facility:library of congress

700 Years of Persian Manuscripts Now Digitized and Available Online | Open Culture
▻http://www.openculture.com/2019/04/persian-manuscripts-spanning-700-years-now-digitized-and-available-onli

https://cdn8.openculture.com/2019/04/05180111/persianfb.png

Too often those in power lump thousands of years of Middle Eastern religion and culture into monolithic entities to be feared or persecuted. But at least one government institution is doing exactly the opposite. For Nowruz, the Persian New Year, the Library of Congress has released a digital collection of its rare Persian-language manuscripts, an archive spanning 700 years. This free resource opens windows on diverse religious, national, linguistic, and cultural traditions, most, but not all, Islamic, yet all different from each other in complex and striking ways.

▻https://www.loc.gov/collections/persian-language-rare-materials/about-this-collection

African American Photographs Assembled for 1900 Paris Exposition -

Du Bois Materials - Prints & Photographs Online Catalog (Library of Congress)

▻http://www.loc.gov/pictures/collection/anedub/dubois.html

Ce lien pointe sur une époustouflante collection d’images, de figures, de photographies qui ont été réunies par #W.E.B_Du_Bois lui même, pour l’exposition "« The American Negro » présenté à Paris en 1900 lors de l’exposition universelle.

http://cdn.loc.gov/service/pnp/ppmsca/33800/33878v.jpg http://cdn.loc.gov/service/pnp/ppmsca/33800/33884v.jpg

▻https://en.wikipedia.org/wiki/The_Exhibit_of_American_Negroes

▻https://en.wikipedia.org/wiki/Exposition_Universelle_(1900)

At the turn of the century, W. E. B. Du Bois compiled a series of photographs for the “American Negro” exhibit at the 1900 Paris Exposition. He organized the 363 images into albums, entitled Types of American Negroes, Georgia, U.S.A. and Negro Life in Georgia, U.S.A..

At the time, Du Bois was a professor of sociology at Atlanta University, committed to combating racism with empirical evidence of the economic, social, and cultural conditions of African Americans. He believed that a clear revelation of the facts of African American life and culture would challenge the claims of biological race scientists influential at the time, which proposed that African Americans were inherently inferior to Anglo-Americans. The photographs of affluent young African American men and women challenged the scientific “evidence” and popular racist caricatures of the day that ridiculed and sought to diminish African American social and economic success. Further, the wide range of hair styles and skin tones represented in the photographs demonstrated that the so-called “Negro type” was in fact a diverse group of distinct individuals. The one public statement Du Bois made concerning these photographs was that visitors to the American Negro exhibit would find "several volumes of photographs of typical Negro faces, which hardly square with conventional American ideas."1

Du Bois’s work for the American Negro exhibit was extensive and much praised. In the Spring of 1900, Paris Exposition judges awarded him a gold medal for his role as “collaborator” and “compiler” of materials for the exhibit.

#cartographie #précurseurs #visualisation #cartoexperiment

The early work of groundbreaking photojournalist Gordon Parks – in pictures
▻https://www.theguardian.com/artanddesign/gallery/2019/feb/14/gordon-parks-early-work-photography

https://i.guim.co.uk/img/media/b6fbb450a591e293783b4915f8b8b379bee5f04c/0_0_1659_2400/master/1659.jpg?width=1225&quality=85&auto=format&fit=max&s=10651f2cb1ec8034e7955b5a3162cd34

Photograph: Gordon Parks/Courtesy The Gordon Parks Foundation, National Gallery of Art, Washington and Library of Congress, Washington
#photographie

A historian explains why right-wing criticism of Alexandria Ocasio-Cortez’s clothing mirrors the response to early female labor activists | Alternet
▻https://www.alternet.org/news-amp-politics/historian-explains-why-right-wing-criticism-alexandria-ocasio-cortezs-clot

https://www.alternet.org/sites/default/files/story_images/ocasio.jpg

It seems that some critics just can’t accept the fact that an unapologetic Democratic socialist like Ocasio-Cortez – who calls for a more equal distribution of wealth and fair shake to workers – can also wear designer clothes.

To a historian like me who writes about fashion and politics, the attention to Ocasio-Cortez’s clothing as a way to criticize her politics is an all-too-familiar line of attack.

Ocasio-Cortez isn’t the first woman or even the first outsider to receive such treatment.

In particular, I’m reminded of Clara Lemlich, a young radical socialist who used fashion as a form of empowerment while she fought for workers’ rights.
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Lemlich – like Ocasio-Cortez – wasn’t afraid to take on big business while wearing fancy clothes.
‘We like new hats’

In 1909, when she was only 23 years old, Lemlich defied the male union leadership whom she saw as too hesitant and out of touch.

In what would come to be known as the “Uprising of the 20,000,” Lemlich led thousands of garment workers – the majority of them young women – to walk out from their workplace and go on a strike.

As historian Nan Enstad has shown, insisting on their right to maintain a fashionable appearance was not a frivolous pursuit of poor women living beyond their means. It was an important political strategy in strikers’ struggle to gain rights and respect as women, workers and Americans.

Two women strikers on picket line during the ‘Uprising of the 20,000’ in New York City. Library of Congress

When they picketed the streets wearing their best clothes, strikers challenged the image of the “deserving poor” that depicted female workers as helpless victims deserving of mercy.

Wearing a fancy dress or a hat signaled their economic independence and their respectability as ladies. But it also spoke to their right to be taken seriously and to have their voices heard.

