“This struggle of the human female toward sex equality will end in a new sex order, with the female as superior.”
Nikola Tesla in Colliers magazine, January 1926:
It is clear to any trained observer, and even to the sociologically untrained, that a new attitude toward sex discrimination has come over the world through the centuries, receiving an abrupt stimulus just before and after the World War.
This struggle of the human female toward sex equality will end in a new sex order, with the female as superior. The modern woman, who anticipates in merely superficial phenomena the advancement of her sex, is but a surface symptom of something deeper and more potent fermenting in the bosom of the race.
It is not in the shallow physical imitation of men that women will assert first their equality and later their superiority, but in the awakening of the intellect of women.
Through countless generations, from the very beginning, the social subservience of women resulted naturally in the partial atrophy or at least the hereditary suspension of mental qualities which we now know the female sex to be endowed with no less than men. But the female mind has demonstrated a capacity for all the mental acquirements and achievements of men, and as generations ensue that capacity will be expanded; the average woman will be as well educated as the average man, and then better educated, for the dormant faculties of her brain will be stimulated to an activity that will be all the more intense and powerful because of centuries of repose. Woman will ignore precedent and startle civilization with their progress.
Gary Hustwit, the director of the documentaries Helvetica, Objectified, and Urbanized on his new feature documentary on legendary designer Dieter Rams:
The documentary will include in-depth conversations with Dieter, and detail the process behind some of his most iconic designs. We want to get past the legend of Dieter, and get into his philosophy, process, inspirations, and even his regrets.
This Kickstarter campaign will not only support the making of this documentary but also help efforts to preserve his design archive––a majority of which the public has never seen.
RAMS: The First Feature Documentary About Dieter Rams [Kickstarter]
Mademoiselle (1966) [IMDb]
“The current system of airport security all over the world represents an overreaction to the September 11, 2001, hijackings.”
Robert J. Gordon:
The current system of airport security all over the world represents an overreaction to the September 11, 2001, hijackings. There was only one weakness in the U.S. airline security system on September 11, and this was that the cockpit doors were flimsy. Within days, they were replaced by completely secure doors that nobody could break through. Although the security issue was completely solved within a week, fourteen years later billions of dollars per year of passenger time continues to be wasted in unnecessary additional security precautions. The pre-2001 security system, based on a quick walk through an X-ray machine to check for guns and metal weapons, would be enough.
“The eurozone is economically moribund, persists with policies that have demonstrably failed, is indifferent to democracy, is run by and for a small, self-perpetuating elite, and is slowing dying.”
The euro brought to fruition the idea of ever-closer union, a plan that dates back to the early 1950s. Lots of things considered good ideas back then are no longer considered quite so clever: system-built high-rise flats as the answer to slum housing; nuclear power to meet energy needs. Put ever-closer union in the same category as the Birmingham inner-city ring road: it seemed a good idea at the time.
A different Europe is needed, but it is stretching credibility to imagine that the Europe of Greece and the Transatlantic Trade and Investment Partnership can easily morph into America with the nice people in charge. The eurozone is economically moribund, persists with policies that have demonstrably failed, is indifferent to democracy, is run by and for a small, self-perpetuating elite, and is slowing dying. The wrong comparison is being made. This is not the US without the electric chair; it is the USSR without the gulag.
Photo: Quentin de Briey
One should remember that the only objective for the Lottery, anywhere in the world, is not to make you rich. Contrary to their advertisements, the objective is not to show you a good time. Wasting your money is never a good time. The lottery’s only objective is to maximize the funds you pay for educational activities. The lottery does this by taking all of the proceeds, then first diverting nearly 45% of it towards educational benefits, and also towards store commissions and advertisements designed to trick you into spending more into the system. Say you played 292 million times with hypothetically a $1 ticket, and then won exactly one time. In this case your reward would not be anywhere close to $292m. The funnel would start at a gross level of just 55% of $292m (or a loss of $131m on your ticket purchases since 45% was skimmed straight away to the government). And then your net amount would still be less than this 55% gross payout, since this reward is again taxed as income. There is nothing sexy about this arrangement; it extorts a non-tax deductible dollar from you and many others, who could least afford it. And each time putting offering 55 cents into a community savings jar, until one day that amassed jar is given to basically just one person at random (but not before the government comes back to tax that jar as “income”). The whole scheme is an educational tax for those who instead could use a free education in probability theory.
A loser’s lottery [StatisticalIdeas]
Iran, 1970 [Reorient]
Photo: Giovanna Calvenzi
Zulawski’s cult classic and one of my all-time favorite movies. Isabelle Adjani’s tour-de-force performance is nothing short of glorious. The new Mondo Vision uncut digital transfer Blu-ray approved by Zulawski himself is well worth getting your hands on.
Photo: Ellen von Unwerth
Hands down one of the greatest motion pictures ever captioned on celluloid and one of Marcello Mastroianni’s finest moments. I love how Fellini uses high contrast lighting and camera movement in this one. Endlessly fascinating and surreal, but definitely not for everyone.