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    <title type="text">Culture Making Articles items tagged bible</title>
    <subtitle type="text">Culture Making Articles:Writing on Christianity and culture from Andy Crouch</subtitle>
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    <entry>
      <title>Der Bibelschreiber (The Bible writer)</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/der_bibelschreiber_the_bible_writer" />
      <id>tag:culture-makers.com,2025:author/1.2003</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
      </author>

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					<b>Nate: </b><em>?The work of German art-technology collective <a href="http://robotlab.de/bios/bible.htm">robotlab</a> (Matthias Gommel, Martina Haitz, Jan Zap) revolves around programming industrial robots to do rather human things, like <a href="http://robotlab.de/auto/portrait.htm">draw people's portraits</a>, play music with their servos, or pick up a calligrapher's pen and, over the course of seven months, write out all 66 books of the Bible. According to the artists' statement (as best I can figure out the German), Bios [bible] is concerned with questions of faith and technical progress, with particular attention to the role of writing in the development and transmission of both realms. Bios, of course, has allusions to scripture as the word of life, but also encompasses the more mundane computer-scientific acronym, basic input-output system—the code that underlies the liturgies of every robot monk.?</em><br />
		
		<a href="http://robotlab.de/bios/bible.htm"><img src="http://culture-making.com/media/bios00b.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://robotlab.de/bios/bible.htm">Der Bibelschreiber</a>," by robotlab, from the installation <a href="http://robotlab.de/bios/bible.htm">bios [bible]</a>, 2007 :: via <a href="http://pietmondriann.com">pietmondriann.com</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>The people’s Bible</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/the_peoples_bible" />
      <id>tag:culture-makers.com,2025:author/1.1953</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b>Andy: </b><em>?Sarah and Andrew Wilson are retracing Luther's journey from Erfurt and Rome, and blogging along the way about pilgrimage, church history, and church unity. Sarah being one of her generation's most talented theological writers (and Andrew apparently is no slouch either), the blogging is uncommonly insightful—I recommend it highly. One of today's entries includes this reminder of what made Luther's translation of the Bible unique and controversial.?</em><br />
		
		<p>It’s  well-known that Luther trans­lated the Bible into Ger­man, and it’s often  thought that he was the first one to do so. But that’s not true at all.&nbsp; In fact, there were 17—that’s right, 17—other trans­la­tions of the Bible  into Ger­man before Luther’s! . . . </p>
<p>Gutenberg’s  Bible was the first book printed in the West using mov­able type. But  while the tech­nol­ogy was new, the social sys­tem was still old. We have  in the Guten­berg Bible a clas­sic prod­uct designed for the nou­veaux  riches. His Bible promised to up-and-coming classes the same access to  writ­ten cul­ture afforded pre­vi­ously only by eccle­si­as­tics and nobility.</p>
<p>We  can see that in even in its style. Gutenberg’s work left the intial  let­ters unprinted with space left for illu­mi­na­tion. His printed Bible  was meant to sim­u­late the great illu­mi­nated Bibles owned by the nobil­ity  and rich monas­ter­ies, but for a bargain-basement price. That’s not to  say they were cheap. Gutenberg’s Bible would have cost the aver­age  worker a for­tune. It was still a pres­tige piece, not meant for study but  to dec­o­rate the col­lec­tions of those who wished to be iden­ti­fied with  book culture.</p>
<p>What  we see in Luther’s work is an entirely dif­fer­ent kind of thing. Here  was a whole Bible meant for study, for read­ing. It was designed to be  printed en masse, to be bought and dis­trib­uted to many peo­ple below the  nobil­ity, used in churches and schools for cat­e­ch­esis. We can see the  dif­fer­ence in the design. Older Bibles were large, folio-sized objects,&nbsp; printed in small num­bers. Luther’s was was small, mass-produced, and  affordable.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.hereiwalk.org/2010/08/25/designing-bibles??/">Designing Bibles</a>," by Andrew Wilson, <a href="http://www.hereiwalk.org/">Here I Walk</a>, 25 August 2010</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Fourth century Bible goes digital</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/fourth_century_bible_goes_digital" />
      <id>tag:culture-makers.com,2025:author/1.1511</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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			<b>Nate: </b><em>?Here's to the culture-keepers at the monastery on Mt. Siani!?</em><br />

