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Domain > alfredotriff.com
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DNS Resolutions
Date
IP Address
2024-12-21
192.0.78.169
(
ClassC
)
2025-12-16
192.0.78.198
(
ClassC
)
Port 80
HTTP/1.1 301 Moved PermanentlyServer: nginxDate: Tue, 16 Dec 2025 06:15:09 GMTContent-Type: text/htmlContent-Length: 162Connection: keep-aliveLocation: https://alfredotriff.com/Alt-Svc: h3:443; ma86400Server-Timing: a8c-cdn, dc;descsea, cache;descBYPASS;dur0.0 html>head>title>301 Moved Permanently/title>/head>body>center>h1>301 Moved Permanently/h1>/center>hr>center>nginx/center>/body>/html>
Port 443
HTTP/1.1 200 OKServer: nginxDate: Tue, 16 Dec 2025 06:15:09 GMTContent-Type: text/html; charsetUTF-8Transfer-Encoding: chunkedConnection: keep-aliveStrict-Transport-Security: max-age31536000Vary: Accept-EncodingX-hacker: Want root? 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classwp-block-navigation__responsive-container-close data-wp-on--clickactions.closeMenuOnClick >svg xmlnshttp://www.w3.org/2000/svg viewBox0 0 24 24 width24 height24 aria-hiddentrue focusablefalse>path dm13.06 12 6.47-6.47-1.06-1.06L12 10.94 5.53 4.47 4.47 5.53 10.94 12l-6.47 6.47 1.06 1.06L12 13.06l6.47 6.47 1.06-1.06L13.06 12Z>/path>/svg>/button> div classwp-block-navigation__responsive-container-content data-wp-watchcallbacks.focusFirstElement idmodal-1-content> /div> /div> /div> /div>/nav>/div>/div>/div>/div>/header>main classwp-block-group has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylemargin-top:var(--wp--preset--spacing--60)> h1 classwp-block-heading has-text-align-left>Blog/h1> div classwp-block-query alignfull is-layout-flow wp-block-query-is-layout-flow> ul classalignfull wp-block-post-template is-layout-flow wp-block-post-template-is-layout-flow>li classwp-block-post post-1247 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/12/04/william-moris-in-progress-dictionary/ target_self >William Morris (curated) dictionary/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>p styletext-align: center;>img data-recalc-dims1 fetchpriorityhigh decodingasync data-attachment-id1250 data-permalinkhttps://alfredotriff.com/2025/12/04/william-moris-in-progress-dictionary/morris/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/12/Morris.jpg?fit305%2C400&ssl1 data-orig-size305,400 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titleMorris data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/12/Morris.jpg?fit229%2C300&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/12/Morris.jpg?fit305%2C400&ssl1 classalignnone wp-image-1250 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/12/Morris.jpg?resize368%2C482&ssl1 alt width368 height482 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/12/Morris.jpg?resize229%2C300&ssl1 229w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/12/Morris.jpg?w305&ssl1 305w sizes(max-width: 368px) 100vw, 368px>/p>p> /p>p>strong>Art education:/strong> (…) general capability in dealing with the arts. (TLA).br>… I do not want art for a few, any more than education for a few, or freedom for a few. (TLA)./p>p>strong>Art:/strong> (…) the human pleasure of life is what I mean by art. (A&L).br>(…) It is the art of the people: the art produced by the daily labour of all kinds of men for the daily use of all kinds of men. (Idem.)br>(…) ART IS MAN’S EXPRESSION OF HIS JOY IN LABOUR. (AuP)./p>p>strong>Art and labor:/strong> (…) I understand by real art … the expression by man of his pleasure in labour. (AOP)./p>p>strong>Art price:/strong> … the providing of a handicraftsman who shall put his own individual intelligence and enthusiasm into the goods he fashions. (MB)./p>p>strong>Art justice:/strong> … so that we may adorn life with the pleasure of cheerfully buying goods at their due price; with the pleasure of selling goods that we could be proud of both for fair price and fair workmanship: with the pleasure of working soundly and without haste at making goods that we could be proud of? (TLA)./p>p>strong>Aesthetic simplicity:/strong> All art starts from this simplicity; and the higher the art rises, the greater the simplicity. (BOL).br>(…) have nothing in your houses which you do not know to be useful or believe to be beautiful. (TBL)./p>p>strong>Beauty:/strong> …everything made by man’s hands has a form, which must be either beautiful or ugly; beautiful if it is in accord with Nature, and helps her; ugly if it is discordant with Nature, and thwarts her. (TLA)./p>p>strong>Beauty of life:/strong> that beauty … is what is meant by art. (BOL)./p>p>strong>The handicraft question:/strong> …have we not good reason for wishing, if it might be, that handicraft should once more step into the place of machine-production? (The Revival of Handicraft)/p>p>strong>Ugly:/strong> I have said that the produce of man’s labour must be ugly if art be not applied to it. (ACT)/p>p>strong>Form:/strong> … forms and intricacies that do not necessarily imitate nature, but in which the hand of the craftsman is guided to work in the way that she does, till the web, the cup, or the knife, look as natural, nay as lovely, as the green field, the river bank, or the mountain flint. (TLA)./p>p>strong>Purpose of artwork:/strong> To give people pleasure in the things they must perforce use, that is one great office of decoration; to give people pleasure in the things they must perforce make, that is the other use of it. (TLA).br>(…) art will make our streets as beautiful as the woods, as elevating as the mountain-sides: it will be a pleasure and a rest, and not a weight upon the spirits to come… (TLA).br>(…) art made by the people and for the people as a joy to the maker and the user. (TLA)./p>p>strong>Originality:/strong> (…) the essence of the art is that the decorator’s art cannot be imitative even to the limited extent that the picture-painter’s art is… (MB).br>(…) your convention must be your own, and not borrowed from other times and peoples; or, at the least, that you must make it your own by thoroughly understanding both the nature and the art you are dealing with. (Idem.)/p>p>strong>Tradition:/strong> It is no longer tradition if it is servilely copied, without change, the token of life. (MB)./p>p>strong>Profit:/strong> (…) for profit the workman has been robbed of one pleasure which as long as he is a workman is perhaps his most important one: pleasure in his daily work: he is now only part of a machine. (A&L)./p>p>strong>Art ownership:/strong> He must be allowed to think of what he is doing, and to vary his work as the circumstances of it vary, and his own moods. He must be for ever striving to make the piece he is at work at better than the last. (MB)./p>p>strong>Craftsperson’s “due”:/strong> Money enough to keep him from fear of want or degradation … leisure enough from bread-earning work to give him time to read and think … work enough of the kind aforesaid … and lastly, his own due share of art, a dwelling that … does not lack beauty. (MB)./p>p>strong>Machines:/strong> (…) chiefly machines for carrying on the competition in buying and selling, called falsely commerce; and machines for the violent destruction of life (…) men’s work shall be fit for free men and not for machines. (AOP).br>(…) we should be the masters of our machines and not their slaves, as we are now. It is not this machine which we want to get rid of, but the great intangible machine of commercial tyranny, which oppresses the lives of all of us. (AP).br>(…) why is he (Man) the slave to machinery? Because he is the slave to the system for whose existence the invention of machinery was necessary. (SC)./p>p>strong>Medieval labor ideals:/strong> (…) the work of all handicrafts in the Middle Ages produced beauty as a necessary part of the goods. (A&L)./p>p>strong>Mammon-worship:/strong> Four more churches are to be sacrificed to the Mammon-worship and want of taste of this great city. (DCC)/p>p>strong>Industrial evil:/strong> … by far the most part of their lives in work, which at the best cannot interest them, or develop their best faculties, and at the worst is mere unmitigated slavish toil, only to be wrung out of them by the sternest compulsion. (TBL)./p>p>strong>Simplicity of life:/strong> Simplicity of life, begetting simplicity of taste, that is, a love for sweet and lofty things, is of all matters most necessary for the birth of the new and better art we crave for; simplicity everywhere, in the palace as well as in the cottage. (TLA).br>(…) is the absence of encumbering gew-gaws. (TBL).br>(…) simplicity of life, even the barest, is not a misery, but the very foundation of refinement. (PAC).br>(…) Simplicity of life, begetting simplicity of taste, that is, a love for sweet and lofty things, is of all matters most necessary for the birth of the new and better art we crave for; simplicity everywhere, in the palace as well as in the cottage. (TLA)./p>p>strong>Commerce:/strong> (…) all Society rests on a gigantic system of usury, pitiless and implacable, which is prepared to crush out of existence all peoples and communities that cannot adapt themselves to its laws. (OOA).br>(…) commercialism has crushed the power of combination out of the lower classes, the Trades Unions, founded for the advancement of the working class as a class, have already become conservative and obstructive bodies, wielded by the middle-class politicians for party purposes. (AuP).br>(…) The present position of the workers is that of the machinery of commerce, or in plainer words its slaves. (SC).br>(…) That system, which I have called Competitive Commerce, is distinctly a system of war; that is of waste and destruction. (AS)./p>p>u>b>List of cited Morris Essays/b>/u>/p>p>AS, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1884/as/as.htm>Arts and Socialism/a>/i>br>AC, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1889/today.htm>The Arts and Crafts of Today/a>/i>br>SC, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1888/signs/chapters/index.htm>Sign Of the Change/a>/i>br>AP, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1888/producer.htm>Arts and Its Producers/a>/i>br>A&L,i> a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1884/art-lab.htm>Art and Labour/a>/i>br>DCC, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1878/churches.htm>Destruction of City