Category Archives: Arts and Letters

Frozen Moving Pictures

green-salt-flotowarner

Recent works by artist duo Floto+Warner could be mistaken for a family of bizarrely fluid, alien life-forms, not 3D sculptures of colorful chemicals. While these still images of fluorescent airborne liquids certainly pay homage to Jackson Pollock, they have a unique and playful character all of their own. And, in this case the creative process is just as fascinating as the end result.

From Jonathan Jones over at the Guardian:

Luridly chemical colours hang in the air in the vast wastelands of Nevada in an eye-catching set of pictures by the New York art duo Floto+Warner. To make these images of bright liquids arrested in space, Cassandra and Jeremy Floto threw up cocktails of colour until their camera caught just the splashy, fluid, stilled moments they wanted to record. Apparently, Photoshop is not involved.

These images echo the great modern tradition that pictures motion, energy and flux. “Energy and motion made visible – memories arrested in space,” as Jackson Pollock said of his paintings that he made by dripping, flicking and throwing paint on to canvases laid on the floor. Pollock’s “action paintings” are the obvious source of Floto and Warner’s hurled colours: their photographs are playful riffs on Pollock. And they bring out one of the most startling things about his art: the sense it is still in motion even when it has stopped; the feel of paint being liquid long after it has dried.

Floto and Warner prove that Pollock is still the Great American Artist, 58 years after his death. American art still can’t help echoing him. Works from Robert Smithson’s Spiral Jetty to Andy Warhol’s piss paintings echo his free-ranging exploration of space and his dynamic expansion of the act of drawing.

Yet these images of arrested veils and clouds of colour also echo other attempts to capture living motion. In 1830 to 1831 Hokusai depicted The Great Wave off Kanagawa as a tower of blueness cresting into white foam and about to fall onto the boats helplessly caught in its path. Hokusai’s woodblock print is a decisive moment in the story of art. It takes motion as a topic, and distills its essence in an image at once dynamic and suspended.

Photographers would soon take up Hokusai’s challenge to understand the nature of motion. Famously, Eadweard Muybridge in the late 19th century took strange serial studies of human and animal bodies in motion. Yet the photographer whom Floto+Warner echo most vividly is Harold E Edgerton, who brought the scientific photography of movement into modern times in striking pictures of a foot kicking a ball or a bullet piercing an apple.

Read the entire story and see more of Floto+Warner’s images here.

Image: Green Salt, Floto+Warner. Courtesy of the Guardian.

The Art of Annoyance

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Our favorite voyeurs and provocateurs of contemporary British culture are at it again. Artists Gilbert & George have resurfaced with a new and thoroughly annoying collection — Scapegoating Pictures. You can catch their latest treatise on the state of their city (London) and nation at White Cube in London from July 18 – September 28.

From the Guardian.

The world of art is overwhelmingly liberal and forward looking. Unless you start following the money into Charles Saatchi’s bank account, the mood, content and operating assumptions of contemporary art are strikingly leftwing, from Bob and Roberta Smith’s cute posters to Jeremy Deller’s people’s art. The consensus is so progressive it does not need saying.

Gilbert & George have never signed up to that consensus. I am not saying they are rightwing. I am definitely not saying they are “racist”. But throughout their long careers, from a nostalgia for Edwardian music-hall songs to a more unsettling affinity for skinheads, they have delighted in provoking … us, dear Guardian reader.

Their new exhibition of grand, relentless photomontages restates their defiant desire to offend on a colossal scale. I could almost hear them at my shoulder asking: “Are you annoyed yet?”

Then suddenly they were at my shoulder, as I wrote down choice quotes from Scapegoating Pictures, the scabrous triptych of slogan-spattered pictures that climaxes this exhibition. When I confessed I was wondering which ones I could quote in a newspaper they insisted it’s all quotable: “We have a free press.” So here goes: “Fuck the Vicar.” “Get Frotting.” “Be candid with christians.” “Jerk off a judge.” “Crucify a curator.” “Molest a mullah.”

This wall of insults, mostly directed at religion, is the manifesto of Gilbert & George’s new pictures – and yet you discover it only at the end of the show. Before revealing where they are really coming from in this dirty-mouthed atheist onslaught, they have teased you with all kinds of dubious paranoias. What are these old men – Gilbert & George are 70 and 72, and the self-portraits that warp and gyrate through this kaleidoscopic digital-age profusion of images make no attempt to conceal their ageing process – so scared of?

At times this exhibition is like going on a tour of east London with one of Ukip’s less presentable candidates. Just look at that woman veiling her face. And here is a poster calling for an Islamic state in Britain.

Far from being scared, these artists are bold as brass. No one is asking Gilbert & George to go over the top one more time and plumb the psychic depths of Britain. They’re respectable now; they could just sit back in their suits. But, in these turbulent and estranging works, they give voice to the divided reality of a country at one and the same time gloriously plural and savagely bigoted.

In reality, nothing could be further from the mentality of racists and little Englanders than the polymorphically playful world of Gilbert & George. Their images merge with the faces of young men of all races who have caught their eye. Bullet-like metal canisters pulse through the pictures like threats of violence. Yet these menacing forms are actually empty containers for the drug nitrous oxide found by the artists outside their home, things that look evil but are residues of ecstatic nights.

No other artists today portray their own time and place with the curiosity that Gilbert & George display here. Their own lives are starkly visible, as they walk around their local streets in Spitalfiields, collecting the evidence of drug-fuelled mayhem and looking at the latest graffiti.

Read the entire story and see more of G & G’s works here.

Image: Clad, Gilbert & George, 2013. Courtesy of Gilbert & George / Guardian.

Images: Go Directly To Jail or…

open-door

If you live online and write or share images it’s likely that you’ve been, or will soon be, sued by the predatory Getty Images. Your kindly editor at theDiagonal uses images found to be in the public domain or references them as fair use in this blog, and yet has fallen prey to this extortionate nuisance of a company.

Getty with its army of fee extortion collectors — many are not even legally trained or accredited — will find reason to send you numerous legalistic and threatening letters demanding hundreds of dollars in compensation and damages. It will do this without sound proof, relying on the threats to cajole unwary citizens to part with significant sums. This is such a big market for Getty that numerous services, such as this one, have sprung up over the years to help writers and bloggers combat the Getty extortion.

With that in mind, it’s refreshing to see the Metropolitan Museum of Art in New York taking a rather different stance: the venerable institution is doing us all a wonderful service by making many hundreds of thousands of classic images available online for free. Getty take that!

From WSJ:

This month, the Metropolitan Museum of Art released for download about 400,000 digital images of works that are in the public domain. The images, which are free to use for non-commercial use without permission or fees, may now be downloaded from the museum’s website. The museum will continue to add images to the collection as they digitize files as part of the initiative Open Access for Scholarly Content (OASC). 

When asked about the impact of the initiative, Sree Sreenivasan, Chief Digital Officer, said the new program would provide increased access and streamline the process of obtaining these images. “In keeping with the Museum’s mission, we hope the new image policy will stimulate new scholarship in a variety of media, provide greater access to our vast collection, and broaden the reach of the Museum to researchers world-wide. By providing open access, museums and scholars will no longer have to request permission to use our public domain images, they can download the images directly from our website.”

Thomas P. Campbell, director and chief executive of the Metropolitan Museum of Art, said the Met joins a growing number of museums using an open-access policy to make available digital images of public domain works. “I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection,” Mr. Campbell said in his May 16 announcement. Other New York institutions that have initiated similar programs include the New York Public Library (map collection),  the Brooklyn Academy of Music and the New York Philharmonic. 

See more images here.

Image: “The Open Door,” earlier than May 1844. Courtesy of William Henry Fox Talbot/The Metropolitan Museum of Art, New York.

95.5 Percent is Made Up and It’s Dark

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Physicists and astronomers observe the very small and the very big. Although they are focused on very different areas of scientific endeavor and discovery, they tend to agree on one key observation: 95.5 of the cosmos is currently invisible to us. That is, only around 4.5 percent of our physical universe is made up of matter or energy that we can see or sense directly through experimental interaction. The rest, well, it’s all dark — so-called dark matter and dark energy. But nobody really knows what or how or why. Effectively, despite tremendous progress in our understanding of our world, we are still in a global “Dark Age”.

From the New Scientist:

TO OUR eyes, stars define the universe. To cosmologists they are just a dusting of glitter, an insignificant decoration on the true face of space. Far outweighing ordinary stars and gas are two elusive entities: dark matter and dark energy. We don’t know what they are… except that they appear to be almost everything.

These twin apparitions might be enough to give us pause, and make us wonder whether all is right with the model universe we have spent the past century so carefully constructing. And they are not the only thing. Our standard cosmology also says that space was stretched into shape just a split second after the big bang by a third dark and unknown entity called the inflaton field. That might imply the existence of a multiverse of countless other universes hidden from our view, most of them unimaginably alien – just to make models of our own universe work.

Are these weighty phantoms too great a burden for our observations to bear – a wholesale return of conjecture out of a trifling investment of fact, as Mark Twain put it?

The physical foundation of our standard cosmology is Einstein’s general theory of relativity. Einstein began with a simple observation: that any object’s gravitational mass is exactly equal to its resistance to accelerationMovie Camera, or inertial mass. From that he deduced equations that showed how space is warped by mass and motion, and how we see that bending as gravity. Apples fall to Earth because Earth’s mass bends space-time.

In a relatively low-gravity environment such as Earth, general relativity’s effects look very like those predicted by Newton’s earlier theory, which treats gravity as a force that travels instantaneously between objects. With stronger gravitational fields, however, the predictions diverge considerably. One extra prediction of general relativity is that large accelerating masses send out tiny ripples in the weave of space-time called gravitational waves. While these waves have never yet been observed directly, a pair of dense stars called pulsars, discovered in 1974, are spiralling in towards each other just as they should if they are losing energy by emitting gravitational waves.

Gravity is the dominant force of nature on cosmic scales, so general relativity is our best tool for modelling how the universe as a whole moves and behaves. But its equations are fiendishly complicated, with a frightening array of levers to pull. If you then give them a complex input, such as the details of the real universe’s messy distribution of mass and energy, they become effectively impossible to solve. To make a working cosmological model, we make simplifying assumptions.

The main assumption, called the Copernican principle, is that we are not in a special place. The cosmos should look pretty much the same everywhere – as indeed it seems to, with stuff distributed pretty evenly when we look at large enough scales. This means there’s just one number to put into Einstein’s equations: the universal density of matter.

Einstein’s own first pared-down model universe, which he filled with an inert dust of uniform density, turned up a cosmos that contracted under its own gravity. He saw that as a problem, and circumvented it by adding a new term into the equations by which empty space itself gains a constant energy density. Its gravity turns out to be repulsive, so adding the right amount of this “cosmological constant” ensured the universe neither expanded nor contracted. When observations in the 1920s showed it was actually expanding, Einstein described this move as his greatest blunder.

It was left to others to apply the equations of relativity to an expanding universe. They arrived at a model cosmos that grows from an initial point of unimaginable density, and whose expansion is gradually slowed down by matter’s gravity.

This was the birth of big bang cosmology. Back then, the main question was whether the expansion would ever come to a halt. The answer seemed to be no; there was just too little matter for gravity to rein in the fleeing galaxies. The universe would coast outwards forever.

Then the cosmic spectres began to materialise. The first emissary of darkness put a foot in the door as long ago as the 1930s, but was only fully seen in the late 1970s when astronomers found that galaxies are spinning too fast. The gravity of the visible matter would be too weak to hold these galaxies together according to general relativity, or indeed plain old Newtonian physics. Astronomers concluded that there must be a lot of invisible matter to provide extra gravitational glue.

The existence of dark matter is backed up by other lines of evidence, such as how groups of galaxies move, and the way they bend light on its way to us. It is also needed to pull things together to begin galaxy-building in the first place. Overall, there seems to be about five times as much dark matter as visible gas and stars.

Dark matter’s identity is unknown. It seems to be something beyond the standard model of particle physics, and despite our best efforts we have yet to see or create a dark matter particle on Earth (see “Trouble with physics: Smashing into a dead end”). But it changed cosmology’s standard model only slightly: its gravitational effect in general relativity is identical to that of ordinary matter, and even such an abundance of gravitating stuff is too little to halt the universe’s expansion.

The second form of darkness required a more profound change. In the 1990s, astronomers traced the expansion of the universe more precisely than ever before, using measurements of explosions called type 1a supernovae. They showed that the cosmic expansion is accelerating. It seems some repulsive force, acting throughout the universe, is now comprehensively trouncing matter’s attractive gravity.

This could be Einstein’s cosmological constant resurrected, an energy in the vacuum that generates a repulsive force, although particle physics struggles to explain why space should have the rather small implied energy density. So imaginative theorists have devised other ideas, including energy fields created by as-yet-unseen particles, and forces from beyond the visible universe or emanating from other dimensions.

