Torre de enlace #3

Torre de enlace-03

spotify_taThe Secret Hit-Making Power of the Spotify Playlist por David Pierce

“Nick Holmsten, the service’s head of shows and editorial, claims he could dig into the data and tell you which new song will be a hit in six months.
He declined to prove it, but says his team certainly saw “Call on Me” coming.”

pt_torso_57_bwOn Food y Against Exercise por Mark Grief

“I can’t help but want to live longer. I also want to live without pain. This means I want “health.” But when I place myself at a point within the vast constellation of health knowledge and health behaviors, I can’t help but feel that these systems don’t match up with my simple projects of longevity and freedom from pain. There is something too much, or too many, or too arbitrary, or too directed—too doom-laden, too managerial, too controlling.”

Master of Light por Noah Gallagher Shannon

“The beauty is: we don’t see them do it. We see only the moment after, as they stir in their private anxiety. And it’s suffocating. A logic of grief expressed almost solely through lamp light. As Hall used to ask Deakins: “Does the story tell without sound?””

victor_hugo-return-947x1024Hugo, Inc. por Nina Martyris

On the morning of April 4, 1862, part 1 of Les Misérables, called “Fantine,” was released simultaneously in Brussels, Paris, Saint Petersburg, London, Leipzig, and several other European cities. No book had ever had an international launch on this scale. Within a day, the first Paris printing of six thousand copies sold out to the avid queues that snaked around the bookstores. The critics and literati panned it brutally: Alexandre Dumas, inspired no doubt by Jean Valjean’s sojourn through the sewers, sneered that reading the novel was akin to “wading through mud.” Gustave Flaubert privately mocked it as a “book written for catholico-socialist shitheads and for the philosophico-evangelical ratpack.”

de-stijl-journal-magazineEl mundo es una grilla con cinco colores por Riccardo Boglione

“En una historia de las vanguardias sofocada por “ismos” lo primero que llama la atención -en nuestro caso- es su ausencia en el nombre “oficial”, que significa, simplemente, “el estilo”, y denuncia una de sus características prominentes, la esencialidad (además, unos años antes, Europa Central había sido el foco de otro huracán estético, el Jugendstil, “estilo joven”, que De Stijl rechazaba por su paroxístico decorado). El “De” es entonces fundamental, ya que por supuesto todos los movimientos rupturistas tenían un estilo, pero estos holandeses declaraban tener “el” estilo: una especie de forma de absolutismo, rigor y redención.”

The Bauhaus en The Harvard Art Museums

“The Harvard Art Museums hold one of the first and largest collections relating to the Bauhaus, the 20th century’s most influential school of art and design. Active during the years of Germany’s Weimar Republic (1919–33), the Bauhaus aimed to unite artists, architects, and craftsmen in the utopian project of designing a new world. The school promoted experimental, hands-on production; realigned hierarchies between high and low, artist and worker, teacher and student; sharpened the human senses toward both physical materials and media environments; embraced new technologies in conjunction with industry; and imagined and enacted cosmopolitan forms of communal living. The legacies of the Bauhaus are visible today, extending well beyond modernist forms and into the ways we live, teach, and learn.”


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