<div class="author" style="font-size: -1">a <a href="http://blog.longnow.org/2009/07/06/4th-century-bible-goes-digital/">The Long Now Blog</a> post by Tex Pasley, 6 July 2009</div><hr />		
		<div style="float:right; padding:15px 5px 5px 5px"><img src="http://culture-making.com/media/codex_210.jpg" alt="image"></div><p>The Codex Sinaiticus, the oldest extant copy of the Bible, has been digitized by the Codex Sinaiticus Project, and can now be viewed online <a href="http://www.codexsinaiticus.org/en/project/">here</a>. The manuscript contains the entire New Testament, and most of the Old Testament, all in Greek (the original language of the New Testament). The physical manuscript is divided unequally among four locations in Britain, Germany, Russia, and Egypt, so the online version marks the first time the Codex can be viewed in its entirety in 100 years, when the first part was taken from St. Catherine’s Monastery on Mount Sinai.</p><p>The Rosetta Project Language Archive includes a <a href="http://www.archive.org/details/rosettaproject_grc_gen-1">Greek Septuagint</a> translation of the first three chapters of Genesis<a href="http://www.archive.org/details/rosettaproject_grc_gen-1"></a>. This landmark Greek translation holds great historical significance, since it was the preferred translation of most Early Christian writers, including Paul, and is the text quoted throughout the New Testament.</p>
		
	
			
			
			

		
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    </entry>    <entry>
      <title>Babel undone</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/babel_undone" />
      <id>tag:culture-makers.com,2025:author/1.1388</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
      </author>

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					<b><p>Nate</p>: </b><em>?I remember back in the mid–'90s when the first major online translater, <a href="http://en.wikipedia.org/wiki/Babel_Fish_(website)">Babelfish</a>, came online, promising to take submitted texts into and out of a handful of major European languages. Soon everyone and their roommate was coming up with hilarious <a href="http://tashian.com/multibabel/">round-trip translations</a>, cycling a phrase through two or three languages and then back to English to see what gibberish resulted. Fast-forward to today: the translation engines have expanded and matured. Yesterday I noticed that <a href="http://translate.google.com/">Google Translate</a> had added a number of minor European and not-so-minor Asian languages to their arsenal. So I did the obvious thing: cycled the story of the <a href="http://www.biblegateway.com/passage/?search=Genesis%2011:1-9&version=31;">Tower of Babel</a> through all 41 available languages (and 8 distinct alphabets). Most of the final story was, indeed, barely recognizable, but the end, Genesis 11:8–9, impressively survived—diminished, rounded, and worn smooth like a river stone.?</em><br />
		
		<p>So the LORD scattered them from there over all the earth, and they stopped building the city. That is why it was called Babel —because there the LORD confused the language of the whole world. From there the LORD scattered them over the face of the whole earth.</p>
<p><i>English–Albanian–Arabic–Bulgarian–Catalan–Chinese–Croatian–Czech–Danish–Dutch–Estonian–Filipino–Finnish–French–Galician–German–Greek–Hebrew–Hindi–Hungarian–Indonesian–Italian–Japanese–Korean–Latvian–Lithuanian–Maltese–Norwegian–Polish–Portuguese–Romanian–Russian–Serbian–Slovak–Slovenian–Spanish–Swedish–Thai–Turkish–Ukrainian–Vietnamese–English</i></p>
<p>Then stop developing city and region. Yes, more than one world language. Reverse direction in this area.</p><hr />
<div class="author" style="font-size: -1"></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>How to be a people</title>
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      <id>tag:culture-makers.com,2025:author/1.1283</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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		<p>The book of Leviticus, graveyard of so many good intentions to read straight through the Bible, is in fact an instruction manual for the creation of a distinct people in the context of the Ancient Near East. By observing its commands and prohibitions—both the broadly ethical, such as “you shall love your neighbor as yourself,” and the narrowly specific, such as keeping meat and milk separate in Israel’s diet—Abram’s descendants will be shaping their own distinctive cultural identity. Even the most puzzling, and seemingly arbitrary, features of the Levitical code require Israel to consciously depend on the God who revealed them, rather than simply absorbing and imitating the cultures that surround them.</p><br />
		<p><small>	&mdash;<i>Culture Making</i>, p.128</small></p>

	
			
			
			

		
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      <title>Jacob’s Dream (detail), by José de Ribera</title>
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      <id>tag:culture-makers.com,2025:author/1.1223</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b><p>Nate</p>: </b><em>?Madrid's Museo del Prado has made ultra-zoomable "gigapixel" scans of fourteen of their masterpeaces, including Velazquez's Las Meninas, Goya's Third of May, and Bosch's Garden of Earthly Delights, available through the Google Earth application. In truth it seems like a bit of clunky way to gain access (open Google Earth, zoom in on Madrid, find the museum), but once you're in you can zoom and pan across every crack and brushstroke. I loved this close-up of José de Ribera's surprisingly naturalistic 1639 depiction of Jacob's dream at Bethel, in which he saw the angels of God ascending and descending on what I always pictured as a sort of celestial shopping-mall escalator. But here we only see the face in repose.?</em><br />
		