Whatever it might be, dark energy seems real enough. The cosmic microwave background radiation, released when the first atoms formed just 370,000 years after the big bang, bears a faint pattern of hotter and cooler spots that reveals where the young cosmos was a little more or less dense. The typical spot sizes can be used to work out to what extent space as a whole is warped by the matter and motions within it. It appears to be almost exactly flat, meaning all these bending influences must cancel out. This, again, requires some extra, repulsive energy to balance the bending due to expansion and the gravity of matter. A similar story is told by the pattern of galaxies in space.

All of this leaves us with a precise recipe for the universe. The average density of ordinary matter in space is 0.426 yoctograms per cubic metre (a yoctogram is 10-24 grams, and 0.426 of one equates to about 250 protons), making up 4.5 per cent of the total energy density of the universe. Dark matter makes up 22.5 per cent, and dark energy 73 per cent (see diagram). Our model of a big-bang universe based on general relativity fits our observations very nicely – as long as we are happy to make 95.5 per cent of it up.

Arguably, we must invent even more than that. To explain why the universe looks so extraordinarily uniform in all directions, today’s consensus cosmology contains a third exotic element. When the universe was just 10-36 seconds old, an overwhelming force took over. Called the inflaton field, it was repulsive like dark energy, but far more powerful, causing the universe to expand explosively by a factor of more than 1025, flattening space and smoothing out any gross irregularities.

When this period of inflation ended, the inflaton field transformed into matter and radiation. Quantum fluctuations in the field became slight variations in density, which eventually became the spots in the cosmic microwave background, and today’s galaxies. Again, this fantastic story seems to fit the observational facts. And again it comes with conceptual baggage. Inflation is no trouble for general relativity – mathematically it just requires an add-on term identical to the cosmological constant. But at one time this inflaton field must have made up 100 per cent of the contents of the universe, and its origin poses as much of a puzzle as either dark matter or dark energy. What’s more, once inflation has started it proves tricky to stop: it goes on to create a further legion of universes divorced from our own. For some cosmologists, the apparent prediction of this multiverse is an urgent reason to revisit the underlying assumptions of our standard cosmology (see “Trouble with physics: Time to rethink cosmic inflation?”).

The model faces a few observational niggles, too. The big bang makes much more lithium-7 in theory than the universe contains in practice. The model does not explain the possible alignment in some features in the cosmic background radiation, or why galaxies along certain lines of sight seem biased to spin left-handedly. A newly discovered supergalactic structure 4 billion light years long calls into question the assumption that the universe is smooth on large scales.

Read the entire story here.

Image: Petrarch, who first conceived the idea of a European “Dark Age”, by Andrea di Bartolo di Bargilla, c1450. Courtesy of Galleria degli Uffizi, Florence, Italy / Wikipedia.

The Rise of McLiterature

Will-Self-2007A sad symptom of our expanding media binge culture and the fragmentation of our shortening attention spans is the demise of literary fiction. Author Will Self believes the novel, and narrative prose in general, is on a slow, but accelerating, death-spiral. His eloquent views presented in a May 6, 2014 lecture are excerpted below.

From the Guardian:

If you happen to be a writer, one of the great benisons of having children is that your personal culture-mine is equipped with its own canaries. As you tunnel on relentlessly into the future, these little harbingers either choke on the noxious gases released by the extraction of decadence, or they thrive in the clean air of what we might call progress. A few months ago, one of my canaries, who’s in his mid-teens and harbours a laudable ambition to be the world’s greatest ever rock musician, was messing about on his electric guitar. Breaking off from a particularly jagged and angry riff, he launched into an equally jagged diatribe, the gist of which was already familiar to me: everything in popular music had been done before, and usually those who’d done it first had done it best. Besides, the instant availability of almost everything that had ever been done stifled his creativity, and made him feel it was all hopeless.

A miner, if he has any sense, treats his canary well, so I began gently remonstrating with him. Yes, I said, it’s true that the web and the internet have created a permanent Now, eliminating our sense of musical eras; it’s also the case that the queered demographics of our longer-living, lower-birthing population means that the middle-aged squat on top of the pyramid of endeavour, crushing the young with our nostalgic tastes. What’s more, the decimation of the revenue streams once generated by analogues of recorded music have put paid to many a musician’s income. But my canary had to appreciate this: if you took the long view, the advent of the 78rpm shellac disc had also been a disaster for musicians who in the teens and 20s of the last century made their daily bread by live performance. I repeated one of my favourite anecdotes: when the first wax cylinder recording of Feodor Chaliapin singing “The Song of the Volga Boatmen was played, its listeners, despite a lowness of fidelity that would seem laughable to us (imagine a man holding forth from a giant bowl of snapping, crackling and popping Rice Krispies), were nonetheless convinced the portly Russian must be in the room, and searched behind drapes and underneath chaise longues for him.

So recorded sound blew away the nimbus of authenticity surrounding live performers – but it did worse things. My canaries have often heard me tell how back in the 1970s heyday of the pop charts, all you needed was a writing credit on some loathsome chirpy-chirpy-cheep-cheeping ditty in order to spend the rest of your born days lying by a guitar-shaped pool in the Hollywood Hills hoovering up cocaine. Surely if there’s one thing we have to be grateful for it’s that the web has put paid to such an egregious financial multiplier being applied to raw talentlessness. Put paid to it, and also returned musicians to the domain of live performance and, arguably, reinvigorated musicianship in the process. Anyway, I was saying all of this to my canary when I was suddenly overtaken by a great wave of noxiousness only I could smell. I faltered, I fell silent, then I said: sod you and your creative anxieties, what about me? How do you think it feels to have dedicated your entire adult life to an art form only to see the bloody thing dying before your eyes?

My canary is a perceptive songbird – he immediately ceased his own cheeping, except to chirrup: I see what you mean. The literary novel as an art work and a narrative art form central to our culture is indeed dying before our eyes. Let me refine my terms: I do not mean narrative prose fiction tout court is dying – the kidult boywizardsroman and the soft sadomasochistic porn fantasy are clearly in rude good health. And nor do I mean that serious novels will either cease to be written or read. But what is already no longer the case is the situation that obtained when I was a young man. In the early 1980s, and I would argue throughout the second half of the last century, the literary novel was perceived to be the prince of art forms, the cultural capstone and the apogee of creative endeavour. The capability words have when arranged sequentially to both mimic the free flow of human thought and investigate the physical expressions and interactions of thinking subjects; the way they may be shaped into a believable simulacrum of either the commonsensical world, or any number of invented ones; and the capability of the extended prose form itself, which, unlike any other art form, is able to enact self-analysis, to describe other aesthetic modes and even mimic them. All this led to a general acknowledgment: the novel was the true Wagnerian Gesamtkunstwerk.

This is not to say that everyone walked the streets with their head buried in Ulysses or To the Lighthouse, or that popular culture in all its forms didn’t hold sway over the psyches and imaginations of the great majority. Nor do I mean to suggest that in our culture perennial John Bull-headed philistinism wasn’t alive and snorting: “I don’t know much about art, but I know what I like.” However, what didn’t obtain is the current dispensation, wherein those who reject the high arts feel not merely entitled to their opinion, but wholly justified in it. It goes further: the hallmark of our contemporary culture is an active resistance to difficulty in all its aesthetic manifestations, accompanied by a sense of grievance that conflates it with political elitism. Indeed, it’s arguable that tilting at this papery windmill of artistic superiority actively prevents a great many people from confronting the very real economic inequality and political disenfranchisement they’re subject to, exactly as being compelled to chant the mantra “choice” drowns out the harsh background Muzak telling them they have none.

Just because you’re paranoid it doesn’t mean they aren’t out to get you. Simply because you’ve remarked a number of times on the concealed fox gnawing its way into your vitals, it doesn’t mean it hasn’t at this moment swallowed your gall bladder. Ours is an age in which omnipresent threats of imminent extinction are also part of the background noise – nuclear annihilation, terrorism, climate change. So we can be blinkered when it comes to tectonic cultural shifts. The omnipresent and deadly threat to the novel has been imminent now for a long time – getting on, I would say, for a century – and so it’s become part of culture. During that century, more books of all kinds have been printed and read by far than in the entire preceding half millennium since the invention of movable-type printing. If this was death it had a weird, pullulating way of expressing itself. The saying is that there are no second acts in American lives; the novel, I think, has led a very American sort of life: swaggering, confident, brash even – and ever aware of its world-conquering manifest destiny. But unlike Ernest Hemingway or F Scott Fitzgerald, the novel has also had a second life. The form should have been laid to rest at about the time of Finnegans Wake, but in fact it has continued to stalk the corridors of our minds for a further three-quarters of a century. Many fine novels have been written during this period, but I would contend that these were, taking the long view, zombie novels, instances of an undead art form that yet wouldn’t lie down.

Literary critics – themselves a dying breed, a cause for considerable schadenfreude on the part of novelists – make all sorts of mistakes, but some of the most egregious ones result from an inability to think outside of the papery prison within which they conduct their lives’ work. They consider the codex. They are – in Marshall McLuhan’s memorable phrase – the possessors of Gutenberg minds.

There is now an almost ceaseless murmuring about the future of narrative prose. Most of it is at once Panglossian and melioristic: yes, experts assert, there’s no disputing the impact of digitised text on the whole culture of the codex; fewer paper books are being sold, newspapers fold, bookshops continue to close, libraries as well. But … but, well, there’s still no substitute for the experience of close reading as we’ve come to understand and appreciate it – the capacity to imagine entire worlds from parsing a few lines of text; the ability to achieve deep and meditative levels of absorption in others’ psyches. This circling of the wagons comes with a number of public-spirited campaigns: children are given free books; book bags are distributed with slogans on them urging readers to put books in them; books are hymned for their physical attributes – their heft, their appearance, their smell – as if they were the bodily correlates of all those Gutenberg minds, which, of  course, they are.

The seeming realists among the Gutenbergers say such things as: well, clearly, books are going to become a minority technology, but the beau livre will survive. The populist Gutenbergers prate on about how digital texts linked to social media will allow readers to take part in a public conversation. What none of the Gutenbergers are able to countenance, because it is quite literally – for once the intensifier is justified – out of their minds, is that the advent of digital media is not simply destructive of the codex, but of the Gutenberg mind itself. There is one question alone that you must ask yourself in order to establish whether the serious novel will still retain cultural primacy and centrality in another 20 years. This is the question: if you accept that by then the vast majority of text will be read in digital form on devices linked to the web, do you also believe that those readers will voluntarily choose to disable that connectivity? If your answer to this is no, then the death of the novel is sealed out of your own mouth.

Read the entire excerpt here.

Image: Will Self, 2007. Courtesy of Wikipedia / Creative Commons.

Expanding Binge Culture

The framers of the U.S. Declaration of Independence could not have known. They could not have foreseen how commoditization, consumerism, globalisation and always-on media culture would come to transform our culture. They did well to insert “Life, Liberty and the pursuit of Happiness”.

But they failed to consider our collective evolution — if you would wish to denote it as such — towards a sophisticated culture of binge. Significant numbers of us have long binged on physical goods, money, natural resources, food and drink. However, media has lagged, somewhat. But no longer. Now we have at our instantaneous whim entire libraries of all-you-can-eat infotainment. Time will tell if this signals the demise of quality, as it gets replaced with overwhelming quantity. One area shows where we may be heading — witness the “fastfoodification” of our news.

From NYT:

When Beyoncé released, without warning, 17 videos around midnight on Dec. 13, millions of fans rejoiced. As a more casual listener of Ms. Knowles, I balked at the onslaught of new material and watched a few videos before throwing in the towel.

Likewise, when Netflix, in one fell swoop, made complete seasons of “House of Cards” and “Orange Is the New Black” available for streaming, I quailed at the challenge, though countless others happily immersed themselves in their worlds of Washington intrigue and incarcerated women.

Then there is the news, to which floodgates are now fully open thanks to the Internet and cable TV: Flight 370, Putin, Chris Christie, Edward Snowden, Rob Ford, Obamacare, “Duck Dynasty,” “bossy,” #CancelColbert, conscious uncoupling. When presented with 24/7 coverage of these ongoing narratives from an assortment of channels — traditional journalism sites, my Facebook feed, the log-out screen of my email — I followed some closely and very consciously uncoupled from others.

Had these content providers released their offerings in the old-media landscape, à la carte rather than in an all-you-can-eat buffet, the prospect of a seven-course meal might not have seemed so daunting. I could handle a steady drip of one article a day about Mr. Ford in a newspaper. But after two dozen, updated every 10 minutes, plus scores of tweets, videos and GIFs that keep on giving, I wanted to forget altogether about Toronto’s embattled mayor.

While media technology is now catching up to Americans’ penchant for overdoing it and finding plenty of willing indulgers, there are also those like me who recoil from the abundance of binge culture.

In the last decade, media entertainment has given far more freedom to consumers: watch, listen to and read anything at anytime. But Barry Schwartz’s 2004 book, “The Paradox of Choice,” argues that our surfeit of consumer choices engenders anxiety, not satisfaction, and sometimes even a kind of paralysis.

