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    <title type="text">Culture Making Articles items tagged war</title>
    <subtitle type="text">Culture Making Articles:Writing on Christianity and culture from Andy Crouch</subtitle>
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    <updated>2025-01-03T22:54:05Z</updated>
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    <entry>
      <title>Toward a wartime mentality</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/toward_a_wartime_mentality1" />
      <id>tag:culture-makers.com,2025:author/1.1672</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 align="center"><a href="http://www.nytimes.com/interactive/2009/10/14/magazine/afghan-audioss/index.html"><img src="http://www.culture-making.com/media/afghanwar.jpg"></a></p><br />
<b>Christy: </b><em>?Photographer Peter van Agtmael casts fresh light on the landscape in Afghanistan in this photo essay for the New York Times. As I watched this slide show and listened to van Agtmael's narration, it struck me that, with social networking and the Internet, we in America have more access to information about this war than any previous one, yet it seems that we are less interested or concerned than past generations, for whom every aspect of daily life was affected by the "wartime mentality." I wonder what this says about us as a culture??</em><br /><hr />
<span style="font-size: -1">from "<a href="http://www.nytimes.com/interactive/2009/10/14/magazine/afghan-audioss/index.html">Two Weeks in Forever</a>," by Peter van Agtmael, <a href="http://www.nytimes.com/interactive/2009/10/14/magazine/afghan-audioss/index.html">New York Times</a>, 14 October 2009</span>
	
			
			
			

		
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    </entry>    <entry>
      <title>The secret of successful sauntering</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/the_secret_of_successful_sauntering" />
      <id>tag:culture-makers.com,2025:author/1.1665</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>?Earlier this week I was reading Dickens' <a href="http://books.google.com/books?id=z3QZAAAAYAAJ&printsec=frontcover&dq=dickens+bleak+house&ei=ViTWSuiEN4uolQTmg6moAQ#v=onepage&q=&f=false">Bleak House</a> on my phone while I was waiting in the doctor's office, and it was leaving me more and more lost. So on a whim I switched over to Thoreau's essay, which I must have first heard about in Rebecca Solnit's wonderful book <a href="http://www.amazon.com/dp/0140286012/cmcom-20">Wanderlust: A History of Walking</a> and immediately felt more and more found. Insurance companies should recommend this stuff. Just now, though, I've been struck less by the lovely prose and surprising etymologies than by when in American History his essay was published—that is, in the middle of the Civil War, a few months after Shiloh and a few months before Antietam, each battle having topped the sum of all previous American war deaths in a single day. An odd time for an essay on the wonders of getting away from people and out into the landscape? Or perhaps the perfect time.?</em><br />
		
		<p>I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,— who had a genius, so to speak, for sauntering: which word is beautifully derived &#8220;from idle people who roved about the country, in the Middle Ages, and asked charity, under pretence of going <i>à la Sainte Terre,</i>&#8221; to the Holy Land, till the children exclaimed, &#8220;There goes a <i>Sainte-Terrer,</i>&#8221; a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from <i>sans terre</i>, without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.</p><p>It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://books.google.com/books?pg=PA657&dq=%22go+forth+on+the+shortest+walk,+perchance%22&ei=2R_WSuTmMaCQkATxr72IAQ&id=ZqwxRc01fFkC&as_brr=1#v=onepage&q=%22go%20forth%20on%20the%20shortest%20walk%2C%20perchance%22&f=false">Walking</a>," by Henry David Thoreau, <a href="http://www.theatlantic.com"><i>The Atlantic Monthly</i></a>, June 1862</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Only a game, but not just a game</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/only_a_game_but_not_just_a_game" />
      <id>tag:culture-makers.com,2025:author/1.1604</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 highest form of cricket, the test match, can take five days to play and can still end in a draw. This maddens many a baseball-raised, extra-innings-till-it's-over outsider, but nonetheless, this columnist argues, it's a very good, and very human thing.?</em><br />
		