▻https://www.alternet.org/sites/default/files/styles/large/public/file-20181203-194944-1dz76tq.jpg?itok=tHRlqc97

Despite the criticism, Lemlich and her fellow strikers were able to win concessions from factory owners for most of their demands. They also turned Local 25 of the International Ladies Garment Workers Union into one of the most influential labor unions in the country, changing for the better the lives of millions of workers like themselves.

But more importantly, Lemlich and her colleagues changed the perception of what politically radical women should look like. They demonstrated that socialism and labor struggles were not in opposition to fashionable appearances.

Today, their legacy is embodied in Ocasio-Cortez’s message. In fact, if Clara Lemlich were alive today, she would probably smile at Ocasio-Cortez’s response to her critics.

The reason some journalists “can’t help but obsess about my clothes [and] rent,” she tweeted, is because “women like me aren’t supposed to run for office – or win.”

Ocasio-Cortez has already begun to fashion an image for women who, as her worn-out campaign shoes can attest, not only know how to “talk the talk,” but can also “walk the walk.”

#Féminisme #Politique #Lutte #Fashion #Alexandria_Ocasio_Cortez

How Jimmy Carter and I Started the Mujahideen » Counterpunch: Tells the Facts, Names the Names
▻http://archive.is/VH3r#selection-801.1-919.214

January 15, 1998

by Alexander Cockburn And Jeffrey St. Clair

Q: The former director of the CIA, Robert Gates, stated in his memoirs ["From the Shadows"], that American intelligence services began to aid the Mujahadeen in Afghanistan 6 months before the Soviet intervention. In this period you were the national security adviser to President Carter. You therefore played a role in this affair. Is that correct?

Brzezinski: Yes. According to the official version of history, CIA aid to the Mujahadeen began during 1980, that is to say, after the Soviet army invaded Afghanistan, 24 Dec 1979. But the reality, secretly guarded until now, is completely otherwise: Indeed, it was July 3, 1979 that President Carter signed the first directive for secret aid to the opponents of the pro-Soviet regime in Kabul. And that very day, I wrote a note to the president in which I explained to him that in my opinion this aid was going to induce a Soviet military intervention.

Q: Despite this risk, you were an advocate of this covert action. But perhaps you yourself desired this Soviet entry into war and looked to provoke it?

Brzezinski: It isn’t quite that. We didn’t push the Russians to intervene, but we knowingly increased the probability that they would.

Q: When the Soviets justified their intervention by asserting that they intended to fight against a secret involvement of the United States in Afghanistan, people didn’t believe them. However, there was a basis of truth. You don’t regret anything today?

Brzezinski: Regret what? That secret operation was an excellent idea. It had the effect of drawing the Russians into the Afghan trap and you want me to regret it? The day that the Soviets officially crossed the border, I wrote to President Carter: We now have the opportunity of giving to the USSR its Vietnam war. Indeed, for almost 10 years, Moscow had to carry on a war unsupportable by the government, a conflict that brought about the demoralization and finally the breakup of the Soviet empire.

Q: And neither do you regret having supported the Islamic [integrisme], having given arms and advice to future terrorists?

Brzezinski: What is most important to the history of the world? The Taliban or the collapse of the Soviet empire? Some stirred-up Moslems or the liberation of Central Europe and the end of the cold war?

Q: Some stirred-up Moslems? But it has been said and repeated: Islamic fundamentalism represents a world menace today.

Brzezinski: Nonsense! It is said that the West had a global policy in regard to Islam. That is stupid. There isn’t a global Islam. Look at Islam in a rational manner and without demagoguery or emotion. It is the leading religion of the world with 1.5 billion followers. But what is there in common among Saudi Arabian fundamentalism, moderate Morocco, Pakistan militarism, Egyptian pro-Western or Central Asian secularism? Nothing more than what unites the Christian countries.

* There are at least two editions of this magazine; with the perhaps sole exception of the Library of Congress, the version sent to the United States is shorter than the French version, and the Brzezinski interview was not included in the shorter version.
The above has been translated from the French by Bill Blum author of the indispensible, “Killing Hope: US Military and CIA Interventions Since World War II” and “Rogue State: A Guide to the World’s Only Superpower”

#Afghanistan #USA #URSS #histoire

The Terror Machine - Berlinskij Kreml, Gregory Klimov.
▻http://g-klimov.info/klimov-pp-e/index.html

https://pictures.abebooks.com/inventory/31227760686.jpg

The inside story of the Soviet Administration in Germany

“Gregory Klimov’s Library”: g-klimov.info

translated from the German by H. N. Stevens
introduced by Edward Crankshaw and Ernst Reuter Burgomaster of Berlin

Published in the United States of America in 1953 by Frederick A. Praeger Inc., Publishers, 105 West 40 th Street, New York 18, N.Y.

Library of Congress Catalog Card Number: 53-8030

Contents

Preface by Edward Crankshaw ▻https://seenthis.net/messages/683907
Author’s note ▻https://seenthis.net/messages/683908
Introduction by Ernst Reuter, Burgomaster of Berlin ▻https://seenthis.net/messages/683910

