vivadavidoff

viva davidoff #00

The History of BrandingThe Hammerhead SharkLess Is MoreAbout AbstractionThe Man Who Saved The WorldUccellacci e UccelliniAffichists at WorkThe Infinite Monkey TheoremRed SunBlue, Blue, Electric BlueThe Impact of SurrealismThe German ExpressionismSeasonal Affective Disorder (a.k.a. SAD)Viva Davidoff

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In the field of marketing, brands originated in the nineteenth century with the advent of packaged goods. According to Unilever records, Pears Soap was the world’s first registered commercial brand. Industrialization moved the production of household items, such as soap, from local communities to centralized factories. When shipping their items, the factories would brand their logotype insi-gnia on the shipping barrels. These factories, generating mass-produced goods, needed to sell their products to a wider range of customers, to a customer base familiar only with local goods, and it turned out that a generic package of soap had difficulty competing with familiar, local products.

The fortunes of many of that era’s brands, such as Uncle Ben’s rice and Kellogg’s breakfast cereal, illustrate the problem. The packaged goods manufacturers needed to convince buyers that they could trust in the non-local, factory product. Campbell soup, Coca-Cola, Juicy Fruit gum, Aunt Jemima, and Quaker Oats, were the first American products to be branded to increase the customer’s familiarity with the products.

Around 1900, James Walter Thompson published a house advert explaining trademark advertising, in an early commercial description of what now is known as ‘branding’. Soon, companies adopted slogans, mascots, and jingles that were heard on radio and seen in early television. By the 1940s, Mildred Pierce manufacturers recognized how customers were developing relationships with their brands in the social, psychological, and anthropological senses. From that, manufacturers quickly learned to associate other kinds of brand values, such as youthfulness, fun, and luxury, with their products. Thus began the practice of " branding ", wherein the customer buys the brand rather than the product. This trend arose in the 1980s " brand equity mania ". In 1988, when Phillip Morris bought Kraft for six times its paper worth, because the Phillip Morris company was actually buying the Kraft brand rather than the company and its products.

April 2, 1993, labelled Marlboro Friday, was the death day of the brand. On that day, Phillip Morris declared a 20 per cent price cut of Marlboro cigarettes in order to compete with cheaper price cigarettes. At the time, Marlboro cigarettes were notorious for their heavy advertising campaigns, and nuanced brand image. On that day, the prices of many branded companies Wall street stocks fell : Heinz, Coca Cola, Quaker Oats, PepsiCo ; seemingly the signal of the beginning " brand blindness ".

However, brands like Nike, Starbucks, and Apple all still enjoy premium prices for their branded products. So the pronouncement of the death of the brand may be premature.

The hisTory of Branding04

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a living sculpture by Pøle Jönsson

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The hammerhead Shark

Hammerhead sharks of the genus Sphyrna are members of the family Sphyrnidae. The only other genus of Sphyrnidae, Eusphyra, contains only one species, Eusphyra blochii, the winghead shark.The nine known species of hammerhead range from 0.9 to 6 m long (3 to 20 feet). All the species have a projection on each side of the head that gives it a resemblance to a flattened hammer. The shark’s eyes and nostrils are at the tips of the extensions. The hammer shape of the head was once thought to help sharks get food, aiding in close-quarters maneuverability and allowing the shark to turn sharply without losing stability. However, it was found that the special design of its vertebrae allowed it to make the turns correctly, more than its head. But as a wing the hammer would also provide lift ; hammerheads are one of the most negatively buoyant of sharks. Like all sharks, hammerhead have electrolocation sensory pores called ampullae of Lorenzini. By distributing the receptors over a wider area, hammerheads can sweep for prey more effectively. These sharks have been able to detect an electrical signal of half a billionth of a volt. The hammer-shaped head also gives these sharks larger nasal tracts, increasing the chance of finding a particle in the water by at least 10 times as against the ability of other " classical " sharks. As such it is argued that hammerheads are among the most highly evolved shark species.Wider spacing between sensory organs better ena-bles an organisms to detect gradients and therefore the location of a gradient source such as food or a mate. The peculiar head of this shark can be thou-ght of as analogous to the antennae of an insect.The hammerheads are aggressive predators, eating fish, rays, cephalopods, and crustaceans. They are found in warmer waters along coastlines and continental shelves.Hammerheads have disproportionately small mouths and seem to do a lot of bottom-hunting. They are also known to form schools during the day, sometimes in groups of over 100. In the eve-ning, like other sharks, they become solitary hun-ters. Hammerheads are notably the only creature in the animal kingdom besides humans to acquire a tan from prolonged exposure to sunlight. Tanning occurs when a hammerhead is in shallow water or close to the surface for long periods.

It’s also noted that in recent studies that when large groups of hammerheads gather, they usully communicate with other individuals by creating pressure waves by thrashing their heads more sharply then usual and in different degrees.Reproduction in the hammerhead shark occurs once a year with each litter containing 20 to 40 pups. Hammerhead shark mating courtship is a violent affair. The male will bite the female until she acquiesces, allowing mating to occur. Unlike many other shark species, the hammerhead shark has in-ternal fertilization which creates a safe environment for the sperm to unite with the egg. The embryo develops within the female inside a placenta and is fed through an umbilical cord, similar to mammals. The gestation period is 10 to 12 months. Once the pups are born the parents do not stay with them and they are left to fend for themselves. A world-record 1,280 pound (580 kg) pregnant female hammerhead shark was caught off Boca Grande, Florida on May 23, 2006. The shark was carrying 55 pups, which suggests scientists had previously underestimated the number of pups per gestation.In May 2007 scientists discovered that Hamme-rhead sharks can reproduce asexually through a rare method known as parthenogenesis, as they have the ability to fertilize their own eggs. At first the announcement was considered skeptically, due to the fact that a female shark can store sperm inside her for months, even years, but it was confir-med through DNA testing that the pup lacked any paternal DNA. This is the first documented case of any shark doing this.

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a little bit of zoology

Minimalism in visual art, sometimes referred to as " literalist art " and " ABC Art " emerged in New York in the 1960s. It is regarded as a reaction against the painterly forms of Abstract Expressionism as well as the discourse, institutions and ideologies that supported it. As artist and critic Thomas Lawson noted in his 1977 catalog essay Last Exit : Painting, minimalism did not reject Clement Greenberg’s claims about Modernist Painting’s reduction to surface and materials so much as take his claims literally. Minimalism was the result, even though the term " minimalism " was not generally embraced by the artists associated with it, and many practitio-ners of art designated minimalist by critics did not identify it as a movement as such.

