": "https://www.w3.org/ns/activitystreams",
"type": "OrderedCollectionPage",
"orderedItems": [
{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1584518880330518532",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "Hollow on the Inside ",
"to": [
"https://www.w3.org/ns/activitystreams#Public"
],
"cc": [
"https://www.minds.com/api/activitypub/users/965218579785981965/followers",
"https://www.minds.com/api/activitypub/users/1198011878933012484"
],
"tag": [],
"url": "https://www.minds.com/newsfeed/1584518880330518532",
"published": "2023-12-21T10:32:19+00:00",
"inReplyTo": "https://www.minds.com/api/activitypub/users/1198011878933012484/entities/urn:activity:1578587281197895696",
"source": {
"content": "Hollow on the Inside ",
"mediaType": "text/plain"
}
},
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1584518880330518532/activity"
},
{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1549748607626776581",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "What is a thing and object? <br /><br />There is a fundamental ontological difference between two kinds of entities: things and objects. Unlike things, objects are not identical to any fusion of particulars. Unlike things, objects do not have mereological parts. While <a href=\"https://www.minds.com/search?f=top&t=all&q=things\" title=\"#things\" class=\"u-url hashtag\" target=\"_blank\">#things</a> are <a href=\"https://www.minds.com/search?f=top&t=all&q=ontologically\" title=\"#ontologically\" class=\"u-url hashtag\" target=\"_blank\">#ontologically</a> innocent, objects are not. Objects are meaty. I defend the distinction between things and objects and provide an account of the <a href=\"https://www.minds.com/search?f=top&t=all&q=nature\" title=\"#nature\" class=\"u-url hashtag\" target=\"_blank\">#nature</a> of <a href=\"https://www.minds.com/search?f=top&t=all&q=objects\" title=\"#objects\" class=\"u-url hashtag\" target=\"_blank\">#objects</a>.<br /><br /><a href=\"https://artenlighten.com/kristie-miller-thing-and-object/\" target=\"_blank\">https://artenlighten.com/kristie-miller-thing-and-object/</a>",
"to": [
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],
"cc": [
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],
"tag": [],
"url": "https://www.minds.com/newsfeed/1549748607626776581",
"published": "2023-09-16T11:47:40+00:00",
"source": {
"content": "What is a thing and object? \n\nThere is a fundamental ontological difference between two kinds of entities: things and objects. Unlike things, objects are not identical to any fusion of particulars. Unlike things, objects do not have mereological parts. While #things are #ontologically innocent, objects are not. Objects are meaty. I defend the distinction between things and objects and provide an account of the #nature of #objects.\n\nhttps://artenlighten.com/kristie-miller-thing-and-object/",
"mediaType": "text/plain"
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},
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1549748607626776581/activity"
},
{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1518327323286310915",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "<br />Subject: Semiotics<br /><br />Artists: Ghania Zulqarnain , Numain Haider, Sameen Ahmed, Hareem Zafar <br /><br />Artist Statement:<br /><br /> Fragile Masculinity and the Societal Construction of Manhood WHAT IS FRAGILE ye MASCULINITY? Fragile masculinity is a term used to describe peculiar anxiety experienced by men who feel that doing certain things causes them to fall short of the societal ideal for manhood. While it is not regarded as a type of mental health condition on its own, fragile masculinity can affect a man's wellbeing. Main Idea: There are certain traits which are set by the society for men to be viewed as masculine which are “strength, courage, leadership and assertiveness”. Without these traits a man isn't considered manly enough and his gender is questioned. Our society doesn't even consider a man manly if he asks for help or he cries. And topic like these are often not discussed because they're not manly enough. A man can become aggressive and abusive when a female challenges his masculinity. Another category of males will feel nervous and hide in a shell because he feels less of a man. In some parts of the world, men are mocked when they cry, hold hands, hug, or wear pink attires.Men who display fragile masculinity often feel insecure about their masculinity and they try too hard by getting part of the activities that are overly aggressive. They get sensitive over the slightest of insults and perceive them as the personal attack on their masculinity. This leads them to cautious position and a fear of being called feminine is triggered. The concept of fragile masculinity is often connected with the gender norms and social expectations that limit the range of acceptable behavior for men. For instance, suppressing emotions, buying for men products, not wearing pink, not asking for help or any activity or interest that is seen as feminine. When these expectations are challenged, men with fragile masculinity may respond with aggression and fury. A very important thing to note down is that the concept or idea of fragile masculinity does not mean that all men react to these behaviors in the same way. Infact, it refers to the specific set of behaviours and attitudes that some men may exhibit as a response to the threats to their masculinity. It is a social construct that can affect both men and women by limiting them to express themselves. Media