This video is part of a collection of eight documentary shorts featuring medically-different children from across the UK. What really makes them (and their friends) different from most kids I know personally is how active and proactive they are, and how they eat yummy foods and play popular sports in different ways than normal!
I won't be asking for much if I said he should make it with recycled paper, no? *that's called putting magic on and under the microscope* *don't beat me*.
I love watching little pixel-people scuttling about on the screen with single-minded purpose. They are the most uncomplicated people you will find: monosyllabic but demonstrative, like when they express anger, success, happiness or experience death. *thud*. game over. They are always busy, and in a hurry to get somewhere; and they feel the need to do things faster than we do in real life. You will never find a character idling away. I think there's a valuable lesson there (among other valuable lessons that I won’t get into today)!
Many years ago, I wrote down the walking speeds of many characters: the thief in Lode Runner, Donkey Kong, Mario... and compared them to that of the average human walking speed, keeping in mind different physical criteria (like size of characters, dimensions of their world, proportionate distances etc...)! My assessment may not have been mathematically accurate, but it was my way of celebrating the speed at which things happened in games! And overtime, all this interaction with video game characters in their two-dimensional worlds that allowed them to defy the laws of physics convinced me that they are definitely on a different time-space continuum and were messing up my circadian rhythm, if you will. You are forced to react to things hurled at you faster than you would otherwise, so you get into a zone by shutting off the world around you that’s moving slower, so that you can focus and channel your telekinetic abilities. And that also explains why games make you forget hunger, sleep and other biological needs. Even now, I find myself humming chiptunes when I am crunching numbers, doing mechanical work, or running to get to some place quick. They've proven to get the job done better.
Technically, all video games and movies we watch online are pixels moving on the screen (which is astounding when you think of it like that), but, the 8-bit style is more evidently so because of its straight-liney, hard-edgy, square-boxey aspects, and limited color palettes. Everything is pared down to the very basic, where a single dot is the difference between a man or a woman, anger or joy, and it still retains that evocative, and sometimes garish sensibility. The same goes for music, which is pared down to its basic frequencies. It reminds me of the type of rules-based traditional art I grew up learning in India. And it is also the same reason why I am drawn to LEGO!
Today, the 8-bit style has evolved beyond its humble gaming-days, when it was limited by a single-purpose. It is a goldmine of artistic possibilities for both the visual and music world! There is a profundity in the idea that what we see and what we hear both come from the exact same place! It changes how we think about art.
Cinefix’s 8-bit (and 16-bit) movies are fun because they compress popular movies (including some challenging ones) into two-minute videos (some adapted faithfully, like Hunger Games, and some reinterpreted very well, like Inception). And part of the experience is in guessing which games inspired each movie, and seeing the familiar games role-play our favorite movies. Fanboys will not be disappointed. And while you are at it, also check out some cool movie gifs by Pixelwood.
What frauds! It is not as if either of them bypassed the anti-defection law and resigned from their political party and re-contested from the other's! In any case, two-third of cinema enthusiasts are honey badgers, and one-third will lap up whatever dreck they will dole out anyway.
Yesterday was the 201st anniversary of the first publication of Pride and Prejudice. But, it was in fact written seventeen years before that, when Austen was still as young and spirited as Lizzy. She carried the book with her for almost half her life before it was finally published, only to depart from it and this world four years later. In those seventeen years, she had experienced a tumultuous life that was to change who she was and the course of women all over the world for all time.
When she first wrote the book, her father made an earnest attempt to get it published, but it was to wait almost two decades before Thomas Egerton agreed to publish it, albeit at Austen’s expense. Curiously, Egerton specialized in military and political works until then, and Austen was his first woman novelist. He was also her publisher for Sense and Sensibility the year before. Pride and Prejudice was so popular that it caught on with readers more quickly through word-of-mouth than printed advertisements, so that a second edition had to be printed within nine months of the first edition coming out.
At that time, Austen was only the second generation of novelists. Novels were a fairly new form of literature. They became popular in the mid-18th century when the middle class expanded and there was a demand for secular stories driven not by plot, but by individuals. But, most of them were written by men, and were adventures centered around larger-than-life male heroes, usually in imaginary worlds, with women playing insignificant roles in the stories. Even the novels centered around women were mostly written by men and portrayed them as being modest and meek, or as they were meant to be.
