Wednesday, April 03, 2019

I left Twitter for a week and you won’t believe what happened next 

This is what happens when you unplug yourself from a single app

After the New Zealand Mosque attack, amid thoughts and prayers and the horror and the agony and the unity there was of course the bilious spew of the Internet but in even weirder and weirder ways. For context: a young woman of colour wearing a Bernie Sanders campaign t-shirt, was recorded righteously confronting Chelsea Clinton at a memorial ceremony for those who died in New Zealand, and saying that Clinton had used the kind of language against Muslims that led to such attacks on Muslims. What were those words? Ms Clinton had “retweeted” a comment that went something like, while criticism of Israel may be valid, we most push back from any antisemitism, which was in itself a retort to the only female Muslim representative who had commented on another tweet about “it being all about the money” (paraphrasing) — “it” being the suggestion that American Jews who contributed to any lobby for a foreign country (namely Israel) was questionably close to unpatriotic behaviour (or something? This rabbit hole is deep and weird). So to recap, Clinton’s stance on antisemitism was seen as an attack on an American Muslim woman which was somehow to blame for violence against Muslims everywhere so she shouldn’t attend memorials in the names of those who perished due to her words (which, by the way she did not utter nor type but reposted as an implied agreement of sentiment). This, of course, was a colossal exaggeration and wholly unnecessary especially as Clinton is a known supporter of immigrants and immigration and women of all faiths and races. Then some people righteously, on Twitter, defended Chelsea Clinton which led others, on Twitter to fire back that it was so predictable that the perceived worst victim of a shooting of almost 50 Muslims by a racist in a foreign country was an affluent white woman in New York.

I probably did injustice to the entire fustercluck of Twitter outrage that has led to some very nasty confrontations in real life. Yet, it was this debacle that led me to delete the Twitter app on my phone. Not my account mind you, just the application on my personal phone. I’ve been on Twitter for over a decade (member since 2008). I’ve learned of the death of every major artist, entertainer or politician over that decade via Twitter. It was my second most used phone app after e-mail. Now, I’ve spent the entire week away from Twitter and this is what happened: Read more »

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Sunday, March 17, 2019

Coffee Caste 

"In this rare image of a 17th-century coffee-house, wigged men sit on benches with newspapers and cups of coffee, while a maid serves behind the bar." the British Library.

On a sunny, refreshingly crisp Saturday morning when I had just successfully completed a simple bit of grown-up financial business, I decided to treat myself to a milky coffee and maybe a sweet pastry. I stopped at a pleasant Starbucks on the corner which had a great window seat for people watching. Thanks to Thorstein Veblen I began to wonder if I was implicated in a plague of societal inequity. Thanks Thorstein.

There’s a strange class politics to coffee that everyone recognizes but no one talks about. I guess that’s because no one has to. We all know and understand this market driven social experiment. I like to think I’m a wonderful magnanimous egalitarian who always only thinks the best of his fellow man. If you’re laughing right know, then you obviously know me well. Of course I’m not that person. I don’t feel too bad about it. Not even Ghandi was that kind of person.
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Monday, March 11, 2019

Seen in February… 

Remembering a divorce from the animated short Weekends. Image via Gigazine

The shortest month apparently also yielded the shortest list of films. I think I spent more time napping and rewatching old comforts to make note of here (for instance, bingeing on all eight of the Harry Potter series). Here is what I did see.

Oscar Shorts: Live Action

This collection of live action short films that had been nominated for the Academy Awards were all uniquely frightening and veered heavily towards endangered children as an unconscious theme. Two French Canadian films were nominated and while one was a thoughtful piece about lost and unrequited love (Marguerite), the other (Fauve) gave us two bored young boys playing lazily around an industrial site until something goes wrong. A Spanish film (Mother) plays out entirely in a small apartment over a few minutes of a phone call from a lost child on a faraway beach that would be the panic of anybody.The British nominee (Detainment) re-enacts the harrowing transcripts of two boys who led an infant from a local shopping mall to the train tracks where, inexplicably, they murder the tot. This film, though short was almost unbearable to watch and the young actors who portrayed the boys were incredible. The winning short, Skin, from the USA was an ugly look into the family life of a racist but whenever I outlined the plot to anyone they guessed the outcome because the story had all the subtlety of MAGA hat.