has played a great role in the portrayal of that masculine image or a manly man. Movies, TV shows, advertisements have contributed fairly enough for the portrayal of certain image and narrative of what “real man” is. This not only have a great impact on men but also the opposite gender is affected by it. It can lead to the reinforcement of the gender inequalities and the devaluation of the qualities that are associated with the femininity. However, it is important to notice that societal attitudes are evolving with time and there are ongoing efforts that are challenging the traditional gender norms. Process: The main reason that we chose this idea was to be a part that evolving society that is breaking the traditional gender norms and to educate a community and to create a n awareness about fragile masculinity. The idea was not generated right after we were assigned the task to create a video including signs and symbols but we were certain of one thing that we had to create something which is somehow different and isn't really talked about. After a lot of brainstorming and researching we came up with two to three ideas but this was the better out of all. We actually were confused about the execution of it and weren't certain about how it The main reason that we chose this idea was to be a part that evolving society that is breaking the traditional gender norms and to educate a community and to create a n awareness about fragile masculinity. The idea was not generated right after we were assigned the task to create a video including signs and symbols but we were certain of one thing that we had to create something which is somehow different and isn't really talked about. After a lot of brainstorming and researching we came up with two to three ideas but this was the better out of all. We actually were confused about the execution of it and weren't certain about how it might turn out. As we had to use objects to symbolize the term, it was relatively a complicated task to achieve.<br /><br /><br /><br /><a href=\"https://youtu.be/Dl8lTBv7NbU\" target=\"_blank\">https://youtu.be/Dl8lTBv7NbU</a>",
"to": [
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],
"cc": [
"https://www.minds.com/api/activitypub/users/965218579785981965/followers"
],
"tag": [],
"url": "https://www.minds.com/newsfeed/1518327323286310915",
"published": "2023-06-21T18:50:42+00:00",
"source": {
"content": "\nSubject: Semiotics\n\nArtists: Ghania Zulqarnain , Numain Haider, Sameen Ahmed, Hareem Zafar \n\nArtist Statement:\n\n Fragile Masculinity and the Societal Construction of Manhood WHAT IS FRAGILE ye MASCULINITY? Fragile masculinity is a term used to describe peculiar anxiety experienced by men who feel that doing certain things causes them to fall short of the societal ideal for manhood. While it is not regarded as a type of mental health condition on its own, fragile masculinity can affect a man's wellbeing. Main Idea: There are certain traits which are set by the society for men to be viewed as masculine which are “strength, courage, leadership and assertiveness”. Without these traits a man isn't considered manly enough and his gender is questioned. Our society doesn't even consider a man manly if he asks for help or he cries. And topic like these are often not discussed because they're not manly enough. A man can become aggressive and abusive when a female challenges his masculinity. Another category of males will feel nervous and hide in a shell because he feels less of a man. In some parts of the world, men are mocked when they cry, hold hands, hug, or wear pink attires.Men who display fragile masculinity often feel insecure about their masculinity and they try too hard by getting part of the activities that are overly aggressive. They get sensitive over the slightest of insults and perceive them as the personal attack on their masculinity. This leads them to cautious position and a fear of being called feminine is triggered. The concept of fragile masculinity is often connected with the gender norms and social expectations that limit the range of acceptable behavior for men. For instance, suppressing emotions, buying for men products, not wearing pink, not asking for help or any activity or interest that is seen as feminine. When these expectations are challenged, men with fragile masculinity may respond with aggression and fury. A very important thing to note down is that the concept or idea of fragile masculinity does not mean that all men react to these behaviors in the same way. Infact, it refers to the specific set of behaviours and attitudes that some men may exhibit as a response to the threats to their masculinity. It is a social construct that can affect both men and women by limiting them to express themselves. Media has played a great role in the portrayal of that masculine image or a manly man. Movies, TV shows, advertisements have contributed fairly enough for the portrayal of certain image and narrative of what “real man” is. This not only have a great impact on men but also the opposite gender is affected by it. It can lead to the reinforcement of the gender inequalities and the devaluation of the qualities that are associated with the femininity. However, it is important to notice that societal attitudes are evolving with time and there are ongoing efforts that are challenging the traditional gender norms. Process: The main reason that we chose this idea was to be a part that evolving society that is breaking the traditional gender norms and to educate a community and