Churches/a>/i>br>PAC, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1882/hopes/chapters/chapter5.htm>The Prospects of Architecture in Civilization/a>/i>br>MB, i>a hrefhttps://web.archive.org/web/20171216151407/http://www.gutenberg.org/files/3773/3773-h/3773-h.htm>Making The Best Of It/a>/i>br>AuPi>, a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1883/pluto.htm>Art Under Plutocrary/a>/i>br>AOP, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1882/hopes/chapters/chapter2.htm>The Art of The People/a>/i>br>TLA, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1882/life1.htm>The Lesser Arts of Life/a>/i>br>TBL, i>a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1882/hopes/chapters/chapter3.htm>The Beauty of Life/a>/i>br>OOAi>, a hrefhttps://web.archive.org/web/20171216151407/https://www.marxists.org/archive/morris/works/1883/ornament.htm>Origins of Ornamental Art/a>/i>/p>p> /p>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-12-04T16:26:36-05:00>a hrefhttps://alfredotriff.com/2025/12/04/william-moris-in-progress-dictionary/>December 4, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1235 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/12/04/diversity-is-not-a-value/ target_self >Diversity is redundant/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>p styletext-align: center;>img data-recalc-dims1 decodingasync class srchttps://i0.wp.com/thumbs.dreamstime.com/b/grunge-number-background-3217563.jpg?resize553%2C414&ssl1 altNumber Chaos Stock Illustrations – 3,800 Number Chaos Stock Illustrations, Vectors & Clipart - Dreamstime width553 height414>/p>p>Last I checked, strong>diversity/strong> was a formal property, not a substantive one:/p>p>A good that is good in itself (for a second, let’s accept an intrinsic good) must have substantive content: happiness, justice, health, knowledge, friendship, etc./p>p>But diversity merely describes a state of variation—the presence of difference. It alone tells us nothing about:/p>p>*whether the differences are ethically valuable,br>*whether they promote human flourishing,br>*or whether they create or solve problems./p>p>A group of people with highly diverse vices, dangerous skills, or incompatible aims is “diverse,” yet not necessarily good./p>p>In other words, strong>diversity is more a configuration, not a value./strong>/p>p>Think (for a moment) of the following:/p>p>contradictory belief systems,/p>p>harmful practices,/p>p>destructive behaviors,/p>p>incompatible cosmologies,/p>p>What’s valuable above any of the above?/p>p>If diversity were intrinsically good, then the presence of any difference—even irrationality, injustice, or cruelty—would count positively. This is absurd.br>strong>br>/strong>Diversity merely em>increases the number of elements/em> or types in a system./p>p>Knowledge aims at truth./p>p>Justice aims at fairness./p>p>Courage aims at right action in the face of danger./p>p>Diversity aims at … more diversity./p>p>strong>Isn’t that redundant?/strong>/p>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-12-04T05:38:36-05:00>a hrefhttps://alfredotriff.com/2025/12/04/diversity-is-not-a-value/>December 4, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1228 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/12/04/while-the-imbecile-human-flock-duped-by-the-appearances-that-lead-them-to-the-denial-of-essential-ideas-will-pass-forever-blind/ target_self >While the imbecile human flock, duped by the appearances that lead them to the denial of essential ideas, will pass forever blind/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>h3>/h3>h3 classpost-title entry-title styletext-align: center;>img data-recalc-dims1 decodingasync class srchttps://i0.wp.com/web.archive.org/web/20171216151447im_/https%3A//1.bp.blogspot.com/_w1iq4z0Unjg/TNNnxd5DjVI/AAAAAAAABFc/ruRofE-tzmk/s640/2005%2BCRUMB0143.200.detail.jpg?resize559%2C678&ssl1 width559 height678>/h3>div classpost-header>div classpost-header-line-1 styletext-align: center;>R. Crumb, em>Burned Out/em>, 2004./div>/div>div idpost-body-3555421818977356369 classpost-body entry-content>div classseparator>/div>div classseparator>/div>/div>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-12-04T04:56:22-05:00>a hrefhttps://alfredotriff.com/2025/12/04/while-the-imbecile-human-flock-duped-by-the-appearances-that-lead-them-to-the-denial-of-essential-ideas-will-pass-forever-blind/>December 4, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1222 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/12/03/john-ruskin-curated-dictionary/ target_self >John Ruskin (curated) dictionary/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>div styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync class srchttps://i0.wp.com/web.archive.org/web/20171229232436im_/https%3A//2.bp.blogspot.com/-N3zAmbkzxEg/WWYkeWImnTI/AAAAAAAAEKc/NgmnY6PGwAYFtpti5wIxL5X--qEqxnnwACLcBGAs/s400/John_Ruskin_1863.jpg?resize452%2C361&ssl1 width452 height361>/div>h5 styletext-align: center;>Ruskin, 1863/h5>div>/div>div idpost-body-6823697349494438891 classpost-body entry-content>u>b>Beauty/b>/u>: I wholly deny that the impressions of beauty are in any way sensual; they are neither sensual nor intellectual, but moral. (b>MP/b>, Vol 1, Chapter 2).br>(… ) It is evident that the sensation of beauty is not sensual on the one hand, nor is it intellectual on the other; but it is dependent on a pure, right, and open state of the heart. (Ibid, 40).br>(…) By the term Beauty, then, are properly signified two things. First, that external quality of bodies already so often spoken of, and which, whether it occur in a stone, flower, beast, or man, is absolutely identical: which, as I have already asserted, may be shown to be in some sort typical of the Divine attributes, and which, therefore, I shall, for distinction’s sake, call Typical Beauty. (b>MP /b>Vol. 1).br>(…) man cannot advance in the invention of beauty, without directly imitating natural form. (b>SL/b>, Lamp of Beauty).br>(…) Must not beauty, then, it will be asked be sought for in the forms which we associate with our every-day life ? (b>SL/b>, Lamp of Life).br>(…) The essential characters of Beauty depended on the expression of vital energy in organic things… (b>SL/b>, Lamp of Life).br>(…) These sources of beauty, however, are not presented by any very great work of art in a form of pure transcript. They invariably receive the reflection of the mind under whose influence they have passed, and are modified or coloured by its image. This modification is the work of Imagination. (b>MP/b>, Vol. 2, para. 1)./div>div>/div>div classpost-body entry-content>u>b>Vital Beauty/b>/u>: (…) the appearance of felicitous fulfillment of function in living things, more especially of the joyful and right exertion of perfect life in man ; and this kind of beauty I shall call Vital Beauty. (b>MP/b>, Vol. 1, para. 16).br>(…) the first state of vital beauty is defined to be Happiness, perceived with sympathy ; the second, … Moral intention, perceived with praise. Hence the first aphorism of the Laws of Fesole: “All great art is prune.” (b>MP/b>, Vol. 1, Chapter 1).br>(…) We think we love it (art) for its beauty, but really we love it for its vitality. (b>SV/b>, Intro.).br>u>br>/u>u>b>Of truth and beauty/b>/u>: (…) that is to say, truth first, and beauty afterwards. High art differs from low art in possessing an excess of beauty in addition to its truth, not in possessing an excess of beauty inconsistent with truth. (b>MP/b>, para. 34).u>b>Enjoyment/b>/u>: (…) I believe the right question to ask, respecting all ornament, is simply this: Was it done with enjoyment—was the carver happy while he was about it? It may be the hardest work possible, and the harder because so much pleasure was taken in it; but it must have been happy too, or it will not be living. (b>MP/b>, Chapter 5, para. 24).b>Nature/b>: Great art accepts Nature as she is, but directs the eyes and thoughts to what is most perfect in her; false art saves itself the trouble of direction by removing or altering whatever it thinks objectionable. (b>MP/b>, Vol. 2, Chapter 3, para.13).br>(…) The more a painter accepts nature as he finds it, the more unexpected beauty he discovers in what he at first despised (Ibid.)br>(…) High art, therefore, consists neither in altering, nor in improving nature (Ibid.)br>Nature … keeps whatever she has done best, close sealed, until it is regarded with reverence (Ibid).br>(…) He who is closest to Nature is best. (Ibid, Chapter 10, para. 5).br>take pleasure at last in every aspect of age and desolation which emancipates the objects of nature from the government of men. (Ibid, Chapter 16, para. 5).br>(…) Observe: the whole force of education, until very lately, has been directed in every possible way to the destruction of the love of nature. (Ibid, Chapter 17, para. 31).br>(…) Instead of supposing the love of nature necessarily connected with the faithlessness of the age, I believe it is connected properly with the benevolence and liberty of the age. (Ibid, Chapter 17, para. 34).br>u>b>br>/b>/u>u>b>Ruskin’s aesthetics/b>/u>: (…) For as (1) the choice of the high subject involves all conditions of right moral choicer and as (2) the love of beauty involves all conditions of right admiration, and as (3) the grasp of truth involves all strength of sense, evenness of judgment, and honesty of purpose, and as (4) the poetical power involves all swiftness of invention, and accuracy of historical memory, the sum of all these powers is the sum of the human soul. (b>MP/b>, para. 42).p>u>b>Rules/b>/u>: (…) The great men … have no rules; cannot comprehend the nature of rules;—do not, usually, even know, in what they do, what is best or what is worst: to them it is all the same; something they cannot help saying or doing,—one piece of it as good as another, and none of it (it seems to them) worth much. The moment any man begins to talk about rules, in whatsoever art, you may know him for a second-rate man; and, if he talks about them much, he is a third-rate, or not an artist at all. To this rule there is no exception in any art. (b>MP/b>, Vol. 3, para. 84).br>u>br>/u>u>b>Style/b>/u>: (…) The style is greater or less in exact proportion to the nobleness of the interests and passions involved in the subject. (b>MP/b>, Vol. 3, para. 5)./p>p>u>b>Truth/b>/u>: (…) There is never vulgarity in a whole truth, however commonplace. It may be unimportant