“Mathematics in traditional Igbo society is evident in their calendar, banking system and strategic betting game called Okwe”
— Igbo people - Wikipedia, the free encyclopedia
8:45 pm • 29 March 2014 • 1 note
“The title of the series, EP refers to old-fashioned vinyl records or cassette tapes that contained more music than singles and less than albums. It was also the name given by the mid-20th-century British architects Alison and Peter Smithson to the raised area between the street and the entrance to the Economist Plaza, which they had designed as the London headquarters of The Economist magazine. The Smithsons envisaged it as an intermediary space where people could pause and prepare themselves to enter the building.”
— Political Unrest of ‘68 Still Reverberates
6:31 pm • 24 March 2014
“The late French sociologist Pierre Bourdieu accounted for this correlation: the type of capital around which the art world revolves is not economic or financial, but symbolic. Possessing symbolic capital means having the power to “consecrate” works of art.”
— articles/The Venice Effect
6:16 pm • 24 March 2014
“Because of the Biennale’s size and its vociferous claim to be the world’s most influential art jamboree, organizing this show every two years is of course always rife with risks, not only that the national pavilions will fail to generate a frisson but also that its special exhibition will have nothing new to say.”
— Past Upstages Present at Venice Biennale
6:08 pm • 24 March 2014
“This experience was a revelation. Consider the context: We poets are told in this country, over and over, that we do not matter. We internalize the rhetoric of irrelevance. In this mercantile culture, poetry is quantified in terms of dollars and found lacking.
I hear the same dirge about poetry everybody else hears.
Then I went to Chile. I never imagined that a nation could celebrate a poet, or poetry in general, with such fervor. Restaurants used Neruda’s odes for recipes. There were séances to commune with the spirits of dead poets. In a taxicab I heard a radio call-in show on poetry. A security guard at the airport wouldn’t let me leave the country—literally—until I declaimed a poem for her. At Neruda’s Isla Negra home, I saw poetry put to a hundred uses by thousands of celebrants singing, dancing, painting, reading, and performing his poems.
I found myself in the middle of two remarkable scenes at Isla Negra, one public and one personal. The families of the desaparecidos—those people who were disappeared, tortured, imprisoned, or murdered under the Pinochet regime— staged a silent demonstration at the tomb of Neruda. To them it made perfect sense to make their appeal for justice at the grave of a poet. To them there was an unbreakable nexus between justice and poetry”
— Martín Espada
5:59 pm • 24 March 2014 • 1 note