De temàtica erràtica


‎”What art offers is space - a certain breathing room for the spirit” John Updike


This page is dedicated mostly to visual arts and photography. I do not own any of these photos even if some of them are mine.

21st October 2014

Post

Las Profundas Raíces Del Terror Que Practica El Estado de Israel

En su artículo titulado «Israel y la virtud ultrajada» [3], Ilan Pappe señala que la postura de autojustificación que constantemente adopta Israel es «un tema que merece que nos detengamos en él, si queremos entender el por qué de la inmunidad internacional de la que goza Israel para [cometer] las masacres que continúan en Gaza».
Ilan Pappe comienza insistiendo en la oleada de propaganda de los medios israelíes, en la hipocresía de las justificaciones presentadas y la amenaza que representan estas para los palestinos:
. Todas las acciones, ya sean la depuración étnica, la ocupación, las masacres o la destrucción, han sido presentadas siempre como actos justos en el plano moral y ligados a la autodefensa, perpetrados por Israel contra su propia su propia voluntad en el marco de su guerra contra seres humanos de la peor especie. (…)
Esta virtud ultrajada es lo que protege a la sociedad y a los responsables políticos de todo reproche o crítica proveniente del exterior. Y lo que es peor, siempre se traduce en la aplicación de medidas de destrucción dirigidas contra los palestinos. Sin oposición interna y sin presiones exteriores, el resultado es que todo palestino puede convertirse en blanco de ese furor. Dado el volumen de fuego del Estado hebreo, eso solamente puede terminar en nuevas masacres, nuevos asesinatos masivos, nuevas depuraciones étnicas.»
Ilam Pappe menciona por su nombre a lo que él caracteriza como una «ideología malsana destinada a enmascarar atrocidades»: «el sionismo». Y concluye que es urgente denunciarlo y combatirlo:
«Tenemos que tratar de explicar, y no sólo al mundo entero sino a los propios israelíes, que el sionismo es una ideología que aprueba la depuración étnica, la ocupación y, hoy en día, las masacres (…) y [tenemos] también que dejar de legitimar esa ideología, que ha engendrado esta política y que la justifica moral y políticamente. (…) Quizás resulte más fácil hacerlo ahora, en circunstancias tan dramáticas, en momentos en que la atención del mundo se dirige, una vez más, hacia Palestina. (…)

http://www.abujna.frplp.org/2014/10/las-profundas-raices-del-terror-que.html

21st October 2014

Photo

21st October 2014

Post

La agresión oficial israelí contra la Mezquita de Al-Aqsa alimenta el extremismo en la región

El Ministerio de Exteriores Palestino condena enérgicamente los planes oficiales israelíes destinados a segmentar la Mezquita de Al-Aqsa en tiempo y espacio, y las políticas de incitación, financiación y supervisión de las incursiones diarias por parte de sus soldados y colonos

http://lospuebloshablan.org/la-agresion-oficial-israeli-contra-la-mezquita-de-al-aqsa-alimenta-el-extremismo-y-el-terrorismo-en-la-region/

21st October 2014

Photo

21st October 2014

Post

People don’t realize the driving passion of the Zionist movement

Nor do they consider its sources and ultimate goals. Sadly, millions march to the orders of Zionism on a daily basis without knowing the facts and orientation of these insidious plans.


As an example, and nothing you’ll see in modern journalism, a quote from a famous “founding father” of greater Israel:

“Our task consists of preparing the Israeli army for the new war approaching in order to achieve our ultimate goal, the creation of an Israeli empire.”

- Moshe Dayan

1952, Israeli Defense (War) Minister

Delicately said.

http://www.bibliotecapleyades.net/sociopolitica/esp_sociopol_zion92.htm

21st October 2014

Post

Las tropas de mercenarios financiadas por Arabia Saudita, Israel, EEUU, Qatar y otros, pretenden derrocar violentamente al presidente Bashar al-Assad de Siria para establecer un gobierno títere que cumpla los fines y objetivos de EEUU e Israel.

Esta acción, como la gestada contra los regímenes de Irak y Libia, tiene como penúltima estación Siria y como objetivo final Irán. 

21st October 2014

Photo with 1 note

Estudio llevado a cabo por un equipo del Instituto Federal Suizo de Tecnología de Zúrich. 
Los investigadores estudiaron las relaciones entre 37 millones de empresas e inversores de todo el mundo y descubrieron que existe una “superentidad” de 147 megacorporaciones muy unidas y que controlan el 40% de toda la economía mundial. Pero las elites globales no solo controlan estas megacorporaciones, también dominan las organizaciones no elegidas y que no rinden cuentas pero sí controlan las finanzas de casi todas las naciones del planeta. Se trata del Banco Mundial, el FMI y los bancos centrales, como la Reserva Federal estadounidense, que controlan toda la emisión de dinero y su circulación internacional. 

Estudio llevado a cabo por un equipo del Instituto Federal Suizo de Tecnología de Zúrich. 

