The Encounter, Barbican, London — ‘A story about storytelling’

Simon McBurney in ‘The Encounter’. Photo: Jane Hobson©Jane Hobson

Simon McBurney in ‘The Encounter’. Photo: Jane Hobson

Acoustic baffling. The phrase describes both the backdrop to the vast Barbican stage for this Complicite production — a pattern of foam wedges to deaden reverberation within a space — and director/performer Simon McBurney’s approach to telling this specific story. The audience don headphones and attend as McBurney performs a stage bare but for a functional table and chair, a handful of dozen mineral water bottles and the wherewithal to generate a range of soundscapes.

McBurney wears a head microphone there are a quantity of ambient mics, and a binaural set-up shaped like a human head to generate the type of stereo surround panorama we naturally perceive. One of two directional mics at the table is set to fluke McBurney’s tenor speaking voice down to become that of his protagonist, American photojournalist Loren McIntyre. McBurney uses handheld speakers and looping units to develop the sounds of the Amazon rainforest in which McIntyre made 1st make contact with in the 1970s with a Mayoruna tribe and, reduce off from make contact with with “civilisation”, accompanied them in bewilderment on their quest to return to “the beginning” . . .  of time.

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IN Theatre &amp Dance

Recordings from different times — interviews with Petru Popescu (of whose book Amazon Beaming this is an adaptation) and the mathematician Marcus du Sautoy, domestic conversations with McBurney’s young daughter — blend in our ears with the reside performance. For this piece not only retells McIntyre’s story about time, but is itself about storytelling and time, and also about voices. The multi-vocal storytelling of McBurney’s Berlin production of Stefan Zweig’s Beware Of Pity , which I reviewed here a number of weeks ago, now becomes apparent as a kind of limbering-up for this presentation, in which one particular man remains alone on stage for much more than two uninterrupted hours.

Alone on stage, but not in our perception. The Encounter is not in contrast to one particular of Katie Mitchell’s dramatic deconstructions, except that the artificial composition builds up not just before our eyes but among our ears and that, in a Complicite keynote, the method is in no way allowed to overshadow the material. This account of the lessons and wonders that a technology-totally free Brazilian men and women might have to teach us is conveyed by utilizing modern technologies to create a palpable impression of these wonders.

To March 6, barbican.org.uk

‘The Encounter’ will be offered as a live stream direct from the Barbican on FT.com on Tuesday March 1, at 7.30pm. For a full appreciation, please put on headphones: ft.com/the-encounter

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Section: Arts


Not My Job: We Ask &#039Madoff&#039 Star Richard Dreyfuss About Fonzie Schemes

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Actor Richard Dreyfuss poses for a portrait on Dec. 12, 2015, in Dubai.

Gareth Cattermole/Getty Pictures for DIFF

In 1975 Richard Dreyfuss starred in what was then the highest-grossing movie of all time: JAWS. Now, he stars as the title character in the ABC miniseries Madoff — and, unlike in JAWS — this time he’s in the part of the shark.

Since Dreyfuss will be portraying Bernie Madoff, who ran a $ 65 billion Ponzi scheme, we’ll quiz him on Fonzie’s schemes — 3 questions about the life and occasions of Arthur Fonzarelli as portrayed by Henry Winkler on Pleased Days.

Transcript

MIKE PESCA, HOST:

And now the game exactly where we ask achieved people to accomplish one particular far more factor. It is known as Not My Job. Richard Dreyfuss got renowned from “The Apprenticeship Of Duddy Kravitz” and “American Graffiti.” He starred Steven Spielberg’s “Close Encounters Of The Third Kind” and what was then the highest-grossing film of all-time, “Jaws.” He won an Oscar nothing at all for “The Goodbye Girl.” And now he stars as the title character in “Madoff,” exactly where, unlike “Jaws,” this time he plays the shark. Richard Dreyfuss, hello and welcome to WAIT WAIT… Don’t Inform ME.

RICHARD DREYFUSS: Thank you, thank you. Thank you, thank you, thank you.

(APPLAUSE)

PESCA: So…

(APPLAUSE)

PESCA: …I study – I read in an old interview that you once said that acting in “Jaws” and “Close Encounters” – that acting in these films, your job was to make factors that weren’t there appear believable. So that is sort of good preparation for playing Bernie Madoff, appropriate?