His thesis (which has its dissenters) applies mostly to the profusion of options within a single set: for instance, the challenge of picking out salad dressing from 175 varieties in a supermarket. Nevertheless, it is also germane to the concept of bingeing, when 62 episodes of “Breaking Bad” wait overwhelmingly in a row like bottles of Newman’s Own on a shelf.

Alex Quinlan, 31, a first-year Ph.D. student in poetry at Florida State University, said he used to spend at least an hour every morning reading the news and “putting off my responsibilities,” as well as binge-watching shows. He is busier now, and last fall had trouble installing an Internet connection in his home, which effectively “rewired my media-consumption habits,” he said. “I’m a lot more disciplined. Last night I watched one episode of ‘House of Cards’ and went to bed. A year ago, I probably would’ve watched one, gotten another beer, then watched two more.”

Even shorter-term bingeing can seem like a major commitment, because there is a distorting effect of receiving a large chunk of content at once rather than getting it piecemeal. To watch one Beyoncé video a week would eat as much time as watching all in one day, but their unified dissemination makes them seem intimidatingly movie-length (which they are, approximately) rather than like a series of four-minute clips.

I also experienced some first-world anxiety last year with the release of the fourth season of “Arrested Development.” I had devoured the show’s first three seasons, parceled out in 22-minute weekly installments on Fox as well as on DVD, where I would watch episodes I had already seen (in pre-streaming days, binge-watching required renting or owning a copy, which was more like a contained feast). But when Netflix uploaded 15 new episodes totaling 8.5 hours on May 26, I was not among those queuing up for it. It took me some time to get around to the show, and once I had started, the knowledge of how many episodes stretched in front of me, at my disposal whenever I wanted, proved off-putting.

This despite the keeping-up-with-the-Joneses quality to binge-viewing. If everyone is quickly exhausting every new episode of a show, and writing and talking about it the next day, it’s easy to feel left out of the conversation if you haven’t kept pace. And sometimes when you’re late to the party, you decide to stay home instead.

Because we frequently gorge when left to our own Wi-Fi-enabled devices, the antiquated methods of “scheduling our information consumption” may have been healthier, if less convenient, said Clay Johnson, 36, the author of “The Information Diet.” He recalled rushing home after choir practice when he was younger to catch “Northern Exposure” on TV.

“That idea is now preposterous,” he said. “We don’t have appointment television anymore. Just because we can watch something all the time doesn’t mean we should. Maybe we should schedule it in a way that makes sense around our daily lives.”

“It’s a lot like food,” he added. “You see some people become info-anorexic, who say the answer is to unplug and not consume anything. Much like an eating disorder, it’s just as unhealthy a decision as binge-watching the news and media. There’s a middle ground of people who are saying, ‘I need to start treating this form of input in my life like a conscious decision and to be informed in the right way.’ ”

Read the entire story here.

Paper is the Next Big Thing

Da-Vinci-Hammer-Codex

Luddites and technophobes rejoice, paper-bound books may be with us for quite some time. And, there may be some genuinely scientific reasons why physical books will remain. Recent research shows that people learn more effectively when reading from paper versus its digital offspring.

From Wired:

Paper books were supposed to be dead by now. For years, information theorists, marketers, and early adopters have told us their demise was imminent. Ikea even redesigned a bookshelf to hold something other than books. Yet in a world of screen ubiquity, many people still prefer to do their serious reading on paper.

Count me among them. When I need to read deeply—when I want to lose myself in a story or an intellectual journey, when focus and comprehension are paramount—I still turn to paper. Something just feels fundamentally richer about reading on it. And researchers are starting to think there’s something to this feeling.

To those who see dead tree editions as successors to scrolls and clay tablets in history’s remainder bin, this might seem like literary Luddism. But I e-read often: when I need to copy text for research or don’t want to carry a small library with me. There’s something especially delicious about late-night sci-fi by the light of a Kindle Paperwhite.

What I’ve read on screen seems slippery, though. When I later recall it, the text is slightly translucent in my mind’s eye. It’s as if my brain better absorbs what’s presented on paper. Pixels just don’t seem to stick. And often I’ve found myself wondering, why might that be?

The usual explanation is that internet devices foster distraction, or that my late-thirty-something brain isn’t that of a true digital native, accustomed to screens since infancy. But I have the same feeling when I am reading a screen that’s not connected to the internet and Twitter or online Boggle can’t get in the way. And research finds that kids these days consistently prefer their textbooks in print rather than pixels. Whatever the answer, it’s not just about habit.

Another explanation, expressed in a recent Washington Post article on the decline of deep reading, blames a sweeping change in our lifestyles: We’re all so multitasked and attention-fragmented that our brains are losing the ability to focus on long, linear texts. I certainly feel this way, but if I don’t read deeply as often or easily as I used to, it does still happen. It just doesn’t happen on screen, and not even on devices designed specifically for that experience.

Maybe it’s time to start thinking of paper and screens another way: not as an old technology and its inevitable replacement, but as different and complementary interfaces, each stimulating particular modes of thinking. Maybe paper is a technology uniquely suited for imbibing novels and essays and complex narratives, just as screens are for browsing and scanning.

“Reading is human-technology interaction,” says literacy professor Anne Mangen of Norway’s University of Stavenger. “Perhaps the tactility and physical permanence of paper yields a different cognitive and emotional experience.” This is especially true, she says, for “reading that can’t be done in snippets, scanning here and there, but requires sustained attention.”

Mangen is among a small group of researchers who study how people read on different media. It’s a field that goes back several decades, but yields no easy conclusions. People tended to read slowly and somewhat inaccurately on early screens. The technology, particularly e-paper, has improved dramatically, to the point where speed and accuracy aren’t now problems, but deeper issues of memory and comprehension are not yet well-characterized.

Complicating the scientific story further, there are many types of reading. Most experiments involve short passages read by students in an academic setting, and for this sort of reading, some studies have found no obvious differences between screens and paper. Those don’t necessarily capture the dynamics of deep reading, though, and nobody’s yet run the sort of experiment, involving thousands of readers in real-world conditions who are tracked for years on a battery of cognitive and psychological measures, that might fully illuminate the matter.

In the meantime, other research does suggest possible differences. A 2004 study found that students more fully remembered what they’d read on paper. Those results were echoed by an experiment that looked specifically at e-books, and another by psychologist Erik Wästlund at Sweden’s Karlstad University, who found that students learned better when reading from paper.

Wästlund followed up that study with one designed to investigate screen reading dynamics in more detail. He presented students with a variety of on-screen document formats. The most influential factor, he found, was whether they could see pages in their entirety. When they had to scroll, their performance suffered.

According to Wästlund, scrolling had two impacts, the most basic being distraction. Even the slight effort required to drag a mouse or swipe a finger requires a small but significant investment of attention, one that’s higher than flipping a page. Text flowing up and down a page also disrupts a reader’s visual attention, forcing eyes to search for a new starting point and re-focus.

Mangen is among a small group of researchers who study how people read on different media. It’s a field that goes back several decades, but yields no easy conclusions. People tended to read slowly and somewhat inaccurately on early screens. The technology, particularly e-paper, has improved dramatically, to the point where speed and accuracy aren’t now problems, but deeper issues of memory and comprehension are not yet well-characterized.

Complicating the scientific story further, there are many types of reading. Most experiments involve short passages read by students in an academic setting, and for this sort of reading, some studies have found no obvious differences between screens and paper. Those don’t necessarily capture the dynamics of deep reading, though, and nobody’s yet run the sort of experiment, involving thousands of readers in real-world conditions who are tracked for years on a battery of cognitive and psychological measures, that might fully illuminate the matter.

In the meantime, other research does suggest possible differences. A 2004 study found that students more fully remembered what they’d read on paper. Those results were echoed by an experiment that looked specifically at e-books, and another by psychologist Erik Wästlund at Sweden’s Karlstad University, who found that students learned better when reading from paper.

Wästlund followed up that study with one designed to investigate screen reading dynamics in more detail. He presented students with a variety of on-screen document formats. The most influential factor, he found, was whether they could see pages in their entirety. When they had to scroll, their performance suffered.

According to Wästlund, scrolling had two impacts, the most basic being distraction. Even the slight effort required to drag a mouse or swipe a finger requires a small but significant investment of attention, one that’s higher than flipping a page. Text flowing up and down a page also disrupts a reader’s visual attention, forcing eyes to search for a new starting point and re-focus.

Read the entire electronic article here.

Image: Leicester or Hammer Codex, by Leonardo da Vinci (1452-1519). Courtesy of Wikipedia / Public domain.

 

Clothing Design by National Sub-Committee

North-Korean-Military

It’s probably safe to assume that clothing designed by committee will be more utilitarian and drab than that from the colored pencils of say Yves Saint Laurent, Tom Ford, Giorgio Armani or Coco Chanel.

So, imagine what clothing would look like if it was designed by the Apparel Research Center, a sub-subcommittee of the Clothing Industry Department, itself a sub-committee of the National Industry Committee. Yes, welcome to the strange, centrally planned and tightly controlled world of our favorite rogue nation, North Korea. Imagine no more as Paul French takes us on a journey through daily life in North Korea, excerpted from his new book North Korea: State of Paranoia by Paul French. It makes for sobering reading.

From the Guardian:

6am The day starts early in Pyongyang, the city described by the North Korean government as the “capital of revolution”. Breakfast is usually corn or maize porridge, possibly a boiled egg and sour yoghurt, with perhaps powdered milk for children.

Then it is time to get ready for work. North Korea has a large working population: approximately 59% of the total in 2010. A growing number of women work in white-collar office jobs; they make up around 90% of workers in light industry and 80% of the rural workforce. Many women are now the major wage-earner in the family – though still housewife, mother and cook as well as a worker, or perhaps a soldier.

Makeup is increasingly common in Pyongyang, though it is rarely worn until after college graduation. Chinese-made skin lotions, foundation, eyeliner and lipstick are available and permissible in the office. Many women suffer from blotchy skin caused by the deteriorating national diet, so are wearing more makeup. Long hair is common, but untied hair is frowned upon.

Men’s hairstyles could not be described as radical. In the 1980s, when Kim Jong-il first came to public prominence, his trademark crewcut, known as a “speed battle cut”, became popular, while the more bouffant style favoured by Kim Il-sung, and then Kim Jong-il, in their later years, is also popular. Kim Jong-un’s trademark short-back-and-sides does not appear to have inspired much imitation so far. Hairdressers and barbers are run by the local Convenience Services Management Committee; at many, customers can wash their hair themselves.

Fashion is not really an applicable term in North Korea, as the Apparel Research Centre under the Clothing Industry Department of the National Light Industry Committee designs most clothing. However, things have loosened up somewhat, with bright colours now permitted as being in accordance with a “socialist lifestyle”. Pyongyang offers some access to foreign styles. A Japanese watch denotes someone in an influential position; a foreign luxury watch indicates a very senior position. The increasing appearance of Adidas, Disney and other brands (usually fake) indicates that access to goods smuggled from China is growing. Jeans have at times been fashionable, though risky – occasionally they have been banned as “decadent”, along with long hair on men, which can lead to arrest and a forced haircut.

One daily ritual of all North Koreans is making sure they have their Kim Il-sung badge attached to their lapel. The badges have been in circulation since the late 1960s, when the Mansudae Art Studio started producing them for party cadres. Desirable ones can change hands on the black market for several hundred NKW. In a city where people rarely carry cash, jewellery or credit cards, Kim badges are one of the most prized targets of Pyongyang’s pickpockets.

Most streets are boulevards of utilitarian high-rise blocks. Those who live on higher floors may have to set out for work or school a little earlier than those lower down. Due to chronic power cuts, many elevators work only intermittently, if at all. Many buildings are between 20 and 40 storeys tall – there are stories of old people who have never been able to leave. Even in the better blocks elevators can be sporadic and so people just don’t take the chance. Families make great efforts to relocate older relatives on lower floors, but this is difficult and a bribe is sometimes required. With food shortages now constant, many older people share their meagre rations with their grandchildren, weakening themselves further and making the prospect of climbing stairs even more daunting.

Some people do drive to work, but congestion is not a major problem. Despite the relative lack of cars, police enforce traffic regulations strictly and issue tickets. Fines can be equivalent to two weeks’ salary. Most cars belong to state organisations, but are often used as if they were privately owned. All vehicles entering Pyongyang must be clean; owners of dirty cars may be fined. Those travelling out of Pyongyang require a travel certificate. There are few driving regulations; however, on hills ascending vehicles have the right of way, and trucks cannot pass passenger cars under any circumstances. Drunk-driving is punished with hard labour. Smoking while driving is banned on the grounds that a smoking driver cannot smell a problem with the car.

Those who have a bicycle usually own a Sea Gull, unless they are privileged and own an imported second-hand Japanese bicycle. But even a Sea Gull costs several months’ wages and requires saving.

7.30am For many North Koreans the day starts with a 30-minute reading session and exercises before work begins. The reading includes receiving instructions and studying the daily editorial in the party papers. This is followed by directives on daily tasks and official announcements.

