#Modernity,
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theatremuseuk.bsky.social
#REVIEW - Batty! - The Playhouse, Sheffield (as a part of the Sheffield Open Works Festival)
@sheffieldtheatres

''Batty!' is an incredibly charming play'

For more information about the tour of 'Batty!' go to - https://www.victoriafirth.co.uk/batty/

*LINK IN BIO*
Batty! – The Playhouse, Sheffield (as a part of Sheffield Open Works Festival)
Batty! is an incredibly charming play. Victoria Firth, as both the writer and the superb central performer, captures the audience's attention from the very first sentence of Batty! and keeps that attention all the way to the end. What transpires over the next hour, and five minutes are a series of charming interludes between Firth’s Batty and her companion, Wildthing played by Kathryn Hankle. These interludes point to wider themes of women and witchiness, modernity and wilderness. The mix between songs, anecdotes, jokes, and a couple of truly shocking moments. The two strong central performances anchor this play.
theatremuseuk.org
October 3, 2026 at 12:17 PM
moneyontheleft.bsky.social
While standard critiques of the barter myth emphasize its lack of empirical support, this article advances a more capacious approach that situates the myth within the conceptual formation of economic modernity itself.

moneyontheleft.org/2026/06/20/t...
October 3, 2026 at 12:13 PM
ernekid.bsky.social
It’s odd how so many adaptations of Dracula doesn’t take advantage if it’s setting in the 1890s, a time where the world was on the cusp of what we think of as modernity. It’s entirely plausible that Dracula could have driven an automobile
October 3, 2026 at 10:36 AM
jaipurwoods.bsky.social
Elevate your living space with our exquisite White Marble Table with Gold Base, a stunning centerpiece that seamlessly blends elegance and modernity.
October 3, 2026 at 10:05 AM
librus107.bsky.social
Going to just appreciate finally catching up to modernity after so long for a little while, though. Finally run some actually modern games on this. Live the good graphics life.

Stand in awe at my breathtaking creation. You know the whole deal.
October 3, 2026 at 8:52 AM
badsocialism.bsky.social
It's kind of no wonder the writers got bored. There was basically no direction left to go because they'd run out of road to lay, and they seemed disinterested in alluding to or interrogating modernity - how can you have nothing to say about modern crises and conflicts? Let alone gender and identity.
October 3, 2026 at 8:45 AM
duifjevrijdenker.bsky.social
jeffrich.substack.com/p/the-other-...

Burning Archive

Het andere Europa: 1848 en het overgangsritueel naar de liberale moderniteit
Hoe de eerste kleurenrevoluties in Europa geen mislukkingen, farceen of vervalsingen waren.
The Other Europe: 1848 and the Rite of Passage of Liberal Modernity
How Europe's first colour revolutions were not failures, farces, nor fakes.
jeffrich.substack.com
October 3, 2026 at 7:14 AM
buliamti.bsky.social
And the global economy is fueled by war. It won't last.

thehonestsorcerer.substack.com/p/rising-com...
Rising Complexity Cannot End In Any Other Way
Modernity demands a constant growth in energy and material inputs - what could possibly go wrong with that?
thehonestsorcerer.substack.com
October 3, 2026 at 7:00 AM
marbleliberal.bsky.social
And emerged in reaction to the removal of such (Jewish emancipation is why Jews were associated with modernity / this was especially interesting in Germany which was next to the French revolution but didn't participate)
October 3, 2026 at 5:35 AM
errepi.bsky.social
Welcome to modernity
October 3, 2026 at 5:33 AM
doowopcinderblock.bsky.social
Guessing it has something to do with the early Evangelical movement getting upset with modernity in the early 20th century. It's become entrenched because it's not a newer translation nor is it in Latin, so semi-accessible.
October 3, 2026 at 4:54 AM
bradjarvis.bsky.social
The great Ponzi scheme faces collapse. thehonestsorcerer.substack.com/p/rising-com...
Rising Complexity Cannot End In Any Other Way
Modernity demands a constant growth in energy and material inputs - what could possibly go wrong with that?
thehonestsorcerer.substack.com
October 3, 2026 at 4:53 AM
themarginalian.org.web.brid.gy
The Dandelion and the Meaning of Life: G.K. Chesterton on How to Live in Wonder
Recovering the "forgotten blaze or burst of astonishment at our own existence" alive in the back of our modernity-deadened minds.
www.themarginalian.org
October 3, 2026 at 5:50 AM
sprawlbug.bsky.social
reject modernity
return to squawk
October 3, 2026 at 3:39 AM
nonwayne.bsky.social
I feel pretty obliged to plug a journal issue that contains a review of my book; a review by me; and several pieces by friends (one of which cites my work)! Congratulations all!