Austen is the first novelist in history to capture ordinary life in the Regency era. Her men and women are rooted in reality and come in every imaginable shade of character. Compared to her contemporaries, her characters are bold and the flirtations are akin to today's Fifty Shades of Grey, only more eloquent and reflective. I particularly savor the way she captures the constant negotiation of expectations and impressions between the commodities in the story, that is the “eligible” suitors in the marriage market. The conversations between them are crisp, witty and full of revealing gestures, but more importantly, intentional, and often driven through indirect discourses. Every conversation, every situation and every letter arrives with perfect timing, so that the plot always moves along in unexpected ways. We are forever reappraising characters and becoming aware of their lack of self-knowledge. Everyone’s foibles and the ironies of their life are so relatable, that you delight in them because it is your reality.
Her stories are primarily human and about the pursuit of truths through sharp satire. She once criticized her niece’s draft novel for portraying people in Dawlish gossiping about news from Lyme, which is forty miles away and would not be talked of there. That is the level of adherence to fact and societal accuracy that she aimed for, which makes her works important historic documents. Her truths are loaded and “universally acknowledged”, and lay all the societal pretensions bare and impossible to dispute!
What also sets her apart from novelists during her times is her lack of indulgence in prose about material things and the description of settings. Her characters are almost entirely preoccupied with calibrating delicate feelings and abstract nouns to take notice of their surroundings. They display a desire to understand what shapes people’s consciousness and their character and morality, and what dictates their choices.
And because abstract nouns have a universal appeal, she inspires every kind of intellectual dialogue imaginable. Her work speaks different things to different generations and cultures and academicians (and also to Orangutans). It has been superimposed by so many adaptations that the mind attempts to summon Darcy only to be distracted by Olivier or Firth or whoever else made a bold attempt at being devastatingly handsome (or devastatingly conceited)!
Along with the adaptations, there are a whole sleuth of biographies attempting to construct a woman who seems almost mythical in her attainments. When Austen first wrote Pride and Prejudice, she was a teenager with little formal education, gaining knowledge solely from the books in her father’s library. And it is that tiny world that inspired novels of such depth and beauty, and insight into society and politics. One wonders how!
When I read Pride and Prejudice today, I imagine my grandmom as a young teenager, holding the very same book, and swooning over Darcy, or admiring a clever Elizabeth Bennet and marveling at the society in England back in the days! Along with the book, my grandmom also passed on hope and that love comes from pursuing the truth of one’s own character. I find Austen's persistence as a writer, through all the hardships particularly inspiring! I also take comfort in reading the bits of her unfinished novels in Juvenilia because nothing about what I do is every complete. I can’t tell if I love her more or her works, because they, and their journey are also a reflection of who she is. Jane Austen and her Pride and Prejudice came close to being in extremis, only to become immortal.
Last year, BBC recreated the Netherfield Ball for the 200th anniversary celebration of Pride and Prejudice, and shared a 90-minute Making-of documentary called Pride and Prejudice: Having a Ball! Also, there is an online exhibition called What Jane Saw, which attempted to reconstruct the art exhibit of Sir Joshua Reynolds paintings at the British Institution in Pall Mall that Austen talks about in Pride and Prejudice. Back then, the exhibition was the first commemorative museum show dedicated to a single artist, and something of a pop-culture phenomenon! Austen was something of a Rob Fleming of High Fidelity of her times, and kept up with all the who’s-whos and so-and-sos of her time and wove them into her stories. Many of the character descriptions in Pride and Prejudice were said to have been inspired by Sir Joshua Reynolds portraits. Finally, here is Pride and Prejudice cartoon by Jen Sorenson.
Sometimes I wonder what I might do in an abusive relationship. Then I think of all the wonderful people I can depend on, who will never let anything like this happen to me, and I am ever so grateful.
It's important to have more than one person in your life to love, and make you feel loved!
Anders Ramsell animated 12597 remarkably tiny (1.5 x 3 cms) hand-painted aquarelle works of the Blade Runner to create this stunning adaptation. The artistry here is staggering when one considers the difficulty of working with water colors. The aquarelle method uses transparent splashes of paint to create layered artwork that blends realism with abstraction. Because of its fluidity, you have little to no room for error. Once you commit your brush to paper, you go for it like you are aiming for an apple on a man's head. Add to that, Ramsell even manages movement and transformation in his art through the evocative use of color, which is astounding. I wonder how many more paintings he made for this movie that he didn't include in it.