1. The Military College ▻https://seenthis.net/messages/683912
2. Soldier and Citizen ▻https://seenthis.net/messages/683913
3. The Song of the Victor ▻https://seenthis.net/messages/683915
4. The Rational Basis ▻https://seenthis.net/messages/683916
5. The Berlin Kremlin ▻https://seenthis.net/messages/683917
6. Occupation Authorities at Work ▻https://seenthis.net/messages/683918
7. In the Control Commission ▻https://seenthis.net/messages/683920
8. The Fruits of Victory ▻https://seenthis.net/messages/683921
9. The Soviet Supreme Staff ▻https://seenthis.net/messages/683922
10. A Major in the State Security Service ▻https://seenthis.net/messages/683923
11. King Atom ▻https://seenthis.net/messages/683924
12. Prisoners of the System ▻https://seenthis.net/messages/683926
13. Between Two Worlds ▻https://seenthis.net/messages/683927
14. The Dialectical Cycle ▻https://seenthis.net/messages/683928
15. The Marshal’s Emissaries ▻https://seenthis.net/messages/683929
16. Stalin’s Party ▻https://seenthis.net/messages/683930
17. A Member of the Politburo ▻https://seenthis.net/messages/683931
18. The Wings of a Slave ▻https://seenthis.net/messages/683933

Rote Weissbücher
▻https://de.wikipedia.org/wiki/Rote_Weissb%C3%BCcher

Die Roten Weissbücher sind eine deutschsprachige Buchreihe der 1. Hälfte der 1950er Jahre. Die Reihe wurde in Köln vom Verlag Rote Weissbücher und Kiepenheuer & Witsch (in Komm.) als Forum für Dokumentationen aus den sowjetisch beeinflussten Ländern verlegt. Insgesamt erschienen etwa 20 Titel. Beispielsweise erschienen darin die Erinnerungen an zehn Jahre Haft, Lager und Verbannung in Sibirien von Anté Ciliga (1898–1992), dem jugoslawischen kommunistischen Politiker, der als hoher Funktionär in die Sowjetunion kam, jedoch nach einigen Jahren in Ungnade fiel. Im Verlag Rote Weissbücher erschien unter dem Titel Berliner Kreml von Grigori Klimow[1], einem Mitarbeiter Marschall Schukows, der 1947 nach Westdeutschland flüchtete, beispielsweise auch eine Darstellung der sowjetischen Militäradministration in Deutschland.

#anticommunisme #histoire #Berlin #occupation #guerre_froide

Dorothea Lange’s “Migrant Mother” Photographs in the Farm Security Administration Collection: An Overview (Library of Congress)
▻http://www.loc.gov/rr/print/list/128_migm.html

http://www.artberlin.de/files/2012/04/Dorothea-Lange_Migrant-Mother_Fotografie.jpg

https://upload.wikimedia.org/wikipedia/commons/b/b2/Migrant_Mother_1936_2.jpg

http://www.artberlin.de/files/2012/04/Dorothea-Lange_Migrant-Mother_1936.jpg

The photograph that has become known as “Migrant Mother” is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in February or March of 1936 in Nipomo, California. Lange was concluding a month’s trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience:

I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it. (From: Popular Photography, Feb. 1960).

The images were made using a Graflex camera. The original negatives are 4x5" film. It is not possible to determine on the basis of the negative numbers (which were assigned later at the Resettlement Administration) the order in which the photographs were taken.

There are no known restrictions on the use of Lange’s “Migrant Mother” images. A rights statement for the Farm Security Administration/Office of War Information black-and-white negatives is available online at: ▻http://www.loc.gov/rr/print/res/071_fsab.html.

The Story of the “Migrant Mother” | Antiques Roadshow | PBS
▻http://www.pbs.org/wgbh/roadshow/stories/articles/2014/4/14/migrant-mother-dorothea-lange

There are few images as deeply ingrained in the national consciousness as Migrant Mother. Yet for decades, no one knew what had become of this woman and her family. No one even knew her name: Lange never asked, and by the time the photo appeared in a local newspaper, the woman and her family had moved on to the next town.

Finally, in 1978, a reporter from the Modesto Bee found the Migrant Mother, tracking her down to a trailer park outside Modesto, California. Her name was Florence Owens Thompson; she was 75 years old. Lange had promised Thompson that her name would never be published — Thompson wanted to spare her children the embarrassment — but once she was discovered, she revealed her name and told her story.

Thompson was born Florence Leona Christie, a Cherokee, in a teepee in Indian Territory, Oklahoma, in 1903. She married at 17, then moved to California for farm- and millwork. When she was 28 years old and pregnant with her sixth child, her husband died of tuberculosis. Thereafter Thompson worked odd jobs of all kinds to keep her children fed. For most of the 1930s, she was an itinerant farmhand, picking whatever was in season.

During cotton harvests, as she described in interviews, she would put her babies in bags and carry them along with her as she worked down the rows. She earned 50 cents per hundred pounds picked and says she “generally picked around 450, 500 [pounds a day]. I didn’t even weigh a hundred pounds.” For a while, she and her children lived under a bridge. “When Steinbeck wrote in The Grapes of Wrath about those people living under the bridge at Bakersfield — at one time we lived under that bridge. It was the same story. Didn’t even have a tent then, just a ratty old quilt.”
Dorothea Lange sitting on top of a car with her camera, ca. 1936.

One day in 1936, while driving from Los Angeles to Watsonville, Thompson’s car broke down. She managed to get the car towed into the Nipomo pea-pickers camp, had it repaired, and was just about to leave when Dorothea Lange appeared. Thompson was not eager to have her family photographed and exhibited as specimens of poverty, but there were people starving in that camp, one of Thompson’s daughters later recalled, and Lange convinced her that the image would educate the public about the plight of hardworking but poor people like herself. Within days, the photo was being published in papers across the country — an instant classic of American photography. In the years to follow, the Thompson family kept their identities to themselves, but the photograph was a continual subject of conversation. “It always stayed with her,” said Katherine Thompson McIntosh of her mother. “She always wanted a better life, you know.”

