Off to give a talk on systems theory and social design featuring, among other things, a nifty fractal image of the tree of knowledge of good and evil.
For the BofG, though, here's a thematically appropriate brooch.
April 2010 Archives
The publicity rollout continues for Kardashian Jewelry Collection for Virgins, Saints & Angels. Regardless of how that may sound, Virgins, Saints & Angels is not a description of the target clients--its actually a design brand of its own featuring "edgy jewelry made with original Vatican medallions." Still, despite the PR touting the "collaboration" VSA is careful to clarify that the Kardashian Jewelry Collection is "separate" from the company's main line.
Above: a Kardashian Armenian Cross Rosary, which exemplifies how the Kardashian collection's own brand identity draws on the sisters' religious heritage. For more on the richness of Armenian culture, values and history, check out the Kardashians' reflections on their pilgrimage to the Nordstrom's at Fashion Island.
In Western culture, the display of the deceased at a wake tends to reinforce the metaphor of rest--the body is lying down, eyes closed and fully clothed, as if napping on a couch until resurrection. Culture and the relation between technology and identity are, however, evolving, as evidenced by the above video from Puerto Rico, where a funeral home placed the embalmed body of twenty-two-year-old shooting victim David Morales Colon on his motorcycle in full riding gear.
When a league rule required cheerleaders at basketball games, the Hapoel Jerusalem team created a squad that met both the league mandate and the standards of modesty within the Holy City's Orthodox community. The above news story provides a fascinating look at the response, from locals who find even the routines too provocative to other squads continuing their more flashy (and revealing) routines.
This symbol of success available here.
These TARDIS dangle earrings--shrink plastic designed for a stained-glass effect--would be the perfect thing to wear to commemorate the announcement that The Doctor has replaced St. George as England's patron saint.
Not that the Church has actually made that decision--yet--but The Guardian's Adam Rutherford makes a compelling argument based on the role of narrative & design in defining national identity:
Although narratives play an important role in cultural membership, national icons are often fatuous and irrelevant. St George is a symbol about whom we know almost nothing and whose own narrative represents almost nothing, St George is a third of the reasons for Henry V's rousing battle cry, which is now mostly appropriated by adverts for sporting events. Other than that, and our crusade-inspired flag, George has not much to do with being English in the 21st century.
So I suggest a new one: The Doctor, the shape-shifting time-travelling guardian of humanity from Doctor Who. In fact, the Doctor shares many striking similarities with St George. Both are dragon-slaying outsiders, fighting on foreign shores to protect their adopted people. But we know so much more about the Doctor, and thus can proudly and sensibly sing his praises. If we as a people demand collective narrative from legend, we might as well make it a ripping yarn.
The Doctor possesses so many traits of Englishness to which we should all aspire: defiance and good humour in the face of adversity; a sense of style that is at once individual, traditional and contemporary; a special brand of cheeky conservative rebelliousness; a humbling reliance on hot companions. Follow your spirit and upon this charge cry God for Harry, England and the Doctor!
From Patrick Baud's series "Philosophy for the Masses," in which commercial trademarks are repurposed as philosophical brands.
One of two portraits by award-winning photographer Andres Olsen Rodriguez.
I'm still immersed in a couple major projects, but when I heard about The Infidel--a comedy about a Muslim man who finds out not only that he was adopted, but that he was born Jewish--I knew that I had to at least check out the trailer. And when I saw the trailer, I knew I had to see the whole movie, if only to confirm here that yes, the burqa dance scene at 1:31 in the video above is indeed an integral part of the film, one of several pivotal scenes that underscore the complex relation of style and self.
The Infidel--now playing in the UK, at the Tribeca Film Festival and on demand on several major cable providers--is a fun & thoughtful examination of spirituality, culture & identity. Not surprisingly, design plays a central role in the film, from the hair (or lack thereof) on the head of the stellar lead Omid Djalili to the subtle shifts in dress as the story unfolds. Equally important: the role of humor in promoting mutual respect--a theme that the filmmakers explore even further in their online feature on the quest to find the funniest religious joke.
An sanctuary-turned-classroom becomes a "vampire vicar" in this photo featured on Faces in Places.
Via io9, Gade's fascinating artwork uses a blend of superheroes and Buddhist iconography to explore consumerist spirituality:
Gade points out "In most people's minds, Tibet is an ancient, mysterious and exotic place. The notion of 'Tibet' is a conundrum. When outsiders actually visit Tibet, especially Lhasa, they get culture shock when they see all the pop culture, fast food, rock music, Coke and beer, brand name clothing, Hollywood movies, the nightlife scene, etc. I think Lhasa ought to be renamed Lhasa Vegas."
Paintings from his 'New Buddha Series' and his 'Diamond Series' reflect this culture shock with images of such American iconic pop figures as Mickey Mouse, Spiderman and the Hulk appearing in the centre of traditional-looking works. Gade points out that these figures show up in every corner of the earth. "When I visited a tiny village called Pazi at the base of Mount Xishabangma (8,102 metres) in the Himalayas, the kids there had backpacks with Mickey Mouse on them, and were drinking Coca Cola. That made me realise the incredible power of those ubiquitous emblems of Western culture and Western values."
Although Gade's work deals with consumerism, which he finds fascinating, he says "I sincerely want my work to be part of the continuity of Tibetan art, to belong to a 'Tibetanised' context, rather than to a Western or Chinese language system". His new 'Mandala Series' takes the Buddhist mandala, which represents an entire world or state of mind, and puts in monsters, tools and objects or, as in Five new Buddhas, Mickey Mouse and Batman as two of the 'new Buddhas'. A Buddhist himself, Gade does not believe that such works are blasphemous as "The Buddhist gods are wise: they know precisely why I do what I do. … The responsibility of the artist goes beyond creating beautiful things. I just say what I believe."
From the inimitable Shmuly T, a video meditation on an aspect of Passover that may not be as widely known as unleavened bread: the ritual significance of Passover cleaning:
Some Jews associate spring cleaning with cleaning for Passover. While others, concerning Passover cleaning, state emphatically, "All I have to do is get rid of the chametz (leavened products). I don't need to wash my Venetian blinds and wax my floors!"
It is true that cleaning for Passover doesn't have to include major spring cleaning. Though for some of us, the smells of Murphy's Oil Soap or Lestoil are just as bound up with Passover as say, matza ball soup and horseradish.
But, whichever way you do it, the cleaning itself -- getting down on hands and knees or climbing up on top of ladders -- is closely tied to the theme of the Passover holiday itself.
According to Chasidic philosophy, bread and chametz symbolize the egotism and haughtiness within each of us. Chametz puffs up like a haughty person's chest, swells like an egotistical person's head. Matza, on the other hand, is flat, low, humble. Even the fact that its flavor is bland, nearly tasteless, attests to its modesty.
Before Passover, when we are checking cracks and corners, looking behind bookcases and inside briefcases for chametz, we are laboring at a job that doesn't require much thought. That gives us plenty of time to be introspective about whether we've been behaving like chametz or matza for the past year. And if we find that we are full of chametz, then pre-Passover cleaning time is the perfect opportunity to check the cracks and corners of our own personalities and dig out these dreadful traits.