Bicycle for the Heart

1. Steve Jobs likened the personal computer as a "bicycle for the mind". I think of VR as a bicycle too. Though for the heart. 

2. Is VR an empathy machine ? In of itself, no. But when designed to do so - yes, and quite strikingly, and more profoundly then any current medium in existence. 

3. Its effect will only grow stronger and more profound the better the technology gets. And - most importantly - we figure out how to tell compelling stories within it. 

4. It's noteworthy, and extraordinary, that there already exists this intense desire, by many, to deeply move people to make the world a better place with VR. Empathy / social good was not something discussed at the birth of radio, cinema or TV, until much later. This is a positive sign of the times.

5. Good VR hacks your senses. That's its aim. It uses sophisticated tech to do that. From stereoscopic images, to binaural and directional sound. So it's not just novelty. It consistently transports people unlike any medium. There is biological data that proves its unique effects on us and I believe this effect will only get deeper until we will not easily be able to distinguish between the real and virtual and, eventually, between even our dreams and memories. It's the blurring of these lines that will shift what meaning we derive from these different states of consciousness. 

6. It's striking that VR and empathy are talked about together. A little over a year ago it was gaming and porn. And suddenly, given the amazing efforts of many, it's impossible not to associate this burgeoning new medium as something that holds a greater promise. 

7. I don't think this should be taken for granted. The values and norms of the pioneers of any medium have always shaped things to come. The hacker, whole earth catalog, hippie new age-ness of the Internet has a lot to do with how our world is now (for better and for worse. I would never in a million years have thought that when I was at Burning Man in 2000, that it would be a billionaire hangout one day).

8. Similarly, this intense desire to see technology serve humanity and see VR as something more then just commercialism and escapism will profoundly effect many people's relation with something so consciousness shifting. 

9. There are naysayers (there will always be) who say VR is a novelty. That its effects will wear off with repeated use and habituation. Or that its ability for empathy is no greater then a book, painting or other forms of media. They cringe or are reluctant to call it "the last medium" or privilege its status as being greater at eliciting empathy then all what came before it. 

10. It's important to be skeptical. But also important to be objective and realize that there is something profound and unique about VR. It's certainly not a passing fad. It will profoundly shift what it means to be conscious, alive and human. 

Time

Time

1977 Born in Manhattan at Mount Sinai hospital to immigrant parents from the Punjab region of India. First person in his family born in America. 

1978 Moved back to India after his father finishes his studies at NYU in engineering and launches the Roosevelt trolley, a project in which he was lead engineer. 

1981 Lives in Israel with his father who is working on projects for the government. Visits Jerusalem with his mother and has his first memories at the wailing wall. 

1982 Moves back to New York City, to the borough of Queens, as his father suffers from poor health and needs urgent medical treatment only available in the US. 

1982 - 1990 Accompanies his father often in his entrepreneurial work in Greenwich Village. Meets Warhol, Basquiat and Keith Herring and others from the downtown scene at his father's many candy shops. 

1987 Father buys him first computer, an Apple Macintosh, a rather unorthodox choice but mostly given his father's admiration for Steve Jobs, and also because of his leaning to not have his son be an engineer like him. His father wanted his son to be a statesmen like Nehru. 

1991 Family moves to New Jersey following continued trouble he has with local gangs. The final straw is a dislocation of his jaw which leads to a nervous tick he has with him for the remainder of his days. 

1994 Contracts though survives a severe form of Malaria in India. Considered a seminal moment of visions and notable changes to his personality. "I became Jim Morrison". 

1995 Graduates from High School in the bottom 30 percentile of his class though scores in the top 99 percentile in his SATs, which garners him a full scholarship to NYU. Though he is an uneven and rebellious student he shows flashes of brilliance in the physical sciences and history. Is exposed to and falls in love with British and world literature. Reads Camus' the stranger in one sitting. Is equally moved by William Blake and Herman Hesse. 

1997 Though he is a stellar university student, he has deep existential crisis and starts questioning the meaning of life and everything around him. His father's health begins to deteriorate leading him to briefly drop out of college to find spiritual strength in the Himalayas. Encounters the work Nicolás Roerich, a Russian painter who lived in India, and is moved by his philosophy of unifying religion, art and science. 

1998 His father dies on New Year's Day unexpectedly after a routine surgery though his health has been in rapid decline. He moves back home to Queens with his mother and is crestfallen yet is consoled by rediscovering Camus, reading Dostoevsky and listening to Radiohead's OK computer. He also befriends George Kakoulides with whom he would share many adventures, triumphs and failures. 

1999 Graduates Magna Cum Laude with honors in philosophy and biochemistry. Delays entry into medical school to do a public health project with Unicef in Namibia. Encounters "Adbusters" and travels to Seattle to protest the WTO. Is so deeply moved by this that he joins the anarchist counter culture no global movement and travels the country hitch-hiking. Joins Food Not Bombs. Starts dumpster diving. Reads politics and history extensively, and is particularly moved by "the people's history of the United States. 

2000 Returns from Namibia and joins Ralph Nader's Green Party and works on the presidential campaign. Moves to Southern California for the first time to develop skills as a community organizer and also begins to take acting courses. Communes with the redwood forest. Cries that people put a dollar value on thousand year old trees. 

2001 Returns to New York to attend medical school, only to drop out shortly after 9/11, where is mother was trapped near the twin towers for hours, and an event that profoundly shaped his life and made him think : "I'm not crazy". 

2002 Moves to South America to learn Spanish and explore Colombia, a country he falls in love with through the literature of Gabriel Garcia Marquez, the original "Gabo". 

2003 Begins teaching meditation and yoga throughout South America. Experiments heavily with the occult and Native American rituals like San Pedro, Peyote and  Ayauascha. 

2004 Returns home to New York to be with his mother, also a rescue worker on 9/11, who retires from 25 years of service for the city of New York. Starts working in the inner city as philosophy teacher. Helps his mother move back to India and reclaim ancestral property.  

2005 Returns to Colombia, though this time to work as a human rights activist, advocating for non-violent leaders and communities through physical accompaniment in rebel and paramilitary territories.  

2006 Meets Fidel Castro and is an official guest of the Cuban government as an international observer for the rebel peace negotiations in Havana. Takes two weeks alone, hitchhikes and meanders with locals all over the island to understand the truth of the revolution. Has a vision in Santiago de Cuba of Shoshun, the goddess of love. 

2007 Is awarded a fellowship to study international relations and economics at Johns Hopkins University. Moves to Italy to begin his first year in Europe. Learns Italian and begins a serious relationship with a woman from Naples, lasting almost five years. 

2008 graduates with distinction in International Economics from Johns Hopkins University. Moves to India to do development work in his ancestral land, and ends up reclaiming his old family property, allowing his mother to buy her own home in the the neighborhood of his childhood and become independent financially in her old age. 

