El periodista ha dejado un sutil acróstico para despedirse de sus lectores, basta leer la primera letra de cada párrafo para descubrirlo. Una historia bonita. Via reddit
#11:
Give novelist and sometime art critic John Updike credit. The 2008 National Endowment for the Humanities Jefferson Lecturer tried to answer the thorny question: "What is American about American art?"
Onstage at the Warner Theatre Thursday night, in front of 1,900 culture lovers, the angular, silver-haired Updike used more than 60 images, ranging from formal mid-18th-century portraits by Bostonian John Singleton Copley to the hyper-realistic late-20th-century renderings of Richard Estes, to make his point: "The American artist . . . born into a continent without museums and art schools, took nature as his only instructor, and things as his principal study."
One of the salient traits of this country, he told the gathering, is an urge to define what is American. To delineate the romantic wildness of our nature. To search for a national self-image. That desire to map the New World is reflected in the tight classicist tradition of American art.
Drawing rules in this country's artwork, Updike said. He quoted a European-trained artist who criticized Copley -- the first American to exhibit a painting in Europe -- for being too "liney." That is, too reliant on the drawing in his paintings and not free enough with color and light.
By tracing that harsh "lineyness" in American painting, and juxtaposing it against a freer, more colorful romantic "painterliness" in other work, Updike laid out a convincing answer to his overarching what-is-American question.
Yet he did it subtly. Flashing slides of well-knowns, such as Gilbert Stuart, Winslow Homer, Grant Wood and Norman Rockwell, Updike pointed out the distinctions.
European-influenced artists, such as Homer and John Singer Sargent, tended toward the painterly; more purely American artists, such as Copley and Thomas Hart Benton, toward the liney.
Reading from a text, Updike, 76, spoke in a raspy voice. The presentation moved quickly. An invitation to deliver the Jefferson Lecture is the loftiest award given by the federal government for "distinguished intellectual achievement in the humanities," and there was a patriotic air to the affair.
Even the U.S. Marine Band showed up to play before the ceremony.
At no point during the speech did Updike, or the slideshow technology, falter. The address was based on "Picturing America," an NEH initiative to distribute reproductions of American paintings to schools and libraries.
Diversity was nearly absent in Updike's presentation. The painters he referred to were mostly males of European descent, a cohort he referred to as "that least hip of demographic groups." He did not, for instance, mention the extraordinary American painter Mary Cassatt, who became an expatriate.
Either ignored or overlooked, as well, was any reference to a 19th-century European debate -- similar to the liney-painterly dichotomy -- between classicist Jean Auguste Dominique Ingres and romanticist Eugène Delacroix.
Regardless, Updike's lecture was high-minded and provocative -- like most of his work.
Soon after the talk ended, the patrons repaired to the Willard Hotel for a wine-and-sweets reception. So did Updike.
#5:
#1#2#3#4 Creo que me he perdido... ¿Estoy en Menéame o en Digg?
#13:
El mensaje está muy claro, como dice #11 es GO OD BY E-READERS. ¿No?
Give novelist and sometime art critic John Updike credit. The 2008 National Endowment for the Humanities Jefferson Lecturer tried to answer the thorny question: "What is American about American art?"
Onstage at the Warner Theatre Thursday night, in front of 1,900 culture lovers, the angular, silver-haired Updike used more than 60 images, ranging from formal mid-18th-century portraits by Bostonian John Singleton Copley to the hyper-realistic late-20th-century renderings of Richard Estes, to make his point: "The American artist . . . born into a continent without museums and art schools, took nature as his only instructor, and things as his principal study."
One of the salient traits of this country, he told the gathering, is an urge to define what is American. To delineate the romantic wildness of our nature. To search for a national self-image. That desire to map the New World is reflected in the tight classicist tradition of American art.
Drawing rules in this country's artwork, Updike said. He quoted a European-trained artist who criticized Copley -- the first American to exhibit a painting in Europe -- for being too "liney." That is, too reliant on the drawing in his paintings and not free enough with color and light.
