The Minefield of Primo Levi: An Exchange | by Michael F. Moore | NYR Daily | The New York Review of Books
And so to William Weaver. My third article was about translators and their reputations. I pointed out that a translator can acquire a certain celebrity when a book he or she translates has a huge success; while an equally good or indeed more accomplished translation of a less successful book will not bring its translator the same attention. This situation can skew the way translation assignments are made. Already well-established, Weaver achieved a certain celebrity after Eco’s The Name of the Rose (1983). This reached the point that, as Carol Janeway, editor at Knopf, complained to me in the early 1990s, Italian authors would demand that English language publishers commission Weaver to translate their works, imagining this was the way to success. However, Janeway, herself a fine translator, had stopped using Weaver because she believed his translations poor and she had personally spent an awful lot of time rewriting them—Elsa Morante’s History, in particular. Michael F. Moore is right that it would have been wise of me to support my comment. Perhaps when I find time and energy I will put together an article on Weaver’s work and reputation. It is long overdue.
translation  eco  weaver 
2 days ago
P+E+R+E+ +U+B+U
DT: Confidence is really easy if you lack imagination. I would say that the difference between a professional musician and a non professional, or just a normal person-and I use the term very loosely at this point because I consider myself an amateur, but in this context I'm a professional-you have to have tunnel vision. You have to compartmentalise everything about your life. An important part of lacking imagination is not being able to see that there's a better life that you could have had if you made different choices! I've never had a problem with confidence, because it's like: "What are you gonna do"? I'm not overly confident and if you has asked me if I was confident I'd say no, not particularly. I don't know what else to do. I've gotta get on stage and do a good show.
16 days ago
Machine Learning Explainability vs Interpretability: Two concepts that could help restore trust in AI
Interpretability is about the extent to which a cause and effect can be observed within a system. Or, to put it another way, it is the extent to which you are able to predict what is going to happen, given a change in input or algorithmic parameters. It’s being able to look at an algorithm and go yep, I can see what’s happening here.

Explainability, meanwhile, is the extent to which the internal mechanics of a machine or deep learning system can be explained in human terms. It’s easy to miss the subtle difference with interpretability, but consider it like this: interpretability is about being able to discern the mechanics without necessarily knowing why. Explainability is being able to quite literally explain what is happening.
ai  scrutability  inscrutability  interpretability 
22 days ago
Etudes on Steroids
2.5 hrs?

Alkan Trois Grandes Etudes Op. 76
Scriabin Etudes Op. 65
Chopin Etudes Op. 25
Bartok Three Etudes Op. 18
Debussy Etudes Book II
Dusapin Etude Nos. 3 and 4
Rachmaninov Etudes Op. 39 No. 1, Op. 39 No. 5, Op. 33 No. 8 (C#-)
Liszt Etudes "Mazeppa", "La Vision", "Chasse-Neige"
Ligeti Etudes "Touchees Bloquees", "Fanfares", "Automne a Varsovie", "Vertige", "La Escalier du Diable"

Alkan Etudes Op. 39 Nos. 4-7, "Symphonie pour Piano Suel"

good luck lol
piano  music 
29 days ago
S. Richter required recordings - Google Groups
Here is the shortest list of 'must have'
Richter recordings (IMHO of course):

Bach Concerto for Piano No. 1 in d:
with Vaclav Talich and the Czech
Philharmonic on Supraphon 111906
or 111183 or Melodram MEL-18029;

or with Kurt Sanderling and USSR
State Symphony on Melodiya/Eurodisc
GD-69081 or Melodiya/JVC VICC-2136.

Bach WTC Book I on Chant du Monde
LDC 278525/6 or Melodiya/JVC VDC-5001/2
or JVC VICC-40014/5.

Bach WTC Book II on Chant du Monde
LDC 278-528/9 or Melodiya/JVC VDC-5003/4
or JVC VICC-40016/7.

Brahms Piano Concerto 2: with Evgeny
Mravinsky and Leningrad Philharmonic
on Russian Disc RD CD-11158 or King
Records KICC-6501.

Brahms Quintet for Piano: with Borodin
Quartet Melodiya/JVC VICC-2123.

Chopin Ballades: Praga PR 254 060
(plus other Chopin works).

Chopin Scherzi: DoReMi DHR-7724.

Debussy Estampes: JDG POCG-2134.

Debussy Preludes Book 2: Pyramid 13507.

Franck Sonata: Melodiya/JVC VICC-2013
or VDC-1112 or Mobile Fidelity MFCD 909
or Vox CDX 5120.

Franck Prelude, Chorale & Fugue:
Philips 442459 or 454166 or 454171.

Liszt Piano Concerti: Philips 412006
or 434163 or 446200 or 454545 or 462176
or 464710.

Liszt Transcendental Etudes (7):
Bianco e Nero BN 2433/2 (plus
other works).

Liszt Valses Oubliées (2): Philips
420774 or 454166 or 454167 or 456946
(plus other works).

Mozart Concerto KV466: DG 429918
or 453804 or 459173.

Mozart Sonatas for 2 Pianists:
Decca 466821.

Mozart-Grieg Sonatas: with Elisabeth
Leonskaja on Teldec 90825.

Mussorgsky Pictures: Philips 420774 or
454166 or 454167 or 456946 or 464734.

Prokofiev Sonata 6: RCA 63844.

Prokofiev Sonata 7: Philips 456946.

Prokofiev Sonata 8: DG 423573
or 447355 or 449744.

Rachmaninov 2nd Piano Concerto: with
Stanislaw Wislocki, Warsaw Philharmonic
on DG 415119 or 429918 or 447420 or 469178;

or with Sanderling, Leningrad Philharmonic
on Melodiya/JVC VICC-2011 or Melodiya/Eurodisc
GD 69049 or Revelation RV 10064 or Vogue VG 651031.

Schumann Bunte Blätter: Olympia OCD
or Melodiya/JVC VDC-1027.

Schumann Fantasie: EMI CMS7 64429
or 64625 or EMI/Toshiba TOCE-6636
or TOCE-3083 or TOCE-7733.

Schumann Fantasiestücke: Philips
456952 or DG 435751 or 457082 or

Schumann Faschingsschwank aus Wien:
EMI CMS7 64429 or CZS7 67197 or
EMI/Toshiba TOCE-3082.

Schumann Humoreske: Monitor MCD 72022
or Melodiya JVC VICC-2120.

Schumann Waldszenen: Philips 456952
or DG 435751 or 447440 or 459018.

Schubert Sonata D664: EMI CMS7 64429
or CZS7 67197 or EMI/Toshiba TOCE-6619
or TOCE-3144.

Schubert Sonata D840: Monitor MCD 72057.

Schubert Sonata D845: Monitor MCD 72027.

Schubert Sonata D850: Monitor MCD 72027.

Schubert Sonata D858: Music & Arts CD-957.

Scriabin Sonata 5: DG 423573 or 447355.

Tchaikovsky Concerto for Piano no. 1:
with Karel Ancerl and Czech Philharmonic
on Supraphon 110268 or 111944 or SUA 0546;

or with Mravinsky and Leningrad Philharmonic
on Melodiya 17083 or Philips 464381 or Chant
du Monde LDC 278848.

Tchaikovsky Grand Sonata: Melodiya
SUCD 1000545 or Melodiya/BMG 29469.
richter  piano  music 
29 days ago
Chamber Music Favorites? - Google Groups
I'll bite too - and I won't be shy about the must haves! :-)

Bartok - String Quartets - old Juilliard STQ - LP only - the best -
nothing else even comes close!

LvB - String Quartets - old Juilliard STQ - LP only - the best -
nothing else even comes close!
LvB - String Quartets - Vegh STQ - Valois - best CD version
LvB - String Quartets - Vermeer STQ - Teldec - best bargain

(I don't like Amadeus, Alban Berg, Budapest, the Italians, or
Tokyo, so hold your flames).