Los investigadores estudiaron las relaciones entre 37 millones de empresas e inversores de todo el mundo y descubrieron que existe una “superentidad” de 147 megacorporaciones muy unidas y que controlan el 40% de toda la economía mundial. 

Pero las elites globales no solo controlan estas megacorporaciones, también dominan las organizaciones no elegidas y que no rinden cuentas pero sí controlan las finanzas de casi todas las naciones del planeta. Se trata del Banco Mundial, el FMI y los bancos centrales, como la Reserva Federal estadounidense, que controlan toda la emisión de dinero y su circulación internacional.
 

21st October 2014

Photo reblogged from I'm In Heaven with 26 notes

we-other-victorians:


[Orientalist Eugene Delacroix’s] three-day stopover in Algiers transformed his aesthetic vision and subsequently influenced impressionist and early abstract painters. He later wrote that “men and things appear to me in a new light.” His iconic painting of Algerian women [above] was echoed later by others like the French short story writer Guy de Maupassant in his ecstatic discovery of the Thousand and One Nights world of a Tunisian brothel. Artistic “beauty” in the guise of the forbidden and exotic was the hallmark of Orientalism.
While Orientalists were depicting southern and eastern Mediterranean women as odalisques languishing in harems, the women themselves were becoming politicized. In the 1920s feminist activists like the Turkish Halide Edip and the Egyptian Huda Shaarawi demanded attention to women’s rights. Shaarawi’s public removal of her veil after returning from an international conference in Rome has become an emblem of Muslim women’s liberation

—from “Epic Encounters” by miriam cook, Erdag Goknar, and Grant Parker from Mediterranean Passages: Readings from Dido to Derrida
Was thinking about Orientalism after that last painting I posted. Honestly, I love Orientalist paintings. They’re always lush and wonderful to look at, full of a depth of hue, strewn with gold, usually depicting women in more sensuous and alluring poses than other paintings of the time. However, in appreciating these pieces it’s always important to realize that exactly what draws us (or me) to these paintings is what makes them problematic.
The women are posed more alluringly because Western artists were entranced by what they saw as a dichotomy of childish naiveté (the woman sequestered all her life in a harem unknowing of the touch of a man) and sexual deviance (polygamy, lasciviousness) that constituted the character of the “Eastern woman”. This character was obviously entirely constructed by the Western colonizer’s imagination, and it has its roots in some very Victorian viewpoints. Bear with me for the diversion, as the explanation takes some backpedaling.
In the early- to mid-Victorian period, England was not a clean place. Overflowing gutters, essentially no public institutions for garbage removal, and a Thames river so famously polluted that meetings of Parliament were sometimes called off because the stench was too foul to be borne. At the time England was also beset by epidemics of cholera, which we now know is caused by consuming food or water contaminated with fecal bacteria. The epidemiology of the time, however, was dominated by miasma theory, which held that diseases were caused by unclean air (side note: “malaria” gets its name around this time which, of course, literally means “bad air”).
Jane Eyre, for instance, features a typhus outbreak at Jane’s boarding school, Lowood, which Brontë describes as “a cradle of fog-bred pestilence”. Cholera was thought to be most easily caught in stuffy, close rooms, and thus prevention involved opening windows and allowing for lots of fresh, bracing English air. Thus, a city with foul smelling air was an obvious target for clean-up. The Public Health Act of 1848 was a landmark first step, which allotted responsibility to corporations for managing drainage and waste removal. This is all really to set the stage for an England obsessed with health, cleanliness, and purity in a lot of pseudo-science ways that involved vague ideas of “healthy” and “unhealthy” spaces.
This plays a huge role in British colonialism because the English have based their epidemiology around the health benefits of dry, cool air. The hot, humid lands of the East thus become pockets of disease. An essay by James Martin entitled The Influence of Tropical Climates on European Constitutions, written in 1824, argued that European constitutions would be irreversibly weakened by “bad” climates.
The colonial logic gets a little bit mixed up when we discuss contemporary justifications for Imperialism; writings of the time can’t quite agree on whether the climate is bad and thus its people become lazy, requiring English intervention in order to maintain societal order, or whether an intrinsically lazy people (which plays a huge part in the Colonialist narrative) have damaged the lands so much that, of course, they require European intervention.
This ties back to this Orientalism we’re talking about because the innate sexuality of much of the paintings is focused on this nexus of arousal and repulsion around Eastern women; they are often lazily sprawled in harems, in numbers, or reclining on numerous gold-threaded pillows. Decadence is perhaps the best word associated with the European view of the “Orient” at this time; a sexuality tied to excess, laziness, and decay of morals.
This weapon was especially dangerous when directed towards women of these Eastern lands. In "Jane Eyre" and Victorian Medical Geography, Alan Bewell writes, “the tropical sun was believed to act directly upon the nerves…the dangers of such environments were felt to become manifest soonest in women and their reproductive systems”. The horrifying becomes the lurid in Orientalist paintings; because they were Eastern and not Englishwomen, they could be depicted much more revealingly, sensuously,  and sexually than Western women. In this twisted alternate universe of intersectionality, you were damned if you were from the East, damned if you were female, and double-damned if you were both at once. Like much of Imperialist reasoning, though, these justifications break down if you pick apart the logic; more often than not, the theory was used to justify the foregone conclusion.

