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Sabtu, 30 Oktober 2010

“Rafael Goldchain - I Am My Family: Photographic Memories and Fictions - Examiner”

“Rafael Goldchain - I Am My Family: Photographic Memories and Fictions - Examiner”


Rafael Goldchain - I Am My Family: Photographic Memories and Fictions - Examiner

Posted: 30 Oct 2010 08:34 AM PDT

Rafael Goldchain dressed as Pesia Krongold.

Photo: The Jewish Community Center of Houston

The Jewish Community Center of Houston unveils a must-see, one-of-a-kind photographic art exhibit on Saturday, October 30, at 6:30 p.m. Rafael Goldchain will speak about his exhibit I Am My Family: Photographic Memories and Fictions, opening in the JCC Deutser Art Gallery, 5601 S. Braeswood. Exhibition on view through December 5.

Goldchain's exhibit is a family album of traditional portrait photographs where the only subject is Goldchain himself. Using genealogical research, makeup, hair styling, costume and props, the photographer transforms himself over and over again into his ancestors capturing their personification with the camera. His powerful images take us into his familial history, and, in essence, our history, of a family decimated and scattered by the traumatic events of the 20th century.

Goldchain's Polish-Jewish ancestors immigrated to South America in the 1930s, and many others perished in Poland during the Nazi regime. Also lost in the turmoil of war and emigration were most of the portraits of his extended family. When Goldchain became a parent himself, he decided to make up for this lack of evidence and recreate the lost generations of the past, in the present.
Born and raised in Santiago, Chile, Rafael Goldchain moved to Canada in 1976, where he received an MFA from York University and a BAA from Ryerson Polytechnic Institute. He is currently Program Coordinator of the Applied Photography Program at Sheridan Institute of Technology and Advanced Learning in Oakville, Ontario.

Goldchain's is the second art exhibit to open at the Deutser Art Gallery this season and his presentation in the Kaplan Theatre will be followed by the dedication of the Gerald Rauch Cultural & Performing Arts Wing at 7:30 p.m. A reception in the Gallery follows.

The Jewish Community Center will dedicate the Gerald Rauch Cultural & Performing Arts Wing on Saturday, October 30 at 7:30 p.m. Rabbi Roy Walter of Congregation Emanu El and Hazzan David Propis of Congregation Beth Yeshurun will commemorate the occasion by affixing a new mezuzah and singing traditional prayers. The Rauch family has generously dedicated the wing in memory of the late Gerald Rauch, a former JCC President and strong supporter of the arts.

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Senin, 25 Oktober 2010

“Aaron Sorkin's Facts and Fictions - Reason.com”

“Aaron Sorkin's Facts and Fictions - Reason.com”


Aaron Sorkin's Facts and Fictions - Reason.com

Posted: 21 Oct 2010 11:37 AM PDT

Facebook founder Mark Zuckerberg reacts to the social network:

Screenwriter Aaron Sorkin has been doing an deceptive little dance when it comes to his movie's accuracy. Usually he takes the position that he's an artist, not a journalist. As he told New York magazine, "I don't want my fidelity to be to the truth; I want it to be to story-telling." And that's fair enough. But when he's challenged on his storytelling choices, Sorkin falls back on a that's what really happened defense, even when he has his facts wrong.

A couple of weeks ago, for example, Sorkin offered this defense of how the film depicts women:

It's not hard to understand how bright women could be appalled by what they saw in the movie but you have to understand that that was the very specific world I was writing about....I was writing about a very angry and deeply misogynistic group of people. These aren't the cuddly nerds we made movies about in the 80's. They're very angry that the cheerleader still wants to go out with the quarterback instead of the men (boys) who are running the universe right now. The women they surround themselves with aren't women who challenge them (and frankly, no woman who could challenge them would be interested in being anywhere near them.)

That's a familiar cliché, but it's hard to square that picture with Irin Carmon's earlier comparison of the film to the facts:

Never mind that [Mark Zuckerberg] has had a serious girlfriend since 2003, which includes the time when the movie was set. That would make it hard to show Asian girls blowing him and his friend because Facebook was so cool!

In real life, plenty of members of Zuckerberg's inner circle are and were gay men. And Facebook's current success has also been predicated on the hard work of women Zuckerberg trusts, including COO Sheryl Sandberg (also a Harvard grad, profiled in The Times today) and his sister....

The fictional Mark Zuckerberg starts Facemash, a site where girls can be cruelly judged on their looks, the only thing they're good for. In real life, Facemash was criticized by groups representing women of color, but it was also equal opportunity judgment: It had men and women on it, which you'd never know from the movie. The real life Sean Parker may be a womanizer, but unlike the character played by Justin Timberlake, he didn't find out about Facebook from a nubile co-ed in Stanford panties who was thrilled to find out she'd scored with a Silicon Valley celeb -- he found out about it from his roommate's girlfriend.

It makes you wonder why the filmmakers tried so hard to create a world so hostile and diminishing to women, where -- aside from a small character for real-life Harvard grad Rashida Jones that seems to have been designed to preempt criticism -- the choices are being a stern bitch (like the ones in the administrative board hearings) or dropping your panties at the sight of power. I don't know from personal experience, but that sounds a lot more like Hollywood.