DREYFUSS: Yeah, I never thought of it that way. Yeah, in “Jaws” and in “Close Encounters,” Steven Spielberg when stated to me, could I ask you a query? And I said certain. He stated, you keep in mind when we had been performing “Jaws” and I was telling you to say factors like oh, look at that, appear at that and there was practically nothing there? And I said yeah. He said, did you ever really feel stupid?

(LAUGHTER)

DREYFUSS: And I mentioned Steven, you are an authority figure. Do not do this to me.

(LAUGHTER)

PESCA: So I watched – I watched “Mr. Holland’s Opus” with my children a couple weeks ago. Now, I have to inform you, my dad’s a teacher, my mom’s a teacher, my sister’s a teacher , my brother-in-law is a teacher. Do other non-teachers often cry at “Mr. Holland’s Opus,” or is it just my loved ones?

DREYFUSS: (Laughter) Well, actually, I – not only do I cry, there were a thousand extras in that film. And we were – we all have been so taken by this plot and by this guy that we would shoot let’s say the scene exactly where I do – I am singing to my son. And I’d appear out at the audience and there would be someone who would say, do it once more.

(LAUGHTER)

PESCA: That is stunning. Now I want to ask you about “Close Encounters.” Did that adjust your relationship to mashed potatoes?

(LAUGHTER)

DREYFUSS: As somebody who’s on a perpetual diet program, I have no relationship.

PESCA: So in playing Bernie Madoff, how does it perform as an actor? Do you try to determine with him? So even if you have come to believe and study the case that maybe he’s as significantly of a symptom as he is just a bad apple, is there a way to convey that via your performance, or do you let everything else convey that point?

DREYFUSS: No, that’s not what my job is. In this film, my job was to play that poor apple. At the starting just before I had completed any analysis, I was thinking nicely, I will probably, you know, find good attributes in him. But no, I never ever did.

(LAUGHTER)

PETER GROSZ: Wow.

PESCA: But I consider when actors can go wrong in playing the con artist, they emphasize the con. But you are emphasizing the artistry. You have to show how good he was at conning folks, not by twirling the mustache but by turning on the charm.

DREYFUSS: That is specifically the appropriate phrase. What I had to do was to be as friendly and gentle and loving as any uncle Bernie could be simply because no a single else would be capable to take people’s funds from them. They are not going to give it to the mustache twirler.

PESCA: Right.

DREYFUSS: And that is also how I played Dick Cheney.

PESCA: Yeah.

DREYFUSS: (Laughter).

GROSZ: Yeah.

PESCA: I was thinking about that.

DREYFUSS: That was a lie. That was a lie.

PESCA: But you also had been…

GROSZ: That was excellent although, I mean, there had been a lot of very good performances in that film.

PESCA: That was the film “W.”

GROSZ: Yeah, the movie – film “W,” but you were virtually as scary as I perceived the actual Dick Cheney to be watching that film. I thought it was wonderful.

PESCA: With much less nuclear weapons though is the point…

GROSZ: Yes, specifically.

PESCA: …Yeah.

DREYFUSS: I’ve played each Republican villain. I played Hague (ph), I’ve played Cheney. I’ve played them all. I don’t forget getting cast in the old days. Steven cast me simply because I had the potential to appear at something which did not exist however. And I constantly told him that the name of the book I would in no way create is “Have They Figured Out But What I’m Looking Up In Awe At?

(LAUGHTER)

DREYFUSS: So now I play villains. And 1 day, I’ll – I do not know, play rope-jumpers.

PESCA: There’s yet another main category of part that you play as I was going over your career. You play – you are the guy who’s ballast (ph), who’s probity, who’s order. And then you come into make contact with with disorder, appropriate – “Down And Out In Beverly Hills” with Nick Nolte or “What About Bob?” with Bill Murray. And I was wondering if there’s something about you that you tap into it ’cause you seem like a cut up, but are you a far more significant guy than we know?

DREYFUSS: I am humanity’s face, OK?

(LAUGHTER)

GROSZ: That is a quite bold statement, sir.

SHELBY FERO: I say that each and every time I stroll into a space.

DREYFUSS: And I want you to know, it was halfway out of my mouth and I believed you are creating a error, Richard.

(LAUGHTER)

PESCA: So Richard, I study this article from 1978 that stated that then – back then you never had gotten your Oscar engraved. And I wanted the update, have you considering that had it engraved?

DREYFUSS: Yes.

PESCA: OK, excellent.

FERO: They do not engrave it for you?

DREYFUSS: No, they do. What you are supposed to do is to give it back prior to you leave that evening.

FERO: Oh, right.

