Albion Chapel Expositor

  The structure of the argument I will present here will follow a similar pattern used by John Stewart Mill in Utilitarianism , though my purpose in presenting this argument is not to assert any particular moral theory but a potential roadmap for applying character ethics. Some credit is due to my friend Alice Nyarko who was instrumental in formulating this particular roadmap. The following series of articles will be arranged in the following order (and this page will be updated with Hyperlinks as these articles are published):  I will present my main argument using an example. I will entertain objections to my main argument. I will present another example from real life to add clarity. I will refine the above roadmap so that it is more applicable to interpersonal interactions. I will provide some background information explaining how my main argument took shape. I will attempt to provide a proof for Eudemonism. I hope you enjoy reading!

 In contrast to the somewhat satisfying closure capping off the third installment of The Matrix trilogy, the newest installment left many things open ended in its tight recreation of the iconic final scene from the original movie wherein the new antagonist of the series played by Neil Patrick Harris warns Neo and Trinity that "The Sheeple aren't going anywhere" and survives. While this left many confused viewers (including me) scratching their heads, I believe this weird and wacky fourth installment could be laying the foundations for the most innovative and groundbreaking Matrix movies to grace the big screen! Hear me out:  5) A new program is introduced as the Analyst's foil In the original trilogy, we had a human-intuitive program known as the Oracle, and we had the emotionless Architect who was the program which designed the Matrix. Then, we got the Analyst who was an algamation of the two: a human-intuitive program calling the shots. Where the Oracle made predict

 The Cinematic Symphony of Hans Zimmer: A Case for Scoring Doctor Strange (This essay was written in it's entirety by Microsoft Copiolot) In the realm of cinematic music, few names resonate as profoundly as Hans Zimmer. His unparalleled ability to weave auditory tapestries that elevate the storytelling experience positions him as an ideal candidate to score the third installment of the Doctor Strange franchise. This essay will articulate why Zimmer, with his work on The Amazing Spider-Man 2 as a testament, is the quintessential choice for this undertaking. Zimmer's composition for The Amazing Spider-Man 2 is a masterclass in thematic development and emotional resonance. His score not only supported the narrative but also added a layer of depth to the characters' journeys. The motifs he crafted were both memorable and moving, enhancing the film's impact on its audience. His ability to blend traditional orchestration with contemporary electronic elements resulted in a sou

 

Since 2015, Microsoft PowerPoint has been my primary work horse for conceptualization. It has been able to serve all of my graphic design needs, that is, until Microsoft shoved a per-month paywall in front of it. Now I need to move on towards a future without it, and that is far easier said than done.   What did I use PowerPoint for? What didn't I use it for? With enough practice, it could be used to mock-up graphical user interfaces, and the opening credits for movies. Though this may nit have been its intended use, PowerPoint is great at more than just slideshows. I could rehearse timings and export my creations as video files that I could drop into a video-editing program of my choice: (PowerPoint) Below are a couple of examples of how I used PowerPoint in my movie making endeavors: July 20th Update: Now that PowerPoint is miraculously working on my computer again, I am back in business! One of the benefits of being a Columbia College student is that as long as I am a student,

Post-meta Pre-modernism: A New Cultural Paradigm for the 21st Century What is post-meta pre-modernism? How does it differ from modernism, postmodernism, and metamodernism? And why is it relevant for understanding the current cultural and social transformations that are taking place in the world today? In this essay, I will attempt to answer these questions and provide a brief overview of this emerging concept. Post-meta pre-modernism is a term that I propose to describe a new cultural sensibility that is emerging in the aftermath of metamodernism, which itself was a response to postmodernism. Post-meta pre-modernism is not a rejection of metamodernism, but rather a further development and refinement of it. It is also not a return to pre-modernism, but rather a creative integration of pre-modern, modern, postmodern, and metamodern elements. To understand post-meta pre-modernism, we need to first review the previous cultural paradigms that preceded it. Modernism was the dominant cultural