or painful. It cannot be vulgar. Vulgarity is only in concealment of truth, or in affectation. (b>MP/b>, Vol. 3, para. 83).br>(…) Every duty which we omit obscures some truth which we should have known; and the guilt of a life spent in the pursuit of pleasure is twofold, partly consisting in the perversion of action, and partly in the dissemination of falsehood. (b>SV/b>, Chapter 3, para. 28).br>(…) so far as the truth is seen by the imagination in its wholeness and quietness, the vision is sublime. (b>SV/b>, Idem, para. 62)./p>p>u>b>Loving enthusiasm/b>/u>: (…) this loving enthusiasm, which seeks for a beauty fit to be the object of eternal love; this inventive skill, which kindly displays what exists around us in the world; and this playful energy of thought which delights in various conditions of the impossible (b>MP/b>, Vol. 3, 71)./p>p>b>u>Ugly/u>/b>: I would fain be allowed to assume also the converse of this, namely, that forms which are not taken from natural objects must be ugly. (b>SL/b>, Chapter 4)/p>p>b>u>List of works by Ruskin cited here/u>/b>u>:/u>br>SV: i>The Stones of Venice,/i> in 3 Volumes, by Project Gutenberg. Vol. 1, Vol. 2, Vol. 3.br>MP: i>Modern Painters,/i> in 5 Volumes, by Project Gutenberg. Vol. 1, Vol. 2, Vol. 3, Vol. 4, Vol. 5.br>SL: i>The Seven Lamps of Architecture, /i>by Project Gutenbergi>, /i>/p>div>/div>/div>div classpost-footer>/div>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-12-03T22:00:06-05:00>a hrefhttps://alfredotriff.com/2025/12/03/john-ruskin-curated-dictionary/>December 3, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1148 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/09/05/platitudes-in-art-writing-artforum/ target_self >Platitudes in art writing @ artforum/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>h2>Every so often, we review the state of national art-writing. Check Art Forum’s a hrefhttps://web.archive.org/web/20170429123305/http://artforum.com/picks/sectionus#picks30300>review page, /a>labeled “Critic’s Picks.” Art writing has become coded hairball of theory, ideology & arcana. Clarity? Explanation? What for? Yet, when it comes to a hrefhttps://web.archive.org/web/20170429123305/http://mbourbaki.blogspot.com/2011/06/criticism-vs-criti-cism-manifesto.html>aesthetic evaluations/a> you’d expect a writer to justify his/her judgments.p>Instead,/p>/h2>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1150 data-permalinkhttps://alfredotriff.com/2025/09/05/platitudes-in-art-writing-artforum/picksimg_popup/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup.jpg?fit400%2C266&ssl1 data-orig-size400,266 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titlepicksimg_popup data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup.jpg?fit300%2C200&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup.jpg?fit400%2C266&ssl1 classalignnone wp-image-1150 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup.jpg?resize388%2C258&ssl1 alt width388 height258 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup.jpg?resize300%2C200&ssl1 300w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup.jpg?w400&ssl1 400w sizesauto, (max-width: 388px) 100vw, 388px>/p>p styletext-align: center;>/p>p>1- A Matthew Bourbon describes the works of Mark Manders for the Dallas Museum of Art. At the end of his second paragraph he asserts:/p>blockquote classtr_bq>p>Manders carefully governs the presentation of his art to expose the interiority of a self ––a portrait of the artist revealed in the tangential relationships he creates./p>/blockquote>p>An important conclusion. Yet, from looking at Manders’ work, how can Bourbon fathom such a statement in heaven? Is “tangential” here a geometric real property, or is it a metaphor for a relationship? In some sense, anything is tangential to anything else. So?/p>p>Worse yet, Bourbon exhibits an ‑almost- automatic tendency to approve, as in this sample:/p>blockquote classtr_bq>p>Displaying a sensitivity to the relationship of objects to one another, and the relationship of forms to their environment, Manders crafts and arranges his ambiguous sculptural aggregates as thought-provoking machines. That’s not to suggest that he is merely combining disparate elements in some empty game of neo-surrealism. Instead, his organizing principle is the notion of a self-portrait as a building. Manders’s individual sculptures are precisely conceived and function as parts in a larger and perpetually expanding whole. Manders carefully governs (…)/p>/blockquote>p>Each sentence contains hackneyed nuggets: “displaying a sensitivity,” “though-provoking,” “precisely conceived,” “carefully governs”, “creates palpable tension.” Then, according to Bourbon’s take Manders’ work cannot be chancy (it would amount to “an empty game of neo-surrealism”?). But the writer doesn’t explain why he makes this distinction, other than throwing an organizing principle: “self-portrait as building.” i>What is that? /i>We’ll never know./p>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1151 data-permalinkhttps://alfredotriff.com/2025/09/05/platitudes-in-art-writing-artforum/picksimg_popup-1/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup-1.jpg?fit400%2C266&ssl1 data-orig-size400,266 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titlepicksimg_popup (1) data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup-1.jpg?fit300%2C200&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup-1.jpg?fit400%2C266&ssl1 classalignnone wp-image-1151 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup-1.jpg?resize405%2C270&ssl1 alt width405 height270 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup-1.jpg?resize300%2C200&ssl1 300w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/picksimg_popup-1.jpg?w400&ssl1 400w sizesauto, (max-width: 405px) 100vw, 405px>/p>p> /p>p styletext-align: left;>2- How about Nicolas Linnert’s review of Cheyney Thompson’s show @ Mit List Visual Arts Center:/p>blockquote classtr_bq>p>There is an impenetrability to Thompson’s art, which is unexpected given that his references and methods are so extensive and clearly elucidated./p>/blockquote>p styletext-align: left;>How can Thomson’s “clearly elucidated” references and methods simultaneously elicit “impenetrability”? Linnert’s own aesthetic bafflement leaves us with pellucid balderdash./p>p> /p>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1153 data-permalinkhttps://alfredotriff.com/2025/09/05/platitudes-in-art-writing-artforum/thurston101_sm/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/Thurston101_sm.jpg?fit400%2C282&ssl1 data-orig-size400,282 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titleThurston101_sm data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/Thurston101_sm.jpg?fit300%2C212&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/Thurston101_sm.jpg?fit400%2C282&ssl1 classalignnone wp-image-1153 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/Thurston101_sm.jpg?resize374%2C264&ssl1 alt width374 height264 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/Thurston101_sm.jpg?resize300%2C212&ssl1 300w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/Thurston101_sm.jpg?w400&ssl1 400w sizesauto, (max-width: 374px) 100vw, 374px>/p>p> /p>p>3- Stephanie Snyder covers artist Joe Thurston’s exhibit @ Elizabeth Leach Gallery. Here is an interesting part:/p>blockquote classtr_bq>p>The resonant indexicality of the works’ geometries suggests histories of exchange. And in fact the accompanying text reveals that the works contain objects we cannot see, such as eyeglasses, letters, and older paintings by the artist./p>/blockquote>p>What’s “resonant indexicality”? Snyder concludes “resonant indexicality” implies “histories of exchange.” But alas, she betrays her own inference with the information of an “accompanying text.” Which is first?/p>p>Snyder concludes:/p>blockquote classtr_bq>p>Inside each object sits a piece of the artist’s life, its human value enclosed within the question of the object’s value as a work of art. Thurston offers us the opportunity—with each piece’s painterly force field acting as a psychic oasis—to contemplate the importance of history and the challenge of letting go./p>/blockquote>p>… “painterly force field acting as psychic oasis” notwithstanding, Snyder’s conclusion in red can be said of virtually any artwork./p>p>Until the next,/p>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-09-05T17:41:42-04:00>a hrefhttps://alfredotriff.com/2025/09/05/platitudes-in-art-writing-artforum/>September 5, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1144 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/09/05/television-may-be-an-ideal-medium-for-idle-illiterate-cretins-beer-swilling-slobs-and-anti-social-ram-raiders-but-they-dont-constitute-the-whole-audience/ target_self >television may be an ideal medium for idle illiterate cretins, beer-swilling slobs and anti-social ram-raiders, but they don’t constitute the whole audience/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1145 data-permalinkhttps://alfredotriff.com/2025/09/05/television-may-be-an-ideal-medium-for-idle-illiterate-cretins-beer-swilling-slobs-and-anti-social-ram-raiders-but-they-dont-constitute-the-whole-audience/dystopia-spiritual-pollution-tv/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/dystopia-spiritual-pollution-tv.gif?fit640%2C340&ssl1 data-orig-size640,340 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titledystopia-spiritual-pollution-tv data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/dystopia-spiritual-pollution-tv.gif?fit300%2C159&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/dystopia-spiritual-pollution-tv.gif?fit640%2C340&ssl1 classalignnone wp-image-1145 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/dystopia-spiritual-pollution-tv.gif?resize623%2C331&ssl1 alt width623 height331>/p>p styletext-align: center;>i>Of course, television is educational. What does it teach?/i>/p>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-09-05T16:20:55-04:00>a hrefhttps://alfredotriff.com/2025/09/05/television-may-be-an-ideal-medium-for-idle-illiterate-cretins-beer-swilling-slobs-and-anti-social-ram-raiders-but-they-dont-constitute-the-whole-audience/>September 5, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1111 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/09/01/oh-the-critics-where-are-the-critics/ target_self >Oh the critics! Where are the critics?