Daily Archives: ஜூன் 6, 2007

Quotable Quotes – தந்தை பெரியார் அறிவுரை

வயிறு வளர்க்கும் கூட்டம்

“ஒரு விசயத்தைப் பற்றிச் சரியோ, தப்போ என்பதைக் கவனிக்காமல், எதைச் சொன்னாலும் ஏட்டிக்குப் போட்டியாய் வம்பளந்து வயிறு வளர்ப்பதையே வாழ்க்கையாய்க் கொண்ட மக்கள் உலகம் எங்கும் இருந்துதான் வருகின்றார்கள். இவர்களுடைய உதவி யாருக்கும், எவ்வளவு குறைந்த விலைக்கும் கிடைக்கக் கூடும்.”

(“குடிஅரசு”, 25.12.1932)

எனது ஆசை
“எனக்கு ஆசை எல்லாம், மக்கள் பகுத்தறிவாளர்கள் ஆகவேண்டும்; ஜாதி ஒழியவேண்டும்; உலகில் `பார்ப்பனர்’ இருக்கக் கூடாது. இதுதான் என் கொள்கை.”

(“விடுதலை”, 28.8.1972)

சீர்திருத்தம்
“ஒரு சிறு சீர்திருத்தம் கொண்டு வருகின்ற காலத்திலும் சீர்திருத்த விரோதிகள் எழுந்து நின்று ‘வந்துவிட்டது மதத்திற்கு ஆபத்து‘, ‘மதம் போச்சுது, மதம் போச்சுது‘ எனக் கூப்பாடு போட்டால், இந்த நிலைமையில் சீர்திருத்தக்காரர்கள் என்ன செய்ய முடியும்?’
(‘குடிஅரசு’, 30.8.1931)

முன்னேற்ற உணர்ச்சி ஏற்பட
“ஒரு நாட்டு மக்களுக்கும், சமுதாய மக்களுக்கும் முன்னேற்ற உணர்ச்சி ஏற்பட வேண்டுமானால், அந்த மக்களுக்கு முதலில் தாங்கள் யார் என்ற உணர்ச்சி பிறந்து, தங்களைப் பற்றித் தெளிவாய்த் தெரிந்து கொண்டு அதன் பயனாக, நாட்டுப் பற்றும், சமுதாயப் பற்றும் ஏற்பட்டாக வேண்டும்.”
(‘குடிஅரசு’, 25.8.1940)

தேர்தலும் – பொதுவுடைமையும்
“எலக்ஷன் போட்டி காலத்தில் பதவியையும், அதிகாரத்தையும் கைப்பற்ற வேண்டும் என்ற தேசியத்தின் பேராலும், சமுதாயத்தின் பேராலும் நடக்கும் போட்டியில் கலந்து கொண்டு பொது உடைமைப் பிரசாரமோ, சமதர்மப் பிரசாரமோ செய்வது என்பது ஒரு நாளும் அறிவுடைமையான காரியமோ, யோக்கியமான காரியம் என்றோ சொல்லிவிட முடியாது.”
(‘குடிஅரசு’, 12.6.1936)

World’s Spotlight Misses the True Cost of Disasters

The number of people affected by weather-related disasters has risen since 1982

People affected by weather related disasters

Weather-related disasters include those caused by heat waves or cold snaps, floods, landslides, avalanches, wildfires, hurricanes, cyclones, typhoons, and winter storms. While these events are often perceived as natural, many human actions, including climate change, can have a hand in their creation.

Natural Disasters & Peacemaking

In 2006, the planet experienced more weather-related disasters than in any of the previous three years, but the economic losses associated with them fell sharply, from $219.6 billion in 2005 to $44.5 billion in 2006, thanks in part to a relatively quiet 2006 Atlantic hurricane season. With only 1 to 3 percent of households and businesses in low-and middle-income countries insured against disasters, compared with 30 percent in high-income countries, the full economic toll from disasters is often difficult to calculate, says Worldwatch Research Associate Zoe Chafe.

