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Nowhere so much as in the case of the soul (and still more of the mind) if we are to understand it, must that feature of ‘ideality’ be kept in view, which represents it as the negation of the real, but a negation, where the real is put past, virtually retained, although it does not exist. The feature is one with which we are familiar in regard to our mental ideas or to memory. Every individual is an infinite treasury of sensations, ideas, acquired lore, thoughts, etc.; and yet the ego is one and uncompounded, a deep featureless characterless mine, in which all this is stored up, without existing. It is only when I call to mind an idea, that I bring it out of that interior to existence before consciousness. Sometimes, in sickness, ideas and information, supposed to have been forgotten years ago, because for so long they had not been brought into consciousness, once more come to light. They were not in our possession, nor by such reproduction as occurs in sickness do they for the future come into our possession; and yet they were in us and continue to be in us still. Thus a person can never know how much of things he once learned he really has in him, should he have once forgotten them: they belong not to his actuality or subjectivity as such, but only to his implicit self. And under all the superstructure of specialized and instrumental consciousness that may subsequently be added to it, the individuality always remains this single−souled inner life. At the present stage this singleness is, primarily, to be defined as one of feeling − as embracing the corporeal in itself: thus denying the view that this body is something material, with parts outside parts and outside the soul. Just as the number and variety of mental representations is no argument for an extended and real multeity in the ego; so the ‘real’ outness of parts in the body has no truth for the sentient soul. As sentient, the soul is characterized as immediate, and so as natural and corporeal: but the outness of parts and sensible multiplicity of this corporeal counts for the soul (as it counts for the intelligible unity) not as anything real, and therefore not as a barrier: the soul is this intelligible unity in existence − the existent speculative principle. Thus in the body it is one simple, omnipresent unity. As to the representative faculty the body is but one representation, and the infinite variety of its material structure and organization is reduced to the simplicity of one definite conception: so in the sentient soul, the corporeity, and all that outness of parts to parts which belongs to it, is reduced to ideality (the truth of the natural multiplicity). The soul is virtually the totality of nature: as an individual soul it is a monad: it is itself the explicitly put totality of its particular world − that world being included in it and filling it up; and to that world it stands but as to itself.
—  Hegel, Philosophy of Mind, trans. Wallace
How to Create a Gothic Style Bedroom

by Jen Stanbrook on Mar 4, 2014 • 8:34 am

Whilst many think that nothing would be more perfect than having a crisp and bright bedroom that looks like it was lifted straight off a home décor magazine, many others want something that is far more unique that has a splash of personality. Introducing elements of gothic inspired themes and features is a perfect way to bring life to an otherwise bland or characterless room; and in this guide we tell you just how you can achieve this within your bedroom.

Gothic style… choosing yours

Gothic style incorporates a wide range of varying furniture designs and is far more varied than many people believe; from dramatic, sweeping silver curtains coupled with furniture that has elegant lines, to rooms that feature a bold feature colours, black furniture and haunting pictures with Victorian styled frames. So before you start take your time to research what styles you like and what you think could be implemented well within your bedroom.

Get painting!

A gothic inspired room isn’t about painting your room totally black, it’s about using bold colours wisely; this is particularly important if your room is relatively small, as you’ll need to keep most of the walls light in order to keep the room looking spacious. Commonly used colours for gothic rooms include silver, deep purple, black, or possible royal red or blue.

Ornaments: Small but important details

Ornaments are both a cost-effective way of recreating a gothic feel as well as an authentic one; key pieces include large candles, dramatic candle holders, cushions in rich textures and plants. For the latter you shouldn’t be thinking green house plants, rather you should be looking at delicate flowers featured in metallic pots.

Add gothic inspired artwork

Large paintings with mysterious landscapes will work wonders for creating a gothic feel; it will also create interest and a focal point within your room. You may also wish to try ‘Phantom of the Opera’ based masked if you’re looking for a more minimal and less detailed feel.

Making up your bed gothic style

Given that your bed takes up the largest proportion of your room dressing it in bed sheets that create a mysterious and romantic feel is one of the best ways to achieve a gothic look. Try looking at dark sheets and covers with a silky finish and adorn your bed with contrasting textured cushions. Key colours to look at here are dark mauves, purples, reds and blues.