In a way, The Aquarelle Edition serves well as a metaphor for the number of times Blade Runner has been re-cut or readapted. Each version of Blade Runner has either attempted to fine tune the original or offer a fresh take. In a sense, they have all added a new coat of paint to existing furniture. The original movie itself is an adaptation of Philip K. Dick's book Do Androids Dream of Electric Sheep?. Today, there are more copyrighted alternate cuts and illegal fan edits of the movie than one can count.
I love Blade Runner. But, beyond my own fixation with the movie, I find that it affirms my belief that the space for alternate cuts is limitless. Each cut of this movie is as meritorious and popular as the other, and does not dilute the spirit of and a fan’s love for the original. This Aquarelle Edition further validates this opinion.
It is in sync with the fan-fiction tradition that we’ve been following for centuries now. Adaptations are like modern folk tales or epic poetries that survived by way of approximate transference over many generations and mediums. When novels first came out in the eighteenth century, readers who were used to folk tradition, continued to feel entitled to own fictional characters and reimagine them in their own stories.
For instance, Daniel Defoe’s Robinson Crusoe spawned many unauthorized sequels, satires, plays, adaptations, and even merchandise. Even back then, there was discussion on authorship and “original expression”, even though it didn't translate to a formal legal foundation around copyright. The discussion then must have been much like the discussion now on the hellish consequences of regular people owning 3D printers and making knockoffs of products. (I am dying to copy every damnedest designer jewelry or product there is that I have never needed or wanted, just for payback).
Even in the first half of the nineteenth century much of the culture was available for unreserved reuse. Moreover, even protected works (usually paintings, and rarely literature) were protected only against literal copying. It was only as businesses began to make deeper investments in cultural expression that copyright and fair-use were given attention.
The case that laid the foundation for fair-use was Folson v. Marsh in 1841, on whether a new biography of George Washington could use letters that had been collected and published by an earlier biographer. It turned out to be a dialogue between Republican ideology that celebrated uninhibited access to knowledge, and the profit-oriented media industry advocating copyright protection. The end result was the creation of more stringent pro-market laws that went on to shape our attitudes.
Some authors began to show a desire to own fictional characters as legal property, but they were also fickle-minded about ownership. For instance, when Harriet Beecher Stowe’s Uncle Tom’s Cabin became a cult classic, it spawned several profitable but unauthorized copycat novels and merchandise. But, she didn’t seem to mind being cheated of licensing fees, because she was earning record-breaking royalties for the original. However, she later sued a German translation of the book in the US. I suspect this is because the sales of the translated book ate into her profits. Germans were the biggest immigrant group in the country, and in fact made up a third of the country at that time. Even though she lost the case, I have a feeling she might have won it if she had chosen to sue the english copycat novels that she let pass instead.
Even in our times, companies that have seen many Fan-edits of their films, have only on some occasions (and quite inconsistently and inexplicably) sued appropriators for causing customer confusion or for expropriating or leveraging their success.
I am both a fair use and anti-piracy advocate. I like the space that encourages both new and inspired material, and celebrates creative talent. I see creativity as a social phenomenon as much as individual expression. This is relevant especially in our times where the internet is full of impromptu creative literary and artistic works done purely for the love of art.
It would be deplorable therefore, if this Aquarelle Edition of the Blade Runner was ever to be sued for copyright infringement. We would be doing a huge disfavor to our culture, and crippling artists who find creativity through inspiration from others’ works.
The privilege of referencing pre-existing works (passive fair-use), or using source material to churn out new products (transformative fair-use) is exercised everyday in news programs, social networks and artworks. Fair-use is simple to apply and most of it is done legally, and oftentimes even when we think we are doing it illegally. There are no fair-use laws as such, and no one needs to authorize your decision. In fact, fair users don’t even have to worry about carrying over the legal encumbrances of the source material, and the nitty-grittys of their copyright and licensing arrangements, as long as they are using the material "fairly". And because fairness is a grey area, you exercise fair-use through self-belief, with some adherence to suggested guidelines, and keep your fingers crossed in the event of a challenge.