Thompson moved to Modesto in 1945 and went to work in a hospital there. She had one of the most famous faces in the United States, yet, to keep her family together, she had to work 16 hours a day, seven days a week. “I worked in hospitals,” Thompson told NBC in 1979, “I tended bar, I worked in the field, so I done a little bit of everything to make a living for my kids.” Thompson profited nothing from Migrant Mother. “I can’t get a penny out of it,” she once said, but she wasn’t exactly bitter. She had posed for the photo to help others, not herself, yet the disparity between her high profile and low status couldn’t help but bother her.

Meanwhile, Migrant Mother made Dorothea Lange’s reputation, helped earn her a Guggenheim fellowship, and conferred fame and a permanent place in the canon of American photographers. Lange certainly deserved her success; she had an eye, talent, training, and drive. Yet it seems unjust that Migrant Mother, one of the most successful photographs in American history, should have helped so many, but done nothing for the woman whose face and body were able to express so much. Thompson was a model; she was posing, and she knew why. She was to represent the very Figure of Poverty. So she organized her posture and set her expression just so for Lange’s camera. And that is a talent, too. Thompson and Lange, for an instant in 1936, were collaborators. Yet the gulf between their fortunes, already colossal, would only grow wider as years passed.

The Thompson clan, which eventually grew to 10 children, worked their way into the middle class, but Florence Thompson never felt comfortable in a conventional home. Even after her children bought her a house, she chose to live in a trailer. “I need to have wheels under me,” she said.

In 1983, Thompson had a stroke. Her children, unable to pay the hospital, used her identity as the Migrant Mother to raise $15,000 in donations. The money helped to defray Thompson’s medical bills, but Thompson herself gained nothing. She died soon after her stroke.

A few years earlier, a reporter had asked Thompson about the life she eked out for her family. She spoke plainly, with no sentimentality. “We just existed,” she said. “Anyway, we lived. We survived, let’s put it that way.” During the Great Depression, that was never a guarantee. “We never had a lot,” said McIntosh, her daughter, “but she always made sure we had something. She didn’t eat sometimes, but she made sure us children ate.”

▻https://en.wikipedia.org/wiki/Florence_Owens_Thompson

#USA #photographie #crise #histoire

23. The Great Depression | The American Yawp

▻http://www.americanyawp.com/text/23-the-great-depression

Magnifique site collaboratif (et article) sur la grande dépression de 1929.

http://www.americanyawp.com/text/wp-content/uploads/WPA-poster-500x616.jpg http://www.americanyawp.com/text/wp-content/uploads/1467AE20F9482CB146094D5A3DED58CF1-1000x766.jpg

The wonder of the stock market permeated popular culture in the 1920s. Although it was released during the first year of the Great Depression, the 1930 film High Society Blues captured the speculative hope and prosperity of the previous decade. “I’m in the Market for You,” a popular musical number from the film, even used the stock market as a metaphor for love: You’re going up, up, up in my estimation, / I want a thousand shares of your caresses, too. / We’ll count the hugs and kisses, / When dividends are due, / Cause I’m in the market for you. But, just as the song was being recorded in 1929, the stock market reached the apex of its swift climb, crashed, and brought an abrupt end to the seeming prosperity of the “Roaring ‘20s.” The Great Depression had arrived.

II. The Origins of the Great Depression
“Crowd of people gather outside the New York Stock Exchange following the Crash of 1929,” 1929. Library of Congress, ►http://www.loc.gov/pictures/item/99471695.

“Crowd of people gather outside the New York Stock Exchange following the Crash of 1929,” 1929. Library of Congress, ►http://www.loc.gov/pictures/item/99471695.

On Thursday, October 24, 1929, stock market prices suddenly plummeted. Ten billion dollars in investments (roughly equivalent to about $100 billion today) disappeared in a matter of hours. Panicked selling set in, stock sunk to record lows, and stunned investors crowded the New York Stock Exchange demanding answers. Leading bankers met privately at the offices of J.P. Morgan and raised millions in personal and institutional contributions to halt the slide. They marched across the street and ceremoniously bought stocks at inflated prices. The market temporarily stabilized but fears spread over the weekend and the following week frightened investors dumped their portfolios to avoid further losses. On October 29, “Black Tuesday,” the stock market began its long precipitous fall. Stock values evaporated. Shares of U.S. Steel dropped from $262 to $22. General Motors’ stock fell from $73 a share to $8. Four-fifths of the J.D. Rockefeller’s fortune—the greatest in American history—vanished.

#états-unis #finance #crise_financière #grande_dépression #otto_neurath #visualisation #isotype #neurath

Map of the several nations of Indians to the Northwest of South Carolina - Library of Congress

▻https://www.loc.gov/resource/g3860.ct000734

Identifié et signalé pour moi sur FB par une de mes grandes anciennes copines du Monde, Martin Silber

http://tile.loc.gov/image-services/iiif/service:gmd:gmd386:g3860:g3860:ct000734/full/pct:12.5/0/default.jpg

Title
Map of the several nations of Indians to the Northwest of South Carolina].

Other Title
Catawba deerskin map

Contributor Names
Nicholson, Francis, 1655-1728.

Created / Published
[S.l. : s.n., 1929]

Subject Headings

– Southern States—Maps—Early works to 1800—Facsimiles
– Indians of North America—Southern States—Maps—Early works to 1800—Facsimiles
– United States—Southern States

Notes
This map describing the scituation [sic] of the several nations of Indians to the NW of South Carolina was coppyed [sic] from a draught drawn & painted on a deer skin by an Indian Cacique and presented to Francis Nicholson Esqr. Governor of South Carolina by whom it is most humbly dedicated to his Royal Highness George, Prince of Wales.