DREYFUSS: And I took it, and I ran into this limo. And I went to this plane to fly to New York, exactly where I was appearing in “Julius Caesar.” And I just clutched it till I got to the rehearsal area of the theater. And then I place it down in front of my space. And each actor did the identical point. They came in and mentioned where is it, exactly where is it? Let me – and then I said now listen, when I make my entrance tonight, there is going to be applause. So just hold it.

(LAUGHTER)

GROSZ: (Laughter) Just won an Oscar.

DREYFUSS: Guess what occurred? Practically nothing.

(LAUGHTER)

DREYFUSS: There was no applause. Each actor made it his organization to stroll by me in the course of the show and say so, they have been going to give you applause.

(LAUGHTER)

PESCA: All appropriate, Richard Dreyfuss, we have asked you here to far better play a game that we are calling…

BILL KURTIS: Sit On It.

PESCA: So as we mentioned, in the ABC miniseries “Madoff,” you play the titular financier who was actually running a $ 65 billion Ponzi scheme. So with that in mind, we’re going to ask you 3 concerns not about Ponzi schemes but about Fonzie schemes, the life and times of Arthur Fonzarelli, as portrayed by Henry Winkler from “Pleased Days.” If you answer two of these queries properly, you will win our prize – Carl Kasell’s voice on the voicemail of 1 of our listeners. Bill, who is Richard Dreyfuss playing for?

KURTIS: Gary Bentley of Temple, Texas.

PESCA: All right…

DREYFUSS: I’m so sorry, Gary.

(LAUGHTER)

PESCA: All proper, Richard Dreyfuss, here is your initial query. I know that you are heavily involved in civics through the Dreyfuss Foundation. But presidential politics was one of Fonzie’s passions as well. In an episode of “Satisfied Days,” which political action did Fonzie really take? A, he endorsed Republican Dwight D. Eisenhower’s 1956 presidential campaign, saying I like Ike, my bike likes Ike, B, he decried Sen. Joe McCarthy’s tactics by telling a young Republican who supported tail-gunner Joe that he was a nerd of the highest order or C, he supported the Little Rock Nine by saying in 1 episode that Arkansas Gov. Orvaul Faubus was uncool to preserve those little ones out of school.

DREYFUSS: I’d say A.

PESCA: You are right.

GROSZ: Yeah.

(SOUNDBITE OF BELL)

PESCA: He did indeed endorse Dwight D. Eisenhower.

(APPLAUSE)

PESCA: Richie endorsed Adlai Stevenson, and we know how that went. All appropriate, right here is your next question. “The Fonz And The Content Days Gang” was, of course, an animated Tv series that lasted three seasons. Fonzie, Ralph Malph and a dog named Mr. Cool employed a time machine to intervene in historical events. I never have to inform you this. You are a student of the theater.

(LAUGHTER)

PESCA: OK, so which isn’t an actual plot to an actual episode of “The Fonz And The Happy Days Gang?” A, they went to ancient Iraq where they assisted King Nebuchadnezzar in safeguarding his famous Hanging Gardens from an evil prince, B, they went to England in 1066, exactly where attempted to distract William of Normandy with Chuck Berry music for the duration of the Battle of Hastings or C, they visited a Peruvian jungle in 1532, exactly where Fonzie and the gang befriended kind Incas in order to save them from Francisco Pizarro.

DREYFUSS: You’ve got to be kidding me.

PESCA: Yeah, I know.

(LAUGHTER)

PESCA: Two of these had been green-lit. Which wasn’t?

DREYFUSS: The last one.

PESCA: No, I am sorry, it was William of Normandy. But you’ve got one particular more likelihood. Get this proper to win. Here’s your final question. Fonzie is honored throughout our culture, as in which of these actual examples? A, is it accurate that a researcher dubbed an anonymous patient who would only put on blue jeans, a white T-shirt and a black leather jacket, the patient was dubbed Fonzie in the healthcare literature, B, neurologists appear for a symptom referred to as the Fonzarelli Sign, in which individuals give a permanent thumbs up or C, a British air-conditioner firm has 3 settings – hot, medium and Fonzie because Fonzie’s cool.

(LAUGHTER)

DREYFUSS: There was a Fonzie neurology issue.

PESCA: Yes, the – in neurology…

(SOUNDBITE OF BELL)

PESCA: …There is a symptom known as the Fonzarelli Sign.

(APPLAUSE)

PESCA: Bill, how did Richard Dreyfuss do on our quiz?

KURTIS: You won.

DREYFUSS: Gary, I hope you happen to be satisfied.