2009 Moves to rural Zambia to work on youth programs with his girlfriend. The relationship breaks down and he ends up for months alone in a big house, with a vegetable garden and two dogs. The solitude and heartbreak is immeasurable. 

2010 Moves to Haiti to take a full time post with the United Nations Peacekeeping Mission in Port Au Prince. Survives the earthquake, though loses many friends and colleagues, and takes an active leadership role as part of rescue efforts. Resigns from his post at Unicef a year later out of protest after the cholera epidemic, when he sees an unbelievable amount of ineptitude and lack of accountability in the response. Feels vindicated months later by a plethora of evidence that the cholera was brought in by UN peacekeepers and that lack of proper sanitation management lead to its outbreak. 

2011 Appointed by the Office of the Secretary General of the United Nations Secretariat in New York as a Senior Policy Advisor. Plays an instrumental role in setting the Secretary-General's development agenda focusing on gender equality, education and public health. 

2012 His son, Julian, is born in Paris. 

2013 Travels to Amazon rainforest to make "Keep the Oil in the ground", a viral video sensation with two million views in one month. Raises significant funds and the online petition results in the government of Ecuador's apology the Sarayaku community featured. This film is endorsed by many prominent Hollywood celebrities and is the film Chris Milk watches before being convinced to handover his proprietary VR camera and ask Gabo to join his inaugural roster of pioneer creators in Virtual Reality. 

2014 Directs and shoots the first-ever documentary in Virtual Reality in a Syrian refugee camp. Clouds Over Sidra goes on to win numerous awards and acclaim. Considered to be a revolution in VR filmmaking and kickstarts a whole new genre of documentary filmmaking emulated by many including the New York Times, which cites its influence on their VR work. 

2015 Founds the UN's first ever VR lab, UNVR.org. Directs and produces an array of award winning content that cements his role as a pioneer documentary filmmaker in VR. His films begin doubling donations for on the streets fundraisers for Unicef and is used by the Secretary-General to raise billions of dollars and advocate for refugees, survivors of Ebola and Palestinians in Gaza.  

2016 Separates from the mother of his child and begins anew. Splits his time between Europe, New York and California. 

2016 Appointed the UN's first ever Creative Director role, leading a UNVR team and building a global brand. Launches the UN's first ever distribution platform for VR with its own app. 

~ G 

+1 (917) 770-1097

@gaboarora | www.unvr.org

Indians in America

With the ascent of first Kal Penn, and now Aziz Ansari and Mindy Kaling, I suppose Americans of Indian descent have finally arrived into the mainstream of American culture. A little late, but fine. I'm happy. I hope it enriches the general culture just as children of Jewish and Italian Immigrants who came before did - but I'm not so sure. I don't believe Indian contributions will be as deep. I have my doubts only because the other cultures before it were not as bourgeois and middle class as Indians in America.

Indians, as you may know, have the highest per capita income of any ethnic group in the US. Their American experience, in general, have not been defined by the same strife of the Jewish and Italians origin stories in America.

Both those groups faced fierce resistance. And both those groups worked hard to not just assimilate but change - for the better - who we are as Americans.

Having something to fight against, and something to prove, is always a recipe for greatness. This is why Indians in England have consistently been far more impressive than anyone in America. They dealt with a colonial struggle, and race riots specifically targeting them. This lead to Rushdie and others who defined themselves against the status quo and made England better, more multicultural, and more interesting as a result.

Indians in America ARE the status quo. I see nothing that fundamentally challenges how we are as a country and what we can become if we were to take guidance from
Indian Americans.

Jewish culture challenged anti- intellectual tendencies in American life as well as standards of beauty. Italians challenged Anglo Saxon frigidity. Indians - what can they offer?

I don't think their bourgeois status automatically disqualifies them making worthy contributions to the culture. The Russians of the 19th century captivated us with their aristocratic problems. Fidel Castro and Che Guevara were as bourgeois as bourgeois can be and mixed Marxism with the tropics.

Indians in America just need to pick a trait they possess within their complex identity that gives them a competitive advantage over others and something that fundamentally challenges the dominant culture.

There is hope. Indian culture, though there are many layers to it, has an one aspect of it that is unique and possibly enriching: It is ancient and it is categorically non- Judeo Christian.

Practically this means Indians are not a people of the "book". They are flexible in their belief system and thus naturally more tolerant to others as a result and not as easily swayed by dogmatism and absolutisms - a tendency that plagues American culture. Straight / Gay. Rich / Poor, white/ black, Red / Blue. This allows for co-existence but easily can also be used to be subversive, especially in a predominantly binary, rationalist and materialist and number/ data driven culture. A culture obsessed with "winning".

Maybe we need to learn how to lose. Keep a long game perspective. Perhaps we need to develop a certainty that comes not from rationality but from wisdom, patience, and tolerance. Not just a tolerance to others but a tolerance to other beliefs and ways of seeing the world.

This is where Indians in America can make us all better. Perhaps even save us from ourselves.






~ G

Tel: +1 (917) 770-1097

I love "Her", too.

We need mirrors to see ourselves. Though what we see in the mirror is not how others see us. Our perspective warps us from truly seeing how we look to others, even though we think we see. It's a paradox; an illusion. Just like this film, "Her". 

In a way, interacting with a computer is similar to a mirror, given our evolving need for the self-affirmation it continues to provide; fostering greater solipsism and narcissism in return. This much we probably know and agree. It's cliche to state the obvious and pernicious effects of technology. 

The common and decent sense in us knows it can only end badly when a "man falls in love with his operating system". That it is pathetic and sad that the possibility of anything genuine can be fathomed. Though something stirs within you watching "Her". There is no clear moral tale. There is an ambiguity to what our ever evolving relationship with technology means; leaving so much open to interpretation.  

I won't give away too much about the film, but let's just say I found myself wondering about the computer's behavior days after watching the film. Provoking this reflection, I suppose, is what makes this film so utopic about its technological vision of the near future. The OS, played scintillatingly by Scarlet Johansson's voice (who without a doubt deserves an Oscar nod for this role), fulfills a similar function. It makes people who use her think and feel in new and surprising ways. Love, then, becomes inevitable. Does it matter if she is not real?

Since the advent of the Turing test, in the 50s, though, we are often easily fooled through the prisms of computers. The artificial pretending to be real, if done well, casts a spell on us that is only broken when we learn something is not real. We feel duped. But our reactions are genuine nonetheless. This happens often and not just with computers.  

It happens with art, tv shows, plays and literature equally. We allow a relationship to form with these other forms of artifice, but draw the line at computers. We suspend our belief and give into the make-believe, and go along with it. Often, though not always, we are deeply moved, even though we have been staring at a radiating screen; or abstract letters; or grown adults pretending to be someone else, conjuring up emotions and experiences within us. We know it's not real, but the symbolism and the message help us project into the universal realm of ideas about beauty, truth and other philosophical notions that fulfill something deep within us. 