In contrast to the Abstract Expressionists, Minima-lists were influenced by composer John Cage, poet William Carlos Williams, and architect Frederick Law Olmsted. They very explicitly stated that their art was not self-expression, in complete opposition to the previous decade’s Abstract Expressionists. Very soon they created a minimal style, whose fea-tures included: rectangular and cubic forms purged of all metaphor, equality of parts, repetition, neutral surfaces, industrial materials, all of which leads to immediate visual impact.

Robert Morris, an influential theorist and artist, wrote a three part essay, " Notes on Sculpture 1-3, " originally published across three issues of Artfo-rum in 1966. In these essays, Morris defined the conceptual framework and formal elements of his contemporaries. These essays paid great attention to the idea of the gestalt – " parts … bound together in such a way that they create a maximum resistance to perceptual separation. " Morris later described an art represented by a " marked lateral spread and no regularized units or symmetrical intervals … " in " Notes on Sculpture4 : Beyond Objects, " originally published in Artforum, 1969, continuing on to say that " indeterminacy of arran-gement of parts is a literal aspect of the physical existence of the thing. " This shift in theory marks one of the transitions into what would later be refer-red to as Post-Minimalism, a non-object based art.

leSS.iS.moreBut is it enough ?

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The first art specifically associated with Minimalism was Frank Stella, whose " stripe " paintings were highlighted in the 1959 show, " 16 Americans ", organized by Dorothy Miller at the Museum of Modern Art in New York. The width of the stripes in Frank Stellas’s stripe paintings were determined by the dimensions of the lumber used to construct the supportive chassis upon which the canvas hung. In the show catalog, Carl Andre noted, " Art excludes the unnecessary. Frank Stella has found it ne-cessary to paint stripes. There is nothing else in his painting. " These reductive works were in sharp contrast to the " minimal," energy-filled paintings of Willem De Kooning or Franz Kline and leaned more toward the anonymous field paintings of Barnett Newman and Mark Rothko. Although Stella recei-ved immediate attention from the MOMA show, artists like Ralph Humphrey and Robert Ryman had begun to explore monochromatic formats by the late 1950s.Minimalist sculpture is greatly focused on the materials used (see Donald Judd, the early works of Robert Morris, and Dan Flavin).

The origins of Minimalism are in the geometric abstractions of pre-World War II painters in the Bauhaus, Russian Constructivists and the Roma-nian sculptor Constantin Brâncuşi (whose work was a major influence on the Minimalism of Robert Morris).The Russian Constructivists proclaiming the distillation was in order to create a universal language of art which the masses were meant to understand. It may have also supported the rapid industrialization planned for the massive country. Brâncuşi’s work was much more of a search for the purity of the form and thus paved the way for the abstractions that were to come, such as minimalism.This movement was heavily criticised by the high modernist formalist art critics and historians. It was called futile, mechanistic, mandarin, elitist, circular, endless, entropic, pedantic and authoritarian. The artists of Minimalism were interested in how the rational categories of painting and sculptures were intriniscally delimiting and this is why many worked in 3-D and paid critical attention away from expression and toward process and materiality (i.e., time and space). Some very anxious critics thought Minimalist work of art was a complete misunders-tanding of the modern dialectic of painting and sculpture according to critic Clement Greenberg. The most notable critique of Minimalism was pro-duced by Michael Fried, a Greenbergian critic, who objected to the work on the basis of its " theatrica-lity ". In Art and Objecthood (published in Artforum in June 1967) he declared that the Minimalist work of art, most evident in sculpture, was based on an engagement with the physicality of the spectator transforming the act of viewing the work into a type of spectacle in which the artifice of the act observation and participation were unveiled. Fried’s opinionated essay was immediately challenged by artist Robert Smithson in a letter to the editor in the October issue of Artforum. Smithson stated the following: " What Fried fears most is the consciousness of what he is doing--namely being himself theatrical. " What Smithson meant by this was that Fried had in fact delivered " a long over-due spectacle " himself, and that Fried had brought on a sort of " fictive inquisition ", or more precisely, " a ready-made parody of the war between Renais-sance classicism (modernity) versus Manneristic anti-classicism (theatre). "

Other Minimalist artists include : Richard Allen, Walter Darby Bannard, Larry Bell, Ronald Bladen, Mel Bochner, Norman Carlberg, Judy Chicago, Erwin Hauer, Sol LeWitt, Brice Marden, Agnes Martin, Jo Baer, John McCracken, Paul Mogensen, David Novros, Ad Reinhardt, Richard Serra, Tony Smith, Robert Smithson, and Anne Truitt.

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Ad Reinhardt summed up the style in these terms : " The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature. "Also notable are the Postminimalist artists, inclu-ding Eva Hesse, Martin Puryear, Joel Shapiro and Hannah Wilke. The hallmark of Postminimalism is the often distinct references to objects without direct representation.

about abstraction10

Thought Process :Abstraction uses a strategy of simplification, wherein formerly concrete details are left ambiguous, vague, or undefined; thus effective communication about things in the abstract requires an intuitive or common experience between the communicator and the communi-cation recipient.

The Neurology of Abstraction :Some research into the human brain suggests that the left and right hemispheres differ in their handling of abstraction. For example, one meta-analysis reviewing hu-man brain lesions has shown a left hemisphere bias during tool usage.

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The Man Who saved The World

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Oleg Vladimirovich Penkovsky, codenamed " Agent Hero " (born April 23, 1919, Vladikavkaz, died May 16, 1963, Soviet Union), was a colonel with Soviet military intelligence (GRU) in the late 1950s and early 1960s who passed important secrets to the West. He is considered one of the best assets the West ever had in the Soviet Union.

Penkovsky’s father died fighting as an officer in the White Army in the Russian Civil War when he was only four months old, a fact that later be-came important in his life. Penkovsky had a negative experience with his superiors while working in the Soviet intelligence services in Turkey in the 1950s, and returned to Moscow. When his father’s background was dis-covered by his superiors, Penkovsky’s chances for any further promotion disappeared. This action was part of his motivation to decide to become a spy. He even approached American students on the Moskvoretsky Bridge in Moscow in July 1960 and gave them a package, which was delivered to the Central Intelligence Agency. CIA officers delayed in contacting him because they believed they were under constant surveillance.

Penkovsky eventually persuaded Greville Wynne to arrange a meeting with two American and two British intelligence officers during a visit to London in 1961. Wynne became one of his couriers. For the following eighteen months he supplied a tremendous amount of information to his Secret Intelligence Service handlers in Moscow, Ruari and Janet Chisholm, and to CIA and SIS contacts during his permitted trips abroad. Most significantly, he was responsible for arming President John F. Kennedy with the information that the Soviet nuclear arsenal was much smaller than previously thought, that the Soviet fueling systems were not

fully operational, and that the Soviet guidance systems were not yet functional.