(LAUGHTER)

PESCA: Gary, Richard Dreyfuss did it for you. And Richard Dreyfuss is starring in the new ABC show “Madoff.” Richard Dreyfuss, thanks so a lot for getting on WAIT WAIT… Don’t Tell ME.

DREYFUSS: Thank you extremely much.

(SOUNDBITE OF SONG, “Content DAYS”)

PRATT AND MCCLAIN: (Singing) These days are ours, share them with me. Oh, content days. These days are ours…

PESCA: In just a minute, when Chinese meals is as well excellent, it is our Listener Limerick Challenge. Call 1-888-WAIT-WAIT to join us on-air. We’ll be back in a minute with far more of WAIT WAIT… Do not Inform ME from NPR.

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Rashida Jones Created A Music Video About How Much She Misses The ’90s

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As far as I can inform (and primarily based on her IMDb page), Rashida Jones has never appeared on “Portlandia,” a show devoted to, among those other individuals, maintaining the dream of the ’90s alive. But maybe she ought to contemplate a guest spot since, like, she’s all about that decade, man. She misses it. Hard.

We know this due to the fact Rashida lately popped up on a song called “Flip And Rewind” by Boss Choice, the moniker of her music-making nephew Sunny Levine. The video for the track premiered just a handful of days ago and it characteristics Rashida sporting a wide variety of ’90s-inspired appears, which includes the ever-classic backwards Kangol cap…

Rashida Jones/Will Mccormack

…the scrunchie-assisted curls with large hoop earrings…

Rashida Jones/Will Mccormack

…and the badass bandana badass (just to name a couple of).

Rashida Jones/Will Mccormack

Rashida co-directed the video with her writing partner Will McCormack, with whom she’s operating on a script for “Toy Story four,” by the way, which is truly cool.

Embedded from www.youtube.com.

But can we take a second to talk about how Wonderful her vocals on this song are? I mean, like, Rashida guidelines right here. Who knew she could sing this nicely? Except for Jimmy Fallon, and fairly significantly everybody else who watched the two of them sing jubilantly about the holidays on “The Tonight Show.”

Rashida and Sunny just did a extremely playful, really insightful Q&ampA for Rolling Stone that you must study appropriate now. And then possibly we can all go play “Grand Theft Auto: San Andreas” or watch “Clueless” or some thing. Meet back right here in an hour, OK? #go90s

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13 Secrets No One Tells You About Online Dating

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The holidays may possibly be more than, but cuffing season is nonetheless going robust. January is one of the busiest months for on-line dating, and February (and the dreaded Valentine’s Day) is swiftly approaching.

If locating ~love~ is one of your 2016 resolutions, statistically speaking, now’s the time to give that dating app a shot. It’s significantly less scary than you feel. Ya in no way know until you attempt, appropriate? If you definitely hate it, you can often delete the app and forget it ever occurred. Here’s what you need to have to know ahead of you hit the set up button:

  1. Anyone and absolutely everyone is on dating apps

    As soon as upon a time, there was a stigma connected with online dating. For instance, “It’s for men and women who are super desperate for love” or “It’s for socially awkward hermits who by no means leave their room” or whatever.

    These taboos are total BS. On-line dating is an choice for absolutely everyone. With the rise of totally free and easily accessible dating apps, quite a lot every person — yes, even that hottie you have been crushing on — considers signing up for one. It’s commonplace now, and there are totally one hundred% standard men and women on every app, even Tinder. I guarantee.

  2. It is a commitment

    In order to meet someone on a dating app, you need to, y’know, genuinely *use* a dating app. You want to fill in your bio and pick profile pics. You need to appear via other people’s profiles. You require to send messages. You want to verify out the people who message you (yay!) and determine if you are interested in continuing the conversation. And then you need to figure out WTF to say to them in response.

    All of these things call for some degree of commitment. You cannot just download an app and expect some magic smartphone fairy to do the rest of the legwork for you.

  3. It’s about quantity, not high quality

    Every left swipe brings you one particular swipe closer to the person you will want to swipe right on. Every awkward text conversation brings you a single convo closer to the person you’ll quickly click with. Each negative date brings you one date closer to that swoon-worthy, butterflies-in-stomach date.

    Actually dating someone is naturally about high quality, not quantity, but you can not meet *the 1* — in true life or on-line — if you don’t put oneself out there.

  4. Be upfront about what you’re looking for

    Do not play games. Your time is valuable, so don’t waste it on somebody who is not on the identical web page as you. If you’re not sincere about what you want, you will not find it.