Within this context, having a transcendent experience, happens all the time artificially. It is no surprise then, that our main protagonist, played with such vulnerable heartache by Joaquin Phoenix, forms a meaningful relationship with his operating system. If his relationship is observed carefully, diligently, we end up learning so much about ourselves, and the nature of love.

What is galling to most is that the notion here is taken a step further than most of our relationship is to artifice; into a romantic realm. We may be fulfilled by literature or a symphony, but we don't fall in "love" with it in the romantic sense. There is something sacred, pure, authentic about our relations with another human being. Ignoring all the heartache and trauma most human relations cause. We still think it's worth it because it's real. The possibility exists that we think this way about real relationships because there is no credible alternative. "Her" provides this alternative and in the process unravels so much about about what is right and wrong with us in the modern era. 

The Scarlet J. OS goes from being insecure about what she doesn't have - a body - to seeing it as a strength; relying entirely on language. And it works. I am not sure what this says about us and whether this is encouraging. We find ourselves in a new world nobody yet completely understands. The greater reflection is on the role of language in love; which one could argue is the way most fall in, sustain and regain love in the modern era. Language itself is a technology; the greatest artifice ever invented. It certainly changed our relationship with each other. As did the industrial revolution, and the women's liberation movement. Love evolves, though love remains. It is heartening that we yearn for it and look for it and need it, no matter how strange things get.

Wolf of Wall Street - What Doesn't Kill You Makes You American.

This movie is America. From our fascist tendencies, to what makes us tick. To what makes us sad and repellant. Perhaps also to what makes us lovable and attractive.  It is all here, in a little of under 3 hours, a front row seat to the modern American psyche.

Is this parody, satire, or is it just propaganda? The lines blur. That's kind of the point. We have become a caricature of ourselves. 

This is not a moral tale - of the excesses of greed and addiction - for that would have been another lesser and more obvious film. Rather, a light shines on us, all of us, both the wolves and the sheep. And when looked at with a certain detachment, there is a certain humor in the absurdity of it all. 

There is a void. We all fill it with different things - if not greed, than god, or hyper stimulation or work or family or charity. Or perhaps we ignore it. There is an anxiety about the human condition that is true. This film, in not judging, in observing the pathology, incriminates everyone. It is the first film that is not just an indictment of the supposed wrong doers - but equally the society that spawns, encourages and thrives on them - and the victims themselves for their naiveté in believing in short-cuts along with the greed to get rich quick. 

And we laugh (this is a raucously funny film). Neuroscientists say laughter is a result of fear. When a fear feels imminent though not realized, and we feel assured of our safety, we release laughter, a relief, a spontaneous burst of joy. There is so much darkness here at the edge of this abyss, this film, yet we feel safe within it, even as the horror unfolds. Why? Because it's so exciting. Makes you feel so good. This way of life provides meaning and purpose to an otherwise drab existence. It's not about the money. This movie is an ode to an amoral vitality that we all worship in America. Fuck yeah!     

Jordan Belfourt, the protagonist, played to newfound majestic heights by Leonardo DiCaprio, may be a pathetic, drug addicted and exploiter of innocence - but he is alive in the arena. You are proud, repelled, awed, disgusted, attracted by him. The complex and contradictory feelings he evokes are exactly how most of us feel towards America. I am glad somebody finally captured it. And no surprise it's Marty, who has reached a new pinnacle in his film making. 

Identity politics - ie the obsession with race, se

Identity politics - ie the obsession with race, sexuality and gender in particular - have fragmented our response to the greater problems in society - ie climate change, inequality, and the role of technology in our lives.

I would venture to say such an approach has led to the state of affairs we find ourselves in. If I were to pursue a research question seriously, I would explore the link between inequality and identity politics. This is a relic of the baby boomer "culture wars" that needs to go.

It is far easier to rally people around push- button empathetic causes rather than amorphous and technical issues that require persistent and unglamorous work that would benefit all of us.

What we react to and want to change in our society can not only be motivated by empathy. We must equally use reason and not be afraid to think.








~ G

Mauvais Sang

This is the first truly badass French film I've ever seen. It's so fucking good. 

As If someone was somehow able 
to combine all of the French New Wave into a cocktail speedball and boom: you'd have this movie, which leaves you more breathless than Breathless itself. 

It's a movie that wears it's influences on its sleeve. Punk rock. America. Godard. Film noir. But it's much more than the sum of its parts. 

It's the kind of film that if you saw when you were 15, would change the course of your life forever. Makes you want to live just to burn. Burn away youth. Make love to everyone. Drive real fast. Crash cars. 

Yes, the film is pure energy. It's also, 
because it's a French film, nonchalantly profound. This is what makes it so special. It is unable to shake off its intelligence, even in the midst of its revelry. 

It's also 1986. Need I say more ? The style. The incessant dystopia like feeling pervading the soul. 

A virus is infecting the people. You only get it if you have sex without love. Brilliant. 

And there is a love story here. An intriguing one that makes you understand the power of love without consummation. Endless seduction is endless ecstasy. Very French. 

Finally, Juliette Binoche. The center. The starlet that keeps everyone else in orbit harmoniously. She takes this ecstatic film to a whole other level. With a performance for the ages. 

Watch this film with someone you want to run away with. Far, far away. 

~ G

No better sleep

There is sometimes that moment, during a very grand film even, often especially so, when sleepiness takes you. You try and resist, afraid to miss out, though you know if you let go, that there is no better repose than one in which a beautiful film lullabies you gently in a dark theater; nourishing the subconscious and sweetening your dreams. Like a baby not wanting to fall asleep while on the breast.

And then you awake. And a second wind takes you and the clarity and focus return you to the plot. Though you are disoriented, the renewed alertness makes it less distressing. You take in being lost with wonder and the discovery of looking at things as if for the first time. The film
is renewed, as are you.






~ G

Ambition makes you look ugly - A film review for Blue is the Warmest Color

The film starts and ends with a shot of her ass. We also see a lot of her face; almost every scene and often in claustrophobic close-ups. There is no soundtrack though there is music that occasionally comes through the surroundings; in clubs, parties and bars, at just the right times. Often while dancing. The much talked about sex scenes are not exalting; they're awkward. Yet they have a beauty not tainted by melodrama or self-awareness. The whole film is very matter of fact this way. Tries to tell more by showing.

The film's gaze is forever set on Adele and her subjectivity. It is about her and her confounding insecurity, even if she is a star. The most beautiful people are often unaware of their own beauty, and the power that comes with it. The absence of vanity and calculation makes them more beautiful. This poignant insight makes the film worth watching. Though there is more, much more. 