		<a href="http://www.museodelprado.es/en/ingles/collection/on-line-gallery/on-line-gallery/obra/jacobs-dream/"><img src="http://culture-making.com/media/jacobsdream.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1"><a href="http://www.museodelprado.es/en/ingles/collection/on-line-gallery/on-line-gallery/obra/jacobs-dream/">Jacob's Dream</a> (detail), by José de Ribera, oil on canvas, <a href="http://www.museodelprado.es/en/ingles/collection/on-line-gallery/on-line-gallery/obra/jacobs-dream/">Museo Nacional del Prado</a>, :: via <a href="http://www.guardian.co.uk/artanddesign/2009/jan/14/museums-internet-google-earth-prado"><i>The Guardian</i></a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Can we expect to do better?</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/can_we_expect_to_do_better" />
      <id>tag:culture-makers.com,2025:author/1.916</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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		<p>There is nothing tidy about the cultural project of Israel. When we read it as a whole, rather than plucking selected passages to justify our culture wars or cultural withdrawal, the story is profoundly humbling. If God’s chosen people experienced such frustration and failure in creating and cultivating culture, how can followers of Christ, scattered among the nations, expect to do better?</p><br />
		<p><small>	&mdash;<i>Culture Making</i>, p.132</small></p>

	
			
			
			

		
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    </entry>    <entry>
      <title>Visualizing the Bible</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/visualizing_the_bible" />
      <id>tag:culture-makers.com,2025:author/1.911</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b><p>Nate</p>: </b><em>?This diagram arose from a collaboration between a Carnegie-Mellon Ph.D student and a Lutheran pastor to create a grand map of Biblical cross-references: "We wanted something that honored and revealed the complexity of the data at every level –- as one leans in, smaller details should become visible. This ultimately led us to the multi-colored arc diagram... The bar graph that runs along the bottom represents all of the chapters in the Bible. Books alternate in color between white and light gray. The length of each bar denotes the number of verses in the chapter. Each of the 63,779 cross references found in the Bible is depicted by a single arc - the color corresponds to the distance between the two chapters, creating a rainbow-like effect."?</em><br />
		
		<a href="http://news.nationalgeographic.com/news/2008/09/photogalleries/2008-best-science-photos/photo6.html"><img src="http://culture-making.com/media/BibleVizArc7small.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1"><a href="http://www.chrisharrison.net/projects/bibleviz/index.html">Visualizing the Bible</a>, by <a href="http://www.chrisharrison.net/">Chris Harrison</a> and Christoph Römhild :: via <a href="http://news.nationalgeographic.com/news/2008/09/photogalleries/2008-best-science-photos/photo6.html">National Geographic</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>The glory of a God who confounds even his own people’s expectations</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/the_glory_of_a_god_who_confounds_even_his_own_peoples_expectations" />
      <id>tag:culture-makers.com,2025:author/1.689</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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		<p>God’s intervention in human culture will be unmistakably marked by grace—it will not be the inevitable working out of the world’s way of cultural change, the logical unfolding of preexisting power and privilege. Wherever God steps into human history, the mountains will be leveled and the valleys will be raised up. “Then the glory of the Lord shall be revealed” (Isa. 40:5)—the glory of a God who confounds even his own people’s expectations of how culture changes.
</p><br />
		<p><small>	&mdash;<i>Culture Making</i>, p.130</small></p>

	
			
			
			

		
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    </entry>    <entry>
      <title>Everything from military strategy to songwriting</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/everything_from_military_strategy_to_songwriting" />
      <id>tag:culture-makers.com,2025:author/1.654</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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		<p>The whole of the Hebrew Bible, from Genesis 12 to Malachi 4, can be seen as a record of Israel’s education in faith—not “faith” as a purely spiritual or religious enterprise, but as a cultural practice of dependence on the world’s Creator that encompasses everything from military strategy to songwriting.</p><br />
		<p><small>	&mdash;<i>Culture Making</i>, p.131</small></p>

	
			
			
			

		
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    </entry>    <entry>
      <title>¡Viva Leviticus!</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/viva_leviticus" />
      <id>tag:culture-makers.com,2025:author/1.613</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b><p>Nate</p>: </b><em>?My own recent experience with Leviticus -- just reading through it, a page a day -- was less interactive but still astonishingly profound, partly for the utter surprising strangeness of certain passages. These days I'm getting similar thrills out of the more boring sections of 2 Kings, parts of which seem scripted for an Akira Kurusawa samurai epic.?</em><br />
		