    “Know what you’re looking for and promote it,” clinical psychologist Dr. Wendy Walsh told MTV News in a story about the evolutionary science behind Tinder. “I don’t care if you only have 140 characters, put that in there so you are extremely clear to somebody from the best. Then, as quickly as you start texting, [say] ’I know Tinder thinks we’re a match simply because we like the way each other looks, but I’m telling you this is the kind of relationship I’m looking for.’ … If you have one foot in the dating pool and a single attempting to develop a partnership, you will not succeed.”

  5. Create some thing in your profile

    Don’t be that individual who leaves their profile or bio fully blank. If you want individuals to message you, give them anything — something! — to go off of. Otherwise you will be fielding the very same “Hey, how’s it going?” messages all day, each and every day. ?

  6. Do your analysis

    You are meeting strangers on the web. It is entirely acceptable to Google their names, appear them up on Facebook, and so forth. to make positive they are who they say they are. Ain’t no one got time for catfishing.

  7. Above all, be secure

    It doesn’t matter if you are a guy or a girl. Generating the leap from digital communication to in-person speaking is nerve-wracking.

    For the most portion, on the internet dating is protected — don’t let web horror stories freak you out — but if you’re worried, calm your fears with a couple of useful steps. Before meeting up with any person in true life, Google their name (see #six). Agree to meet them in a public location, like a coffee shop, bar or restaurant. Inform your roommates exactly where you’re going, who you are meeting and what time you anticipate to return. Maintain an eye on your drink. You know this stuff already!

  8. Decide on the right app

    You have choices. There’s Tinder, Hinge, Bumble, OkCupid, The League, Happn, Coffee Meets Bagel, PlentyOfFish, Match.com, eHarmony and more. Every app and internet site has its own pros and cons. Searching for one thing strictly casual? Tinder’s a excellent spot to start off. Are you also busy to scroll via hundreds of profiles? Coffee Meets Bagel may well be right for you.

    Figure out which services meet what you’re seeking for and sign up! If you hate it, you can often delete your account and begin fresh someplace else.

  9. You have to meet in individual

    Surprise! This might look apparent, but the complete point of dating apps is to meet new men and women. Chatting online does not count. It’s simple and handy to fall into a rut of solely messaging men and women for validation or for the sake of messaging an individual.

    When you uncover an individual you are into, the conversation wants to eventually move from your telephone screen into real life. Otherwise, all you have is a truly hot pen pal.

  10. You WILL get rejected at some point

    Even if you are Ryan Gosling’s extended-lost twin, an individual out there doesn’t have the hots for him. Nobody is swiped proper on one hundred% of the time. You’ll message an individual who doesn’t respond to you, and it’ll discourage you for a hot sec.

    The very good news? On the internet rejection is quick and painless. Maybe that particular person hasn’t checked the app in awhile. Maybe that 29-year-old’s search criteria didn’t consist of your 22-year-old self. Who cares? You do not even know that particular person, anyway.

  11. It is OK to say no

    Just like an individual will not respond to your message, at some point you most likely will ignore a message oneself. And that’s completely OK. When it comes to on the internet dating, never say yes just to be polite. If somebody asks you out and you are not feeling it, say no. If you do not want to talk to a person, don’t.

    You don’t owe anybody, significantly much less a full stranger, an explanation for your actions. If they do not respect your boundaries, do not hesitate to hit “block.” That button is there for a explanation.

  12. You do not have to lie about how you met

    If you are fortunate enough to find that specific an individual on the internet, do not feel stress to lie about how you two met. On the web dating is practically the norm now. Did you not discover something from #1?

  13. You’ll grow to be far more confident in your love life

    Among all the awkward text convos, “meh” 1st dates and rejection, on the internet dating is emotionally exhausting. Asking someone out, no matter whether it’s on the web or in person, feels significantly less intimidating the far more you do it. Dating is not easy, but like with most issues in life, practice tends to make best. These experiences will teach you what you want and (more importantly) what you do not want in a partnership. And you won’t settle for anything much less.

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All about disorder

Valérie Belin is the winner of the sixth Prix Pictet, on the theme of ‘Disorder’. Here novelist Kamila Shamsie explores the concept

Order can be several things: a sequence a command a group of religious adherents a rank a request for some thing to be supplied a distinct social, political or economic program a taxonomic category a call for silence a state in which rules are obeyed a state in which all is as it ought to be. Its opposite, some might say, is disorder. But though it is entertaining to picture a disorder of nuns, or a speaker in parliament shouting “Disorder! Disorder!” to attempt and urge life into dozing MPs, the reality is that “disorder” lacks the dualities and divergences of the word it’s set in opposition to. Its nature is blunt, and unambiguous. Disorder is confusion, disruption, breakdown.