Penkovsky was arrested by the KGB on 22 October 1962 — before Ken-nedy’s address to the nation revealing that U-2 spyplane photographs had confirmed intelligence reports that the Soviets were installing medium range nuclear missiles on the Caribbean Island — code named Operation Anadyr (see Cuban Missile Crisis). Thus the President was deprived of potentially important intelligence that might have lessened the tension du-ring the ensuing 13-day stand-off; e.g., such as the fact that Khrushchev was already looking for ways to defuse the situation. Such information, arguably, would have reduced the pressure on Kennedy to launch an invasion of the island — an action which, it is now known, would have led to the use of Luna class tactical nuclear weapons against US troops, as the Soviet commander, General Issa A. Pliyev, in charge had been given permission to use the weapons without consulting Moscow first.

Penkovsky was tried and convicted of treason and espionage in a show trial in 1963. As to his fate after conviction, accounts differ. Some sources allege that Penkovsky was executed by the traditional Soviet method of a bullet to the back of the neck and cremated. GRU author Vladimir Rezun, " Viktor Suvorov " claims in Inside Soviet Military Intelligence that Penko-vsky was bound to a board with piano wire and cremated alive. A more graphic account states that he was slowly fed into a furnace alive, as his closest friends were made to watch on, as a warning to other potential moles, a punishment that " The Soviets meted out to only their worst traitors. "

Further reading : Oleg Penkovsky, The Penkovsky Papers : The Russian Who Spied for the West, Doubleday, New York, 1966.Note: The book was commissioned by the Central Intelligence Agency. A 1976 Senate commission stated that " the book was prepared and written by witting agency assets who drew on actual case materials. " Author Frank Gibney denied that the CIA forged the provided source material, which was also the opinion of Robert Conquest. Other dismissed the book as propaganda and having no historic value.

Jerrold L. Schecter and Peter S. Deriabin, The Spy Who Saved the World : How a Soviet Colonel Changed the Course of the Cold War, New York, Charles Scribner’s Sons, 1992.

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uccellacci e uccellini

Pier Paolo Pasolini was brutally murdered by being run over several times with his own car, dying on November 2, 1975 on the beach at Ostia, near Rome, in a location typical of his novels.Giuseppe Pelosi, a seventeen-year-old hustler, was arrested and confessed to murdering Pasolini. However, on May 7th, 2005, he retracted his confession, which he said was made under the threat of violence to his family, and claimed that three strangers with southern Italian accents had committed the murder, insulting Pasolini as a " filthy communist. " Following Pelosi’s retraction, the investigation into Pasolini’s death was reopened, although the murder is still not completely explained. Contradictions in the declarations of Pelosi, a strange intervention by Italian secret services during the investigations, and some lack of

coherence in related documents during the different parts of the judicial procedures brought some of Pasolini’s friends (particularly actress Laura Betti, a close friend) to suspect that it had been a contract killing. The inefficiency of the investigations were exposed by his friend, Oriana Fallaci, writing in Europeo magazine. Many clues suggest that it was unlikely that Pelosi killed Pasolini alone. In the months just before his death, Pasolini had met with a number of politicians, whom he made aware of his knowledge of cer-tain important secrets. Other evidence, uncovered in 2005, points to Pasolini having been murdered by an extortionist. Testimony by Pasolini’s friend, Sergio Citti, indicates that some of the rolls of film from Salò had been stolen, and that Pasolini had been going to meet with the thieves after a visit to Stockholm, November 2, 1975.

Others report that, shortly before he was found dead in Ostia, outside Rome, he told them he knew he would be murdered by the mafia. It has also been suggested that Pasolini not only knew he was going to die, but in fact wanted to be killed and staged his death. Proponents of this theory include Pasolini’s lifelong friend, painter and writer Giuseppe Zigaina. Zigaina claims that " Pasolini himself was the organizer of his own death, which, conceived as a form of expression, was intended to give meaning to his entire œuvre. " Zigaina argues that Pasolini had been planning his death for many years and planted in his works clandestine codes that revealed when and how it would happen. Another of Pasolini’s close friends, Alberto Mora-via, has also found striking similarities between his death and his work. In 1977, Moravia wrote a book about the murder and in it said that he recognized the murder scene in Ostia from Pasolini’s descriptions of similar landscapes in his two novels, Ragazzi di vita (The Ragazzi) and Una vita violenta (A Violent Life), and in an image from his first film Accattone. Pasolini had even shot footage of the site a year earlier, for use in his film Il fiore delle mille e una notte (A Thousand and One Nights). Unlike Zigaina, however,

Moravia has written off these similarities as no more than poetic irony.Despite the Roman police’s reopening of the murder case following Pelosi’s statement of May 2005, the judges charged with investigating it determined the new elements insufficient for them to continue the inquiry.Pasolini was buried in Casarsa, in his beloved Friuli. In the grave, he wears the jersey of the Italian Showmen national team, a charity soccer team he founded, with others.On the 30th anniversary of his death, a biographical cartoon, entitled Pasolini requiem (2005), was animated and directed by Mario Verger, with passages drawn from Mamma Roma, Uccellacci e uccellini, and La Terra vista dalla Luna. It ends with a description of the Ostia murder.

{ Pasolini distinguished himself as a philosopher, linguist, novelist, playwright, filmmaker, newspaper and magazine columnist, actor, painter and political figure. He demonstrated a unique and extraordinary cultural versatility, in the process becoming a highly controversial figure.

