‘Within the Revolution everything, against the Revolution nothing,’ declared Fidel Castro to the Cuban intelligentsia in 1961. Those words put an end to a debate over whether the state was justified in its censure of a film about nightlife at Havana’s port and led to the closure of Cuba’s premiere cultural magazine, Lunes de Revolución. While that infamous phrase has defined Cuba’s cultural policy ever since, its interpretation has varied depending on the political climate of the country. Nowadays Cuba enjoys international prestige for its free art education and its roster of home-grown art stars, but abstract painting, homoerotic fiction, scatological performances, anti-authoritarian poems, political punk rock and rap have fallen outside the boundaries of acceptability at many stages of the revolution, leading to arrests, the social death of several intellectuals and the confiscation of art works. - 1961年，卡斯特罗向古巴知识分子宣称：“在革命中，一切都是反对革命的，什么都不是。”这些话结束了关于哈瓦那政府对一部关于哈瓦那港口夜生活的电影的批评是否正当的辩论，并导致古巴首映的文化杂志《Lunes de Revolucin》的关闭。尽管这个臭名昭著的词组自那时起就界定了古巴的文化政策，但其解释因政治而异。国家的气候。如今，古巴因其自由的艺术教育和本国艺术明星的名册而享有国际声誉，但抽象绘画、同性恋小说、讽刺表演、反独裁诗歌、政治朋克摇滚和饶舌在革命的许多阶段都已超出了可接受的范围，导致社会被捕。一些知识分子的死亡和艺术品的没收。
Donald Trump
Earlier this year, Crown Prince Mohammed Bin Salman (MBS), the effective ruler of Saudi Arabia, went on a diplomatic tour of the United Kingdom and the United States. His aim was to rebrand the Saudi monarchy as an enlightened, reforming institution, and to attract the Western investment that his country desperately needs if it is to end its dependence on oil. On his trip, MBS not only shook hands with Donald Trump and Theresa May, but also met with Facebook’s Mark Zuckerberg, actor Dwayne ‘The Rock’ Johnson, and Disney CEO Bob Iger. Media coverage, on the whole, was credulously positive, as the supposed young reformer was held up as the new bright hope for Saudi Arabia, and perhaps for the Middle East itself. - 今年早些时候，沙特阿拉伯的有效统治者穆罕默德·本·萨尔曼王储（MBS）对英国和美国进行了外交访问。他的目标是重塑沙特君主制为一个开明的、改革的机构，并吸引西方投资，如果沙特要结束对石油的依赖，西方国家就迫切需要这些投资。在访问期间，MBS不仅与唐纳德·特朗普和特丽莎·梅握手，还与Facebook的马克·扎克伯格、演员德韦恩·约翰逊、迪斯尼的CEO鲍勃·伊格尔会面。总的来说，媒体报道是令人信服的积极的，因为这位所谓的年轻改革者被视作沙特阿拉伯，或许还有中东的新希望。
In Stephen Spielberg’s noir-sci-fi film Minority Report (2002), Tom Cruise plays a cop in the Washington DC police precrime division. Precrime, meaning, Cruise sees offences before they happen and rushes to stop the action prior to it taking place. The intel is received from three ‘precognitives’ – mutants who foresee the crimes – and their knowledge is transmitted to Cruise via a computer with a huge glass screen. Cruise’s performance involves his cop character conducting these images across this futuristic user interface, putting on special gloves that allow him to shift between images produced by the precogs, explore and zoom in on the background to see a mailbox, or a clock on the wall, and know the time and place where violence is about to happen. The images and short videos are grainy and poor, to communicate the fact that these are reflections of the future, but Cruise still gets to magnify them, or close in, and get all the information he needs. - 在斯蒂芬·斯皮尔伯格（Stephen Spielberg）的黑色科幻电影《少数族裔报告》（2002）中，汤姆·克鲁斯（Tom Cruise）在华盛顿警察局预犯罪分局扮演一名警察。先见之明，意味着，克鲁斯看到犯罪发生之前，并急于停止行动之前发生。英特尔是从三个“预知者”——预知犯罪的突变体——那里收到的，他们的知识通过一个带有巨大玻璃屏幕的计算机传送给克鲁斯。克鲁斯的表演包括他的警察角色在这个未来派的用户界面上处理这些图像，戴上特殊的手套，允许他在由预告片产生的图像之间切换，在背景中探索和放大以查看邮箱或墙上的时钟，并了解Tim。E和暴力即将发生的地方。这些图像和短片很粗糙，不足以说明这些是未来的反映，但是克鲁斯仍然可以放大它们，或者接近它们，并获得他所需要的所有信息。
In further news: Berlin cultural institutions rally against far-right; Tate Liverpool to stage first UK show dedicated to Keith Haring - 进一步的消息：柏林文化机构联合起来反对极右派；泰特·利物浦为基思·哈林举行英国首场演出
Wes Anderson and Juman Malouf’s show opens in Vienna; conspiracy theories at the Met during the Midterms and Shanghai’s psychedelic cat - 韦斯·安德森和朱曼·马卢夫的秀在维也纳开幕；大都会中期赛期间的阴谋论和上海的迷幻猫
Who are photographs for? Who are photographs by? Increasingly, the answer to both questions is, more or less, machine: images are captured by autonomous, or semi-autonomous devices in the act of gathering data for artificial intelligences. - 照片是给谁的？照片是谁的？这两个问题的答案或多或少地越来越多地是机器：图像是由自主或半自主设备在为人工智能收集数据时捕获的。
Frederick Wiseman’s new documentary, Monrovia, Indiana (2018) opens with a series of bucolic shots of rural Americana before moving inside to a meeting of a small church group. ‘Remember,’ a middle-aged man wearing a cross tells those gathered, ‘when He started this whole thing, everything was perfect. We messed it up. We brought the tribulations.’ - 弗雷德里克·怀斯曼的新纪录片《印第安纳州蒙罗维亚》（2018）以美国乡村的一系列田园风光开场，然后进入一个小型教会团体的会议。“记住，”一个背着十字架的中年人告诉那些聚集在一起的人，“当他开始这一切时，一切都很完美。”我们把事情搞糟了。我们带来了苦难。
Richard Wilson 20:50, 1987, installation view. Courtesy: © the artist and Hayward Gallery; photograph: Mark Blower - 理查德·威尔森20∶50，1987，安装视图。礼貌：艺术家和海沃德画廊；照片：Mark Blower
Karin Schneider, Sabotage, 2017, installation view CCA Wattis Institute, San Francisco. Courtesy: the artist - Karin Schneider，破坏，2017，安装视图CCA WATIS研究所，旧金山。礼貌：艺术家