Quotulatiousness

March 25, 2021

Modern Artists: The Original Shitposters! | B2W: ZEITGEIST! I E.14 – Winter 1922

Filed under: Europe, France, History, Media — Tags: , , , , , , , — Nicholas @ 04:00

TimeGhost History
Published 24 Mar 2021

The interwar era has seen an explosion of art movements all vying to offer the most revolutionary response to modern society. The competition is intense and, as we shall see, often spills over into open conflict.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory​

Hosted by: Indy Neidell
Written by: Francis van Berkel
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Francis van Berkel
Edited by: Michał Zbojna
Sound design: Marek Kamiński

Colorizations:
Daniel Weiss – https://www.facebook.com/TheYankeeCol…​

Sources:
Some images from the Library of Congress

Soundtracks from Epidemic Sound:
“Epic Adventure Theme 3” – Håkan Eriksson
“Crimp” – Hysics
“Substage” – Jay Varton
“Appeased Soundscape 01” – August Wilhelmsson
“Stranger Days” – Alexandra Woodward
“Superior” – Silver Maple
“Rememberance” – Fabien Tell
“Ghost Dungeons” – Ethan Sloan
“Ancient Discoveries” – Gabriel Lewis

Archive by Screenocean/Reuters https://www.screenocean.com​.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

TimeGhost History
2 days ago (edited)
The original idea for this episode came from me (Francis here, hello) stumbling across a passing reference to the 1922 trial of André Breton buried deep in a Wikipedia article. It led me down a huge rabbit hole on the history of the chaotic artists milling around in Paris, New York, Zurich, and beyond.

Considering that it also takes place in the same season as the publication of Ulysses, the release of Nosferatu, the birth of Brazillian Modernism, and more, I realized that it was the perfect opportunity to dedicate an entire episode to the weird and wonderful artistic movements of the modern era. If this kind is new to you then consider this episode your introduction to the topic. Indy talks about the Cubist revolution, then Dadaism, Expressionism, and more.

In case all that seems a bit too niche for your liking then look at it this way: if you want to understand how people processed the horrors of the Great War, the rise of mass production, and modern geopolitical machinations, then diving into the art of the time is a great place to start.

Watch the video to find out why.

November 12, 2018

Viking Expansion – Ireland – Extra History – #3

Filed under: Europe, History, Religion — Tags: , , , , , — Nicholas @ 04:00

Extra Credits
Published on 10 Nov 2018

When Thorgest arrived on the coasts of Ireland with over a hundred long ships, he was ready to raid — and to establish cities like Dublin and many others that shaped the religion and culture of Ireland, much to the population’s excitement.

Join us on Patreon! http://bit.ly/EHPatreon

July 16, 2018

Dublin theatres get a bit more egalitarian

Filed under: Europe, Media, Politics — Tags: , , , , — Nicholas @ 05:00

Theodore Dalrymple on how the recent decision by the major theatres in Dublin to actively ensure that women are properly represented in the plays they put on:

The exterior of the Abbey Theatre in Dublin, also known as the National Theatre of Ireland (Irish: Amharclann Náisiúnta na hÉireann)
Photo by Flickr user bjaglin via Wikimedia Commons.

Henceforth, apparently, the major theaters of Dublin are, as a matter of principle, to commission at least half their new plays from women. At least half of the characters in the plays, and the directors too, will be women. One can only applaud this commitment to equality and social inclusion.

However, without wanting to carp, it seems to me that the gesture does not go nearly far enough. What about the fat, for example? As we know, a high proportion of the population is now fat, and quite a number are grossly obese. Yet how often do you see plays written by the fat, acted by the fat, directed by the fat, and of interest to the fat? The theatrical professions as a whole are pervaded by slim-ism, but there is no intrinsic connection between being slim and literary or acting ability. There is abundant evidence of widespread prejudice against the fat, and it is surely time that this was overcome. My own view is that at least 10 percent of playwrights, actors, and directors ought to suffer from type 2 diabetes.

And then, of course, there is the matter of intelligence. The average IQ of the population is 100, and such is the normal distribution of intelligence that there are as many people of below-average intelligence as above it. Yet how often do you see a play written or directed by those with an IQ of, say, 80? It is true that a play may appear to have been written or directed by someone with an IQ of 80 or below, but in this case appearances are deceptive. A high IQ is perfectly compatible with all kinds of foolishness or worse, after all; but this does not affect the basic argument from social justice. It is about time that people of low IQ be given their chance in the theater.

April 24, 2016

The Easter Rising – Ireland in World War 1 I THE GREAT WAR Special

Filed under: Britain, Europe, History, Military, WW1 — Tags: , , — Nicholas @ 03:00

Published on 23 Apr 2016

Easter 1916 was a turning point for Ireland and its situation between Home Rule and Irish soldiers serving on the fronts of Gallipoli and the Western Front. And even though the Easter Rising, the first armed uprising against the British was unsuccessful, the spark for Irish nationalism ultimately led to the establishment of the Irish Republic.

