position:biographer

  • Marx still haunts capitalism two hundred years on | The Charnel-House

    https://thecharnelhouse.org/2018/05/05/marx-still-haunts-capitalism-two-hundred-years-on

    *

    “The bourgeoisie will remember my carbuncles until their dying day.”*

    — Marx to Engels, 1867

    Indeed, it would seem they haven’t forgotten him. Over the last few weeks, major bourgeois news outlets have congratulated Marx for “being right” about capitalism: New York Times, Guardian, Financial Times, Independent, and even Vice. Little consolation, all this posthumous praise, for while capitalism remains unstable as ever, the prospect of proletarian revolution feels far away. Perhaps it is less embarrassing than Jonathan Spargo, Marx’s first American biographer, taking to the pages of the New York Times a hundred years ago to enlist Marx to the side of the Entente: “Today Is the 100th anniversary of Marx’s birth: Bitterly opposed to Prussia and an ardent admirer of America, his record shows where he would have stood in the present war.”

    #karl_marx#capitalisme

  • 1933 Article on Frida Kahlo: “Wife of the Master Mural Painter Gleefully Dabbles in Works of Art” | Open Culture

    http://www.openculture.com/2015/03/1933-article-on-frida-kahlo-wife-of-the-master-mural-painter-gleefully-

    Glané sur Twitter grâce à @fil si je me souviens bien

    And yet, far from the Keane’s San Francisco, and perhaps as far as a person can get from Margaret’s frustrated acquiescence, we have Frida Kahlo creating a body of work that would eventually overshadow her husband’s, muralist Diego Rivera. Unlike Walter Keane, Rivera was a very good painter who did not attempt to overshadow his wife. Instead of professional jealousy, he had plenty of the personal variety. Even so, Rivera encouraged Kahlo’s career and recognized her formidable talent, and she, in turn, supported him. In 1933, when Florence Davies---whom Kahlo biographer Gerry Souter describes as “a local news hen”---caught up with her in Detroit, Kahlo “played the cheeky, but adoring wife” of Diego while he labored to finish his famous Detroit mural project.

    –----

    The big-eyed children: the extraordinary story of an epic art fraud | Art and design | The Guardian
    https://www.theguardian.com/artanddesign/2014/oct/26/art-fraud-margaret-walter-keane-tim-burton-biopic

    In the 1960s, Walter Keane was feted for his sentimental portraits that sold by the million. But in fact, his wife Margaret was the artist, working in virtual slavery to maintain his success. She tells her story, now the subject of a Tim Burton biopic

    #art #fraude #women_in_art

    • Dans un des liens de l’article, il y avait ceci :

      No Women Need Apply : A Disheartening 1938 Rejection Letter from Disney Animation | Open Culture
      http://www.openculture.com/2013/04/no_women_need_apply_a_disheartening_1938_rejection_letter_from_disney_a

      Put yourself in the mind of an artistic young woman who goes to see Disney’s Snow White and the Seven Dwarfs when it first opens in 1937. Captivated by the film’s groundbreaking cel-based cinematic animation, understanding that it represents the future of the art form, you feel you should pursue a career with a studio yourself. Alas, in response to the letter of inquiry you send Disney’s way, you receive the terse rejection letter above. “Women do not do any of the creative work in connection with preparing the cartoons for the screen,” it flatly states, “as that work is performed entirely by young men. For this reason girls are not considered for the training school.” Your only remaining hope? To aim lower on the totem pole and become an “Inker” or “Painter,” but “it would not be advisable to come to Hollywood with the above specifically in view, as there are really very few openings in comparison with the number of girls who apply.”

  • Marx still haunts capitalism two hundred years on | The Charnel-House

    https://thecharnelhouse.org/2018/05/05/marx-still-haunts-capitalism-two-hundred-years-on

    Indeed, it would seem they haven’t forgotten him. Over the last few weeks, major bourgeois news outlets have congratulated Marx for “being right” about capitalism: New York Times, Guardian, Financial Times, Independent, and even Vice. Little consolation, all this posthumous praise, for while capitalism remains unstable as ever, the prospect of proletarian revolution feels far away. Perhaps it is less embarrassing than Jonathan Spargo, Marx’s first American biographer, taking to the pages of the New York Times a hundred years ago to enlist Marx to the side of the Entente: “Today Is the 100th anniversary of Marx’s birth: Bitterly opposed to Prussia and an ardent admirer of America, his record shows where he would have stood in the present war.”