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affichiSTS aT work16

Though vandalism in itself is illegal, it is often also an integral part of modern popular culture. French painter Gustave Courbet’s attempt to disassemble the Vendôme column during the 1871 Paris Commune was probably one of the first artistic vandalist acts, celebrated at least since Dada performances during World War I. The Vendôme column was considered a symbol of the past Napoleon III empire, and dismantled as such.After the burning of the Tuileries Palace on May 23, 1871, Philosopher Friedrich Nietzsche himself meditated about the " fight against culture ", wondering what could justify culture if it were to be destroyed in such a " sense-less " manner (the arguments are : culture is justified by works of art and scientific achievements; exploitation is necessary to those achievements, leading to the creation of exploited people who then fight against culture. In this case, culture can’t be legitimised by art achievements, and Nietzsche writes : " I {also} know what it means: fighting against culture ". After quoting him, Klossowski writes : " The criminal fight against culture is only the reverse side of a criminal culture. "As destruction of monument, vandalism can only have sense in a culture respecting history, archeology – Nietzsche spoke of monumental history. As destruction of monumental history, vandalism was assured a long life (as Herostratus proved) : Performance art could make such a claim, as well as Hakim Bey’s poetic terrorism or Destroy 2000 Years of Culture from Atari Teenage Riot. Gustave Courbet’s declaration stated : " Attendu que la colonne Vendôme est un monu-ment dénué de toute valeur artistique, tendant à perpétuer par son expression les idées de guerre et de conquête qui étaient dans la dynastie impériale, mais que réprouve le sentiment d’une nation républicaine, [le citoyen Courbet] émet le vœu que le gouvernement de la Défense nationale veuille bien l’autoriser à déboulonner cette colonne. " (" As the Vendôme column is formally considered a monument devoid of any artistic value, tending to per-petuate with its expression ideas of war and conquest of the past imperial dynasty, that are reprobated by a republican nation’s sentiment, citizen Courbet is to emit his wish that the National Defense government will allow him to dismantle this column. ")Hence, painter Courbet justified the dismantlement of the Vendôme column on political grounds, downgrading its artistic value. Vandalism poses the problem of the value of art compared to life’s hardships : Courbet thought

that the political values transmitted by this work of art neutralized its artistic value. Anyway, his project wasn’t followed, however, on April 12, 1871, the dismantlement of the imperial symbol was voted by the Commune, and the column taken down on May 8. After the assault on the Paris Commune by Adolphe Thiers, Gustave Courbet was condemned to pay part of the expenses. As any good vandal, he preferred flying away to Switzerland.Tags, designs, and styles of writing are commonplace on clothing and are an influence on many of the corporate logos with which we are familiar. Many skateparks and si-milar youth-oriented venues are decorated with commis-sioned graffiti-style artwork, and in many others patrons are welcome to leave their own. There is still, however, a very fine line between vandalism as an artform, as a political statement, and as a crime. An excellent example of one who walks this threefold line is Bristol born guer-rilla-artist Banksy, who is revered as a cult artistic figure by many, but seen by others as a criminal.

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The infiniTe monkey Theorem

The infinite monkey theorem states that a mon-key hitting keys at random on a typewriter key-board for an infinite amount of time will almost surely type a particular chosen text, such as the complete works of William Shakespeare. In this context, " almost surely " is a mathematical term with a precise meaning, and the " monkey " is not an actual monkey ; rather, it is a metaphor for an abstract device that produces a random sequence of letters ad infinitum. The theorem illustrates the perils of reasoning about infinity by imagining a vast but finite number, and vice versa. The probability of a monkey typing a given string of text as long as, say, Hamlet is so tiny that, were the experiment conducted, the chance of it actually occurring during a span of time of the order of the age of the universe is minuscule but not zero.

Variants of the theorem include multiple and even infinitely many typists, and the target text varies between an entire library and a single sentence. The history of these statements can be traced back to Aristotle’s Metaphysics and Cicero’s De natura deorum, through Blaise Pascal and Jonathan Swift, and finally to mo-dern statements with their iconic typewriters. In the early 20th century, Émile Borel and Arthur Eddington used the theorem to illustrate the timescales implicit in the foundations of statis-tical mechanics. Various Christian apologists on the one hand, and Richard Dawkins on the other, have argued about the appropriateness of the monkeys as a metaphor for evolution.

Today, popular interest in the typing monkeys is sustained by numerous appearances in literature, television and radio, music, and the Internet. A " Monkey Shakespeare Simula-tor " website got as far as 24 characters with " RUMOUR. Open your ears; " . In 2003 a humorous experiment was performed with six Sulawesi crested macaques, but their literary contribution was five pages consisting largely of the letter S.

In his 1931 book " The Mysterious Universe ", Eddington’s rival James Jeans attributed the monkey parable to a " Huxley ", presumably meaning Thomas Henry Huxley. This attribu-tion is incorrect. Today, it is sometimes further reported that Huxley applied the example in a now-legendary debate over Charles Darwin’s Origin of Species with the Anglican Bishop of Oxford, Samuel Wilberforce, held at a meeting of the British Association for the Advancement of Science at Oxford in June 30, 1860. This story suffers not only from a lack of evidence, but the fact that in 1860 the typewriter itself had yet to emerge. Primates were still a sensitive topic for other reasons, and the Huxley-Wilberforce debate did include byplay about apes: the bishop asked whether Huxley was descended from an ape on his grandmother’s or his grandfather’s side, and Huxley responded something to the effect that he would rather be descended from an ape than from someone who argued as dishonestly as the bishop.

Despite the original mix-up, monkey-and-typewriter arguments are now common in arguments over evolution. For example, Doug Powell argues as a Christian apologist that even if a monkey accidentally types the letters of Hamlet, it has failed to produce Hamlet because it lacked the intention to communicate. His parallel implication is that natural laws could not produce the information content in DNA. A more common argument is represented by John McArthur, who claims that the genetic mutations necessary to produce a tapeworm from an amoeba are as unlikely as a monkey typing Hamlet’s soliloquy, and hence the odds against the evolution of all life are impossible to overcome.Evolutionary biologist Richard Dawkins employs the typing monkey concept in his 1986 book " The Blind Watch-maker " to demonstrate the abilities of natural selection in producing biological complexity out of random mutations. In the simulation

experiment he describes, Dawkins has his Weasel program produce the Hamlet phrase " Methinks it is like a Weasel " by typing random phrases but constantly freezing those parts of the output which already match the goal. The point is that random string generation merely serves to furnish raw materials, while selection imparts the information.

A different avenue for rejecting the analogy between evolution and an unconstrained monkey lies in the problem that the monkey types only one letter at a time, independently of the other letters. Hugh Petrie argues that a more sophisticated setup is required, in his case not for biological evolution but the evolution of ideas : " In order to get the proper analogy, we would have to equip the monkey with a more complex typewriter. It would have to include whole Elizabethan sentences and thoughts. It would have to include Elizabethan beliefs about human action patterns and the causes, Elizabethan morality and science, and linguistic patterns for expressing these. It would probably even have to include an account of the sorts of experiences which shaped Shakespeare’s belief structure as a particular example of an Elizabethan. Then, perhaps, we might allow the monkey to play with such a typewriter and produce variants, but the impossibility of obtaining a Shakespearean play is no longer obvious. What is varied really does encapsulate a great deal of already-achieved knowledge. "

James W. Valentine, while admitting that the classic monkey’s task is impossible, finds that there is a worthwhile analogy between written English and the metazoan genome in this other sense : both have " combinatorial, hierarchical structures " that greatly constrain the immense number of combinations at the alphabet level.