LvB - Violin/Piano Sonatas - Kreisler/Rupp - Pearl
LvB - Piano/Violin Sonatas - Argerich/Kremer - Philips

LvB - Piano/Cello Sonatas - Schnabel/Fournier - EMI LP only - the best
LvB - Piano/Cello Sonatas - Richter/Rostropovich - Philips - best CD version
LvB - Piano/Cello Sonatas - Argerich/Maisky - DG - best modern recording

LvB - Piano/Wind Quintet - Ashkenazy/LondonChPl. - Decca LP only

Brahms - Piano Quintet - Richter/Borodin - Melodyia/Monitor LP only - unmatched
Brahms - Piano Quintet - Rubinstein/Guarneri - RCA - best CD version
Brahms - Piano Quintet - Argerich/Rabinovich - Teldec - better than strings! :-)
Brahms - Piano Quintet - Pollini/Italians - DG - better than the entire
Italian soccer team! :-)

Brahms - Clarinet Quintet - Ettlinger/Tel-Aviv - L'Oiseau-Lyre - LP only
Brahms - Clarinet Quintet - De Peyer/Melos - EMI - best CD version
(I don't like Leister/Amadeus)

Brahms - Piano/Violin Sonatas - Rubinstein/Szeryng - RCA
Brahms - Piano/Violin Sonatas - Katchen/Suk - Decca
Brahms - Piano/Violin Sonata op. 108 - Richter/Oistrakh - EMI

Brahms - Piano Trios - Rubinstein/Szeryng/Fournier - RCA

Chausson - Concerto for Piano and String Quartet - Bolet/etc. - CBSony

Chopin - Piano/Cello Sonata - Argerich/Rostropovich - DG
Chopin - Piano/Cello Sonata - Ciccolini/Tortelier - EMI

Dvorak - String Quartets - complete - Prague STQ - DG
(if you only want or can afford *one* complete STQ cycle - this is IT!)
Dvorak - STQ #14 in A flat - Hollywood STQ - Testament

Dvorak - Piano Quintet op. 81 - Schnabel/ProArte - Arabesque - the best!
Dvorak - Piano Quintet op. 81 - Rubinstein/Guarner - RCA - best modern recording
Dvorak - Piano Quintets op. 5 and op. 81 - Richter/Borodin - Philips

Faure - Piano Quintet - Cortot/Capet - Pearl or Biddulph

Franck - Piano Quintet - Richter/Borodin - Melodyia/Monitor - LP only
beyond imagination
Franck - Piano Quintet - Richter/Borodin - Philips - not nearly as
spellbinding as the one above, still better than anybody else

Franck - String Quartet - Capet STQ - Pearl or Biddulph

Franck - Piano/Violin Sonata - Richter/Oistrakh - EMI and various others
Franck - Piano/Violin Sonata - Cortot/Thibaud - Pearl, Biddulph
Franck - Piano/Violin Sonata - Lupu/Chung - Decca

Haydn - String Quartets - Hollywood STQ - Testament

Janacek - String Quartets - Smetana STQ - Supraphon or Testament

Mozart - Piano Quartet in g KV 478 - Schnabel/ProArte - Arabesque

Mozart - Clarinet Quintet in A KV 581 - De Peyer/Melos - EMI
(please don't mention Leister/Amadeus)

Mozart - String Quartets 13-23 - old Juilliard STQ - LP only
(and of course nothing else even comes close)

Mozart - Piano/Wind Quintet - Ashkenazy/LondonChPl. - Decca LP only

Rachmaninov - Piano/Cello Sonata - Ciccolini/Tortelier - EMI

Schoenberg - Verklaerte Nacht - Hollywood STQ - Testament

Schubert - STQ #14 in d "Death and the Maiden" - old Juilliard STQ - LP only
(I don't have a CD recommendation - nothing else even comes close)

Schubert - STQ #15 in G - Strubb STQ - 78 rpm - the best ever
Schubert - STQ #15 in G - Hungarian STQ - EMI LP only - best LP version
Schubert - STQ #15 in G - Ma/Kremer/Kashkashian/etc. - CBSony - best CD version

Schubert - Piano Trio in B Flat op. 99 D 898 - Cortot/Thibauld/Casals - EMI
(if you only have time to hear *one* chamber music
performance in your lifetime, this is IT!)

Schubert - Piano Quintet in A D667 "Trout" - Schnabel/ProArte - EMI or Arabesque
Schubert - Piano Quintet in A D667 "Trout" - Serkin Jr. et al. - Vanguard - LP only
Schubert - Piano Quintet in A D667 "Trout" - Richter/Borodin - EMI
Schubert - Piano Quintet in A D667 "Trout" - Gilels/Amadeus - DG
(if anyone intends to bring up Brendel, Curzon or Serkin, please refrain!)

Schubert - String Quintet in C D961 - Hollywood STQ, etc. - Testament
Schubert - String Quintet in C D961 - Casals, Stern, etc.. - CBSony
Schubert - String Quintet in C D961 - Casals, Vegh, etc.. - EMI

Schumann - Piano Quintet - Schnabel/ProArte - Arabesque - the best!
Schumann - Piano Quintet - Rubinstein/Guarneri - RCA - best modern recording

Shostakovich - String Quartets - Fitzwilliam STQ - Decca
Shostakovich - String Quartets - Borodin STQ

Sibelius - String Quartets - Sibelius STQ - (Finish label)

Tchaikovsky - String Quartets - Borodin STQ

Hope this will get you started!


4 weeks ago
Classical music recording you could listen to everyday and never get tired of - Google Groups
Just a short list straight
off the top of my head:

Iberia by Esteban Sanchez
Iberia by Alicia DeLarrocha
Iberia by Nicholas Unwin
Iberia by Hiromi Okada

WTC by Feinberg
WTC by Richter
WTC by Lewis

Any Chopin, Schubert and
Scriabin by Sofronitsky

Any Scriabin, Tchaikovsky,
Prokofiev, Brahms, Chopin
or Schumann by Igor Zhukov

Any Rachmaninov, Prokofiev
Tchaikovsky, Schumann or
Brahms by Richter

Any Rachmaninov, Prokofiev
or Tchaikovsky by Pletnev

Any Brahms by Rubinstein

Bach arrangements by John
Lewis and Jacques Loussier

Beethoven op. 110 by Ernst
Levy, Edwin Fischer, Richter

Beethoven op. 111 by Levy,
Ugorsky, Michelangeli,
Sofronitsky, Fischer

Any Sibelius by Barbirolli,
Anthony Collins, Celibidache
(and some by a few others)

Most everything by Cziffra

Any Schumann by Horowitz

Any Mozart, Schubert or
Brahms by Schnabel

Any Ravel by Naida Cole

Beethoven Bagatelles by
Esteban Sanchez

Beethoven Violin Sonatas
by Martha Argerich and
Gideon Kremer

Beethoven Cello Sonatas
by Martha Argerich and
Mischa Maisky
4 weeks ago
Vladimir Sofronitsky
Assuming you mean CDs that reissue essential live recitals or essential studio recordings, and that reissue them well (i.e., without too much noise+signal reduction applied to recordings that were good or very good in the first place), my list would go like this:

1) the most complete recording of the January 8, and February 2, 1960 all-Scriabin recitals leads one to the Denon COCQ-83669/70 2-CDs set and its complement on the Vista Vera VVCD-00014 CD. The Denon is excellent, and the Vista Vera is at least very good, from the engineering point of view. The Denon set also includes essential studio recordings, esp. some Etudes [op.8] and the B-minor Fantasy (op.28).

2) for the May 13, 1960 recital (Mozart, Schubert, Schumann, Chopin, Rachmaninov, and Scriabin), there's the Melodiya MEL CD 10 00747 2-CDs set. There's a bit of high-frequency filtering out, but it's reasonable. (While Brilliant Classics CDs and most recent Vista Vera CDs tend to filter out everything above ~10kHz, this 2004 Melodiya set retains almost everything up to ~15kHz: not perfect, but at least very satisfying).

3) the November 18, 1959 all-Schumann recital is on the Denon COCQ-83673/4 2-CDs set; it's excellent (there are one or two moments where the tapes seem slightly damaged, but nothing that detracts from what's going all). The Classound CLAS 2003-008 includes the unbelievable performance of the Symphonic Etudes from that recital: it's every bit as good as the Denon reissue.

4) the June 8, 1958 all-Scriabin recital is on Denon COCQ-83970; I think it's an almost optimal reissue, but the recital has probably not been well-recorded in the first place (or maybe the tapes have been damaged, esp. at the beginning of the recital).