By tracing that harsh "lineyness" in American painting, and juxtaposing it against a freer, more colorful romantic "painterliness" in other work, Updike laid out a convincing answer to his overarching what-is-American question.
Yet he did it subtly. Flashing slides of well-knowns, such as Gilbert Stuart, Winslow Homer, Grant Wood and Norman Rockwell, Updike pointed out the distinctions.
European-influenced artists, such as Homer and John Singer Sargent, tended toward the painterly; more purely American artists, such as Copley and Thomas Hart Benton, toward the liney.
Reading from a text, Updike, 76, spoke in a raspy voice. The presentation moved quickly. An invitation to deliver the Jefferson Lecture is the loftiest award given by the federal government for "distinguished intellectual achievement in the humanities," and there was a patriotic air to the affair.
Even the U.S. Marine Band showed up to play before the ceremony.
At no point during the speech did Updike, or the slideshow technology, falter. The address was based on "Picturing America," an NEH initiative to distribute reproductions of American paintings to schools and libraries.
Diversity was nearly absent in Updike's presentation. The painters he referred to were mostly males of European descent, a cohort he referred to as "that least hip of demographic groups." He did not, for instance, mention the extraordinary American painter Mary Cassatt, who became an expatriate.
Either ignored or overlooked, as well, was any reference to a 19th-century European debate -- similar to the liney-painterly dichotomy -- between classicist Jean Auguste Dominique Ingres and romanticist Eugène Delacroix.
Regardless, Updike's lecture was high-minded and provocative -- like most of his work.
Soon after the talk ended, the patrons repaired to the Willard Hotel for a wine-and-sweets reception. So did Updike.
#21, hay gente que pide ayuda para entenderlo en los comentarios, #11 solo se la facilita. No todo el mundo sabe inglés, un poco de respeto, por favor.
Esto lo hice yo en el cole, puse algo así como "Alipio Gilipollas" (Alipio es su nombre jaja), pero en cada línea, no en cada punto y aparte, que es más complicado Y posiblemente era en asignatura de religión jajaja
Comentarios
Give novelist and sometime art critic John Updike credit. The 2008 National Endowment for the Humanities Jefferson Lecturer tried to answer the thorny question: "What is American about American art?"
Onstage at the Warner Theatre Thursday night, in front of 1,900 culture lovers, the angular, silver-haired Updike used more than 60 images, ranging from formal mid-18th-century portraits by Bostonian John Singleton Copley to the hyper-realistic late-20th-century renderings of Richard Estes, to make his point: "The American artist . . . born into a continent without museums and art schools, took nature as his only instructor, and things as his principal study."
One of the salient traits of this country, he told the gathering, is an urge to define what is American. To delineate the romantic wildness of our nature. To search for a national self-image. That desire to map the New World is reflected in the tight classicist tradition of American art.
Drawing rules in this country's artwork, Updike said. He quoted a European-trained artist who criticized Copley -- the first American to exhibit a painting in Europe -- for being too "liney." That is, too reliant on the drawing in his paintings and not free enough with color and light.
By tracing that harsh "lineyness" in American painting, and juxtaposing it against a freer, more colorful romantic "painterliness" in other work, Updike laid out a convincing answer to his overarching what-is-American question.
Yet he did it subtly. Flashing slides of well-knowns, such as Gilbert Stuart, Winslow Homer, Grant Wood and Norman Rockwell, Updike pointed out the distinctions.
European-influenced artists, such as Homer and John Singer Sargent, tended toward the painterly; more purely American artists, such as Copley and Thomas Hart Benton, toward the liney.
Reading from a text, Updike, 76, spoke in a raspy voice. The presentation moved quickly. An invitation to deliver the Jefferson Lecture is the loftiest award given by the federal government for "distinguished intellectual achievement in the humanities," and there was a patriotic air to the affair.
Even the U.S. Marine Band showed up to play before the ceremony.
At no point during the speech did Updike, or the slideshow technology, falter. The address was based on "Picturing America," an NEH initiative to distribute reproductions of American paintings to schools and libraries.