R. G. Collingwood argued in 1938 that art cannot be produced by accident, and wrote as a sarcastic aside to his critics, " … some … have denied this proposition, pointing out that if a monkey played with a typewriter … he would produce … the complete text of Shakes-peare. Any reader who has nothing to do can amuse himself by calculating how long it would take for the probability to be worth betting on. But the interest of the suggestion lies in the revelation of the mental state of a person who can identify the works of Shakespeare with the series of letters printed on the pages of a book … "

Nelson Goodman took the contrary position, illustrating his point along with Catherine Elgin by the example of Borges’ " Pierre Menard, Author of the Quixote ", " What Menard wrote

Given enough time, a hypothetical chimpanzee typing at random would, as part of its output, almost surely produce one of Shakespeare’s plays (or any other text).

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is simply another inscription of the text. Any of us can do the same, as can printing presses and photocopiers. Indeed, we are told, if infinitely many monkeys … one would eventually produce a replica of the text. That replica, we maintain, would be as much an instance of the work, Don Quixote, as Cer-vantes’ manuscript, Menard’s manuscript, and each copy of the book that ever has been or will be printed. "

In another writing, Goodman elaborates, " That the monkey may be supposed to have produced his copy randomly makes no diffe-rence. It is the same text, and it is open to all the same interpretations … " Gérard Genette dismisses Goodman’s argument as begging the question.

For Jorge J. E. Gracia, the question of the identity of texts leads to a different question, that of author. If a monkey is capable of typing Hamlet, despite having no intention of meaning and therefore disqualifying itself as an author, then it appears that texts do not require authors. Possible solutions include saying that whoever finds the text and identifies it as Hamlet is the author ; or that Shakespeare is the author, the monkey his agent, and the finder merely a user of the text. These solutions have their own difficulties, in that the text

appears to have a meaning separate from the other agents : what if the monkey operates before Shakespeare is born, or if Shakespeare is never born, or if no one ever finds the mon-key’s typescript ?The theorem concerns a thought experiment which cannot be fully carried out in practice, since it is predicted to require prohibitive amounts of time and resources. Nonetheless, it has inspired efforts in finite random text generation. One computer program run by Dan Oliver of Scottsdale, Arizona, according to an article in The New Yorker, came up with a result on August 4, 2004 : After the group had worked for 42,162,500,000 billion billion years, one of the " monkeys " typed, " VALENTINE. Cease toIdor:eFLP0FRjWK78aXzVOwm)-‘;8.t . . . " The first 19 letters of this sequence can be found in " The Two Gentlemen of Verona ". Other teams have reproduced 18 characters from " Timon of Athens ", 17 from " Troilus and Cressida ", and 16 from " Richard II ".

A website entitled The Monkey Shakespeare Simulator, launched on July 1, 2003, contained a Java applet that simulates a large population of monkeys typing randomly, with the stated intention of seeing how long it takes the virtual monkeys to produce a complete Shakespea-rean play from beginning to end. For example, it produced this partial line from Henry IV, Part 2, reporting that it took " 2,737,850 million billion billion billion monkey-years " to reach 24 matching characters : RUMOUR. Open your ears; 9r»5j5&?OWTY Z0d …

Due to processing power limitations, the program uses a probabilistic model (by using a random number generator or RNG) instead of actually generating random text and com-paring it to Shakespeare. When the simulator " detects a match " (that is, the RNG generates a certain value or a value within a certain range), the simulator simulates the match by generating matched text.

Questions about the statistics describing how often an ideal monkey should type certain strings can motivate practical tests for random number generators as well ; these range from the simple to the " quite sophisticated ". Com-puter science professors George Marsaglia and Arif Zaman report that they used to call such tests " overlapping m-tuple tests " in lecture, since they concern overlapping m-tuples of successive elements in a random sequence. But they found that calling them " monkey tests " helped to motivate the idea with students. They published a report on the class of tests and their results for various RNGs in 1993.

The infinite monkey theorem and its associated imagery is considered a popular and proverbial illustration of the mathematics of probability, widely known to the general public because of its transmission through popular culture rather than because of its transmission via the classroom.

The enduring, widespread and popular nature of the knowledge of the theorem was noted in the introduction to a 2001 paper, " Monkeys, Typewriters and Networks — the Internet in the Light of the Theory of Accidental Excellence " (Hoffmann & Hofmann). In 2002, a Washington Post article said : " Plenty of people have had fun with the famous notion that an infinite number of monkeys with an infinite number of typewriters and an infinite amount of time could eventually write the works of Shakespeare. " In 2003, the previously mentioned Arts Council funded experiment involving real monkeys and a computer keyboard received widespread press coverage. In 2007, the theorem was listed by Wired magazine in a list of eight classic thought experiments.

The history of the imagery of " typing mon-keys " dates back at least as far as Borel’s use of the metaphor in his essay in 1913, and this imagery has recurred many times since in a variety of media. Today, popular interest in the typing monkeys is sustained by numerous appearances in literature, television and radio, music, and the Internet, as well as graphic novels and stand-up comedy routines.

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Red is any of a number of similar colors evoked by light consisting predominantly of the longest wavelengths of light discernible by the human eye, in the wavelength range of roughly 625–750 nm. Longer wavelengths than this are called infrared, or below red and cannot be seen by human eyes.In human color psychology, red is associated with energy and blood, and emotions that stir the blood, including anger, passion, and love.Red is used as one of the additive primary colors of light, complementary to cyan, in RGB color systems. Red is also one of the subtractive primary colors of RYB color space but not CMYK color space.

One common use of red as an additive primary color is in the RGB color model. Because " red " is not by it-self standardized, color mixtures based on red are not exact specifications of color either. In order to produce exact colors the color red needs to be defined in terms of an absolute color space such as sRGB. As used in computer monitors and television screens, red is very variable, but some systems may apply color correction (so that a standardized " red " is produced that is not in fact full intensity of only the red colorant).