Modest wonder that searching away from it is easier than searching at it. Merely understanding how to look poses a challenge understanding what it is we’re searching at can look virtually impossible.

 . . . 

“Each move is dictated by the prior a single — that is the which means of order”

— Tom Stoppard, ‘Rosencrantz and Guildenstern Are Dead’

Saddam Hussein’s Baghdad was a place of such order you could leave the keys in the ignition of your vehicle overnight with out worrying that any individual would steal it. An acquaintance not too long ago told me this as he described a time when he lived in the Iraqi capital, which he remembered as a haven of security, good buddies, fine meals and nightlife. Of course, he added, the order existed simply because of terror. No one wanted to bear the consequences of defying authority. In spite of this admission, there was a nostalgia in my acquaintance for Saddam’s Baghdad — better that planet of dictatorship than the globe of disorder which replaced it, with its bloody occupation, its suicide bombings, and now the threat of Isis.

He set it up as a binary: the order of the previous versus the disorder of now. I thought of the line quoted above from Rosencrantz and Guildenstern Are Dead and wanted to point out that disorder is each consequence and continuation of order. The present, nevertheless considerably it differs from a nostalgically remembered past, is not a rupture in history but the most recent item in the series of ahead of, and ahead of that, and just before that too. The conflagrations that adhere to the toppling of dictatorships are usually, at least in element, a consequence of that dictatorship in Iraq, of course, it is also the consequence of the manner of toppling.

Thinking about the disordered universe in which we live, it seems imperative to acknowledge disorder as consequence. War, the ultimate disordering force, is the most apparent example of man-created disorder. This recognition of disorder as outcome of human behaviour is not a punitive impulse but frequently the only possibility of optimism. If human behaviour is accountable for wars, human trafficking, terrorism, poverty, then it is not fate or inevitability or divine will that offers us photos of bomb craters, and blood stains, and desperate people crowding into tiny ships across perilous seas — it is all the consequence of human actions, which can bend in one more path and make history bend with them.

A handful of years ago I was talking to a man who was elated to uncover himself in a moment of history for which he’d lengthy wished but not believed attainable. “Six months ago, if you’d told me this would take place I wouldn’t have believed it,” he mentioned. “But now I appear back, we all do, and see the chain of events that led us right here, these glimmers of light in the darkness which we believed have been ineffectual but had been in fact illuminating the path to this moment.”

I located excellent comfort in these words: they became a way to think with hope about locations that appear hopeless. The moment that man located himself in, the moment in which he was speaking to me about light in the darkness, was the Libyan revolution in its early days when large crowds gathered in Benghazi to sing poems of freedom, and the future looked inevitably brighter than what had come ahead of.

Despite all that has followed, I still uncover comfort in his words. History moves quickly, it pivots sharply: even now, in Libya, there are glimmers of light that could lead the nation out of darkness. I basically don’t know how to see them.

But there is a dilemma with this view of disorder as a point in a chain of events, 1 that has been led up to, and a single that can be led away from. Whilst it offers hope, and offers courage, it also fails to acknowledge that it is achievable to be so deep in disorder that you will by no means emerge from it.

The disorder of wars, of falling empires, of greed, of poverty, of fast spreading viruses — history shows us again and once again that humanity can survive all of this. Peace is brokered, cures are located, yesterday’s enemies are today’s allies, and the financial models of societies can profoundly shift. It doesn’t mean there isn’t tragedy and suffering and injustice along the way, but eventually the sequence moves on.

This view of disorder as awful but short-term leaves us wholly unequipped to contend with a kind of disorder for which history has no comforting precedents: climate alter.

 . . . 

The heavens themselves, the planets and this centre

Observe degree, priority and location,

Insisture, course, proportion, season, form,

Workplace and custom, in all line of order

. . . but when the planets

In evil mixture to disorder wander,

What plagues and what portents! What mutiny!

What raging of the sea! shaking of earth!

Commotion in the winds!

— William Shakespeare, ‘Troilus and Cressida’

In July, Nasa’s former lead climate scientist James Hansen and 16 other scientists warned that sea levels could rise significantly faster than predicted. Most coastal cities could be uninhabitable inside decades. “It is not tough to think about that conflicts arising from forced migrations and economic collapse may make the planet ungovernable, threatening the fabric of civilisation.”