–---

The Mysteries of a Rare, 18th-Century Native American Map - Atlas Obscura

▻http://www.atlasobscura.com/articles/catawba-deerskin-map-native-american-colonies

Sometime in the early 1720s, a Native American man went to Charleston and gave Francis Nicholson, then colonial governor of South Carolina, a map inked on deerskin. It depicted geographic and social relationships among the Native American nations in the surrounding area. Squares represent European settlements, with Charleston at one end and Virginia at the other, and circles in between represent Native American communities, connected by double lines that resemble paths.

#états-unis #peuples_premiers #peuples_autochtones #cartographie #visualisation

The Library of Congress announced today that it is making 25 million records in its online catalog available for free bulk download at loc.gov/cds/products/marcDist.php. This is the largest release of digital records in the Library’s history.

#datasource #livres #cartographie #musique

Library of Congress | The Palestine Poster Project Archives

▻http://palestineposterproject.org/special-collection/library-of-congress

Déja sur les collines... J’avais raté ce site, sur lequel il y a des pépites.

http://palestineposterproject.org/sites/default/files/3760_pppa.jpg

The Palestine Poster Project Archives
The Liberation Graphics Collection of Palestine Posters - Nominated to UNESCO’s Memory of the World Program 2016-2017
About the Palestine Poster Project Archives

This website has been created to mark headway on my masters’ thesis project at Georgetown University. It is a work-in-progress.

I first began collecting Palestine posters when I was a Peace Corps volunteer in Morocco in the mid-1970s. By 1980 I had acquired about 300 Palestine posters. A small grant awarded with the support of the late Dr. Edward Said allowed me to organize them into an educational slideshow to further the “third goal” of the Peace Corps: to promote a better understanding of other peoples on the part of Americans. Over the ensuing years, while running my design company, Liberation Graphics, the number of internationally published Palestine posters I acquired steadily grew. Today the Archives numbers some 5,000 Palestine posters from myriad sources making it what many library science specialists say is the largest such archives in the world.

The Palestine poster genre dates back to around 1900 and, incredibly, more Palestine posters are designed, printed and distributed today than ever before. Unlike most of the political art genres of the twentieth century such as those of revolutionary Cuba and the former Soviet Union, which have either died off, been abandoned, or become mere artifacts, the Palestine poster genre continues to evolve. Moreover, the emergence of the Internet has exponentially expanded the genre’s network of creative contributors and amplified the public conversation about contemporary Palestine.

My research has two major components: (1) the development of a curriculum using the Palestine poster as a key resource for teaching the formative history of the Palestinian-Zionist conflict in American high schools. This aspect of my work is viewable in my New Curriculum and; (2) the creation of a web-based archives that displays the broadest possible range of Palestine posters in a searchable format with each poster translated and interpreted.

This library and teaching resource allows educators, students, scholars, and other parties interested in using the New Curriculum to incorporate Palestine posters into classroom learning activities. Titles included are from the Liberation Graphics collection, the Library of Congress, the Central Zionist Archives in Jerusalem, the International Institute of Social History in Amsterdam, Yale University, the University of Chicago and a host of other sources. To facilitate my research I have broken the genre of the Palestine poster into four sources, or wellsprings.

These wellsprings are:

1) Arab and Muslim artists and agencies

2) International artists and agencies

3) Palestinian nationalist artists and agencies

4) Zionist and Israeli artists and agencies

For the purpose of this research project, I have arbitrarily defined a “Palestine” poster as:

1) Any poster with the word “Palestine” in it, in any language, from any source or time period;

2) Any poster created or published by any artist or agency claiming Palestinian nationality or Palestinian participation;

3) Any poster published in the geographical territory of historic Palestine, at any point in history, including contemporary Israel;

4) Any poster published by any source which relates directly to the social, cultural, political, military or economic history of Palestine; and/or

5) Any poster related to Zionism or anti-Zionism in any language, from any source, published after August 31, 1897.

The majority of posters in this archives are printed on paper. However, an increasing number of new Palestine posters are “born digitally” and then printed and distributed locally, oftentimes in very small quantities. This localization represents a sea change in the way political poster art is produced and disseminated. Traditionally, political posters were printed in a single location and then distributed worldwide. The global reach of the internet combined with the rising costs of mass production is shifting production away from large centralized printing operations to a system controlled more by small end-users in myriad locations.

Electronic, digitally created images included in this archives meet these requirements: they are capable of being downloaded and printed out at a size at least as large as 18” X 24” and they deal substantially with the subject of Palestine. Computer generated images will be identified as such. I am uploading posters in what may appear to be a haphazard order; actually the order is a reflection of the way(s) in which many of the posters were originally collected, stored, and digitized on CDs over the past fifteen years.

As time and funds permit, I will be uploading the entire archives.

I want to specifically thank the following people without whose assistance I would not have been able to even begin this research: Dr. Lena Jayyusi, for both her thorough critique of the New Curriculum as well as her steadfast moral support over many years; Dr. Rochelle Davis, my academic advisor at Georgetown who gave me the freedom to explore the questions of most interest to me and who encouraged me to look at the genre from visual anthropology and ethnographic perspectives; Catherine Baker, who has provided creative, editorial and moral support of incalculable value to me and to whom I am forever indebted; Dr. Eric Zakim, the director of the Joseph and Alma Gildenhorn Institute for Israel Studies at the University of Maryland at College Park whose translations of the Hebrew text in the Zionist/Israel poster wellspring and whose breadth of knowledge of Zionist history and iconography proved indispensable; Dr. Elana Shohamy of Tel Aviv University for opening up to me the worlds of Jewish language history, Israeli language policy and perhaps most importantly, the principles of language rights, and; Richard Reinhard whose early and complete review of the New Curriculum helped keep me on schedule and in focus.