Diversity was nearly absent in Updike's presentation. The painters he referred to were mostly males of European descent, a cohort he referred to as "that least hip of demographic groups." He did not, for instance, mention the extraordinary American painter Mary Cassatt, who became an expatriate.
Either ignored or overlooked, as well, was any reference to a 19th-century European debate -- similar to the liney-painterly dichotomy -- between classicist Jean Auguste Dominique Ingres and romanticist Eugène Delacroix.
Regardless, Updike's lecture was high-minded and provocative -- like most of his work.
Soon after the talk ended, the patrons repaired to the Willard Hotel for a wine-and-sweets reception. So did Updike.
#1 #2 #3 #4 Creo que me he perdido... ¿Estoy en Menéame o en Digg?
El mensaje oculto es "Adiós, lectores"
El mensaje está muy claro, como dice #11 es GO OD BY E-READERS. ¿No?
#17 ves en meneame.net habitualmente algo que sea realmente noticia?
Tits or GTFO!
Sad! http://www.editorandpublisher.com/eandp/news/article_display.jsp?vnu_content_id=1003807838 ("more than 10% of the 700-plus newsroom staff would leave")
Jo, ¿alguien hace una traducción resumida y nos pone el mensaje oculto a los torpes y vagos con el inglés :-P?
Y esto es noticia?
#13, you're doing it wrong.
Si éso es lo más ingenioso de lo que éra capaz el periodista, no me extraña demasiado que lo despidieran, francamente...
Funny!
#21, hay gente que pide ayuda para entenderlo en los comentarios, #11 solo se la facilita. No todo el mundo sabe inglés, un poco de respeto, por favor.
#4 Post-tits or GTFO http://www.myconfinedspace.com/wp-content/uploads/2007/03/post-tits-or-gtfo.thumbnail.png
Ya entendi
habia comentado una tonteria pero edito ejem
Esto me recuerda al caso de Naim Thomas, el triunfito que hizo un acróstico con la letra de una de sus canciones contra su propia discográfica. http://www.abc.es/hemeroteca/historico-21-06-2003/abc/Gente/naim-thomas-operacion-acrostico-contra-vale-music_189354.html
En realidad se caga en el jsljflksdf de su jefe, lo que pone arriba es para despistar.
Cool!
pero si está en ingles!!
Si ya Fernando de Rojas usó esto para esconder su nombre en La Celestina. (Aunque no se sabe con certeza si fue él, se cree que es muy probable).
#24 seguro que cuando te perdió de vista definitivamente diría ¡¡¡Que "alipio"!!!
Me recuerda a esto:
http://tinyurl.com/34khv6
OM NOM NOM NOM NOM
#25, sí, un gran gesto por la humanidad. Al mismo nivel del que inventó el pan de molde sin corteza.
Esto lo hice yo en el cole, puse algo así como "Alipio Gilipollas" (Alipio es su nombre jaja), pero en cada línea, no en cada punto y aparte, que es más complicado Y posiblemente era en asignatura de religión jajaja
Vaya, esperaba algo más profundo. De todas formas, no está mal como despedida original.
Me ha gustado la idea. No descarto hacer algo parecido ai algún día me echan del curro. Aunque tenga que escribirlo en la taza del váter
Mola.
Por lo menos es original jeje
LOL WUT
En un mundo en el que estamos, donde la (grandisima) mayoria de la gente solo mira por su ombligo, se agradecen detalles como este.
Esto lo ve el de Una Mente Maravillosa y se lo acaban de cargar.
#13 Good bye readers...
THIS... IS... 4CHANNNNNNNNNNN!!!!!!!!!
#11, ¿era necesario repetirlo y con negrita? Porque se lee perfectamente en la noticia.
#8 ¿realmente necesitas saber ingles para tomar la primera letra de cada parrafo?
El mensaje es el siguiente:
HPPECZF SFBEFST
Para leerlo sustituir las letras por su precedente en el alfabeto.