    #karl_marx #capitalisme #histoire

  • Silicon Valley’s Sixty-Year Love Affair with the Word “Tool” | The New Yorker
    https://www.newyorker.com/tech/elements/silicon-valleys-sixty-year-love-affair-with-the-word-tool

    In the written remarks that Mark Zuckerberg, the C.E.O. of Facebook, submitted in advance of his testimony on Capitol Hill this week, he used the word “tool” eleven times. “As Facebook has grown, people everywhere have gotten a powerful new tool to stay connected to the people they love, make their voices heard, and build communities and businesses,” Zuckerberg wrote. “We have a responsibility to not just build tools, but to make sure those tools are used for good.” Later, he added, “I don’t want anyone to use our tools to undermine democracy.” In his testimony before the Senate Judiciary and Commerce Committees on Tuesday, Zuckerberg referred to “these tools,” “those tools, “any tool,” “technical tools,” and—thirteen times—“A.I. tools.” On Wednesday, at a separate hearing of the House Energy and Commerce Committee, a congressman from Florida told Zuckerberg, “Work on those tools as soon as possible, please.”

    What’s in a tool? The Oxford English Dictionary will tell you that the English word is more than a thousand years old and that, since the mid-sixteenth century, it has been used as the slur that we’re familiar with today.

    In Silicon Valley, according to Siva Vaidhyanathan, a professor at the University of Virginia whose book about Facebook, “Antisocial Media,” is due out in September, “Tools are technologies that generate other technologies.” When I asked an engineer friend who builds “developer tools” for his definition, he noted that a tool is distinct from a product, since a product is “experienced rather than used.” The iTunes Store, he said, is a product: “there are lots of songs you can download, but it’s just a static list.” A Web browser, by contrast, is a tool, because “the last mile of its use is underspecified.”

    Yesterday was not Zuckerberg’s first time being called in and interrogated about a Web site that he created. In the fall of 2003, when he was a sophomore at Harvard, a disciplinary body called the Ad Board summoned him to answer questions about Facemash, the Facebook precursor that he had just released. Using I.D. photos of female undergraduates scraped from the university’s online directories, Facemash presented users with pairs of women and asked them to rank who was “hotter.” (“Were we let in for our looks? No,” the site proclaimed. “Will we be judged on them? Yes.”) By 10 P.M. on the day Facemash launched, some four hundred and fifty visitors had cast at least twenty-two thousand votes. Several student groups, including Fuerza Latina and the Harvard Association of Black Women, led an outcry. But Zuckerberg insisted to the Ad Board that he had not intended to “insult” anyone. As the student newspaper, the Crimson, reported, “The programming and algorithms that made the site function were Zuckerberg’s primary interest in creating it.” The point of Facemash was to make a tool. The fact that it got sharpened on the faces of fellow-students was incidental.

    The exaltation of tools has a long history in the Bay Area, going back to the late nineteen-sixties, when hippie counterculture intersected with early experiments in personal computing. In particular, the word got its cachet from the “Whole Earth Catalog,” a compendium of product reviews for commune dwellers that appeared several times a year, starting in 1968, and then sporadically after 1972. Its slogan: “Access to tools.” The publisher of the “Catalog,” Stewart Brand—a Stanford-trained biologist turned hippie visionary and entrepreneur—would later call it “the first instance of desktop publishing.” Steve Jobs, in his 2005 commencement address at Stanford, described it as “one of the bibles of my generation.” The “Catalog,” Jobs said, was “Google in paperback form, thirty-five years before Google came along. It was idealistic, and overflowing with neat tools and notions.” Jobs’s biographer, Walter Isaacson, quotes Brand as saying that the Apple co-founder was a kindred spirit; in designing products, Jobs “got the notion of tools for human use.” With the rise of personal computing, the term “tools” migrated from communes to software. The generation of tech leaders who grew up taking P.C.s and the World Wide Web for granted nevertheless inherited an admiration for Brand. In 2016, for instance, Facebook’s head of product, Chris Cox, joined him onstage at the Aspen Ideas Festival to give a talk titled “Connecting the Next Billion.”