For children, the school day starts with exercises to a medley of populist songs before a session of marching on the spot and saluting the image of the leader. The curriculum is based Kim Il-sung’s 1977 Thesis on Socialist Education, emphasising the political role of education in developing revolutionary spirit. All children study Kim Il-sung’s life closely. Learning to read means learning to read about Kim Il-sung; music class involves singing patriotic songs. Rote learning and memorising political tracts is integral and can bring good marks, which help in getting into university – although social rank is a more reliable determinant of college admission. After graduation, the state decides where graduates will work.

8am Work begins. Pyongyang is the centre of the country’s white-collar workforce, though a Pyongyang office would appear remarkably sparse to most outsiders. Banks, industrial enterprises and businesses operate almost wholly without computers, photocopiers and modern office technology. Payrolls and accounting are done by hand.

12pm Factories, offices and workplaces break for lunch for an hour. Many workers bring a packed lunch, or, if they live close by, go home to eat. Larger workplaces have a canteen serving cheap lunches, such as corn soup, corn cake and porridge. The policy of eating in work canteens, combined with the lack of food shops and restaurants, means that Pyongyang remains strangely empty during the working day with no busy lunchtime period, as seen in other cities around the world.

Shopping is an as-and-when activity. If a shop has stock, then returning later is not an option as it will be sold out. According to defectors, North Koreans want “five chests and seven appliances”. The chests are a quilt chest, wardrobe, bookshelf, cupboard and shoe closet, while the appliances comprise a TV, refrigerator, washing machine, electric fan, sewing machine, tape recorder and camera. Most ordinary people only have a couple of appliances, usually a television and a sewing machine.

Food shopping is equally problematic. Staples such as soy sauce, soybean paste, salt and oil, as well as toothpaste, soap, underwear and shoes, sell out fast. The range of food items available is highly restricted. White cabbage, cucumber and tomato are the most common; meat is rare, and eggs increasingly so. Fruit is largely confined to apples and pears. The main staple of the North Korean diet is rice, though bread is sometimes available, accompanied by a form of butter that is often rancid. Corn, maize and mushrooms also appear sometimes.

Read the entire excerpt here.

Image: Soldiers from the Korean People’s Army look south while on duty in the Joint Security Area, 2008. Courtesy of U.S. government.

 

Lost Treasures

Dearth-of-a-Salesman

A small proportion of classic movies remain in circulation and in our memories. Most are quickly forgotten. And some simply go missing. How could an old movie go missing? Well, it’s not very difficult: a temperamental, perfectionist director may demand the original be buried; or a fickle movie studio may wish to hide and remove all traces of last season’s flop; or some old reels, cast in nitrates, may just burn, literally. But, every once in a while an old movie is found in a dusty attic or damp basement. Or as is the case of a more recent find — film reels in a dumpster (if you’re a Brit, that’s a “skip”). Two recent discoveries shed more light on the developing comedic talent of Peter Sellers.

From the Guardian:

In the mid-1950s, Peter Sellers was young and ambitious and still largely unseen. He wanted to break out of his radio ghetto and achieve big-screen success, so he played a bumbling crook in The Ladykillers and a bumbling everyman in a series of comedy shorts for an independent production company called Park Lane Films. The Ladykillers endured and is cherished to this day. The shorts came and then went and were quickly forgotten. To all intents and purposes, they never existed at all.

I’m fascinated by the idea of the films that get lost; that vast, teeming netherworld where the obscure and the unloved rub shoulders, in the dark, with the misplaced and the mythic. Martin Scorsese’s Film Foundation estimates that as many as 50% of the American movies made before 1950 are now gone for good, while the British film archive is similarly holed like Swiss cheese. Somewhere out there, languishing in limbo, are missing pictures from directors including Orson Welles, Michael Powell and Alfred Hitchcock. Most of these orphans will surely never be found. Yet sometimes, against the odds, one will abruptly surface.

In his duties as facilities manager at an office block in central London, Robert Farrow would occasionally visit the basement area where the janitors parked their mops, brooms and vacuum cleaners. Nestled amid this equipment was a stack of 21 canisters, which Farrow assumed contained polishing pads for the cleaning machines. Years later, during an office refurbishment, Farrow saw that these canisters had been removed from the basement and dumped outside in a skip. “You don’t expect to find anything valuable in a skip,” Farrow says ruefully. But inside the canisters he found the lost Sellers shorts.

It’s a blustery spring day when we gather at a converted water works in Southend-on-Sea to meet the movie orphans. Happily the comedies – Dearth of a Salesman and Insomnia is Good For You – have been brushed up in readiness. They have been treated to a spick-and-span Telecine scan and look none the worse for their years in the basement. Each will now premiere (or perhaps re-premiere) at the Southend film festival, nestled amid the screenings of The Great Beauty and Wadjda and a retrospective showing of Sellers’ 1969 fantasy The Magic Christian. In the meantime, festival director Paul Cotgrove has hailed their reappearance as the equivalent of “finding the Dead Sea Scrolls”.

I think that might be overselling it, although one can understand his excitement. Instead, the films might best be viewed as crucial stepping stones, charting a bright spark’s evolution into a fully fledged film star. At the time they were made, Sellers was a big fish in a small pond, flushed from the success of The Goon Show and half-wondering whether he had already peaked. “By this point he had hardly done anything on screen,” Cotgrove explains. “He was obsessed with breaking away from radio and getting into film. You can see the early styles in these films that he would then use later on.”

To the untrained eye, he looks to be adapting rather well. Dearth of a Salesman and Insomnia is Good For You both run 29 minutes and come framed as spoof information broadcasts, installing Sellers in the role of lowly Herbert Dimwitty. In the first, Dimwitty attempts to strike out as a go-getting entrepreneur, peddling print dresses and dishwashers and regaling his clients with a range of funny accents. “I’m known as the Peter Ustinov of East Acton,” he informs a harried suburban housewife.

Dearth, it must be said, feels a little faded and cosy; its line in comedy too thinly spread. But Insomnia is terrific. Full of spark, bite and invention, the film chivvies Sellers’s sleep-deprived employee through a “good night’s wake”, thrilling to the “tone poem” of nocturnal noises from the street outside and replaying awkward moments from the office until they bloom into full-on waking nightmares. Who cares if Dimwitty is little more than a low-rent archetype, the kind of bumbling sitcom staple that has been embodied by everyone from Tony Hancock to Terry Scott? Sellers keeps the man supple and spiky. It’s a role the actor would later reprise, with a few variations, in the 1962 Kingsley Amis adaptation Only Two Can Play.

But what were these pictures and where did they go? Cotgrove and Farrow’s research can only take us so far. Dearth and Insomnia were probably shot in 1956, or possibly 1957, for Park Lane Films, which then later went bust. They would have played in British cinemas ahead of the feature presentation, folded in among the cartoons and the news, and may even have screened in the US and Canada as well. Records suggest that Sellers was initially contracted to shoot 12 movies in total, but may well have wriggled out of the deal after The Ladykillers was released. Only three have been found: Dearth, Insomnia and the below-par Cold Comfort, which was already in circulation. Conceivably there might be more Sellers shorts out there somewhere, either idling in skips or buried in basements. But there is no way of knowing; it’s akin to proving a negative. Cotgrove and Farrow aren’t even sure who owns the copyright. “If you find something on the street, it’s not yours,” Farrow points out. “You only have guardianship.”

As it is, the Sellers shorts can be safely filed away among other reclaimed items, plucked out of a skip and brought in from the cold. They take their place alongside such works as Carl Dreyer’s silent-screen classic The Passion of Joan of Arc, which turned up (unaccountably) at a Norwegian psychiatric hospital, or the vital lost footage from Fritz Lang’s Metropolis, found in Buenos Aires back in 2008. But these happy few are just the tip of the iceberg. Thousands of movies have simply vanished from view.

Read the entire article here.

Image: Still from newly discovered movie Dearth of a Salesman, featuring a young Peter Sellers. Courtesy of Southend Film Festival / Guardian.

 

Literally? Literally!

In everyday conversation the word “literally” is now as overused as the word “like” or the pause “um”. But, it’s also thoroughly abused (figuratively) and misused (literally). Unfortunately for pedants and linguistic purists, the word has become an intensifier of sorts. So, while you’ll still have to resort to cringing and correcting — if you are that inclined — your conversational partners next time they exclaim “… he was literally dying from laughter”, you have help online. A new web browser extension scans the page you’re on and replaces the word “literally” with “figuratively”. Now that’s really mind-blowing, literally.

From Slate:

If you’re a cool-headed, fair-minded, forward-thinking descriptivist like my colleague David Haglund, it doesn’t bother you one bit that people often use the word “literally” when describing things figuratively.

If, on the other hand, you’re a cranky language bully like me, it figuratively bugs the crap out of you every time.

We pedants are waging a losing battle, of course. Even major dictionaries now recognize the use of “literally” as an intensifier for statements that are not literally true.

Fortunately, Yahoo Tech‘s Alyssa Bereznak has run across a simple remedy for this galling inversion of the term’s original meaning. Built by a programmer named Mike Walker, it’s an extension for Google’s Chrome browser that replaces the word “literally” with “figuratively” on sites and articles across the Web, with deeply gratifying results.

It doesn’t work in every instance—tweets, for example, are immune to the extension’s magic, as are illustrations. But it works widely enough to put you in metaphorical stitches when you see some of the results. For instance, a quick Google News search for “literally” turns up the following headlines, modified by the browser extension to a state of unintentional accuracy:

  • The 2014 MTV Movie Awards Were Figuratively on Fire
  • 10 Things You Figuratively Do Not Have Time For
  • Momentum Is Figuratively the Next Starting Pitcher for LSU

Be warned, though: Walker’s widget does not distinguish between the literal and figurative uses of “literally.” So if you install it, you’ll also start seeing the word “figuratively” to describe things that are literally true, as in, “White Sox Rookie Abreu Figuratively Destroys a Baseball.” (The baseball was in fact destroyed.)

But hey, that’s no worse than the current state of affairs. Come to think of it, by the anti-prescriptivists’ logic, there’s nothing wrong with using “figuratively” to mean “literally,” as long as enough people do it. Anything can mean anything, literally—I mean figuratively!

If you’re signed into the Chrome browser, you can install the extension here. For those who want a browser extension that zaps hyperbole more broadly, try Alison Dianotto’s Downworthy tool, which performs similar operations on phrases like “will blow your mind” and “you won’t believe.”

Read the entire article here.

Fourteen Years in Four Minutes

[tube]UH1x5aRtjSQ[/tube]

Dutch filmmaker Frans Hofmeester has made a beautiful and enduring timelapse portrait. Shot over a period of 14 years, the video shows his daughter growing up before our eyes. To create this momentous documentary work Hofmeester filmed his daughter, Lotte, for 15 seconds every week since birth. This is a remarkable feat  for both filmmaker and his subject, and probably makes many of us wish we could have done the same. Hofmeester created a similar timelapse video of Lotte’s younger brother Vince.

Read more on this story here.

Video courtesy of Frans Hofmeester.

Nightmares And Art

Sleep-Nicolas-Bruno

You probably believe that your nightmares are best left locked in a dark closet. On the other hand, artist Nicolas Bruno believes they make good art.

See more of Bruno’s nightmarish images here.

From the Guardian:

Sufferer of sleep paralysis Nicolas Bruno transforms his terrifying dreams into photographic realities. The characters depicted are often stuck within their scenes, unable to escape. The 20 year old New York native suggests ‘Sleep paralysis is an experience in which the individual becomes conscious and is left immobile in a state between being awake and asleep.’

Image courtesy of Nicolas Bruno / Hot Spot Media.

 

New Street Artists Meet Old Masters

Some enterprising and talented street artists have re-imagined works by old masters, such as Rembrandt. An example below: Judith with the Head of Holofernes by 17th century artist Cristofano Allori, followed by a contemporary rendition courtesy of street artist Discreet, 2013.

Judith-AlloriJudith with the Head of Holofernes, 17th century, Cristofano Allori. Photograph: Dulwich Picture Gallery.

 

Judith-DiscreetJudith with the Head of Holofernes (2013), Dscreet, formerly on Blackwater Street/153 Lordship Lane, London, SE22.

See more juxtaposed, old and new images here.

Images courtesy of Dulwich Picture Gallery and Discreet (photograph by Ingrid Beazley), respectively.

A Case for Slow Reading

With 24/7 infotainment available to us through any device, anywhere it is more than likely that these immense torrents of competing words, images and sounds will have an effect on our reading. This is particularly evident online where consumers of information are increasingly scanning and skimming — touching only the bare surface of an article — before clicking a link and moving elsewhere (and so on) across the digital ocean. The fragmentation of this experience is actually rewiring our brains, and as some researchers suggest, perhaps not for the best.

From the Washington Post.

Claire Handscombe has a commitment problem online. Like a lot of Web surfers, she clicks on links posted on social networks, reads a few sentences, looks for exciting words, and then grows restless, scampering off to the next page she probably won’t commit to.