		<p>I don&#8217;t mean to be <i>too</i> flippant here, nor to accord cricket <i>too</i> great an importance in the great kerfuffle of life—I simply say that the reason that test match cricket exerts such a tremendous fascination is that is shares so many qualities with the greater, more terrible dramas that make up the human experience.</p><p>It does so in a condensed, peaceful form and triumph and failure on the cricket field are ultimately trivial but the game moves us just as great art moves us. To pretend otherwise is, it strikes me, silly. That is, sure it&#8217;s <i>only</i> a game but it&#8217;s also not just a game.</p><p>In other words, it is <i>life</i>. And like war, and life, that sometimes end in stalemate. Which means a draw. There are winning draws and losing draws and plain old dull draws. But without them, or the possibility of them, everything else is too neat, too simple and, in the end, too unsatisfactory.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.spectator.co.uk/alexmassie/5292426/on-clausewitz-and-the-art-of-cricket.thtml">On Clausewitz and the Art of Cricket</a>," by Alex Massie, <a href="http://www.spectator.co.uk/alexmassie/5292426/on-clausewitz-and-the-art-of-cricket.thtml">The Spectator</a>, 28 August 2009 :: via <a href="http://ayjay.tumblr.com/post/173828813/i-dont-mean-to-be-too-flippant-here-nor-to">More than 95 Theses</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Storytelling in sand</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/storytelling_in_sand" />
      <id>tag:culture-makers.com,2025:author/1.1593</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 align="center"><object width="420" height="340"><param name="movie" value="http://www.youtube.com/v/518XP8prwZo&amp;hl=en&amp;fs=1&amp;"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/518XP8prwZo&amp;hl=en&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="420" height="340"></embed></object></p><br />
<b>Christy: </b><em>?This remarkable and touching Ukrainian history lesson depicted in sand is a wonderful example of how art can do what words cannot. Watching the reactions of the audience members speaks volumes about how that nation's citizens are still feeling the emotional impact of WWII and Victory Day. After you've watched the video, get more of the story <a href="http://en.wikipedia.org/wiki/History_of_Ukraine#Ukraine_in_World_War_II">here</a>.?</em><br />
<hr /><span style="font-size: -1">from "<a href="http://www.youtube.com/watch?v=518XP8prwZo">Ukraine's Got Talent</a>," by Kseniya Simonova, posted 7 June 2009</span>
	
			
			
			

		
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    </entry>    <entry>
      <title>Fatigue, by Jay Walker</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/fatigue_by_jay_walker" />
      <id>tag:culture-makers.com,2025:author/1.1581</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>Christy: </b><em>?Jay Walker will be among the artists featured at "<a href="http://www.internationalartsmovement.org/blogs/IAMglobal/2009/08/976-reflections-of-generosity-toward-restoration-and-peace">Reflections of Generosity: Toward Restoration and Peace</a>," the exhibition opening at the <a href="http://www.drum.army.mil/sites/about/directions.asp">Fort Drum</a> Army base in upstate New York tonight to honor fallen troops and those currently engaged in the conflicts in Iraq and Afghanistan. I have seen this painting in person, and it is stunning. And very large.?</em><br />
		
		<a href="http://jaywalkergallery.com/artwork/176818_Fatigue.html"><img src="http://culture-making.com/media/fatigue.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://jaywalkergallery.com/artwork/176818_Fatigue.html">Fatigue</a>," oil on linen, 80" x 50" by <a href="http://jaywalkergallery.com/artwork/176818_Fatigue.html">Jay Walker</a>, 2007</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Information, patterns, and wool</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/information_patterns_and_wool" />
      <id>tag:culture-makers.com,2025:author/1.1565</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>?This is a sentence I wasn't expecting to see today. It's from a British WWII poster from the collection of the <a href="http://www.iwmcollections.org.uk/dbtw-wpd/exec/dbtwpub.dll?AC=NEXT_RECORD&XC=/dbtw-wpd/exec/dbtwpub.dll&BU=&TN=uncat&SN=AUTO2353&SE=6568&RN=4&MR=25&TR=0&TX=1000&ES=0&CS=1&XP=&RF=allResults&EF=&DF=allDetails&RL=0&EL=0&DL=0&NP=1&ID=&MF=WPENGMSG.INI&MQ=&TI=0&DT=&ST=0&IR=0&NR=0&NB=0&SV=0&BG=0&FG=0&QS=">Imperial War Museum</a>. I'm not sure if it actually represented an efficient way of getting socks to soldiers, or if its purpose was primarily for morale-building at home, to connect domestic acts with the struggle abroad. The very clever poster is by the great mid-century British designer <a href="http://en.wikipedia.org/wiki/Abram_Games">Abram Games</a>. The blog post where I found it is also quite wonderful, full of visual and thematic references linking knitting, espionage, escape, and stilt-walking (and more specifically, <a href="http://www.abelard.org/france/les_landes_forestry_industry1.php">knitting on stilts</a>).?</em><br />
		