PoliticsEven before Europe’s Revolutions of 1848, " Socialist " red was used as a color of European Revolutionaries, often in the form of the red flag. It was also used by Garibaldi’s camicie rosse (" redshirts ") in the Italian Risorgimento, and taken up by Leftist and generally revolutionary groups, while the white of legitimist Bourbon partisans became associated with pre-WWI conservatives. This relates to the term " Blood of the workers ", representing the suffering of the proletariat.For instance the Civil War in Russia and the Civil War in Finland were fought between the " Red Army " and various " White Armies ".The identification of Communism with " Socialist " red (with the red flag being the primary color of the flag of the Soviet Union) and the red star being a Communist emblem led to such Cold War phrases as " the Red Menace " and " Red China " (distinguished from Natio-nalist China, " Free China, " or Taiwan). Mao Zedong was sometimes referred to as a " red sun ". The color was also associated with political vehicles such as the Red Guard in China and the Red Guards during the Russian Revolution of 1917 as well as with left wing paramilitary terrorist groups such as the Red Army Faction in Germany and the Japanese Red Army.Red remains associated with parties on the left of the political spectrum, with several notable exceptions. Red and black are colors associated with anarchism, and, specifically, anarcho-syndicalism.

red sun

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Blue is a colour, the perception of which is evoked by light having a spectrum dominated by energy with a wavelength of roughly 440–490 nm. It is considered one of the additive primary colours. On the HSV Colour Wheel, the complement of blue is yellow; that is, a colour corresponding to an equal mixture of red and green light. On a colour wheel based on traditional colour theory (RYB), the complementary colour to blue is considered to be orange (based on the Munsell colour wheel).

In the RGB colour system, colours are formed by mixing a red, a green and a blue colour. When talking about RGB, therefore, some people use blue to mean that specific blue, which varies in shade according to the device used to display the RGB colour. Absolute colour spaces based on RGB, such as sRGB, define an exact colour for this blue, which may differ from the actual blue used in a particular computer monitor.

The English language commonly uses " blue " to refer to any colour from navy blue to cyan. The word itself is derived from the Old French word bleu. The term may also refer to the human emotion of sadness. " He was feeling blue ". From there is derived the term for The Blues, a popular form of music.

The modern English word blue (German : blau) comes from the Middle English, bleu or blwe, which came from an Old French word bleu of Germanic origin (Frankish or possibly Old High German blao, " shining "). Bleu replaced Old English blaw. The root of these variations was the Proto-Germanic blæwaz, which was also the root of the Old Norse word bla and the modern Icelandic blár, and the Scandinavian word blå. It can also be green or orange occasionally (blue). A Scots and Scottish English word for " blue-grey " is blae, from the Middle English bla (" dark blue, " from the Old English blæd). Ancient Greek lacked a word for colour blue and Homer called the colour of the sea " wine dark ", except that the word kyanos was used for dark blue enamel.

In the English language, blue may refer to the feeling of sadness. "He was feeling blue ". This is because blue was related to rain, or storms, and in Greek mytho-logy, the god Zeus would make rain when he was sad (crying), and a storm when he was angry. Kyanos was a name used in Ancient Greek to refer to dark blue tile (in English it means blue-green).

Many languages do not have separate terms for blue and or green, instead using a cover term for both (when the issue is discussed in linguistics, this cover term is sometimes called grue in English).

Traditionally, blue has been considered a primary colour in painting, with the secondary colour orange as its complement. Blue pigments include azurite, ultramarine, cerulean blue, cobalt blue, and Prussian blue (milori blue).

Blue, Blue, elecTric Blue22

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In addition to Surrealist ideas that are grounded in the ideas of Hegel, Marx and Freud, Surrealism is seen by its advocates as being inherently dynamic and as dialectical in its thought. Surrealists have also drawn on sources as seemingly diverse as Clark Ashton Smith, Montague Summers, Horace Walpole, Fantomas, The Residents, Bugs Bunny, comic strips, the obscure poet Samuel Greenberg and the hobo writer and humourist T-Bone Slim. One might say that Surrealist strands may be found in movements such as Free Jazz (Don Cherry, Sun Ra, Cecil Taylor etc.) and even in the daily lives of people in confronta-tion with limiting social conditions. Thought of as the effort of humanity to liberate imagination as an act of insurrection against society, Surrealism finds precedents in the alchemists, possibly Dante, Hieronymus Bosch, Marquis de Sade, Charles Fourier, Comte de Lautreamont and Arthur Rimbaud.

Surrealists believe that non-Western cultures also provide a con-tinued source of inspiration for Surrealist activity because some may strike up a better balance between instrumental reason and imagination in flight than Western culture. Surrealism has had an identifiable impact on radical and revolutionary politics, both directly — as in some Surrealists joining or allying themselves with radical political groups, movements and parties — and indirectly — through the way in which Surrealists’ emphasize the intimate link between freeing imagination and the mind, and liberation from repressive and archaic social structures. This was especially visible in the New Left of the 1960s and 1970s and the French revolt of May 1968, whose slogan " All power to the imagination " rose directly from French Surrealist thought and practice.

Many significant literary movements in the later half of the 20th century were directly or indirectly influenced by Surrealism. This period is known as the Postmodern era ; though there’s no

widely agreed upon central definition of Postmodernism, many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism. Perhaps the writers within the Postmodern era who have the most in common with Surrealism are the playwrights of Theatre of the Absurd. Though not an organized movement, these playwrights were grouped together based on some similarities of theme and technique; these simi-larities can perhaps be traced to influence from the Surrealists. Eugene Ionesco in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history. Samuel Beckett was also fond of Surrealists, even trans-lating much of the poetry into English ; he may have had closer ties had the Surrealists not been critical of Beckett’s mentor and friend James Joyce. Many writers from and associated with the Beat Generation were influenced greatly by Surrealists. Philip Lamantia and Ted Joans are often categorized as both Beat and Surrealist writers. Many other Beat writers claimed Surrealism as a significant influence. A few examples include Bob Kaufman, Gregory Corso, and Allen Ginsberg. In popular culture much of the stream of consciousness song writing of the young Bob Dy-lan, c. 1960s and including some of Dylan’s more recent writing as well, (c. mid - 1980s-2006) clearly have Surrealist connections and undertones. Magic Realism, a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Sur-realism with its juxtaposition of the normal and the dream-like. The prominence of Magic Realism in Latin American literature is often credited in some part to the direct influence of Surrealism on Latin American artists (Frida Kahlo, for example).

the impact of surrealism

While Surrealism is typically associated with the arts, it has been said to transcend them ; Surrealism has had an impact in many other fields. In this sense, Surrealism does not specifically refer only to self-identified " Surrealists ", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.

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1920s-1930s

German Expressionism (also referred to as Expressionism in filmmaking) developed in Germany, especially Berlin, during the 1920s. The Expressionism movement started earlier in about 1905 with the Die Brücke (The Bridge) group, but arose in the filming industry afte-rward. During the period of recovery following World War I, the German film industry was booming, but because of the hard economic times filmmakers found it difficult to create movies that could compare with the lush, extravagant features coming from Hollywood. The filmmakers of the German UFA studio developed their own style by using symbolism and mise en scène to add mood and deeper meaning to a movie.