to create a n awareness about fragile masculinity. The idea was not generated right after we were assigned the task to create a video including signs and symbols but we were certain of one thing that we had to create something which is somehow different and isn't really talked about. After a lot of brainstorming and researching we came up with two to three ideas but this was the better out of all. We actually were confused about the execution of it and weren't certain about how it The main reason that we chose this idea was to be a part that evolving society that is breaking the traditional gender norms and to educate a community and to create a n awareness about fragile masculinity. The idea was not generated right after we were assigned the task to create a video including signs and symbols but we were certain of one thing that we had to create something which is somehow different and isn't really talked about. After a lot of brainstorming and researching we came up with two to three ideas but this was the better out of all. We actually were confused about the execution of it and weren't certain about how it might turn out. As we had to use objects to symbolize the term, it was relatively a complicated task to achieve.\n\n\n\nhttps://youtu.be/Dl8lTBv7NbU",
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},
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1518327323286310915/activity"
},
{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1516700432502624276",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "Everyday objects, Useful objects<br /><br />Karl Marx’s Grundrisse presents a rich theoretical framework grounded in historical materialism, providing a nuanced analysis of the social and economic dimensions of capitalism. While often studied for its economic insights, this work also offers valuable perspectives on the role of everyday objects and their influence on class relations and societal structures.<br /><br />Marx’s analysis revolves around the dialectical relationship between use-value and exchange-value. Use-value denotes the practical utility of an object, while exchange-value represents its market worth. Under the capitalist mode of production, useful objects undergo a transformation into commodities, subjecting them to the profit-oriented logic of capitalism.<br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=capitalism\" title=\"#capitalism\" class=\"u-url hashtag\" target=\"_blank\">#capitalism</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=art\" title=\"#art\" class=\"u-url hashtag\" target=\"_blank\">#art</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=socialism\" title=\"#socialism\" class=\"u-url hashtag\" target=\"_blank\">#socialism</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=karlmarx\" title=\"#karlmarx\" class=\"u-url hashtag\" target=\"_blank\">#karlmarx</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=objects\" title=\"#objects\" class=\"u-url hashtag\" target=\"_blank\">#objects</a> <br /><br /><a href=\"https://artenlighten.com/karl-marx-grundrisse-1858-everyday-objects-useful-objects-2/\" target=\"_blank\">https://artenlighten.com/karl-marx-grundrisse-1858-everyday-objects-useful-objects-2/</a>",
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"url": "https://www.minds.com/newsfeed/1516700432502624276",
"published": "2023-06-17T07:06:01+00:00",
"source": {
"content": "Everyday objects, Useful objects\n\nKarl Marx’s Grundrisse presents a rich theoretical framework grounded in historical materialism, providing a nuanced analysis of the social and economic dimensions of capitalism. While often studied for its economic insights, this work also offers valuable perspectives on the role of everyday objects and their influence on class relations and societal structures.\n\nMarx’s analysis revolves around the dialectical relationship between use-value and exchange-value. Use-value denotes the practical utility of an object, while exchange-value represents its market worth. Under the capitalist mode of production, useful objects undergo a transformation into commodities, subjecting them to the profit-oriented logic of capitalism.\n\n#capitalism #art #socialism #karlmarx #objects \n\nhttps://artenlighten.com/karl-marx-grundrisse-1858-everyday-objects-useful-objects-2/",
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1516700432502624276/activity"
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{
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"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1509282835272306695",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "<br />Bringing the War Home <br /><br /><br /><a href=\"https://artenlighten.com/martha-rosler-bringing-the-war-home/\" target=\"_blank\">https://artenlighten.com/martha-rosler-bringing-the-war-home/</a><br />",
"to": [
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],
"cc": [
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"url": "https://www.minds.com/newsfeed/1509282835272306695",
"published": "2023-05-27T19:51:08+00:00",
"source": {
"content": "\nBringing the War Home \n\n\nhttps://artenlighten.com/martha-rosler-bringing-the-war-home/\n",
"mediaType": "text/plain"
}
},
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1509282835272306695/activity"