The truth is, the discussion around fair-use is as unreadable as a kiss scene in the Twilight Saga. It hasn’t matured one bit to accommodate our new culture. Artists, intellectual property owners and courts routinely take subjective and unpredictable views on what can be deemed fair use and what can’t. Verdicts change from artist to artist, work to work and judge to judge. There are as many fair use cases being ruled in favor of owners as there are being ruled in favor of appropriators, and the logic behind the judgment is as elusive as a unicorn.
Copyright exponents suffer from tunnel-vision with their unswerving adherence to the concept of originality. They are purblind to the wonders of reclaimed narratives and liberated creativity. But, originality is a fictitious concept in art, and now, it is mostly legal fiction. To come up with sensible copyright laws and fair-use guidelines one needs to understand art as being creative and transmissive, but not necessarily original.
In philosophy, Carl Jung says every man’s unconscious has a feminine part called anima (likewise, he calls a female’s male part animus) that transcends his physical psyche. It can be identified as the totality of the unconscious. The anima cannot be separated from the man’s physical form as an independent part! The man may not even be aware of his anima, but he sees it in the woman who he finds fascinating.
I see artistic works much in the same way. Art has many parts, but also an unconscious anima that is born out of the whole, but cannot be precisely delineated from it. It is the space where creativity and originality take shape. When inspired art unintentionally derives from original art, the former is like the man and the latter is like his anima. When inspired art intentionally derives from the original art, then the former is like the man, but the latter is like the woman, where they are attracted to each other because they find their own anima and animus in each other.
Jung says, if the man and woman merge into one identity, then he will adopt the character of her animus and she will adopt the character of his anima. What happens therefore is that it is not the man and woman who play with each other, but their anima and animus!
Any artwork is a puzzle of intimately interconnected parts that can only be understood by referencing the whole; but the whole cannot be pared down to its individual parts. Somewhere in the making of the whole, the parts create a soul. This soul is always original, even if it is created using borrowed material. When you see art in this manner, you see that its purpose is to pollinate future culture. Even when art is redolent of the past, it means for itself to be brand new; and it can only be assessed on how well it has lived up to that intention of being new. A period film, for instance, may intend to be truthful to the past, and in that way, may not be "original", but we still find in it its unique soul, and how it brings the past into the present!
Everyone makes work on the basis of, and in reference and relationship to existing work. From a legal point of view, proving any creation as originating from nothing, except one’s own innermost being, would require dissecting all the creative processes and stripping the work down to the basics. In doing so, most works that we hold in high esteem, as being the product of some “auteur” would be invalidated; but more importantly, such a striptease would not only be impossible in many cases, but would also undermine the true spirit of creativity.
Moreover, copyright laws’ emphasis on individual authors and works is a distortion of reality. In the music and film world (and even in the book world, and most of the art world), the end product is the work of many people willingly working in tandem. The dissection of a piece to prove originality is both impossible and futile! This is also true for fan-edits. Most of them are done by the digerati within a collaborative network that draws liberally from many sources. The original is oftentimes untraceable.
It is regrettable therefore that there is a sharp divide between those fighting to retain control of their works and those who want to draw on them to create new products.
There is a lot of valuable deliberation on copyright and fair use in both legal and social media circles, but most of the delibration revolves around improving regulatory laws, and coming up with fair use guidelines. But, because we are generating a huge body of fair-use work, it would also be useful to create of a legally viable space, such as a fair-use agora or a Fairuse-Con (like Comic-Con) where "transformative" fair-use videos such as fan-edits, parodies, satires, and other inspired works can be celebrated and encouraged, at least for non-commercial pleasure.
There are more fair-use videos out there than actual copyrighted works, and most of them are susceptible to legal action. This cannot be good. Fair use videos need to breathe freely, because when they do, an Aquarelle Edition of Blade Runner is born! Because there is no such thing as too much Blade Runner!
My previous post on fair use: "anmoku no ryokai"
A NYTimes video: "Allergy to Originality"
The heart floats just above reach. It is there for you to grab, if you have the means.
You don’t reach a balloon by making an impression on it. You don’t get through to it. You reach it more literally, by coming in contact with it. And yet, the balloon is a symbol of associations; calling to mind many life instances. The words “There is always hope”, stencilled on the right edge, make the surface meaning transparent.
