A mesmerizing journey

I ran across the stunning stop-motion video Takrar on a number of websites over the past week and watched each time. Takrar or Repetition is an experimental film that celebrates the timeless and intricate beauty of ancient craftsmanship. Filmed in Istanbul, the film takes us on a mesmerizing journey into the past, paying homage to Islamic, Ottoman, Greek, and Byzantine art forms.

Syrian-German filmmaker and animator Waref Abu Quba takes viewers on a hypnotic tour through the ornate art and architecture of Istanbul. Comprised of 270 shots culled from about 2,900 photos taken over a two year period, the stop-motion animation focuses  on the elaborate motifs and craftsmanship spotted throughout the Turkish capital. “When I first visited Istanbul in 2021, I was captivated by its timeless beauty and decided to capture it through my lens,” Quba says. “Creating each frame of this film was an utter joy, and every new scene brought unexpected and beautiful surprises.”

nb: if the video fails to launch, please click here.

 

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Summer reads and more

It’s that time of the year when former President Barack Obama releases his summer reading list. Since he has such impeccable and varied tastes, those of us who care about books take notice. While I usually have read at least a few of the titles on his annual list, this year I have only read one of the novels. To be honest, I mainly chose Birnam Wood by Eleanor Catton because it was set in New Zealand. On Instagram, he wrote, “Here’s some books that I’m reading this summer. Check them out and let me know what I should be reading next.” Obama’s list:

Poverty, by America by Matthew Desmond
Small Mercies by Dennis Lehane
King: A Life by Jonathan Eig
Hello Beautiful by Anne Napolitano
All the Sinners Bleed by S.A. Crosby
Birnam Wood by Eleanor Catton
What Napoleon Could Not Do by DK Nnuro
The Wager by David Grann
Blue Hour by Tiffany Clarke Harrison

Obama also shared his Summer playlist as well:

 

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Pushing back against AI

The Authors Guild has submitted an open letter to the CEOs of prominent AI companies, including OpenAI, Alphabet, Meta, Stability AI, IBM, and Microsoft, calling their attention “to the inherent injustice in exploiting our works as part of your AI systems without our consent, credit, or compensation.”

More than 8,000 writers and their supporters signed the letter, including Dan Brown, James Patterson, Jennifer Egan, David Baldacci, Michael Chabon, Nora Roberts, Jesmyn Ward, Jodi Picoult, Ron Chernow, Michael Pollan, Suzanne Collins, Margaret Atwood, Jonathan Franzen, Roxane Gay, Celeste Ng, Louise Erdrich, Viet Nguyen, George Saunders, Min Jin Lee, Andrew Solomon, Rebecca Makkai, and Tobias Wolff.

The letter requests that the AI leaders “mitigate the damage to our profession by taking the following steps:

  1. Obtain permission for use of our copyrighted material in your generative AI programs.
  2. Compensate writers fairly for the past and ongoing use of our works in your generative AI programs.
  3. Compensate writers fairly for the use of our works in AI output, whether or not the outputs are infringing under current law.”

Maya Shanbhag Lang, president of the Authors Guild, said, “The output of AI will always be derivative in nature. AI regurgitates what it takes in, which is the work of human writers. It’s only fair that authors be compensated for having ‘fed’ AI and continuing to inform its evolution. Our work cannot be used without consent, credit, and compensation. All three are a must.”

Nora Roberts commented: “If creators aren’t compensated fairly, they can’t afford to create. If writers aren’t paid to write, they can’t afford to write. Human beings create and write stories human beings read. We’re not robots to be programmed, and AI can’t create human stories without taking from human stories already written.”

Jonathan Franzen added: “The Authors Guild is taking an important step to advance the rights of all Americans whose data and words and images are being exploited, for immense profit, without their consent–in other words, pretty much all Americans over the age of six.”

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Paris: RINGdeLUXE

Plastique Fantastique (aka Marco Canevacci and Yena Young) created RINGdeLUXE, an exciting in situ installation enveloping the iconic Léopold-Sédar-Senghor footbridge across the Seine for the 2023 Nuit Blanche festival. The monumental ring artwork captures the imagination of its observers with its visually striking and mechanically complex structural design.

The reflective, metallic appearing installation acts as both a link and a boundary in the heart of Paris. The passerelle Léopold-Sédar-Senghor, formerly known as passerelle Solférino (or pont de Solférino), is a footbridge over the River Seine in the 7th arrondissement of Paris.

The carefully designed placement of the giant ring around the Léopold-Sédar-Senghor footbridge serves a dual purpose, symbolically connecting the two shores of the city while also embodying the relationship between Paris, its river, and its inhabitants.