The first Expressionist films, notably The Golem (1915), The Cabinet of Dr. Caligari (1920), Nosferatu (1922), Phantom (1922), Raskolnikow (1923) and Schatten (1923), were highly symbolic and deliberately surrealistic portrayals of filmed stories. Other early exam-ples came from Austria, just as Der Mandarin (1918) by Fritz Freisler, Der Märtyrer seines Herzens (1918) with Fritz Kortner, Inferno (1920) by Paul Czinner and The Hands of Orlac (1925) by Robert Wiene.

One of the best expressionist actors was Fritz Kortner, who played also in Viennese films and Berlin-films. The dada movement was sweeping across the artistic world in the early 1920s, and the various European cultures of the time had embraced an ethic of change, and a willingness to look to the future by experi-menting with bold, new ideas and artistic

styles. The first Expressionist films made up for a lack of lavish budgets by using set designs with wildly non-realistic, geometrically absurd sets, along with designs painted on walls and floors to represent lights, shadows, and objects. The plots and stories of the Expressionist films often dealt with madness, insanity, betrayal, and other " intellectual " topics (as opposed to standard action-adventure and romantic films) ; the German name for this type of storytelling was called Kammerspielfilm (chamber film in English). Later films often categorized as part of the brief history of German Expressionism include Metropolis (1927) and M (1931), both directed by Fritz Lang.

The extreme non-realism of Expressionism was short-lived, and it faded away (along with Dadaism) after only a few years. However, the themes of Expressionism were integrated into later films of the 1920s and 1930s, resulting in an artistic control over the placement of scene-ry, light, and shadow to enhance the mood of a film. This dark, moody school of filmmaking was brought to America when the Nazis gained power and a number of German filmmakers emigrated to Hollywood. They found a number of American movie studios willing to embrace them, and several German directors and came-ramen flourished there, producing a repertoire of Hollywood films that had a profound effect on the medium of film as a whole.

Two genres that were especially influenced by Expressionism were the horror film and film noir. Carl Laemmle and Universal Studios had made a name for themselves by producing

the German expressionism

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such famous horror films of the silent era as Lon Chaney’s The Phantom of the Opera. German emigrees such as Karl Freund (the cinematographer for Dracula in 1931) set the style and mood of the Universal monster mo-vies of the 1930s with their dark and artistically designed sets, providing a model for later generations of horror films. Directors such as Fritz Lang, Billy Wilder, Otto Preminger, and Michael Curtiz introduced the Expressionist style to crime dramas of the 1940s, influencing a further line of filmmakers and taking Expres-sionism through the years.

German Expressionist Film Today

Ambitious adaptations of the style are depicted throughout the contemporary filmography of director Tim Burton. His 1992 film Batman Returns is often cited as a modern attempt to capture the essence of German Expressionism. The angular building designs and severe-loo-king city squares of Gotham City evoke the loom and menace present in Lang’s Metro-polis. One may even notice the link between the evil character of Max Shreck portrayed by Christopher Walken, and Nosferatu’s star, Max Schreck.

Burton’s influences are most obvious through his fairy tale suburban landscape in Edward Scissorhands. The appearance of the titular Edward Scissorhands none too accidentally reflects the look of Caligari’s somnambulist servant. Burton casts a kind of unease in his candy-colored suburb, where the tension is visually unmasked through Edward and his gothic castle perched above the houses. Burton subverts the Caligari nightmare with his own narrative branding, casting the garish " somnambulist " as the hero, and the villagers as the villains.

The familiar look of Caligari’s main character can also be seen in the movie The Crow. With the tight, black outfit, white makeup, and darkened eyes, Brandon Lee’s character is obviously a close relative to Burton’s film Edward Scissorhands.

Ties to other media

Expressionism as a movement spanned across media to include theater, architecture, music, painting, and sculpture, as well. Architecture, in particular, serves as an iconic way to bring the inner emotions of the individual into the public sphere, and therefore is most closely tied to the concepts of German Expressionism, but film extends the visual strengths of architecture into a more compelling, natural format. Many critics see a direct tie between cinema and architecture of the time, in the sense that the sets and scene artwork of expressionist films often reveal buildings of sharp angles, great heights, and crowded environments, such as the frequently shown Tower of Babel in Fritz Lang’s Metropolis.

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It is often said that, astronomically, winter starts with the winter solstice, and ends with the spring equinox. In meteorology, it is by convention counted instead as the whole months of June, July and August in the Southern Hemisphere and December, January and February in the Northern Hemisphere. While in actuality, the most accurate start and end point is simply defined by when the first major wave of cold fronts and warm fronts hit a particular area, having no universally predetermined dates.

In Celtic countries such as Ireland using the Irish calendar, the winter solstice is traditionally considered as midwinter, the winter season beginning November 1 on All Hallows or Samhain. Winter ends and spring begins on Imbolc or Can-dlemas, which is February 1 or 2. This system of seasons is based on the length of days exclusively. The three-month period of the shortest days and weakest solar radiation

occurs during November, December and January in the Northern Hemisphere (May-July in the Southern).

Also many mainland European countries tend to recognize Martinmas, St. Martins day (November 11) as the first ca-lendar day of winter. The day falls at midpoint between the old Julian equinox and solstice dates. Also, Valentines Day (February 14) is recognized by some countries as heralding the first rites of spring, such as flower blooming. In Chinese astronomy (and other East Asian calendars), winter is taken to commence on or around November 7, with the Jiéqì known as " establishment of winter ".

The three-month period associated with the coldest average temperatures typically begins somewhere in late Novem-ber or early December in the Northern Hemisphere. If «winter» is defined as the statistically coldest quarter of the

SeaSonal affecTive diSorder (a.k.a. Sad)

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year, then the astronomical definition is too late by almost all local climate standards, and the traditional English / Irish definition of November 1 (May 1 in the Southern Hemisphere) is almost always too early to fit this standard. No matter the reckoning, winter is the only season that spans two calendar years in the northern hemisphere. (In other words, there are very few temperate climates in which the vernal equinox is on average colder than the winter solstice, and very few temperate climates in which Samhain is colder than Imbolc).

