Connections is a 10-episode documentary television series and 1978 book (Connections, based on the series) created, written, and presented by science historian James Burke. The series was produced and directed by Mick Jackson of the BBC Science and Features Department and first aired in 1978 (UK) and 1979 (USA). It took an interdisciplinary approach to the history of science and invention, and demonstrated how various discoveries, scientific achievements, and historical world events were built from one another successively in an interconnected way to bring about particular aspects of modern technology. The series was noted for Burke’s crisp and enthusiastic presentation (and dry humour), historical re-enactments, and intricate working models.Connections (TV Series) – Wikipedia
Ha cerrado El Azúl de Fúcar.
The Tsar had his son’s first two wives, Eudoxia Saburova and Feodosiya Solovaya, sent away to convents. While they were at the Alexandrov Kremlin in November 1581, Ivan is said to have assaulted his son’s third wife, Yelena Sheremeteva, for being inappropriately dressed. She was pregnant, and the beating caused a miscarriage.
The Tsarevich reprimanded his father, and the Tsar responded by accusing his son of inciting rebellion by challenging his father and advocating attempts to relieve the on-going Siege of Pskov. Ivan struck his son with his sceptre, and also struck Boris Godunov when he tried to intervene.
The Tsarevich fell to the floor bleeding heavily. Ivan was quickly remorseful, but his son died a few days later.Ivan the Terrible and His Son Ivan, Wikipedia
On 16 January 1913, Abram Balachov attacked the painting three times with a knife, making three parallel slashes over the faces of Ivan and his son.
The curator of the Tretyakov Gallery Georgy Khruslov was so distressed by the vandalism that he threw himself under a train.
Repin returned to Moscow from Finland to restore the work. He suspected the attack was “the result of that monstrous conspiracy against the classic and academic monuments of art which is daily gathering momentum“, i.e. modernism.
Esta mañana hemos empezado a leer el comic de “Persépolis”. Julia conocía ya a Marjana Satrapi de haber leído “Ajdar”. Hemos visto un par de clips y por la tarde nos la hemos visto entera en Filmin.
La hemos visto hasta el final pero es verdad que está un poco al límite de lo que Julia puede/debe ver con 6 años. En un momento me ha preguntado: “Papá, ¿seguro que esta película es para niños?.”
Talk by Nichole Paschen Caylor at WC Nashville 2018
– “But if everybody could still understand everybody else, why would anyone need translators?” I asked.
– “Because nationalists are so stupid that they believe the nonsense they sprout. “
Tivat is different from the rest of Montenegro: more glitzy, more shiny, more expensive, more show-off. All the things I don’t like. I only go there regularly because I am trying to visit the Maritime Museum in Tivat, but it’s closed every time.
The last time, when I had a few hours to kill before the bus back to Kotor (on a nice day, you can also walk across Vrmac), I strolled along the waterfront, looking at boats. In Tivat, they don’t have real boats with cranes and containers and sailors and guns and turrets. No, they just have toy boats. Fancy toys, but no match even for the navies of Austria or Bolivia.
“Who buys such toys?” I wondered, and the answer is the same as for all other toys, like expensive cars, houses, phones and a second handbag: people who have too much money and a…
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No creo que sea muy agradable encontrarte con tu propia imagen en una galería de arte y saber que esa imagen está, además, a la venta cuando tú no has tomado parte en ello y ni siquiera puedes hacer nada para pararlo. Admito que eso es algo que resulta inquietante. Pero también tenía que luchar por el derecho de los artistas a hacer cosas que puede que no siempre resulten aceptables para todo el mundo.
Un día de 1999, el fotógrafo Philip-Lorca diCorcia fue a la famosa plaza Times Square, en Nueva York, colocó un teleobjetivo a su cámara, plantó el trípode en un lugar concreto, escondió sus flashes estroboscópicos en diferentes lugares y se colocó a unos siete metros de distancia de su cámara. Con el control remoto en mano, el fotógrafo disparaba cada vez que un transeúnte que le resultaba interesante pasaba por el lugar adecuado.
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