When floods recede or storm clouds dissipate, the real suffering begins for survivors. Nearly 5.4 million people became homeless as a result of a disaster last year, and other “secondary” disasters often follow: sexual harassment in camps, domestic violence, child labor and trafficking, poor resettlement plans, and ongoing disabilities.

While economic losses decreased, human deaths from disasters were up 24 percent in 2006. Floods, which affected 87 countries, were responsible for more deaths than any other weather-related disaster. The Horn of Africa was particularly hard hit by flooding, while Typhoon Saomai became the strongest storm to make landfall over China in 50 years, destroying 50,000 homes and forcing more than a million people to evacuate.

An Edward Hopper retrospective

by Peter Schjeldahl
May 21, 2007

Hopper’s “New York Movie” (1939). The artist bets everything on composition.
Hopper’s “New York Movie” (1939). The artist bets everything on composition.

The scale of the paintings is indifferent, in the way of graphic art. Their drawing is graceless, their colors acrid, and their brushstrokes numb. Anti-Baroque, they are the same thing when looked at up close and when seen from afar. I believe that Hopper painted with reproducibility on his mind, as a new function and fate of images in his time. This is part of what makes him modern—and persistently misunderstood, by detractors, as merely an illustrator.

A visual bard of ordinary life, Hopper imposed a thudding ordinariness on painting. The strangeness of this quality must be contemplated directly, and in quantity, for its radical character to register at full force. It is the basis of his universal accessibility. Laying the cards of his intention face up, it inspires rare trust, which steadies our minds to receive the living truths that the pictures tell. Hopper stands with two other American artists, Jackson Pollock and Andy Warhol, whose likewise monumental styles also trashed prevailing conventions of good painting and have proved to be deathless.

Hopper seems to have liked places possessed of what might be termed negative feng-shui. The couple read voraciously, often in French, and were compulsive moviegoers.

Hopper’s is an art of illuminated outsides that bespeak important insides. He vivifies impenetrable privacies. Notice how seldom he gives houses visible or, if visible, usable-looking doors; but the windows are alive. His preoccupied people will neither confirm nor deny any fantasy they stir; their intensity of being defeats conjecture. Imputations, to them, of “loneliness” are sentimental projections by viewers who ought to look harder. They may not have lives you envy, but they live them without complaint. Another mistake that some observers make is to quibble with Hopper’s crudeness, notably in his renderings of flesh and foliage. His insults to taste are even instrumental to his art, focussing attention on what matters, which is drama. Clement Greenberg got it right when he remarked that if Hopper “were a better painter, he would, most likely, not be so superior an artist.”

“New York Movie” (1939). In a corner of an ornate theatre, a pretty usherette leans back against a wall out of sight of a screen that displays an illegible fragment of black-and-white movie, watched by two solitary people. Dimmed, reddish lights oppose a russet cast to inky shadows. Parted red curtains frame a stairway to the balcony. The usherette’s reverie, if any (she may be dozing), centers our involvement. She has seen the film. Wanting to be elsewhere, she is elsewhere. Where are we? I think we are in Plato’s Cave, perceiving layered dispositions of reality—those of the movie, the audience, the usherette, the theatre, and the civilization that must have theatres. I comprehend the picture’s economy when I imagine something that is necessarily absent from it: noise, the clamor of a soundtrack that fills the space and assaults the usherette’s unwilling ears. Life goes on? No, it roars on, indifferent to all who have temporary shares in it. We exist in the middle of a rush so constant that it resembles stillness.

One more Hillary Book (actually Two)

A Woman in Charge: The Life of Hillary Rodham Clinton
by Carl Bernstein

“Bill Wanted A Divorce To Be With His Lovers”

“Hillary Thought Presidency Would Temper Bill’s Sexual Compulsions”

“A Secret Plan For Bill and Hillary To Be President For Two Terms Each”

Amu – Movie