A mom loves her little dumpling in Bao. Image via The Movie DB

Oscar Shorts: Animation

This was another collection of Academy nominated shorts where Canada was well represented with three nominees. The winning Pixar film, Bao, was set in the Toronto home of an aging Chinese mother who imagines a dumpling comes to life but is in fact a metaphor for losing her own son who has recently left home. It has all the trademarks of a Pixar film including an impressively large crew. Late Afternoon, from an Irish filmmaker is a more personal story of a elderly woman with dementia ebbing in and out of her disjointed memories and her relationship with her care taker. Animal Behaviour is another Canadian nominee from the creators of Bob's Birthday and is a simple set up of a support group of animals being helped through their anxieties by a canine therapist (a therapy dog? Oh I just got that). The third Canadian nominee (also a Pixar employee), Weekends is a quiet and atmospheric memory of a kid shuttling between his divorced parents' homes. It's really a beautiful and impressionistic (and painterly) rumination of how a child experiences a divorce and how an adult remembers that time. Unfortunately it didn't really have a plot or narrative which worked against it. An American nominee, One Small Step is a super cute story of a young Chinese-American girl dreaming of becoming an astronaut. One aspect of a lot of short films is how many times they are wordless or without dialogue. It seems to make the stories seem more universal but maybe also lean on stereotypes or clichéd tropes. Still, who isn't moved by a little girl realizing her dreams which are bittersweet because the father who encouraged her had passed away before she had achieved her goals. I'm getting choked up just thinking about it.

Molly Bloom contemplates her future in Molly's Game. Image via The Movie DB

Molly’s Game

This film is based on the true story of Molly Bloom, an aspiring Olympic skier who after a career-ending injury takes a year off before starting law school only to start running a very high end and exclusive underground poker game. I wasn't planning on watching this but Jessica Chastain plays against type in this film and drew me in. She plays a very smart and confident woman who realizes, against her better judgement, that men be coddled by an attractive woman in a very tight dress. Chastain plays Bloom as the smartest person in the room who keeps making bad decisions - but she makes them very well. Why didn't she stop as the stakes of her quasi-legal gambling business start to spiral? Perhaps it was her insanely competitive spirit to win everything driven by her compulsively harsh father, played by Kevin Costner or was it that she couldn't stomach disappointing her father while at the same time getting involved in a criminal act just to spite him? There's some kind of Freudian crap going on and it is an Aaron Sorkin film so of course there is plenty of clever banter even as it lacks emotion (another Sorkin trait). Either way it's a very compelling story even if its ending seems too Hollywood to be believed. One of the more salacious parts of the story was that an actor who was an accomplished card player, used his celebrity to bring wealthy players to the table and when he was unhappy with his cut he pulled the plug on the operation in what could only be described as a "jerk move". That actor? Apparently it was the unassuming star of three Spider-man films, Tobey Maguire.

It turns out the kids are surprisingly alright in Netflix's The End of the F***ing World. Image via The Movie DB

The End of the F***ing World

This Netflix series about a teen-age British Bonnie and Clyde is based on a comic book and as you can tell by the title, not a kid's comic book. James is most likely, possibly, definitely a psychopath in the making while Alyssa is probably only a sociopath. The funny thing is, they're good for each other and better together than apart. Over the 8 episodes, the pair wreck a car, berate a pedophile, break into abandoned homes, encounter a possible serial killer, commit their own sordid crime, rob a gas station and find an estranged parent. Kids will be kids. This is a surprisingly funny though dark series with a weirdly feel-good ending. Even more surprising, despite a seemingly definite end to a main character, a second season was just announced.

You probably won't like this road trip as much as Del Toro and Depp did in Fear and Loathing in Las Vegas. Image via The Movie DB

Fear and Loathing in Las Vegas

Whew boy. This has always been on my "should see" list, due to its cult popularity and well known performances by Johnny Depp as a partially fictional version of Hunter S. Thompson and Benicio Del Toro as his drug dealing lawyer. Based on the gonzo journalism of Hunter S. Thompson and fatally directed by Terry Gilliam this film should be a hard pass. I'd almost like to hear exactly what fans of this film like about it just so I could spit-take in their face. It is terrible. Del Toro is suitably unhinged but now I know what inspired Jim Carey's Grinch performance: Depp's inimitable and I suppose "dedicated" embodiment of Thompson. The only really good thing about this film is the poster and DVD cover art by British artist Ralph Steadman.

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Friday, February 22, 2019

Maxim Transfiguration 

As guiding design principles go, it’s hard to beat Vitruvius. In his treatise on architecture, Vitruvius stated three qualities of good architecture:

Usually translated as:

Often conveyed as:

I’m not sure when “Beauty” became “Delight” but there is something more personal or emotional about the word “delight” isn’t there? Maybe because it doesn’t sound as serious or portentous as “beauty”. As a designer whose work is compelled by usability (what’s the point of a functionality or a feature if no one can figure out how to use it), I like to think of it as:
But that's because I like the cadence of it.