5) the October 11/14, 1960 Schubert, Schubert/Liszt, and Liszt recitals has been very well recorded. It's available in its entirety on the excellent Denon COCQ-83667/8 2-CDs set. The Schubert D960 Sonata, the Liszt B-minor Sonata, and a couple of Schubert lieder transcribed by Liszt, from those mid-October, 1960 recitals, is also on the excellent Classound CLAS 001-022 CD. And, finally, the Schubert D960 Sonata and five of the six Schubert lieder he played on those evenings are on the absolutely marvellous Harmonia Mundi HMX 1905169 CD.

6) the June 11, 1954 recital (Borodin, Chopin, Debussy, Goltz, Kabalevsky, Liadov, Mendelssohn, Prokofiev, Rachmaninov, and Scriabin) is very, very special, IMO. Sofronitsky was really `on fire' that evening; some parts of the recital are unbelievable. Vista Vera has reissued the recital more completely than ever before (on LPs), unless I'm mistaken; it's on their VVCD-00218 CD. From the engineering point of view, it's not perfect at all (the sound has quite a few weird colorations, and Audacity et al. reveal a very dubious `bumpy road' spectrum), but I thought I must mention this recital in the list.

7) most recitals from the Scriabin Museum are in really painful sound, and most are way over-filtered (yet again), but there's one exception: the January 6 (and December 24), 1960 recital as published by Arbiter Records on their ARB 157 CD. If there's to be one of his recitals recorded at the Scriabin Museum, I think it should be this one.

8] the two all-Scriabin CDs that have been published by Le Chant du monde (resp., LDC 278764 and LDC 278765) are exceptional, too. Really excellent engineering work. LDC 278764 contains the Sonatas Nos. 3, 4, 5, 8, 9, and 10. Nos. 3, 8, and 9 come from the above-mentioned June 8, 1958 recital, but they are significantly better-reissued here than on the Denon CD. No. 4 comes from the May 13, 1960 recital (mentioned above also). No. 10 comes from the January 8, 1960 recital that has also been pointed out above. Finally, No. 5 comes from an unbelievable January 14, 1955 recital; frankly, that op.53 Sonata alone is worth the CD... LDC 278765 contains all the Etudes, op.8, and Preludes, op.11; these are mostly good to excellent studio recordings, with some live recordings brought in to `fill the gaps' of the studio recordings (some of them are really quite hard to find elsewhere). LDC 278765 is also excellent from the point of view of its engineering.

9) there's a recent Diapason CD that's worth investigating also. It's No.58 (April, 2014) of their `Les indispensables' series. Preludes from op.11, Sonatas No. 3, 5, and 9 (No. 5 is again from the January 14, 1955 recital), and Vers la flamme (the almighty January 6, 1959 studio recording). Engineering work is very good on this Diapason CD.

10) some people think that the Philips 456 970-2 2-CDs set dedicated to Sofronitsky in their Great Pianist of the XXth Century series is way too bass-friendly, but I think it's very good; at least, there's no filtering in the higher end of the audio spectrum. The Scriabin disc contains pieces that, for the most part, have already been mentioned above, but the Chopin disc contains the complete January and February, 1960 Chopin studio sessions. Quite severe Chopin playing, very interesting, IMO. If one's interested esp. in those Chopin 1960 studio recordings, there's also the excellent Classound CLAS 001-026: it's the same programme---plus or minus some differences maybe in the choice of takes, IIRC.

11) Denon has also issued two CDs, resp. COCQ-84241 and COCQ-84242, that contain major studio recordings. COCQ-84241 contains his recordings of Liszt's Années de pèlerinage (excerpts, of course), a studio version of Mozart's Fantasy K475, and Schubert's Moments musicaux D780 (all but No.5); there's also Der Müller und der Bach (Schubert/Liszt). COCQ-84242 contains Beethoven's Sonata in D-major, op.28, Mendelssohn's Variations sérieuses, op.54, Mozart's Fantasy, K396, and Schumann's Kreisleriana, op.16. IMO, these are all fabulous recordings, and Denon's work is at least very good throughout.

12) the quite recent Melodiya release, a 2-CDs set with cat. No. MEL CD 10 02237, is again excellent, really among the best Sofronitsky reissues I've heard on CD. The second CD on this set is all-Scriabin; it contains some recordings that have never been available on CD elsewhere, but its last part contains (excellent) excerpts from the January 8/February 2, 1960 all-Scriabin recitals that have already been addressed above. The first CD in Melodiya MEL CD 10 02237 is devoted to a part of the above-mentioned January and February, 1960 Chopin studio sessions. But it also contains the complete studio session made on December 11, 1960---the last time Sofronitsky recorded in a studio: Scriabin's Sonata No.2, op.19 (first movement only), Schubert/Liszt's Litanei, and Liszt's Sposalizio; these are miraculous recordings. (The Schubert/Liszt and the Liszt are published here for the first time on CD, AFAIK.) Melodiya has made an extraordinarily good work here.

This leaves out many great performances that have not been met by great (or even good) recording technique, alas... The November 26, 1951, and October 10, 1952 recitals spring to mind, of course; they have been released on the Moscow Conservatoire own label (SMC CD 0019 [esp. Liszt's Dante Sonata and Schumann's Fantasy in C-major] and SMC CD 0020 [esp. Schumann's Carnaval and Beethoven's Appassionata], resp.). If there's interest, maybe I can put up a little list of those, but such recordings really are hard on the ears, engineering-wise... Then there's Prokofiev's Seventh Sonata on an old Russian Disc edition (RD CD 15001), and quite a few other recordings from the Scriabin Museum, etc.

(I apologize for my dreadful `English'; it's really late in the night, here in Western Europe, and I've even been unable to locate the spell-checking button...)
sofronitsky  music 
4 weeks ago
Advice for Schumann "Kreisleriana" - Google Groups
Davidsbuendlertaenze: Ugorski, Gieseking
Toccata: Gilels, Lhevinne, Richter
Carnaval: Michelangeli, Rachmaninov, Sofronitsky
Sonata in f#: Gilels, Sofronitsky
Fantasiestuecke: Richter, Rubinstein
Etudes Symphoniques: Cortot, Nat, Richter
Sonata in f: Horowitz
Kinderszenen: Argerich, Moravec
Kreisleriana: Horowitz
Fantasy: Bashkirov, Richter
Humoreske: Nat, Richter
Sonata in g: Argerich, Richter
Piano Quintet: Rubinstein, Schnabel
Waldszenen: Richter
Buente Blaetter: Bashkirov, Richter

>Symphonische Etueden Op. 13 Sviatoslav Richter, Vladimir Sofronitsky
>Sonata Op. 11 Emil Gilels


>Sonata Op. 14 Vladimir Horowitz
>Sonata Op. 22 Lazar Berman

No, I think Richter is *much* better.

>Carnaval Vladimir Sofronitsky, Arturo Benedetti Michelangeli

And Rachmaninov

>Carneval de Vienne Op. 26 Arturo Benedetti Michelangeli

And Richter - it's a very close call :-)

>Toccata Op. 7 Sviatoslav Richter

Gilels' 1934 recording is quite as good! And don't forget Lhevinne!

>Waldszenen Op. 82 Wilhelm Kempff, Igor Zhukov

No, I have to say no one even comes close to Richter here.

>piano concerto Op. 54 Dinu Lipatti, Martha Argerich, ABM

I no longer feel Lipatti and Martha can be mentioned in the same
breath with ABM.

>Abegg Variations Op. 1 Evgeny Kissin

No, Richter. Kissin doesn't come close, though he was obviously
influenced by Richter.

>Papillons Op. 2 Sviatoslav Richter, Wilhelm Kempff

No, Lhevinne!

>Nachtstuecke Op. 23 Emil Gilels, Sviatoslav Richter
>Humoreske Op. 20 Sviatoslav Richter, Vladimir Horowitz

And Yves Nat.

>Bunte Blaetter Op. 99 Yuri Egorov

No, Richter is *way* better.

>Kinderszenen Op. 15 Vladimir Horowitz <flame-proof suit on>

Not necessarily - I like VH in Kinderszenen - and I would add Moravec
and Argerich.