affirmationsmodern.com/index.php/up...
Vol. 10 No. 1 (2026): Modernism and Modernity at the Edge | Affirmations: of the modern
affirmationsmodern.com
October 3, 2026 at 2:40 AM
magicsherep.bsky.social
haha well we pass around the tin every christmas so I get it. Modernity!!!
October 3, 2026 at 1:47 AM
manuelmlm3.bsky.social
thehonestsorcerer.substack.com/p/rising-com...
@aaretx.eurosky.social @amturiel.bsky.social
Rising Complexity Cannot End In Any Other Way
Modernity demands a constant growth in energy and material inputs - what could possibly go wrong with that?
thehonestsorcerer.substack.com
October 3, 2026 at 1:39 AM
sherry28.bsky.social
Tempus Unbound wn.nr/w2g9wcp
Tempus Unbound by Janet and Chris Morris - Book Tour
Monsters, Modernity, and Mercenaries: High-Stakes Demonic Hordes Threaten The Fabric Of Time Itself As The Elite Sacred Band Cavalry Face An Unprecedented Urban Warfare Challenge In Tempus Unbound.
wn.nr
October 3, 2026 at 1:16 AM
medusaspeaks.bsky.social
People can do better in competing.

There is a thirst for new creativity, modernity, and truism.
The trash will burn-up under its own weight so don’t look back.
October 3, 2026 at 1:13 AM
tft.io
It predates Europe! It is the wellspring of modernity! It has its own politics that don’t map onto any secular institution. It’s just Old as shit and Weird as fuck.
October 3, 2026 at 1:12 AM
chevy-jaxon.bsky.social
Modernity is an unsustainable bubble. As easy-to-extract resources deplete, tapping lower-grade sources takes more energy and complexity for smaller returns.

​Less surplus energy concentates wealth, destroys consumer demand, and triggers a self-reinforcing collapse.

Substack by The Honest Sorcerer
Rising Complexity Cannot End In Any Other Way
Modernity demands a constant growth in energy and material inputs - what could possibly go wrong with that?
substack.com
October 3, 2026 at 12:57 AM
iduhouse.bsky.social
🖼️ Artist of the Day: Wifredo Lam

Wifredo Lam’s paintings fused Afro-Cuban culture, surrealism, and spirituality into dreamlike visions. His art reflected a world where myth and modernity coexist, celebrating the complexity of identity and ancestry.

