2
" Go on, my dear," urges the snake. " Take one. Hear it? 'Pluck me,' it's saying. That big, shiny red one. 'Pluck me, pluck me now and pluck me hard.' You know you want to." , clever girl, " expressly forbids us to eat the fruit from the Tree of Knowledge." ?" Eve folds her arms schoolgirlishly. " God expressly forbade it. Adam said." The snake grins through his fangs, admiring Eve's playacting. " God is a nice enough chap in His way. I daresay He means well. But between you and The Tree of Knowledge, He is terribly insecure." " Insecure? He made the entire bloody universe! He's omnipotent." " Exactly! Almost neurotic, isn't it? All this worshiping, morning, noon, and night. It's 'Oh Praise Him, Oh Praise Him, Oh Praise the Everlassssting Lord.' I don't call that omnipotent. I call it pathetic. Most independent authorities agree that God has never sufficiently credited the work of virtual particles in the creation of the universssse. He raises you and Adam on this diet of myths while all the really interesting information is locked up in these juicy apples. Seven days? Give me a break. "
6
" Having been a Ship’s Captain, a Naval Officer a Mathematics & Science Teacher, most people would believe that my primary interests would be directed towards the sciences. On the other hand, those that know me to be an author interested in history, may believe me to be interested in the arts. University degrees usually fall into the general category of Art or Science. It’s as if we have to pick sides and back one or the other team…. With my degree in Marine Science I am often divided and pigeon holed into this specific discipline or area of interest. One way or the other, this holds true for most of us but is this really true for any of us. As a father I can certainly do other things. Being a navigator doesn’t preclude me from driving a car. Hopefully this article does more than just introduce Cuban Art and in addition gives us all good reason to be accepted as more than a “Johnny One Note.“ My quote that “History is not owned solely by historians. It is a part of everyone’s heritage” hopefully opens doors allowing that we be defined as a sum of all our parts, not just a solitary or prominent one. As it happens, I believe that “Just as science feeds our intellect, art feeds our soul.”
For the years that Cuba was under Spanish rule, the island was a direct reflection of Spanish culture. Cuba was thought of as an extension of Spain's empire in the Americas, with Havana and Santiago de Cuba being as Spanish as any city in Spain. Although the early Renaissance concentrated on the arts of Ancient Greece and Rome, it spread to Spain during the 15th and 16th centuries. The new interest in literature and art that Europe experienced quickly spread to Cuba in the years following the colonization of the island. Following their counterparts in Europe, Cuban Professionals, Government Administrators and Merchants demonstrated an interest in supporting the arts. In the 16th century painters and sculptors from Spain painted and decorated the Catholic churches and public buildings in Cuba and by the mid-18th century locally born artists continued this work.
During the early part of the 20th century Cuban artists such as Salvador Dali, Joan Miró and Pablo Picasso introduced modern classicism and surrealism to Europe. Cuban artist Wilfred Lam can be credited for bringing this artistic style to Cuba. Another Cuban born painter of that era, Federico Beltran Masses, known to be a master of colorization as well as a painter of seductive images of women, sometimes made obvious artistic references to the tropical settings of his childhood. As Cuban art evolved it encompassed the cultural blend of African, European and American features, thereby producing its own unique character. One of the best known works of Cuban art, of this period, is La Gitana Tropical, painted in 1929, by Víctor Manuel.
After the 1959 Cuban Revolution, during the early 1960’s, government agencies such as the Commission of Revolutionary Orientation had posters produced for propaganda purposes. Although many of them showed Soviet design features, some still contained hints of the earlier Cuban style for more colorful designs. Towards the end of the 1960’s, a new Cuban art style came into its own. A generation of artists including Félix Beltran, Raul Martinez, Rene Mederos and Alfredo Rostgaard created vibrantly powerful and intense works which remained distinctively Cuban. Though still commissioned by the State to produce propaganda posters, these artists were accepted on the world stage for their individualistic artistic flair and graphic design.