We know ourselves to be in disorder currently yet most of us do nothing but continue to hurtle deeper into it, our minds distracted by what we regard as far more quick issues. When we move by way of disorder to the next point in the sequence, will anything be left of the planet as we know it? Will any of us be left to wonder how we could have identified all we know and continued on in our destructive techniques so blindly? To whom does it fall to make us understand viscerally, and quickly, the truths that climate scientists present to us in numbers and statistics?

 . . . 

“There is in me an anarchy and frightful disorder. Producing tends to make me die a thousand deaths, due to the fact it signifies creating order, and my whole being rebels against order. But with out it I would die, scattered to the winds.”

— Albert Camus

In which order must we pay focus to disorder? There’s a question to plague the modern world in which information comes at us more quickly than we can approach it, and an expression such as “compassion fatigue” exists outside satire. There is also considerably to take in, too many horrors occurring all at after.

It is a query that must be answered in order for an artist to turn their lens, their pen, their brush to any scene, internal or external, of confusion and disruption and breakdown. All artistic type demands order if the artist’s subject is disorder then some way must be discovered to render that by imposing order upon it.

Picasso’s “Guernica” nevertheless stands as the most striking instance of conflict art, but over the last century the part of framing disorder has fallen disproportionately to photographers: the Afghan girl, Sharbat Gula, in National Geographic, the “Napalm Girl”, Phan Thi Kim Phúc, in Vietnam, the polar bear on a chunk of ice surrounded by water and, at the height of the migrant crisis in Europe, Aylan Kurdi, the kid washed up dead on the beach in Turkey.

The power of the images is not just in their immediacy, but also simply because a photograph makes time stop, and we cease with it. We appear at it and where after we believed there was only a cacophony that we could only shut our ears against, now we hear a various music, one that permits for emotion and reflection. The reflection can move in two directions — towards the individual (what had the Afghan girl observed with these eyes? How can I aid her or men and women like her?) or towards the public (how did this take place?).

The latter response is constantly going to be the one particular that is potentially more potent, but it brings with it the most vexing of questions: now that we realize where duty lies, and what value is borne by those who had nothing at all to do with the choices that lead here, what are we ready to do with that knowledge?

This essay appears in ‘Disorder’, edited by Michael Benson and Stephen Barber, published by teNeues

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Section: Arts


A Photo Series Project Desires To Set The Record Straight About Mental Illness

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Dior Vargas is assisting to modify the planet. Her “People of Colour &amp Mental Illness Photo Project” is sharing the truth about those who reside with mental illnesses. Individuals of any race can have a mental illness — it is not tailored to just a single ethnic group.

On her web site, she states, “We want to change the way this is represented. This is not some thing to be ashamed about. We want to confront and end the stigma [about mental illness].”

Vargas encourages individuals of color to submit photos of themselves holding a sign that says who they are and what mental illness they have. She produced confident to share her own photo, too.

POC and Mental Illness Photo Project / Dior Vargas

When asked what inspired her to start the project, Vargas told MTV News, “I’ve been an activist for years but I decided that I wanted to focus on mental wellness/illness simply because it is a topic that requirements to be addressed and it’s one thing that I reside with each and every single day.”

“I wanted to generate a space exactly where men and women could submit images of themselves and share their stories,” Vargas continued. “I wanted to create a resource where people of colour could go to for hope and a sense of neighborhood.”

To see a lot more of Vargas’ project or to submit your personal photo, head on over to her internet site. You can also adhere to Vargas on Facebook and Twitter.

H/T BuzzFeed

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&#13 I am nevertheless upset I wasn’t a contestant on Figure It Out in the ’90s.

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In New Neapolitan Novel, Fans Seek Clues About Mysterious Author&#039s Past

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The Story of the Lost Child

The Naples in Elena Ferrante’s Neapolitan novels isn’t the Italy you see on postcards. The neighborhood she describes in vivid detail is poor and unglamorous — and it could or might not be based on the neighborhood where she herself grew up. Ferrante is truly a pen name and really small is known about the accurate identity of the author. She does virtually no publicity, but that hasn’t stopped the books from attaining cult status. Her latest, The Story of the Lost Youngster, comes out on Tuesday.