    Tool talk encodes an entire attitude to politics—namely, a rejection of politics in favor of tinkering. In the sixties, Brand and the “Whole Earth Catalog” presented tools as an alternative to activism. Unlike his contemporaries in the antiwar, civil-rights, and women’s movements, Brand was not interested in gender, race, class, or imperialism. The transformations that he sought were personal, not political. In defining the purpose of the “Catalog,” he wrote, “a realm of intimate, personal power is developing—power of the individual to conduct his own education, find his own inspiration, shape his own environment, and share his adventure with whoever is interested.” Like Zuckerberg, Brand saw tools as a neutral means to engage any and every user. “Whole Earth eschewed politics and pushed grassroots direct power—tools and skills,” he later wrote. If people got good enough tools to build the communities they wanted, politics would take care of itself.

    #Facebook #Fred_Turner #Stewart_Brand #Tools
    This idea became highly influential in the nineties, as the Stanford historian Fred Turner demonstrates in his book “From Counterculture to Cyberculture.” Through Wired magazine, which was founded by Brand’s collaborator Kevin Kelly, the message reached not just Silicon Valley but also Washington. The idea that tools were preferable to politics found a ready audience in a decade of deregulation. The sense that the Web was somehow above or beyond politics justified laws that privatized Internet infrastructure and exempted sites from the kinds of oversight that governed traditional publishers. In other words, Brand’s philosophy helped create the climate in which Facebook, Google, and Twitter could become the vast monopolies that they are today—a climate in which dubious political ads on these platforms, and their casual attitudes toward sharing user data, could pass mostly unnoticed. As Turner put it in a recent interview with Logic magazine (of which I am a co-founder), Brand and Wired persuaded lawmakers that Silicon Valley was the home of the future. “Why regulate the future?” Turner asked. “Who wants to do that?”

  • Meet the Walt Disney of Eastern Europe
    http://www.messynessychic.com/2018/02/06/meet-the-walt-disney-of-eastern-europe

    For those whose taste in fairytales favours a darker touch, we’re traveling to the far reaches of Eastern Europe, and into the enchanting world of animator Jiří Trnka. The late Czech animator (whose name is pronounced “Yershy Trinka”) created nearly two-dozen films over his lifetime, from folksy gems like Grandfather Planted a Beet (1945) to the gutsy anti-Stalin short, The Hand (1965).

    Craftsmanship ran in Trnka’s blood. He was born in Bohemia in 1912, where his grandmother sold toys for a living and his mother worked as a seamstress. “Even as a child he was making puppets,” explained his daughter, Helena, to the Novy Domov journal in 2012, “He had access to fabrics and other such materials and he taught himself to sew. He was also a very skilled self-taught wood carver.”

    Trnka (left).

    After bouts as a pastry chef and locksmith, he finally began to pursue a full-time career in the arts, and graduated from Prague’s Academy of Art and International Design in 1935. Most of his early work consisted of illustrations for the children’s tales of Hans Christian Anderson and other fairytales, and after WWII, he co-founded the studio Bratři v triku (“Brothers in Tricks”) with animators Eduard Hofman and Jiří Brdečka, which is still in operation today.

    His first puppets were made of wood, and incorporated simple materials like burlap, and found natural objects (i.e. acorn nut hats).

    “[He was] the first rebel against Disney’s omnipotence,” explains biographer Jaroslav Bocek in Jiri Trnka: Artist and Puppet Master, “By painting the dreamlike aspects of reality, Trnka was doing the same as the surrealists…his roaming brush reflected a child’s roaming mind, with its inability to concentrate, its tendency to fantasy.” But it was Trnka’s adult-targeted puppetry that really took things to the next level.

