Tuesday 16 December 2014
djennistan or the witch of endor
catagories: 🌍, 🧠, myth and monsters, religion
storyboard or loving vincent
Conceived over a year ago, the visually stirring first feature length painted film about the troubled, intense life and tragic early death of Vincent van Gogh called “Loving Vincent” is about to be completed and have its premiere. Dozens of highly skilled painters are acting as draftsmen, with scenes taking months to commit to the canvas. The brilliant artwork is certainly evocative of van Gogh’s style and the animators hope to recreate the artist’s world and encounters as he would have seen them.
Monday 15 December 2014
bivouac oder boofen
catagories: 🏕️, environment, lifestyle, technology and innovation, transportation, travel
perfidy
Patterned after the Monday Demonstrations that brought down the regime of East Germany, the PEGIDA (Patriotsche Europäer gegen die Islamisierung des Abendlandes—Patriotic Europeans Against the Islamisation of the Occident, the West) marches are growing in numbers and frequency but are still rivaled by counter demonstrations. The German government, rightly, condemns the movement as racist and xenophobic. Trying to lend a legitimising air to thuggish and insular attitudes that were first championed by football hooligans (at least in costume, one has a better idea of what one is up against), these marches are hardly proving to be a civil way to channel frustrations or fears, what with public opinion splintered, calls that immigrants refrain from conversing in their native language at home and arson-attacks on refugee housing. I believe there are two very different things occurring here and bigots always capitalize on this confusion: immigration politics are not threatening to displace one’s culture and the level of interaction that all of these marchers have had with any form of Islam is limited to seeing families out in public and making assumptions, which does not exactly equate to an agenda of systematically imposing one’s way of life and values. Petitioning one’s government over real concerns for reform is one thing and resorting to violence and fear-mongering is quite another. Ideology and identity are not the same thing—but both run both ways.
iconography or graven images
A very interesting set of quite different factors and historical influences came together, I recently learnt, in the fourth century to establish rich artistic traditions that allowed the Buddha, the Christ and the panoply of the Hindu gods to be portrayed in human forms for the first time and in a manner that was cultural diffuse and immediately recognisable. Though these movements took place around the same time, the religions were at different stages of development and acceptance at this point—what with the Brahmin’s gods already enjoying milennia of devotion, Siddhārtha Gautama having achieved enlightenment some eight hundred years prior and the latest incarnation of the Abrahamic faith in its fourth century. Despite these difference, they all started adopting pictorial representations around the same time.
A maturing network of international trade is of course a contributing factor, as being able to mediate on a shared image of how Jesus and company ought to look rather than relying on more abstract translated texts and interpreted teachings would spread these big religions and ensure their survival, but it is not the whole story. Before we got to the images of the serene Buddha and Jesus Christ in his characteristic poses, the story of these two was communicated through symbolism, teaching aides that represented the bodhi tree, the footprint of Buddha or the Cross, the sign of the fisher of men. And while it does seem natural and an effective step that the adherents of Buddhism would create figures of a limited and iconic variety for the benefit of foreigners being introduced to the philosophy, for Christianity it was a break with ancient traditions and taboos of not depicting God or His manifestations. The decision to show Jesus as a man may have happened in part because Constantine around this time declared that faith the official one of the empire, and Romans and Greeks, used to having statues of Dionysus, Hercules or Nike decorating their villas with triumphant flair, thought it was acceptable to have even more glorious statues of Jesus on display. As with Buddhism, the move was probably also good for the edification of foreign-speakers. Some three hundred years later, during the first few decades of the faith, Islam restored the proscription again representing the divine by human-hands by issuing currency for the Caliphate that only bore the word of God, instead of coins bearing the image of the head-of-state or other trappings.