/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1120 data-permalinkhttps://alfredotriff.com/2025/09/01/oh-the-critics-where-are-the-critics/img-saltz-and-smith/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/img-saltz-and-smith.jpg?fit750%2C1000&ssl1 data-orig-size750,1000 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titleimg-saltz-and-smith data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/img-saltz-and-smith.jpg?fit225%2C300&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/img-saltz-and-smith.jpg?fit750%2C1000&ssl1 classalignnone wp-image-1120 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/img-saltz-and-smith.jpg?resize365%2C487&ssl1 alt width365 height487 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/img-saltz-and-smith.jpg?resize225%2C300&ssl1 225w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/img-saltz-and-smith.jpg?w750&ssl1 750w sizesauto, (max-width: 365px) 100vw, 365px>/p>h4 styletext-align: center;>Übercritics Roberta Smith and Jerry Saltz/h4>h2>a hrefhttps://observer.com/2025/08/arts-opinion-death-of-the-full-time-critic-and-what-it-means-for-the-future-of-art-writing/>I found out about this/a> thanks to a Facebook post by ex-Miami Herald art critic Lisa Turner. (As usual, we enter the thorny issue of social causation.) I pass./h2>p>However, something must be said in favor of the disillusioned critic, who always writes from the ruins of culture. Indeed, we all read that disenchanted critic proudly carrying the air of Weber’s em>Entzauberung/em>. A strength of the critic is their contempt for political correctness. a hrefhttps://beq.ebooksgratuits.com/vents/valles-4.pdf>A superb case is 19th-century rebel Jules Vallès/a>. His criticism was forged in anger against academic pomposity and the correct pieties of the Second Empire. He wrote with a pamphleteer’s fire, mixing irony with outrage, contempt with humor. His contempt for “political correctness” was not just stylistic but existential—he refused the masks of propriety because he lived and wrote on the side of those denied propriety./p>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1231 data-permalinkhttps://alfredotriff.com/2025/09/01/oh-the-critics-where-are-the-critics/cartoon-jules-valles-1832-1885-22748734-jpg/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/cartoon-jules-valles-1832-1885-22748734.jpg.webp?fit331%2C511&ssl1 data-orig-size331,511 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titlecartoon-jules-valles-1832-1885-22748734.jpg data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/cartoon-jules-valles-1832-1885-22748734.jpg.webp?fit194%2C300&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/cartoon-jules-valles-1832-1885-22748734.jpg.webp?fit331%2C511&ssl1 classalignnone wp-image-1231 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/cartoon-jules-valles-1832-1885-22748734.jpg.webp?resize318%2C490&ssl1 alt width318 height490 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/cartoon-jules-valles-1832-1885-22748734.jpg.webp?resize194%2C300&ssl1 194w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/09/cartoon-jules-valles-1832-1885-22748734.jpg.webp?w331&ssl1 331w sizesauto, (max-width: 318px) 100vw, 318px>/p>h5 styletext-align: center;>Jules Vallès appears in Fèlicien Champsaur’s Les Hommes d’aujourd’hui/h5>p> /p>p>Here are specific epigons of the French street scribbler:/p>ol>li data-start281 data-end349>The “Cassandra of taste”, prophetic and warned, but never heeded. Dwight Macdonald’s endless warnings about “Masscult” versus “Midcult,” seeing “debasement” everywhere./li>li data-start352 data-end410>The permanent malcontent? George Steiner: sharp, memorable, ironic, always anticipating a collapse./li>li data-start413 data-end528>The critic of ashes? Harold Bloom —his every lament about the decline of the canon reads like commentary delivered among ruins (while fiercely guarding the embers that remain)./li>li data-start531 data-end611>The Jaded Oracle. She speaks with authority and weary skepticism (Camille Paglia’s best 1990s writings are filled with nostalgia for lost cultural seriousness)./li>li data-start613 data-end750>One more! The “Ashen critic” —they survey culture as though it were already ruins (as if sighing through the dust). Let’s hear it for Theodor Adorno, em>Maestro of Malaise:/em> witty and ponderous./li>li>Sontag became increasingly skeptical about contemporary culture’s “superficiality”. Too late./li>li>Clément Greenberg’s bard attitude. He saw modern art’s trajectory as narrowing and often railed against kitsch and decadence./li>/ol>p>Slavoj Žižek is our flamboyant stand-in: endlessly saying “no” to liberal optimism, capitalist realism, and post-ideological comfort (with more jokes and spit than Adorno would have tolerated). He cleverly denounces ideology while thriving on its circus./p>p>How about playing em>Der Nein-Sager, /em>clever and minimalist, capturing resistance and negation?/p>p>Compared with these gods, I prefer to play the em>whateverist/em>./p>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-09-01T06:57:57-04:00>a hrefhttps://alfredotriff.com/2025/09/01/oh-the-critics-where-are-the-critics/>September 1, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1056 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/08/23/women-prefer-men-with-full-beards-heavy-stubble-over-clean-shaven-guys/ target_self >Women prefer men with full beards & heavy stubble over clean-shaven guys!/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>p styletext-align: center;>img data-recalc-dims1 decodingasync srchttps://i0.wp.com/web.archive.org/web/20240118043306if_/https%3A//4.bp.blogspot.com/-TAPUZ3gOZkk/UYEP9NfWo8I/AAAAAAAACu4/F8PoZWLTwqw/s1600/r-BEARD-STUDY-large570.jpg?ssl1>/p>h2>/h2>h2>/h2>h2 styletext-align: left;>Beardedness or non-beardedness? A bit puzzling./h2>h2>It seems that full beards and heavy stubble edged out the light, clean-shaven look./h2>h2>span stylebox-sizing: border-box; margin: 0px; padding: 0px;>a hrefhttps://www.sciencedirect.com/science/article/abs/pii/S1090513813000226#:~:textWe%20quantified%20mens%20and%20womens,protect%20and%20invest%20in%20offspring.>The conclusion is based on a study /a>of women’s judgments of attractiveness, health, masculinity, and parenting abilities, from photographs of clean-shaven men, lightly or heavily stubbled, and fully bearded./span>/h2>h2>How about non-beardedness?/h2>p>Surprisingly, men rated full beards and heavy stubble as most attractive, followed closely by clean-shaven and light stubble as least attractive. Well, a dose of male narcissism is to be expected here./p>p>Men and women agree on male beardedness, i.e., masculinity ratings increased linearly as facial hair increased./p>p>I’m afraid there’s a social side-effect the study is overlooking. Remember that our culture promotes and rewards a “clean” male image over its bearded counterpart (which may explain why beardedness is a less common trait than non-beardedness)./p>p>How does that prove the study’s conclusions regarding female courtship behavior? Shouldn’t women reflect/influence cultural mores? Western cultural androcentrism notwithstanding, one would expect beardedness to figure more prominently./p>p>Let’s follow the study: suppose a bearded male gets many more females than a non-bearded one. Shouldn’t beardedness then, in time, become a preferred social male trait, which would, as a consequence, increase the population of bearded males? If so, would such a predominant trait remain a favorite amongst females? We don’t know. The article doesn’t explain why beardedness conveys attractiveness, masculinity, or parental abilities. Only that it just happens. According to evolutionary theory, models of sexual selection suggest that a trait does not need any underlying selection advantage. Females have to demonstrate an underlying sensory process favoring the stimulus./p>p>But we knew that sexual preference was redundant!/p>p>Are women’s inclinations wired to our furry ancestors? It gets more nuanced./p>p>Researchers believe that a threshold of density and distribution may be necessary for beards to function as an attractive signal,/p>p>In other words, em>women, by contrast, may balance…a competitive masculine partner against the costs of mating with a too-masculine partner./em>/p>p>(on the other hand, a hrefhttps://www.thesun.co.uk/fabulous/30120713/most-attractive-facial-hair-men-study/#:~:textSTUBBLE%20is%20considered%20the%20most,beard%20(eight%20per%20cent).&textThe%20moustache%20%E2%80%93%20which%20Brad%20Pitt,meeting%20someone%20new%20in%20person.>standalone mustaches are generally less appealing;/a> recent fashion commentary even dubs them “a major misstep” when done alone)./p>p styletext-align: left;>As such,/p>p> /p>table classtr-caption-container cellspacing0 cellpadding0 aligncenter>tbody>tr>td>a hrefhttps://i0.wp.com/web.archive.org/web/20190731234444/http%3A//1.bp.blogspot.com/-gd8uirqSIHY/UYEz2oU8NSI/AAAAAAAACwg/MtAeDf2z1_w/s1600/article-2268261-16F97594000005DC-590_634x898.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync class srchttps://i0.wp.com/web.archive.org/web/20190731234444im_/http%3A//1.bp.blogspot.com/-gd8uirqSIHY/UYEz2oU8NSI/AAAAAAAACwg/MtAeDf2z1_w/s320/article-2268261-16F97594000005DC-590_634x898.jpg?resize392%2C554&ssl1 width392 height554 border0>/a>/td>/tr>tr>td classtr-caption styletext-align: center;>h4>Too masculine?/h4>/td>/tr>/tbody>/table>p styletext-align: left;>Here’s a multiple choice:/p>p styletext-align: left;>a) As Nietzsche declared, the West has become a non-bearded decadent culture.br>b) Jews, Muslims, Rastafarians & Sikhs look sexier.br>c) We should prescribe more testosterone for our beardless youth.br>d) Wall Street CEO’s are unattractive people.br>e) All of the above/p>p>You women & why not, men, be the judges. Which is sexier?