Blue is also about the primacy of nature; the innocence and instinct we lose as we fall in love for the first time. That love is often coupled with disequilibrium. We lose balance because the other has something we don't; shows us a world we always wanted to inhabit though never knew existed; awakening a subconscious yearning to love through discovery.

Adele's first love Emma is just this: a teacher in the Ancient Greek sense. She literally becomes Adele's philosophy tutor. She shows her the ropes. She knows more and this turns Adele on. It is the real engine of desire in her otherwise mediocre environment; in a grey industrial northern French town as part of a lower middle class family. Their first intimate encounter is bathed in sunlight. Emma is just the light Adele needs to guide and save her. 

Plato wrote extensively on how wisdom is best pursued through love - specifically man on man love; with sex being an essential part of this. Our modern era tries to distance sex and love and wisdom. We have made them inhabit their own sphere, when ideally, holistically, they work together in synergy. The homosexual relationship was particularly important to this enlightenment. Especially between student and teacher. With Blue, this myth is modernized to include women, for women have never been more like men; having now the same access and anguish to self-actualization. 

But something breaks down. Adele refuses to self-actualize and become her own person. She inhabits still the primal aspects of existence. Food. Sex. Dancing. Pleasure. You feel her come most alive through sensuality. Emma indulges this, and often revels in it, though grows out of it and has her sights set on more, as a painter of renown. Adele keeps cooking. Doing the dishes. Keeps caring about Emma while Emma keeps goading Adele to think of herself. To write stories perhaps. To transcend her simplicity. It's not happening and a rift grows between them. They come from opposite ends of the social spectrum and it shows, painfully. 

We see it coming. It's cruel. Love was not enough. After the passion comes the everyday humdrum and difficulties of dealing with the hard truths of life; that we grow old and die. That the meaning of existence is questionable. We all deal with this differently. For many, the so-called masses, it is acceptance. For the supposed great, there is always a need for more; a restless desire for desire itself. 

There are many layers and themes to this film. It touches on many aspects of life - lust, sexuality, class - but ambition, and its role in relationships, in love, in finding some meaning in life, affected me deeply and made me think about why I gun for greatness. 

Ambition is not for the contented. It is often a cover for those unable to love; or accept love. Or perhaps a fear that if we truly loved and were fulfilled, there would be no creative conflict; no films like Blue, to hurt and teach us so much.       

Modern Love

People love people for unexplainable and uninterested reasons - in sum - out of attraction. Though love, in our modern era at least, is more a result of the joy in providing something for someone. The main way to get love is to give love unconditionally.

And you attract love when people want to be around you, find you have something to offer them that nobody else does. Your beauty , charm and intelligence.

The word love has done more to actually hurt the real sentiment of love. That nebulous and zen like state we call love is so gently evoked that it cannot be Spoken of or defined.

Get it out of your vocabulary. Find joy in serving others and it will come.

In many ways love and money have a lot to do with one another. They cannot be chased as an end. They must be attracted by who you are, your (self) worth, and value to society and to others.

This is very different than the love we get as children, for the most part unconditionally. Adult, and modern, love comes with the condition of selflessness.

The failure to make this transition from child to adult, well, explains much of the modern failings of love.



~ G

Before Midnight

If the previous generation's narrative was defined by the ascendence of women, ours is certainly about the decline of men. Before Midnight, the third pillar in this magnificent Gen X love story, encapsulates this perfectly.

Ethan Hawke as insecure, romantic, doubting, sensitive and tortured soul codifies the new man. He struggles to gain control of his relationships. He grasps at their failures. He broods and replaces his earlier optimism with irony. He was a man with a dream who took a chance, only to end up blasé about his success; longing instead for what he's lost with the choices he's made - even though most of us would kill to have what he has; a successful career, recognition, a beautiful wife who he courted mythically and two angelic children. He also lives in Europe and this whole film takes place on an idyllic summer holiday in Greece. Alpha man, or men of old, would sit back and gloat. They would be smug and wear those plastic smiles one sees on Mad Men.

But like the great 19th century Russians, who mostly wrote about aristocratic problems, the human condition is problematic, even if one is well to do. And we empathize because suffering is suffering. And more so when that suffering is poetically rendered.

The movie on its own, for those unversed on the prior two, will be enlightening. Garrulous to the nth degree, it makes French films seem timid. In fact, the best way to describe this film and series is to say it's an American version of a French film. Or what I said when the first film debuted in 1994 : the first ever romantic comedy for intellectuals. This is a post modern chick flick, too.

It is an intelligent, honest and eccentric exercise in film making. Making you question the possibilities of modern love throughout.

When taken within the context of the two previous films, the effect is haunting. Is this what happens as we age? A sense of melancholy and ennui takes hold with the realization that you can get everything you ever wanted, and it still won't make you happy.

This is not a trilogy. The story is not over. Perhaps it ends better or it doesn't. The ambiguity makes you think.

The side conversations, about the nature of time and other metaphysical queries, are candy for the brain. They border on pretentiousness, though in the end, make for precious and refreshing cinema. Especially nowadays when the art and pleasure of conversation is nearly dead. Few people speak of anything other than their feelings and problems. Good to see, even if its fiction, human beings interacting on a more virtuous plane.

This film, this series, I have an inkling, will continue to astound and reveal itself as the years progress. The new film makes the set ever more perfect and I'm already looking forward nine years into the future for more. To see how it all turns out, for them, and myself.




~ G

My review of Ozu on the 6 train - spring street to grand central. 10 minutes ----->

Early Spring evokes a unique emotional response that can be described as tender anxiety laced with quiet desperation filled with momentary lapses of transcendence. 

The despair is pervasive and real and confronted with honesty. The rhythm of monotony gives way occasionally to an expansive feeling. This feeling rescinds often and comes back like a festering wound that refuses to heal. 

You feel in new ways, in Japanese ways. That repression filled with moments of controlled hysteria. That desire for courage and bravery. The embrace of modernity is coupled with a conscience of its tragedy. 

Not many people will want to feel this. The rewards seem dubious to us as a culture that strives to win, and be ever more modern. These type of musings seem nihilistic. 

But there is something at work here that is mysterious and moves us in undescribable ways. Almost sacred. Like a bell tolling in the distance. It reminds us of time passing. Of our demise. And how beautiful the sound is.

~ G

Frances Ha - a film review

All I could think of - throughout the many exalted scenes during this gem of a movie - was my sense of exhilaration.  I thought about this feeling.  This feeling made me think.  Both my senses and intellect were touched.  Few films build the bridge between both realms.  Frances Ha is such a film.  A rare and true one.  