This is slightly off -- the cast includes one more woman who rises above those caricatures, though she appears in only two scenes. But Carmon's core critique is correct. Sorkin selected (and sometimes invented) the facts that would allow him to paint the digital world he despises as the spawn of a bunch of sexually frustrated misogynists. He ignored the facts that would undermine that tale. If this were journalism, it would be indefensible. As art, it reveals a writer who's guilty of some of the very sins he's trying to pin on his target.

The cuddly nerds we made movies about in the '80s.By the way: Has Sorkin seen the movies about cuddly nerds that came out in the '80s? Rent Revenge of the Nerds sometime. It's got geeks, jocks, and cheerleaders, and its sexual politics ain't gonna win any awards from NOW. I'm just sayin'.

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Sabtu, 23 Oktober 2010

“Steve Kagen and his fictions - Milwaukee Journal Sentinel”

“Steve Kagen and his fictions - Milwaukee Journal Sentinel”


Steve Kagen and his fictions - Milwaukee Journal Sentinel

Posted: 15 Oct 2010 01:24 PM PDT

In trouble, Fox Valley Democrat Rep. Steve Kagen runs an ad referring to his challenger, Republican businessman Reid Ribble, as a politician. Only, as the Weekly Standard's Stephen Hayes points out, Ribble has never held public office, while Kagen's on his second term.

What is this, say-anything week?

Apparently yes: Hayes goes on to dissect Kagen's ad saying Ribble lobbied for looser borders as a means of getting cheap, illegal-immigrant labor. Every word of it, Hayes points out, is the opposite of reality.

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Jumat, 22 Oktober 2010

“Art review: Steve Hurd 'Five Fictions' at Rosamund Felsen Gallery - Los Angeles Times” plus 1 more

“Art review: Steve Hurd 'Five Fictions' at Rosamund Felsen Gallery - Los Angeles Times” plus 1 more


Art review: Steve Hurd 'Five Fictions' at Rosamund Felsen Gallery - Los Angeles Times

Posted: 21 Oct 2010 07:29 PM PDT

October 21, 2010 |  7:00 pm

Steve Hurd takes a shotgun approach to painting in "Five Fictions," an exhibition with nearly as many ways of making a painting (five) as works displayed (eight). At Rosamund Felsen Gallery, the tactic pays off in spades, evoking both the try-everything desperation of a culture in freefall and the all-at-once/all-the-time mania of the present.

Steve Hurd End of the RoadThe first group consists of the two largest pieces, "End of the Road" and "Tower of Babel." Each occupies a custom-made canvas whose shape exactly matches the image depicted: the front end of a life-size semi tractor, which appears to be barreling right at you, and a stack of pre-digital audio-visual equipment, its reel-to-reel decks and mixing boards forming a teetering tower that messes with your body's equilibrium.

The second group is made up of three rectangular canvases that initially appear to be juicy abstractions, their surfaces dense tangles of serpentine lines in various combinations of lusciously mixed colors. Then you notice the tiny fairies, each holding a paintbrush and seemingly hard at work. In Hurd's art, the impossible happens. And it's never what you expect.

Each of his three remaining paintings follows an approach all its own. One is a still life of an inflatable globe going flat. Another is all text, a business proposition by an artist who sounds clueless but may be more clever than most. And the third is a drippy picture of a yellow street sign, its warning printed in reverse.

That's how you'd see it in your rearview mirror, too late to heed but with plenty of time for the dread to begin building in the pit of your stomach.

-- David Pagel

Rosamund Felsen Gallery, 2525 Michigan Ave., Bergamot Station, Santa Monica, (310) 828-8488, through Nov. 13. Closed Sundays and Mondays. www.rosamundfelsen.com

Photo: Steve Hurd's "End of the Road." Credit: Rosamund Felsen Gallery

 


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Pulp Fictions: A Tour Through Artist Daniel Gordon's Studio - ARTINFO

Posted: 22 Oct 2010 01:59 PM PDT


Photo by Katie Osgood

Artist Daniel Gordon


NEW YORK— A studio visit with photographer Daniel Gordon seemed seasonally apt when I swung by the photographer's Brooklyn space: the floor was thickly carpeted with bright, crinkly leaves (of paper), among which slabs of meat covered in flies and severed hairy limbs stretching out from the pulpy waves (also all made of paper) could be identified, resembling a goofy — and recyclable — Halloween display. Buried among the sculptural forms and computer printouts were the operating-table-ready scalpels that Gordon favors for his 3-D collage practice, for which he builds sculptures from Google-sourced images that he then photographs. While this added another touch of the macabre to the workspace, during my stay, at least, no blood was shed.

Meanwhile, it was hard to avoid the anxiety that comes with trampling over plants, vegetables, faces, and other body parts, when all around the studio hang test prints and photographs depicting these same sculptural forms. In the middle of the visit, I find that in avoiding stepping on a paper potato, I throw my whole body weight onto a paper rubber plant lying on the floor — the photograph of which I'm admiring as I crush its subject. (That photo is  featured in the artist's upcoming book, tentatively titled "Bodies and Parts," due out from Damiani in fall 2011.) Gordon, however, is quick to reassure me that he likes it when his works get mashed underfoot, letting them constantly evolve into new forms. "The process has really become improvised just by the nature of my studio, and what I stumble upon," he says.

Gordon is quick to draw a parallel between his studio space and the Internet, both of which are "this big jumbled mess," he says. "Online it seems seamless, but here it's just a mess. It really is a mess online too, but we just can't see it." The artist, who is reading the 1881-1906 volume of John Richardson's massive Picasso biography (though he prefers Matisse biographer Hilary Spurling's writing style), led me safely through the thicket of his studio, talking about how to make cobwebs by letting hot glue dry, how delicious "Sunday sauce" from Frankie's is, and why there are so many potatoes scattered around the room.

