#Carl Victorin

[novemb-r]

Postmortem man in open coffin, Carl Victorin 1890 - 1905, Sweden

[lasaraconor]

[humanoidhistory]

Workers on a telephone pole in Sweden, circa 1890-1900. Photo by Carl Victorin.

[chronivore]

Workers on a telephone pole in Sweden, circa 1890-1900. Photo by Carl Victorin.

[mariacallous]

The opioid crisis — and the family that helped birth it — has inspired a number of books, documentaries, and TV shows, many of which aim to highlight the suffering caused by Purdue Pharma's criminally reckless marketing and promotion of OxyContin. In Netflix's The Fall of the House of Usher, however, Haunting honcho Mike Flanagan uses the works of Edgar Allen Poe to explore how moral and physical rot consumes the all-powerful (and fictional) family behind a sinister drug empire. Like Succession reinterpreted by the world's foremost author of Poe fan fiction, Usher is a Gothic-tinged horror lark that's more superficial than Flanagan's previous work but still delivers some creepy chills.

Fortunato Pharmaceuticals CEO Roderick Usher (Bruce Greenwood) has six children (by five different mothers), and when Usher begins, all of them are dead. The series is told in flashback, as a broken and ailing Roderick delivers his "confession" to Auguste Dupin (Carl Lumbly), a federal prosecutor who has been trying unsuccessfully for decades to bring down the Usher family's corrupt drug company. As a violent storm lashes the night outside, the two longtime enemies face off inside the dilapidated remains of the home where Usher and his brilliant sister, Madeline (Mary McDonnell), spent much of their very unhappy childhood. Over the course of eight hour-long episodes, Roderick eventually reveals the true reason his children met their ends — as visions of their mutilated corpses appear to torment him without warning.

Usher is packed with clever Poe Easter eggs. Roderick's children — incompetent eldest child Frederick (Henry Thomas), icy wellness entrepreneur Tamerlane (Samantha Sloyan), shamelessly ambitious medical engineer Victorine (T'Nia Miller), drug-addled man about town Napoleon (Rahul Kohli), ruthless family publicist Camille (Kate Siegel), and hedonistic youngest child Prospero (Sauriyan Sapkota) — share their names with notable Poe characters. Two other key players, cruel Fortunato execs Mr. Longfellow (Robert Longstreet) and Rufus Griswold (Michael Trucco), are named after poets Poe had personal beef with. And Madeline's lifelong quest to develop an AI algorithm that would bring users "virtual immortality" echoes Poe's obsession with (and fear of) death.

In his most famous short stories and poems, Poe wrote of people being brought down by greed and paranoia, addiction and violence, sometimes a senseless need for revenge. The Usher family is beset with each of these maladies, though their chief desire is to secure a life of complete comfort, which they do by amassing a fortune built on the pain of others. Young Madeline (Willa Fitzgerald) and Roderick (Zach Gilford) are launched on their path of moral decay by Verna (Carla Gugino), a mysterious demon who has built a successful career out of entrapping human "clients" by catering to — and then punishing them for — their inherent selfishness.

The poison apples don't fall far from the tree, and one by one Roderick's adult children destroy themselves in the name of avarice and glory. The Ushers and those in their orbit succumb to agonizing fates featuring many of Poe's greatest hits: Madness, mania, paralysis, and of course, premature burial. Each of Roderick's offspring gets a showcase episode that culminates in a grimly creative set-piece death — which is kinda fun, but it also, unfortunately, takes the place of true character development.

Fewer kids (and fewer scenes devoted to characters quoting Poe's verse) would have allowed for more time spent establishing who the children were as people, making their downfalls more poetic. Instead, they are all various shades of "good riddance" awful. The series spends the most time with Frederick, dubbed "Froderick" by his scornful siblings who dismiss him as a joke and daddy's number one suck-up. Thomas is wonderfully entertaining as the jittery, hapless Usher heir whose creeping suspicions about his wife (Crystal Balint) lead him to exact horribly unjustified and macabre revenge.

The cast, many of them members of Flanagan's Netflix repertoire, is dependably strong. Trucco brings a sleazy menace to Rufus, an arrogant boor who underestimates how far Madeline and Roderick will go to usurp him. Mark Hamill infuses Arthur Pym, the family's ruthless and unflappable attorney/fixer, with unexpected empathy, and Gugino delivers many a masterful monologue as Verna, who excoriates the various victims in her smooth and silky whisper. (Alas, her showdown with Madeline, an impeccably frosty and formidable force in McConnell's hands, is far too brief.)

