"But many internet programs suggest that a story is enriched by successive contributions. … This has sometimes happened in the past without disturbing authorship. With the Commedia dell'arte, every performance was different. We cannot identify a single work due to a single author. Another example is a jazz jam session. We may believe there is a privileged performance of 'Basin Street Blues' because a recording survives. But there were as many Basin Street Blues as there were performances. ... There are books that we cannot rewrite because their function is to teach us about Necessity, and only if they are respected as they are can they provide us with such wisdom. Their repressive lesson is indispensable to reach a higher state of intellectual and moral freedom."
(Umberto Eco, 7 November 2000)
"The Russian Embassy in Bulgaria has issued a note demanding that its former Soviet–era ally clean up the monument in Sofia's Lozenets district, identify and punish those responsible, and take 'exhaustive measures' to prevent similar attacks in the future, the news agency reported Monday.
The monument was spray–painted on the eve of the Bulgarian Socialist Party's celebration of its 123rd anniversary, the Sofia–based Novinite news agency reported.
The vandalism was the latest in a series of similar recent incidents in Bulgaria – each drawing angry criticism from Moscow.
Early this year, unknown artists painted another monument to Soviet troops in Sofia in the colors of the Ukrainian flag.
In August last year, a Soviet army monument in Sofia was painted pink in an 'artistic apology' for Bulgaria's support of Soviet troops who suppressed Czechoslovakia's Prague Spring revolt against Moscow–based communist rulers."
(Anna Dolgov, 19 August 2014, The Moscow Times)
[UK designer Olly Moss revises classic film posters.]
"In 1851–1852 John Everett Millais painted a canvas that would become his most famous work: Ophelia. This compelling picture of the tragic heroine of Shakespeare's Hamlet, floating in the water, has inspired artists for generations. Striking parallels to Millais's oeuvre are to be found in the work of contemporary photographers, such as Rineke Dijkstra, Hellen van Meene, Inez van Lamsweerde & Vinoodh Matadin. The influence of Ophelia is noticeable in the models' vacant expressions, the hushed atmosphere of the compositions and the alienating surroundings. ...
Ophelia is also referred to in film and pop music. For instance, Nick Cave and Kylie Minogue based their music video where the wild roses grow on the painting by Millais. Another example is the cover picture of PJ Harvey's album To bring you my love."
(Van Gogh Museum)
Fig.1 Nick Cave and Kylie Minogue (1996). "Where the Wild Roses Grow".
Fig.2 PJ Harvey (1995). "Down By The Water".
Fig.3 John Everett Millais (1851–52). "Ophelia".
"Painter, photographer, filmmaker, set designer, teacher, metalworker, [Alexander Rodchenko] revelled in the new freedoms thrown up by the Russian Revolution and was fiercely committed to liberating art for the masses.
Whether it was his blueprint for the ideal working man's club showcased at the Paris Exhibition of 1925, his illustrated covers for engineering manuals or his pioneering film poster for Sergei Eisenstein's classic Battleship Potemkin, Rodchenko's experimentation embodied the spirit of the early Soviet era.
But just as he thrived in the intellectual ferment of the Lenin years, like so many other artists–cum–revolutionaries of the period he was to fall foul of Stalin's increasingly paranoid and brutal regime.
Today his influence lives on, not only inspiring modern–day photographers like Martin Parr, but his designs are perhaps best known for the art school chic they afford to the covers of records by the Scottish indie band Franz Ferdinand."
(Arifa Akbar and Jonathan Brown, 2 January 2008, The Independent)
Alexander Rodchenko (1925). "Lengiz books on all subjects!"