we-other-victorians:

[Orientalist Eugene Delacroix’s] three-day stopover in Algiers transformed his aesthetic vision and subsequently influenced impressionist and early abstract painters. He later wrote that “men and things appear to me in a new light.” His iconic painting of Algerian women [above] was echoed later by others like the French short story writer Guy de Maupassant in his ecstatic discovery of the Thousand and One Nights world of a Tunisian brothel. Artistic “beauty” in the guise of the forbidden and exotic was the hallmark of Orientalism.

While Orientalists were depicting southern and eastern Mediterranean women as odalisques languishing in harems, the women themselves were becoming politicized. In the 1920s feminist activists like the Turkish Halide Edip and the Egyptian Huda Shaarawi demanded attention to women’s rights. Shaarawi’s public removal of her veil after returning from an international conference in Rome has become an emblem of Muslim women’s liberation

—from “Epic Encounters” by miriam cook, Erdag Goknar, and Grant Parker from Mediterranean Passages: Readings from Dido to Derrida

Was thinking about Orientalism after that last painting I posted. Honestly, I love Orientalist paintings. They’re always lush and wonderful to look at, full of a depth of hue, strewn with gold, usually depicting women in more sensuous and alluring poses than other paintings of the time. However, in appreciating these pieces it’s always important to realize that exactly what draws us (or me) to these paintings is what makes them problematic.

The women are posed more alluringly because Western artists were entranced by what they saw as a dichotomy of childish naiveté (the woman sequestered all her life in a harem unknowing of the touch of a man) and sexual deviance (polygamy, lasciviousness) that constituted the character of the “Eastern woman”. This character was obviously entirely constructed by the Western colonizer’s imagination, and it has its roots in some very Victorian viewpoints. Bear with me for the diversion, as the explanation takes some backpedaling.

In the early- to mid-Victorian period, England was not a clean place. Overflowing gutters, essentially no public institutions for garbage removal, and a Thames river so famously polluted that meetings of Parliament were sometimes called off because the stench was too foul to be borne. At the time England was also beset by epidemics of cholera, which we now know is caused by consuming food or water contaminated with fecal bacteria. The epidemiology of the time, however, was dominated by miasma theory, which held that diseases were caused by unclean air (side note: “malaria” gets its name around this time which, of course, literally means “bad air”).

Jane Eyre, for instance, features a typhus outbreak at Jane’s boarding school, Lowood, which Brontë describes as “a cradle of fog-bred pestilence”. Cholera was thought to be most easily caught in stuffy, close rooms, and thus prevention involved opening windows and allowing for lots of fresh, bracing English air. Thus, a city with foul smelling air was an obvious target for clean-up. The Public Health Act of 1848 was a landmark first step, which allotted responsibility to corporations for managing drainage and waste removal. This is all really to set the stage for an England obsessed with health, cleanliness, and purity in a lot of pseudo-science ways that involved vague ideas of “healthy” and “unhealthy” spaces.

This plays a huge role in British colonialism because the English have based their epidemiology around the health benefits of dry, cool air. The hot, humid lands of the East thus become pockets of disease. An essay by James Martin entitled The Influence of Tropical Climates on European Constitutions, written in 1824, argued that European constitutions would be irreversibly weakened by “bad” climates.

The colonial logic gets a little bit mixed up when we discuss contemporary justifications for Imperialism; writings of the time can’t quite agree on whether the climate is bad and thus its people become lazy, requiring English intervention in order to maintain societal order, or whether an intrinsically lazy people (which plays a huge part in the Colonialist narrative) have damaged the lands so much that, of course, they require European intervention.

This ties back to this Orientalism we’re talking about because the innate sexuality of much of the paintings is focused on this nexus of arousal and repulsion around Eastern women; they are often lazily sprawled in harems, in numbers, or reclining on numerous gold-threaded pillows. Decadence is perhaps the best word associated with the European view of the “Orient” at this time; a sexuality tied to excess, laziness, and decay of morals.

This weapon was especially dangerous when directed towards women of these Eastern lands. In "Jane Eyre" and Victorian Medical Geography, Alan Bewell writes, “the tropical sun was believed to act directly upon the nerves…the dangers of such environments were felt to become manifest soonest in women and their reproductive systems”. The horrifying becomes the lurid in Orientalist paintings; because they were Eastern and not Englishwomen, they could be depicted much more revealingly, sensuously,  and sexually than Western women. In this twisted alternate universe of intersectionality, you were damned if you were from the East, damned if you were female, and double-damned if you were both at once. Like much of Imperialist reasoning, though, these justifications break down if you pick apart the logic; more often than not, the theory was used to justify the foregone conclusion.

Source: we-other-victorians