The strong performances help sustain Usher in its sloggier stretches, though I still maintain that all streaming series should decide how many episodes they'll need per season and then subtract at least one. Flanagan's latest may not be his best (I'll save that spot for Midnight Mass), but it did give me an actual nightmare, one in which I was keeping my brother's severed head in a cardboard box — very much against his will, I should add. Poe would almost certainly approve. Grade: B

[cvict]

A Brighter Future

[lboogie1906]

City Councilwoman Victorine Quille Adams (April 28, 1912 - January 8, 2006) was a Baltimore Public School teacher, business manager of the Charm Center, founder of the Colored Women’s Democratic Campaign Committee, co-founder of Woman Power, Incorporated, and the first African American Baltimore City Councilwoman. She was a native Baltimorean whose contributions sought to improve political participation, economic opportunity, and equity for all.

Born to Joseph Quille and Estelle Tate Quille, she graduated from Morgan State College. After graduating from Morgan he entered the segregated Baltimore Public School system as a teacher. She became one of five women who chartered the National Council of Negro Women, Baltimore section.

She founded the Colored Women’s Democratic Campaign Committee. Their efforts resulted in the election of two African American firsts, attorney Harry A. Cole, the first African American in the Maryland State Senate, and Verda F. Welcome, the first woman state senator in Maryland and the first Black woman elected to a state senate anywhere in the nation.

In 194 opened the Charm Center, the only Black-owned and operated clothing store for women in Baltimore.

Ten years later, in 1958, she and Ethel P. Rich co-founded Woman Power, Incorporated to mobilize Black women for political action/power, community involvement, and educational commitment. Men were welcome to join the Minute Men, an affiliate of the WP. Two notable male members were Carl Murphy, the publisher of the Baltimore Afro-Americannewspaper, and Willard W. Allen, owner of an insurance company.

She ran successfully for the Maryland House of Delegates. She resigned after a year and won a seat on the Baltimore City Council, becoming the first Black woman to serve on that body. She created the Baltimore Fuel Fund, a public-private partnership that raised money to provide impoverished families with financial assistance for heating costs.

She married William Adams (1935). They had no children. #africanhistory365 #africanexcellence

[a-gnosis]

1. Lucia celebration in Järpås some time between 1890 and 1905. Photo: Carl Victorin. 2. Lucia celebration in Broddetorp in 1918. Photo: Olof Johansson. 3. Luciacard from the beginning of the 20th century. Photo: Alfred B Nilson.

The Swedish Lucia celebration has a very varied history and took its present day form in the beginning of the 20th century. In the old farmer society it was in some places common for young people to dress up (sometimes as the opposite sex, or to different kinds of craftsmen or even to demonic figures) and go from house to house where they sang and begged for food and booze. If they weren't let in, they could get into mischief. Quite different from our modern Lucia processions.

[harvard-art-museums-prints]

"My dear friend, my prize...", Honoré-Victorin Daumier, 19th century, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of Carl Pickhardt, Class of 1931

https://www.harvardartmuseums.org/collections/object/324707

[upennmanuscripts]

Vigilance and Prudence (and stickers): Books from the Brölemann Collection

Fifty-two discoveries from the BiblioPhilly project, No. 16/52

  Book of Hours for the Use of Rome (Hours of Étienne Thirion), Philadelphia, Philadelphia Museum of Art, 1945‑65‑14, inside front cover (with Arthur Brölemann bookplate) and Book of Hours for the Use of Rome (Victorines d’Auxy Hours), Philadelphia Philadelphia Museum of Art, 1945–65–15, inside front cover (with Arthur Brölemann bookplate)

The motley assortment of bookplates, pencil-written price-codes, ballpoint pen descriptions, and, yes, stickers (or rather adhesive labels) that frequently populate the endpapers of many Medieval manuscripts in North American collections may seem extrinsic to the content of a book’s original text and illustrations. Yet there is an elite subset of manuscript scholars specializing in research on the later provenance of medieval codices that has devoted particular attention to such details. Often, their research can help us reconstruct the trajectory of a book that is otherwise lacking in historic ownership information.