Special thanks are also due Jenna Beveridge, the Academic Program Coordinator at Georgetown’s Center for Contemporary Arab Studies, without whose guidance through the halls of academia I would have been hopelessly lost. There are, in addition, legions of people who over the years have encouraged me to persevere in this work. I will make it a point to thank them at regular intervals in the progress of this project.

Dan Walsh Silver Spring, MD April 2009

#El_Norte (#film)

El Norte is a 1983 British-American low-budget independent drama film, directed by Gregory Nava. The screenplay was written by Gregory Nava and Anna Thomas, based on Nava’s story. The movie was first presented at the Telluride Film Festival in 1983, and its wide release was in January 1984.[2]

The picture was partly funded by the Public Broadcasting Service (PBS), a non-profit public broadcasting television service in the United States.

El Norte received an Oscar nomination for Best Original Screenplay in 1985, the first American independent film to be so honored.[3] In 1995, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

The drama features Zaide Silvia Gutiérrez and David Villalpando, in their first film roles, as two indigenous youths who flee Guatemala in the early 1980s due to the ethnic and political persecution of the Guatemalan Civil War. They head north and travel through Mexico to the United States, arriving in Los Angeles, California, after an arduous journey.

https://upload.wikimedia.org/wikipedia/en/8/84/El_Norte%2C_film_poster.jpg

▻https://fr.wikipedia.org/wiki/El_Norte

@reka : un film très intéressant, car il montre comment on traversait la frontière Mexique-USA au début des années 1980...

Carol Highsmith Sues Getty Images for $1 Billion Carey Dunne in Hyperallergic.
▻http://bado-badosblog.blogspot.fr/2016/08/carol-highsmith-sues-getty-images-for-1.html#more

https://3.bp.blogspot.com/-zgDs8LNuuf4/V5pa88pNseI/AAAAAAAAhmM/mnyAtqNFMpQRFdsYZSuYST0ASf6U-fwZACLcB/s1600/Capture%2Bd%25E2%2580%2599e%25CC%2581cran%2B2016-07-28%2Ba%25CC%2580%2B15.19.14.png

In December, documentary photographer Carol Highsmith received a letter from Getty Images accusing her of copyright infringement for featuring one of her own photographs on her own website.

It demanded payment of $120.
This was how Highsmith came to learn that stock photo agencies Getty and Alamy had been sending similar threat letters and charging fees to users of her images, which she had donated to the Library of Congress for use by the general public at no charge.

Now, Highsmith has filed a $1 billion copyright infringement suit against both Alamy and Getty for “gross misuse” of 18,755 of her photographs. “The defendants [Getty Images] have apparently misappropriated Ms. Highsmith’s generous gift to the American people,” the complaint reads. 

“[They] are not only unlawfully charging licensing fees … but are falsely and fraudulently holding themselves out as the exclusive copyright owner.” According to the lawsuit, Getty and Alamy, on their websites, have been selling licenses for thousands of Highsmith’s photographs, many without her name attached to them and stamped with “false watermarks.”

. . . .
Quelques images de Carol Highsmith : ▻http://www.carolhighsmithamerica.com/#a=0&at=0&mi=2&pt=1&pi=10000&s=2&p=8

#droit_d'auteur #domaine_public #copyright_madness #Getty Images #escroquerie

Carol M. Highsmith
▻http://www.carolhighsmithamerica.com/majestic/photos-pi_4.html

http://www.carolhighsmithamerica.com/majestic/san-franciscos-golden-gate-bridge-g_90.jpg

http://www.carolhighsmithamerica.com/majestic/imperial-sand-dunes-in-california-g_17.jpg

http://www.carolhighsmithamerica.com/majestic/horseshoe-bend-arizona-g_150.jpg

http://www.carolhighsmithamerica.com/majestic/death-valley-road-g_269.jpg http://www.carolhighsmithamerica.com/data/pages/040613132641_1tributes.jpg

Highsmith (Carol M.) Archive - About this Collection - Prints & Photographs Online Catalog (Library of Congress)
►http://www.loc.gov/pictures/collection/highsm

#USA #photographie #archives #public_domain

From Historical Cartography to Mapping the World in the 21st Century - San Francisco Bay Events

▻http://franciscobay.events/san-francisco-from-historical-cartography-to-mapping-the/99711

Re-imagine the globe and cultural exchange through the lens of the Ricci and Verbiest maps.

Hear about the history of cartography and contemporary issues related to mapping, with a focus on the latest technological innovations pioneered by Google and NASA. Join Dr. Laura Hostetler, EDS-Stewart Chair at USF’s Ricci Institute, as she delves into the complex geopolitical controversies surrounding territorial mapping. Dr. Ralph Ehrenberg, Head of the Geography and Map Division of the Library of Congress, will speak on its important collection of East Asian maps, including the Verbiest map featured in the exhibition. Former NASA administrator Stephen Sandford and Google Geospatial Programs coordinator Ed Parsons will provide insight into the technologies that power the mapping processes of the 21st century and describe the evolution, over centuries, of the way we view the world.

This is a perfect pairing with our spring show, “China at the Center: Rare Ricci and Verbiest Maps.” See it before it closes, May 8.