>Blumenstueck Op. 19 Vladimir Horowitz
>Arabeske Op. 18 Vladimir Horowitz
>Fantasie Op. 17 Vladimir Sofronitsky

I would certainly add Richter and Bashkirov. And maybe even Edwin Fischer.
schumann  music 
4 weeks ago
Schubert Piano Sonatas - Google Groups
Just off the top of my head (and in alphabetical order):

D960: Afanassiev, Eschenbach, Richter, Schnabel, Sofronitsky, Sokolov.
D959: Afanassiev, Eschenbach, Lupu, Schnabel, Sokolov.
D958: Brendel (early), Richter.
D894: Afanassiev, Eschenbach, Lupu, Richter, Sokolov.
D850: Bashkirov, Gilels, Richter, Schnabel.
D845: Bashkirov, Pollini (early), Richter.
D840. Richter.
D784: Ashkenazy, Richter, Sofronitsky, Sokolov.
D664: Ashkenazy, Bashkirov, Lupu, Richter.
D566: Lupu, Richter.
D537: Lupu, Michelangeli.

Note the complete absence from the above list of Arraus, Bowlets, Fishers,
Kempffs, Purrahias and Hattos.

schubert  koren 
5 weeks ago
Rick Rubin: My Life in 21 Songs – Rolling Stone
That album, The Day the Laughter Died, was at a time when he was the most popular comedian in the United States, selling out Madison Square Garden, and his fans were rabid. But when he was writing and rehearsing material, I would see him do these shows where he would get up at 2 o'clock in the morning, and there would be six people in an audience. It might be tourists who would come from out of town, thinking they were gonna see comedy and getting Dice and being horrified. For us — we worked with a guy named Hothead Johnny — we laughed the hardest at the shows where the audience didn't like Dice. It was just so funny and combative, like performance art. He'd say these horrible, hateful things. And if you say something horrible and hateful and everybody laughs, it's a joke. But if you say something horrible and hateful and nobody laughs, it's kind of scary. It's really a weird feeling.

So at the height of his popularity, we had the idea we'd put him in front of a small audience that just didn't like him. It was really counter to what we did, so "anti" his real career. It was very bold of him to do it.

"Hour Back … Get It?" means nothing. It's a routine he personally found very funny and nobody else found it funny. He had a friend named Auerbach, and it was sort of a play on his friend's name. So maybe the whole joke might have just been to make one person laugh who wasn't there. It couldn't have been more of an inside joke. It wasn't even a joke.

What you hear is a guy saying things that are sometimes funny, sometimes not. But his commitment to how funny he thinks it is, and how hard he's selling it to nothing, to no response, is what's so funny. It's, like, he's so convinced that this is funny. In a way, it's got this existential quality. Of all the Dice albums, it's my favorite.
auerbach  dice 
8 weeks ago
Patrick Shanahan withdraws as Defense Secretary nominee, addresses violent domestic incidents - The Washington Post
In the months that he has served as President Trump’s acting secretary of defense, Patrick Shanahan has worked to keep domestic violence incidents within his family private. His wife was arrested after punching him in the face, and his son was arrested after a separate incident in which he hit his mother with a baseball bat. Public disclosure of the nearly decade-old episodes would re-traumatize his young adult children, Shanahan said.

On Tuesday, Trump announced in a tweet that Shanahan would not be going through with the nomination process — which had been delayed by an unusually lengthy FBI background check — “so that he can devote more time to his family.”

Shanahan spoke publicly about the incidents in interviews with The Washington Post on Monday and Tuesday.

“Bad things can happen to good families . . . and this is a tragedy, really,” Shanahan said. Dredging up the episode publicly, he said, “will ruin my son’s life.”

In November 2011, Shanahan rushed to defend his then-17-year-old son, William Shanahan, in the days after the teenager brutally beat his mother. The attack had left Patrick Shanahan’s ex-wife unconscious in a pool of blood, her skull fractured and with internal injuries that required surgery, according to court and police records.

Two weeks later, Shanahan sent his ex-wife’s brother a memo arguing that his son had acted in self-defense.

“Use of a baseball bat in self-defense will likely be viewed as an imbalance of force,” Shanahan wrote. “However, Will’s mother harassed him for nearly three hours before the incident.”
shanahan  trump  politics 
9 weeks ago
Gibson's Bakery v. Oberlin College: Meredith Raimondo testifies she didn't have control over students - Chronicle-Telegram
The resolution hung in Wilder Hall at the college for a year after the student senate passed it, Plakas said. After Gibson’s filed the lawsuit against the college, Raimondo asked the students to take it down, Plakas said.

“Sir, I don’t have control over the students,” Raimondo said. “I would not agree with that.”

“After you asked them to take it down, they took it down,” Plakas said.

“I know they took it down,” Raimondo said. “I can’t speak as to why they chose to do that.”

What other reason would the students have to remove it, Plakas asked.

“I don’t have any information about their thinking,” Raimondo said.
9 weeks ago
Documents reveal attempts to 'smear the brand' of Gibson's - Chronicle-Telegram
According to court documents, Vice President for Communications Ben Jones sent a text message saying, “(Expletive) ROGER COPELAND.”

“(Expletive) him,” Raimondo responded in a message. “I’d say unleash the students if I wasn’t convinced this needs to be put behind us.”

Raimondo also “communicated to the protesters using a megaphone and instructed the protesters as to where they could seek food and refreshment that would allow them to continue the defamatory protests,” court documents said.

Documents said Raimondo, using college resources, directed college employees to provide refreshments for the protesters. Raimondo also “approved the use of college funds to purchase gloves for the protesters,” the filing said.
9 weeks ago
Oberlin College ordered to pay bakery $11 million over 'libelous' racism claims - The Washington Post
I am an Oberlin grad, and I can tell you, this article is extremely flimsy with the details, and misleading in its use of language. The situation is even worse than it's grudgingly suggested here. I am in no way, shape or form a Trumper, by the way, and I can tell you, my feelings are shared by many of the alumni. The College's behavior and that of its Dean of Students, Raimondo, went well past "defending free speech", to the point Raimondo was handing out flyers around town urging a boycott of Gibson's and telling people to shop elsewhere, and listing other "approved" businesses for people to shop at. This was established in court. It's one thing to permit and support student protests, but the College went well past that, into participation and involvement. They jumped in to vilify Gibson's before all the facts of the case had been established (the student was caught shoplifting wine, and the store employee was beat up by him and two other students when he attempted to stop the theft; the students later confessed and took a plea deal for no jail time), then refused to apologize and settle when it became clear they'd chosen the wrong hill to die on. The Joy Karega situation was just as poorly handled, and she remained on staff long after posting incredibly anti-Semitic claims on Facebook in her official capacity as an Oberlin professor, not as a private citizen. Her response to anyone who rebutted her false claims was "if you disagree with me, you're a racist" and she vilified several colleagues in this manner. Administration did nothing, and continually punted on the issue; the board of trustees had to finally step in and terminate her contract, citing her conduct as absolutely indefensible (she was not tenured). I am outraged at how much money, meant to develop the College and assist students with tuition, has been wasted on legal fees and lawsuits, all because of some bloated egos who can't admit they made a mistake. Heads should be rolling for this.
oberlin  sj  karega 
10 weeks ago
What is the punishment for removing death penalties? :: Pathologic 2 (EN) General Discussions
Some of these will be helpful for you, others are broadly for all players.

1. Accept that you will fail. The developer told you that you cannot save everyone. They were not lying.
2. Accept that the story is the reward for survival, not that survival is to be managed in concert with the story.
3. Accept that the game will lie to you in places, that the plague is unpredictable - you have been warned that you're not expected to win.
4. Prioritise priorities. What is the more pressing need? Eating, or walking across a town to satisfy curiosity about what someone is doing. Make your health and well-being the focus of your playing and you'll be able to advance through the story by:
5. Examine your surroundings. Where you see a marker on the map to do something or talk to someone - on the way there, check bins, trade with people, visit shop, collect herbs. When in houses, check cupboards, talk to people and plan what you'll need - not to hit the next story beat, but to keep yourself alive.
6. Children are the heart of Pathologic - protect them, talk to them and trade with them. If you find yourself thinking that the game is unfair, try thinking from the perspective of a child. The rules of a game can flip and change in a moment - you're playing Calvinball with Steppeaids. Plan accordingly.
7. It was your fault [mostly]. If you complain of being killed by bandits, why were you fighting them? What were you doing in areas where they would be? If you complain of being infected, why were you in infected areas? Why didn't you protect yourself with clothing or improve your immunity. If you complain of hunger or tiredness, why didn't you sleep or gather adequate food?