Over the past two weeks, we examined the newly-named Hours of Étienne Thirion from the Philadelphia Museum of Art (1945–65–14), both for the fascinating imprints left in the book by an early owner’s eyeglasses, and for the identity of the book’s original owner and the artist commissioned to paint its miniatures. As is well known, the book came to the PMA through the generosity of Mary Shell Collins, who donated this and seventeen other Medieval manuscripts to the museum in memory of her husband, Philip S. Collins, in 1945.[1] All but three of the books from the Collins collection are Books of Hours, making it an especially rich trove for this genre.

But who owned these books prior to their acquisition by Collins? The answer is easily provided by the armorial bookplates present in both books mentioned above, as well as a third PMA Book of Hours likely made in Provence (1945–65–8). These are the bookplates of Arthur Brölemann (1826–1904), president of the Tribunal de Commerce of the French city of Lyon and an ardent bibliophile. His Latin motto, “Vigilentia et Prudentia,” could just as well be a maxim for the modern provenance researcher! Arthur had acquired over 4,000 volumes by descent from his grandfather, Henri-Auguste Brölemann (1775–1854), who had formed his own collection between 1824 and his death in 1854.

   PMA, 1945‑65‑14 and PMA, 1945–65–15, details of two different variants of the Henri-Auguste Bölemann labels

But how do we know for certain that the books first belonged to not just to Arthur but also to Henri-Auguste? As it happens, the distinctive blue-edged octagonal number labels found in the lower left-hand corner of the inside front cover of each of these two books (but absent from the third) can be identified thanks to a fascinating blog post by Peter Kidd. As Peter showed, these stickers (which exist in four variants) have handwritten numbers that refer to their position within Henri-Auguste’s collection, as well as price codes that remain to be deciphered. The “A” number refers to the book’s order within what was apparently a handwritten catalogue. A rare printed catalogue of Arthur’s collection, published in 1897 (and available on Gallica), provides a concordance of these “A” numbers as well as a further set of “B” numbers from another early catalogue. And indeed, a “B” number can be found written in pencil (probably by Arthur) on the bookplate of the Victorines d’Auxy Hours. These numbers allow us to locate each book within the 1897 publication with ease (and in fact, in the Étienne Thirion Hours, the 1897 catalogue number is written at the bottom of the bookplate too).

As we can see from the entry in the 1897 catalogue on the right for the Victorines d’Auxy Hours, “B. 71” is included at the bottom, but not the “A 122” number seen on the octagonal label. However, an additional piece of evidence is given in the catalogue entry, namely that the book was part of the famed Yéménitz collection. This is a reference to Nicolas Yemeniz (1783–1871), another great bibliophile based in Lyon. Thus, we now have an additional, earlier piece of provenance information for this book, all thanks to our understanding of a sticker!

All three Brölemann books now at the Philadelphia Museum of Art were sold by Henri-Auguste’s great-granddaughter Blanche Bontoux (Mme. Étienne Mallet according to the nomenclature of the day), on May 4 and 5, 1926, at Sotheby’s London. From there, they were acquired by various booksellers and eventually offered to Collins.

[1] Carl Zigrosser, “The Philip S. Collins Collection of Mediaeval Illuminated Manuscripts,” Philadelphia Museum of Art Bulletin 58, no. 275 (1962): 3–34, https://doi.org/10.2307/3795060.

from WordPress http://bibliophilly.pacscl.org/books-from-the-brolemann-collection/

[opera-ghosts]

