Not that it is any less non-canonical, I think that name signifies “Jesus-brother” rather than a specific individual, and after all Jesus is really named Immanuel, God is with us. Fleeing the Holy Land, Jesus returned to Japan, carrying the only two relics that could be salvaged, a lock of His mother’s hair and Isukiri’s dismembered ear, to retire and become a rice-farmer. The family that claims descent from the Messiah are devout Buddhists.
Dangerous Minds shares an interview with bon-viveur and iconic gadfly Quentin Crisp, wherein he reviews and rates his favourite gangster films, as the portrayal of violent death can be rather life-affirming.
Most of the movies that make Crisp’s top-ten list are classics from the Howard Hawks, Prohibition era (strange how most of the mob comes out of nannying) but interestingly also include a couple contemporary (to the time of the critique), like Millers’ Crossing and Reservoir Dogs. Mister Crisp (perhaps most unrecognised to modern audiences as Queen Elizabeth I in the adaptation of Virginia Woolfe’s—another poisoned-pen—Orlando) was himself celebrated as the titular character in the Sting song Legal Alien/Englishman in New York.
Though sometimes touted with great optimism as the desk-side Industrial Revolution, democratizing manufacture and taking the power away from big business (and one ought not to curb one’s aspirations on this account), invoking how inkjet printers did not put the publishing magnates into arrears Wired! magazine presents more of a tamed but nonetheless important speculation on the possibilities of 3D printing with modelling to help artists and artisans perfect their final product.
Sort of like confronting a first draft with red ink and the necessary detachment from one’s own words, 3D modelling and experi- mentation allows one to explore folds, contours and stresses nearly as on the native media and approach the potters’ wheel, as it were, with a bit more confidence. But what do you think? There’s probably much to be gained by the return of cottage-industry or the ability to assert some independence from the factories and sweat-shops or even one’s warranty and service-agreement by being able to produce one’s own quasi-unauthorised replacement parts. Perhaps the desktop revolution did not occur with printing and self-publishing (at least, not to order) in part because the presses were so cheap but the ink so dear. Designing our own printers, however, perhaps we won’t let that short-coming materialise, unless we are placated with instant delivery on demand and the tumult of obsolescence.