Buy a rug

Buying a rug can create maximum impact with minimal cost; you needn’t purchase brand new, just search your local rag market or check eBay for a uniquely patterned rug.

Key Boudoir based furniture

If you can only afford to decorate your bedroom one piece at a time then a key piece of Boudoir based furniture should be your first choice. For the most impact chose a large chair or chaise lounge featuring a deep, red texture fabric that is framed by black, detailed wood.

A gothic based bedroom can be something both stylish and also incredibly striking. So, take some guidance from the above tips and give it a try.

Image: Home Edit

Commissioned Post

Fragment from John Ruskin's "Modern Painters" Section II, Chapter IV "Of Truth of Space: First as Dependent on the Focus of the Eye"

Beautiful and ideal they may be; true they are not: and in the same way we might go through every part and portion of the works of the old masters, showing throughout, either that you have every leaf and blade of grass staring defiance at the mystery of nature, or that you have dead spaces of absolute vacuity, equally determined in their denial of her fulness. And even if we ever find (as here and there, in their better pictures, we do) changeful passages of agreeable playing color, or mellow and transparent modulations of mysterious atmosphere, even here the touches, though satisfactory to the eye, are suggestive of nothing; they are characterless; they have none of the peculiar expressiveness and meaning by which nature maintains the variety and interest even of what she most conceals. She always tells a story, however hintedly and vaguely; each of her touches is different from all the others; and we feel with every one, that though we cannot tell what it is, it cannot be any thing; while even the most dexterous distances of the old masters pretend to secrecy without having anything to conceal, and are ambiguous, not from the concentration of meaning, but from the want of it.

One-Room Living: A Shape-Shifting Studio Apartment in London by Meredith Swinehart

When a young, single Londoner set out to buy an apartment in the center of the city, she discovered she had two options: she could afford to buy a characterless one bedroom, or she could downsize to a studio and have some money leftover to make it her own.

She opted for a tiny studio—just 290 square feet—with high ceilings and charming details, and partnered with Jennifer Beningfield of Openstudio Architects (members of the Remodelista Architect/Designer Directory) to transform it into an adaptable living, working, and cooking space tailored exactly for her. The pair co-opted half of the high ceiling as a sleeping loft—adding another 80 square feet—then created a masterful modular plan for the main room.

Read more here: Issue 10 · Kitchen Composition · March 12, 2014

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https://www.youtube.com/watch?v=tkysIF4hc20

I just can’t resist sharing this and it seems a nice follow on from the Thamesmead video. This is the town I was born in. We lived in a council flat in one of the new neighbourhoods. One of my parents worked as a reporter at the Crawley Observer, featured in the film. I learned to swim in the pool. It’s been a very long time since we lived in the town and I can’t really remember any of my time there. These days Crawley is regarded by me and most people who live elsewhere as a boring, characterless, traffic congested and sometimes rough place (our baby sitters boyfriend got stabbed at night in the park…for example!), but this delightfully optimistic film shows the town in a new light for me. Even until recently i hadn’t made the connection between my own family’s beginnings and the utopian new towns movement. Maybe I should go back and have another look around…in the day, obvs.

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Brian Eno

Perfection, to me, is characterlessness

So i’ve heard there going to make a MINECRAFT MOVIE

What? 

 Of all the games that could make a good movie

Zelda, Dark Souls, Dark Siders

The pick a plotless, characterless sandbox game…

Dont get me wrong, i love minecraft but….

Ecuador graffiti & street art

Ecuador’s natural landscape is stunning - its buildings are not.  However, as if to counter the characterless concrete blocks, graffiti and street art are everywhere - in glorious technicolor.

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Kane’s a decent talker and all, don’t get me wrong, but he had such a better presence when he was a dude in a characterless mask, a presumed burn victim, who was bent on causing as much pain to as many people as possible.

No, It’s not you, you haven’t changed, but your mood might have. You were in a mood to throw me out of your life then. Now your in a mood to call me back.

Do you think I’m some puppet who will dance to your tunes?
I’m not a characterless woman . I have a identity of my own. I have some self respect.
Not only you, but even I have emotions.

But I have understood that you are not capable of loving anyone. The day you expressed that you had no feelings for me, my feelings for you died…. finished !

— 

Kajol’s speech from Hum Aapke Dil Mein Rehte Hain.