/p>p> /p>table classtr-caption-container cellspacing0 cellpadding0 aligncenter>tbody>tr>td>/td>/tr>tr>td classtr-caption styletext-align: center;>h4>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1134 data-permalinkhttps://alfredotriff.com/2025/08/23/women-prefer-men-with-full-beards-heavy-stubble-over-clean-shaven-guys/abraham_lincoln_head_on_shoulders_photo_portrait/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Abraham_Lincoln_head_on_shoulders_photo_portrait.jpg?fit244%2C320&ssl1 data-orig-size244,320 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titleAbraham_Lincoln_head_on_shoulders_photo_portrait data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Abraham_Lincoln_head_on_shoulders_photo_portrait.jpg?fit229%2C300&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Abraham_Lincoln_head_on_shoulders_photo_portrait.jpg?fit244%2C320&ssl1 classalignnone size-medium wp-image-1134 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Abraham_Lincoln_head_on_shoulders_photo_portrait.jpg?resize229%2C300&ssl1 alt width229 height300 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Abraham_Lincoln_head_on_shoulders_photo_portrait.jpg?resize229%2C300&ssl1 229w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Abraham_Lincoln_head_on_shoulders_photo_portrait.jpg?w244&ssl1 244w sizesauto, (max-width: 229px) 100vw, 229px>/h4>h4 styletext-align: center;>The Lincoln?/h4>p>Austere yet kind-hearted? His chin-curtain beard means less seduction than gravitas — the mark that consoles widows and signs emancipation proclamations. Attractive in its moral earnestness, but hardly sensual./p>/td>/tr>/tbody>/table>table classtr-caption-container cellspacing0 cellpadding0 aligncenter>tbody>tr>td>/td>/tr>tr>td classtr-caption styletext-align: center;>h4>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1135 data-permalinkhttps://alfredotriff.com/2025/08/23/women-prefer-men-with-full-beards-heavy-stubble-over-clean-shaven-guys/karl_marx_001/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Karl_Marx_001.jpg?fit281%2C400&ssl1 data-orig-size281,400 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titleKarl_Marx_001 data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Karl_Marx_001.jpg?fit211%2C300&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Karl_Marx_001.jpg?fit281%2C400&ssl1 classalignnone size-medium wp-image-1135 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Karl_Marx_001.jpg?resize211%2C300&ssl1 alt width211 height300 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Karl_Marx_001.jpg?resize211%2C300&ssl1 211w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Karl_Marx_001.jpg?w281&ssl1 281w sizesauto, (max-width: 211px) 100vw, 211px>/h4>h4>The Marx?/h4>p>Monumental, baroque in its profusion. A prophet who lectures, smokes cigars, and forgets to trim. There is charisma in the intellectual wildness: one kisses Marx’s beard as if being initiated into a doctrine./p>/td>td classtr-caption>/td>td classtr-caption>/td>td classtr-caption>/td>/tr>/tbody>/table>table classtr-caption-container cellspacing0 cellpadding0 aligncenter>tbody>tr>td>/td>/tr>tr>td classtr-caption styletext-align: center;>h4>img data-recalc-dims1 loadinglazy decodingasync data-attachment-id1136 data-permalinkhttps://alfredotriff.com/2025/08/23/women-prefer-men-with-full-beards-heavy-stubble-over-clean-shaven-guys/custer/ data-orig-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Custer.jpg?fit260%2C320&ssl1 data-orig-size260,320 data-comments-opened1 data-image-meta{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"} data-image-titleCuster data-image-description data-image-caption data-medium-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Custer.jpg?fit244%2C300&ssl1 data-large-filehttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Custer.jpg?fit260%2C320&ssl1 classalignnone size-medium wp-image-1136 srchttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Custer.jpg?resize244%2C300&ssl1 alt width244 height300 srcsethttps://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Custer.jpg?resize244%2C300&ssl1 244w, https://i0.wp.com/alfredotriff.com/wp-content/uploads/2025/08/Custer.jpg?w260&ssl1 260w sizesauto, (max-width: 244px) 100vw, 244px>/h4>h4>The Custer?/h4>p>Flamboyant, almost foppish — the mustache and flowing locks a cavalry peacock. The beard is incidental to the theatrical hair. Attractive in a reckless, doomed-romantic way, but too operatic to trust./p>/td>/tr>/tbody>/table>table classtr-caption-container styleheight: 1445px; width297 cellspacing0 cellpadding0 aligncenter>tbody>tr>td classtr-caption styletext-align: center;>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20190731234444/http%3A//4.bp.blogspot.com/-qXaIPj0_95M/UYEZWT8e2HI/AAAAAAAACv4/gyZocGdCB3I/s1600/486px-Henry_David_Thoreau.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20190731234444im_/http%3A//4.bp.blogspot.com/-qXaIPj0_95M/UYEZWT8e2HI/AAAAAAAACv4/gyZocGdCB3I/s320/486px-Henry_David_Thoreau.jpg?resize243%2C320&ssl1 width243 height320 border0>/a>/div>h4>The Thoreau?/h4>p>Sparse and stubborn, the beard of a man who measures beans and mistrusts society. Its charm lies in its refusal of charm: a naturalist’s whiskers, like moss on a stone. Oddly appealing if one loves ascetic intensity./p>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20190731234444/http%3A//2.bp.blogspot.com/-SJrV8k5YuIc/UY15i6LsHMI/AAAAAAAACxs/nHf6EaSK2hA/s1600/fidel-castro-united-nations-1979.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync srchttps://i0.wp.com/web.archive.org/web/20190731234444im_/http%3A//2.bp.blogspot.com/-SJrV8k5YuIc/UY15i6LsHMI/AAAAAAAACxs/nHf6EaSK2hA/s320/fidel-castro-united-nations-1979.jpg?resize320%2C252&ssl1 width320 height252 border0>/a>/div>h4>The Castro?/h4>p data-start1184 data-end1413>The revolutionary beard par excellence. Thick, military, unyielding — emblem rather than an ornament. Seductive in its virility, but quite authoritarian./p>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20190731234444/http%3A//1.bp.blogspot.com/-dhsRF_9ufnM/UYEbgBHa97I/AAAAAAAACwM/iFtv-FuT3z8/s1600/Isaac_Asimov.jpg?ssl1>img data-recalc-dims1 decodingasync srchttps://i0.wp.com/web.archive.org/web/20190731234444im_/http%3A//1.bp.blogspot.com/-dhsRF_9ufnM/UYEbgBHa97I/AAAAAAAACwM/iFtv-FuT3z8/s1600/Isaac_Asimov.jpg?ssl1 border0>/a>/div>h4>The Asimov?/h4>p>Trimmed, professorial, self-aware. This beard arrives late in life as a badge of venerable geekdom. More avuncular than erotic: the beard one listens to while it explains the laws of robotics./p>/td>/tr>/tbody>/table>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync class srchttps://i0.wp.com/s2982.pcdn.co/wp-content/uploads/2013/10/385px-Herman_Melville_18851-192x300.jpg.webp?resize262%2C410&ssl1 alt385px-Herman_Melville_1885 width262 height410>/p>h4 styletext-align: center;>The Melville?/h4>p styletext-align: center;>A beard full of storm and sea-spray, biblical in its thunder. It frames eyes that have seen whales breaching in the mind’s abyss. Seductive in the way of doomed voyagers and unread manuscripts./p>p> /p>p styletext-align: center;>img data-recalc-dims1 loadinglazy decodingasync class srchttps://i0.wp.com/s2982.pcdn.co/wp-content/uploads/2013/10/485px-Walt_Whitman_edit_2-242x300.jpg.webp?resize262%2C324&ssl1 alt485px-Walt_Whitman_edit_2 width262 height324>/p>h4 styletext-align: center;>The Whitman?/h4>p>The democratic beard: abundant & tender. Whitman’s beard wants to kiss the world, to brush against every cheek and shoulder of humanity. A bit erotic, maternal, and fraternal at once (perhaps the most truly lovable of the lot)./p>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-08-23T18:43:07-04:00>a hrefhttps://alfredotriff.com/2025/08/23/women-prefer-men-with-full-beards-heavy-stubble-over-clean-shaven-guys/>August 23, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1046 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/08/23/1046/ target_self >Deleuze gets it almost right/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>div idpost-body-8777262847042029604 classpost-body entry-content>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085834/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SwAqmeJasAI/AAAAAAAAAfs/HpZkcHg_HN0/s1600-h/territory_animal_1.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085834im_/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SwAqmeJasAI/AAAAAAAAAfs/HpZkcHg_HN0/s400/territory_animal_1.jpg?resize613%2C345&ssl1 width613 height345 border0>/a>/div>/div>div>/div>h2 classpost-body entry-content>The fight above has i>milieu/i> and rhythm. Its function (the mapping of its constituent parts) presupposes the expressiveness of its territory. i>Milieu/i> brings forth the very phenomenon of how life expresses itself. Surely, the event is not self-conscious. A Deleuzian question: Can this emergence be called art? Art is connected to representation, but not necessarily the idea of “presenting again.”/h2>div>/div>div>In their essay “Of the Refrain” (i>A Thousand Plateaus: Capitalism and Schizophrenia/i>, Minnesota Press, 1987), Deleuze and Guattari propose a novel way of looking at the phenomenon of art. It has to do with the idea of territory. i>The critical distance between two beings of the same species: Mark your distance. /i>(ATP, 319)./div>div>/div>div>/div>div classpost-body entry-content>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085834/http%3A//3.bp.blogspot.com/_w1iq4z0Unjg/SwASM01pUHI/AAAAAAAAAfE/iPSSF-1KCSk/s1600-h/camera_obscura.gif?ssl1>img data-recalc-dims1 decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085834im_/http%3A//3.bp.blogspot.com/_w1iq4z0Unjg/SwASM01pUHI/AAAAAAAAAfE/iPSSF-1KCSk/s320/camera_obscura.gif?ssl1 border0>/a>/div>p>Against “traditional representation,” Deleuze suggests a one-to-many/many-to-many relationship that changes the dynamics of representation:/p>/div>div>/div>div classpost-body entry-content>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085834/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/SwAV3qjQwvI/AAAAAAAAAfc/eIYfcBpYkOc/s1600-h/rhisome_seed.gif?ssl1>img data-recalc-dims1 decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085834im_/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/SwAV3qjQwvI/AAAAAAAAAfc/eIYfcBpYkOc/s320/rhisome_seed.gif?ssl1 border0>/a>/div>div>/div>p>Rhizomatics! i>An a‑centered, nonhierarchical, nonsignifying system without a general and without an organizing memory or central automaton, defined solely by a circulation of states.br>/i>/p>/div>div>/div>div classpost-body entry-content>div classseparator>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085834/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/SwAtIQQ1_SI/AAAAAAAAAf0/NV_7KjXC6Ss/s1600-h/rhizome.jpg?ssl1>img data-recalc-dims1 decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085834im_/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/SwAtIQQ1_SI/AAAAAAAAAf0/NV_7KjXC6Ss/s400/rhizome.jpg?ssl1 border0>/a>/div>p>i>What is at question in the rhizome is a relation to sexuality —but also to the animal, the vegetal, the world, politics, the book, things natural and artificial—that is totally different from the arborescent relation: all manner of “becomings.”