#géopoliique #Cartographie #san_francisco #taz_atlas

North Korea’s Enigmatic Capital Pyongyang | Worlds Revealed: Geography & Maps at The Library Of Congress

▻http://blogs.loc.gov/maps/2016/03/north-koreas-enigmatic-capital-pyongyang

via Jean-Christophe Fichet sur Twitter

http://blogs.loc.gov/maps/files/2016/03/Map-1-2.jpeg

North Korea’s Enigmatic Capital Pyongyang
March 22, 2016 by Carlyn Osborn

Today’s guest post is by Ryan Moore, a Cartographic Specialist in the Geography & Map Division. This is Ryan’s second post for Worlds Revealed and you can read his first one here.

The North Korean capital city Pyongyang has both a storied and troubled history. Among the reasons it fascinates, plain curiosity rises to the top of list, because the North Korean government has largely closed off the country from the rest of world since the end of the Korean War in 1953. Correspondingly, accurate maps of the city available outside the so-called “Hermit Kingdom” are few and far between.

Pyongang is located in the western portion of the nation at 39°1′10″N 125°44′17″E Its name means “flat land” and the city and surrounding coastal plains are an exceptional geographic feature in the nearly entirely mountainous country. The city’s origins date back to 1122 BC. It was built along the Taedong River and over time steadily occupied both sides. Sprawling towards the base of mountains on the outskirts, the city has an area of 1,233 square miles, where a municipal population of some 3.2 million reside. Its inhabitants are believed to be persons most favored by the dynastic government that is generally characterized as totalitarian regime. Grand buildings and monuments, such as the 105-story pyramid-esque Ryugyong Hotel and the Juche Tower with its burning eternal flame, celebrate the power of the government are strategically situated throughout the city for the greatest visual impact.

#corée_du_nord

William P. Gottlieb Collection | Library of Congress
▻https://www.loc.gov/collections/jazz-photography-of-william-p-gottlieb/about-this-collection

https://upload.wikimedia.org/wikipedia/commons/9/97/Ahmet_M._Ertegun%2C_Duke_Ellington%2C_William_P._Gottlieb%2C_Nesuhi_Ertegun%2C_and_Dave_Stewart%2C_William_P._Gottlieb's_home%2C_Maryland%2C_1941_%28Delia_Potofsky_Gottlieb%29.jpg

The collection consists of jazz photographs taken by writer-photographer William P. Gottlieb, from 1938 to 1948, the “Golden Age of Jazz” when swing reached its peak and modern jazz developed. While on assignment for the Washington Post, Down Beat magazine, and Record Changer, Gottlieb photographed and interviewed #jazz pioneers primarily in Washington, D.C., and New York City. A skilled craftsman, the self-taught photographer captured the personalities of jazz musicians in a sensitive, storytelling manner. The collection is an important contribution to the documentation of American culture during a time when jazz music thrived.

Gottlieb’s photographs are perhaps the most widely reproduced images of jazz musicians, such as #Louis_Armstrong, #Duke_Ellington, #Charlie_Parker, #Billie_Holiday, #Dizzy_Gillespie, #Earl_Hines, #Thelonious_Monk, #Stan_Kenton, #Ray_McKinley, #Benny_Goodman, #Coleman_Hawkins, #Ella_Fitzgerald, and #Benny_Carter.
...
The online collection provides access to digital images of all sixteen hundred negatives and transparencies, approximately one hundred annotated contact prints, and over two hundred selected photographic prints that show Gottlieb’s cropping, burning, and dodging preferences. One can follow the artist’s work process by examining first a raw negative, then an annotated contact print, and finally a finished, published product.

#photographie #public_domain #jazz

Millie the Mapper | Worlds Revealed: Geography & Maps at The Library Of Congress

▻http://blogs.loc.gov/maps/2016/03/millie-the-mapper

http://blogs.loc.gov/maps/files/2016/03/AircraftWarning1943.jpg

Millie the Mapper
March 11, 2016 by Carlyn Osborn

We’ve all heard the story of Rosie the Riveter: women, from a wide variety of backgrounds, who entered the workforce during World War II to aid the American war effort. From Lakehurst to Oak Ridge to Willow Run, women became involved in an enormous range of jobs pertaining to wartime manufacturing, production, and preparation. Some of these women also became involved in drafting, photogrammetry, computing, and mapping. Called “Millie the Mappers” or “Military Mapping Maidens” these women played an integral role in producing accurate and up-to-date maps used by various branches of the military and government during World War II.

#cartographie #histoire #seconde_guerre_mondiale

Mr. Dürer Comes to Washington | Worlds Revealed: Geography & Maps at The Library Of Congress

▻http://blogs.loc.gov/maps/2015/11/mr-duerer-comes-to-washington

http://blogs.loc.gov/maps/files/2015/11/schner-gores.jpg

Mr. Dürer Comes to Washington
November 6, 2015 by John Hessler

In the cool summer of 1901, a Jesuit priest named Joseph Fischer was searching through the small libraries found in the country houses and ancient castles of the old noble families that dot the German hinterlands. One day, in the tower of one of those castles, tucked deep into the forest outside the tiny village of Wolfegg, he happened upon a book that would change the history of cartography forever.

#cartographie #hustoire #dürrer

Computing Space IV: William Bunge and The Philosophy of Maps | Worlds Revealed: Geography & Maps at The Library Of Congress

▻http://blogs.loc.gov/maps/2016/02/william-bunge-and-the-philosophy-of-maps

Computing Space IV: William Bunge and The Philosophy of Maps
February 5, 2016 by John Hessler

Today’s post is the fourth of a series called,”Computing Space,” which highlights the lives and work of many of the mostly unknown cartographers, geographers, mathematicians, computer scientists, designers and architects who had a hand in the birth of today’s computer cartography, along with some of forgotten publications from the early years of GIS.