"I've made a lot of potatoes this summer, but they never even wound up in a picture," Gordon said on that last subject. "I made like 20 potatoes and now they're just there. But maybe six months down the line, when they're all mushed up, maybe something will happen."

For more excerpts from this conversation, and images of the studio, click the slide show at left.

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Kamis, 21 Oktober 2010

“Art review: Steve Hurd 'Five Fictions' at Rosamund Felsen Gallery - Los Angeles Times” plus 2 more

“Art review: Steve Hurd 'Five Fictions' at Rosamund Felsen Gallery - Los Angeles Times” plus 2 more


Art review: Steve Hurd 'Five Fictions' at Rosamund Felsen Gallery - Los Angeles Times

Posted: 21 Oct 2010 07:01 PM PDT

October 21, 2010 |  7:00 pm

Steve Hurd takes a shotgun approach to painting in "Five Fictions," an exhibition with nearly as many ways of making a painting (five) as works displayed (eight). At Rosamund Felsen Gallery, the tactic pays off in spades, evoking both the try-everything desperation of a culture in freefall and the all-at-once/all-the-time mania of the present. Steve Hurd End of the Road

The first group consists of the two largest pieces, "End of the Road" and "Tower of Babel." Each occupies a custom-made canvas whose shape exactly matches the image depicted: the front end of a life-size semi tractor, which appears to be barreling right at you, and a stack of pre-digital audio-visual equipment, its reel-to-reel decks and mixing boards forming a teetering tower that messes with your body's equilibrium.

The second group is made up of three rectangular canvases that initially appear to be juicy abstractions, their surfaces dense tangles of serpentine lines in various combinations of lusciously mixed colors. Then you notice the tiny fairies, each holding a paintbrush and seemingly hard at work. In Hurd's art, the impossible happens. And it's never what you expect.

Each of his three remaining paintings follows an approach all its own. One is a still life of an inflatable globe going flat. Another is all text, a business proposition by an artist who sounds clueless but may be more clever than most. And the third is a drippy picture of a yellow street sign, its warning printed in reverse.

That's how you'd see it in your rearview mirror, too late to heed but with plenty of time for the dread to begin building in the pit of your stomach.

-- David Pagel

Rosamund Felsen Gallery, 2525 Michigan Ave., Bergamot Station, Santa Monica, (310) 828-8488, through Nov. 13. Closed Sundays and Mondays. www.rosamundfelsen.com

Photo: Steve Hurd's "End of the Road." Credit: Rosamund Felsen Gallery

 


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Aaron Sorkin's Facts and Fictions - Reason.com

Posted: 21 Oct 2010 11:37 AM PDT

Facebook founder Mark Zuckerberg reacts to the social network:

Screenwriter Aaron Sorkin has been doing an deceptive little dance when it comes to his movie's accuracy. Usually he takes the position that he's an artist, not a journalist. As he told New York magazine, "I don't want my fidelity to be to the truth; I want it to be to story-telling." And that's fair enough. But when he's challenged on his storytelling choices, Sorkin falls back on a that's what really happened defense, even when he has his facts wrong.

A couple of weeks ago, for example, Sorkin offered this defense of how the film depicts women:

It's not hard to understand how bright women could be appalled by what they saw in the movie but you have to understand that that was the very specific world I was writing about....I was writing about a very angry and deeply misogynistic group of people. These aren't the cuddly nerds we made movies about in the 80's. They're very angry that the cheerleader still wants to go out with the quarterback instead of the men (boys) who are running the universe right now. The women they surround themselves with aren't women who challenge them (and frankly, no woman who could challenge them would be interested in being anywhere near them.)

That's a familiar cliché, but it's hard to square that picture with Irin Carmon's earlier comparison of the film to the facts:

Never mind that [Mark Zuckerberg] has had a serious girlfriend since 2003, which includes the time when the movie was set. That would make it hard to show Asian girls blowing him and his friend because Facebook was so cool!

In real life, plenty of members of Zuckerberg's inner circle are and were gay men. And Facebook's current success has also been predicated on the hard work of women Zuckerberg trusts, including COO Sheryl Sandberg (also a Harvard grad, profiled in The Times today) and his sister....

The fictional Mark Zuckerberg starts Facemash, a site where girls can be cruelly judged on their looks, the only thing they're good for. In real life, Facemash was criticized by groups representing women of color, but it was also equal opportunity judgment: It had men and women on it, which you'd never know from the movie. The real life Sean Parker may be a womanizer, but unlike the character played by Justin Timberlake, he didn't find out about Facebook from a nubile co-ed in Stanford panties who was thrilled to find out she'd scored with a Silicon Valley celeb -- he found out about it from his roommate's girlfriend.

It makes you wonder why the filmmakers tried so hard to create a world so hostile and diminishing to women, where -- aside from a small character for real-life Harvard grad Rashida Jones that seems to have been designed to preempt criticism -- the choices are being a stern bitch (like the ones in the administrative board hearings) or dropping your panties at the sight of power. I don't know from personal experience, but that sounds a lot more like Hollywood.