Euphrosyne Parepa-Rosa (7 May 1836 – 21 January 1874) was a British operatic soprano who established the Carl Rosa Opera Company together with her husband Carl Rosa. Parepa's aristocratic father died soon after her birth, and her mother turned to the stage to support them. Parepa made her operatic debut in 1855, at age 16, and soon earned enthusiastic reviews in the major London opera houses. In 1867, following the death of her first husband, Parepa married the violinist and conductor Carl Rosa in New York, and they founded an opera company with Parepa as the leading lady. They toured successfully in America for several years. After their return to Britain with ambitious plans for their opera company, Parepa fell ill and died in 1874 at only 37 years of age.   Her operatic début was in 1855 at the age of 16 in Malta as Amina in La Sonnambula, followed by engagements in Italy, Spain and Portugal. She gave her first London performance at the Lyceum Theatre, in the role of Elvira in I Puritani, with the Royal Italian Opera company, with whom she spent the 1857 season. The critic of The Observer wrote of this introduction: "Parepa possesses a soprano voice of excellent quality and remarkable compass. She acts and sings well. Her version of "Son vergine vezzosa" elicited applause terminating in a recall, and … [after the finale] she was again called for. … "Qui la voce" … was correctly and brilliantly executed; and the artiste was again summoned back to the stage to receive the homage of the audience."  From 1859 to 1865, she appeared in opera at both Royal Opera House in Covent Garden and at Her Majesty's Theatre, becoming known for such roles as Leonora in Il trovatore, Zerlina in Fra Diavolo and Elvira in La muette de Portici.[3] During this time, she participated in two operatic premieres, creating the title role in Alfred Mellon's Victorine in 1859 and the role of Mabel in George Alexander Macfarren's opera Helvellyn in 1864. She also was a successful oratorio and concert soloist, in constant demand in Britain and beyond.[2] She sang with Charles Santley at the opening of the Oxford Music Hall in 1861, appeared before the Royal Philharmonic Society in Schumann's Paradise and the Peri and participated in the 19th-century English revival of the music of Handel, performing at the Handel festivals of 1862 and 1865, and in Germany. She travelled to the United States in 1865 with cornetist Jules Levy and violinist Carl Rosa, the latter of whom she married in New York City in 1867.  Together they quickly established the Parepa-Rosa English Opera Company there, featuring her as the leading soprano, which became popular, and which introduced opera to places in America that had never staged it before. They opened at the French Theatre on Fourteenth Street, New York City, in September 1869 with a performance of Balfe's opera The Puritan's Daughter, with Parepa singing the title role. The subsequent tour of the eastern and midwestern states included a repertoire that ranged from The Bohemian Girl and Maritana to Weber's Der Freischütz and Oberon. In 1870, the Parepa-Rosa Opera Company returned to Britain and then appeared in Italian opera at Cairo, Egypt, followed by a return to America for another successful tour in 1871–72. In 1872, Parepa sang at the Lower Rhine Festival in Düsseldorf, and they then returned to London, where she sang Donna Anna in Don Giovanni and the title role in Norma at the Royal Opera House In September 1873, the company changed its name to Carl Rosa's English Opera, since Parepa was pregnant.  Parepa died in London, after an illness, at the age of 37 while preparing to sing Elsa in an English version of Wagner's Lohengrin as part of her husband's planned season a Theatre Royal, Drury Lane; after her death, Rosa cancelled the season.  She is buried at Highgate cemetery.  After her death, Rosa endowed the Parepa-Rosa Scholarship at the Royal Academy of Music in her memory

[kiro-anarka]

Gustave Brouche (1850-1931). Nació el 30 de junio de 1850 en Delle (Haut-Rhin, luego Territoire de Belfort, (Francia) y murió el 5 de octubre de 1931 en Lausana (Suiza).