/i> (ATP, 21). That is why./p>p>i>The artist is the first person to set a boundary stone or make a mark/i>. (ATP, 314)./p>p>Artist? Animal? How?/p>p>Not in the sense that these qualities belong to a subject, but in the case that they delineate a territory that will belong to the subject that carries or produces them. These qualities are signatures, but the signature, the proper name, is not the subject’s mark but the domain’s constituting mark. (ATP, 311)./p>p>What’s art anyway?/p>p>i>Art is a false concept … solely nominal. (ATP, 301)br>/i>br>“False” is the fallacy of defining something for which we already have an example. That’s the problem of defining art i>a priori/i>.sup>1/sup> Deleuze favors the empirical approach of the anthropologist over that of the essentialist philosopher. We can learn about art objects because of their organization, differences, and internal coherence with their exhibit purpose. Instead of “defining,” let’s talk about how art is exemplified/p>p> /p>div classseparator>i>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085834/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SwAuBIabN9I/AAAAAAAAAf8/5dP3VoQ_rfE/s1600-h/268_SA_Bulls.jpg?ssl1>img data-recalc-dims1 decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085834im_/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SwAuBIabN9I/AAAAAAAAAf8/5dP3VoQ_rfE/s400/268_SA_Bulls.jpg?ssl1 border0>/a>br>/i>/div>p>i>br>/i>Deleuze is explicit about not falling for the essentialist trap. Art shows itself in its expressive qualities, not by “belonging to the subject,” but because it brings forth a territory. The mark in the cave-wall above is not that of a subject, but the abode itself. “The signature is not the indication of a person, but the chancy formation of a domain.”/p>p> /p>div classseparator>i>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085834/http%3A//4.bp.blogspot.com/_w1iq4z0Unjg/SwBPDzguUJI/AAAAAAAAAgE/0SrP_-xkWXQ/s1600-h/stonehenge-wallpaper-1.jpg?ssl1>img data-recalc-dims1 decodingasync classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085834im_/http%3A//4.bp.blogspot.com/_w1iq4z0Unjg/SwBPDzguUJI/AAAAAAAAAgE/0SrP_-xkWXQ/s400/stonehenge-wallpaper-1.jpg?ssl1 border0>/a>br>/i>/div>p>As it’s to be expected, art as territory presupposes de-territorialisation, which is why the latter becomes essential to the stratification of human life: From undifferentiated magic, to tradition, to religious symbol, to i>l’art pour l’art/i> institution, to post-Capitalist art as spectacle. Meanwhile, artists “produce fragments without totality, cut-up particles.” Deleuzian art presupposes a constant fragmentary interaction between particular instances (say, Duchamp’s “ready mades”) and fields (the Avant-garde). sup>4/sup>/p>p>What defines a territory is the emergence of different matters of expression. (ATP, 315)/p>p>There is one problem: art’s “territories” have multiplied. Art styles grow out of particular social and aesthetic contexts. As they mutate, they grow in complexity. It is sometimes difficult to read these stylistic differences because they are context-bound./p>p>Here’s a haphazard concoction of styles, grouped by history, form, technique, etc:/p>p>Since modernism: Impressionism, Post-Impressionism, Modernism (Cubism, Surrealism, Expressionism, Futurism, Dada, Abstract, Constructivism, etc.), Contemporary/Postmodern (Pop Art, Minimalism, Conceptual Art, Street Art, Digital Art, etc.). Then there’s “the cultural.” Islamic geometric art, Japanese Ukiyo‑e, Chinese ink painting, Indian Mughal miniatures, African tribal sculpture, Indigenous American art forms. How about medium-based styles (from techniques or materials): Fresco, Mosaic, Graffiti, Collage, Installation, Performance Art, Digital & AI-generated art?/p>p>Pretty territorialized!/p>p>What holds the totality? Rhythm? The possibility of transforming/perverting life.sup>5/sup>/p>/div>div classpost-body entry-content>p>“Rhythm enables one to set general level, pleasure, pain, recognition and misrecognition … as cycles in the nervous system and the psyche, cycles which must form and dissolve territories in response to other territorial actions.”sup> 6/sup>/p>p>I donno./p>p>By defining art as pure “percepts and affects,” Deleuze abstracts it away from the historical and political situations in which artworks emerge. A painting made during a famine, a mural on a collapsing Havana wall, is not just sensation — it is saturated with context. Then there’s this idea of art overly emphasizing immaterial aspects — sensations, intensities, becomings — while overlooking the concrete materiality of artistic practice: the cost of paint, the ruin of a gallery space, the infrastructure that allows a film to be shown and in doing so, Deleuze risks presenting art as if it were floating free of scarcity, labor, and institutions./p>p>Am I the only one sensing a “shading” of communicative meaning, i.e., privileging art’s ability to produce percepts and affects has a cost in terms of art’s role as communication or critique?/p>p>A political cartoon, a satirical play, or a socially charged photograph is not merely sensation but an intervention in meaning. Deleuze’s unconscious abstractions undercut the interpretive and symbolic functions through which art speaks to collective experience, reducing it to an impersonal aesthetic force divorced from dialogue and critique./p>/div>p>Hmm./p>div classpost-body entry-content>p>(To be continued)/p>p>i>br>________/i>/p>p>i>br>/i>span stylebox-sizing: border-box; margin: 0px; padding: 0px;>1. /span>span stylebox-sizing: border-box; margin: 0px; padding: 0px;>Perception is not representation but a form of interactive production between an object and a subject. 2. a hrefhttps://web.archive.org/web/20191021085834/http://www.youtube.com/watch?vsl97GTqjPI0 target_blank relnoopener>As much as Deleuze disliked Wittgenstein/a>, there is a similarity between his rhizomatic approach and Wittgenstein’s “open-ended” idea of a hrefhttps://web.archive.org/web/20191021085834/http://en.wikipedia.org/wiki/Family_resemblance target_blank relnoopener>em>Familienähnlichkeit/em>/a>(family resemblances). /span>Reading Deleuze with Wittgenstein’s glasses: Instead of defining art from the outset, let’s keep expanding the understanding of these resemblances between “milieus” and “territories.” Deleuze opts for an empirical approach beyond the subjective/objective opposition, which his Spinozist view of immanence justifies. For Spinoza, there is no transcendent principle or external cause to things. The process of life production is contained in life itself. Thus, Deleuzian “immanence” does not apply to any specific life, but to a life, conceived as the “immanence of immanence.” See Giovanna Borradori (The Review of Metaphysics, Vol. 56, 2003). Deleuze once said: “Spinoza is for me the ‘prince’ of philosophers.” (i>Expressionism in Philosophy/i>: Spinoza, New York, Zone, 1990). sup>4/sup> Duchamp’s mark: “original” and “ready made.” sup>5/sup> This is not the place to address a hrefhttps://web.archive.org/web/20191021085834/http://en.wikipedia.org/wiki/Rhythmanalysis>i>Rhythmanalysis/i>/a>, an idea elaborated by Henri Lefebvre, from Brazilian philosopher Lucio Alberto Pinheiro. According to Kurt Meyer, there are five elements worth considering in Lefebvre’s rhythm theory: 1- Contemporary life ruled by abstract time (the hands of the clock), 2- Isorhythm and the importance of the eurhythmic, 3- Chronobiology as catalyst leisure and work, 4‑Music and dance and, 5- the post-Capitalist manipulation of time. See i>Space, Difference, Everyday Life: Reading Henri Lefebvre /i>(Routledge, New York, 2008). sup>6 /sup>Gay Genosko, i>Deleuze and Guattari: Critical Assessment of Leading Philosophers/i> (p. 256, Routledge, 2001)./p>/div>div classpost-body entry-content>div>/div>/div>div classpost-footer>/div>/div> div stylemargin-top:var(--wp--preset--spacing--40); classwp-block-post-date has-small-font-size>time datetime2025-08-23T17:26:35-04:00>a hrefhttps://alfredotriff.com/2025/08/23/1046/>August 23, 2025/a>/time>/div> /div> /li>li classwp-block-post post-1035 post type-post status-publish format-standard hentry category-uncategorized> div classwp-block-group alignfull has-global-padding is-layout-constrained wp-block-group-is-layout-constrained stylepadding-top:var(--wp--preset--spacing--60);padding-bottom:var(--wp--preset--spacing--60)> h2 classwp-block-post-title has-x-large-font-size>a hrefhttps://alfredotriff.com/2025/08/23/the-myth-behind-the-fact-robert-capas-falling-soldier/ target_self >The myth behind the fact: Robert Capa’s Falling Soldier @mbourbaki/a>/h2> div classentry-content alignfull wp-block-post-content has-medium-font-size has-global-padding is-layout-constrained wp-block-post-content-is-layout-constrained>h2 idpost-body-4954660163669690556 classpost-body entry-content>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//4.bp.blogspot.com/_w1iq4z0Unjg/SorkMlAdLrI/AAAAAAAAALA/pLD7GT1jWbk/s1600-h/Capa%2C_Death_of_a_Loyalist_Soldier.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371356410336325298 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//4.bp.blogspot.com/_w1iq4z0Unjg/SorkMlAdLrI/AAAAAAAAALA/pLD7GT1jWbk/s320/Capa%2C_Death_of_a_Loyalist_Soldier.jpg?resize551%2C387&ssl1 alt width551 height387 border0>/a>/h2>h2 classpost-body entry-content>Robert Capa’s photo “Fallen Soldier ” was published in the July 12, 1937, issue of Life magazine. It had actually appeared on two French publications, Vu and Regards, in 1936.