The girl stretches her hand. Time stops, but, you feel the upward movement. The unswerving helium in the balloon has nothing but the northerly direction in its makeup. It is what makes it tick. Every girl likes flitting between wanting to hold it and wanting to let it go and see it become tinier and tinier before it disappears into the sky. But, letting the heart go, knowing it doesn’t want to stay, tugs at an empty hole inside, that wants to contract and stretch the surrounding tissue of hope.
One of Banksy’s girls flies with balloons. She lives the fantasy, but none of her balloons have a heart. One of his heart balloons is caught in barbed wire. It is too close to tragedy for comfort. But, it is the tenuous excitement of holding a balloon that means for itself to vanish into the sky that I find most enticing.
Now the heart stands wounded and bandaged in New York. It is still both practicing and defying the laws of physics. What might have caused the wound; who fixed it up; why won’t it fly away; and why is it still within reach? The girl is gone!
As most graffiti artists fulminate against Banksy and the whole enterprise supporting his illegal activities (including authorities), he stands taller than the rest of his kind and represents them, perhaps without intending to, one can never say. But when we express disbelief as other graffiti artists vandalise Bansky’s art, we discredit Banksy and everything graffiti stands for; and we do so in the very sanctum sanctorum of street art. New York is where Andy Warhol, Keith Haring, Jean-Michel Basquiat, Poster Boy, Revs, El Celso, SAMO, and every artist with a street number in his nickname, who reached for the rooftops or for the platforms of subway stations, or boasted of street galleries, created the Mecca of graffiti art. And then there are some hooligans who charge a fee just for a peek at Banksy’s graffiti. They add one more dimension to the dialogue on the legitimacy of street art. In the mean time, Banksy is as visibly elusive as the balloon. But, I think the really banged up protagonist in this story is the girl. Who is she? In spite of all the artwork being white-washed overnight, and the judge declaring its doom, I hope it is not 5 Pointz.
However you see it, hope is never in letting go of either the girl or the balloon! Banksy's spray-painted, floating bubble-lettering says he agrees. (Listen to the October 31st audio guide).
This interactive video of Pharrell Williams' 'Happy' from Despicable Me 2 is being touted as “the world’s first 24-hour music video". I recommend playing around with the full-version of the song on the website that features a clock. It has many well-known actors dancing through the streets at different times of the day.
While you are at it, also watch the new interactive version of Bob Dylan's 'Like a Rolling Stone'. The video allows you to flip through 16 television channels (they plan to add more), featuring everything from cooking shows to newsrooms, with well-known actors lip-syncing the song. It has over an hour of content, if you watch every video. But, if you stick to toggling the channels as intended, no two viewings of the song are the same. In a way, it is speaks to a real phenomenon. Dylan's 48-year old song is still everywhere, and plays at least once a day on some radio station or TV channel somewhere in the world. There are not many songs that are as enduring and ubiquitous, or remaining entrenched in pop-culture as Like a Rolling Stone.
I am a huge fan of interactive content, be it children's pop-up books, animated graphic novels, video games, flash videos, or web design… so it's exciting to see more artists experimenting with it in music videos. There's nothing more absorbing in the storytelling world, than when you get to play a role in the narration.
In 2005, when Hal Lasko, a traditional painter, became vision-impaired, he switched to MS Paint and has since created more than 150 digital works of art. His blindness prevents him from viewing his own paintings in their totality, but he continues to work on them pixel by pixel.
He recites Joyce Kilmer's poem Trees.
I think that I shall never see
A poem lovely as a tree.
A tree whose hungry mouth is prest
Against the sweet earth's flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in summer wear
A nest of robins in her hair;
Upon whose bosom snow has lain;
Who intimately lives with rain.
But only God can make a tree.
Why hasn't God ever made a pixel painting?
Wired Article: This 98-Year-Old Man Spent 13 Years Creating Remarkable Art in MS Paint
Sooraya Qadir (Dust) is a young Afghan Sunni Muslim mutant, with Sandman-like powers. She is rescued by Wolverine from slave trade in Afghanistan and brought to X-Mansion for training. She wears the abaya and niqab and observes traditional Islamic etiquette.
She is one of those characters who plays a prominent role in New X-Men and Young X-Men series, and saves the day on many occasions; still, most of the conversation around her is about her defending her faith-based choices; One wonders what motivated the writers to think up her character, in an otherwise secular series.