In the early years of the analytic and computational revolution in geography and cartography many of the then existing journals in the field resisted the publication of papers deemed too mathematical or computational, and so many small and short lived publications sprung up around various groups of mapmakers working to bring new technologies and techniques into the field. One such publication, whose famous yellow covers will be known to anyone who has explored the history of early computer cartography, is the “Discussion Paper” series published occasionally between 1963 and 1968 by the so-called Michigan Inter-University Community of Mathematical Geographers.

#cartographie_radicale #cartographie_critique #william_bunge

Mapping the Nation - A Companion Site to Mapping the Nation by Susan Schulten

▻http://www.mappingthenation.com

https://dl.dropbox.com/s/x3ln4lps7xwm5xw/Capture%20d%E2%80%99%C3%A9cran%202016-02-27%20%C3%A0%2012.37.24.png?dl=0

This is a companion site to the book, Mapping the Nation, which explores a tremendously creative era in American cartography.

From maps of disease and the weather to the earliest maps of the national population, this was a period when the very concept of a map was reinvented. By the early twentieth century, maps had become common tools of analysis, communication, and visual representation in an increasingly complex nation.

Today we live in a world that is saturated with maps and graphic knowledge. The maps on this site reveal how this involved a fundamentally new way of thinking.

Chapter 1: The Graphic Foundations of American History

After the Revolution, historical maps became one of the most common and appealing ways to cultivate national loyalty in young Americans. Here you can trace the origin of historical atlases and timelines, and the spread of graphic illustrations of national history.

View Chapter One Maps »
Map from Chapter One
Chapter 2: Capturing the Past Through Maps

Antique maps may command high prices today, but this wasn’t always the case. Here we examine how old maps came to be considered valuable, which was related to the rising popularity of historical atlases and the campaign to create a national archive of maps at the Library of Congress.

View Chapter Two Maps »
Map from Chapter One
Chapter 3: Disease, Expansion, and the Rise of Environmental Mapping

Here you can learn how medical men turned to maps in an urgent quest to solve the deadly mysteries of yellow fever and cholera. Their groundbreaking work was closely related to the race to map the environment in a nation that was rapidly expanding westward.

View Chapter Three Maps »
Map from Chapter One
Chapter 4: Slavery and the Origin of Statistical Cartography

The sectional crisis sparked tremendous creativity in mapmaking, as Northerners began to use maps to measure the extent of slavery. This includes the first statistical maps of population made in the United States, which even captured the attention of President Lincoln during the Civil War.

View Chapter Four Maps »
Map from Chapter One
Chapter 5: The Cartographic Consolidation of America

After the war, the federal government sponsored the first national atlas based on the census. Here you can see how leaders experimented with cartography to measure the nation in new and unexpected ways, from the characteristics of its population to the distribution of its natural resources.

View Chapter Five Maps »

#états-unis #cartographie #nation

There’s A Secret Government Pyramid In North Dakota (14 Pics) – Home
▻http://www.anonews.co/secret-government-pyramid-in-north-dakota

http://www.anonews.co/wp-content/uploads/2016/01/1.jpg

This pyramid might look like something straight out of a late night sci-fi apocalypse movie, but it’s actually the real deal and is located in the middle of nowhere in North Dakota (and we do mean nowhere – its location is simply listed as ”Northeast of Tactical Road; southeast of Tactical Road South”). The mysterious looking structure is part of the Stanley R. Mickelsen Safeguard Complex in Cavalier County, North Dakota and a military building that few ever see.The photos taken by photographer Benjamin Halpern are from the Library of Congress and show the massive structure that served as the site’s missile control building – so you know that whatever was (or is) going on inside was top secret.

Computing Space III: Papers of the “Father of GIS” Come to the Library of Congress
▻http://blogs.loc.gov/maps/2015/12/father-of-gis

Le congrès US approuve une loi qui, sous couvert de lutter contre le financement du Hezbollah, va poursuivre les opérateurs satellites (et autres) qui diffusent al Manar.

H.R.2297 - 114th Congress (2015-2016) : Hizballah International Financing Prevention Act of 2015 | Congress.gov | Library of Congress
▻https://www.congress.gov/bill/114th-congress/house-bill/2297

The President shall report to Congress on: (1) satellite, broadcast, Internet, or other providers that have knowingly entered into a contractual relationship with al-Manar TV and its affiliates; and (2) the identity of those providers that have or have not been sanctioned pursuant to Executive Order 13224 (relating to blocking property and prohibiting transactions with persons who commit or support terrorism).

Legendary photographer Ansel Adams visited a Japanese internment camp in 1943, here’s what he saw

In 1943, Ansel Adams set out to document life inside the Japanese-American internment camp at the Manzanar War Relocation Center in California. It was a departure for Adams, who at the time was known as a landscape photographer and not for social-documentary work. When Adams offered this collection of images to the Library of Congress, he said, “The purpose of my work was to show how these people, suffering under a great injustice, and loss of property, businesses and professions, had overcome the sense of defeat and dispair [sic] by building for themselves a vital community in an arid (but magnificent) environment….All in all, I think this Manzanar Collection is an important historical document, and I trust it can be put to good use.”

#Japon #histoire #camp_d'internement #photographie #WWII #Deuxième_guerre_mondiale #Seconde_guerre_mondiale
cc @albertocampiphoto