Just discovered this website, www.nowness.com. love their design, love what they feature. quoting it, backgrounding
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loueur d’animaux pour traction de voiturettes d’enfant, récupérateur de feuilles de palme en haut des arbres, recouvreur de boutons de culotte, réparateur de gazinières, vendeur d’animaux pour sacrifice religieux, …
d’une liste des 178 professions répertoriées dans liste des métiers “libéralisés”, à Cuba
la liste complète, ici, l’espagnol me fait défaut.
(Source: moi3, via brokenrhymes)
Marx [adds] a very interesting note:
“Such expressions of relations in general, called by Hegel reflex- categories, form a very curious class. For instance, one man is king only because other men stand in the relation of subjects to him. They, on the contrary, imagine that they are subjects because he is king.”
‘Being-a-king’ is an effect of the network of social relations between a ‘king’ and his ‘subjects’; but - and here is the fetishistic misrecognition - to the participants of this social bond, the relationship appears necessarily in an inverse form: they think that they are his subjects giving the king royal treatment because the king is already in himself, outside the relationship to his subjects, a king; as if the determination of ‘being-a-king’ were a ‘natural’ property of the person of a king. How can one not remind oneself here of the famous Lacanian affirmation that a madman who believes himself to be a king is no more mad than a king who believes himself to be a king - who, that is, identifies immediately with the mandate ‘king’?
- Slavoj Žižek, The Sublime Object of Ideology
(via pantheonaslecum)
"On ne voit pas deux fois le même cerisier, ni la même lune découpant un pin. Tout moment est dernier, parce qu’il est unique. Chez le voyageur cette perception s’aiguise par l’absence des routines fallacieusement rassurantes propres au sédentaire, qui font croire que l’existence pour un temps restera ce qu’elle est."
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Marguerite Yourcenar, «Le tour de la prison», 1977
(Source: 3souliers)
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Rodrigo (y Gabriela, but I think this song is played by Rodrigo alone). Logos.
To understand the previous post.
A picture of a naked old woman.
“Barolo, nothing else.” Is the slogan that accompanies this photo. Michel Ferrero portrays a Vignaiola who posed nude for the campaign’s Cantina Clavesana. The photographer, Mario Felice Schwenn, has a history of respectable cellar with Tuscan Dievole. Plain and simple purpose, as explained director of the winery, Anna Bracco: “We want to launch a bold and provocative message: Barolo is not afraid of time and retains its charm at any age.”
Link to the article, link to the website.
It’s hard to do a dummer campaign. But I like the photography.
RELIRE HANNAH ARENDT
Et sa réflexion sur les individus désintégrés, atomisés, isolés.
Puis le discours de marine le pen, sur la “France des Invisibles”.
Un peu une envie de pleurer.
NY PARIS II
Another article on French/American clichés. I am not sure yet to agree with the author.
The Roots of American Francophobia, The Atlantic.
I also learned, when I asked about this phenomenon on Twitter, that everyone — everyone — has a theory [about the roots of the American Francophobia]. The armchair theories tend to fall into two categories: the “thankless French” argument that Americans resent France for being insufficiently deferential or grateful for U.S. assistance in Vietnam and both world wars, and the “American inferiority” theory that we are intimidated by France’s superior politics, culture, and health care.
Both of those popular answers are really about how Americans views themselves; the former says we are better than the world gives us credit for, the latter says we’re not as great as we think. Either theory could be applied to American attitudes toward any wealthy country — it doesn’t even have to be European. But neither really tells us about the particular U.S. attitudes toward France. Maybe that’s the most revealing thing. France and America are possibly the only two countries in the world that truly believe it’s all about us, that assume our own greatness, either as something to be respected or perfected. That kind of attitude doesn’t really accept peers; there can’t be two pinnacles of Western social development. It’s one of the many traits we share and one of the many things keeping us apart.
NY PARIS I
About clichés. Why I like without-subtitles Korean movies.
Vive La France, The New Yorker.
French culture remains unmatched. Our films include rollicking farces, searing documentaries, and quietly explosive investigations of family life. In these films, to avoid vulgarity, nothing happens, and none of the actors’ faces ever move. French filmmaking has recently reached a peak with the almost entirely silent Oscar-winning movie “The Artist.” True cinéastes say that the ultimate French film will be a still photograph of a dead mime.
CONGO, BOOKS
King Leopold’s Ghost, Adam Hoschschild.
Un livre majeur, sur l’exploitation de l’Etat Indépendant du Congo, à la fin du XIXème siècle, par le roi Léopold II de Belgique. Une description documentée et passionnante, de la mise en place des rouages de la règle coloniale, rouages qui ont rendu possible la main-mise, sur les ressources, et surtout sur les hommes, d’un immense territoire. Un épisode crucial de l’histoire du continent africain, incroyablement peu connu.
Un supplément, intéressant, sur le même thème.
Congo, Eric Vuillard.
Pas un documentaire, plutôt un essai, flou, difficilement compréhensible sans la lecture préalable du livre de Hoschschild, polémiques faciles. Mais un essai bien écrit, assez puissant, très bref.