    #animation

  • When a black fighter won ‘the fight of the century,’ race riots erupted across America
    https://timeline.com/when-a-black-fighter-won-the-fight-of-the-century-race-riots-erupted-acros

    On Independence Day, 1910, race riots ignited across America. Jack Johnson, a black boxer, had defeated the white Jim Jeffries in a heavyweight fight in the middle of the Reno desert. Cities around the nation, including Houston, New York, St. Louis, Omaha, New Orleans, Little Rock, and Los Angeles, erupted with the anger and vindication of a racially divided country.

    The day after, newspapers set on the difficult task of tallying the aftermath. “One man was shot in Arkansas, two negroes were killed at Lake Providence, La.; one negro was killed at Mounds, Ill., and a negro fatally wounded in Roundeye, Va.,” reported one local newspaper, explaining that “the tension that existed everywhere vented itself out chiefly in street shuffles.”

    A report from Houston read, “Charles Williams, a negro fight enthusiast, had his throat slashed from ear to ear on a streetcar by a white man, having announced too vociferously his appreciation of Jack Johnson’s victory in Reno.”

    In Manhattan’s San Juan Hill neighborhood, a mob set fire to a black tenement, while blocking the doorway to prevent the occupants’ escape. In St. Louis, a black crowd marched the streets, pushing No one knows how many died in the wake of Johnson-Jeffries fight, but records show between 11 and 26 were killed. Likely hundreds were assaulted or beaten. To quell the disturbance, cities barred the fight video from being shown in theaters, and Congress tried to pass a bill to ban the screening of all boxing films.

    William Pickens, president of the all-black Talladega College, was heartened by the symbolic victory, acknowledging it came at a great cost. “It was a good deal better for Johnson to win and a few negroes to be killed in body for it,” he said, “than for Johnson to have lost and negroes to have been killed in spirit by the preachments of inferiority from the combined white press.”

    As Johnson biographer Geoffrey C. Ward pointed out, “No event yielded such widespread racial violence until the assassination of Dr. Martin Luther King, Jr., fifty-eight years later.”whites off the sidewalk and harassing them, before being clubbed and dispersed by police.

    In Washington, two white men were fatally stabbed by black men, with 236 people arrested in that city alone. And in Omaha, a black man was smothered to death in a barber’s chair, while in Wheeling, West Virginia, a black man driving an expensive car — just as the playboyish Jack Johnson was famous for — was beset by a mob and hanged.

  • Will the Earth Ever Fill Up? - Issue 51: Limits
    http://nautil.us/issue/51/limits/will-the-earth-ever-fill-up-rp

    To say that Thomas Robert Malthus was unpopular would be putting it mildly. His 19th-century contemporary Percy Shelley, the revered poet, called him a eunuch and a tyrant. The philosopher William Godwin dubbed him “a dark and terrible genius that is ever at hand to blast all the hopes of all mankind.” As Malthus’ biographer later put it, he was the most abused man of his age. And that was the age of Napoleon Bonaparte. The catalyst for this vilification was the 1798 book An Essay on the Principle of Population. In it, Malthus—a curly haired, 32-year-old curate of a small English chapel—attacked the claims of utopian thinkers like Godwin, who believed that reason and scientific progress would ultimately create a perfect society, free of inequality and suffering. Malthus took a more (...)

  • REVOLUTION IN #ROJAVA BY #MICHAEL_KNAPP, #ANJA_FLACH, AND #ERCAN_AYBOGA

    In the last decades, “weak thought” philosophies and postmodern approaches have accustomed a great part of critical scholarship to think that revolutions are no longer suitable for the political agenda of the 21st century. According to the authors of Revolution in Rojava, the Rojava experience challenges this assumption. Based in Germany and in Syria, Michael Knapp, Anja Flach, and Ercan Ayboga have been direct witnesses of this revolution and provide an example of participatory and sympathetic social fieldwork that uses “a feminist, internationalist, ecological and left-libertarian approach” (xxvi). The book was translated into English by Janet Biehl, anarchist thinker and biographer of Murray Bookchin (1926-2001), and the foreword was written by another anarchist scholar, David Graeber, who argues that this experience upsets long-lasting assumptions that “peoples of the Middle East were desperately backwards” (xiii).