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{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1508442765430624275",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "Steve Lafreniere, you weren’t at Douglas Crimps” Pictures” display, but many appear to believe that you were there, perhaps the reason was the later relationship with Helene Winer, Who was in the artist’s place before beginning Metro Pictures. Did you sense the Alliance with the artists in the ‘Pictures’ display?<br /><br />Richard Prince, I have nevermore said this earlier, though Doug Crimp really asked me to be in the display. I studied his essay and described him as it was for shit, that it appeared like Toland Barthes. We have not chatted since.<br /><br /><a href=\"https://artenlighten.com/david-evans-seven-types-of-appropriation-in-art/\" target=\"_blank\">https://artenlighten.com/david-evans-seven-types-of-appropriation-in-art/</a>",
"to": [
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"tag": [],
"url": "https://www.minds.com/newsfeed/1508442765430624275",
"published": "2023-05-25T12:12:59+00:00",
"source": {
"content": "Steve Lafreniere, you weren’t at Douglas Crimps” Pictures” display, but many appear to believe that you were there, perhaps the reason was the later relationship with Helene Winer, Who was in the artist’s place before beginning Metro Pictures. Did you sense the Alliance with the artists in the ‘Pictures’ display?\n\nRichard Prince, I have nevermore said this earlier, though Doug Crimp really asked me to be in the display. I studied his essay and described him as it was for shit, that it appeared like Toland Barthes. We have not chatted since.\n\nhttps://artenlighten.com/david-evans-seven-types-of-appropriation-in-art/",
"mediaType": "text/plain"
}
},
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1508442765430624275/activity"
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{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1508442407295782931",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "History of Signs",
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"url": "https://www.minds.com/newsfeed/1508442407295782931",
"published": "2023-05-25T12:11:34+00:00",
"attachment": [
{
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"url": "https://cdn.minds.com/fs/v1/thumbnail/1508442370406879236/xlarge/",
"mediaType": "image/jpeg",
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"width": 554
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"source": {
"content": "History of Signs",
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1508442407295782931/activity"
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{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1507294554515050499",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "New materialism is a term ascribed to a range of contemporary perspectives in the arts, humanities, and social sciences that have in common a theoretical and practical ‘turn to matter’. This turn emphasizes the materiality of the world and everything – social and natural – within it, and differentiates new materialisms from a post-structuralist focus upon texts, ‘systems of thought’ and ‘discourses’, focusing upon social production rather than social construction (Deleuze and Guattari, 1984: 4).<br /><br /><a href=\"https://artenlighten.com/new-materialism-theory/\" target=\"_blank\">https://artenlighten.com/new-materialism-theory/</a>",
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"url": "https://www.minds.com/newsfeed/1507294554515050499",
"published": "2023-05-22T08:10:25+00:00",
"source": {
"content": "New materialism is a term ascribed to a range of contemporary perspectives in the arts, humanities, and social sciences that have in common a theoretical and practical ‘turn to matter’. This turn emphasizes the materiality of the world and everything – social and natural – within it, and differentiates new materialisms from a post-structuralist focus upon texts, ‘systems of thought’ and ‘discourses’, focusing upon social production rather than social construction (Deleuze and Guattari, 1984: 4).\n\nhttps://artenlighten.com/new-materialism-theory/",
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1507294554515050499/activity"
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{
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"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
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"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1500390197601243146",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "Mesopotamian Culture sprouted from the valley between the two rivers, “The Euphrates” and “Tigris”, modern-day Iraq, and dates roughly from to 3500 b.c.–539 b.c.Mesopotamian Art and Architecture are less familiar in comparison to Egyptian or Greek Art and Architecture due to the diminishing of baked brick buildings and structures over time.<br /><br />The main reason for just a few early works to have been witnessed by us is probably that, unlike Egyptians, the Mesopotamian religion discarded the notions of preservation of the soul. Early on, during the rule of Sumerians, kings were buried along with their slaves and household, to keep them intact in the life hereafter. Proof of this is the graves of that period, from where ancient household items have been discovered and now are part of the British Museum collection.<br /><br /><br /><a href=\"https://artenlighten.com/mesopotamia-crete-and-egyptian/\" target=\"_blank\">https://artenlighten.com/mesopotamia-crete-and-egyptian/</a>",
"to": [
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],
"cc": [
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"tag": [],
"url": "https://www.minds.com/newsfeed/1500390197601243146",
