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April 5 (Bloomberg) — Gordon Chang, author of “The Coming Collapse of China,” talks about the possibility of Facebook Inc. entering China. Chang also discusses the Chinese government’s crackdown on microblogging websites and Apple Inc. Chief Executive Officer Tim Cook’s tour of Foxconn Technology Group’s newly built manufacturing facility for the iPhone. He speaks with Emily Chang on Bloomberg Television’s “Bloomberg West.”
(via Author Chang on China Internet, Facebook, Apple - Businessweek)
LAドジャース（MLB）の共同オーナーになったマジック・ジョンソン（元LAレイカーズ@NBA）の『実業家成功物語』- Bloomberg TVで45分の特集番組/ ジェリー・ウェスト（NBAロゴになった往年の名ポイントガード）からマイケル・オービッツ（タレントエージェンシーCAA、元ディズニー No.2）まで登場。
Bloomberg Game Changers: Magic Johnson - Video - Bloomberg
Bloomberg GAME CHANGERS is the first documentary to focus on Magic Johnson’s astonishing post-NBA career as a world class entrepreneur. See how this NBA legend has achieved a second legacy in business. What drove him? Find out through exclusive interviews with Ervin “Magic” Johnson, Magic’s parents Ervin and Christine Johnson, basketball legend Jerry West, Magic’s teammate and close friend Michael Cooper, legendary agent Michael Ovitz, NBA Commissioner David Stern, longtime Los Angeles Urban League president John Mack and many more.
Vuillard tenant son appareil KodakDescription :Fonds Pierre BonnardAuteur :Bonnard Pierre (1867-1947)Kodak Camera
Once Vuillard discovered the Kodak camera, in 1895, he used snapshots as studies for his paintings, allowing him to experiment further with perspective. Sometimes he would combine figures from different photographs and combine them on one canvas. Other times he would take snapshots of a place he intended to paint and refer to them whilst producing his paintings. He also frequently snapped pictures of compositions he had painted earlier; not literally but compositionally and temperamentally.
His photographs can be divided into three, corresponding to the three women who dominated Edouard Vuillard’s life: Misia Natanson (Thadee’s wife) in 1890, Lucy Hessel in 1900 and his mother throughout his entire career. His intimate scenes of family and friends define a whole genre within post-impressionistic painting, and layered his photographs with pigment and meaning.
Evolving in Different Directions
Vuillard used photography as a means to express an intimacy and immediacy that he failed to capture in paint. In a way he created a cinematic connection between featured actors in a scene. There is a similarity to his paintings in that he was present through feeling rather than physical existence; he was always the pivotal but invisible actor around whom the drama revolved. An example of this is a series of photographs he took in Restaurant Normandy. He is seated with a group of friends (Roman Coslos, Tristan Bernard, Marcelle Aron, Lucy Hessel) of whom only one, Lucy, acknowledges his presence. Her gaze into the lens turns something observed into something participated. This style he also adopted when taking snapshots of his mother. She is placed on her bed, bald and toothless, in a somewhat blurry manner which reflects how the room would look without her presence. These images confirm how his photography and painting styles evolved in differing directions.
Vuillard’s decision to adopt a new medium of expression, photography, helped give the viewer insight into the otherwise private world of an artist. The spontaneous nature of the snapshots was never reflected in his orchestrated painted compositions…(http://www.gupmagazine.com/articles/296-snapshot-at-van-gogh-edouard-vuillard)