Errol Sawyer’s mosaic city, built out of dozens of metropolitan fragments from various locales, does not resolve as a bleak or grim vision of the human condition. It feels alive, reasonably congenial, never malevolent, even inviting — evoking not only the loneliness that can lurk within urban existence but also that sense of solitude, welcome for some, paradoxically enhanced by the proximity of millions of other souls. […]
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Lucy Parsons thus chose two highly regarded, technically proficient New York City photographers to take her photo in 1886. Their talents ensured that these portrait photos captured the public’s attention for decades to come. […] Always the contrarian, Lucy Parsons commanded treatment on her own terms as a wholly unique individual, entitled to equality, dignity, and respect; and she claimed that higher ground not only for herself but for all people, everywhere and forever. […] That Lucy Parsons was not “white” was apparent to both the audiences she addressed and the mass media that routinely reported on her activities. The published observations of her physical attributes referred to her skin color in euphemistic terms such as “dusky,” “mulatto” and “quadroon,” or bluntly as “negro” and “negress,” adjectives and nouns all used to sully her reputation and undermine her credibility. […] |
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Autumn Leaves: Bits and Pieces
Free-market capitalist economies not only allow but encourage and, frequently, reward even the most disruptive technological innovations. Indeed, the very term “disruptive” has become an honorific and a term of uncritical approval. Yet the events of recent years have offered up a veritable bouquet of expressions of regret from pioneers of aspects of the internet and online life. […]