But maybe it should be:

After all, if something has utility, it should have inherent commodity and value but that doesn’t make it durable. Additionally I prefer the adjective form rather than the noun (eg. "Delightful" versus "Delight"). In software we say a finicky program that fails often “is brittle” or that it “breaks easily". If a solution is too customized and can’t be reproduced on a larger scale it isn’t "scalable" because we're in the business of manufacturing and reproducibility which architecture and Vitruvius wouldn't consider. Perhaps good software, like good industrial design should really be:

I like that. It may seem crass and wordy compared to:

Which itself is a distillation of the original:

But hey,
Que sera sera
Whatever shall be, shall be, right?

It’s the spirit of it that counts, because that’s where the truth lies. Like they say:
In vino verdi, in aqua sante
In wine, truth, in water, health
Put another way, a drunken man’s words, are a sober man’s thoughts.

Or as Caesar put it:
Veni, vidi, vici
I came, I saw, I conquered.

Then again as Dizzy Gillespie said of Louis Armstrong:
No he. No me.

You get it. I don’t have to explain it to you et cetera et cetera, and so on and so on, blah, blah, blah, yadda yadda yadda.


Thursday, February 14, 2019

Seen in January… 

Sophie Fiennes and Slavoj Zizek on one of the many sets and locations for The Pervert's Guide to Ideology. Image via The Movie DB.

This is becoming a bad habit of mine - posting the previous month’s list when the following month is almost done. It hardly matters as the first half of January was lost to me. I had a cold that was relentless. During that time I sought out mostly movies I had seen and knew would comfort me (also it wouldn't matter if I fell asleep while watching). This is what I did see peering from behind a dune of used tissues.

The Pervert’s Guide to Ideology

Slavoj Zizek and Sophie Fiennes have created another in their series of collaborations which are more like cinematic essays or lectures that apply a Freudian lens to many classic films. Zizek is professor of philosophy and a cinephile and Fiennes the director. In this documentary, there's a slight reversal in that Zizek uses film to explain ideology. Not just the ideology of Capitalists versus Marxists or Reagan or Stalin but also how we form our own ideology, especially in the context of the society within which we live. This approach makes the content much more engaging and memorable. One of the surprising insights is how someone like Stalin's personality and personal ideology helped formed the ideology of the Soviet Union and how the survival of Capitalism makes sense because it is inherently self destroying and constantly reforming and aligning itself however it needs to (more like a viral infection than any organizational principles). In that light, Capitalism doesn't need an individual to guide it, but it is much closer to nature's own survival. There are some mind expanding revelations if you're open to it.

A photo by Mark Hogancamp from Marwencol Image via Artsy


The documentary of a man who created his own therapy through his art and is the basis for the latest Robert Zemeckis film Welcome to Marwen (presumably they didn't get the permission of the "Colleen" who makes up the "col" part of the name). I will not see that film because I do not like Robert Zemeckis films and I'm pretty sure you won't really find out much about the real Mark Hogancamp who the story is based on. Mark Hogancamp was at a bar in his upstate New York town when he was jumped by a group of men who very nearly beat him to death. Why? He may have mentioned it wasn't so weird to wear women's clothing. The men were arrested, charged and jailed but that didn't heal Hogancamp. He spent months in physical therapy relearning how to walk and when the insurance money ran out, teaching himself to read and write again. Damaged and reeling from a brain injury Hogancamp withdrew into a world of storytelling where he was the rescuer and rescued hero of his own devising. In some respects the brain injury was a reset. Hogancamp's previous life included a successful marriage until alcoholism tore that apart. After the injury he had no interest in drinking at all. To keep himself occupied he began to build a model town set in World War II era Belgium. He populated this town with his G.I. Joe scaled dolls depicting friends, many female, who were based on those people around him thus the name he gave the town, "Marwencol", an amalgam of Mark-Wendy-Colleen. He didn't just build the town, but created a storyline for it as an evolving place that he recorded through simple but striking photography. When a photographer met Mark on one of his many walks he saw the potential of the work, contacted a small art magazine publisher and gallery owner. That's how his work and story came to national attention. By the end of the documentary we see Hogancamp realizing this next stage of his life in a new version of Marwencol. In this new version, the action figure of himself is not a WWII hero but an artist photographing a scaled down version of his original creation. Retelling his reality in an alternate nested reality is a sort of physical manifestation of how we relate our memories when we repeat our own stories to ourselves and others. Picture yourself telling a table full of friends how one time you found a cat in a tree. Now imagine you created a scaled version of yourself sitting at a table of doll sized depictions of those same friends and on the table you have created a scaled diorama of yourself rescuing a cat from a tree. That's what this would be like. Come to think of it, it would be interesting to view this with Charlie Kaufman's Synecdoche, New York which is about creating something as a stand-in for another thing (sort of).
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