		<a href="http://www.fedbybirds.com/2009/08/knitting_for_spies.html"><img src="http://culture-making.com/media/knitspy3.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.fedbybirds.com/2009/08/knitting_for_spies.html">Knitting for Spies</a>," by Emma Payne, <a href="http://www.fedbybirds.com/2009/08/knitting_for_spies.html">Fed by Birds</a>, 5 August 2009</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Art that heals wartime wounds</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/art_that_heals_wartime_wounds1" />
      <id>tag:culture-makers.com,2025:author/1.1556</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><i>During Sgt. Ron Kelsey&#8217;s year-long deployment in Basra, he began to think about how his work as a fine artist jived with his position as an Army officer. Pondering the power of art to heal emotional wounds, Kelsey approached IAM about partnering with the U.S. Army on an exhibition. Mako will speak, I will sing—and there will be plenty of beauty to help the healing begin. —Christy Tennant</i></p><p><a href="http://www.drummwr.com/index.htm">Reflections of Generosity: Fort Drum Arts and Crafts Center</a><br />August 19 - September 11</p><p>The “Reflections of Generosity – Toward Restoration and Peace&#8221; Art Exhibit is dedicated to the memory of the heroes of 9-11 and the Soldiers who have given their lives in recent conflicts. Experience the power of painting, sculpture, and song to facilitate restoration through generosity, community, and beauty. Join us at Arts and Crafts for artwork and performances that reflect the spirit of ongoing generosity demonstrated by the military. The opening night will feature Makoto Fujimura, Tim Sheesley, Pamela Moore, Sharon Graham Sargent, Claye Noch, Joyce Lee, Sandra Ceas, Jay Walker, Gerda Liebmann, C. Robin Janning, Craig Hawkins, John Russel, Charles A. Westfall Macon, Ron Kelsey, Kyla Kelsey, Christa Wells, and Christy Tennant.</p>

	
			
			
			

		
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    </entry>    <entry>
      <title>“Dispatchwork” in Berlin</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/dispatchwork_in_berlin" />
      <id>tag:culture-makers.com,2025:author/1.1530</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>?The German artist Jan Vormann uses Lego bricks to fill in—but also, inevitably, to focus our attention on—holes in the façades of buildings, created in the case of this Berlin building by shells in World War II. It's an incongruous gesture, playful and plastic in the face of the mute testimony to suffering and time offered by Old Europe's architecture.?</em><br />
		
		<a href="http://www.janvormann.com/testbild/dispatchwork-berlin/"><img src="http://www.culture-making.com/media/dispatchwork.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.janvormann.com/testbild/dispatchwork-berlin/">Dispatchwork Berlin</a>," by Jan Vormann:: via <a href="http://laughingsquid.com/in-berlin-lego-bricks-fill-real-world-cracks/">Laughing Squid</a> (thanks Agnieszka)</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>The abomination of desolation</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/the_abomination_of_desolation" />
      <id>tag:culture-makers.com,2025:author/1.1107</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>Andy</p>: </b><em>?Think about the most shameful thing that has ever happened to you. It may have been years, even decades, ago, but I guarantee it still causes almost physical pain to remember it. Now consider the cultural effects of a calculated program of shame, directed not so much at individuals as at what they hold most sacred. Even if one does not grant unquestioned credibility to all the sources Michael Peppard draws upon in this sobering article, the United States' casual use of "religious torture" at Abu Ghreib and Guantánamo may have unintended consequences for millennia to come.?</em><br />
		