As much as Frances floundered and no matter how pathetic her circumstance, one is drawn to her self-indulgent suffering for one reason:  because of her innocence.  She has no sense of the tragic to paralyze her.  She moves with love.  The love for her best friend being her anchor - the purest of loves.  Your best friend is not a lover or family; it is unencumbered by the messiness of sex and obligation.  Adulthood changes all this.  The purity of this love slowly withers, as the future ensnares and haunts us.  We often compromise around Frances's age.  We lose our innocence.   

27.  At an age when most start to think about their future and compromise on their dreams, she refused.  You can't fault Frances.  She may be arrested in her development; unable to graduate into adulthood.  But we all know what follows is a sham.  We atomize into our nuclear units; strengthening our domestic and professional concerns, but it doesn't make us any happier.  For many, we look back in wonder and yearn for what was lost.  

This is not a nostalgic film.  It does not make romance of what are also aimless and boring years.  There is not much that is glamorous about her suffering:  sexless, little money, no true friendships, little social connection.  All horrid.  And when the going gets worse, she regresses back to college - that idyllic time frozen in the American imagination.          

Besides all the wonderful ideas of youth, friendship and the growing pains of doing all this in New York, this is not what makes this film great.  It is the style and technique that will be talked about for years to come.  Some, especially those well versed in the French New Wave, will say the technique is derivative.  Derivations rarely have such wonder to them.  And some scenes, one in particular, of a running Frances to Bowie music, just took my breathe away.  I couldn't help yelping in delight at many other instances.  Truffaut never did that to me.           

Finally, an age old question:  Why does New York render so beautifully in black and white?  This film would still be good in color, though its faux analog nature, makes it shine greatly.  Perhaps New York's overwhelming greatness needs a minimalist filter; in order not to blind us.  Much in the same way you can never directly look at the sun.  You need some sunglasses.  Frances Ha are the perfect pair.

Guru X - Chapter 1

I remember exactly when it started, this feeling within me, that there was more to life than the way I was living it.  It was at the classic cinema house and I was watching a film from the 70s that I can’t recall the name of.  In the film, the sunlight danced off the street and out into the theater where I was sitting.  It was as if I could finally see the sun, as if it was more real than the sun outside itself.  

On my way home, looking around me, the world looked new.  I paid greater attention to detail and felt a connection to everything around me.  The old woman walking her dog.  The little girl watching her mother put on make-up.  The street lights, the cars, everything started to move in cinematic slow motion.  I started to ask and think why.  Why the man walked as he did.  What it meant when someone spoke the way they spoke.  I understood that the detail was not trivial.  That it spoke volumes about people’s personalities and histories.     

Film, or art in general, for the first time in my life, became more than just pleasant entertainment or an escape from reality.  It put me in greater touch with what was happening around me, my thoughts, feelings and - most importantly - the lives of others.  I became interested in the stories of people, and wanted more of it.  

After college, when I had more time, and was out of the structure induced on me since kindergarden, I started to question more about how one was supposed to live their life.  I started to read voraciously, and watch more films.  It started to change me and what I wanted out of my life.  

Before my engagement with art, I just desired and did what most successful, academically oriented people did - I got good grades, so I could make a lot of money doing something prestigious - like becoming a doctor, lawyer or an MBA on Wall street.  

This desire, upon my newfound relationship to art, crumbled, and I was disoriented.  I didn’t know what I could replace it with, though had a vague sense that there was something deeper out there that would be more fulfilling to pursue.  During one of my medical school interviews, which I undertook very half heartedly, I met a pretty blonde girl that would change the course of my life forever.   

Her eyes sparkled, there was a goodness to her face.  Regardless of what they say, you can tell the world from a person’s face.  We got to talking, and ended up taking the same bus back to where we were going in the city.  She laughed at every one of my jokes.  Really thought the world of me.  I had never gotten such approval from such a pretty girl before.  

Up until then, I was a quasi virgin.  Well, I had had passionate sex once, with a german tourist who had an Indian fetish.  Thankfully my roommate was away and we made love on the top bunk.  Post-coitus, as I lit up my cigarette, I started talking about Hitler.  “Hitler would be proud is us, wouldn’t he?  You know I am Aryan.  North Indians are Aryan.”  That didn’t go so well.  The next day I scrounged what little money I had and bought her a fat free frozen yogurt cone from Mcdonalds for 99 cents and took her on the Staten Island ferry - the perfect poor student date.  She left shortly after, and never got lucky till I met Blondie.      

As our bus stop was approaching, I told my new found blonde girl that I wasn’t sure about medical school.  And she said she was certainly going to take a year off.  She had received a grant to do an HIV/AIDS project in Namibia.  She was looking for some researchers..and might I be interested to go to Africa with her?  

There are those moments in life when you feel moved by destiny and you know exactly what to do and say, without thought or hesitation.  I said yes with conviction.  She jumped and smiled and we kissed.  And 3 months later, I was flying over the ocean to the mother continent.  I was finally living the life I saw in the movies and read in books.  I was about to have an adventure Jack Kerouac would have been proud of.

The anticipation of my departure was met by awe and intrigue by my friends and family.  I had turned into Mother Theresa without having done a thing.  This was 1999, and the humanitarianism and exotic travel that is common now, was rare then.  Or less known about, given the nascency of the internet and non-existence of social media.  

I took my hero worship with discomfort.  I was socially aware enough to know that if I really wanted to just help people, I would go to the south Bronx.  Namibia, on the African continent, that was something more; it was about adventure, self-actualization, a quest for the truth and to understand the world better.  It wasn’t just about helping people.  Though when I told people, the look in their eyes was something to behold.  They didn’t see it the way I saw and thought it was self-sacrifice; charity.  No matter how much I played it down, they mistook it for false modesty.  My adventure, my search for the truth, was slowly transforming into a campaign to end poverty and usher in world peace.  

I suppose this tendency is common in human nature.  To sanctify.  To deify.  To believe in the higher nature of man.  A man who is selfless and helps others.  I am not against this way of thinking.  I just found it oppressive and false, that’s all.  This happens a lot.  The idea of something is far more attractive that the thing itself.     

I arrived alone in Namibia, as my companion, said Blonde Girl ( I truly do not mean to objectify her by the color of her hair, but can’t think of any better way to mention her without using her name for which I have no desire to do as you will see why) would meet me soon after.  I was to be picked up by a local who worked for the American embassy and would be our local guide, driver and help us settle in as we got our bearings to undertake our project.  

Perhaps it is embarrassing to admit this, but I was one of those  people, who had very little idea what the continent of Africa was about.  I expected a Sally Struthers infomercial of suffering.  

Instead I was greeted by my local guide, wearing sunglasses and looking dapper in his finest designer clothing.  I expected straw huts, but Windoek is a regular looking city, slightly suburban in character, and we went straight away to a mall to have lunch.  As he used, perfectly, a knife and fork to cut his exquisite medium rare steak, I mentioned to my guide, without sounding rude, that I had expected something a bit different.  

