A total metamorphosis isn’t possible in my case. I can write in Italian, but I can’t become an Italian writer. Despite the fact that I’m writing this sentence in Italian, the part of me conditioned to write in English endures. I think of Fernando Pessoa, a writer who invented four versions of himself: four separate, distinct writers, thanks to which he was able to go beyond the confines of himself. Maybe what I’m doing, by means of Italian, resembles his tactic. It’s not possible to become another writer, but it might be possible to become two.
'Rise like Lions after slumber
In unvanquishable number -
Shake your chains to earth like dew
Which in sleep had fallen on you -
Ye are many - they are few.'
We start our series of the Best Shots of All Time by looking at size, breaking down some of the best close ups, mediums, wide shots and extremes in film history. But it's not all about looking pretty, we dive deep into how and why each kind of shot is used.
But most of all, the Caravaggio originals in London’s “Beyond Caravaggio” demonstrate why the painter exerted such an overwhelming influence on patrons and colleagues alike, and why he is so passionately loved today. He can paint beautifully most of the time. He produced marvelous compositions of light beaming forth from the darkness, covered his canvases with luminous whites, full-blooded reds, velvet blacks, but above all, especially later in his career, he painted with restraint, and taste, and a gigantic, compassionate heart.
I believe we have an obligation to read for pleasure, in private and in public places. If we read for pleasure, if others see us reading, then we learn, we exercise our imaginations. We show others that reading is a good thing.
We have an obligation to support libraries. To use libraries, to encourage others to use libraries, to protest the closure of libraries. If you do not value libraries then you do not value information or culture or wisdom. You are silencing the voices of the past and you are damaging the future.
Caltech and The Feynman Lectures Website are pleased to present this online edition of The Feynman Lectures on Physics. Now, anyone with internet access and a web browser can enjoy reading a high quality up-to-date copy of Feynman's legendary lectures.
The Internets can be a wonderful thing, sometimes.
The first and by far the most respected of the trilogy, The Matrix “largely interprets Plato’s Allegory of the Cave. Imagine a cave. Inside are people who were born and have spent their entire lives there, chained into a fixed position, only able to see the wall in front of them. As far as they know, this is the entire world.” The Wachowskis ask the same question Plato does: “How do we know what our reality really is?”
I always thought myself that the endless pretentious discussions about the "philosophy" of The Matrix are largely conducted by college-age single men who - in slightly different circumstances - would have been obsessing over Madame Rand. I still think the Wachowskis idly paged through some Philo 101 compendium and picked out whatever sounded cool or whatever. Or perhaps just randomly clicked through Wikipedia pages.
The most startling of these is Ford Madox Brown’s watercolour of 1863, entitled Mauvais Sujet, of a young teenage girl who is not so much engagingly naughty as alarmingly bad. The tight format derives from Rossetti’s early oil paintings of female heads and shoulders, such as Bocca Baciata of 1859, paintings of a frank sensuality free of the narcotic eroticism and religiosity that make so much of his later painting seem repellent. But Brown’s schoolgirl subject hasn’t yet led any artist into temptation. She is seated at a high desk with names and doodles scratched on its hinged top. We see the lines she has been made to copy with her quill, black lines which rhyme with the disorder of her hair. Her teeth – brighter than the white of her collar, the plume, the paper or the enamel inkwell – are biting into a brilliantly green apple. Fruit would certainly not have been allowed in the classroom and this young Eve, whose dress is also green, eats it with resentful defiance. The picture has the compositional ingenuity and thrilling compression of Brown’s great circular painting The Last of England – a compression, here greatly enhanced by the original double frame, that we miss in his later work, although he was always attracted both by defiance and by teeth.
The Whiskey Palace, Dublin.
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
T. S. Eliot
'Demand Sausages Everywhere!' 1937 Soviet poster.
I have been asked why do I hate religion so much? I reply you are mistaken. I don't hate religion. I fucking detest it and I treat it with the contempt it truly deserves.
Although its publication schedule was at times irregular, Sovetskoe foto was an illustrated monthly featuring editorials, letters, articles, and photographic essays alongside advertisements for photography, photographic processes, and photographic chemicals and equipment.
Most people eat meat, but few meat-eaters have a clear understanding of the industry that provides their food. If they did, they would eat better-produced meat, less meat, or no meat at all.
But meat-eaters – like vegetarians – are understandably emotional and defensive about their eating habits. The rituals of such an intimate part of daily life are unlikely to be swayed by cold, hard facts alone.
Perhaps maps can do what those facts alone cannot. Cartography, an older language than writing, bypasses the inner critic who allows agreeable facts to add to our bias and labels disagreeable ones as 'fake news'.
The team at NRKbeta attributes the civil tenor of its comments to a feature it introduced last month. On some stories, potential commenters are now required to answer three basic multiple-choice questions about the article before they’re allowed to post a comment. (For instance, in the digital surveillance story: "What does DGF stand for?")
This could be very interesting to see implemented across the board.