If the answer to those things is "I wanted to advance the story", then the game has not only put you over a barrel, but it's taken its trousers down.

The story is the reward - not the focus. Advancing through the narrative requires a risk assessment of the actions you plan to take.

If you're going to be transiting an area where there will be infection or combat, it's the player's job to plan accordingly. The player is able to sneak, to escape or indeed fight. The player is able to improve their immunity and to clothe themselves.

The player is also able to say: "No. I cannot do this, or I will not risk it." The story will keep on going, regardless of how the player does. Completionists really need to accept that this game is the antithesis of that playing mentality.

Bound NPCs tend to have items that can be used in their homes, Anna, Lara and Rubin at the early stages of the game have weapons, money, food. Use these resources.

The player has the ability to work at the ad-hoc hospital set up in the Town's Theatre. The rewards for excellent performance here provide large amounts of money and supplies of food. If the player has been neglecting their responsibilities as a physician to go running round chasing stories then they should not expect to be rewarded. If the player did their job, they can use their reward to *then* go chasing the narrative.

Combat against multiple opponents is not going to go well for the player. This shouldn't be a surprise. If three men with knives are surrounding you, what on earth makes you think you'll be walking away from this - unless you have range and a firearm? Get out of those areas.

If you're getting infected from looting houses that are within infected districts, what did you honestly expect? You're taking what is not yours, choosing to put yourself at risk and complaining when your hand is smacked - yes there are issues from plague clouds transiting walls, this is something that could do with being addressed. There is however still the issue of maintaining the player's immunity and escaping before being infected. The player chose to enter these locations, it's their responsibility to be taken for their actions.

With the trade for removing penalties. Why did you think you'd get a good deal from something that is trying to kill you? There is a cost to progress, this game has been trying to whisper, cajole, shout and beat it into player's heads.

Look after yourself, look after the people you care about, and prepare for the worst. Do that, then you can think about learning what is going on. The original game was described as a stress test simulator. It ought to come as no surprise that the game intentionally provokes feelings of stress and anger, if you weren't feeling these, it wouldn't be doing its job.
11 weeks ago
The Worst Snow Globe. Life in the City That God Forgot
Ok, this blog is still hanging out there cause I just can't bring myself to take it down even though we managed to extract ourselves with much painful effort from this stinkhole. We live in a better place now. A beautiful area with natural wonders, a good economy, friendly people and so many cool things to do we couldn't possibly fit them all in. That's right, Colorado. Every morning we wake up and say, 'Look honey, it's yet another beautiful day!' We live in a fairly urban area and it is SO QUIET! It was almost eerie at first. No ambulances and fire trucks wailing past, no screeching tires, no weekly accidents at Optional Stop Sign Corner, no raging urban street theater at all hours of the night and day. It's so much safer too. I can walk around the block night with the dogs AND I don't have to worry about stepping on broken glass or follow the trail of garbage from someone's McDonald's meal. No one has been murdered within a mile of my home for the past four months. That is a personal best. Bonus: no flagrant, round the clock drug deals or gang activity. Best of all, no obvious corrupt jabrone government. All governments are a little corrupt but here, I have not yet seen the incredible immoral, unethical, illegal inbred nepotism and dirty dealings that is a good days work in Utica.

I feel like some of the mental damage the Utica area has done to us is slowly starting to heal. You know how some buildings are called 'sick buildings' because the people who live and work in them are ill all the time. Utica is a sick town but the illness is all mental, (ok and some physical. Want to see webbed toes and gout? Price Chopper on Genesee street. Just sayin.). After I got paroled to the real world, I wanted to tell people how wonderful Colorado is to make them understand what a great place they live in. They listen to my tales of the Mohawk Valley and look at me like I'm crazy. Like I just emigrated from Bosnia or some other war torn hellhole. Most of the time I get the feeling that I am not being believed or I get some kind of shocked pitying response. They say, "well, it all worked out for the best, you're better off now". This is social code for 'Stop telling me these horrible stories'. I tried to tell some of my new coworkers what I thought were funny stories and I saw the looks on their faces and realized that they were not funny at all. They were horrific. There is no possible way to make people here understand how frustrating life is in Utica for the non native, non Italian. I had to stop. But it's still in me. All the anger and the hurt and the confusion. Ten years of trying to to be part of that community, to have a career and own a home. Ten years of being told that good was bad and bad was good. Being told that things I could see with my own eyes were not so. Having an advanced degree: bad, women should be nurses, stay at home moms or work in retail. Selling counterfeit luxury goods: good. Joette Mancuso of Joette's Gifts got busted with fakes by the feds in March of 2007. Result? A wink, a handslap, a small fine and two new stores in Syracuse and Rochester. This is how business is done. Unless you are black. Then you go to jail. (Oneida Square Vender sold Counterfeit Goods, Utica OD March 22, 2011)

Arts and literature and theater and everything I find good in life are only for children or women and that once you reach a certain age (12) and are a man, you shouldn't be interested in those things anymore because you might possibly be a gay. After that, your main concern should be watching children play sports and charity walking events. Also, there was no point in leaving the immediate Utica area as it contained all that was necessary for a complete and full life. I can't even tell you how many people I met who had not been to Syracuse, Albany or Rochester in years, decades even. Not to the huge mall or downtown Armory Square district for shopping, not to the symphony, never been to the really excellent regional farmers market, not to eat in any of the nice restaurants, not to see an independent film, nor to go to any kind of cultural event that did not involve the 'Cuse. All of which, by the way, can not be done in Utica. People thought I was crazy, and a little strange for doing any of these things. When Monday morning rolled around and everyone did the What Did You Do This Weekend dance, I would say I went to a bookstore/Japanese restaurant/place to buy fresh fish and foolishly ask if anyone else had ever been to these places. Ridiculous! Of course not! That is outside the Utica area and not sports or charity related. "Wow you guys are really adventurous." Then some people would never ask again and others would ask me every Monday what kind of wacky thing I had done now. It was a bookstore people. I didn't go to Egypt and excavate the ruins of the Library of Alexandria. Jesus Christ.

When I was little I used to like Green Acres. That poor motherf**ker Eddie Albert. All he wanted was to have a piece of land and create something that was his. He moved to an isolated rural area with ignorant but savvy locals who ran an absurdist community and had many humorous and frustrating experiences. I laughed but also felt sorry for him because everything he tried to do was subverted. Then I was Eddie Albert.
12 weeks ago
Engraved with Freedom | JCP Downtown: Jewish Community Project • TriBeCa • SoHo • Lower Manhattan
There is a beautiful midrash that accompanies the moment the Ten Commandments are given to Moses atop Mount Sinai. “And the tablets were the work of God, and the writing was the writing of God, graven upon the tablets” (Exodus 32:16). It’s the Hebrew which draws the rabbis’ creative and exegetical impulses. והלוחת מעשה אלוהים המה והמכתב מכתב אלוהים הוא חרות על הלוחת

By changing one vowel in the Hebrew word for graven, or carved in stone, which the tablets most certainly were, the word חרות can be read not as “graven” but as “freedom.” This renders the end of the passage thus: “And freedom was on the tablets.”
freedom  kafka  judaism 
may 2019
Michael Naas, Turning: From Persuasion to Philosophy: A Reading of Homer's Iliad. Atlantic Highlands, NJ: Humanities Press, 1995. Pp. x + 298. $55.00.
Reviewed by Michael Lynn-George, University of Alberta, michael.lynn-george@ualberta.ca.

Within the brief compass of a single sentence, Eduard Zeller once mapped the extremities of the axis around which a long tradition of thought revolves: "Homer and philosophy -- these are the two poles between which the world of Greek thought rotates" (25). Zeller observes that Homeric poetry and Greek philosophy emerge from the same site, "the other side of the Aegean Sea." But in relation to each other, the two remain widely distant and are purposefully set at opposite poles. By long-established tradition we take our bearings from this polarization: it ensures us safe passage and sure trajectory as we trace our courses within and across the space of the irreducible distance between these two fixed points of the turning world. And yet there are times when this movement is temporarily arrested by the possibility of a different reading of the structure of this world, its assumed axes and axioms. Zeller concludes with the observation that "we should not overlook the fact that [the Homeric poems] contain much reflection on the world and life." Indeed, "the notes thus struck" in Homeric pondering upon the turnings of the world "continue to sound." One may detect "beneath the surface of the heroic poetry and its myths" the Logos that "begins to stir" (26).