April 16, 2014

Handel’s Messiah – the Live Aid of 1750

Filed under: Britain, History, Media, Religion — Tags: , , , — Nicholas @ 08:08

In the Telegraph, Michael White explains why Handel’s Messiah really was the 18th century equivalent of Live Aid:

Every year, his masterpiece reliably comes round, filling musicians’ diaries with unending renditions of the Hallelujah Chorus and “Surely he hath borne our griefs” (or “worn our briefs” as choirboys have it), like a tonic for the flagging bank balance. And it will be the same this week, with a performance of some kind or other guaranteed to come your way, unless you’re living in the Outer Hebrides without a choir in sight or sound.

But for good measure, there’s also a BBC TV programme on Saturday in which the historian Amanda Vickery is looking at Messiah’s back story. And it seems her interest isn’t in the piece as a gift to musicians but as a gift to the poor — focusing on a London performance in 1750 that was, as she says, an 18th-century precedent for Live Aid.

This performance took place at the Foundling Hospital in London, which these days is a museum but was then a children’s home attracting the support of celebrated figures in the arts world. Painters including Hogarth gave it canvases to exhibit; composers such as Handel gave it music to perform. And the funds raised helped keep it going — in something like the manner of that other famous children’s home, the Ospedale della Pietà, Venice, where Vivaldi gave his services.

[…]

The only problem was that Handel depended for commercial success on operatic ventures that proved disastrously expensive and went sour when public tastes changed (as they always do). Hence his interest in writing English oratorios: they were cheaper to produce than opera, avoided over-priced Italian singers and attracted decent audiences.

Hence Messiah, which was written not for London but for Dublin, where it was premiered in April 1742. A large crowd was clearly expected because notices published in advance begged gentlemen to leave their swords at home and ladies to attend “without Hoops”. The critical information on those notices, though, was that making room for more people would “greatly increase the Charity”; because even this initial Dublin try-out was a fundraiser, designed for the relief of prisoners and an infirmary.

So it was good causes that helped swell the turnout. And from what we know of how it went, the audience was high-minded, entering into the spirit of an entertainment that was happening in a concert hall but none the less used sacred texts.

Jonathan Swift, the Dean of Dublin’s Anglican Cathedral, had initially tried to stop his choir being involved, on the grounds that a concert hall wasn’t the right place for such things, and that one of the soloists, Susannah Cibber, was a woman of loose morals. But when she sang “He was despised” she did so with such beauty that another clergyman in the audience stood up and shouted “Woman, thy sins be forgiven”: the kind of engagement you might wish of modern audiences, if only they could be distracted from their iPhones.

January 26, 2012

Ireland’s septic protest

Filed under: Bureaucracy, Environment, Europe, Government — Tags: , , , , , — Nicholas @ 10:52

Elizabeth sent me a link to this Independent.ie article which allowed Lise Hand to dig deep into the Irish septic tank issue while managing not to get too potty-mouthed:

These doughty lads of the West weren’t messing about with a bit of chanting and poster-waving in the manner of an, ahem, bog-standard protest outside Leinster House. Not a bit of it, having driven since dawn in buses up from the corners of Galway, the attitude was, when we’re out, we’re out.

And so the Charge of the Septic Tank Brigade to the gates of Leinster was a colourful affair. They had brought a toilet with them and all, as a pertinent prop to illustrate their admanatine opposition to the introduction of a €50 septic-tank registration charge — a charge which affects rural Ireland, as it’s being imposed on almost half a million households who are not part of a public-sewage scheme.

What’s more, if any tanks fail an inspection, householders will be obliged to upgrade or replace them, which could cost thousands of euro.

And so, the several hundred men (and a few women) from the West were in fighting form on Kildare Street yesterday afternoon. And along with the toilet — which proved a handy seat for the protest’s organiser, Padraig ‘An Tailliura’ O’Conghaola from Rossaveal who was minding the megaphone and trying to keep a bit of order on proceedings.

There was an impressive array of giant paintings on black banners, tastefully depicting images such as sunsets and sailboats and a puzzled-looking lassie sitting on a toilet.

And there was quite a smorgasbord of slogans being waved about: from Winston Churchill’s observation, “We contend that for a nation to tax itself into prosperity is like a man standing in a bucket trying to lift himself up by the handle”; to more earthy exhortations, such as: “Septic Tank Charges are A Pain in the Hole”; and the bi-lingual “‘Cac’ Hogan RIP — Ireland’s Saddam Hussein”; to the pithy enjoinder, “Get A Grip — Stand Up to Europe”.

October 7, 2010

QotD: The dangers of being a novelist

Filed under: Books, Humour, Media, Quotations — Tags: , , — Nicholas @ 12:30

I’m in the middle of starting a new novel right now, and the bad thing about that strange phase of existence is that everything you see and hear somehow relates, in the wankmulch your brain has become, to that novel. Even a shopping list becomes a mass of notation and connective lines — because you’re convinced that the six things on it reveal something phenomenal about the world and your place in it, and there’s a place in the novel where you can shove all that in.

Deep down, there’s a little James Joyce homunculus in our hearts, presumably chatting up a saucy-looking ventricle and asking it if it shags, and also spreading the beautifully toxic notion that his book Ulysses actually contains all of Dublin in it and, should it ever be destroyed, a new Dublin could be generated from it like a backup copy, if needs be. And so we peer around at everything, to see if we can image it on a hard drive of a book, ghosting the real world.

Also it’s important to note that when writers — or at least I — get into this condition, we talk very fast and make not a lot of sense.

Warren Ellis, “Ghosting the real world”, Wired (UK), 2010-10-07

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