Sue Halpern commenting on Frederick Wiseman’s Ex Libris (2017):
If you want to understand why the Trump administration eliminated federal funding for libraries in its 2018, 2019, and 2020 proposed budgets, it’s on display in this film: public libraries dismantle the walls between us.
Physical retail, TV, and, by extension, advertising at a tipping point (written roughly two years ago).
Tyler Malone on the “city as character”:
In text-cities like Ulysses, Berlin Alexanderplatz, and Manhattan Transfer, readers walk through words and pages, experiencing a city alive, asserting its idiosyncrasy, its uniqueness—fleeting, eternal, fugitive, infinite—amid the ebb and flow of passages.
Pamela Druckerman on how to survive your 40s:
These days, when I think, “Someone should really do something about that,” I realize with alarm that that “someone” is me.
All clips here are worth exploring, but I was struck in particular by Shore’s thoughts on Instagram and global photo-based communities and how the iPad, like a view camera, mediates the act of picture making.
Stuart Jeffries writing for The Guardian:
Today, what entranced Joel Meyerowitz about the street is all but dead. “Nobody’s looking at each other. Everybody’s glued to their phones.” But street photography still exists? “It’s thriving but not in the way I used to do it. The best street photographers now show humans dwarfed by ad billboards. The street has lost its savour.”
Having just returned from a long overdue revisit, I would agree with most of Jason’s and Tyler’s recommendations and observations. Paris is a work of art (veering on cliché) best explored on foot and by Metro.
What’s a librarian to do with an “ocean of ephemera”?
Must-read for anyone who has ever dropped a quarter (or token) into a video game or pinball machine.
Language has lived, lives, and will live on.
So much to like here. Have to love El Ateneo (a converted theater!!). If pressed, at the moment, I think the old Seminary Co-op would top my list, not for anything overwhelmingly beautiful about the space, but the overall feeling of submersion it always created. Books and basements. Who knew?
Kieślowski, who grew up under Communist rule, in Poland, was unembarrassed by big questions.