This is slightly off -- the cast includes one more woman who rises above those caricatures, though she appears in only two scenes. But Carmon's core critique is correct. Sorkin selected (and sometimes invented) the facts that would allow him to paint the digital world he despises as the spawn of a bunch of sexually frustrated misogynists. He ignored the facts that would undermine that tale. If this were journalism, it would be indefensible. As art, it reveals a writer who's guilty of some of the very sins he's trying to pin on his target.

The cuddly nerds we made movies about in the '80s.By the way: Has Sorkin seen the movies about cuddly nerds that came out in the '80s? Rent Revenge of the Nerds sometime. It's got geeks, jocks, and cheerleaders, and its sexual politics ain't gonna win any awards from NOW. I'm just sayin'.

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Nothing Confused About Backlash - Hartford Courant

Posted: 21 Oct 2010 03:33 PM PDT

In an increasingly desperate attempt to develop a narrative for the coming Democratic collapse, the Democrats have indulged themselves in what for half a century they've habitually attributed to the American right — the paranoid style in American politics. The talk is of dark conspiracies — secret money, foreign influence, big corporations, with Karl Rove and, yes, Ed Gillespie lurking ominously behind the scenes. The only thing missing is the Halliburton-Cheney angle.

But after trotting out some of these with a noticeable lack of success, President Barack Obama has come up with something new, something less common, something more befitting his stature and intellect. He's now offering a scientific, indeed neurological, explanation for his current political troubles.

The electorate apparently is deranged by its anxieties and fears to the point where it can't think straight. Part of the reason "facts and science and argument does not seem to be winning the day all the time," he explained to a Massachusetts audience, "is because we're hard-wired not to always think clearly when we're scared. And the country is scared."

Opening a whole new branch of cognitive science — liberal psychology — Obama has discovered a new principle: The fearful brain is hard-wired to act befuddled, i.e., vote Republican.

But of course. Here Obama has spent two years bestowing upon the peasantry the "New Foundation" of a more regulated, socially engineered and therefore more humane society, and they repay him with recalcitrance and outright opposition. Here he gave them Obamacare, the stimulus, financial regulation and a shot at cap-and-trade — and the electorate remains not just unmoved but ungrateful.

I have a better explanation. Better because it adheres to the ultimate scientific principle, Occam's Razor, by which the preferred explanation for any phenomenon is the one with the most economy and simplicity. And there is nothing simpler than the Gallup findings on the ideological inclinations of the American people. Conservative: 42 percent. Moderate: 35 percent. Liberal: 20 percent. No fanciful new syndromes or other elaborate fictions are required to understand that if you try to impose a liberal agenda on such a demonstrably center-right country — a country that is 80 percent non-liberal — you get a massive backlash.

Moreover, apart from ideology is empirical reality. Even as we speak, the social democratic model Obama is openly and boldly trying to move America toward is unraveling in Europe. It's not just the real prospect of financial collapse in Greece, Spain, Portugal and Ireland, with even the relatively more stable major countries in severe distress. It is the visible moral collapse of a system that, after two generations of increasing cradle-to-grave infantilization, turns millions of citizens into the streets of France in furious and often violent protest over what? Over raising the retirement age from 60 to 62!

Having seen this display of what can only be called decadence, Obama's perfectly wired electorate says no, not us, not here.

And it isn't as if this political message is new. It had already been sent in the last year with clarion clarity in the elections in Virginia, New Jersey and Massachusetts where independents — the swing voters without ideological attachment one way or the other — split 2-to-1, 2-to-1 and 3-to-1, respectively, against the Democrats.

The story of the last two years is as simple as it is dramatic. It is the epic story of an administration with a highly ideological agenda encountering a rising resistance from the American people over the major question in dispute: the size and reach and power of government and, even more fundamentally, the nature of the American social contract.

An adjudication of the question will be rendered on Nov. 2. For the day, the American peasantry will be presiding.

Charles Krauthammer is a syndicated writer in Washington.


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Rabu, 20 Oktober 2010

“The Price of Tea - Huffingtonpost.com”

“The Price of Tea - Huffingtonpost.com”


The Price of Tea - Huffingtonpost.com

Posted: 20 Oct 2010 08:53 AM PDT

"I don't think this election is about details," crowed Ron Johnson, the Tea Party-backed challenger to three-term Democratic Senator Russ Feingold, shortly after his opponent meticulously explained how the 2009 stimulus bill saved more than a million and a half jobs at their recent debate in Wausau, Wisconsin. Johnson, who currently enjoys an eight point lead in the polls, is a millionaire businessman who has never held office ("That sounds pretty good -- no previous elected experience" he boasted last month at a candidates' forum). Like all Tea Party candidates, he believes he is running a populist campaign -- no matter that he has personally poured 4.4 million dollars into his war chest in an effort to unseat Feingold, the 95th wealthiest senator and a renowned champion of the middle class. Disregard this fact, and disregard the effects of the stimulus, too: these are details, and Mr. Johnson doesn't think this election is about them.

I don't think this election is about details either. I think it's about a group of people who have discovered that, by fuming and blustering about anything other than details, they can mutilate the crown jewel of American democracy -- fair, public, partisan debate -- until left versus right devolves gracelessly into fact versus fiction. The stimulus saved jobs. The bailouts have been almost entirely paid back to the taxpayers. Human activity impacts the Earth's climate. The president is a Christian non-socialist. These are not political positions to be debated by serious women and men: they are just facts. Not liberal theories, but the actual reality of the world. The Tea Party's bread and butter has been the wanton conflation of facts and opinions -- make them indistinguishable from each other, and pretty soon you can dispose of details altogether and put truth itself up for debate.