I still remember this.  He took off his sunglasses to really look at me, and said:  What did you expect? That you were going to Zaire?  

I checked into a local hotel, and waited for Blondie to arrive.  There are 2 million people in a country the size of Texas in Namibia.  The landscape is dry, and there is not the usual density and squalor one would expect in a poor place, and a place being ravaged by the AIDS epidemic no less.  It was quiet and pristine.  

Soon enough, I went to pick up Blondie from the airport, and we met with the same exhilaration we had in New York and were eager to work and be together over the upcoming months though I did notice she was a bit agitated and nervous.  To be expected, I thought, as we were very far away from home and in Africa.    

Her dealings with the locals was slightly forced, awkward and afraid.  I told her to relax, and over the passing days, she was a bit more easy going and opened up to the newness of it all but I could still tell she wasn’t entirely comfortable as a minority for the first time in her life.  We were a long way from Kansas.

We bought a car - a huge white Land Rover - and took to driving across the country.  This helped to relax things a bit.  We would often be the only car on the road, and the landscape and the people, it was something out of a storybook.  When we arrived in Swakopmund, on the coast, where the sand dunes meet the ocean, we stopped the car and jumped out to revel in the beauty - the purity - of the place.  To this day the colors are etched in my mind.  The visceral aspect of the place is something to behold.    

The people were also kind and open.  I was acutely aware of the apartheid past that was all to recent in 1999 and wanted to be as sensitive as I could, though it is never easy as a foreigner.  You are kind of damned if you do; damned if you don’t - no simple way to make the human interaction easy given the history.

Up until then my only interactions with black people was through the lens of the African American experience.  Very different than the African experience.  I had Black friends in school, but it was always charged with difference.  What I mean to say, if one can even talk about this without sounding silly, is that it was never a natural relation and when someone asked me if I was attracted to Black girls, before leaving, I said no.  

What a completely stupid thing to say, when I think back on it.  I wasn’t attracted to Black women because I had little intimate contact with them.  I am convinced that if you become aware of another person’s inner life and struggles and thoughts, love follows and so does attraction.  

I used to feel that way about the Chinese until I started reading their literature and watching their art films.  Perhaps it is silly that one needs art to feel for another race, but that is just how it is.  Art sensitizes us.  Makes us human and allows us to understand the experiences of others.  And so does travel and interacting with people on an equal footing.  Ironically, I had to go all the way to Africa to have this;  a normal, relaxed conversation with black people as people.            

When it came time to get a house, Blondie wanted to be in an all-white enclave on the beach, for safety of course.  Our house was a mansion, for 400 dollars a month, we could live absurdly well.  I was reluctant, expressed my dismay, and was advised to be practical and not a Marxist.

I wasn’t being a Marxist.  I wanted to get to know people, to fall in love with them.  I felt moved by people’s lives and concerns, and felt anytime away from this exposure, was time wasted.  I could have been anywhere in that all-white enclave.  It reminded me of the West.  And I wanted to be in Africa all the time.  I wanted to be reminded of it in every moment.  I also did not want to be reminded of my difference.    

Perhaps I would have been okay with this if our work went off well.  But it didn’t.  Nobody trusted us, or took our work seriously, because we went to local villages in a car, if sold, could probably feed the entire village for years.   

When it got dark, we left, and went back to our seclusion.  I remember once, the locals insisted we stay and dance at the local disco.  Blondie danced for 15 minutes, half heartedly, and then insisted we leave; she felt unsafe.  She had this fear, deep down, she confessed to me, of black men.  She knew it was irrational.  She mentioned in passing how if she was raped, that we should have anti- aids drugs cocktails on hand to reduce the risk of HIV transmissions.      

I guess it didn’t help, that I suggested we play out rape fantasies to over come her fears.  That perhaps if I pretended to rape her, she could overcome the pain.  I was young, insensitive and stupid to suggest such a thing.  But I was frustrated by what was happening.  Why would a white women afraid of being raped by Black men come to Africa?       

I slowly became depressed and cynical.  And this led to anger, as if that romantic narrative of my life, who I thought I was and wanted to be, was being sullied.  That I was missing my chance at a certain sort of greatness that could only happen if I got Africa within me.  I did not want to be comfortable in Africa; I wanted it to change my dreary modern pathetic excuse for a life.  I wanted to live with the people, work amongst them, understand them and learn from them.  And here I was replicating all the worse stereotypes and missing out on my African Experience.

In the evenings, we would be in our mansion, when it was dark, often we became silent and read.  I became so bored I read War and Peace and Brothers Karamazov, in record time.  After awhile, I didn’t want to read more.  There is only so much escape your mind is capable of.  I would take the car out by myself to drive and think.  Especially at night, with the moon, and the sound of the ocean, I would drive recklessly on the beach.  Cascading the car into the waves.  I wanted to kill myself but was too young and full of life to do so.  I just needed a way out.  

There was one local pub to drink and eat that wasn‘t meant for rich white people and I would go there often to have a drink.  I was there one night, and heard a Southern accent.  It was distinctive and kind.  I looked over and there was this handsome, rugged American young man, surrounded by Namibian teenagers.  They were having pizza, and he had an air of a chaperone, a teacher, and that is what he was.  He was on a school trip with his English class, for a high school he taught in, in a remote village called Omaruru situated halfway between the coast and the capital city.   

I went over to him, immediately introduced myself and poured my heart out.  I told him I was at a loss.  That I had come to help and now was ensnared in this project and living a life that was most uncomfortable for me.  He looked at me, listened carefully, and told me:  just leave.  Pack your things and come to Omaruru.  To come and stay with him, as he lived in the teacher’s housing in the village, and would help me in time find a place to live.  He said I could help out in the school or the local clinic.  That something would work out.   

There was little hesitation in his manner.  And he had this calm demeanor, and the teenagers who were with him loved him, you could tell by the way they listened to him.  They started to speak to me also, told me to come.  I said I would think it over.  I said goodbye to them, as they were on their way back early in the morning.  I wanted to get his contact info and Zach said “Just show up - everyone knows me, am the only white guy in the village.” 

And that was it.  I had a point to escape to.  I find my mind focuses best when it has a goal, any goal to work towards.  And now I had it:  Omaruru.  But what of Blondie?  I felt she would be okay.  She controlled the grant money and would be fine.  I was the one venturing out into the unknown with nothing.  I knew, given her fears, she probably wanted to have me around and then I understood in a way why she wanted me to come with her here in the first place.  To protect her, make her feel safe.  And here I thought it was about love.    

I had to decide between her and Africa, and it was was easy choice.     

Guru X Prologue

A job.  Everyone wants a job now.  Job job.  As if that’s the answer to all our problems.  Wasn’t having a job uncool once upon a time?  Perhaps that’s the real legacy of 9/11.  It freaked everyone out so much that they went running to the security, stability - and the enslavement that comes with it.  