“I give it a few seconds — not even minutes — and then I’m moving again,” says Handscombe, a 35-year-old graduate student in creative writing at American University.

But it’s not just online anymore. She finds herself behaving the same way with a novel.

“It’s like your eyes are passing over the words but you’re not taking in what they say,” she confessed. “When I realize what’s happening, I have to go back and read again and again.”

To cognitive neuroscientists, Handscombe’s experience is the subject of great fascination and growing alarm. Humans, they warn, seem to be developing digital brains with new circuits for skimming through the torrent of information online. This alternative way of reading is competing with traditional deep reading circuitry developed over several millennia.

“I worry that the superficial way we read during the day is affecting us when we have to read with more in-depth processing,” said Maryanne Wolf, a Tufts University cognitive neuroscientist and the author of “Proust and the Squid: The Story and Science of the Reading Brain.”

If the rise of nonstop cable TV news gave the world a culture of sound bites, the Internet, Wolf said, is bringing about an eye byte culture. Time spent online — on desktop and mobile devices — was expected to top five hours per day in 2013 for U.S. adults, according to eMarketer, which tracks digital behavior. That’s up from three hours in 2010.

Word lovers and scientists have called for a “slow reading” movement, taking a branding cue from the “slow food” movement. They are battling not just cursory sentence galloping but the constant social network and e-mail temptations that lurk on our gadgets — the bings and dings that interrupt “Call me Ishmael.”

Researchers are working to get a clearer sense of the differences between online and print reading — comprehension, for starters, seems better with paper — and are grappling with what these differences could mean not only for enjoying the latest Pat Conroy novel but for understanding difficult material at work and school. There is concern that young children’s affinity and often mastery of their parents’ devices could stunt the development of deep reading skills.

The brain is the innocent bystander in this new world. It just reflects how we live.

“The brain is plastic its whole life span,” Wolf said. “The brain is constantly adapting.”

Wolf, one of the world’s foremost experts on the study of reading, was startled last year to discover her brain was apparently adapting, too. After a day of scrolling through the Web and hundreds of e-mails, she sat down one evening to read Hermann Hesse’s “The Glass Bead Game.”

“I’m not kidding: I couldn’t do it,” she said. “It was torture getting through the first page. I couldn’t force myself to slow down so that I wasn’t skimming, picking out key words, organizing my eye movements to generate the most information at the highest speed. I was so disgusted with myself.”

Adapting to read

The brain was not designed for reading. There are no genes for reading like there are for language or vision. But spurred by the emergence of Egyptian hieroglyphics, the Phoenician alphabet, Chinese paper and, finally, the Gutenberg press, the brain has adapted to read.

Before the Internet, the brain read mostly in linear ways — one page led to the next page, and so on. Sure, there might be pictures mixed in with the text, but there didn’t tend to be many distractions. Reading in print even gave us a remarkable ability to remember where key information was in a book simply by the layout, researchers said. We’d know a protagonist died on the page with the two long paragraphs after the page with all that dialogue.

The Internet is different. With so much information, hyperlinked text, videos alongside words and interactivity everywhere, our brains form shortcuts to deal with it all — scanning, searching for key words, scrolling up and down quickly. This is nonlinear reading, and it has been documented in academic studies. Some researchers believe that for many people, this style of reading is beginning to invade when dealing with other mediums as well.

“We’re spending so much time touching, pushing, linking, scroll­ing and jumping through text that when we sit down with a novel, your daily habits of jumping, clicking, linking is just ingrained in you,” said Andrew Dillon, a University of Texas professor who studies reading. “We’re in this new era of information behavior, and we’re beginning to see the consequences of that.”

Brandon Ambrose, a 31-year-old Navy financial analyst who lives in Alexandria, knows of those consequences.

His book club recently read “The Interestings,” a best-seller by Meg Wolitzer. When the club met, he realized he had missed a number of the book’s key plot points. It hit him that he had been scanning for information about one particular aspect of the book, just as he might scan for one particular fact on his computer screen, where he spends much of his day.

“When you try to read a novel,” he said, “it’s almost like we’re not built to read them anymore, as bad as that sounds.”

Ramesh Kurup noticed something even more troubling. Working his way recently through a number of classic authors — George Eliot, Marcel Proust, that crowd — Kurup, 47, discovered that he was having trouble reading long sentences with multiple, winding clauses full of background information. Online sentences tend to be shorter, and the ones containing complicated information tend to link to helpful background material.

“In a book, there are no graphics or links to keep you on track,” Kurup said.

It’s easier to follow links, he thinks, than to keep track of so many clauses in page after page of long paragraphs.

 

Read the entire article here (but don’t click anywhere else).

Beauty Of and In Numbers

golden-ratio

Mathematics seems to explain and underlie much of our modern world: manufacturing, exploration, transportation, logistics, healthcare, technology — all depend on numbers in one form or another. So it should come as no surprise that there are mathematical formulae that describe our notions of beauty. This would seem to be counter-intuitive since beauty is a very subjective experience for all of us — one person’s colorful, blotted mess is another’s Jackson Pollock masterpiece. Yet, mathematicians have known for some time that there is a certain composition of sizes that are more frequently characterized as beautiful than others. Known as the golden ratio, architects, designers and artists have long exploited this mathematical formula to render their works more appealing.

From Wired:

Mathematical concepts can be difficult to grasp, but given the right context they can help explain some of the world’s biggest mysteries. For instance, what is it about a sunflower that makes it so pleasing to look at? Or why do I find the cereal box-shaped United Nations building in New York City to be so captivating?

Beauty may very well be subjective, but there’s thought to be mathematical reasoning behind why we’re attracted to certain shapes and objects. Called the golden ratio, this theory states there’s a recurring proportion of arrangement that lends certain things their beauty. Represented as an equation: a/b = (a+b)/a, the golden ratio is all around us—conical sea shells, human faces, flower petals, buildings—we just don’t always know we’re looking at it. In Golden Meaning, a new book from London publisher GraphicDesign&, 55 designers aim to demystify the golden ratio using clever illustrations and smart graphic design.

GraphicDesign& founders Lucienne Roberts and Rebecca Wright partnered up with math evangelist Alex Bellos to develop the book, with the main goal of making math accessible through design. “We want this to be a useful tool to demonstrate something that often makes people anxious,” explains Roberts. “We hope it’s as interesting to people who are interested in math as it is to the people who are interested in the visual.”

Each designer came at the problem from a different angle, but in order to appreciate the cleverness found in the book, it’s important to have a little background on the golden mean. Bellos uses this line to illustrate the concept at its most basic.

n Golden Meaning he writes: “The line is separated into two sections in such a way that the ratio of the whole line to the larger section is equal to the ratio of the larger section to the smaller section.” This ratio ends up being 1.618.

Salvador Dali and Le Corbusier have used the golden mean as a guiding principle in their work, the Taj Mahal was designed with it in mind, and it’s thought that many of the faces of attractive people follow these proportions. The golden ratio then is essentially a formula for beauty.

With this in mind, Robert and Wright gave designers a simple brief: To explore, explain and communicate the golden ratio however they see fit. There’s a recipe for golden bars that requires bakers to parcel out ingredients based the ratio instead of exact measurements, an illustration that shows a bottle of wine being poured into glasses using the ratio. The book itself is actually a golden rectangle. “You get it much more than looking at an equation,” says Roberts.

A particular favorite shows two side-by-side images of British designer Oli Kellett. On the left is his normal face, on the right is the same face after he rearranged his features in accordance to the golden ratio. So is he really more beautiful after his mathematical surgery? “We liked him as he is,” says Roberts. “In a way it disproves the theory.”

Read the entire article here.

Image: Several examples of the golden ratio at work, from the book Golden Meaning by GraphicDesign&. Courtesy of GraphicDesign&.

120 Years of Best Movies

Slim-pickens_riding-the-bomb_enh-lores

So, if you have some time to spare mine the IMDb movie database for trends and patterns buried in the gazillions of movie reviews. Then, parse the results for most positive mentions for a movie for each year — since public movies began. Then post the results on Reddit. That’s what monoglot did for us a couple of weeks ago. The results show the best movies by popular consent, not by critical acclaim. But, fascinating nonetheless. My favorite, goes to the vintage year of 1964, the movie: Stanley Kubrick’s, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. It’s a classic, very dark comedy, and all the more hysterical because it’s very close to the truth.

From Reddit:

Year Film Top Votes All Votes Rating
1894 Edison Kinetoscopic Record of a Sneeze 181 824 6.1
1895 Employees Leaving the Lumière Factory 449 2809 6.9
1896 Arrival of a Train at La Ciotat 735 3676 7.3
1897 Leaving Jerusalem by Railway 53 334 6.6
1898 Four Heads Are Better Than One 326 1254 7.7
1899 The Kiss in the Tunnel 51 505 5.9
1900 The One-Man Band 82 1021 7.1
1901 The India Rubber Head 91 1133 7.2
1902 A Trip to the Moon 7563 17189 8.2
1903 The Great Train Robbery 1403 7795 7.4
1904 An Impossible Voyage 388 1615 7.7
1905 Le diable noir 163 1016 7.2
1906 Dream of a Rarebit Fiend 93 931 6.8
1907 Ben Hur 101 336 5.7
1908 Fantasmagorie 102 1015 7.0
1909 The Devilish Tenant 159 661 7.5
1910 Frankenstein 144 1805 6.6
1911 Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics 155 860 7.3
1912 The Revenge of a Kinematograph Cameraman 400 1332 7.9
1913 Fantomas 111 1110 6.8
1914 Tillie’s Punctured Romance 892 2230 7.4
1915 The Birth of a Nation 4121 13736 6.9
1916 Intolerance 3280 8632 8.1
1917 The Immigrant 966 3715 7.8
1918 A Dog’s Life 860 3307 7.8
1919 Broken Blossoms 2089 5804 7.7
1920 The Cabinet of Dr. Caligari 13131 28545 8.1
1921 The Kid 18501 40219 8.4
1922 Nosferatu 21126 55596 8.0
1923 Safety Last! 4569 9933 8.3
1924 Sherlock Jr. 7707 16754 8.3
1925 The Gold Rush 20720 45044 8.3
1926 The General 17175 37337 8.3
1927 Metropolis 37077 80602 8.4
1928 The Passion of Joan of Arc 9826 19651 8.3
1929 Un chien andalou 9507 25019 7.9
1930 All Quiet on the Western Front 18611 40458 8.1
1931 City Lights 38960 69572 8.7
1932 Freaks 7740 25801 8.0
1933 King Kong 21296 56042 8.0
1934 It Happened One Night 21284 46270 8.3
1935 Bride of Frankenstein 9697 25518 7.9
1936 Modern Times 50487 90156 8.6
1937 Snow White and the Seven Dwarfs 25843 92297 7.7
1938 Bringing Up Baby 14224 37432 8.1
1939 The Wizard of Oz 79226 208490 8.2
1940 The Great Dictator 40192 87374 8.5
1941 Citizen Kane 127586 227833 8.5
1942 Casablanca 165578 295675 8.6
1943 Shadow of a Doubt 10359 36995 8.0
1944 Double Indemnity 32626 70925 8.5
1945 Brief Encounter 9876 21469 8.1
1946 It’s a Wonderful Life 114199 196894 8.7
1947 Miracle on 34th Street 9205 24223 7.9
1948 Bicycle Thieves 29153 63377 8.4
1949 The Third Man 39394 85640 8.4
1950 Sunset Blvd. 54848 101571 8.6
1951 A Streetcar Named Desire 29419 63954 8.1
1952 Singin’ in the Rain 58094 107582 8.4
1953 Roman Holiday 31896 69340 8.1
1954 Seven Samurai 113482 171942 8.8
1955 The Night of the Hunter 21862 47527 8.1
1956 The Searchers 19109 50286 8.0
1957 12 Angry Men 192641 291880 8.9
1958 Vertigo 80687 175406 8.5
1959 North by Northwest 76067 165364 8.5
1960 Psycho 135723 295051 8.6
1961 Breakfast at Tiffany’s 25338 90494 7.8
1962 Lawrence of Arabia 75643 140080 8.4
1963 The Great Escape 54982 119526 8.3
1964 Dr. Strangelove 146779 262105 8.6
1965 For a Few Dollars More 45628 103701 8.4
1966 The Good, the Bad and the Ugly 233024 353066 9.0
1967 The Graduate 61087 160755 8.1
1968 2001: A Space Odyssey 164849 294374 8.3
1969 Butch Cassidy and the Sundance Kid 39801 110558 8.2
1970 Patton 29139 63345 8.1
1971 A Clockwork Orange 208014 385212 8.4
1972 The Godfather 604775 817264 9.2
1973 The Exorcist 87140 229317 8.0
1974 The Godfather: Part II 355223 538216 9.1
1975 One Flew Over the Cuckoo’s Nest 313325 489570 8.8
1976 Taxi Driver 160636 349209 8.4
1977 Star Wars 364912 629158 8.7
1978 The Deer Hunter 79985 173881 8.2
1979 Alien 179377 389950 8.5
1980 The Empire Strikes Back 325241 560760 8.8
1981 Raiders of the Lost Ark 217026 471795 8.6
1982 Blade Runner 160519 348955 8.3
1983 Return of the Jedi 203856 443166 8.4
1984 The Terminator 148056 411266 8.1
1985 Back to the Future 218885 475838 8.5
1986 Aliens 162067 352320 8.5
1987 Full Metal Jacket 126512 332925 8.4
1988 Die Hard 154758 429882 8.3
1989 Indiana Jones and the Last Crusade 159712 362981 8.3
1990 Goodfellas 327955 512429 8.8
1991 The Silence of the Lambs 313522 580596 8.6
1992 Reservoir Dogs 208201 452611 8.4
1993 Schindler’s List 345845 596284 8.9
1994 The Shawshank Redemption 870630 1176527 9.3
1995 Se7en 371390 687759 8.7
1996 Trainspotting 130009 342128 8.2
1997 Titanic 213075 560724 7.7
1998 Saving Private Ryan 322571 597354 8.6
1999 Fight Club 519243 895246 8.9
2000 Memento 325477 602735 8.6
2001 The Fellowship of the Ring 572464 867369 8.9
2002 The Two Towers 438736 756441 8.8
2003 The Return of the King 554928 840800 8.9
2004 Eternal Sunshine of the Spotless Mind 217921 473742 8.4
2005 Batman Begins 302015 656554 8.3
2006 The Departed 321600 595555 8.5
2007 No Country for Old Men 198718 431995 8.2
2008 The Dark Knight 753903 1142277 9.0
2009 Inglourious Basterds 256945 558576 8.3
2010 Inception 618118 936543 8.8
2011 Intouchables 181019 282842 8.6
2012 The Dark Knight Rises 437472 754262 8.6
2013 Gravity 151512 329373 8.2
2014 The Lego Movie 25934 48025 8.4

Read the entire post here.