After bringing the various and distinct symbols of the island into their work, present day Cuban artists presented their work at the Volumen Uno Exhibit in Havana. Some of these artists were Jose Bedia, Juan Francisco Elso, Lucy Lippard, Ana Mendieta and Tomas Sanchezare. Their intention was to make a nationalistic statement as to who they were without being concerned over the possibility of government rep "
― Hank Bracker
10
" Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or
circles under the eyes. It is not a superficial flaw in an otherwise
perfect picture. It is not a minor irritation, nor is it a trivial
inconvenience, an occasional aggravation, or a regrettable but
(frankly) harmless lapse in manners. It is not a “point of view”
that some people with soft skins find “ offensive. ” It is the deep
and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth
and human recognition, the forced alienation of a person from
even the possibility of wholeness or internal integrity. Inferiority
puts rightful self-love beyond reach, a dream fragmented by
insult into a perpetually recurring nightmare; inferiority creates
a person broken and humiliated inside. The fragments—
scattered pieces and sharp slivers of someone who can never
be made whole—are then taken to be the standard of what is
normal in her kind: women are like that. The insult that hurt
her—inferiority as an assault, ongoing since birth—is seen as a
consequence, not a cause, of her so-called nature, an inferior nature. In English, a graceful language, she is even called a
piece. It is likely to be her personal experience that she is insufficiently
loved. Her subjectivity itself is second-class, her experiences
and perceptions inferior in the world as she is inferior
in the world. Her experience is recast into a psychologically
pejorative judgment: she is never loved enough because she is
needy, neurotic, the insufficiency of love she feels being in and
of itself evidence of a deep-seated and natural dependency. Her
personal experiences or perceptions are never credited as having
a hard core of reality to them. She is, however, never loved
enough. In truth; in point of fact; objectively: she is never loved
enough. As Konrad Lorenz wrote: “ I doubt if it is possible to
feel real affection for anybody who is in every respect one’s inferior.
” 1 There are so many dirty names for her that one rarely
learns them all, even in one’s native language. "
― Andrea Dworkin , Intercourse
11
" Humans are often credited with having real foresight, in distinction to the rest of biology which does not. For example, Dawkins compares the 'blind watchmaker' of natural selection with the real human one. 'A true watchmaker has foresight: he designs his cogs and springs, and plans their interconnections, with a future purpose in his mind's eye. Natural selection . . . has no purpose in mind'.
I think this distinction is wrong. There is no denying that the human watchmaker is different from the natural one. We humans, by virtue of having memes, can think about cogs, and wheels, and keeping time, in a way that animals cannot. Memes are the mind tools with which we do it. But what memetics shows us is that the processes underlying the two kinds of design are essentially the same. They are both evolutionary processes that give rise to design through selection, and in the process they produce what looks like foresight. "
― Susan Blackmore , The Meme Machine
18
" More to the point, one cannot understand The Holocaust without understanding the intentions, ideology, and mechanisms that were put in place in 1933. The eugenics movement may have come to a catastrophic crescendo with the Hitler regime, but the political movement, the world-view, the ideology, and the science that aspired to breed humans like prized horses began almost 100 years earlier. More poignantly, the ideology and those legal and governmental mechanisms of a eugenic world-view inevitably lead back to the British and American counterparts that Hitler’s scientists collaborated with. Posterity must gain understanding of the players that made eugenics a respectable scientific and political movement, as Hitler’s regime was able to evade wholesale condemnation in those critical years between 1933 and 1943 precisely because eugenics had gained international acceptance. As this book will evidence, Hitler’s infamous 1933 laws mimicked those already in place in the United States, Britain, Norway, Sweden, Finland, and Canada.
So what is this scientific and political movement that for 100 years aspired to breed humans like dogs or horses? Eugenics is quite literally, as defined by its principal proponents, an attempt at “directing evolution” by controlling any aspect of human existence that affects human heredity. From its onset, Francis Galton, the cousin of Charles Darwin and the man credited with the creation of the science of eugenics, knew that the cause of eugenics had to be observed with religious fervor and dedication. As the quote on the opening pages of this book illustrates, a eugenicist must “intrude, intrude, intrude.” A vigilant control over anything and everything that affects the gene pool is essential to eugenics. The policies could not allow for the individual to enjoy self-government or self-determination any more than a horse breeder can allow the animals to determine whom to breed with. One simply cannot breed humans like horses without imbuing the state with the level of control a farmer has over its livestock, not only controlling procreation, but also the diet, access to medical services, and living conditions. "
― A.E. Samaan , H.H. Laughlin: American Scientist, American Progressive, Nazi Collaborator (History of Eugenics, Vol. 2)
19
" There is a gaping hole in the history of the Holocaust. Between Adolf Hitler and Joseph Mengele there was a hierarchy of scientists whom were responsible for writing the infamous racial legislation of the Third Reich. These scientists, doctors, and legislators enjoyed prestigious positions in the various institutions within Hitler's Germany. To be more precise, many of the ghastly experiments credited to Mengele were ordered by this group of high-ranking scientists and doctors. Mengele was following their orders, yet many of these German doctors and scientists were set free after being captured by the Allies. Previously unpublished manuscripts, correspondence, and conveniently forgotten publications reveal professional and political relationships as well as shared scientific convictions between high-profile American Progressives, British Fabian Socialists, and their German counterparts. The mounting evidence points to the long-standing designs and machinations of " scientific racism" , a still poorly understood aspect of history. This book documents the hundred year trajectory of the history of " scientific racism" from its initial intentions to create " a race of masters" to the Holocaust, which resulted from Hitler's conviction to create a " master race" . These scientific prejudices and political dogmas are as relevant today as they were leading up to WWII. A thorough understanding of the origins of this movement is in order. "
