Category: Innovation

Picture parade eighty-three

Turning over a beautiful leaf!

Yet another wonderful item sent across to me by neighbours Dordie and Bill.

Delicate Leaf Cuttings By Omid Asadi

My name is Omid Asadi and I currently live in Manchester, United Kingdom. I created this work with carving and cutting techniques on actual fallen leaves using a craft knife and a needle. I always try to create pieces with a message, not just beautiful art. Some of these messages or ideas come from my world view, poems, stories, global problems and philosophy. I’m also inspired by other artists’ and designers’ works.

Here’s the man in action.

Omidintro
I use a craft knife or scalpel and needle. It is not like a paper cutting because each part needs a certain pressure to cut. If I make a mistake, I destroy maybe hundreds of hours of work.

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Leaf's Mind. I’m very attentive to beautiful fallen leaves. Suddenly,  I started SEEING them, not simply looking at them.
Leaf’s Mind.
I’m very attentive to beautiful fallen leaves. Suddenly,
I started SEEING them, not simply looking at them.

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Carriage. I believe that we look at many things everyday, but don’t SEE them.  For example, apples had been falling from trees for thousands of years,  but only Isaac Newton truly saw that and, thanks to him,  our lives have changed forever.
Carriage.
I believe that we look at many things everyday, but don’t SEE them.
For example, apples had been falling from trees for thousands of years,
but only Isaac Newton truly saw that and, thanks to him,
our lives have changed forever.

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Dandelion.
Dandelion

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Che Guevara
Che Guevara

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Love
Love

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Eagle
Eagle

Another set of these remarkable cuttings in a week’s time.

Feeding the souls of man and dog!

A most fabulous idea of sharing poetry in the wild.

One of the great advantages of having a dog, or nine, is that there are endless opportunities to go walking with them.

The other day, Jean and I became aware of the most wonderful idea: The Stanza Stones Walk. Here’s how that walk is explained on the website:

THE STANZA STONES PROJECT

The Stanza Stones Walk: An Alternative devised by Mick Melvin.

A fifty mile upland walk from Marsden to Ilkley visiting the six Stanza Stones carved with poems written by Simon Armitage.

Why create an alternative walk?

I have created this walk as an alternative to the 47 mile trail created by the team working with the Ilkley Literature Festival, not because it is my intention to denigrate the walk which was produced by the team. Far from it, the trail which they created is a fine outing and one that will satisfy the desires of most people wishing to visit the Stanza Stones.

My purpose was to devise an upland walk linking the stones which did not stick to recognised footpaths or to existing well-known walking trails. This has not always been possible, since I felt that it was necessary to follow the Pennine way or Millennium Way on occasions, in order to visit significant places of interest i.e. Blackstone Edge.

In addition I believe that considering the walk was motivated by literature, it should visit the places that inspired some of the area’s finest writers, Haworth and Mytholmroyd. My objective is to create six more circular walks to each of the stones which will be suitable for a day’s walking. These walks will be posted on the site as I complete them.

The seven Stanza Stones, each carved with a poem written by the poet Simon Armitage, are at locations which in general follow the Pennine watershed. The Stanza Stones project, which started at Ilkley Festival in August 2010, is focused on poems specially written by Simon stirred by his response to the Pennine Watershed and the relationship between the landscape and language of Yorkshire. The seven stones will form a permanent moorland trail across the watershed from Ilkley to Marsden the home town of the poet. The Stanza Stones poems are reproduced here by kind permission of Simon Armitage.

Isn’t that an incredibly wonderful idea!

Here’s a photograph of one of the stones bearing Simon Armitage’s poetry.

stone
Cows Mouth Quarry

 

Blackstone Edge

The third Stanza Stone has now been completed at Cow’s Mouth Quarry near Blackstone Edge. The quarry is situated about 20 minutes walk along the track (Pennine Way) which starts at the White House pub. The Pub is on the A58 road between Halifax and Littleborough just beyond Blackstone Edge Reservoir. As you approach the quarry from the White House, watch for a small stone arched bridge spanning the catch water drain on you right about 75 yards before the crags. The path from the bridge affords a close up view of the face carrying the carving. The poem can also be seen from the main path if you continue along the gravelled track. A circular walk can be made if you continue on the track, taking the right turn to White Holme Reservoir returning to Blackstone edge and the White House on a good path over Byron Edge.