Image: Slim Pickens as Major T.J. “King” Kong riding a nuclear bomb to oblivion, from the movie Dr.Strangelove. Courtesy of Wikipedia.

The Angry Letter, Not Sent

LetterMost people over the age of 40 have probably written and not sent an angry letter.

The unsent letter may have been intended for a boss or an ex-boss. It may have been for a colleague or a vendor or a business associate. It may have been for your electrician or the plumber who failed to fix the problem. It may have been to a local restaurant that served up an experience far below your expecations; it may have been intended for Microsoft because your Windows XP laptop failed again, and this time you lost all your documents. We’ve all written an angry letter.

The angry letter has probably, for the most part, been replaced by the angry email — after all you can still keep an email as a draft, and not hit send. Younger generations may not be as fortunate — write an angry Facebook post or text a Tweet an it’s sent, shared, gone. Thus, social network users may not realize what they are truly missing from writing an angry letter, or email, and not sending it.

From NYT:

WHENEVER Abraham Lincoln felt the urge to tell someone off, he would compose what he called a “hot letter.” He’d pile all of his anger into a note, “put it aside until his emotions cooled down,” Doris Kearns Goodwin once explained on NPR, “and then write: ‘Never sent. Never signed.’ ” Which meant that Gen. George G. Meade, for one, would never hear from his commander in chief that Lincoln blamed him for letting Robert E. Lee escape after Gettysburg.

Lincoln was hardly unique. Among public figures who need to think twice about their choice of words, the unsent angry letter has a venerable tradition. Its purpose is twofold. It serves as a type of emotional catharsis, a way to let it all out without the repercussions of true engagement. And it acts as a strategic catharsis, an exercise in saying what you really think, which Mark Twain (himself a notable non-sender of correspondence) believed provided “unallowable frankness & freedom.”

Harry S. Truman once almost informed the treasurer of the United States that “I don’t think that the financial advisor of God Himself would be able to understand what the financial position of the Government of the United States is, by reading your statement.” In 1922, Winston Churchill nearly warned Prime Minister David Lloyd George that when it came to Iraq, “we are paying eight millions a year for the privilege of living on an ungrateful volcano out of which we are in no circumstances to get anything worth having.” Mark Twain all but chastised Russians for being too passive when it came to the czar’s abuses, writing, “Apparently none of them can bear to think of losing the present hell entirely, they merely want the temperature cooled down a little.”

But while it may be the unsent mail of politicians and writers that is saved for posterity, that doesn’t mean that they somehow hold a monopoly on the practice. Lovers carry on impassioned correspondence that the beloved never sees; family members vent their mutual frustrations. We rail against the imbecile who elbowed past us on the subway platform.

Personally, when I’m working on an article with an editor, I have a habit of using the “track changes” feature in Microsoft Word for writing retorts to suggested editorial changes. I then cool off and promptly delete the comments — and, usually, make the changes. (As far as I know, the uncensored me hasn’t made it into a final version.)

In some ways, little has changed in the art of the unsent letter since Lincoln thought better of excoriating Meade. We may have switched the format from paper to screen, but the process is largely the same. You feel angry. And you construct a retort — only to find yourself thinking better of taking it any further. Emotions cooled, you proceed in a more reasonable, and reasoned, fashion. It’s the opposite of the glib rejoinder that you think of just a bit too late and never quite get to say.

 

But it strikes me that in other, perhaps more fundamental, respects, the art of the unsent angry letter has changed beyond recognition in the world of social media. For one thing, the Internet has made the enterprise far more public. Truman, Lincoln and Churchill would file away their unsent correspondence. No one outside their inner circle would read what they had written. Now we have the option of writing what should have been our unsent words for all the world to see. There are threads on reddit and many a website devoted to those notes you’d send if only you were braver, not to mention the habit of sites like Thought Catalog of phrasing entire articles as letters that were never sent.

Want to express your frustration with your ex? Just submit a piece called “An Open Letter to the Girl I Loved and Lost,” and hope that she sees it and recognize herself. You, of course, have taken none of the risk of sending it to her directly.

A tweet about “that person,” a post about “restaurant employees who should know better”; you put in just enough detail to make the insinuation fairly obvious, but not enough that, if caught, you couldn’t deny the whole thing. It’s public shaming with an escape hatch. Does knowing that we can expect a collective response to our indignation make it more satisfying?

Not really. Though we create a safety net, we may end up tangled all the same. We have more avenues to express immediate displeasure than ever before, and may thus find ourselves more likely to hit send or tweet when we would have done better to hit save or delete. The ease of venting drowns out the possibility of recanting, and the speed of it all prevents a deeper consideration of what exactly we should say and why, precisely, we should say it.

When Lincoln wanted to voice his displeasure, he had to find a secretary or, at the very least, a pen. That process alone was a way of exercising self-control — twice over. It allowed him not only to express his thoughts in private (so as not to express them by mistake in public), but also to determine which was which: the anger that should be voiced versus the anger that should be kept quiet.

Now we need only click a reply button to rattle off our displeasures. And in the heat of the moment, we find the line between an appropriate response and one that needs a cooling-off period blurring. We toss our reflexive anger out there, but we do it publicly, without the private buffer that once would have let us separate what needed to be said from what needed only to be felt. It’s especially true when we see similarly angry commentary coming from others. Our own fury begins to feel more socially appropriate.

We may also find ourselves feeling less satisfied. Because the angry email (or tweet or text or whatnot) takes so much less effort to compose than a pen-and-paper letter, it may in the end offer us a less cathartic experience, in just the same way that pressing the end call button on your cellphone will never be quite the same as slamming down an old-fashioned receiver.

Perhaps that’s why we see so much vitriol online, so many anonymous, bitter comments, so many imprudent tweets and messy posts. Because creating them is less cathartic, you feel the need to do it more often. When your emotions never quite cool, they keep coming out in other ways.

Read the entire article here.

Image courtesy the Guardian.

 

Ten Greatest Works

PicassoGuernica

 

 

 

 

 

I would take issue with Jonathan Jones’ top ten best works of art, ever. Though the list of some chosen artists is perhaps a fair representation of la creme de la creme — Rembrandt, da Vinci, Michelangelo and Velasquez for sure.

One work that clearly does belong in the list is Guernica. Picasso summed up the truth of fascism and war in this masterpiece.

See more of Jones’ top ten here.

Image: Guernica, Pablo Picasso, 1937. Prado Museum, Madrid. Courtesy of Wikipedia.

It’s a Woman’s World

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Well, not really. Though, there is no doubting that the planet would look rather different if the genders had truly equal opportunities and pay-offs, or if women generally had all the power that tends to be concentrated in masculine hands.

A short movie by French actor and film-maker Eleonoré Pourriat imagines what our Western culture might resemble if the traditional female-male roles were reversed.

A portent of the future? Perhaps not, but thought-provoking nonetheless. One has to believe that if women had all the levers and trappings of power that they could do a better job than men. Or, perhaps not. It may just be possible that power corrupts — regardless of the gender of the empowered.

From the Independent:

Imagine a world where it is the women who pee in the street, jog bare-chested and harass and physically assault the men. Such a world has just gone viral on the internet. A nine-minute satirical film made by Eleonoré Pourriat, the French actress, script-writer and director, has clocked up hundreds of thousands of views in recent days.

The movie, Majorité Opprimée or “Oppressed Majority”, was made in 2010. It caused a flurry of interest when it was first posted on YouTube early last year. But now it’s time seems to have come. “It is astonishing, just incredible that interest in my film has suddenly exploded in this way,” Ms Pourriat told The Independent. “Obviously, I have touched a nerve. Women in France, but not just in France, feel that everyday sexism has been allowed to go on for too long.”

The star of the short film is Pierre, who is played very convincingly by Pierre Bénézit. He is a slightly gormless stay-at-home father, who spends a day besieged by the casual or aggressive sexism of women in a female-dominated planet. The film, in French with English subtitles, begins in a jokey way and turns gradually, and convincingly, nasty. It is not played for cheap laughs. It has a Swiftian capacity to disturb by the simple trick of reversing roles.

Pierre, pushing his baby-buggy, is casually harassed by a bare-breasted female jogger. He meets a male, Muslim babysitter, who is forced by his wife to wear a balaclava in public. He is verbally abused – “Think I don’t see you shaking your arse at me?” – by a drunken female down-and-out. He is sexually assaulted and humiliated by a knife-wielding girl gang. (“Say your dick is small or I’ll cut off your precious jewels.”)

He is humiliated a second time by a policewoman, who implies that he invented the gang assault. “Daylight and no witnesses, that’s strange,” she says. As she takes Pierre’s statement, the policewoman patronises a pretty, young policeman. “I need a coffee, cutie.”

Pierre’s self-important working wife arrives to collect him. She comforts him at first, calling him “kitten” and “pumpkin”. When he complains that he can no longer stand the permanent aggression of a female-dominated society, she says that he is to blame because of the way he dresses: in short sleeves, flip-flops and Bermudas.

At the second, or third, time of asking, interest in Ms Pourriat’s highly charged little movie has exploded in recent days on social media and on feminist and anti-feminist websites on both sides of the Channel and on both sides of the Atlantic. Some men refuse to see the point. “Sorry, but I would adore to live such a life,” said one French male blogger. “To be raped by a gang of girls. Great! That’s every man’s fantasy.”

Ms Pourriat, 42, acts and writes scripts for comedy movies in France. This was her first film as director. “It is rooted absolutely in my own experience as a woman living in France,” she tells me. “I think French men are worse than men elsewhere, but the incredible success of the movie suggests that it is not just a French problem.

“What angers me is that many women seem to accept this kind of behaviour from men or joke about it. I had long wanted to make a film that would turn the situation on its head.

Read the entire article here.

Video: Majorité Opprimée or “Oppressed Majority by Eleonoré Pourriat.

 

MondayPoem: Lines: The Cold Earth Slept Below

Percy_Bysshe_Shelley_by_Alfred_ClintIt’s been rather cold across much of the United States recently — even in areas of the South that rarely see below zero on a thermometer. So, how better to honor the cold than to soak in Shelley’s chillingly beautiful Lines.

By Percy Bysshe Shelley:

 Lines: The cold earth slept below

The cold earth slept below;
         Above the cold sky shone;
                And all around,
                With a chilling sound,
From caves of ice and fields of snow
The breath of night like death did flow
                Beneath the sinking moon.

The wintry hedge was black;
         The green grass was not seen;
                The birds did rest
                On the bare thorn’s breast,
Whose roots, beside the pathway track,
Had bound their folds o’er many a crack
                Which the frost had made between.

Thine eyes glow’d in the glare
         Of the moon’s dying light;
                As a fen-fire’s beam
                On a sluggish stream
Gleams dimly—so the moon shone there,
And it yellow’d the strings of thy tangled hair,
                That shook in the wind of night.

The moon made thy lips pale, beloved;
         The wind made thy bosom chill;
                The night did shed
                On thy dear head
Its frozen dew, and thou didst lie
Where the bitter breath of the naked sky
                Might visit thee at will.

Poem courtesy of Percy Bysshe Shelley.

Image: Percy Bysshe Shelley, portrait by Alfred Clint (1819).