Similarly, Hermann Fraenkel, in Early Greek Poetry and Philosophy, heralds the rising within the history of thought of "the daystar of pure philosophy" (252). Post-Homeric "pure philosophy" ("divorced from all extraneous associations") "came into existence suddenly and without visible cause" -- "as if by a miracle." "Reine Philosophie," springing up "from the soil of a borderland" ("auf dem Boden eines Grenzlandes"), marked "a clean break with the past" (255). The break, boundaries and limits establish the purity of a totally new realm of thought. But the very term "pure philosophy" is carefully chosen to distinguish this thought from thought "still attached to the framework of the traditional religion and mythology." In an apologetic note within his treatment of Homeric epic, Fraenkel feels the need to qualify some of his more philosophical remarks: "The old heroic epic takes a basically unphilosophic stance; these things are taken unquestionably as they presented themselves for epic treatment. But this does not prevent philosophic premises, conscious or unconscious, from being formed already. Philosophy keeps breaking in." (60 n. 18). Philosophy keeps "breaking in" as if totally from without, and yet "formed already" from within. With Hesiod, there comes another qualifying note: "although the epic deals in myth, it can find room for what amounts to speculations on basic questions of metaphysics, and that it is not correct to make Greek philosophy begin simply with Thales and Anaximander" (108 n. 30).

Within this long tradition, Vico would go so far as to proclaim that his examination of the epic showed "the complete absence of philosophy in Homer" (276). But in this century the significant work of Cornford with regard to the origins of philosophy (which is so often stated to begin with itself) did much to reshape the armature of our conceptions of Greek thought. It is important to bear in mind that much of the discussion of where philosophy commences always already assumes a certain conception of what constitutes philosophy. (In Aristotle's history of philosophy in the Metaphysics, he speaks of Thales as the founder TH=S TOIAU/THS FILOSOFI/AS and considers how the principle of water relates to the poetic thought of Homer, 983b20-984a5. The comment reminds us of the heterogeneity of "philosophy.") One might, without too much controversy, adopt, for example, Gernet's rather broad definition in his piece on "The Origins of Greek Philosophy," which concluded: "First of all, Greek philosophy is the beginning of what we call philosophy as such, or to put it another way, it is the basis of the intellectual activity whereby man, through reason and reflection, attempts to define the meaning of the world and his place in it" (352). A wider appreciation of these aspects of Greek thought might produce a shift which would re-open for consideration some of our fixed preconceptions concerning the nature of Homeric thought. The longstanding distinction between mythos and logos has been effectively challenged, with the result that we might now consider more closely a reminder such as Castoriadis provides for us: "Man is an unconsciously philosophical animal, who has posed the questions of philosophy in actual fact long before philosophy existed as explicit reflection; and he is a poetic animal, who has provided answers to these questions in the imaginary" (147; it needs to be noted that Castoriadis's work redefines what we are to understand as "the imaginary"). Once the fixed, distant poles of poetry and philosophy have been unsettled and begin to drift across the boundaries designed to contain them in their purity, we might give some reconsideration to, and reassess, a number of our dominant presuppositions as we continually renew our approaches to the great Homeric epic poetry.

Michael Naas's book, Turning: From Persuasion to Philosophy, broaches some of these significant questions. In proposing to treat the important subject of persuasion (described as "one of the most elusive and, yet, significant "concepts" or "activities" in classical Greek literature and philosophy"), Naas conducts his own argument with philosophy and its conception of persuasion and philosophy. But there is something troubling in this treatment, and not merely in the aim to disturb more conventional positions. One might note at the outset the hesitation over the term "concept" in the description quoted above ("one of the most significant 'concepts' or 'activities'"), a small index of a far-reaching problem throughout the book. The author states in outlining the major aims of his study, "The point of the work is to show that the movement from persuasion to philosophy can be found in those texts that we assume to precede philosophy" (16). And yet the whole book is haunted by the very question that Naas himself poses, "How, then, do we decide where persuasion ends and philosophy begins?" (208). Or, indeed, where philosophy begins and ends.

The book also promises A Reading of Homer's Iliad, and includes special consideration of books 9 and 24. But it should also be observed that within the scope of Naas's fundamental disagreement with "philosophy" (conceived somewhat monolithically), his decision to treat the Iliad in particular was a strategic choice. In order to achieve his aim, "to disrupt the opposition between persuasion and philosophy," he could, as he remarks, have treated the Platonic texts, cataloguing all Platonic metaphors and similes "in order to show just how much philosophy depends upon its other to be itself" (8). But instead Naas chooses to analyze the Homeric Iliad as a specifically pre-Platonic text. He declares that the Iliad contains the "beginnings of philosophy." The greater part of his analysis, however, moves in a very different direction. The Homeric epic is prized for its pre-philosophical and non-philosophical status. Homeric poetry was, it is argued, created before the concept and prior to conceptualization as such: "In Homer, persuasion precedes the very idea or concept of persuasion" (13). In a work which owes a great deal to the unpublished dissertation of G. M. Pepe ("Studies in Peitho," 1966), Naas devotes considerable effort to reworking and arguing against his predecessor. Pepe had commented, "The absence of the substantive PEIQW/ has been taken as proof that there is no abstract notion of persuasion in the poems." (He compares this argumentum e silentio to the attempt to "establish Homer's illiteracy by the lack of any explicit references in the poems to the art of writing," 11). This issue is central to Naas's thesis and he responds, "Pepe concludes that while the substantive peitho is not to be found in Homer, the concept of it is at work. In principle, the absence of a substantive does not entail the absence of a concept, but in Homer there is no real evidence of a developed concept of persuasion at work, and so the absence of a substantive can be seen as further evidence of a persuasion before the concept" (205). In many respects, Naas's account of Homer recalls (and explicitly cites) the older Hegelian tradition in Homeric studies, most notably the work of Snell. For Hegel, philosophy is distinguished above all by the formation of the Concept ["der Begriff"] traced within the course of its development towards the Absolute. (In relation to the general question raised in the opening to this review, one might note the number of beginnings for "proper philosophy" in Hegel's History of Philosophy.) In striving to follow Derrida's critique of the concept of concept, Naas locates, as he sees it, an early text which is aconceptual.