Maybe I am too Gen X, or something.  But in the 90s, the cool kids were doing their very best not to get a job.  Nobody wanted to end up as an extra in Office Space.  Sitting in front of a computer in a cubicle all day was a sign of failure, not success.  We all wanted something truer and, though not being sure what that was, were unconcerned to search for something else.  We were perfectly fine being jaded and bored by the system.  

Some things change though we are often re-sold the same false dreams, over and over.  Every generation makes the same mistakes, in essence.  We’re no different.  I did what I could to hold out as much as I could against The Man.  I did my share of adventures, but then I got a girl pregnant in France, and she called me to tell me she wanted to have my baby.  And I said sure.  Let’s make a go of it.  And when I hung up the phone, every cell in my body was vibrating with a joy I’d never felt before.  It was to be my new adventure:  fatherhood and having a family.  Who was I kidding?  

I’ve settled down now, into our little routine.  You know what I mean:  laundry, paying bills, making sure we have enough groceries and making endless lists of errands that take up the entire weekend.  It never stops.  The kid always needs something.  And maybe if I am lucky I can watch a little football.  Football.  I now totally get why Football is the quintessential American sport.  It’s a type of numbing respite.  The perfect thing to do when you feel like killing yourself, while you wait for the laundry to dry on Sunday afternoons.  

I have an office job now.  A job I like enough.  It’s not a commander-in-chief type of job, but nobody messes with me too much, and I have money to live in a decent place and go to restaurants and take little vacations to cozy spots.  It’s a not a corporate job, thank God, and even claims to serve the public good.  Somewhat true, though even do-gooders are beholden to the ever pervasive market driven culture.  Even our personal relationships, to a certain degree, are tainted.  Though perhaps I am getting overly cynical in thinking that.  Though all of us know people who are with people and associate with people to get something back in return and it makes me sick.  

When you are a child, you choose friends out of a simple, unexplained, attraction.  Not a sexual attraction.  It was far more intuitive back then.  When we followed our heart without doubting ourselves, or calculating.  

Now: we are all now ensnared in the profit motive, and the politics of lobbyists.  Everything is a racket in the end - doesn’t mean you give up or stop trying to make things better - but I can’t wax poetic about the difference I am supposedly making in the world or the people who surround me.  Or perhaps it doesn’t excite me because I go to meetings, deal with office dynamics, and endless emails like anyone else.  Perhaps the outcomes are different, than say, Phillip Morris, but our process and way of working is similar.  We too have the best brand managers in the business and look to convince people through the wonders of marketing rather than rational thought.  They sell cigarettes, we sell misery - and we both want your money and attention.  Getting rich and helping the poor are both enterprises now.  I have a difference telling one from the other.     

A real difference in the world would change the way we work, think and interact with one another.  It would be a new way of organizing society.  But that’s stuff for Communists or something.  Not for an energetic people, such as ourselves, in constant need of success and winning.  

    

I’m happy all the same, I suppose.  I’ve never been as fixated on happiness as most people do now.  Happiness was not the goal; freedom was.  As was living authentically and righteously.  I did not want to work for a corporation because corporations were evil.  Both in the senseless things they produced and what they did to the sprit of people who were a part of them.  I wanted to truly live, explore and transgress the boundaries of who I thought I was.  For at least some years of my life, this was true, and I was able to understand the world and my place in it better.  

Because that is what most interested me, with my studies, my travels and friendships.  I wanted to figure out who I was, what I believed in and why, and then try and bend that a bit.  To test my truth out there in the big bad world.

God, this probably sounds horribly pretentious and self-indulgent.  Especially nowadays when all people want is a job.  They study for a practical purpose and believe there is something noble about paying their bills on time and taking care of their families.  I get it, survival.  Responsibilities.  We all can’t be Don Quixote, and someone has to do the mundane to keep our society humming.  I just never wanted it to be me.    

I thought I could be one of those few who could help push history forward.  Who could save us from ourselves.  I was wrong.  But I tried.  At least I tried.   

The real change makers are still the robber barons.  Or robber barons turned robin hoods.  They still call the shots.  And the rest of us, well, we can be grateful if we can securely feed our families junk and buy them things they really don’t need.  

What do children really need?  An elite education and European vacations or a role model for how to live in these senseless and vulgar times?  And given the choice, I think any child would give up all the comforts of an elite life for a little more time with their parents.  Yet we continue to “sacrifice” and work long hours to give them “opportunities”, establishing a vicious cycle they are sure to replicate with their children.  What we are really doing is wasting precious time.  

If I am saddened by any one fact of modern 21st century living it’s this:  that I spend an inordinate amount of time on activity that in the end will make little difference to me on my deathbed.    

Because in the end, you’re just left with stories and stories drive human existence more than money does.  It’s important to have good stories.  In the meaning and consolation they provide; we feel less alone.  Whenever I am having one of those soul numbing days I step out and get a cup of coffee and I stare out and remember and re-live some of my stories in my head.  It comforts me.  In a strange way, perhaps that is what differentiates me now, from the regular masses who always followed convention.  I have a richer inner life to fulfill me, though at times it’s equally a torment.  

The old cliche goes: it is better to have loved and lost, then to have never loved at all.  I don’t know if the same goes for Greatness.  To have reached transcendent heights and to fall down and to not even realize it...it just happened gradually.  Until one day, I realized the spark was gone.  The restlessness of my youth had vanished and in its place was a placid calm.  I no longer missed what I was I missing though I knew:  something vital was gone forever.     

I am glad I resisted as long as I did.  That I at least had some fun.  That for brief moments everything made sense and that life was not something to be drudged through.  That it could be lived.  That you could make a difference in your world and the world of others.    

So I am going to tell you a story.  Some say it is the greatest story ever told.  They say this because they are plebes who play it safe, have never stepped out of their world, and taken a fucking chance on anything.  Regardless of its merits; It’s my story.  Never to be confused with any other, and in a way, this is my victory over the awful, technological and robotic world I find myself in now.  My story keeps me feeling human.  I hope it makes you feel human, too.    

Saint in The City

I can't lie to myself. The only sincerity I can have is to my self. I need to, before I negate something , be capable of living, doing , experiencing what I negate and to do it well. I want to show that my choice is not a result of incapacity. That I can win and be successful. And then I can give it up. This is my version of modern saintliness. To show the system, the world , that I can play and win by their rules and then break them and give it all up. There is immense pleasure in this way of life.

Helping the most vulnerable

Helping the most vulnerable

Once an organizing machine is created and successful it's never satisfied and keeps trying too find new campaigns to win. Too much is at stake. And everyone likes to keep a good thing going. Will the Gay movement stop at gay marriage ? No. They move on stronger to bullying and perhaps finally get to helping out gay people overseas in a significant way. Will women's groups rest once half of all CEOs are women ? Unlikely. They'll keep bulldozing for more and more.