Preceptor en Rusia, pastor y luego anarquista en Londres, librepensador, bibliotecario y profesor en Lausana y Fiume. Gustave Brocher, cuyo padre era fourierista, estudió teología en Ginebra y Estrasburgo. Pasó cinco años en Rusia como tutor, estudiando lenguas y nacionalidades caucásicas, y se abrió a la cuestión social. De vuelta en Francia, fue enviado a Londres como pastor en 1873, pero dejó la Iglesia tres años después. Se ganó la vida como profesor, participó en el diario de Peter Lavrov, entró en contacto con los círculos revolucionarios y se hizo anarquista bajo la influencia de Paul Brousse. Bajo su seudónimo Rehcorb, fue secretario del comité de iniciativa que convocó al Congreso Anarquista Internacional para el 14 de julio de 1881 en Londres y editor del Boletín Preparatorio. El Congreso, abierto a todos los socialistas revolucionarios en teoría pero muy anarquista en la realidad, había propuesto un punto único en la agenda: la reconstitución del AIT, pero este proyecto resultó muy controvertido desde la fase preparatoria, el campeon de la organización oponiéndose a sus detractores. Según Max Nettlau, 43 delegados (incluidos 19 residentes en Londres) representaron a unas 60,000 personas en el congreso. Sus mandatos, recopilados por Brocher, se encuentran en sus archivos en Amsterdam; Nettlau ha publicado una recapitulación: - L. Price; Joseph Lane, Homerton Social Democratic Club; Nicholas Tchaikovsky, Sociedad Eslava de Londres (mandato del Secretario Lazar Goldenberg); - Georges Herzig , Fed. Jura (en reemplazo de Jules Loetscher); Pierre Kropotkine, grupo del periódico “Le Révolté” (firmado por C. Thomachot, F. Dumartheray, Élisée Reclus, Charles Perron), Partido Revolucionario Lyonnais (firmado por Pejot Jr., Collard, J. Bernard, Bordat , Dupoizat, illis.); - Petrowitsch Radnik Circle (Belgrado); - Carl Seelig, Sozialrevolutioner Klub, Nueva York, Deutsche Sozialrevolution, Gruppe, Filadelfia; Carl Henze, Niederrhein; Johann Neve, Sozialistische Arbeiter-Partei Nueva York; - S. Figueras, Unión de constructores de edificios de la Federación española y Federación regional española; - Sebastian Trunk, Kommunistischer Arbeiter Bildungsverein London; - Josef Peukert, Deutscher Arbeiterverein Basel, Bern, Revolutionary Gruppen der Schweiz: - Jean Miller, Paris International Club (firmado por Balthasar Grün, Otto Rinke, JA Goossens), Levallois-Perret Social Studies Circle (firmado por el Secretario T. Courapied y otros 9, incluidos H. Ferré y Capt Ch. ); Balthasar Hohn, revolución soviética Gruppe von Darmstadt, deutsche sozial-revolutionäre Gruppe Paris; - Moncada , Malatesta, grupo comunista anarquista de Marsella; - Emmanuel Chauvière, The Circles together, Bruselas; Gérard Gérombou, grupos anarquistas de Amberes y Bruselas, Cosmopolitains de Bruselas, Circles L’Etincelle y el futuro de Verviers; Kirschner (Kürschner?), Deutsche sozial-revolutionäre Gruppe, Bruselas; - Orlando Demartys, Maynier, Charles Robin, Antolini, Círculo Internacional de Estudios Sociales, Londres (dos franceses, dos italianos); - Edward Nathan-Ganz, Confederación de los trabajadores mexicanos; - Serraux ( Egide Spilleux ), La Revolución Social, París; - Errico Malatesta, grupos de Italia y Egipto; Francesco Saverio Merlino, grupos italianos; Vito Solieri, sección anarquista-comunista de Niza; - Ch. Ruzicka, sección checa de la Sociedad Eslava de Londres; Frank Kitz, Social Democratic Working Men’s Club Londres; Gustave Brocher, Comunidad Icarian, Iowa; Lazar Goldenberg, Comité Organizador del Congreso; C. Hall, London International Club; - François Guy, grupo revolucionario anarquista La Plèbe de Béziers (firmado por Louis Hébrard); Bouisson, Alianza de Grupos Revolucionarios Socialistas de París (en el reverso de la circular aparecen los nombres de Tressaud, Marsella, Bernard, Lyon, Verdale, Este Pierre Martin, Viena, Morel, Amiens, Pagès, Bédarrieux, Tranier, Toulouse, Enfroy, Troyes, Dumas, Montchanin-les-minas, Ricard, Saint-Etienne, Marty, Beziers, Thiery, Reims, Faliès, Narbonne, Dupré, Yonne, Veaugeois, París, Grave, París, Courapied, Levallois-Perret, Cafiero, Lugano; Hayart, Perpignan, Moulines fils, Perpignan) y el Grupo proletario comunista-anarquista de Perpignan (13 firmas); - Miss MP LeCompte, Boston