No one knows for certain, but the books are extensively believed to be Ferrante’s thinly veiled autobiography. The initial-individual narrator is named Elena. She’s also an accomplished writer, reflecting on her youth in postwar Naples, and her constant struggle to flee the poverty and violence, even as the spot keeps pulling her back all through her life. At the center of it all is her difficult partnership with Lila, her lifelong very best pal.

My guides right now — Carmen Vicinanza and Lia Polcari — are locals, and longtime pals themselves. (“We appear like teenagers but we’re not,” Vicinanza says with a laugh). They’ve promised to take me to what they claim is Ferrante’s childhood neighborhood.

We start out at a tunnel which functions in the books as a hyperlink from the neighborhood to the outdoors globe. Subsequent cease is the Parrocchia della Santa Famiglia — the Parish Church of the Sacred Household. Inside the grounds is a courtyard like the 1 where Ferrante’s protagonists played as small girls.

Polcari owns a bookstore devoted to women’s literature, and formed an artist collective that creates perform inspired by Ferrante’s Neapolitan Novels series. She points out that the author does not name the neighborhood in any of the books, but the clues are all around us.

She takes us to the only café in sight. The owner is a man in his 80s, who says he’s by no means read any of Ferrante’s books. That makes him the ideal individual to ask about some of the clues we’re pursuing. Like the 1st car in the neighborhood?

“It was a Fiat 1100. The owner went a tiny bit out of his thoughts,” the shop owner says.

We’re floored. It really is as if he have been talking about Marcello Solara, a villain in all 4 of the Neapolitan Novels. The uncanny similarities pile up: His nephew points out that the neighborhood shoemaker was named Gennaro and went by the nickname Rino. Even the owner is surprised by how significantly we know.

“Does the book mention me?” he asks. (He possibly would not want it to — the café owner in the books is a Mafioso). As we get ready to leave, he recalls that a Ferrante family members lived nearby, past the public gardens, across the street in the run-down, four-story white apartment buildings. The developing matches up almost completely with the description from the book.

Naples locals Lia Polcari (right), Carmen Vicinanza (left) in front of what they believe to be the childhood home of author Elena Ferrante.

Naples locals Lia Polcari (right), Carmen Vicinanza (left) in front of what they believe to be the childhood home of author Elena Ferrante. Christopher Livesay for NPR hide caption

itoggle caption Christopher Livesay for NPR

We enter a courtyard and a group of women peer down from a balcony. One of my guides tells them we’re hunting for a writer. One of them responds: “Ah, you happen to be seeking for Ferrante, who lived right here a lot of years ago? They moved. But this is the home where she was born. There, on the very first floor.”

My guides are elated. “We discovered it! We discovered it!” they rejoice.

But wait a minute. If Ferrante is her pen name, what precisely have we identified? Was it also her maiden name? Are they pulling our legs?

Ferrante has in no way as soon as appeared publicly in 23 years of publishing. She only does interviews through e-mail. There’s been much speculation about her correct identity. The ladies on the balcony consider they don’t forget her first name — Anna.

One published theory claims Ferrante is actually Anita Raja, Anita getting the diminutive of Anna. Raja is a consultant for Ferrante’s Italian publisher. She is also the wife of the Neapolitan writer Domenico Starnone, who himself has been “accused” of becoming Elena Ferrante. Her editors deny it all.

“They say the darndest issues,” says editor Sandra Ferri.

Ferri understands that reclusive authors have a tendency to arouse curiosity and that could lead to sales.

“It’s not about marketing and advertising,” Ferri insists. “Every single now and once again somebody will say, ‘Ah, what a sly move to publish the books with a pen name, Ferrante is clever.’ I inform them, ‘OK. Any person can publish with a pen name and by no means reveal himself. Why don’t you do it? Let’s see how numerous men and women have the exact same final results.'”

And, she warns, Ferrante’s secrecy provides her the space she wants to generate. The author has stated that if she had been forced to reveal herself, she would not stop writing, but she’d cease publishing.

And that would be a tragedy, say my guides. And apart from, Vicinanza says, it does not genuinely matter who Ferrante is anyway.

“It’s fun, but I never think that the mysterious writer created the achievement of the book,” Vicinanza says. “I guess that the book is so sturdy that even with out the presentation, the face of the writer, it goes and it has this accomplishment. It really is the 1st case exactly where the book is stronger than the writer, than the individual. In this society, where writers are critical, they are everywhere, on Television. … With out presentation, with no interviews or anything, the books had all this good results.”

Soon after all, she adds, we would not be outside on a hot day roasting in this far-flung, small neighborhood if these books had been anything significantly less than superb.

Arts &amp Life : NPR