Of the thirty-seven Senate races being decided in November, only one features a Republican candidate who acknowledges that humans contribute to climate change (that would be Illinois' Mark Kirk). All thirty-seven Republicans (and many of their Democratic opponents) are explicitly running against TARP and the stimulus -- the fiction of their repugnance having won out, by forfeit, over the fact of their actual success. Many GOP hopefuls are even trumpeting as their chief qualification their utter lack of qualifications; in Wisconsin, Johnson's latest TV spot blows the lid off of the fact that fifty-seven sitting senators (including Feingold) are -- gasp! -- lawyers, which would "be fine, if we had a lawsuit to settle." Following in the footsteps of his non-witch party-mate Christine O'Donnell, Johnson reassures us that he is not a lawyer, lest we continue to recklessly overcrowd our nation's highest law-making body with people who went to law school. Details.

The bulk of the criticism levied against the Tea Party has been directed at their most visible absurdities: the laughable primitivity of O'Donnell, Rand Paul, and Sharron Angle, the drawing of Hitler mustaches on the president (and occasionally on themselves), Glenn Beck's high-octane McCarthyism, the unhinged nativist fashion shows, etc. These are all rich targets, of course, and worthy of the sternest objections of all reasonable Americans. But the hidden cost of the Tea Party, and perhaps the movement's most nefarious consequence, is the damage their leaders have done -- intentionally -- to the sanctity of facts.

I understand that the regular folks who support the Tea Party are utterly furious, but I do not doubt for a second that every single one of them would holster their signs and forswear the cause if they could know the facts from the fictions. They are being deprived the truth, and it is sick, and it is sinister. The community of voices that they trust have no interest in explaining the conclusions of the scientists, the humanity of the president, or the fresh hell that TARP and the stimulus helped to prevent, and no other voices can penetrate the protective walls they have built for themselves. The Democratic Party will recover from congressional losses, and the Republican Party will recover from conspiracist rule. America will never recover if we allow objective truth to become just another opinion, an arguable theory, one more detail drowning in a sea of angry fictions.

 

Follow Daniel Cluchey on Twitter: www.twitter.com/dancluchey

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Selasa, 19 Oktober 2010

“Separating Financial Fact from Convenient Fiction - YAHOO!” plus 2 more

“Separating Financial Fact from Convenient Fiction - YAHOO!” plus 2 more


Separating Financial Fact from Convenient Fiction - YAHOO!

Posted: 19 Oct 2010 07:03 PM PDT

Financial analyst sorts out the fantasy from reality of the financial meltdown

Madison, CT (Vocus) October 19, 2010

The collapse of the U.S. stock and housing markets and the subsequent credit crisis have left many Americans asking how it could have happened. However, to understand how the collapse happened, one must first understand how the huge systemic bubble that led to the collapse was built. Fairy Tale Capitalism: Fact and Fiction Behind Too Big To Fail (published by AuthorHouse) by financial analyst Emily Eisenlohr breaks down the evolution of the financial bubble and brings simple perspective to a seemingly daunting question.

Fairy Tale Capitalism is a brief history of how the biggest banks became 'Too Big to Fail'. The book peels away the fictions and presents the facts. Although reforming the financial sector may be complex, understanding how systemic risk grew is rather simple. Fairy Tale Capitalism puts the puzzle together one piece at a time.

Political leaders and Big Bank CEOs would have the public believe that the systemic bubble and its bursting resulted from human greed, global financial developments and regulatory neglect -- all outside the control of Congress. Fairy Tale Capitalism demonstrates the fiction of that claim. The real history is that Congress played a huge role in building the systemic bubble.

Congress can't claim it wasn't informed. In quote after quote Fairy Tale Capitalism uses public information to show how Congress had been well informed about systemic risks. Public hearing testimony and Congressionally-mandated reports alerted Congress to the risks of derivatives, regulatory gaps and the poorly understood relationship between the biggest banks and hedge funds. Yet all this information was ignored.

Focusing on current Congressional leadership, Fairy Tale Capitalism shows how the financial sector ensured Congress's support. Those in the financial sector turned their rising incomes into bigger campaign donations for Congressmen whose power grew with their seniority.

Fairy Tale Capitalism is the perfect primer for anyone interested in or engaged in national public policy and our government.

About the Author
Emily Eisenlohr is a financial analyst, specializing in credit analysis and policy advocacy. She spent two decades in the financial sector as a corporate banking executive and credit analyst for some of the biggest financial institutions in the U.S. including Citibank and Moody's Investors Service. Eisenlohr, a Chartered Financial Analyst, received a B.A. with honors from Mount Holyoke College, with a major in music and a minor in biology. Her M.B.A. is from the University of Chicago.

AuthorHouse is a premier book publisher for emerging, self-published authors. For more information, please visit http://www.authorhouse.com.

###

Deanna Krinn
AuthorHouse
18885195121
Email Information

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Biography: The Falsest Art? - Huffingtonpost.com

Posted: 19 Oct 2010 03:14 PM PDT

"Biography is the falsest of arts," wrote F. Scott Fitzgerald in one of his many notebooks. Fitzgerald blamed the biographer of course, the summation required by the biographical enterprise, and not the subject for this falseness. He blamed the biographer's compunction to make men into movements, into types, archetypes, and so on.