Revolutionists; - J. De Bruyn, Asociación Socialista Holandesa; - Victorine Rouchy, grupos de la 6ª, 11ª y 20ª rondas. de París, círculo anarquista del 11 (mandato firmado L. Roterman, secreto-corresp.), Círculo de estudios sociales de la Vida arr. (mandato firmado por Vaillat y Guillet); Émile Violard, grupo revolucionario comunista-anarquista L’Alarme de Narbonne (mandato, 3 firmas); Émile Gautier, grupo del Panteón, grupo revolucionario de estudios sociales anarquista de Vienne (Isère), círculo Outlaws of Saint-Etienne (mandato firmado por Jean Ricard); - Edwin Dunn, John Lord, Club de Hombres Trabajadores Social Demócratas; A. Siegel, C. Hanke, Kommunistischer Arbeiter Bildungsverein East London; - Louise Michel , Círculos de Estudios Sociales de Reims. El Congreso se realizó del 14 al 19 de julio. Los delegados estuvieron de acuerdo con la idea de la coordinación internacional pero dieron autonomía a la organización. También se declararon a favor de la intensificación de la propaganda escribiendo (con una prensa pública y publicaciones internas) y propaganda por el hecho; La sugerencia de Nathan-Ganz de la importancia de la técnica y la química fue mitigada por Kropotkin. Se estableció una oficina de inteligencia en Londres y, en los meses siguientes, se crearon secciones de diferentes idiomas, sin otro resultado que la intensificación de la correspondencia y los contactos. Fue durante el congreso que Brocher conoció a Victorine Rouchy Malenfant, con quien se casó en 1885. Ese mismo año se convirtió en miembro de la Liga Socialista, una organización marxista que evolucionó hacia el anarquismo después de 1887. En 1892-1893, la pareja se estableció en Lausana, (Suiza) donde tenía una librería, que distribuía entre otras publicaciones rusas clandestinas y alimentaba una biblioteca anarquista. Se estableció en 1895 en los suburbios (La Clochatte, Mont-sur-Lausanne, (Suiza)) para abrir un instituto de jóvenes, que también sirvió como refugio para los revolucionarios rusos, franceses e italianos.  Brocher dio conferencias en la Casa del Pueblo de Lausana, (Suiza) colaboró ​​con grupos rusos en la ciudad, escribió el diario de Pensamiento Libre y escribió en varios periódicos anarquistas. De 1911 a 1914, enseñó en la Academia de Fiume. La guerra lo sorprendió durante unas vacaciones en Lausana, (Suiza); luego se convirtió en un ferviente partidario de Francia y la Entente, y se dedicó a la defensa de las nacionalidades en Rusia, en una forma federativa que garantizaba una amplia autonomía para el pueblo. Fue editor de la revista “La Russie libre”, Lausanne, (Suiza) 1917-1918. Después de condenar la Revolución de Octubre, se convirtió en miembro de los Amigos de la Unión Soviética y trabajó como intérprete en la Liga de las Naciones para Ucrania y Azerbaiyán desde 1918 hasta el final de estas repúblicas independientes. En 1920 y hasta 1930, Brocher colaboraba regularmente en la serie de folletos “New Times” publicados por Jean Grave, bajo la firma G. Rehcorb. En el n. 4 (1920) envió una correspondencia ácida sobre el capitalismo estadounidense. En el número 5 (1921), se trataba de un relato muy crítico del Congreso de la Sociedad de las Naciones en Ginebra, así como de una correspondencia sobre la represión del movimiento obrero en los Estados Unidos. En el n. 6 (¿1921?) Rindió homenaje a Kropotkin, que acababa de morir, y recordó el Congreso de Londres de 1881. De vuelta en Lausana, (Suiza) se fue a vivir después de la muerte de su esposa en 1921 con la familia de una de sus hijas adoptivas, Mathilde Duport-Andignoux (hija del comunero Andignoux *), casada con un pescador de Pully (Vaud). Viviendo en una gran pobreza (los rusos le habían prometido una pequeña pensión, pero no sabemos si alguna vez la pagaron), continuó escribiendo y distribuyendo sus libros a varias bibliotecas (la de la Casa del Pueblo, la Biblioteca Cantonal, la Biblioteca Rusa de Nicolas Roubakine). “Es él”, escribió Jean Grave después de su muerte, “que podría haber publicado cosas interesantes, tanto sobre el movimiento como sobre lo que había visto en su larga vida. Pero ante la sugerencia de que lo hice, él me respondió que solo los vanos escribieron sus memorias.“ Louis Bertoni pronunció un discurso en su funeral en Lausana, (Suiza). TRABAJO:

Ensayo sobre las principales nacionalidades de Rusia, Lausana, 1918. – ¿Es Jesús una figura histórica? Mito o realidad? Lausana, 1921. – Absurdidades y atrocidades de la Biblia, 1926. – “Ateísmo”, en Encyclopédie anarchiste (1931). – Publicaciones de la revuelta y los nuevos tiempos,1920-1930, passim.

FUENTES:

Archivos Federales, Berna, E21 / 5630 – Archivos Cantonales de Vaud – IISG, G. Brocher Papers, Pierre Ramus Archives. – Marc Vuilleumier, “Una figura original, Gustave Brocher”, Living Memory (Lausanne), 1993. – Max Nettlau, Anarchisten und Sozialrevolutionäre, op. cit., p. 147s. – The Awakening, 17 de octubre de 1931 – The Free Idea, diciembre de 1931 – The Sower, 14 de enero de 1932 – Grave, en Publications of the Revolt and New Times, 74, 1932 – R. Bianco, 100 años de prensa anarquista – DBMOF (correcciones y complementos) – G. Manfredonia, “Individualismo anarquista en Francia, 1880-1914”, Instituto de Estudios Políticos de París, 1984 – Boletín del Congreso de Londres, 15 de junio de 1881. – Marianne Enckell, “Piezas para una autobiografía: Gustave Brocher, pastor, anarquista, librepensador “, en Sueños y pasiones de un investigador militante, mezclas ofrecidas a Ronald Creagh , Lyon, ACL 2016. – Notas de Constance Bantman, Guillaume Davranche y Jean-François Fayet .

[jamesprescottwrites]

KOIO "Starstruck" from Tyler Greco on Vimeo.

KOIO's brand vision inspired me with romantic imagery, specifically ideas from Carl Sagan's Cosmos series, Bladerunner and the book The Little Prince by Antoine de Saint-Exupery. New York has always been a place where the hopes and dreams of millions light up the night in tenements and skyscrapers. I imagined the city and every light within twisted upside down in galactic proportions - the three artists our constellations.

KOIO // Starstruck // Brand Film 190 Seconds

Director: Tyler Greco

Producer: Elizabeth Victorine Director of Photography: Joe Victorine

2nd Unit DP: Tyler Haft 2nd Unit DP: Luke Taylor

Digital Imaging Technician: Jon Osterman

Movi Operators: Chris Aran, Nico Gianquinto

Jib Operator: Nico Gianquinto

Drone Operator: Brendan Banks

Helicopter Pilot: Chris Blanton

Shotover Technician: Jose Montanez

1st Camera Assistant: Cole Koehler

2nd Camera Assistant: Kristin Kremers

Gaffer: Jason Duffet Key Grip: Danny Green Grips & Electrics: Sarah Gittens, Kat Jirles, Albin Pepe, Gabe Solorzano, Adam Wolf

Production Designer: Rob Ebeltoft

Make-up Artist: Kayla Jo Berley

Production Assistants: Dylan Nowik, Charlie Hoffman

Editorial: BlueRock Editor: Olivier Wicki Assistant Editor: Matt Elias

Color Grading: Company 3 Colorist: Kath Raisch

Sound Design: Eddie Cooper, Mike Vitacco Music by Tempers Voice: Zekeus Franklin

Visual Effects by Spontaneous/Scarlett Executive Creative Director: Darryl Mascarenhas Creative Director: Lawrence Nimrichter

Visual Effects Artists: Philana Dias, Animesh Dwivedi, David A. Elkins, James Emmerich, Marc Goldfine, Soheil Khosravinejad, Joon Lee, Matt McDonald, Andy Milkis, George Smaragdis, Sean Smith, David Soto

Managing Director, Spontaneous: Cara Cutrone Managing Director, Scarlett: Wendy Brovetto Executive Producer, Spontaneous: Chris Decker Senior Producer, Scarlett: Adam Zeitlen Producer, Scarlett: Danielle James

Cameras: Abel Cine Tech

Studio, Grip and Electric: Eastern Effects

Helicopter: NYONair

Sound: Plush NY Heard City

A COASTAL.NYC PRODUCTION

koio.co

[harvard-art-museums-prints]

An Unpleasant Encounter, Honoré-Victorin Daumier, 1843, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of Carl Pickhardt, Class of 1931

https://www.harvardartmuseums.org/collections/object/269205

[harvard-art-museums-prints]

"Do you see, little one, you're wrong...", Honoré-Victorin Daumier, 1849, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of Carl Pickhardt, Class of 1931

https://www.harvardartmuseums.org/collections/object/267987

[harvard-art-museums-prints]

Pickhardt Vol. II: Charivari Lithographs by Daumier, Honoré-Victorin Daumier, 1837, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of Carl Pickhardt, Class of 1931

https://www.harvardartmuseums.org/collections/object/55680