"published": "2023-05-03T06:54:58+00:00",
"source": {
"content": "Mesopotamian Culture sprouted from the valley between the two rivers, “The Euphrates” and “Tigris”, modern-day Iraq, and dates roughly from to 3500 b.c.–539 b.c.Mesopotamian Art and Architecture are less familiar in comparison to Egyptian or Greek Art and Architecture due to the diminishing of baked brick buildings and structures over time.\n\nThe main reason for just a few early works to have been witnessed by us is probably that, unlike Egyptians, the Mesopotamian religion discarded the notions of preservation of the soul. Early on, during the rule of Sumerians, kings were buried along with their slaves and household, to keep them intact in the life hereafter. Proof of this is the graves of that period, from where ancient household items have been discovered and now are part of the British Museum collection.\n\n\nhttps://artenlighten.com/mesopotamia-crete-and-egyptian/",
"mediaType": "text/plain"
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},
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1500390197601243146/activity"
},
{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/965218579785981965",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/965218579785981965/entities/urn:activity:1497308740158754824",
"attributedTo": "https://www.minds.com/api/activitypub/users/965218579785981965",
"content": "The Meaning and Purpose of Paleolithic Art<br /><br />The precise meaning and purpose of Paleolithic art are still debated by scholars. Some believe that the art served a ritualistic or religious purpose, while others believe that it was simply a way for early humans to express themselves and communicate with one another.<br /><br />One theory is that Paleolithic art was created as a form of sympathetic magic, in which early humans believed that they could control the natural world through the representation of animals in their art. Others suggest that art was created as a way to record and transmit information about the natural world, such as the behavior and anatomy of animals.<br /><br />Regardless of its meaning, Paleolithic art remains an incredible testament to the creativity and ingenuity of our ancient ancestors. It offers valuable insights into the lives, beliefs, and artistic abilities of early humans, and it continues to inspire and captivate people today.<br /><br />However well I know with my waking thoughts that what I do to his picture makes no difference to my friend or hero, I still feel a vague reluctance to harm it. Somewhere there remains the absurd feeling that what one does to the picture is done to the person it represents. Now, if I am right there, if this queer and unreasonable idea really survives, even among us, into the age of atomic power, it is perhaps less surprising that such ideas existed almost everywhere among the so-called primitive peoples.<br /><br /><br /><a href=\"https://artenlighten.com/ancient-primitive-art/\" target=\"_blank\">https://artenlighten.com/ancient-primitive-art/</a>",
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"content": "The Meaning and Purpose of Paleolithic Art\n\nThe precise meaning and purpose of Paleolithic art are still debated by scholars. Some believe that the art served a ritualistic or religious purpose, while others believe that it was simply a way for early humans to express themselves and communicate with one another.\n\nOne theory is that Paleolithic art was created as a form of sympathetic magic, in which early humans believed that they could control the natural world through the representation of animals in their art. Others suggest that art was created as a way to record and transmit information about the natural world, such as the behavior and anatomy of animals.\n\nRegardless of its meaning, Paleolithic art remains an incredible testament to the creativity and ingenuity of our ancient ancestors. It offers valuable insights into the lives, beliefs, and artistic abilities of early humans, and it continues to inspire and captivate people today.\n\nHowever well I know with my waking thoughts that what I do to his picture makes no difference to my friend or hero, I still feel a vague reluctance to harm it. Somewhere there remains the absurd feeling that what one does to the picture is done to the person it represents. Now, if I am right there, if this queer and unreasonable idea really survives, even among us, into the age of atomic power, it is perhaps less surprising that such ideas existed almost everywhere among the so-called primitive peoples.\n\n\nhttps://artenlighten.com/ancient-primitive-art/",
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"content": "\"The White Balloon\" (1995)<br />The film was directed by Jafar Panahi, who is known for his socially conscious and politically charged films that explore the complexities of life in modern Iran. Panahi has directed several acclaimed films, including \"The Circle\" (2000), \"Crimson Gold\" (2003), and \"This Is Not a Film\" (2011), which was made while he was under house arrest for his political activism.<br /><br />\"The White Balloon\" was Panahi's second feature film, and it premiered at the Cannes Film Festival in 1995, where it won the Camera d'Or award for best first feature film. The film also went on to win several other international awards and was a critical and commercial success in Iran and abroad.<br /><br />The film was written by Abbas Kiarostami, who is considered one of the most important and influential filmmakers in Iran. Kiarostami wrote several of Panahi's early films and was instrumental in helping to establish the Iranian New Wave of cinema, which emerged in the 1980s and 1990s and was characterized by a focus on realism and social commentary.<br /><br />The film's cinematography was done by Farzad Jadat, who worked closely with Panahi to create a naturalistic and immersive visual style that captures the everyday rhythms of life in Tehran. The film's use of long takes and static shots helps to create a sense of realism and immediacy, while the use of natural light and color gives the film a warm and intimate feel.",