When the guy kicked her out with no remorse, then tries to call her home and apologise. -adding salt to her wounds..

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The kind of slickly characterless bods you might find on the pages of a supermarkets lifestyle magazine


As coffee shops now primarily house (i) harangued mums, and (ii) the between-meetings businessman diaspora, painting them as hubs of glamour and aspiration is a challenge. But not one that fazes online clothing store JD Williams, which in its new advert is using coffee-shop life to flog self-esteem to middle-aged women. The cafe in question is a converted something-or-other (ie it actually served a purpose, once), populated by the kind of slickly characterless bods you might find on the pages of a supermarkets lifestyle magazine.


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http://afia.tv/blog/how-to-write-charity-slogans-that-stick

- Think different.

- Making sure your story doesn’t go in one ear and out the other. You’ve got to make sure it’s sticky - I’ve been thinking along these lines already, I want something that has a real impact, not just plain and boring.

- More often than not they’re humdrum, characterless and self-evident - yup.

- Carers UK’s ‘the voice of carers’, Shelter’s ‘the housing and homelessness charity’ and Kidney Research UK’s ‘funding research to save lives’ aren’t sticky at all.

- A rallying cry that calls for bravery and imagination - A sticky slogan has the potential to create real enthusiasm for a cause. Maybe it can even change people’s behaviour.

- A charity’s name and slogan need to work together. Its slogan can even be a continuation or an extension of its name. - An interesting idea since “Kidscan ….” is a very nice name to make an extension upon, or mix into a phrase that can be used, or even end a sentence, a convenient and useful charity name in this aspect.

- Idiosyncratic + ruthless = unforgettable. Your slogan has to be idiosyncratic; that’s to say, it must be so individual and characteristically ‘you’ that it just can’t be mistaken for anyone else’s. And you’ve got to be ruthless in uncovering your story and finding the words to make it unforgettable.

- An overall useful link to look into - something sticky that has a good story and says something individual and empowering about a charity and is enough to “stick” and encourage a change in behaviour - this only reminds me of the banned adverts - these were enough to change peoples behaviour and make them react - hence why they are banned - I am slowly starting to see positive ideas however that can do the same which is a plus.

Chiang Mai & Rai

La and I finished up our tour of the north of Thailand by visiting it’s second largest city Chiang Mai and then spent a few pleasant days in Thailand’s northernmost city Chiang Rai.

By now it is pretty clear that Thailand’s cities are fairly characterless, with only a few notable traits. Chiang Mai for example is a more charming imitation of Bangkok, our (grubby) hostel found next to the Somphet market, where regular small groups of tourists, presumably on cooking courses, listen attentively to their well trained guide. All around us where quaint shops selling very hip (and expensive) clothes, fresh fruit smoothies, American breakfasts, and coffee.

We visited a Muay Thai Boxing event, something I had been very much looking to, it did not disappoint. Although it was clear that the fighters were all fairly amateurish to my untrained eye it was impressive all the same and I can not help but admire anyone who willingly punishes themselves to such a degree.

Rather inefficiently we also joined a tour of Chiang Rai: White Temple, Golden Triangle, boat trip, Tiger penis whiskey. Check, check, check, and check. The day endured about four or five hours of bus journeying which we then repeated when we left Chiang Mai for Chiang Rai again the next morning.

After Pak Chong, Chiang Rai gave LA and I a chance to plant a toe or two on off the beaten track. With very few tourists and only a small but lively night bazaar to keep us entertained in evening we slumbered around, careful not exert too much energy, evermore lazy.

We did visited an ostrich farm, which was fun while it lasted, but I suppose the highlight of the trip was visiting the Baan Dam museum or more ominously ‘The Black House’.

Created by Mr Miyagi lookalike Thawan Duchanee (longer hair, very stern looking) there are, according to Wikitravel ‘nearly 40 small black houses made of wood, glass, concrete, bricks, or terracotta in various unique styles and design scattered around the temple area.’ As I understand it the museum was built in direct contradiction to the popular White Temple and is magnificently Gothic, all animals carcasses and giant snakes. Hard to find, stubbornly out of the way and pleasingly eery.

…and that’s it or the north. Next we fly nearly two-thousand kilometers down south to tourist haven Phuket.

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