* Anyone who has browsed through a textbook on the Spanish Civil War or a collection of outstanding twentieth-century photos may have seen the picture above. Then, I found a hrefhttps://web.archive.org/web/20191021085934/http://www.nytimes.com/2009/08/18/arts/design/18capa.html?refarts>this interesting piece by Larry Rohter in the New York Times./a>/h2>div>/div>div classpost-body entry-content>On a recent forensic investigation, Manuel Susperregui, a communications professor at the Universidad del País Vasco, concluded that Robert Capa’s Falling Soldier photograph is a fabricated montage. This is not the first attempt to question the famous image’s reliability in a controversy spanning three decades. Capa doesn’t have many detractors. He is even admired by some of his critics, who present the matter as ‑less than knavery- a clever, unfortunate prank of a young reporter, a butterfly-effect that ends up smearing the myth of the idealistic, adventurous, womanizer, almost heroic, Wandering Jew. In fact, not everyone agrees with Susperregui’s analysis: Read a hrefhttps://web.archive.org/web/20191021085934/http://elrectanguloenlamano.blogspot.com/2008/08/robert-capa-in-cerro-muriano-day-in.html>this extensive post by José Manuel Serrano. /a>/div>div>/div>div classpost-body entry-content>Esparza (a Spanish member of the Leica Historical Society of America). sup>1 /sup>In 1975, O.D. Gallagher, a South African-born journalist who had covered the Spanish Civil War for the London Daily Express, told Phillip Knightley ‑author of “The First Casualty: The War Correspondent as Hero, Propagandist, and Myth Maker” (1975)- that Capa had manipulated the photo. In recent years, the controversy over the authenticity of the image has taken a somewhat dramatic turn. sup>2/sup>The 2003 documentary span stylebox-sizing: border-box; margin: 0px; padding: 0px;>In Love and War, directed by Anne Makepeace,a hrefhttps://web.archive.org/web/20191021085934/http://www.imdb.com/title/tt0342939/ target_blank relnoopener> /a>defends the photo’s authenticity. a hrefhttps://web.archive.org/web/20191021085934/http://www.pbs.org/wnet/americanmasters/episodes/robert-capa/in-love-and-war/47/ target_blank relnoopener>A PBS site/a> reproduces Richard Wheelan’s article “Proving that Robert Capa’s “Falling Soldier” is genuine: A Detective Story.“/span>Thenspan stylebox-sizing: border-box; margin: 0px; padding: 0px;>, in 2007, the Spanish documentary a hrefhttps://web.archive.org/web/20191021085934/http://en.wikipedia.org/wiki/La_sombra_del_iceberg target_blank relnoopener>La sombra del iceberg/a>,3 directed by Hugo Doménech and Raúl M. Riebenbahuer, concluded not only that Capa’s shot was staged but also that the fallen soldier was not the militiaman Federico Borrell García/span> but someone else./div>div>/div>div classpost-body entry-content>p>Who is right?As with circumstantial evidence, you see what you want to see. To this day, despite the alleged proof that the photo was staged, some remain unmoved. According to Rohther, “even as experts at the a titleMore articles about International Center of Photography hrefhttps://web.archive.org/web/20191021085934/http://topics.nytimes.com/top/reference/timestopics/organizations/i/international_center_of_photography/index.html?inlinenyt-org>International Center of Photography/a> in Manhattan, where Capa’s archive is stored, said they found some aspects of Mr. Susperregui’s investigation intriguing or even convincing… they continue to believe that the image seen in Falling Soldier is genuine, and caution against jumping to conclusions.” Why should it be any different? People have no problem believing that the earth is 5,000 years old, dinosaurs did not exist, or miracles selectively happened in the Middle East during the 1st Century AD./p>p>To get it off my chest: a hrefhttps://web.archive.org/web/20191021085934/http://www.loc.gov/rr/hispanic/1898/>I sense a bit of geopolitical rivalry /a>(but it’s more complicated than that)./p>p>Surprisingly, after visiting Susperregui’s exhibition, the Spanish Minister of Culture Ángeles González-Sinde asserts: Art is always manipulation, from the moment you point a camera in one direction and not another.br>If art is ‑always- a manipulation, what’s all the fuss about?/p>p>Alex Kershaw’s biography of Robert Capaspan classarticletext> entitled Blood and Champagne: The Life and Times of Robert Capa for The New Republic. Thomson produces a “so-what?” rebuttal. What is the big deal if Capa was cheating? /span>“Are we just very sentimental about the kind of ‘truth’ that photography allegedly leads to?” To buttress his argument he span classarticletext>follows a sort of aesthetic thread. What if Capa was a painter painting “Falling Soldier”?/span>/p>p>A painter at the front lines could easily and legitimately paint a picture of a falling soldier. No one would object, if the painting was as strong as Capa’s photograph. Nobody would cry deceit. Painting, after all, implies measured decisions regarding subject, size, composition, coloring, and so on. Why must photography be different? Is it so reliant on absolute fidelity to the moment?/p>p>One could argue that Capa is not painting but shooting a picture. A camera’s duty is to take a “quick shot” and so on. The real issue here is the blow to epistemological objectivity that is concomitant with photographic journalism at a crucial moment, that is to say, the most important civil war of the Twentieth Century. Let’s recall that ‑before Photoshop- the camera is the fact-producing instrument par excellence. “Falling Soldier” is right in the middle of the link between epistemology and the social order, between “what is” and “what should be.”/p>p>i>“What is”/i>br>i> /i>br>Unfortunately, the history of photography seems more like a mishmash of tendencies, reflecting our diverse interests more than some neutral non-subjective domain of human endeavor. Just to show the hand of manipulation in early photography, take a look at Pictorialism. As early as 1880, photographers began coloring their photos to achieve an Impressionist-like effect, which was, even then, a controversial medium manipulation.sup>4/sup>br>sup> /sup>br>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/Soso_ZJ7O9I/AAAAAAAAAMY/jVY52XILchg/s1600-h/Edward%2BSteichen.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371432050118835154 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//2.bp.blogspot.com/_w1iq4z0Unjg/Soso_ZJ7O9I/AAAAAAAAAMY/jVY52XILchg/s320/Edward%2BSteichen.jpg?resize439%2C355&ssl1 alt width439 height355 border0>/a>br>In Pond-Moonlight, bove, Steichen created the impression of color by manually applying layers of light-sensitive gums to the paper. Photography was an ideal medium for evidence and the science of forensics, the same discipline that now challenges Capa’s shot by using the evidence provided by Capa’s own supposed fake photo! What can be more “evidential” than a mug shot? No wonder photography has always been close to the field of criminology. span stylebox-sizing: border-box; margin: 0px; padding: 0px;>In the late nineteenth Century, the medium was used to support the a hrefhttps://web.archive.org/web/20191021085934/http://books.google.com/books?idyyRaEG-V_70C&dqcesare+lombroso&printsecfrontcover&sourcebl&otsYPc9tExV9J&sig43wGnVvQuJmXb1Z0Z2LSVICJiuU&hlen&eixSKLStnnIKCQmAeh8dG0DQ&saX&oibook_result&ctresult&resnum9#vonepage&q&ffalse target_blank relnoopener>pseudoscientific theories of Cesare Lombroso/a>, 5 a bizarre moment in the history of criminology, which prompted Alphonse Bertillon and Francis Galton’s “composite types”./span>/p>p> /p>p>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/Sosk5RgKeWI/AAAAAAAAAMI/KmtrA5BvcpI/s1600-h/bertillon.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371427546938898786 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//1.bp.blogspot.com/_w1iq4z0Unjg/Sosk5RgKeWI/AAAAAAAAAMI/KmtrA5BvcpI/s320/bertillon.jpg?resize440%2C287&ssl1 alt width440 height287 border0>/a>/p>/div>div>/div>div classpost-body entry-content>p>The “composite process” was supposed to achieve “photographic average”:/p>p> /p>p>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SoslbV1Hp0I/AAAAAAAAAMQ/Wam__oWNL_Q/s1600-h/galton.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371428132216088386 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SoslbV1Hp0I/AAAAAAAAAMQ/Wam__oWNL_Q/s320/galton.jpg?resize251%2C427&ssl1 alt width251 height427 border0>/a>/p>/div>div>/div>div classpost-body entry-content>Now we can understand Spain’s cultural minister’s statement above. Only a minister could implode facts with ideas, reducing epistemology to the realm of belief and science to the realm of aesthetics. We’ve lost our self-confidence!br>Not much has changed if we go back to the 1930s, when Capa took some of his best war pictures. Below is Maurice Tabard’s 1930 montage, Standing Nude with Superimposed Face./div>div>/div>div classpost-body entry-content>p>a hrefhttps://web.archive.org/web/20191021085934/http://4.bp.blogspot.com/_w1iq4z0Unjg/SoregXjmIBI/AAAAAAAAAK4/4CCEsPlsZkg/s1600-h/picture.aspx>img loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371350153253232658 classaligncenter srchttps://web.archive.org/web/20191021085934im_/https://4.bp.blogspot.com/_w1iq4z0Unjg/SoregXjmIBI/AAAAAAAAAK4/4CCEsPlsZkg/s320/picture.aspx alt width400 height400 border0>/a>/p>/div>div>/div>div classpost-body entry-content>Alexander Rodchenko’s Girl with a Leika (1934), where the artist explores what art historian Franz Roh called “the joy of reality and the subtle pleasure of the strange and hidden in the same surrounding world.”/div>div>/div>div classpost-body entry-content>p>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//3.bp.blogspot.com/_w1iq4z0Unjg/SoraB9x_UWI/AAAAAAAAAKw/XiB-GIk4Rqw/s1600-h/artwork_images_451_46841_alexander-rodchenko.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371345232891695458 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//3.bp.blogspot.com/_w1iq4z0Unjg/SoraB9x_UWI/AAAAAAAAAKw/XiB-GIk4Rqw/s320/artwork_images_451_46841_alexander-rodchenko.jpg?resize310%2C439&ssl1 alt width310 height439 border0>/a>/p>/div>div>/div>div classpost-body entry-content>p>In the photo of Marlene Dietrich by Nicholas Murray (1930), below, the photographer explores the publicity “glamour shot.”/p>/div>div>/div>div classpost-body entry-content>On the other hand, August Sander’s picture of the baker (also from 1930), shows an a hrefhttps://web.archive.org/web/20191021085934/http://images.google.com/imgres?imgurlhttp://www.metmuseum.org/special/August_Sander/images/ASA3_8_1.L.jpg&imgrefurlhttp://www.metmuseum.org/special/August_Sander/2.L.htm&usg__whkFmssp8sWtTIwD3zY4LDyBNm0&h458&w300&sz28&hlen&start7&um1&tbnidp-Y3Oi9FARq_gM:&tbnh128&tbnw84&prev/images%3Fq%3DAaugust%2Bsander%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official%26sa%3DN%26um%3D1>anthropological concern with the German Volk/a>./div>div>/div>div classpost-body entry-content>p>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SorWl_yyloI/AAAAAAAAAKg/236QzbM9BNw/s1600-h/Sander.