Most of this dialogue on Islamic faith is intriguing for several reasons.
One, because it happens over many volumes. Sooraya to everyone is a muslim before she is a mutant.
Two, because Sooraya's character was conceived right after 9/11.
Three, because it adds a new slant to the dialogue about hypersexualization and objectification of female superheroes in comics.
Four, because, in a world where mutants are misunderstood and discriminated against by humans, this discussion seems a bit captious.
Five, because the comic offers little information about the beliefs of other X-Men characters' from other parts of the world that are specific to their culture!
Six, because her faith is presented as being restrictive, and she as being one-dimensional, which is lamentable given she is an adolescent girl!
Seven, because it makes me deliberate on the similarity between the typical superhero costume and the hijab in relation to both secret and self-evident identities, visual iconography and symbolism!
The good news is, we now have another perky hijabi superhero in a more real, non-X-men universe! Qahera, an Eqyptian superwoman, fights misogyny, Islamophobia, and offers her own brand of droll humor.
I recommend using the Index to navigate through the Qahera comic strips and FAQs!
FilmmakerIQ.com is a great channel for both filmmakers and buffs to understand behind-the-scenes aspects of cinema. See if this aspect ratio one makes you want to tuck into other nuggets.
A few years ago, Aardman Studios, the guys who made the Wallace and Gromit films, made a film called Dot, with a tiny 9mm character playing the lead. The character, Dot, was created using a 3D printer, and the film was shot using a Nokia smart phone and a CellScope that is used by doctors to take blood samples of patients in remote places using a cell phone. This Making of video explains the process.
More recently, scientists at IBM made a film called A Boy And His Atom by moving and rearranging individual atoms on a magnetized copper plate viewed through a two-ton scanning tunnelling microscope that can magnify atoms a 100 million times. The boy in this film is 1/25,000,000 of an inch big and cannot be seen with a regular microscope. The film project is an aside of IBM's larger research to create the smallest and fastest possible memory chip for data storage. It demonstrates that one bit of information can be stored using 12 atoms, as opposed to 100 million atoms that our current magnets use in existing technologies. This Making of video explains the process.
From the time of the pinhole camera in the early 5th century, to our era of 3D and microscopic films, Film and Technology have crossed paths several times in their evolution and changed each other forever, while pretending to be orbiting different stars. The evolution of technology is as organic as that of life on earth, and our bond with them is irrevocable and one of mutual dependence; The fictional stories of films have enabled us to assimilate this fact into our real life, as naturally as possible. For instance, when we see a video of bots slipping into our world, it's less unnatural because we have been acclimatized to it by years of consuming science-fiction. It is as if we are experiencing fiction seeping into our reality! Now, I'd be just as unsurprised but excited (or terrified) if I inadvertently came upon a real tiger or a robot in the wild, or found myself flying to Neverland with Peter Pan one night to fight Pirates.
That's about the size of it!
IBM's Official page about the movie.
Writeup about about the movie by the filmmaker, Nico Casavecchia
Wired's article "The Star Trek Fan Art That IBM Scientists Created Out of Atoms"
NPR's article "Don't Miss The Premiere Of The World's Smallest Movie"
The Wiki page about the movie
Nokia also made the world's largest stop-motion animation called Gulp, using the same Nokia Smart Phone that they used to create Dot!
Today saw the demise of a great intellect; a man with an insatiable appetite for experiencing life and informing ours, and he did so with sass and class.
While I often find myself thumbing through his film books, poring over his blogs and lists, and the articles he shared on twitter, the most recent book of his that I read was curiously about 'the mystery and romance of the rice cooker'. You might think cooking and Ebert are ill-matched, but it is the only cookbook I have read cover to cover in one sitting; and his rice cooker has gone with him to the Sundance Film Festival and has therefore been legitimized and hallowed by the film world.
I grew up in South India where rice is the predominant staple food, and it continues to be a major part of my diet even today; and when it is not, I am either dreaming about rice and salivating copiously or reading about it; only now, when I cook rice, it is sometimes infused with herbs and vegetables I didn't even know existed. My rice cooker also cooks other grains and pastas, including oatmeal, and my food is served with the kind of wisecracks and anecdotes that he collated in his lifetime. But, when I bought the book, I never intended to try Ebert's recipes as much as enjoy the book for his sake; the scrumptious recipes and health insights only came as a surprise bonus. I picked up Anna Thomas' Vegetarian Epicure, only because he called it "the most influential cookbook in the history of modern vegetarian cooking", and added Marie Sharp's Exotic Sauce and House of Tsang sauces to my condiment arsenal, only because he swore by them, and I do now.