 

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Happy Hemingway Day

“Cat in the Rain”

by Ernest Hemingway

There were only two Americans stopping at the hotel. They did not know any of the people they passed on the stairs on their way to and from their room. Their room was on the second floor facing the sea. It also faced the public garden and the war monument. There were big palms and green benches in the public garden. In the good weather there was always an artist with his easel. Artists liked the way the palms grew and the bright colors of the hotels facing the gardens and the sea. Italians came from a long way off to look up at the war monument. It was made of bronze and glistened in the rain. It was raining. The rain dripped from the palm trees. Water stood in pools on the gravel paths. The sea broke in a long line in the rain and slipped back down the beach to come up and break again in a long line in the rain. The motor cars were gone from the square by the war monument. Across the square in the doorway of the cafe a waiter stood looking out of the empty square.

The American wife stood at the window looking out. Outside right under their window a cat was crouched under one of the dripping green tables. The cat was trying to make herself so compact that she would not be dripped on.

“I’m. going down and get that kitty,” the American wife said.

“I’ll do it,” her husband offered from the bed.

“No, I’ll get it. The poor kitty out trying to keep dry under a table.”

The husband went on reading, lying propped up with the two pillows at the foot of the bed.

“Don’t get wet,” he said.

The wife went downstairs and the hotel owner stood up and bowed to her as she passed the office. His desk was at the far end of the office. He was an old man and very tall.

“Il piove,” the wife said. She liked the hotel-keeper.

“Si, si, Signora, brutto tempo. It is very bad weather.”

He stood behind his desk in the far end of the dim room. The wife liked him. She liked the deadly serious way he received any complaints. She liked the way he wanted to serve her. She liked the way he felt about being a hotel-keeper. She liked his old, heavy face and big hands.

Liking him she opened the door and looked out. It was raining harder. A man in a rubber cape was crossing the empty square to the cafe. The cat would be around to the right. Perhaps she could go along under the eaves. As she stood in the door-way an umbrella opened behind her. It was the maid who looked after their room.

“You must not get wet,” she smiled, speaking Italian. Of course, the hotel-keeper had sent her.

With the maid holding the umbrella over her, she walked along the gravel path until she was under their window. The table was there, washed bright green in the rain, but the cat was gone. She was suddenly disappointed. The maid looked up at her.

“Ha perduto qualque cosa, Signora?”

“There was a cat,” said the American girl.

“A cat?”

“Si, il gatto.”

“A cat?” the maid laughed. “A cat in the rain?”

“Yes,” she said, “under the table.” Then, “Oh, I wanted it so much. I wanted a kitty.”

When she talked English the maid’s face tightened.

“Come, Signira,” she said. “We must get back inside. You will be wet.”

“I suppose so”, said the American girl.

They went back along the gravel path and passed in the door. The maid stayed outside to close the umbrella. As the American girl passed the office, the padrone bowed from his desk. Something felt very small and tight inside the girl. The padrone made her feel very small and at the same time really important. She had a momentary feeling of being of supreme importance. She went on up the stairs. She opened the door of the room. George was on the bed, reading.

“Did you get the cat?” he asked, putting the book down.

“It was gone.”

“Wonder where it went to,” he said, resting his eyes from reading.

She sat down on the bed.

“I wanted it so much,” she said. “I don’t know why I wanted it so much. I wanted that poor kitty. It isn’t any fun to be a poor kitty out in the rain.”

George was reading again.

She went over and sat in front of the mirror of the dressing table looking at herself with the hand glass. She studied her profile, first one side and then the other. Then she studied the back of her head and her neck.

“Don’t you think it would be a good idea if I let my hair grow out?” she asked, looking at her profile again.

George looked up and saw the back of her neck, clipped close like a boy’s.

“I like it the way it is.”

“I get so tired of it,” she said. “I get so tired of looking like a boy.”

George shifted his position in the bed. He hadn’t looked away from her since she started to speak.

“You look pretty darn nice,” he said.

She laid the mirror down on the dresser and went over to the window and looked out. It was getting dark.

“I want to pull my hair back tight and smooth and make a big knot at the back that I can feel,” she said. “I want to have a kitty to sit on my lap and purr when I stroke her.”

“Yeah?” George said from the bed.

“And I want to eat at a table with my own silver and I want candles. And I want it to be spring and I want to brush my hair out in front of a mirror and I want a kitty and I want some new clothes.”

“Oh, shut up and get something to read.,” George said. He was reading again.

His wife was looking out of the window. It was quite dark now and still raining in the palm trees.

“Anyway, I want a cat,” she said, “I want a cat. I want a cat now. If I can’t have long hair or any fun, I can have a cat.”

George was not listening. He was reading his book. His wife looked out of the window where the light had come on in the square.

Someone knocked at the door.

“Avanti,” George said. He looked up from his book.