		<p>The United States has desecrated what most Muslims consider God’s presence on earth (the Qur’an), drowned out the call to prayer with the American anthem and rock songs, used grotesque sexual assaults to undermine piety, mocked religious holidays, and engaged in freelance proselytism.</p><p>How long can we expect the memory of such abuse to endure? Does it qualify as torture according to the definition offered in John Yoo’s famous Justice Department memo—“significant psychological harm of significant duration, e.g., lasting for months or even years”? History suggests that the collective memory of this abuse will last far longer than that. Millennia ago, another religious group with strict codes of ritual purity and devotion to God underwent physical and religious torture at the hands of occupying forces, prompting insurrection. More than two thousand years later, the events accompanying that revolt are still commemorated annually. The people are the Jews, and the holiday is Hanukkah.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.commonwealmagazine.org/article.php3?id_article=2390">The Secret Weapon: Religious Abuse in the War on Terror</a>," by Michael Peppard, <a href="http://www.commonwealmagazine.org/">Commonweal</a>, 5 December 2008</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Correct method to raise a soldier</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/correct_method_to_raise_a_soldier" />
      <id>tag:culture-makers.com,2025:author/1.918</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>?From the New York Public Library's Digital Gallery, which has over 600,000 images from the NYPL's collections. I was searching around with keywords like gesture and posture, and found this: "Three soldiers carry a fourth to demonstrate one stage of the correct method to raise a soldier from a reclining position for carrying." It's clearly not so easy to hoist a comrade and then hold absolutely still for the many seconds necessary to make an 1860s photo.?</em><br />
		
		<a href="http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=444865&imageID=1150162&word=posture&s=1&notword;=&d;=&c;=&f;=&lWord;=&lField;=&sScope;=&sLevel;=&sLabel;=&total=8&num=0&imgs=12&pNum;=&pos=7#"><img src="http://culture-making.com/media/woundedcarry.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=444865&imageID=1150162&word=posture&s=1&notword;=&d;=&c;=&f;=&lWord;=&lField;=&sScope;=&sLevel;=&sLabel;=&total=8&num=0&imgs=12&pNum;=&pos=7#">Lifting a wounded or sick soldier</a>," photographer unknown, from <i>United States Sanitary Commission records (1861-1865)</i>, <a href="http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=444865&imageID=1150162&word=posture&s=1&notword;=&d;=&c;=&f;=&lWord;=&lField;=&sScope;=&sLevel;=&sLabel;=&total=8&num=0&imgs=12&pNum;=&pos=7#">NYPL Digital Gallery</a> :: via <a href="http://www.typography.com/ask/showBlog.php?blogID=136">Hoefler & Frere-Jones</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Security wall mural, Sadr City</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/security_wall_mural_sadr_city" />
      <id>tag:culture-makers.com,2025:author/1.799</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>?AP caption: "A painter decorates a security wall sealing off the southern section of the Shiite enclave of Sadr City in Baghdad, Iraq on Wednesday, Aug. 6, 2008." I love the particular choice of scenery, which I'd guess is as foreign to Baghdadis as ... well, as this particular type of wall itself.?</em><br />
		
		<a href="http://www.boston.com/bigpicture/2008/09/scenes_from_iraq.html#photo24"><img src="http://culture-making.com/media/iraq25.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">AP Photo by Karim Kadim, from "<a href="http://www.boston.com/bigpicture/2008/09/scenes_from_iraq.html#photo24">Scenes from Iraq</a>," <a href="http://www.boston.com/bigpicture/">The Big Picture</a>, 3 September 2008</div>		
	
			
			
			

		
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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>ah&#45;SEE&#45;sh?</title>
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      <id>tag:culture-makers.com,2025:author/1.628</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>?Now, I guess, I can pray for peace with the proper pronunciation.?</em><br />