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"content": "\"The White Balloon\" (1995)\nThe film was directed by Jafar Panahi, who is known for his socially conscious and politically charged films that explore the complexities of life in modern Iran. Panahi has directed several acclaimed films, including \"The Circle\" (2000), \"Crimson Gold\" (2003), and \"This Is Not a Film\" (2011), which was made while he was under house arrest for his political activism.\n\n\"The White Balloon\" was Panahi's second feature film, and it premiered at the Cannes Film Festival in 1995, where it won the Camera d'Or award for best first feature film. The film also went on to win several other international awards and was a critical and commercial success in Iran and abroad.\n\nThe film was written by Abbas Kiarostami, who is considered one of the most important and influential filmmakers in Iran. Kiarostami wrote several of Panahi's early films and was instrumental in helping to establish the Iranian New Wave of cinema, which emerged in the 1980s and 1990s and was characterized by a focus on realism and social commentary.\n\nThe film's cinematography was done by Farzad Jadat, who worked closely with Panahi to create a naturalistic and immersive visual style that captures the everyday rhythms of life in Tehran. The film's use of long takes and static shots helps to create a sense of realism and immediacy, while the use of natural light and color gives the film a warm and intimate feel.",
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"content": "Fountain, The Urinal <br />Why this is the most Controversial Artwork in the History?<br /><br />Marcel Duchamp was a French artist who is widely regarded as one of the most influential artists of the 20th century. He was associated with several different art movements, including Dadaism and Surrealism, and his work often challenged traditional ideas about what art should be.<br /><br />In 1917, Duchamp submitted \"Fountain\" to an art exhibition in New York City. The piece was simply a urinal that Duchamp had purchased from a plumbing supply store, which he turned on its side and signed with the pseudonym \"R. Mutt.\" He submitted it to the exhibition under this pseudonym.<br /><br />The reaction to \"Fountain\" was swift and polarizing. Many people were outraged by the piece, seeing it as crude and vulgar. They argued that it wasn't art at all, but rather an offensive and disrespectful joke. Others, however, saw the piece as a bold and revolutionary work of art. They admired Duchamp's willingness to challenge the conventional boundaries of art and to raise provocative questions about what art is and what it can be.<br /><br />Despite the controversy, Duchamp's \"Fountain\" has since become an iconic piece of art history. It is widely regarded as a key work of the Dada movement, which rejected traditional artistic conventions and sought to create new forms of art that reflected the chaos and absurdity of the modern world. Duchamp's use of a mass-produced object as a work of art, and his choice to sign it with a pseudonym, also anticipated many of the conceptual art practices that emerged in the latter half of the 20th century.<br />",
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"content": "Fountain, The Urinal \nWhy this is the most Controversial Artwork in the History?\n\nMarcel Duchamp was a French artist who is widely regarded as one of the most influential artists of the 20th century. He was associated with several different art movements, including Dadaism and Surrealism, and his work often challenged traditional ideas about what art should be.\n\nIn 1917, Duchamp submitted \"Fountain\" to an art exhibition in New York City. The piece was simply a urinal that Duchamp had purchased from a plumbing supply store, which he turned on its side and signed with the pseudonym \"R. Mutt.\" He submitted it to the exhibition under this pseudonym.\n\nThe reaction to \"Fountain\" was swift and polarizing. Many people were outraged by the piece, seeing it as crude and vulgar. They argued that it wasn't art at all, but rather an offensive and disrespectful joke. Others, however, saw the piece as a bold and revolutionary work of art. They admired Duchamp's willingness to challenge the conventional boundaries of art and to raise provocative questions about what art is and what it can be.\n\nDespite the controversy, Duchamp's \"Fountain\" has since become an iconic piece of art history. It is widely regarded as a key work of the Dada movement, which rejected traditional artistic conventions and sought to create new forms of art that reflected the chaos and absurdity of the modern world. Duchamp's use of a mass-produced object as a work of art, and his choice to sign it with a pseudonym, also anticipated many of the conceptual art practices that emerged in the latter half of the 20th century.\n",
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