In the doorway stood the maid. She held a big tortoise-shell cat pressed tight against her and swung down against her body.

“Excuse me,” she said, “the padrone asked me to bring this for the Signora.”

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Further Beyond the Great Wave

The Ghost of Kohada Koheiji

After completing yesterday’s post on Japanese Edo period artist Katsushika Hokusai, I learned that the ukiyo-e woodblock print that I featured from the Museum of Fine Art Boston exhibition was part of a series of artworks based on a long tradition of Japanese ghost stories.

The Laughing Hannya

Hyakumonogatari Kaidankai is a folk tradition in which people gather at night to tell scary supernatural stories. The participants traditionally meet in a room lit by 100 candles. After each story is told, a candle is extinguished, slowly plunging the room into gloomy darkness. Although Hokusai is renowned for his depictions of landscape, wildlife, and daily life, in his later years he delved into the supernatural themes and stories. One Hundred Ghost Stories is a fascinating collection of spooky woodblock prints created by Hokusai during the final years of his life. He planned a collection of one hundred macbre prints, but only five were completed before Hokusai died in 1849.

The Plate Mansion (Sara-yashiki)

Obsession

The Buddhist swastika, known as the manji in Japanese, on the bowl was a symbol that Hokusai used as a pseudonym.

 

 

 

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Beyond the Great Wave

I was hoping to get to Boston this summer to see the “Hokusai: Inspiration and Influence” exhibition, but alas it only ran until last Sunday. However, while I was taking a deep dive into the show, an unusual print in the collection caught my eye.

The print titled The Ghost of Oiwa (Oiwa-san) is based on a story from a kabuki play called Yotsuya Kaidan, which was writen by Tsuruya Nanboku. In the play a young girl named Oume falls in love with a samurai named Tamiya Iemon, who is already married to a woman named Oiwa. Oume’s family devises a plan to eliminate Iemon’s wife, Oiwa, by giving her poisonous face cream. The cream fails to kill Oiwa, but it disfigures her face. Eventually, Iemon, repulsed by Oiwa’s face, abandons her, which drives her mad. In the end, she accidentally trips and falls onto an exposed sword, meeting her tragic demise. With her dying breath, she curses Iemon and begins to haunt him in various forms, including that of a paper lantern.

 

 

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Life-Changing Books

Among the many vocations over the course of my life was a two decade stretch as a psychotherapist. While the most rewarding work, it was often filled with self-doubt and angst. During my graduate school education, I was fortunate to discover the writings of the great psychiatrist and Holocaust survivor Viktor Frankl. Of course his seminal book “Man’s Search For Meaning” was a touchstone for me, but the anecdote recounted below had a lasting impact. I often thought about when I struggled to connect with patients. When I recently stumbled upon it on a blog, I thought that it was worth sharing.

Frankl once told the story of a woman who called him in the middle of the night to calmly inform him she was about to commit suicide. Frankl kept her on the phone and talked her through her depression, giving her reason after reason to carry on living. Finally she promised she would not take her life, and she kept her word.

When they later met, Frankl asked which reason had persuaded her to live?

“None of them,” she told him.

What then influenced her to go on living, he pressed?

Her answer was simple, it was Frankl’s willingness to listen to her in the middle of the night. A world in which there was someone ready to listen to another’s pain seemed to her a world in which it was worthwhile to live.

Often, it is not the brilliant argument that makes the difference. Sometimes the small act of listening is the greatest gift we can give.

 

 

 

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Bookstore Tourism: Best bookshop name ever

I recently discovered the best named bookstore in America. Mother foucault’s bookshop in Portland, Oregon offers a well curated collection of rare, antiquarian and secondhand books selected by the owner Craig Florence. Located in a somewhat dingy, light industrial neighborhood, the shop’s dull exterior belies an oldworld bookstore charm. Opened in 2010, mother foucault’s is furnished with repurposed wooden bookshelves jam packed with an exceptional range of titles. The stock is strong in literature, literary criticism, foreign language books, history, and of course philosophy.

The bookshop is  a meeting and performance space, hosting poetry readings, music shows and political meetings.

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What did time smell like?

“There was a smell of Time in the air tonight. He smiled and turned the fancy in his mind. There was a thought. What did time smell like? Like dust and clocks and people. And if you wondered what Time sounded like it, it sounded like water running in a dark cave and voices crying and dirt dropping down upon hollow box lids, and rain. And, going further, what did Time look like?

Time look like snow dropping silently into a black room or it looked like a silent film in an ancient theater, 100 billion faces falling like those New Year balloons, down and down into nothing. That was how Time smelled and looked and sounded. And tonight – Tomas shoved a hand into the wind outside the truck – tonight you could almost taste time.”

― Ray Bradbury, “The Martian Chronicles.”

 

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