Percy Bysshe Shelley

Wolfgang Pauli’s Champagne

PauliAustrian theoretical physicist dreamed up neutrinos in 1930, and famously bet a case of fine champagne that these ghostly elementary particles would never be found. Pauli lost the bet in 1956. Since then researchers have made great progress both theoretically and experimentally in trying to delve into the neutrino’s secrets. Two new books describe the ongoing quest.

From the Economist:

Neutrinoa are weird. The wispy particles are far more abundant than the protons and electrons that make up atoms. Billions of them stream through every square centimetre of Earth’s surface each second, but they leave no trace and rarely interact with anything. Yet scientists increasingly agree that they could help unravel one of the biggest mysteries in physics: why the cosmos is made of matter.

Neutrinos’ scientific history is also odd, as two new books explain. The first is “Neutrino Hunters” by Ray Jayawardhana, a professor of astrophysics at the University of Toronto (and a former contributor to The Economist). The second, “The Perfect Wave”, is by Heinrich Päs, a neutrino theorist from Technical University in the German city of Dortmund.

The particles were dreamed up in 1930 by Wolfgang Pauli, an Austrian, to account for energy that appeared to go missing in a type of radioactivity known as beta decay. Pauli apologised for what was a bold idea at a time when physicists knew of just two subatomic particles (protons and electrons), explaining that the missing energy was carried away by a new, electrically neutral and, he believed, undetectable subatomic species. He bet a case of champagne that it would never be found.

Pauli lost the wager in 1956 to two Americans, Frederick Reines and Clyde Cowan. The original experiment they came up with to test the hypothesis was unorthodox. It involved dropping a detector down a shaft within 40 metres of an exploding nuclear bomb, which would act as a source of neutrinos. Though Los Alamos National Laboratory approved the experiment, the pair eventually chose a more practical approach and buried a detector near a powerful nuclear reactor at Savannah River, South Carolina, instead. (Most neutrino detectors are deep underground to shield them from cosmic rays, which can cause similar signals.)

However, as other experiments, in particular those looking for neutrinos in the physical reactions which power the sun, strove to replicate Reines’s and Cowan’s result, they hit a snag. The number of solar neutrinos they recorded was persistently just one third of what theory said the sun ought to produce. Either the theorists had made a mistake, the thinking went, or the experiments had gone awry.

In fact, both were right all along. It was the neutrinos that, true to form, behaved oddly. As early as 1957 Bruno Pontecorvo, an Italian physicist who had defected to the Soviet Union seven years earlier, suggested that neutrinos could come in different types, known to physicists as “flavours”, and that they morph from one type to another on their way from the sun to Earth. Other scientists were sceptical. Their blueprint for how nature works at the subatomic level, called the Standard Model, assumed that neutrinos have no mass. This, as Albert Einstein showed, is the same as saying they travel at the speed of light. On reaching that speed time stops. If neutrinos switch flavours they would have to experience change, and thus time. That means they would have to be slower than light. In other words, they would have mass. (A claim in 2011 by Italian physicists working with CERN, Europe’s main physics laboratory, that neutrinos broke Einstein’s speed limit turned out to be the result of a loose cable.)

Pontecorvo’s hypothesis was proved only in 1998, in Japan. Others have since confirmed the phenomenon known as “oscillation”. The Standard Model had to be tweaked to make room for neutrino mass. But scientists still have little idea about how much any of the neutrinos actually weigh, besides being at least 1m times lighter than an electron.

The answer to the weight question, as well as a better understanding of neutrino oscillations, may help solve the puzzle of why the universe is full of matter. One explanation boffins like a lot because of its elegant maths invokes a whole new category of “heavy” neutrino decaying more readily into matter than antimatter. If that happened a lot when the universe began, then there would have been more matter around than antimatter, and when the matter and antimatter annihilated each other, as they are wont to do, some matter (ie, everything now visible) would be left over. The lighter the known neutrinos, according to this “seesaw” theory, the heftier the heavy sort would have to be. A heavy neutrino has yet to be observed, and may well, as Pauli described it, be unobservable. But a better handle on the light variety, Messrs Jayawardhana and Päs both agree, may offer important clues.

These two books complement each other. Mr Jayawardhana’s is stronger on the history (though his accounts of the neutrino hunters’ personal lives can read a little too much like a professional CV). It is also more comprehensive on the potential use of neutrinos in examining the innards of the sun, of distant exploding stars or of Earth, as well as more practical uses such as fingering illicit nuclear-enrichment programmes (since they spew out a telltale pattern of the particles).

Read the entire article here.

Image: Wolfgang Pauli, c1945. Courtesy of Wikipedia.

Selfies That Celebrate the Environment

northern lights at Lake Minnewanka

Not every selfie has to be about me or you, the smartphone-carrier. Sometimes a selfie can focus on something else, something bigger than ourselves. Sometimes the self in the selfie becomes just a meaningless dot on a broader, deeper, richer landscape. We need to see more selfies like those of Canadian photographer Paul Zizka — his are indeed selfies worth sharing and celebrating.

See more of Paul Zizka’s stunning images here.

Image: The northern lights at Lake Minnewanka, Banff National Park Photograph: Paul Zizka Photography/Caters News Agency.

The Power of the Female Artist

Artemisia_Gentileschi-Judith_Beheading_Holofernes

Despite progress gender equality remains a myth in most areas of our modern world. In most endeavors women have made significant strides in catching men — vying for the same levels of attention, education, fame, wealth and power. It is certainly the case in the art world too — women have made, and are continuing to make, progress in attaining parity — but it is still a male dominated culture. That said, some female artists have managed to rise above the male tide to capture the global imagination with their powerful works and ideas.

Jonathan Jones over at his On Art Blog lists for us his top ten most subversive female artists from the last several hundred years. While it would be right to take issue with his notion of subversive, many of the names on the list quite rightly deserve as much mind-share as their male contemporaries.

From the Jonathan Jones:

Artemisia Gentileschi

When she was a teenager, this 17th-century baroque artist was raped by a painter. She responded by turning her art into a weapon. In Gentileschi’s repeated paintings of the biblical story of Judith slaying Holofernes, the Israelite hero is helped by her muscular servant. As one woman holds down Holofernes on his bed, the other saws through his neck with a sword. Blood spurts everywhere in a sensational image of women taking revenge on patriarchy.

Hannah Wilke

In her SOS Starification Object Series (1974-82), Wilke was photographed with blobs of chewing gum stuck on to her flesh. Dotting her face and bare body, these bizarre markings resembled a modern form of tribal scarification (this was before ritualistic body modification became fashionable) and resemble vaginas. Or are they eyes? Wilke’s “starification” marked her with the burden of being objectified by the male gaze.

Adrian Piper

In her Catalysis performances (1970), Piper turned herself into a human provocation in public places such as the New York subway. In one performance, she rode the subway after soaking her clothes in pungent substances for a week to make them stink. She muttered in the street, entered the elevator of the Empire State Building with a red towel stuffed in her mouth or simply made eye contact with strangers. Her purpose was to dramatise social unease and ultimately the unspoken tensions of race in America.

Georgia O’Keeffe

In the early 20th century, Georgia O’Keeffe posed nude for her lover, the modernist photographer and art impressario Alfred Stieglitz, and painted abstractions that have an explicitly vaginal beauty. Compared with some artists in this list she may seem soft, but her cussed exploration of her own body and soul mapped out a new expressive freedom for women making art in the modern age.

Claude Cahun

In photographs taken from the 1920s to 1940s, this French artist often portrays herself in male clothes and hairstyles, contemplating her own transformed image as she experiments with the fictions of gender. Cahun’s pioneering art is typical of the freedom the surrealist movement gave artists to question sexual and social convention.

Louise Bourgeois

The labyrinthine mind of the last great surrealist envelops the spectator of her art in memories of an early 20th-century French childhood, intense secret worlds and the very interior of the body. Collapsing the masculinist art form of sculpture into something organic and ripely carnal, she is the spider of subversion weaving a web that has transformed the very nature of art.

Read the entire list here:

Image: Judith Beheading Holofernes, Artemisia Gentileschi, c1612. Courtesy of Wikimedia.

Art From the Tube

london-underground_art

The tube is question here is not one containing an artist’s oils or acrylics. And, neither is the tube the Google owned YouTube site. Rather, the tube, is The Tube — London’s metropolitan subway system, also known as the underground. The paintings are part of an exhibit to honor the 150th anniversary of the initial opening of the, mostly, subterranean marvel.

From the Telegraph:

Artist Ewing Paddock has spent three years painting people travelling on the London Underground. The Tube is the place to observe Londoners in all their glorious diversity and Ewing wanted to try to capture some of that in the paintings and also the slightly secret voyeurism that most of us indulge in when watching, and wondering about, our fellow travellers under ground.

See all the wonderful paintings here.

Image: Adam, Eve. An old, old story, deep underground, by Ewing Paddock. Courtesy the Telegraph.

When Is a Novel Not a Novel?

Persepolis-books1and2-covers

In the eyes of many teachers and parents, a novel is not a novel when it is graphic — as in, graphic novel, with illustrations and images, not necessarily explicit in content (when did “graphic” come to connote negativity anyway?) Educators who tell their students to put the graphic novel back on the shelf — in favor of a more wordy tome — still tend to perceive this form of literature as nothing more than a bound, cartoonish comic strip aimed at childish readers or nerdy boys. Not so! Graphic novels are not your father’s Dandy or Beano (though, in themselves are entertaining too).

Some critically acclaimed and riveting works have recently debuted in graphic form, and the genre is holding its own and slowly proving its worth. The stories both true and imagined are rich and moving, and the illustrations, far from detracting the eye, add gravitas and depth. And, the subjects now go far beyond the realm of superheroes, zombies and robots — they walk us through all that is to be human: tragedy, atrocity, love, angst, guilt, loss, joy.

A few recent classics come to mind: Persepolis, a French-language, autobiographical graphic novel by Marjane Satrapi; Logicomix: An Epic Search for Truth, a graphic novel about the quest for logic and reason in mathematics, by Apostolos Doxiadis; Fun Home: A Family Tragicomic by Alison Bechdel; Maus I: A Survivor’s Tale: My Father Bleeds History, by Art Spiegelman; Blankets an autobiographical graphic novel by Craig Thompson.

From Washington Post:

A Young girl, a primary grade-schooler with a well-worn library card, was enthusiastically reading a riveting memoir when a stern tone descended upon her.

“What is that?” the teacher asked/accused.

“It’s a graphic novel,” came the girl’s reply.

Such works, the girl was told, were unacceptable for classroom “reading time,” let alone for a book report. The teacher’s sharp ruling boiled down to a four-word excuse for banishment:

“Graphic. Novels. Aren’t. Books.”

Sigh.

Here we go again…

Really? Two decades after Art Spiegelman’s landmark Holocaust graphic novel “Maus” won the Pulitzer Prize and helped stake a fresh claim for comics as literature — paving the way for the appreciation of such works as “Persepolis” and “Blankets” and “American Born Chinese” — do a significant number of teachers and administrators remain mired in such backward thinking?

Unfortunately, my rhetoric is rhetorical. These curricular “world-is-flat’ers” are still thick on our school grounds. But it’s time for the culture’s tectonic plates to more rapidly force a shift in academic thought.

As we step into 2014, this lingering bias in curriculum needs to cease. We fervently urge the least enlightened of our educators to catch up with the rest of the class. And to make our case, let us present Exhibit A:

The young girl who faced that rebuke of illustrated books was a relative of mine. And that book (a-hem) in question was “Stitches: A Memoir,” acclaimed author David Small’s poignant personal story of a dysfunctional childhood home — including his adolescent battle with throat cancer, which may have been caused by his doctor-father’s early over-embrace of X-ray radiation. In Small’s masterful prose and liquid pictures, we vividly experience the voiceless boy-patient’s raw emotions.

Even four years ago, quite a few people would have begged to differ with that grade-school teacher. “Stitches” climbed the bestseller list of the New York Times, which deemed the book worthy of review; was named one of the best books of the year by such outlets as Publishers Weekly; and was a finalist for the 2009 National Book Award for Young People’s Literature. No less than Pulitzer Prize-winning cartoonist/author/playwright/screenwriter Jules Feiffer said aptly of Small’s masterpiece: “It left me speechless.”

Of the teacher’s wrong-headed thinking, I was left speechless. Her decision was not a mere judgment against one book, but an ignorant indictment of all graphic novels. As blanket criticism, it was unabashedly threadbare.

Consider my commentary here, then, to be a criticism of that criticism. Because what the larger academic problem calls for is not damnation, but persuasion. A struck match. Into Plato’s cave, let us bring truer illumination.

What follows is not some broad indictment of modern American education. I was born into a brood of teachers — the family crest might as well be a chalkboard — and I deeply value what too often is one of the nation’s more thankless and underpaid cornerstone careers. Plus, as an artist who has spoken to thousands of impressive educators — many of whom appreciated my history-themed syndicated comic strip — I applaud those who thoughtfully and passionately help inform and shape young minds, while keeping an open mind themselves. On this front, so many of them “get” it.