In this account the aphilosophical receives a different evaluation from that which is customary (and is assumed even among the scholars he cites and whose views and evalutions he generally shares -- for example, Snell). Here the "primitive" or "naive" is good and desirable; it is innocent of philosophical conception and thereby eludes the very conceptions that philosophy would attempt to impose upon it. "In Homer, persuasion is not yet a fully articulated concept but an ambivalent third term that can never be fully mastered or defined" (9). On the other hand, persuasion is given a "pure and proper" definition in Naas's treatment of the epic. Without consideration of the Iliad, "it would be too easy to forget that before persuasion was ever turned into a concept by philosophy indeed, before it ever appeared or was represented in ancient Greek literature and thought, it was, in Homer, just … [more]
classics  iliad  homer 
may 2019
Gas Trilogy, The (The Coral; Gas I; Gas II) - Oxford Reference
A: Georg Kaiser Pf: (1) 1917, Munich and Frankfurt; (2) 1918, Frankfurt and Düsseldorf; (3) 1920, Brünn (Brno) Pb: (1) 1917; (2) 1918; (3) 1920 Tr: (1) 1963; (2) 1925; (3) 1963 G: Trilogy of three dramas: (1) 5 acts, (2) 5 acts, and (3) 3 acts; German prose S: (1) Margarine factory and at sea, early 20th c.; (2) A gas factory, mid-20th c.; (3) The same gas factory, late 20th c. C: (1) 19m, 3f, extras; (2) 15m, 4f, extras; (3) 15m, extras(1) The Coral (Die Koralle). The Billionaire (or Millionaire) is the autocratic boss of a margarine factory, intent on acquiring as much wealth as possible in order to create a distance between himself and his unhappy poverty-stricken childhood. He makes regular gifts to the poor to salve his conscience, but, so that he can avoid contact with the downtrodden, gets his secretary to hand out alms. The Secretary is the secret double of the Billionaire, distinguishable only by the coral he wears on his watch chain. The Billionaire's son rebels against his father and becomes a stoker on a ship. When his father on his luxury yacht encounters him at sea, the Son's behaviour inspires his sister, and they both turn against their father, a rejection intensified when the Billionaire shows no charity after a factory disaster. The Billionaire, believing that his dream of creating a capitalist bulwark against chaos has been shattered by his children's attitude, discovers that his Secretary had a happy prosperous childhood. He kills his Secretary and assumes his identity by transferring the coral to his own watch chain. Arrested for murder, the Billionaire eventually eagerly embraces the Secretary's identity. He is visited by a Socialist, who had appeared earlier but, thanks to the Billionaire's exhortations, is now a successful capitalist. The Son congratulates the presumed Secretary for ridding the world of a tyrant, and the priest fails to impress the Billionaire with religion. Clutching his coral, the Billionaire goes resolutely to his execution. (2) Gas I. Many years have passed, and the Billionaire's Son now manages a gas factory, in which the workers all share in the profits. The Engineer reports that despite having an infallible formula, the gas will explode. The factory is devastated, and the Billionaire's Son determines that, rather than rebuild the factory, he will spare his workers from the drudgery of their repetitive tasks and free them from their machines. He proposes to divide the factory plot into smallholdings, so that the workers can live from the land. He tries to win his son-in-law to his cause, but this young soldier, having made debts from gambling, cannot free himself from the military code of honour and shoots himself. World capitalists, Men in Black, gather and demand the restitution of gas manufacture. At a mass meeting of the workers the Billionaire's Son pleads for the workers to abandon the factory and to live the simple life of a smallholder. However, they are won over by the arguments of the Engineer, who sneers at this rustic idyll and urges them to rebuild the factory. The workers storm back to the factory entrance, but their way is barred by the military, whom the Billionaire's Son has summoned. A Commissioner arrives and insists that the factory be reopened, since gas is needed for an impending war. The gates are opened, the workers pour in, and the Billionaire's Son finds himself alone with his vision of the New Man. His widowed daughter declares that she will give birth to him. (3) Gas II. The Billionaire's great-grandson is now a mere Billionaire Worker in the factory. The war is in full swing, and the Figures in Blue find that they are threatened with defeat, since the gas supply is failing. The Billionaire Worker explains that the workers no longer wish to produce gas, at last fulfilling his grandfather's dream of freedom from the machine. When the Figures in Yellow invade, the Chief Engineer urges the Blues to use poison gas to defeat the enemy. Despite the opposition of the Billionaire Worker, the gas is released, leading to universal annihilation.
german  expressionism  kaiser  musil  gas  literature 
april 2019
Daily Nous Turns Five - Daily Nous
Ambivalent · March 8, 2019 at 3:43 pm

Hi Justin,

I think you do a great service to the profession by maintaining this blog, and I greatly respect the civility with which you handle yourself here, though I at least somewhat disagree with some of your more prominent positions wrt the profession. Congratulations on 5 years!

However, there is a great ambivalence in my experience with this blog. In fact, though I hate to say it, the early days of this blog traumatized me. I have a serious and chronic disability directly related to my ability to work, one that made the 5 years I was on the job market even more miserable and stressful than one would already expect. When after 4 years, I got a one-year position (and so immediately back to the job market), it was in a part of the country where I knew nobody. Moreover, on top of my standing disability, I had just been in a severe accident, and was in serious pain most of the time, teaching a course I had never taught before, and indeed had no experience with whatsoever). This was in Fall 2014.

I had not spent much time online reading philosophy-related matters before, as I had normally been around philosophy grad students, faculty, family, friends. When I had none of these things, and was otherwise confined to my room most of the time I wasn’t teaching, I poked around to see what philosophers were up to online. I know this will sound mean-spirited or aggressive, or way overblown, but believe it or not, I don’t mean it to be aggressive, and I am (after almost 5 years) saying it for the first time. The fact is that when I got on Daily Nous and saw some of the comments being made on here, it was almost literally incredible to me that they were being made by professional philosophers or graduate students. Some of these comments were so juvenile, sanctimonious, self-ignorant, and mean-spirited, they defied parody. That they passed moderation seemed to make a mockery of moderation. This kind of behavior is painful enough when it comes from the right, but every one of these commentators I am thinking of were ostentatiously expressing a concern for the oppressed and vulnerable. Given that I have harbored such concerns for a long time, and these appeared to me so grotesquely fake or corrupted, well, it was just stomach-turning.

I also say it was traumatizing. That is surely in large part due to the extreme duress I was under at the time. Even though my normal life is a daily struggle, I would not normally be traumatized by something like this. But under these circumstances, I just could not believe that I had suffered and struggled so much to fight my way into a career that, at least so it appeared, was increasingly populated by people who looked as far away from ‘lovers of wisdom’ as one could imagine, and were aggressively attempting to silence others while making a great deal of noise about the badness of silencing people. Much of this behavior I also saw on facebook, and collectively it was extremely dispiriting.

My impression is that the comments on the whole have improved a great deal on this blog, though there is still a fair bit of this sort of thing (and other forms of ‘jerkiness’–from which I do not entirely exempt myself). Nevertheless, my impression of the profession overall is nothing close to how you describe it in the beginning, Justin. It seems to me that many vulnerable people–including myself–are effectively silenced by mobs of online shamers and harassers (that is not to deny that other people who had previously been silenced are now much more free, which is great). Even if this view is mistaken, it is widely held, as is evidenced routinely in the comment section here (also, it is hard to see how it could be widely held and likely to be false, at least if we take standpoint epistemology seriously at all). It seems to be that jerks have not, in the aggregate, waned at all, though the net influence of certain types might have (as I say, I was not online much before 5 years ago).

For example, it seems to me that Nathan Oseroff, Crista Peterson and many aggressively silencing those who question gender ID laws have acted jerkily (and libelously) in such a way repeatedly. Why doesn’t this breed of jerkiness (not to say defamation) count? For there is a *very* great deal of it, and it often is much worse than mere jerkiness (McKinnon’s abuse of you stands out especially, though she ranges widely). For what it’s worth, I expect that the content of Nathan’s and Crista’s twitter feed, and not what Leiter has said about them, will constitute whatever ‘political’ problems they have on the market. So it is clearly disingenuous to say that them being on the market will be a test case for Leiter’s power, other than his ability to direct attention to what strikes me as ‘manipulative bullshit’, to use Crista’s words.

(Yes Crista, what Nathan said was defamatory, in my judgment. Why should Dr. Stock not respond the way she did? Saying that she is directing hate toward students and faculty is just a lie. Saying that she is advocating treating trans people the way gay people were treated decades ago is a vicious lie, as far as I can tell. Why should you expect these lies not to be called out, and why should your potential employers not take them into account?)

Thanks again for allowing such a diverse range of views on your blog, Justin. You are doing a great service to the profession.
april 2019
Naval on Twitter: "How to Get Rich (without getting lucky):"
Seek wealth, not money or status. Wealth is having assets that earn while you sleep. Money is how we transfer time and wealth. Status is your place in the social hierarchy.

Ignore people playing status games. They gain status by attacking people playing wealth creation games.
business  advice 
march 2019
Mixtape #97 • CAST THE DICE
It may be hard to find a more prolific musical polymath than the wonderful and inimitable multi-instrumentalist and improviser Richard Youngs. A restless sonic adventurer and highly versatile musician, his extensive and influential body of work encompasses well over a hundred solo and collaborative releases, on labels big and small, including his own No Fans. We're ecstatic he found the time to put together this month's mixtape, which is a unique insight into his myriad influences, or in Youngs' own words "All over the shop".

