CoZuK

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A letter from Akira Kurosawa to Ingmar Bergman.

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"The Accidental Anarchist" - Carne Ross

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Caddis fly larvae are known to incorporate bits of whatever they can find into their cocoons, be it fish bone or bits of leaves. Hubert Duprat gave them gold, turquoise, gems and pearls.

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Gilles Deleuze envisioned a transition from Michel Foucault’s enclosed disciplinary societies to “societies of control” that superficially appeared more open and amenable to free movement. Power is no longer only exercised through the top-down power structures, but is increasingly manifested in the cloud’s capacity to include or exclude. In an excellent analysis of round-the-clock capitalism, Jonathan Crary argues that while indeed now that our lives are organized by machines, a perfect storm awaits us; rather than one evil (technological determinism) replacing another (the boss), Deleuze’s society of control actually enhances Foucault’s disciplinary society and accelerates us towards a hyper-monitored world, where the all-seeing, all-knowing managerial dashboard keeps us in check by making use of computerized panopticons.

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El 'Manifiesto redneck' diagnosticó, hace ya 20 años, la frustración clasista que ha llevado a Donald Trump al poder.

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Modelo social escandinavo: o cómo morir de éxito por esquivar el ideario neoliberal

Suecia, Noruega, Dinamarca y Finlandia -los nórdicos, por tamaño de sus PIB- exhiben músculo económico, liderazgo innovador, equidad de género, justa distribución de riqueza y los más generosos estados del bienestar. Pagan altos impuestos sin perder competitividad. Para desesperación de sus agoreros más neoliberales.

En pocas palabras: pagar impuestos religiosamente y redistribuir la riqueza. No hay milagro alguno.

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"Ovo Je Muski Svet"

Fragment from "Life is a Miracle" by Emir Kusturiça

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The leftwing Greek economist and former minister of finance tells a startling story about his encounter with Europe’s ‘deep establishment’

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The less I needed, the better I felt.

Charles Bukowski

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One night in 2002, a friend gave Jorge Drexler the chorus to a song and challenged him to write the rest of it using a complex, poetic form known as the "Décima." In this fascinating talk, Drexler examines the blended nature of identity, weaving together the history of the Décima with his own quest to write one. He closes the talk with a performance of the resulting song, "La Milonga del Moro Judío." (In Spanish with English subtitles)

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Una historia es como una ameba que muta a medida que se reproduce. A fuerza de ser contada una y otra vez.

Frank Westerman

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Prokudin-Gorsky on Twitter

“Group of children sitting on the hill behind the Church of Saint Paraskevi, Belozersk 1909 #1917LIVE #RussianEmpire”

This color photo is from 1909 !!

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42 university: https://www.42.us.org/

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Se ha convertido en un artículo de fe de la moralidad moderna que todo trabajo es bueno en sí mismo, una creencia que resulta muy convincente para los que viven del trabajo de otros.

William Morris, "Useful Work, Useless Toil" (1885)

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En este período que se ubica bajo el concepto de posmodernidad [...] es la pasión lo que falta. Cuando uno se convierte en consumidor cultural y que elige lo que quiere como quiere, se pierde lo esencial de lo que se llamó "la cinefilia", que era: la pasión, la pasión por algunos directores, por algunas películas, por un tipo de cine.

Pascal Bonitzer

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The group formed in Zurich in 1978 under the name Kleenex, with a line-up of Regula Sing (vocals), Marlene Marder (Marlene Marti, guitar), Klaudia Schiff (Klaudia Schifferle, bass, vocals), and Lislot Ha (Lieselotte Hafner, drums).[1] After releasing an EP in Switzerland, the band were signed by Rough Trade Records and released their debut single "Ain't You" in November 1978.[1] In early 1979, Sing joined the Mo-dettes, and was replaced by Chrigle Freund.[1] who was later replaced by Astrid Spirit (Astrid Spirig). Second single "You" was their last under the Kleenex name as the threat of legal action by Kimberly-Clark in 1979 prompted a change of name to LiLiPUT (Kleenex being a proprietary brand in Switzerland). The band released two further singles, both of which were hits on the UK Indie Chart, before releasing their first, self-titled album in 1982.[1] A second album, Some Songs, was released in December 1983, by which time the band had split up