The most intriguing thing about the book for me is the way in which he incorporated the readers' comments from one of his blogpost about rice cookers as a chapter somewhere in the middle of the book, and they flow seamlessly with the rest of the content, as if they were in response to the content in the earlier chapters of the book. This is the only meta-cookbook of this sort that I know; and is telling of Ebert's openness to experience, who after having lost the ability to eat due to cancer was only able to enjoy food vicariously or by way of nostalgia.
The rice cooker allows me to sit at a table and leaf through a book while it does all the cooking. Coincidentally, it is this luxury of leisure that cookers make possible that Ebert too enjoyed about it, and it is this type of relatability in small moments that he brought to his writing that made him appealing. While we both grew up in different worlds and eras, we seemed to have so much in common, and it didn't all boil down to rice, movies and living in our heads. Somewhere, our thoughts manifested our reality in some form or the other.
He wrote this cookbook after he stopped eating ("when it became an exercise more pure, freed of biological compulsion"), he tweeted after he stopped talking; I know he will live on after he has stopped breathing… for me, this is every time I watch a movie, or use the rice cooker, or do a thumbs up or down.
I had been meaning to read his autobiography for a while now. I'll pick it up today, although I know it won't be the same reading it after he has laid down his life as if I had read it before. The book is called Life Itself: A Memoir.
New York Times: Ebert Was a Critic Whose Sting Was Salved by Caring
Ever since I pre-ordered Life Everlasting: The Animal Way of Death, I have been on a Bernd Heinrich-athon. I feel this uncharacteristic need to finish reading his books that have been staring me in the face for months, before reaching for his new one. The plan is to check each book off from this list after reading it, and share some overarching thoughts when I am done with the whole pile.
A Year in the Maine Woods ✔
The Trees in my Forest ✔
Summer World: A Season of Bounty ✔
Winter World: The Ingenuity of Animal Survival
Mind of the Raven: Investigations and Adventures with Wolf-Birds
The Geese of Beaver Bog
Speaking of Bernd Heinrich-athon, the man also writes a lot about running: humans running, animals running; Apparently, a lot of living species are built for distance. I am steering clear of those for now, and will save them for when I reach for a treadmill!
In the mean time, I present Anna Raff's bird paintings that have been keeping me entertained for over three years. After 576 paintings, I am amazed that she hasn't run out of ideas, and her birds continue to make me laugh.
A year and a half ago, I came upon a blog of a young girl suffering from terminal cancer. I had been following her since. She had an ambitious bucket list on her blog that included aspirations not just for herself but for 'everyone'; and was conquering it so steadily and indefatigably that I almost forgot that she had cancer except when she mentioned her treatment in passing. Even then, it was near impossible to see the suffering.
Middle of last year, she had completed all the doable-things on her bucket list (with the exception of the things she meant for us to do), but continued to be more active than ever.
On January 1st of this year, I had read her usual spirited post, and she seemed to have many things to look forward to. Today, I went back to find that she had a change of heart and chose to achieve them in the next world.
Here's a link to her charity: Alice's Escapes
(The picture of Alice above will take you to her tribute video on Vimeo)
Last week, when Aaron Swartz took his life, I was too busy taking in all the outpouring of bewildered grief to acknowledge just Aaron Swartz, this man, in the video.
He doesn't look like he meant for himself to live such a short life. He looks like a man with a whole life's work cut out for him, that now remains an open dialogue that he won't get to be a part of.
He said that,
To be in a grave would be all right, as long as he had access to oxygen and no dirt on top of him; and as long as all the contents of his hard drives were made publicly available, nothing deleted, nothing withheld, nothing secret, nothing charged for; all information out in the light of day, as everything should be.
Wherever he is, I hope he has oxygen, and no dirt on top of him.
Thank you, Aaron Swartz,
A blogger, broadcasting my personal thoughts on the internet; using RSS; loving Creative Commons; and thinking about everything you fought for!