Winslow Homer, Gloucester Harbour, 1873
Brahms | Klavierstucke Op.118, Ballade
"White America embraced Thanksgiving because a majority of that population glories in the fruits, if not the unpleasant details, of genocide and slavery and feels, on the whole, good about their heritage: a cornucopia of privilege and national power. Children are taught to identify with the good fortune of the Pilgrims. It does not much matter that the Native American and African holocausts that flowed from the feast at Plymouth are hidden from the children’s version of the story – kids learn soon enough that Indians were made scarce and Africans became enslaved. But they will also never forget the core message of the holiday: that the Pilgrims were good people, who could not have purposely set such evil in motion. Just as the first Thanksgivings marked the consolidation of the English toehold in what became the United States, the core ideological content of the holiday serves to validate all that has since occurred on these shores – a national consecration of the unspeakable, a balm and benediction for the victors, a blessing of the fruits of murder and kidnapping, and an implicit obligation to continue the seamless historical project in the present day."
In contrast to the earlier films, with their emphasis on traditional spaces and beckoning futures, Apur Sansar suggests a bid for telos, an unravelling of past desires within the armature of the present. With its tramways, coffee houses, contiguous railway lines and everyday bustle, it produces an image of the contemporary, but as a time which can never be settled, and must give way before unspecifiable futures. It is as if this is the symbolic register, the place of narrative authorization, through which all previous representations can be made sense of, where they were destined to arrive. But, at the point of arrival, the present slips, lacks a sense of possibility, and can only project itself forward in time.
— Ravi Vasudevan, Nationhood, Authenticity and Realism in Indian cinema: The double take of modernism in the work of Satyajit Ray
Nielsen | 2. Senfoni, Andante malincolico
When considering fluid motion, there are many ways to describe trajectories through the flow. One is the pathline, the trajectory followed by an individual fluid particle. Imagine releasing a rubber duck down a stream. Following the duck’s position over time would give you a pathline. Now imagine that instead of releasing a single rubber duck you release lots of them - say one every half-second from the exact same starting spot. You would end up with a line of rubber ducks stretching downstream, each of them sharing the same origin but with a different starting time. This is called a streakline. Would the streakline of rubber ducks follow the same trajectory as the lone duck? Not if the flow is time-varying! In fact, for unsteady flows, pathlines and streaklines can give completely different pictures of a flow, as illustrated in the video above. Knowing and understanding the difference between these types of trajectories is extremely important when it comes interpreting flow visualizations in unsteady flows because some visualization methods produce pathlines and others produce streaklines. (Video credit: V. Miller and M. Mungal)
An easygoing, sometimes tough-going meander through the world of ideas, the animated documentary “Is the Man Who Is Tall Happy?” finds the French director Michel Gondry playing wide-eyed student to none other than Noam Chomsky. They’re a charmingly unpredictable, appealing match. Mr. Gondry, best known for films like “Eternal Sunshine of the Spotless Mind” and “The Green Hornet,” has occasionally dipped into documentary, with titles like the expansive “Dave Chappelle’s Block Party” (in which the comic hosts a rocking Brooklyn block party) and the considerably more hermetic “The Thorn in the Heart” (about Mr. Gondry’s aunt and her son).
I have to admit I’m nerding out a bit over this one. Two of the most incredible and inspiring (at least to me) people are teaming up to create this documentary. Michel Gondry directing Noam Chomsky in a documentary about linguistics and…well who knows what else given the breadth of Chomsky’s intellect. All beautifully animated by Gondry, who has shied away from computer wizardry and gone with traditional, hand-created special effects in most of his films. This is one I hope to catch if it ever comes to the little indie theater nearby.
British-Nigerian actor and star of Steve McQueen’s critically acclaimed ‘12 Years A Slave’ Chiwetel Ejiofor is one of 11 performers starring in the New York Times exclusive ‘Making A Scene’ featurettes - “the year’s best big-screen performers in 11 original (very) short films”.
"It is vital that government leaders and financial leaders take heed and broaden their horizons, working to ensure that all citizens have dignified work, education and healthcare."
The Pope shreds trickle-down and capitalism. Conservatives’ heads explode.