“Ellington [was] a combination of Sir Galahad, Scrooge, Don Quixote, and God knows what other saints and sinners that were apt to pop out of his ever-changing personality.”
Duke Ellington’s artistry and artifice – fascinating read on how the jazz icon engineered his own image, and what that reveals about the inner contradictions we all struggle to reconcile:
Salinger and the architecture of personal mythology – how “a broken soldier and a wounded soul transformed himself, through his art, into an icon of the twentieth century and then, through his religion, destroyed that art.”
“Abraham Maslow … once asked himself in his journal how he would define the [humanistic psychology] movement in one sentence. … It is, he wrote, ‘a move away from knowledge of things and lifeless objects as basis for all philosophy, economics, science, politics, etc. (because this has failed to help with the basic human problem) toward a centering upon human needs & fulfillment & aspirations as the fundamental basis from which to derive all social institutions, philosophy, ethics, etc. I might use also for more sophisticated & hep people that it is a resacralizing of science, society, the person, etc.”
How Abraham Maslow and his humanistic psychology shaped the modern self.
“He might ask you … whether you think a computer could ever enjoy strawberries and cream or could make you fall in love with it.”
An uncommon portrait of Alan Turing, godfather of modern computing.
Fear and loathing in six panels.
Italian Futurist painter and composer Luigi Russolo (1885-1947), best-known for authoring the 1913 manifesto The Art of Noises (public library) and regarded as the first noise artist, is the father of the first systematic poetics of noise. He Russolo played a crucial role in the evolution of 20th-century musical aesthetics and influenced such music icons as Edgar Varese, Pierre Schaeffer, and John Cage. He was also one of the first theorists of electronic music and is even considered by some the inventor of the synthesizer. Yet despite enormous interest in his work, Russolo’s life remained largely unexamined — until now.
Here, composer and San Francisco Conservatory music history professor Luciano Chessa reconstructs Russolo’s life through ambitious archival research, uncovering and digesting esoteric and obscure texts to reverse-engineer how the artist’s eccentric interests influenced his creative output — namely an interest in the supernatural and, more specifically, in the occult.