Such immense, historical , revolutionary progress has been made with minorities and the historically disenfranchised. Yet these victories are seldom celebrated . Keep going for more! In the very American tradition of "grow or die" these movements keep asking for your money and support for fear of losing relevance.

I swear, I can't with a straight face take anyone seriously who acts like we are in 1960 when talking about Gay marriage or the lack of female CEOs. The moral and the political landscape is far far more favorable to these 2 groups than anytime in the past. Some would argue they're both at their historical apogee. It's completely intellectually facetious to act like this struggle is in the same vain as civil rights struggles in the 1960s. As if no progress has been made and as if they deserve the same moral weight those struggles presented. They're important but they're not the defining struggle of our times. Not even close...

I'd say climate change is. And the fight against soft money in politics, ie lobbying, is far greater a challenge to our country.

And who we continue to fail is largely undisscussed and that's because they are weak economically or do not have strong elite engagement or the problem is too historically entrenched. I'm thinking about African Americans, poor whites, native Americans , migrant farm workers. ..

I'm all for gay marriage and equal opportunity but at some point I need to direct my very limited time and resources to the most vulnerable in this country. I'm not going to get all riled up and distracted by gay and women lobbies and Pr campaigns. I'm going to remember who most needs our help and what work is most fundamental to preserving the greatness of our country.

No, we can't have it all. Your time,money and attention are limited.

Emperor has clothes

My eye doctor is a real Greenwich Village original. Classy older man, in vulgar mass produced times. 

I remember when I was in Haiti, he asked me if Haitians were poor because they spoke Creole.  That it led to a further ghettoization and left them unable to assimilate into world thought and economy. 

I'll refrain from judgement but I will say that there is something to be said to assimilating to the norms and means of the powerful. I've read their books, watched their films, and wear their clothes and I'd be a fool to say it doesn't make a difference in building trust. Getting things done.  I didn't do this consciously.  But if you are ambitious, it permeates you like osmosis.  

It's important to preserve one's culture, sure. But one must first build strength.  Real strength is organization, efficiency and follow through.  Culture helps buffer the robotic effects and helps salve the soul of the pursuit of power, money and glory.

I wish it was different, but it is not.  The challenge is to do it - build strength - and keep your humanity.  Too many people are concerned about culture for culture's sake.  This is an emotional mistake, empty symbolism, that gets us nowhere.

There is of course one notable exception:  The French.  They've made culture a weapon.  They conquer through beauty.  That is what makes them great.  Few others, however powerful they think their culture is, can get away with it.  Plus, the French are far more industrious and efficient than they let on.  The combination makes them forever relevant on the global scene.  Africa's rise also augurs well for their future.         

What is real?

I hate predictions about the future.  But one thing is clear:  real things are slowly being replaced by facsimiles.  And we are told there will be little difference.  Don't fall for it.  Digital is not film.  Supplements are not real food.  And online education cannot substitute for a real university experience.  Working from home is not the same as going to an office.  These are just some examples, but the trend is obvious. 

It's about cost cutting, sure.  The result of which will be that the "real" things will be less accessible to the average person though the average person will have more access to ideas and horizons never before imagined, albeit at a lesser quality.  Classic, foreign cinema is just one thing that comes to mind.  Never before could someone from a small town in Kansas be able to see Fellini, Bergman, without going to a major city and making a Herculean effort.  Now, instantaneously, with streaming, a person has access to the Greats on their computer.  Sure, it is not on 35 mm, but the wonder of the original, the aesthetic and ideas, still come through to move and touch a nubile.  Yes, it is a shame they will probably never see it in all its analog delight, but the access and exposure, it has to be celebrated as nothing short of revolutionary.      

And print won't disappear either; it will just have to get really good to justify its expense, as will everything.  The real things will be expensive, but will be ever more worth it, or will have to be so excellent as to justify your (limited) attention and money. 

I have already seen this.  Books stores are closing, but the ones that survive and thrive have re-invented themselves as community hubs and curators of culture.  They have upped their game in a way that makes the experience of going to a bookstore like going to a museum. 

I am thinking about McNally Jackson, of course, in Nolita, as an example par excellence.  I find myself wanting to attend a talk there, to peruse through their recommended readings, to be seen, and take in the beauty of the displays. 

Print journals too, are now ever more so works of art.  N +1, the Paris Review.  I feel as if I am buying an object and experience, not just a literary magazine. 

I can give more examples.  The stakes will be higher and the quality better as a result.

The worry, I imagine, is the unease of making real things ever more elite, exclusive and expensive.  But weren't they always?  Did polyester suits make real english wool suits disappear?  Mass consumption will be more synthetic, and ephemeral.  Real things will be of greater quality and thus more expensive - but they will still be available for those who make an effort or who care enough to want them. 

The hope is that giving more people access - even through facsimiles - will spur within them a desire to touch and feel the real thing.  The doomsday worry is that facsimiles will be enough and people will revel in the shadows, never stepping outside of the cave and ever looking directly at the sun

Proposal for job growth in our economy

Unemployed receive points for being unemployed that can be redeemed for goods and services. Companies and small business, voluntarily, can use these points to contract services or buy goods - only from the unemployed.

But once an unemployed person gets work - he/she must give all excess points equally to businesses that accepted these points. Thus, businesses will consistently get added redeemable points from time to time and be able to run a shadow part of their business that helps the unemployed.


We do not need to touch the fiscal debt this way. It will provide relief but not hurt the books. It will an essence do the same as what a direct payment would do without political and psychological constraints associated with such direct transfers of cash.

The value of how many points a service is valued will be left up to the market. Window washing, 10 points an hour? Sure, but another business can choose to pay 15, no restrictions, the market will decide and the unemployed will have a choice of where to spend their points.

But doesn't this incentivize businesses from laying off workers who earn real wages and rely on the employed ? But then in order to continue paying their point system based staff, businesses will have to continue to accept and court points from the unemployed. Thus the new unemployed would have points to buy services and join the new point based economy.

Things probably wouldn't take this absolutist turn, given the attraction and faith in real money.

And many of the point based employees, would build skills and experiences that would make them competitors for wage jobs - far easier to get another job when you already have one and have built skills and references.

It would provide a competitive edge for early adopter companies as well with low cost labor and a way to utilize surplus and perhaps would add a boost in production for local consumption and , eventually, everyone would have to adopt this to survive and it would be a way to get people employed without a government hand out. The investment would come from the private sector.

In order not to cause severe havoc to the system, as of course there are unknowns and Unintended consequences, the program should be run as a pilot in a local geographic area - much thinking will have to be whether this is an urban area or an area with high or moderate unemployment.