Fitzgerald was partially right about this, I think. Yet every biographer knows, literary biographers in particular, our subjects are often unreliable witnesses, especially to what happens to them. They are unreliable largely because they believe so confidently that they are not. Our genre remains vibrant, to read and write, for this reason and also because: all art is adornment; we prefer adornment to bald fact; on all self-truths we practice self-surgery.

As a literary journalist who has interviewed and written about many contemporary writers, I can tell you that writers practice the strange art of willful obtusion. I can tell you they almost always prefer a beautiful lie to a banal truth. Who doesn't, I guess. A writer's archive is then just a rich depository of splayed and embellished truths; a writer's archive is layered with lies in the same way a desert cliff is raked with variant sediment. The best that a literary biographer can do then (whether working with a living subject or a dead one) is corroborate statements, challenge stories, check sentiments, and cross-check dates. The best we can do is search through the facts and fictions and then forge them into an understanding that can be shared. A literary biography, then, is a writer's understanding of a writer, shared.

My recent work inside the archives at The Huntington Library and at The John Hay Library at Brown University bears all these truths out. What's remembered of my subject there by Lillian Hellman is half-remembered in a half-light. What's remembered by Dorothy Parker, the same. What is remembered by William Faulkner is essentially that he and my subject went hunting on two occasions. William Carlos Williams recalls a brief editorial correspondence on a literary magazine he does not name. My subject's sister brags that her brother was an excellent student. He was not.

Beyond all the trouble of sorting fact from fiction is the far greater one of composition -- shaping a mass of dates and declarations into a story of a life that resembles some truth I want to tell. I've been driven to decide whether my subject was a major novelist or a minor one. Was his horrific car accident on a clear day in the middle of the California desert an accident after all? And finally, and most essentially, how does the boy of nine sequestered in his bedroom reading the great English and Russian novelists of the Nineteenth Century, fashion himself into one of the most engaging and peculiar modernists of the Twentieth Century?

Really, it's this last question to which I've devoted myself and my biography. How does the amateur enthusiast become the professional, the craftsman become the artist? As I work to finish my first complete draft, I've posted above my desk one of my favorite sentences from the work-in-progress:

"A writer is what a writer does, not what he means to do."

Isn't that right and true? I think so. This gives the literary biographer some hope that what remains can be studied and tested, measured and admired.

In the end, I've come to believe that what makes the biography of a writer (or any person for that matter) crackle and pop (and also reliable and true) is knowing as many lies as truths -- the lies they told to others, the lies others told of them, and most importantly, the lies they told themselves. In our lies live our truths.

 

Follow Joe Woodward on Twitter: www.twitter.com/nwproject

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The New Republic: Can The People Decide Policy? - NPR News

Posted: 19 Oct 2010 12:51 PM PDT

Yes, no, maybe vote
iStockphoto.com

While democracy is supposed to carry out the wishes of the people, sometimes what the people want can be hard to figure out.

Jonathan Bernstein writes at aplainblogaboutpolitics.

Speaking of the news that the Awakening in Iraq may not end the way that it started (see this NYT article, a good Matt Yglesias post, and my remarks about politicians and policy)...

One of the most interesting things about Iraq, to me, is how it demonstrates how the relationship between elections and public policy really work. I'm thinking about the 2006 election cycle. Of course, liberals were terribly disappointed in the immediate aftermath of those elections: Democrats in Congress, despite moving into the majority, were not only unable to end the war in Iraq, but found no way to prevent the surge. In other words, the immediate effects of the 2006 election appeared to be the exact opposite of what people wanted. Could that possibly be justified in a democracy?

Well, yes and no. Putting aside for a moment the question of justification, we can look a bit more at what messages were actually sent and received. As usual, it's difficult to tell exactly what the electorate was "saying" in the 2006 elections. We can trace some things…the Iraq war was unpopular, and it hurt Bush's approval ratings and, eventually, GOP candidates. It's a lot harder, however, to conclude that the electorate was "saying" anything specific about Iraq policy. No doubt that most liberal Democrats wanted out of Iraq. But of course most liberal Democrats wanted out of Iraq in 2004, too.

Beyond that, however, even when we have good survey or polling data, it's hard — in my view, impossible — to draw specific conclusions about exactly what the electorate is saying. Many voters in 2006 weren't even thinking of Iraq. They may have been concerned about various Congressional scandals having nothing to do with policy, or they may have just been reacting to a particularly good set of Democratic candidates (who were running and were well-funded, to be sure, because George W. Bush had become unpopular, which was in large part because of Iraq). And then we know that most voters know very little about public policy. That makes it hard, too; even good survey data are going to be dependent on what voters know about policy, and it's very possible that voters may have vague preferences (Iraq is going badly! Make it better!) that lead them to one set of answers to one set of polling questions, but other (contradictory) answers to other questions.

That's not because voters are stupid — it's just that most voters don't take the time to carefully study all the various policy options available on all the issues of the day, and so they'll often respond to polls with policies or positions that are internally inconsistent. One of the reasonable conclusions to draw from this is that detailed policy mandates from elections are fictions.

And yet...from the perspective of four years on, it seems pretty clear to me that the 2006 election has, in fact, ended (or, better, will soon end) American involvement in Iraq.