The tilt of the earth’s axis relative to its orbital plane has a dramatic effect on the weather. The Earth is tilted at an angle of 23°27’ (23 degrees 27 minutes) to the plane of its orbit, and this causes different latitudes on the Earth to directly face the Sun as the Earth moves through its orbit. It is this variation that primarily brings about the seasons. When it is winter in the Northern Hemisphere, the Southern Hemisphere faces the Sun more directly and thus experiences warmer temperatures than the Northern Hemisphere. Conversely, winter in the Southern Hemisphere occurs when the Nor-thern hemisphere is tilted more toward the Sun. From the perspective of an observer on the Earth, the winter Sun has a lower maximum altitude in the sky than the summer Sun.During winter in either hemisphere, the lower altitude of the Sun in winter causes the sunlight to hit that hemisphere at an oblique angle. In regions experiencing win-ter, the same amount of solar radiation is spread out over a larger area (see Effect of sun angle on climate). This effect is compounded by the larger distance that the light must travel through the atmosphere, allowing the atmosphere to dissipate more of this already limited heat.

Some years are exceptional. Year Without a Sum-mer was the name for 1816, because the weather was so cold that it reminded people of winter all year. In Europe, the winters of 1947, 1962 / 63 and 1981 / 82 were considered abnormally cold. The Winter of Discontent is the name for the British winter of 1978 / 79, during which there were widespread strikes. Lorry drivers, train drivers, nurses, most public sector employees, refuse collectors, and workers at Ford Motors all went on strike. Most notorious however was an unofficial strike by the gravediggers.

PsychologyPassing seasons change the habits and moods of people. During the winter months in the northern hemisphere, a gloominess nicknamed " winter blues ", " February blahs ", " Holiday depression ", or doldrums, is informally noted amongst people. The severest cases of this type of depression is diagnosed as seasonal affective disorder (SAD). Symptoms include sleeping more, tiredness, depression, and physical aches. Although causes include genetic disposition and stress, the prevailing environmental influence is decreased exposure to light due to the angle of the sun and the increased amount of clothing that must be worn to keep warm.

SymbolismWinter is highly symbolic of many things to many people and has been used to represent various things by artists in all media. Some use winter to suggest death, as in Robert Frost’s " Stopping by Woods on a Snowy Evening ". Some use it to suggest the absence of hope, as in C. S. Lewis’s The Lion, the Witch and the Wardrobe, where it was always winter but never Christmas. Winter is one concerto in Vivaldi’s " The Four Seasons " ; and there are many examples of four paintings, all showing the same scene in different seasons. Ursula K. Le-Guin’s novel The Left Hand of Darkness is set on a planet named Winter. In Alex Raymond’s comic strip, Flash Gordon, there is a land called Frigia, where it is always winter. The land of Frigia is also featured in the serial Flash Gordon Conquers the Universe. Other uses of winter in the graphic arts occur in Winsor McCay’s Little Nemo in Slumberland. There are many films in which a winter setting plays an important role, Fargo being an example. In addition to this, novels such as Ethan Frome also use a winter setting to mirror the bleak, frozen feelings that the characters harbor. The film Requiem for a Dream concludes with Act III : Winter, in which the movie reaches its hellish and chilling climax.

In various culturesIn Greek mythology, Hades kidnapped Persephone to be his wife. Zeus ordered Hades to return her to Demeter, the goddess of the earth and her mother. However, Hades tricked Persephone into eating the food of the dead so Zeus decreed Persephone would spend six months with Demeter and six months with Hades. During the time when her daughter is with Hades, Demeter becomes depressed and causes winter. In Welsh Mythology, Gwyn ap Nudd abducted a maiden named Creiddylad. On May Day her lover Gwythr ap Greidawl fought Gwyn to win her back. The battle between them represented the contest between summer and winter.

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Tobacco use kills more people eve-ryday in the U.S. than three jumbo jet crashes. More people die each day from tobacco related disease in the US than from AIDS, auto-accidents, alcohol and drugs, homicides and suicides and fires combined. Each day 300 youth light up for the first time in California. About one third of them will die from tobacco related diseases. (Tobacco is Evil).

Zino Davidoff was born on March 11, 1906 in Kiev in what is now Ukraine, then a part of Czarist Russia. He was the eldest of four children born to Jewish tobacco merchant, Henri Davi-doff. Even in his own autobiographical writings, the facts on Zino’s youth are a bit hazy. His parents were either cigar merchants or cigarette manufacturers in Kiev. Fleeing the political tur-moil and anti-Semitism prevalent in Russia, they emigrated to Geneva, Switzerland in 1911 and opened their own tobacconist shop in 1912. Fi-nishing school in 1924, he went to Latin America to learn about the tobacco trade, spending time in such places as Argentina, Brazil, and finally Cuba where he spent two years working on a plantation and first encountered Cuban cigars.Returning to Switzerland around 1930, he took over his parents’ shop. What had originally been a modest smoke shop grew into a rich business

during and after World War II. Switzerland, being a neutral country and spared much of the havoc being wreaked elsewhere in Europe, became a haven for wealthy tobacco customers. Zino was particularly successful in marketing the Hoyo de Monterrey Châteaux Series of Cuban cigars that had been created for Zurich cigar distributor A Dürr Co. in the 1940s and named after great Bordeaux wines. Around this time, Zino is also credited by many as having invented the first desktop cigar humidor, in order to preserve cigars at the same conditions of humidity and tempe-rature under which they were rolled in Havana. Davidoff also had success writing several books on cigar smoking and Cuban cigar brands.

DaviDoffviva

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Information :This is a useless magazine.Consider it as a layout exercise.

Photography :Pøle JönssonJean-Bernard Libert

Layout :Pøle Jönsson

Text :A lot of sympathic people working for the Wikimedia Foundation

Thanks to :Steve Mc QueenHenri VerneuilLino VenturaJean GabinThe Man With No NamePier Paolo PasoliniJean-Paul BelmondoLee Van CleefGian Maria Volonté

Alain DelonSergio LeoneJean-Pierre MelvilleMichel AudiardEli WallachGeorges LautnerJames CoburnKen LoachCharles Bronson

Act 1. Scene 1. Elsinore. A platform before the castle. Francisco at his post. Enter to him Bernardo. Bernardo : Who’s there ?! / Francisco : Nay, answer me : stand, and unfold yourself. / Bernardo : Long live the king ! / Francisco : Bernardo ? / Bernardo : He. / Francisco : You come most carefully upon your hour. / Bernardo : ‘Tis now struck twelve; get thee to bed, Francisco. / Francisco : For this relief much thanks: ‘tis bitter cold, And I am sick at heart. / Bernardo : Have you had quiet guard ? / Francisco : Not a mouç8àsù:<!4qu3*+m,-sz§h$̂ t4ut(ç»47s)çfù

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Copyright © 2007 Pøle Jönsson

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