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    https://sophisticatedspectra.com/article/drosia-serenity-a-modern-oasis-in-the-heart-of-larnaca.2521391.html

    DROSIA SERENITY
    A Premium Residential Project in the Heart of Drosia, Larnaca

    ONLY TWO FLATS REMAIN!

    Modern and impressive architectural design with high-quality finishes Spacious 2-bedroom apartments with two verandas and smart layouts Penthouse units with private rooftop gardens of up to 63 m² Private covered parking for each apartment Exceptionally quiet location just 5–8 minutes from the marina, Finikoudes Beach, Metropolis Mall, and city center Quick access to all major routes and the highway Boutique-style building with only 8 apartments High-spec technical features including A/C provisions, solar water heater, and photovoltaic system setup.
    Drosia Serenity is not only an architectural gem but also a highly attractive investment opportunity. Located in the desirable residential area of Drosia, Larnaca, this modern development offers 5–7% annual rental yield, making it an ideal choice for investors seeking stable and lucrative returns in Cyprus' dynamic real estate market. Feel free to check the location on Google Maps.
    Whether for living or investment, this is a rare opportunity in a strategic and desirable location.

    Adorno and Art: Aesthetic Theory Contra Critical Theory

    Posted By: IrGens
    Adorno and Art: Aesthetic Theory Contra Critical Theory

    Adorno and Art: Aesthetic Theory Contra Critical Theory by James Hellings
    English | May 6, 2014 | ISBN: 0230347886, 1349345083 | True EPUB | 213 pages | 0.4 MB

    If the advancement toward the administered world is nearing completion, if spectacularised societies, industrialised cultures, and reified consciousness have taken control, then, Adorno and Art shows how radical and revolutionary Adorno’s aesthetic theory of art’s double character remains, and how complex, imaginative and oppositional, forms of art offer, perhaps, the best hope for overcoming damaged life.

    The caricatures of Adorno, his politics and his aesthetics, are well known errors of judgement—widely repeated both by the academy and by the Left. Adorno’s aesthetics has been accused of failing to keep pace with progressive artistic practices and for being socio-politically aloof. Despite the persistence of these caricatures, this book shows how significant images and themes in Adorno’s theory remain relevant to the current situation of art, aesthetics and politics.

    The Adorno on show in this volume was no bourgeois mandarin, no arrogant aesthete, no esoteric mystic, no melancholy pessimist, and no academic expert holed up in the proverbial ivory tower.