<div class="author" style="font-size: -1">a <a href="http://www.languagehat.com/archives/003213.php">languagehat.com</a> post, 10 August 2008</div><hr />		
		<p>I&#8217;m not going to get into the politics of the mess in the north Caucasus except to say that there are no good guys, but I have to get a minor linguistic gripe off my chest: all the news broadcasts are talking about &#8220;ah-SET-ee-?&#8221; and the &#8220;ah-SET-ee-?nz.&#8221;&nbsp; What&#8217;s next, cro-AT-ee-?? ve-NET-ee-?n art?&nbsp; I realize none of the broadcasters and reporters have ever heard of Ossetia before, but you&#8217;d think the patterns of English spelling would clue them in to its proper pronunciation, ah-SEE-sh?.&nbsp; I suppose it&#8217;s another case of hyperforeignification, like &#8220;<a href="http://www.languagehat.com/archives/002167.php">bei-ZHING</a>.&#8221;</p>
<p>Incidentally, <a href="http://en.wikipedia.org/wiki/Ossetic_language">Ossetian</a> (as every schoolboy knows) is an Iranian language, and the Ossetian name for Ossetia is <i>Iryston</i>, based on <i>Ir</i>, the self-designation meaning &#8216;an Ossetian&#8217; (well, actually it specifically refers to the majority group of Ossetians, and the minority Digors resent the use of that name for the whole people, causing some Ossetes to identify with the medieval Alans and call Ossetia &#8220;Alania,&#8221; but let&#8217;s set that aside—if you&#8217;re interested in the messy politics of Caucasian ethnic nomenclature and the Alans, read &#8220;The Politics of a Name: Between Consolidation and Separation in the Northern Caucasus&#8221; [<a href="http://src-h.slav.hokudai.ac.jp/publictn/acta/23/02_shnirelman.pdf">pdf</a>, <a href="http://64.233.167.104/search?q=cache:LiJb-rfqtZ4J:src-h.slav.hokudai.ac.jp/publictn/acta/23/02_shnirelman.pdf">html</a>] by Victor Shnirelman); it used to be thought that <i>Ir</i> was derived from <i>*arya-</i> &#8216;Aryan&#8217; and thus related to <i>Iran</i>, but Ronald Kim denies this in &#8220;On the Historical Phonology of Ossetic: The Origin of the Oblique Case Suffix,&#8221; <i>Journal of the American Oriental Society</i>, Vol. 123 (Jan. - Mar. 2003), pp. 43-72 (<a >2.0.CO;2-5&#8221;>JSTOR</a>); the relevant discussion is on p. 60, fn. 42.&nbsp; Kim says it may be from a Caucasian language, or it may be descended from PIE <a href="http://www.bartleby.com/61/roots/IE588.html"><i>*wiro-</i></a> &#8216;man.&#8217;&nbsp; (The word <i>Ossetian</i> is based on a Russian borrowing of the Georgian term <i>Oseti</i>.)</p>
		
	
			
			
			

		
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    </entry>    <entry>
      <title>Ugandan hip&#45;hop doc</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/ugandan_hip_hop_doc" />
      <id>tag:culture-makers.com,2025:author/1.600</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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			<p align="center"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/SvRXmm6ZNxk&amp;hl=en&amp;fs=1"></param><param name="wmode" value="transparent"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/SvRXmm6ZNxk&amp;hl=en&amp;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" wmode="transparent" width="425" height="344"></embed></object>
</p><br />
<b><p>Nate</p>: </b><em>?Trailer for "Diamonds in the Rough," a documentary about anti-war and -corruption themed hip-hop in Uganda. Looks fascinating and inspiring, though I'm just a tad troubled that, as with Wim Winders' wonderful "Buena Vista Social Club" film, the transcendent climax involves the musicians from the developing world making a triumphant and adulatory tour in the West.?</em><br />
<hr /><span style="font-size: -1">via <a href="http://www.boingboing.net/2008/08/02/diamonds-in-the-roug.html">Boing Boing</a></span>
	
			
			
			

		
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    </entry>    <entry>
      <title>Arthur Galston (1920–2008)</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/arthur_galston_19202008" />
      <id>tag:culture-makers.com,2025:author/1.474</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>

      <content type="html"><![CDATA[
        
			
			
			

					<b><p>Andy</p>: </b><em>?One of the most vexing things about being an experimental scientist is the possibility of your discoveries—as with all cultural goods—having horrific unintended consequences, as this obituary of the inventor of a precursor of Agent Orange reminds us.?</em><br />
		
		<p>He once thought, he said, that the way to be a moral scientist was to avoid projects with bad applications. But he had changed his mind. The vital thing was to stay involved; to speak, write, testify, and make sure that research was turned not to evil, but to good. For more than 20 years he taught bioethics at Yale, a course he had started and which, by his last year, was one of the most popular in the college. His country forgot, but he did not, the mangrove ghosts.

</p><hr />
<div class="author" style="font-size: -1">from ”<a href="http://www.economist.com/obituary/displayStory.cfm?source=hptextfeature&story_id=11613789">Arthur Galston, botanist, died on June 15th, aged 88</a>,” <a href="http://economist.com/"><i>The Economist</i></a>, 26 June 2008</div>		
	
			
			
			

		
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