Two parts to this. On the Hill, Democrats who were responsive to antiwar voters pushed to end the war, while the remaining Republicans (seeing the results of the 2006 elections) probably were not eager to stand up for it. That wasn't enough to have a direct effect, at least with a Republican in the White House determined to oppose those Democrats, but it did change the equation quite a bit. At the White House, it certainly seems to me (and I've only skimmed the insider accounts that are out so far, let alone those still to come) that the elections were taken as an immediate signal to Do Something!: thus dumping Donald Rumsfeld, thus the surge, and thus the eventual agreement to leave, an agreement that Barack Obama has so far carried out. 

Do Something! may not seem to be much, but in fact we can go back to Alexander Hamilton and think about "energy in the executive" compared to drift. What this means, to me, is very simple: a president who focuses on a problem is apt to solve it. That goes for smart presidents and foolish ones, liberals and conservatives, Democrats and Republicans. The key variable isn't whether they have good plans; the key variable is whether they aggressively attack the problem or not.

See, no matter who the president might be, you're going to get a lot of drift, because there's just so much that the government does or could do, and because it really does take presidential involvement to make sure that presidential policies are enacted. A good president can be judicious about what to delegate and when to get personally involved, and a president with a strong reputation for getting his way and a good White House staff may be able get results with relatively less of a personal commitment. Indeed, that's one of the best ways, in my view, to judge presidents: how much "energy in the executive" (properly understood) did they create. To me, of all the criticisms of George W. Bush that are reasonable, the most devastating is that he put wars in Iraq and Afghanistan on autopilot for years.

Perhaps then whatever the merits or lack of merits of the surge, it would at least be better than drift. And that's the way to see the 2006 election from the point of view of the White House; the instruction heard from the American people to Do Something! about Iraq ended drift. And, once the war was actively managed, and with few Republicans up for election (including presidential candidates) in 2008 eager to make Iraq a central issue in the campaign — but with the president reluctant to accept "defeat" on his watch — a strategy involving a show of force, a declaration of victory, and then a retreat begun before the 2008 election (in order to take it off the table) but scheduled for completion after the election (so the next crowd could be blamed if it went wrong) made a lot of sense. 

Is that "democratic"? 

I think we can say is that it was democracy as it actually is, whatever we might want democracy to be. Yes, it's democracy in a Madisonian system of separated institutions, sharing powers; in a parliamentary system, it's possible that elections in 2006 would have chucked the incumbent party and installed the antiwar Democrats. On the other hand, changing parties (at least in the White House) in 1968 didn't end Vietnam for years...it's never going to be easy for the current government to take ownership of losing a war, whether they were responsible for beginning it or not. And some of the things discussed here — the difficultly of identifying a signal out of election returns — are just as true in parliamentary elections. 

talked last week about the strong incentive for politicians who get elected to keep their constituents happy, and the 2006/Iraq example, to me, speaks to just how complex that can be. It's strikes me as better than the alternatives, but anyone who tells you that democracy is simply a question of doing what the people want doesn't really understand what's involved.

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Senin, 18 Oktober 2010

“The Days, Nights and Years of the Jackal: The Tale of a Terrorist - New York Times”

“The Days, Nights and Years of the Jackal: The Tale of a Terrorist - New York Times”


The Days, Nights and Years of the Jackal: The Tale of a Terrorist - New York Times

Posted: 14 Oct 2010 06:05 PM PDT

Carole Bethuel/IFC Films

Édgar Ramírez plays the title role in Olivier Assayas's "Carlos."

About 15 minutes into "Carlos," Olivier Assayas's excited, exciting, epic dramatization about the international terrorism brand known as Carlos the Jackal, the title character takes a long, loving, vainglorious look in the mirror at his naked body. It's 1974 and after a bungled assassination attempt and an ineffectual bombing, Carlos has just headed down the flamboyant career path — riddled with bodies, rutted by explosions and festooned with publicity — that will inspire pulp fictions, detailed biographies, hyperventilated conspiracy theories and lasting myths. As he luxuriates in his own image, you see how Carlos saw himself: the terrorist as pinup.

Pinup, playboy, international man of murder and mystery, the real Carlos the Jackal was keenly image-conscious, partial to suits that, when the cameras rolled, he traded for a black leather jacket and Che-style beret. He had swollen cheeks and eyes as small as BBs, with none of the obvious attractions of Édgar Ramírez, the pretty Venezuelan actor who, as the years pass, first plays him sleek as a panther and later lumbering with fat. The disparity between the original and copy might have been necessary to finance a 330-minute look back at a moldering terrorist, but a glammed-up Carlos also allows Mr. Assayas to get close to the character, showing you the idealist-turned-mercenary in his self-regarding element as the filmmaker takes the longer, cooler, intellectual view.

Bigger than life if smaller than his persona, Carlos the Jackal entered the world stage in 1949 as Ilich Ramírez Sánchez, the eldest son of a Venezuelan lawyer and Marxist whose admiration for Vladimir Ilyich Lenin was so fierce that he named his other sons Vladimir and Lenin.

After being schooled in the Soviet Union and in the battlefields of the Middle East in the late 1960s and early 1970s, Ilich Ramírez joined the Popular Front for the Liberation of Palestine, an extremist group for which he carried out spectacular and spectacularly botched operations. Mr. Assayas, hewing close if not slavishly to the extant record, lines up his facts with care, even as he puts his own spin on the story.