    http://i0.wp.com/societyandspace.org/wp-content/uploads/2017/01/knapp-et-al_revolution-in-rojava_804_1280.jpg?resize=804%2C1280
    http://societyandspace.org/2017/01/18/revolution-in-rojava-by-michael-knapp-anja-flach-and-ercan-ayboga
    #livre #révolution #Kurdistan #compte-rendu #recension
    cc @isskein

  • Will the Earth Ever Fill Up? - Issue 29: Scaling
    http://nautil.us/issue/29/scaling/will-the-earth-ever-fill-up

    To say that Thomas Robert Malthus was unpopular would be putting it mildly. His 19th-century contemporary Percy Shelley, the revered poet, called him a eunuch and a tyrant. The philosopher William Godwin dubbed him “a dark and terrible genius that is ever at hand to blast all the hopes of all mankind.” As Malthus’ biographer later put it, he was the most abused man of his age. And that was the age of Napoleon Bonaparte. The catalyst for this vilification was the 1798 book An Essay on the Principle of Population. In it, Malthus—a curly haired, 32-year-old curate of a small English chapel—attacked the claims of utopian thinkers like Godwin, who believed that reason and scientific progress would ultimately create a perfect society, free of inequality and suffering. Malthus took a more (...)

  • Ugly Precursor to Auschwitz: Hitler Said to Have Been Inspired by U.S. Indian Reservation System - ICTMN.com
    http://indiancountrytodaymedianetwork.com/2015/01/27/ugly-precursor-auschwitz-hitler-said-have-been-inspi

    The idea of a prison camp – specifically #Auschwitz, in Oświęcim, Poland – where Hitler’s soldiers could shoot, hang, poison, mutilate and starve men, women and children en mass was not an idea Hitler, the bigot, came up with on his own. In fact, the Pulitzer-Prize winning biographer John Toland wrote that #Hitler was inspired in part by the Indian reservation system – a creation of the United States.

    “Hitler’s concept of concentration camps as well as the practicality of genocide owed much, so he claimed, to his studies of English and United States history,” Toland wrote in his book, Adolf Hitler: The Definitive Biography. “He admired the camps for Boer prisoners in South Africa and for the Indians in the wild west; and often praised to his inner circle the efficiency of America’s extermination—by starvation and uneven combat—of the red savages who could not be tamed by captivity.”

    #holocauste #amérindiens

  • Samuel Beckett’s biographer reveals secrets of the writer’s time as a French Resistance spy

    As this year’s Samuel Beckett festival opens in Enniskillen, James Knowlson, recalls how the Irish writer risked his life for liberty and narrowly escaped capture by the Gestapo .

    Réseau Gloria — Wikipédia
    fr.wikipedia.org/wiki/Réseau_Gloria

    Ce réseau qui fut fondé par Jeannine Gabrielle Picabia (fille du peintre ... Samuel Beckett et sa compagne Suzanne Deschevaux-Dumesnil, prévenus par la ...
    inédits: Beckett à vrai dire 1/4 - Verdier
    www.editions-verdier.fr/banquet/n45/inedits3.htm

    Terrorisées, parce que Samuel Beckett voyait mal, conduisait très vite et avait ... C’était un groupe formé essentiellement d’intellectuels : Jeannine Picabia, fille ...
    Samuel Beckett: A Biography

    Deirdre Bair - 1990 - ‎Biography & Autobiography
    211-212.) Beckett, with his interest in astronomy, was no doubt familiar with the work of both men. ... Gabrielle Buffet-Picabia, Jeannine Picabia, Kay Boyle. 28.
    Jeanine Picabia et le réseau Gloria SMH - Musée de la ...
    www.museedelaresistanceenligne.org/media.php?media=2761&popin...
    Légende : Photographie de Jeanine Picabia, fondatrice du réseau Gloria SMH, l’une ... Péron, professeur au lycée Buffon, et l’écrivain irlandais Samuel Beckett.

    Samuel Beckett’s biographer reveals secrets of the writer’s ...
    www.independent.co.uk › ... ›
    23 juil. 2014 - “Nothing to be done” is the opening line of Samuel Beckett’s best-known play, ... Other interviews with Jeannine Picabia are more revealing.