		<p>If the rest of the congregation were to learn from our experiment, they had to be able to observe it beyond just hearing about it in sermons. Therefore, each participant opened a Facebook account and joined a Facebook group we named “Living Leviticus.” Participants posted journal entries, photos, comments, and videos. Daily online activity reminded us that we each were part of a (virtual) community of obedience. Because Facebook is a social networking site, a couple hundred people also joined the group and many more from all over the world logged in to read and comment. A cluster of Messianic Jews even got ahold of our page and began offering their own advice on how to keep Torah.</p>
<p>Among the many lessons from the month, rising to the top was the realization of how much we take God’s grace for granted. Because holiness can be difficult, we default to simply admitting we’re miserable sinners, get our grace, and then get on with living our lives the way we were going to live them anyway. As one participant put it, “I never before realized just how good I am at detaching God from my day-to-day life.” But if reading Leviticus only succeeds in making you feel bad for being a lousy Christian, you’ve missed its point. Leviticus isn’t in the Bible merely to show you your need for grace. It’s in the Bible to show you what grace is for. The ancient Israelites were already chosen people before God gave them the Law. The Law’s purpose was never to save anybody. Rather, its purpose was to show saved people how to live a saved life.
</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.christianvisionproject.com/2008/08/the_30day_leviticus_challenge.html">The 30-Day Leviticus Challenge</a>," by Daniel Harrell, <a href="http://www.christianvisionproject.com/">The Christian Vision Project</a>, 5 August 2008</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Moses writing in Eden</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/moses_writing_in_eden" />
      <id>tag:culture-makers.com,2025:author/1.605</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b><p>Nate</p>: </b><em>?I couldn't track down the exact reasoning why Moses would be writing in Eden, rather then just about it. I think it might best be viewed as a depiction of an inspired artist inhabiting his work. Perhaps Moses is writing the section of Genesis about Adam naming the animals ... making for a double-inhabitation. (Thanks to my art-history-savvy friend Ben for the suggestion.)?</em><br />
		
		<a href="http://www.google.com/search?q=leo+bible&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a"><img src="http://horizonsofthepossible.com/media/moses_writing_in_eden.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">"Moses Writing in Eden," from the Leo Bible (the earliest surviving illustrated Byzantine Bible), c.940</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>When is a Text not a Text? When is a Reader not a ‘Reader’?</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/when_is_a_text_not_a_text_when_is_a_reader_not_a_reader" />
      <id>tag:culture-makers.com,2025:author/1.448</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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		<p>[S]ometimes Mark’s Gospel has been called the first Christian book, in large part based on the reference in Mk. 13.14 where we find the parenthetical remark, “let the reader understand”, on the assumption that the ‘reader’ in question is the audience. But let us examine this assumption for a moment. Both in Mk. 13.14 and in Rev. 1.3 the operative Greek word is <i>ho anagin?sk?n,</i> a clear reference to a single and singular reader, who in that latter text is distinguished from the audience who are dubbed the hearers (plural!) of John’s rhetoric. . . .  [N]ot even Mark’s Gospel should be viewed as a text, meant for private reading, much less the first real modern ‘text’ or ‘book’. Rather Mark is reminding the lector, who will be orally delivering the Gospel in some or several venues near to the time when this ‘abomination’ would be or was already arising that they needed to help the audience understand the nature of what was happening when the temple in Jerusalem was being destroyed. Oral texts often include such reminders for the ones delivering the discourse in question. So in fact it is not likely the case that the reference to ‘a reader’ in the NT functions like it would in a modern text.  The reader in question is not the audience of the discourse or document, but rather its presenter who knows the text in advance and can appropriately and effectively orally deliver its content to the intended audience or audiences.
</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://benwitherington.blogspot.com/2008/06/when-is-text-not-text-when-is-reader.html">When is a Text not a Text? When is a Reader not a 'Reader'? </a>," by <a href="http://benwitherington.blogspot.com/">Ben Witherington</a>, 22 June 2008</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Disney&#8217;s 10 rules of theme&#45;park design</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/disneys_10_rules_of_theme_park_design" />
      <id>tag:culture-makers.com,2025:author/1.458</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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			<b><p>Nate</p>: </b><em>?'Mickey's 10 Commandments: They're our Bible for creating magic.'?</em><br />

<div class="author" style="font-size: -1">a <a href="http://feeds.boingboing.net/~r/boingboing/iBag/~3/316794129/disneys-10-rules-of.html">Boing Boing</a> post by Cory Doctorow, 21 June 2008</div><hr />		
		<p>In this Disney podcast, Chief Imagineer Marty Sklar enumerates Mickey’s 10 Commandments of Theme Park Design.<a href="http://adisney.go.com/music/podcasts/audio/site/gears_episode_17.mp3">MP3 Link</a>(<i>Thanks, <a href="http://www.linkedin.com/in/avisolomon">Avi</a>!</i>)
		
	
			
			
			

		
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