To that end, the movie takes off with a soft caress and hard bang in 1973 with a Popular Front operative leaving his lover in bed and being blown to bits in a car on a Parisian street, a prelude to the oppositional dynamics to come. The black-and-white news footage that follows sets the context as a voice-over speculates that the bomb might have been the work of the Israeli secret service, in retaliation for the murderous attack on Israeli athletes by Palestinian terrorists at the 1972 Munich Olympics. From there it's a hop, skip and abrupt cut to Lebanon, where Carlos meets a leader of the Popular Front, Haddad (Ahmad Kaabour), offering up his warrior bona fides in one of the few awkward expository passages in the generally sharp script by Mr. Assayas and Dan Franck.

(Shot in digital and made for French television, "Carlos" is being released in American theaters in two editions: The three-part, 5 ½-hour version has played on the Sundance Channel, while the gutted two-hour-and-45-minute cut will be available on Wednesday through video on demand.)

After Carlos signs on with the Popular Front, he joins forces with radical zealots and together they zigzag across Europe and the Middle East, racking up victims and notoriety. Mr. Assayas's fast pans and jump-cuts create an almost frenzied sense of history inexorably hurtling forward, even as the character at the center of this ferment sometimes seems scarcely as motivated. Carlos might be an ideologue as well as a braggart — "You may have heard of me," he announces to some hostages — but his rhetoric has none of the passion of his violence. Like the convictions of some born into religious families, his Marxism seems more a matter of habit than faith. What seems to turn him on is power, which, the movie suggests, he nurtured alongside his luxe tastes.

Part richly conceived time capsule, part intentionally blurred biopic (Mr. Assayas is too smart to try to solve the riddle of this sphinx), "Carlos" is of its self-conscious historical moment and ours, notably in its consideration of what might inspire an idealist to pick up a gun. Early on in London, Ilich meets one of his lovers (Juana Acosta), who chides him for missing a protest march against the Chilean general Augusto Pinochet. "Words get us nowhere," Ilich responds, just before they're seated in a white-tablecloth restaurant with blood-red walls. "It's time for action." Invoking the Vietcong, Ilich says that he's formed a group that he will lead to glory. "Bourgeois arrogance hidden behind revolutionary rhetoric," the woman answers hotly as silverware gently clinks. Ilich scoffs and proclaims his nom de guerre: Carlos.

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Minggu, 17 Oktober 2010

“Previously Unseen Images by Photographer Nadav Kander on View at Flowers - Art Daily”

“Previously Unseen Images by Photographer Nadav Kander on View at Flowers - Art Daily”


Previously Unseen Images by Photographer Nadav Kander on View at Flowers - Art Daily

Posted: 17 Oct 2010 05:25 PM PDT

LONDON.- Nadav Kander made several voyages along the course of China's Yangtze River, travelling up-stream from mouth to source over a period of three years. Previously unseen photographs from the resulting body of work – 'Yangtze - The Long River' - went on display at Flowers from 14 October 2010 to coincide with the publication of a monograph comprising the complete series.

Using the river as a metaphor for constant change Kander attempted at every stage of the journey, to relate and reflect the consequences of the incomprehensible and seemingly unnatural development in modern-day China.

The journey begins at the coastal estuary, where thousands of ships leave and enter each day, and moves past renowned suicide bridges, coal mines and the largest dam in the world – The Three Gorges Dam. Further inland we encounter Chongqing - the fastest-growing urban centre on the planet.

Kander never photographed further than twenty miles from the river itself. In the shadow of epic construction projects we see workers, fishermen, swimmers and even a man washing his motorbike in the river. Dense architecture gives way to mountains in the upper reaches towards the river's Tibetan source - a sparsely populated area where the stream is mostly broken ice and just ankle deep.

The river is embedded in the consciousness of the Chinese, even those separated from it by thousands of miles. It plays a pivotal role in both the spiritual and physical life of the nation. More people live along its banks than in the USA – one in every eighteen people on the planet. Common man however, appears to have little say in China's progression and this smallness of the individual is alluded to in Kander's work.

The photographs are dominated by immense architectural structures where humans are shown as small in their environment. Figures are dwarfed by landscapes of half completed bridges and colossal Western-style apartment blocks that are rapidly replacing traditional Chinese low-rise buildings and houseboats.

Throughout the series, we can almost feel the weight of the humid air and haze of pollution, which Kander describes in muted tones occasionally enlivened by the smallest bright touches of clothing.

Kander responded intuitively to a feeling that China is severing its roots – the resulting landscapes and documentary-inflected fictions weigh the human and environmental cost of China's often brutal, dehumanizing shift from state-controlled communism to state-sanctioned capitalism.

Nadav Kander said: "The photographs are an emotional response to what I saw. I gave them simple titles so that viewers are encouraged to respond subjectively before seeking the facts "

Kander's China is a country both at the beginning of a new era and at odds with itself, and one that inspired him to create works of sublime, soulful art.

The exhibition coincides with the publication of a comprehensive monograph introduced by Kofi A. Annan and published by Hatje Cantz. Kofi A. Annan presented Kander with the 2009 Prix Pictet photographic award in sustainability for a selection of photographs from 'Yangtze – The Long River'.

Nadav Kander is a regular contributor to many international publications, including The New York Times Magazine, for whom he recently documented 'Obama's People'. Kander is a judge for the third Prix Pictet, to be awarded in 2011.

Photography has constituted a central part of the work exhibited at Flowers since its inception. Angela Flowers was an influential advocate of the medium during the Gallery's first decade and has gone on to represent a number of prominent photographers. 2010 marks the 40th anniversary of the gallery. Flowers will show a selection from Nadav Kander's 'Yangtze - The Long River' at Paris Photo this November.

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