Cocteau Twins – Blind Dumb Deaf [4AD]
Donald MacPherson – Lord Lovat’s Lament [Siubhal]
Kazuki Tomokawa – Storms in the Dead of Night [20|20|20]
Derek Bailey w/ DJ Ninj – N/JZ/BM (re-mix) [Avant]
Rosalia – Si tu supieras companero [Universal]
Sun Ra & His Arkestra – Disco 2100 [Strut / Art Yard]
Religious Overdose – Control Addicts [Glass Records]
Armin Mieth: VI – Raum 1 (extract) [Chocolate Monk]
Franco Battiato – Aria di rivoluzione [Ricordi]
Guillaume de Machaut – Ballade 33 Nes qu’on porroit (performed by Oxford Camerata) [Naxos]
Van Der Graaf Generator – Refugees [Charisma / Probe]
music  youngs 
march 2019
The Reckoning of Morris Dees and the Southern Poverty Law Center | The New Yorker
For those of us who’ve worked in the Poverty Palace, putting it all into perspective isn’t easy, even to ourselves. We were working with a group of dedicated and talented people, fighting all kinds of good fights, making life miserable for the bad guys. And yet, all the time, dark shadows hung over everything: the racial and gender disparities, the whispers about sexual harassment, the abuses that stemmed from the top-down management, and the guilt you couldn’t help feeling about the legions of donors who believed that their money was being used, faithfully and well, to do the Lord’s work in the heart of Dixie. We were part of the con, and we knew it.

Outside of work, we spent a lot of time drinking and dishing in Montgomery bars and restaurants about the oppressive security regime, the hyperbolic fund-raising appeals, and the fact that, though the center claimed to be effective in fighting extremism, “hate” always continued to be on the rise, more dangerous than ever, with each year’s report on hate groups. “The S.P.L.C.—making hate pay,” we’d say.
march 2019
The Gray House, Week 10! – Silvia Cachia
“I, for example, still have no idea where Alexander went. He simply vanished. Not that the others have been much more cooperative, of course; I think that if not for the presence of Smoker, the most “normal” of my characters, there would be no ending at all. Everyone else resisted for as long as they could.”

Smoker: “I am sure there’s nothing except the Game, and all those silly fairy tales are just born of boredom.”
Black: “Whatever these people have, I don’t even care if it’s real or imagined. I’m not playing.”
Noble: “Ooooh, Jumping! Cool! Now let’s see what we can do with it. It’s harmless though, right?”
Humpback: “So I’m a Jumper? Oh well. I guess you got to do what you got to do.”
Sphinx: “This is dangerous and unpredictable stuff. You guys do whatever you want, but I’m keeping away. My life is not there.”
Tabaqui: “And so it repeats. The House is ever the House, with all its paths and mysterious ways, and I am ever in it. Now let’s play.”
march 2019
The Satanic Verses 30 Years On review: A balanced look at a traumatic affair suddenly becomes heated | The Independent
Rushdie’s silly, childish book should be banned under today’s anti-hate legislation. It’s no better than racist graffiti on a bus stop. I wouldn’t have it in my house, out of respect to Muslim people and contempt for Rushdie, and because it sounds quite boring. I’d be quite inclined to burn it, in fact. It’s a free country, after all.
censorship  rushdie 
march 2019
Il faut savoir terminer un fiasco - Tocqueville21 : Tocqueville21
The grass roots movement at the ronds-points has dwindled in number over the past several months, while the urban marches in Paris, Bordeaux, and Toulouse have been infiltrated by violent groupuscules of the far left and far right. In Lyon marchers wearing common yellow vests but representing opposite extremes clashed with one another in the streets, while others stoned a police vehicle. GJ networks on social media are filled with wild rumors and disinformation. And as everyone has now seen in a widely disseminated video clip, Alain Finkielkraut was jeered with anti-Semitic taunts by demonstrators wearing yellow vests as cover for their true colors, of Soralian or Dieudonnéiste hue.
france  yellowvests 
february 2019
What is the fastest car in Burnout Paradise ? : Burnout
"What's the fastest car?", in this game, is very open-ended. Unfortunately, it has no simple answer, which kinda sucks because it's one of the most common questions. I'll cover Road Rules first (since you mentioned that in your post) and get to the rest after.

For most roads, the Annihilator Street Rod is fastest due to the high speed it can attain by going downhill.

On Uphill and Maguire, the PCPD Special is faster since the Street Rod can't mantain its speed through the whole road. Most people use the PCPD on Rack and Hall too, for the same reason, but there are ways to beat it with the Street Rod on those.

The fastest car on things on than Road Rules are a bit more complicated. In Races:

Annihilator Street Rod is quickest on anything with a downhill section, e.g. Baseball Battle

Extreme Hot Rod is quickest on flat routes, e.g. The I-88 Burn

PCPD Special is used on Open Tour due to the route's sharp turns

Nighthawk is used on Avant Guard because you have to slam into a wall for the quickest time, which the PCPD can't handle.

In Timed Challenges:

Dust Storm Superturbo is used for challenges that require Aerial Near Misses, quick handbrake turns, barrel rolls, Takedowns, and more. Examples are High Roller, Out of Trouble, Sand Timer, Flyby, and Takedown Battle.

Street Rod is quickest, once again, on anything with a downhill, e.g. Train Time and Rock Around The Clock

Extreme Hot Rod is quickest on I-88 challenges and flat spin challenges, e.g. Lap Time and Turn Back Time. If you're willing to take risks, you could use it on barrel roll challenges too.

Nighthawk is used on jumping challenges, e.g. Thrill Grill

PCPD is used on any challenge with a Car Park, and sometimes on Billboard challenges, e.g. Slam Dunk and and Smash Hits.

Rai-Jin is used on all challenges which involve reversing, e.g. Navy Wheels, Back Hans, etc.

Inferno Van is used on Down to Earth, because it's tall.

This list is by no means comprehensive, and can be especially confusing if you don't know the routes, but it's the best I can do when listing them per vehicle rather than per challenge/race.

When it comes to the fastest car in the game overall, not in any specific area, it's still not simple:

Downhill, the Street Rod has the highest top speed.

On a flat surface, the Rai-jin has the highest top speed limit of 201 mph, but will be overtaken by the Extreme Hot Rod and Hippy Van as they slowly surpass their own speed limit to eventually reach their speed caps of 215 mph and 250 mph, respectively.

The Extreme Hot Rod has the fastest acceleration of any car, beating its closest rival, the Nighthawk, by a large margin.

So there you go. It's a massive post, but this is about as simple as the answers get. Sorry, not sorry.
february 2019
Michael Cohen’s secret agenda as Trump’s fixer - Washington Post
“The old Michael, not the new Michael,” he said. “Friendly. Reasonable. Humble. Athletic. Would do anybody a favor. Wasn’t a braggart. That’s the one I remember.”

The doctor recalled sitting at the same table as Trump at the bar mitzvah of Michael’s son, Jake. Trump posed for photographs and signed autographs. At one point, he picked up Levine’s granddaughter and danced with her.

It’s part of the reason Levine felt good about voting for Trump in 2016.

“He’s a fantastic individual; he’s very warmhearted,” Levine said. “I should hate him because he screwed my nephew. Of course he did. But that’s part of life. I’d still vote for him.”

His nephew, he said, “should have said, ‘I know nothing.’ ”
trump  cohen 
february 2019
Calls mount for Va. Lt. Gov. Justin Fairfax to resign after second sex assault accusation - The Washington Post
Watson’s attorney provided an email exchange from 2016 between Watson and Milagros Joye Brown, another friend from Duke, after Brown invited some Duke friends to a fundraising event for Fairfax’s nascent campaign for lieutenant governor.

“Justin raped me in college and I don’t want to hear anything about him. Please, please, please remove me from any future emails about him please,” Watson wrote on Oct. 26, 2016.
politics  virginia 
february 2019
$190-million missing after crypto exchange Quadriga CEO dies - The Globe and Mail
“It’s the equivalent of walking around with millions of dollars in cash on you at all times,” Mr. Gokturk said.
Mr. Cotten was diligent in other areas of his life. He signed a will on Nov. 27, less than two weeks before he died. He appointed Ms. Robertson as the executor of his estate and outlined the distribution of his assets, including an airplane, property in British Columbia and Nova Scotia, and two pet chihuahuas named Nitro and Gully, along with $100,000 for their care.
bitcoin  crypto 
february 2019
The Oral History of Mark E Smith - VICE
Craig Leon(Producer – Extricate [1990], Shift-Work [1991], Code: Selfish [1992]): Mark was called upon to deliver a lecture about his views on creative writing at a posh university. He arrived at the lecture hall, sat down, and then there was nothing but dead silence for minutes. He then leaned over to the mic and said, "James Joyce," opened up a book and started reading, silently, to himself. After a while he closed the book and walked off the stage.
fall  music 
january 2019
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