What this essay is, at heart, is an extended hand in the name of better understanding — especially as our schools are filled with so-called “reluctant readers” and other struggling learners. We face an educational imperative: Why not use every effective teaching tool at our disposal? Decades of studies have shown the power of visual learning as an effective scholastic technique. Author Neil Gaiman (winner of the Newbery and Carnegie medals for children’s lit) recently noted that comics were once falsely accused of fostering illiteracy. We now know that comics — the marriage of word and picture in a dynamic relationship that fires synapses across the brain — can be a bridge to literacy and a path to learning. Armed with that knowledge, the last thing we need blocking that footbridge is the Reluctant Teacher.

Fortunately, 2013 rises to aid our cause. It was a banner year for graphic novels; top authors ranged from a young hip-hop fan to a heroic septuagenarian congressman writing his first comic — and in between were a couple of world-class cartoonists who also happen to be widely recognized educators.

Great works help beget great change. So here, then, is our examination of 10 stellar graphic novels and illustrated books from the year past (all equally fit for adult consumption, to boot). Because the writing is on the classroom wall. As generations are weaned on the Internet, our culture grows ever more visual. And the take-home lesson is this:

Let us meet our young minds where they live.

Let us smartly employ the resources of visual learning.

Read the entire article here.

Image: Persepolis 1 and Persepolis 2, book covers by Marjane Satrapi. Courtesy of Marjane Satrapi / Wikipedia.

 

Auf Wiedersehen, Pet

old VW campers parked next to each other

After almost 65 years rolling off the production line, the VW Camper nears the end of its current journey. Though, didn’t Volkswagen once claim that for its iconic Beetle, which now has an updated lease on life? Oh well. In the meantime, hippies and other traveling souls will mourn the passing of an iconic, albeit rather unreliable, mode of transport (and form of housing).

See more images here.

Image courtesy of the Guardian / Royston White.

It’s a Stage of Mind

Panic room, 2010Panic room, 2010

The art world continues to surprise. Just as creativity fades into a morass of commercial, “artotainment” drivel, along comes an artist with a thoroughly refreshing perspective. JeeYoung Lee creates breathtaking human-scale dioramas completely filling her 10 x 20 square foot studio with a parallel universe.

While it would be a delight to inhabit these spaces in Lee’s studio, it is unfortunately and understandably off-limits. However, the photographs are on display at the Opiom Gallery in Opio, France from 7 February to 7 March 2014.

Black birds, 2009Black birds, 2009

Nightscape, 2012Nightscape, 2012

From the Guardian:

From a giant honeycomb to a land of Lego and the last supper with mice, Korean artist JeeYoung Lee creates mystical universes in the confines of her 3×6 metre studio – then captures them on camera. Her first European exhibition, Stage of Mind, is at Opiom Gallery in Opio, France from 7 February to 7 March 2014.

See more images here.

Images courtesy of JeeYoung Lee/OPIOM Gallery.

Here Be Dragons

google-search-dragonsDragons have long filled our dreams and nightmares, and maps. Until recently, cartographers would fill in unexplored areas on their hand-drawn charts with monsters and serpents. Now, most of the dragons we encounter are courtesy of the movies or the toy store, though some of us harbor metaphorical dragons within (or at the office). Thus with the next Hobbit movie — The Desolation of Smaug — on the horizon it is fitting to look back at the colorful history of our most treasured and terrifying dragons.

From the Guardian:

I doubt if JRR Tolkien would recognise his Smaug in Peter Jackson’s new CGI Hobbit spectacular, with its colossal, grandiose dragon voiced by Benedict Cumberbatch. Tolkien’s beast, at least in the author’s original illustrations, was an elegant Rackhamesque creature: a fire-orange, slightly languid lizard, all stuck over with jewels from years of lolling about in his lair, where his vast treasure was stored.

Smaug was created by Tolkien out of his love for Beowulf, whose hero battles with “the fiery dragon, the fearful fiend”. But Tolkien also threw in a little wordplay for good measure: the name came from the old German smugan, meaning to squeeze through a hole, presumably in reference to the biblical parable about rich men and needles; while Smaug’s treasure-guarding echoes the origin of the word dragon itself, from the Greek drakon, “to watch”.

For all its contemporary role as a cliche of fantasy epics, the dragon’s true power comes from a darker place. It casts a long shadow over our folk memory, across the caverns of our collective fears. It may even reach back into prehistory: when the fossilised bones of sauropods were first discovered, they were claimed to be the remains of dragons – a notion encouraged by the convention that dragons didn’t really die, they just cast off their bodies.

But the dragon cannot be contained by palaeontology. It writhes out of reality and into western creation myths, from the pagan Norse beast Níðhöggr, gnawing away at the roots of Yggdrasil, the Tree of Life, to the Book of Revelation and its “great red dragon with seven heads and 10 horns” that attempts to eat the offspring of “the woman clothed with the sun” as she gives birth.

Throughout the Bible, in fact, the dragon is the embodiment of evil, a stand-in for Satan. There’s a wonderful 15th-century oil in the Prado, attributed to a “master of Zafra”, that depicts the archangel Michael (looking rather girly with his crimped hair and bejewelled breastplate) straddling an extraordinary dragon. This medieval mashup has the paws of a lion, the wings of a vulture, the neck of a sea serpent and a head seemingly composed of a horned cow crossed with the archetypal Chinese dragon familiar from 1,000 vases and takeaway menus.

It’s a mark of the monster’s shape-shifting qualities that its satanic western aura is sharply contrasted by the rearing, joyous, prancing imperial dragons of China: symbols of good luck and nobility rather than of disaster, often bearing pearls and surrounded by clouds and fire. At least one emperor, Yaou, was said to have been the product of a liaison between his mother and a red dragon.

In fact, so rich were the oriental legends of dragons that they convinced the Victorian geologist Charles Gould that dragons had really existed. “There is nothing impossible in the ordinary notion of the traditional dragon,” Gould declared in his 1886 book Mythical Monsters. “It is more likely to have once had a real existence than to be a mere offspring of fancy.” Gould surmised that these dragon stories drew on a “long terrestrial lizard, hibernating and carnivorous, with the power of constricting with its snake-like body and tail, possibly furnished with wing-like extensions”. Since Victorians regularly read reports of maned and long-necked sea monsters in their newspapers, such faith in the fabulous was by no means unusual.

For all his mentions of Darwin and “rational study” of the evidence, Gould betrayed his creationist beliefs when he declared that the dragon disappeared during the “Biblical Deluge”. Nevertheless, his fellow cryptozoologists not only insisted that dragons had existed, but that they still did – in the brontosaurian shape of Mokele Mbembe, cavorting in the Congo’s swamps like an African Loch Ness monster.

The Prado painting proves that the medieval world thronged with dragons; its skies were as full of them as ours are of 747s. But it is to the 19th century that we owe our contemporary image of the dragon. From Tennyson’s “Dragons of the prime, / That tare each other in their slime”, to the art of William Blake, Edward Burne-Jones and Aubrey Beardsley, the period teemed with the beasts. Blake’s Great Red Dragon watercolour series revisited the baby-eating beast of Revelation, and has much in common with Swiss surrealist HR Giger’s designs for Alien (itself a sci-fi version of the dragon). Morphing weirdly between human and beast, they are so intensely physical they must surely have emerged from Blake’s many hallucinations. To Burne-Jones, the dragon was a more muscular physical reality, a bleeding, biting beast to be wrestled by St George. Beardsley, on the other hand, produced an epicene, ambisexual Arthurian dragon, all curlicues and decadent flourishes – an enervated, languorous, stupefied beast, barely capable of a roar.

It has always struck me that the pterodactyls and prehistoric lizards that hang off London’s Natural History Museum, not to mention the terracotta dragons perched on the eaves of suburban terraces, were really only excuses for the Victorians to invent their own gargoyles and demons as a retort to the worrying new doubts of Darwinism. Like all monsters (the word comes from the Latin monstrum, “to warn”), dragons fulfil a particular niche, whether for a Chinese emperor, Victorian artist, or contemporary film-maker: they become precisely what the age demands of them, their roars tailored to contemporary concerns. In his intriguing, postmodern study The Last Dinosaur Book, WJT Mitchell sees the dragon as “the cultural ancestor of the dinosaur … the ruling reptile of premodern social systems, associated with kings and emperors, with buried treasure and with the fall of dynasties”. Rather than exorcise the atavistic monsters, the appearance of real dragons – in the shape of Tyrannosaurus rex et al – merely reinforced belief in their imaginary predecessors.

That’s why, in the movies of Ray Harryhausen and other fantasy films from Godzilla to Jurassic Park and beyond, dinosaurs and dragons are almost interchangeable: a reflection of new 20th-century myths, auguries of a nuclear age. From Tolkien and CS Lewis to Dungeons and Dragons (with a particular appeal to boys – and quite a few men), they speak of an alternative existence into which we might escape when reality threatens. Perhaps that’s why the abusive term “dragon” is reserved for “terrifying” women (despite all the phallic symbolism of a dragon’s serpentine neck).

Enter not Bruce Lee, but Carl Jung, stroking his beard and declaring that the dragon is an archetype of our unconscious fears: the devouring nature of our mothers, or our fear of sex – the dragon inside us all. Furthermore, Jung diagnosed the dichotomy of the dragon and its two faces: as feared enemy in western myth; or as the positive, transformative power within ourselves (“the Great Self Within” in Jung’s phrase) in the eastern tradition. Cue a parade of new-age dragons, their sulphorous breath replaced with pungent patchouli.

Read the entire article here.

Image courtesy of Google Search.

Through the Eyes of Children

Sderot_Home

The very human invention that is war has taken an incalculable cost since it was first conceived, presumably when the first hunter-gatherers picked up the first rock or fashioned the first club. The cost on the innocent — especially the children — is brutal: death, pain, broken bodies, maimed limbs, fractured minds, shredded families.

Photographer Brian McCarty has chronicled the stories of some victims from the war and violence in the Middle East. In his visits to a therapeutic center in Jerusalem in 2011 he would watch the children work with therapists as they voice their painful memories and fear through art and play. Later, we would re-create their “war art” in photographs, often with the help of the children.

From Wired:

At the Spafford Children’s Center for in East Jerusalem, L.A.–based photographer Brian McCarty watched as a little girl made a crayon drawing of a dead boy. She carefully colors in a red pool of blood around his body. It was a drawing that McCarty would later use to stage one of his photographs for WAR-TOYS, a series that recreates children’s memories and fears of conflict in the Middle East with toys.

“Play can become a mechanism for healing,” says McCarty. Drawing on the tenets of art and play therapy, which help children express emotions in non-verbal ways, he sees WAR-TOYS as providing witness to the often unseen impact of armed conflict on children, while serving as part of these children’s therapeutic process.

McCarty first visited this therapeutic center in 2011 where he would observe as children worked with art and play therapists to tell and draw their stories. The drawings then served as a storyboard of sorts for McCarty, who re-created the scenes using locally purchased toys as characters and props. When possible, he brought the child along to help art direct the shoot.

McCarty worked with children in Jerusalem, the West Bank and Gaza, which produced a variety of drawings. Some children drew the keys their families kept as symbols of the homes they had to flee. A few boys portrayed heroic militants with homemade bombs. Young girls in Gaza City often drew mothers and babies near scenes of carnage.

Yet most of the drawings depicted the children’s fears. One boy’s drawing expressed how unattainable safety felt even with defense systems ready. It shows the sky full of incoming rockets and defensive interceptor missiles, while on the ground a bus explodes.

The use of toys as surrogates gives McCarty’s reenactments a playful, fictional distance while shifting the perspective to that of a child’s: closer to the ground, helplessly witnessing the shocking blur of play and violence.

The local toys also reveal the socio-economic layers of the region. While most of the toys in the region were made in China; in Gaza they were often botched discount versions.

And despite some previous efforts to rid the region of war toys, plastic soldiers, guns and bombs are ubiquitous. Notably, Israeli and Palestinian flags figures largely in the children’s drawings, and thus McCarty’s photographs, revealing the intensely divisive tribalism recognized, and sometimes identified with, from an early age.

“I’ve chosen to be as neutral as possible for the project. Much like the kids, I only know that the person shooting at me is a bad guy. They are ‘them,’ no matter which side of the border I’m on,” McCarty says.

McCarty, who has used toys in his photographs for 17 years, views this series as the first phase of a larger project — though gaining access is a challenge. “It took two years and a number of face-to-face meetings for an Israeli NGO to grant me access,” he says.

And that’s only the first difficulty. There’s also an element of danger. He recalled one particularly harrowing photo shoot: “Throughout, the sounds of outbound rockets and concussions from incoming airstrikes grew in intensity. I managed to complete my work, while experiencing first-hand the fear and anxiety the children face throughout their lives.”

See more images and read the full story here.

Image:  Photograph from WAR-TOYS by Brian McCarty. Courtesy of Brian McCarty / Wired.