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371341453860705922 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//2.bp.blogspot.com/_w1iq4z0Unjg/SorWl_yyloI/AAAAAAAAAKg/236QzbM9BNw/s320/Sander.jpg?resize305%2C464&ssl1 alt width305 height464 border0>/a>/p>/div>div>/div>p classpost-body entry-content>From the formal point of view, Tabard’s montage seems a more radical representation than Murray or Sander’s pictures. Each photographer uses the camera to signify a constantly mutating phenomenon, if not, there would be no use in representing it. (the medium of) photography subverts human intentionality. Here is a simile, which I think Ortega-Gasset would subscribe: More than a novel, Cervantes’ Don Quixote is a “shot” of the Spanish culture. Just as a literary work can be reinterpreted, the camera “shot” can continually expand its fit. Put differently, photographers don’t “manipulate” any more than reality is being constantly manipulated by our vision./p>p>In i>Visual intelligence: Perception, image, and manipulation in visual communication/i> (1997). A. M. Barry identifies three different kinds of violations: i>Active deception,/i> when reporters stage events to expose wrongdoing or using hidden cameras and microphones; i>misrepresentation,/i> with reporters impersonating non-reporters—doctors, policemen, victims’ kin, and so on; and i>passive deception,/i> by which reporters allow themselves to be taken for members of the public./p>p> /p>p>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/SoxbUh0MWdI/AAAAAAAAAMk/4sqG0tlOv9g/s1600-h/pn_2905_Image_lincoln1%2B2.jpg?ssl1>img data-recalc-dims1 loadinglazy decodingasync idBLOGGER_PHOTO_ID_5371768863778953682 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//1.bp.blogspot.com/_w1iq4z0Unjg/SoxbUh0MWdI/AAAAAAAAAMk/4sqG0tlOv9g/s320/pn_2905_Image_lincoln1%2B2.jpg?resize474%2C317&ssl1 alt width474 height317 border0>/a>/p>div>/div>div class3text>What follows is a collection of manipulated images from the recent past:sup>6/sup>br>sup> /sup>/div>div class3text>/div>div class3text>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//4.bp.blogspot.com/_w1iq4z0Unjg/Soy8cz9ioEI/AAAAAAAAANM/hARXc9Z90gU/s1600-h/hardingkerrigan-tm.jpg?ssl1>img data-recalc-dims1 decodingasync idBLOGGER_PHOTO_ID_5371875658716848194 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//4.bp.blogspot.com/_w1iq4z0Unjg/Soy8cz9ioEI/AAAAAAAAANM/hARXc9Z90gU/s320/hardingkerrigan-tm.jpg?ssl1 alt border0>/a>/div>div class3text>/div>div class3text>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//1.bp.blogspot.com/_w1iq4z0Unjg/Soy8GRFldRI/AAAAAAAAAMs/BX4NhZLAOK0/s1600-h/oj-simpson-newsweek-time.png?ssl1>img data-recalc-dims1 decodingasync idBLOGGER_PHOTO_ID_5371875271398225170 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//1.bp.blogspot.com/_w1iq4z0Unjg/Soy8GRFldRI/AAAAAAAAAMs/BX4NhZLAOK0/s320/oj-simpson-newsweek-time.png?ssl1 alt border0>/a>/div>div class3text>/div>div class3text>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//4.bp.blogspot.com/_w1iq4z0Unjg/Soy8KzMaqgI/AAAAAAAAAM0/MWEO_8eIjok/s1600-h/tourist-guy-tm.jpg?ssl1>img data-recalc-dims1 decodingasync idBLOGGER_PHOTO_ID_5371875349273160194 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//4.bp.blogspot.com/_w1iq4z0Unjg/Soy8KzMaqgI/AAAAAAAAAM0/MWEO_8eIjok/s320/tourist-guy-tm.jpg?ssl1 alt border0>/a>/div>div class3text>/div>div class3text>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//2.bp.blogspot.com/_w1iq4z0Unjg/Soy8XHq3xII/AAAAAAAAANE/Zm1_mS79y9s/s1600-h/couricaug-tm.jpg?ssl1>img data-recalc-dims1 decodingasync idBLOGGER_PHOTO_ID_5371875560928035970 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//2.bp.blogspot.com/_w1iq4z0Unjg/Soy8XHq3xII/AAAAAAAAANE/Zm1_mS79y9s/s320/couricaug-tm.jpg?ssl1 alt border0>/a>/div>div class3text>/div>div class3text>a hrefhttps://i0.wp.com/web.archive.org/web/20191021085934/http%3A//4.bp.blogspot.com/_w1iq4z0Unjg/Soy8P5yi4SI/AAAAAAAAAM8/iRKXr0CeApc/s1600-h/uwmadison12-1-tm.jpg?ssl1>img data-recalc-dims1 decodingasync idBLOGGER_PHOTO_ID_5371875436943040802 classaligncenter srchttps://i0.wp.com/web.archive.org/web/20191021085934im_/https%3A//4.bp.blogspot.com/_w1iq4z0Unjg/Soy8P5yi4SI/AAAAAAAAAM8/iRKXr0CeApc/s320/uwmadison12-1-tm.jpg?ssl1 alt border0>/a>/div>div class3text>/div>div>/div>div class3text>How about the objectivity of the press? In 1981, i>The Washington Post’s/i> Janet Cooke won a Pulitzer Prize for her story about Jimmy, an 8‑year-old heroin addict, only to return the award and lose her job after it was discovered that Jimmy did not exist. In 1998, i>Boston Globe/i> columnist Patricia Smith was sacked for inventing people and quotes in her columns. The i>New Republic/i> fired reporter Stephen Glass for fabricating all ‑or part- of 27 articles and using phony notes. Popular i>Boston Globe/i> columnist Mike Barnicle was forced to resign following charges of plagiarism. In 2003, the fallout over the Jayson Blair scandal reached dizzying heights at i>The New York Times,/i> widely considered to be America’s newspaper of record and one of the world’s most influential publications. The i>Times /i>found that Blair fabricated quotes, stole materials from other newspapers, and lied about his whereabouts over 7 months. Finally there’s deception by omission or by commission. The former refers to any act that omits significant information with the intention to initiate or sustain a false belief. The latter is an act that involves active or deliberate alteration of data. (source from A. M. Barry’s i>Visual intelligence: Perception, image, and manipulation in visual communication, /i>1997)./div>div>/div>div idresult_box dirltr>That photo manipulation is part of the medium’s elasticity does not mean one cannot resist the temptation to deliberately “create” facts, particularly when the information is relevant for the public at large. Standards of objectivity are indeed difficult but not impossible. There is a difference between “fact” and “fabrication” in the examples above. Bridging the distinction can have serious consequences. Which is why, if true, we’d get distraught to know that a hrefhttps://web.archive.org/web/20191021085934/http://www.nytimes.com/2009/08/21/us/21ridge.html>the Department of Homeland Security /a>raised the levels of security right before the 2004 elections to influence the vote. Today, journalism is synonymous of corporate. Fewer people read news (or pay attention to news altogether). Evidence shows that the public holds the press in diminished regard, even contempt. Television as entertainment has taken over journalism as news. The old opinion/fact validity/fallacy news/entertainment dichotomies have been eroded.sup>7/sup>/div>p classpost-body entry-content>No one really knows why some images are destined for greatness. Imagine a kind of public consciousness museum where they end up, after going through a process of exhausting diplomatic negotiations. To alleviate our human curiosity, we are given to fill the casuistic holes with all sorts of made-up factors. At this point, I don’t care if “Falling Soldier” is authentic. The back-and-forth of the controversy misses the relevance of the image as a haunting and memorable token of the beautiful ideals and horrible atrocities of the Spanish Civil War. With all this attention, Capa’s photo has become one of the most critical war symbols of the Twentieth Century. One way or the other, he should be proud.br>_____________________br>sup>*/sup>The caption reads, “Robert Capa’s camera catches a Spanish soldier the instant a bullet drops him through the head in front of Córdoba.” sup>1 /sup>Though Serrano Esparza’s account is a bit winded ‑and not my concern here- a crucial aspect of the discussion is whether (Moroccan pro-Franco) rebel snipers were present at the cerro that morning. sup>2/sup>In his book, along with Gallagher’s testimony, Knightley reports what people say Capa said. His final verdict is that the picture is an “ambiguous image.” sup>3 /sup>The Spanish film’s trailer cleverly uses Capa’s identity creation right during the war from Endre Ernő Friedmann (aka André Friedmann). Surely, Capa’s life seems out of a movie. According to the Wikipedia entry, “In 1934, André Friedman, as he called himself then, met Gerda Pohorylle, a German Jewish refugee. The couple lived in Paris, where André taught Gerda photography. Together, they contrived the name and image of “Robert Capa” as a famous American photographer. Gerda took the name Gerda Taro, becoming successful in her own right. She traveled with Capa to Spain in 1936 to document the Spanish Civil War. In July 1937, Capa went on a short business trip to Paris while Gerda remained in Madrid. She was killed near Brunete during a battle. Capa, who was reportedly engaged to her, was deeply shocked and never married.”sup> 4 /sup>The Brotherhood of the Linked Ring was an association of late 19sup>th/sup> and early 20th-century British photographers who pledged to promote Pictorialism. Founded in May 1892 by Henry Peach Robinson, the Brotherhood was “a means of bringing together those who are interested in the development of the highest form of Art of which Photography is capable.” sup>5 /sup>Lombroso stated in 1871: “Only we white people have reached the ultimate symmetry of bodily form.” sup>6 /sup>For details of these and other recent pic manipulations, a hrefhttps://web.archive.org/web/20191021085934/http://listverse.com/2007/10/19/top-15-manipulated-photographs/>click here/a>. sup>7/sup> According to William Hatchen and Lawrence Earlbaum, we are experiencing “a collective sense of the end of an era.” A Nieman poll on 304 journalists who had studied at Harvard for one year disclosed the following: 1‑The distinction between news and entertainment is increasingly obscure. 2‑Television and radio are gaining in influence but declining in journalistic quality, whereas newspapers struggle to maintain quality and are losing ground. 3‑Media proprietors are more concerned 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