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Brandon M. Terry ’05 was a government and African and African American studies concentrator in Lowell House. He was the Michael von Clemm Fellow at Corpus Christi College at the University of Oxford, and is now a Ph.D. candidate in political science and African-American studies at Yale University...
...says Eno. "They weren't going to be watching Eastenders over dinner, so what else do you put on a big screen like that?" Well, when it's released on dvd, you could also try The Boss of It All, the brand-new film by groundbreaking Danish director Lars von Trier. Instead of employing a cameraman, Von Trier came up with Automavision, a system in which control of the camera's movements is handled by a randomizing computer. "I've been predicting for a long time that generative is the future, and now it's happening," Eno says. But vindication...
...Ludwig von Pufendorf, director of the Bruecke Museum Foundation in Berlin, was blunt. Kirchner's "Berlin Street Scene" had been the centerpiece of his museum's collection for 26 years; now a poster of the painting hangs in its place. Following a claim initiated by a U.S. lawyer and a decision by the Berlin state government, the Bruecke museum last August handed it over to a London woman, Anita Halpin, the granddaughter of a German shoe manufacturer. Von Pufendorf argues that the painting should never have been restituted. He said it was sold in Germany in 1933, at which point...
...business. It has nothing to do with moral restitution," said Von Pufendorf, a lawyer. "The money has become more important than justice. The idea of restitution is correct, but it needs to be more just and less arbitrary." Von Pufendorf is demanding an independent investigation into the decision to hand over the painting. Both the "Berlin Street Scene" and Klimt's "Golden Adele" were bought by Ronald Lauder for his Neue Gallerie in New York. Several Klimts sold by Christies earlier this month also disappeared into private collections...
...highly motivational—it’s impressive how much bizarre joviality has been jammed into these three minutes of make-believe. And it all looks very good: dancers move in fast forward to appear like wind-up dolls, Stefani strums a key and sings to her own von Trapp band. This video is really a platform for the queen of hip-pop to chastise the imitators by showing them how it’s really done. Needless to say, I’m wound up. —Kathleen A. Fedornak