wifredolam.org

#CreatorsAtWork #Skystorians #Art
Black-and-white photograph of Wifredo Lam standing in his high-ceilinged studio in Albissola Marina, Italy, in 1964. He poses near the center with one arm raised against a doorway or canvas and the other hand at his hip, surrounded by paintings leaning on walls and floor, open frames, ladders, brushes, jars, and a radio. Behind him is Les enfants sans âme (The Soulless Children), a large 1964 canvas of angular white and dark forms. The room feels both orderly and alive, a workshop built for scale. By this point Lam was no longer the young Cuban painter absorbing European modernism. He had lived through Spain’s civil war, exile from Nazi-occupied France, a transformative return to Cuba, and decades of movement among Havana, Paris, New York, and the Mediterranean. Albissola became another kind of home. Invited to the Ligurian coast through artist Asger Jorn’s circle in the 1950s, Lam eventually bought a house there and added a tall studio with a huge window overlooking the bay. His son Eskil remembered music blasting from large speakers while his father worked. The change of place also opened new materials: Lam deepened his printmaking and ceramics, moving his hybrid figures from dense tropical settings toward sparer grounds and sharper lines. That evolution is visible around him here. The strange beings that once crowded The Jungle have not vanished; they have been distilled. Lam resisted being reduced to Cubism, Surrealism, “Latin American art,” or an exotic image of Blackness. His life had crossed Chinese, African, Spanish, Cuban, French, and Italian worlds, and his work refused to choose only one. In 2025–26, MoMA’s first comprehensive U.S. retrospective of Lam finally traced that full transnational arc across six decades. This studio portrait catches him midway through it: surrounded by the evidence of a practice still changing, with no single country, movement, or medium large enough to contain him. The studio itself reads as a map of an artist always in motion. Wifredo Lam’s Your Own Life, 1942, is a gouache on paper built around a fractured, frontal head that seems to contain several beings at once. Against a blue field, the face is layered: one eye stares from a pale oval, another peers from a striped form, a long narrow nose divides the composition, and an animal-like figure occupies the center. Leaf shapes crown the head, while the faint profile of Lam’s German wife, Helena Holzer, appears like a ghost at the right edge. The portrait feels less like one person than a meeting place between human, animal, plant, memory, and spirit. Lam made it the year after returning to Cuba following eighteen years in Europe. He had lived through the Spanish Civil War, entered Picasso’s and the Surrealists’ circles in Paris, and fled France after the Nazi occupation. Home did not offer a simple return. Lam came back seeing Cuba through exile, racism, colonialism, and European modernism, searching for a language capable of holding those histories at once. Your Own Life belongs to that breakthrough. Cubist fragmentation and Surrealist metamorphosis are present, but Lam was no longer content to borrow Europe’s fascination with masks or the “primitive.” He drew instead on Afro-Cuban culture, African art, Caribbean vegetation, his Chinese and African ancestry, and conversations with Lydia Cabrera and Alejo Carpentier. The hybrid body became a way to refuse fixed identities. Lam himself moved through categories others wanted to impose on him: Cuban and European, Chinese and African, modernist and outsider. Here, fragmentation does not mean brokenness. It becomes abundance. The multiple eyes suggest several ways of seeing at once, while Holzer’s spectral profile folds private life into a cultural transformation. Now, Your Own Life reads like an early declaration of the visual world that would soon culminate in The Jungle. Lam was learning how to make a painting carry migration, ancestry, desire, and history without forcing them into one face. Black-and-white photograph of Wifredo Lam crouching in his Havana studio in 1943, surrounded by the paintings that marked his return to Cuba. Behind him rises La jungla (The Jungle), its elongated plant-human-animal figures packed into a dense field; nearby is Le matin vert (The Green Morning), and La silla (The Chair) lies on the floor. Lam wears a light shirt and striped trousers, one arm resting across a bent knee. A cup sits near his shoes, a table of studio materials stands at left, and the monumental canvases make his body look small inside the world he was inventing. The photograph preserves a turning point. Lam had returned to Cuba in 1941 after eighteen years abroad, fleeing Europe as war closed around him. He came home transformed by Madrid, the Spanish Civil War, Picasso, Surrealism, and exile, but disturbed by racism, poverty, colonial hierarchies, and Afro-Cuban culture packaged for tourists. With Lydia Cabrera and Alejo Carpentier, he traveled, listened, and deepened his engagement with Afro-Cuban history and religious traditions. Lam insisted that he would not make picturesque Cuba for foreign consumption. He wanted painting capable of carrying the force of Black Cuban life. In this room that ambition became material. Sugarcane, broad leaves, mask-like faces, horse forms, breasts, horns, hands, and impossible bodies entered his canvases, not as ethnographic illustration but as what he called a poetic excitation. He later described his painting as an act of decolonization and imagined it as a Trojan horse disturbing the dreams of exploiters. The studio photograph lets us see that project before museums turned The Jungle into an icon. These works are still leaning against walls, sharing floor space with cups, brushes, and unfinished labor. Eight decades later, MoMA’s 2025–26 retrospective placed this moment at the center of Lam’s transnational story. Here history has not hardened yet. We are inside the workshop while a new visual language is being made. Wifredo Lam’s La jungla (The Jungle), 1942–43, fills the frame with four towering hybrid beings entangled in sugarcane and tropical foliage. Their bodies are hard to separate from the plants around them: elongated legs end in huge hand-like feet; mask-shaped faces carry multiple eyes; breasts resemble fruit; horns, tails, leaves, and human limbs overlap. Blues, greens, pale whites, orange, and black move across the surface in translucent layers, giving the crowded scene the feeling of a dream made dense. Lam made the monumental work after returning to Cuba in 1941 following eighteen years in Europe. He glued together two large sheets of kraft paper, sketched the composition in charcoal, then built it with thin oil paint. The humble support matters. This was not a polished fantasy of the tropics. Sugarcane carries the history of Cuba’s plantations, slavery, and indentured labor, while the hybrid figures evoke the endurance of Afro-Caribbean cultures. Lam knew European modernism intimately: he had befriended Picasso, worked among the Surrealists, and absorbed Cubism’s fractured bodies. But The Jungle was not European style simply applied to Caribbean subject matter. Back in Cuba, Lam turned those tools against colonial ways of seeing. He rejected tourist spectacle that reduced Black Cuban culture to entertainment and sought figures powerful enough to unsettle the viewer. The painting’s spiritual charge draws from Afro-Cuban religious worlds without functioning as a literal diagram of Santería. Lam said he worked from “poetic excitation,” allowing symbols to stay multiple and alive. MoMA acquired The Jungle in 1945, two years after its completion. Eighty years later, it anchored MoMA’s 2025–26 retrospective, the first comprehensive U.S. survey of his six-decade career. The painting still refuses an easy category: modernist and Caribbean, beautiful and menacing, historical and dreamlike. Its achievement is not synthesis made smooth. It is a history kept visibly tangled.
October 3, 2026 at 12:44 AM
sten.bsky.social
reject modernity, return leaderboards to Google sheets and wikis
October 3, 2026 at 12:39 AM
aaronboyde1776.bsky.social
London Mosque Pushes Wife Beating, Throwing Gays Off Tall Buildings - modernity modernity.news/2026/10/01/l...
London Mosque Pushes Wife Beating, Throwing Gays Off Tall Buildings - modernity
"Discipline them physically by lightly hitting them to show them who is in charge”
modernity.news
October 3, 2026 at 12:18 AM
windshine.bsky.social
Reject modernity, embrace tray
October 3, 2026 at 12:17 AM