RAIN

Be glad of these freshwater tears,
Each pearled droplet some salty old sea-bullet
Air-lifted out of the waves, then laundered and sieved, recast as a soft bead and returned.
And no matter how much it strafes or sheets, it is no mean feat to catch one raindrop clean in the mouth,
To take one drop on the tongue, tasting cloud pollen, grain of the heavens, raw sky.
Let it teem, up here where the front of the mind distils the brunt of the world.
© Simon Armitage 2010

Whether or not you will ever have the chance to enjoy this walk, do go across to the Stanza Stones website and just revel in the poetry and the nature.

You can find out more about the poet, Simon Armitage, here on The Poetry Foundation’s website.

Surely a walk to feed the souls of both man and dog!

Mid-week maps!

Just too good not to share with you.

The following were sent to me from Dan Gomez.  They offer a fascinating insight into the power of graphically representing any number of ideas. Hope you find them as fascinating as I did!

This map shows the world divided into 7 sections (each with a distinct color) with each section containing 1 billion people.
This map shows the world divided into 7 sections (each with a distinct color) with each section containing 1 billion people.

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This map shows (in white) where 98 percent of Australia's population lives.
This map shows (in white) where 98 percent of Australia’s population lives.

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It may not come as a surprise but more people live inside the circle than outside of it.
It may not come as a surprise but more people live inside the circle than outside of it.

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This map shows what is on the other side of the world from where you are standing.  For the most part it will probably be water.
This map shows what is on the other side of the world from where you are standing. For the most part it will probably be water.

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Apparently you can't get Big Macs everywhere.  This map shows (in red) the countries that have McDonalds.
Apparently you can’t get Big Macs everywhere. This map shows (in red) the countries that have McDonalds.

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This map shows the countries (in blue) where people drive on the left side of the road.
This map shows the countries (in blue) where people drive on the left side of the road.

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This map shows countries (in white) that England has never invaded.  There are only 22 of them.
This map shows countries (in white) that England has never invaded. There are only 22 of them.

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The line in this map shows all of the world's Internet connections in 1969.
The line in this map shows all of the world’s Internet connections in 1969.

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This map shows the countries that heavily restricted Internet access in 2013.

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This map shows (in red) countries that were all Communist at one point in time.
This map shows (in red) countries that were all Communist at one point in time.

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his map shows (in red) the countries that don't use the metric system.
This map shows (in red) the countries that don’t use the metric system.

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This map shows (in blue) places where Google street view is available.
This map shows (in blue) places where Google street view is available.

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This map shows (in green) all the landlocked countries of the world.
This map shows (in green) all the landlocked countries of the world.

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And this is what the world would look like if all the countries with coast lines sank.
And this is what the world would look like if all the countries with coast lines sank.

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This is a map of the all the rivers in the United States.
This is a map of the all the rivers in the United States.

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And these are all the rivers that feed into the Mississippi River.
And these are all the rivers that feed into the Mississippi River.

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This is a map of the highest paid public employees in the United States.
This is a map of the highest paid public employees in the United States.

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This map shows how much space the United States would occupy on the moon.
This map shows how much space the United States would occupy on the moon.

Would love to hear which of the maps you found most interesting, and why?

Avro Vulcan XH558 – a tribute!

Not only to the aircraft but to all the many individuals who made it happen!

As I mentioned in yesterday’s post Nostalgia with wings, today I was going to write about a particular aircraft: The Avro Vulcan.

Vulcan

I chose the image above because it resonated so strongly with the comment left by Hariod Brawn that I included in yesterday’s post. Namely:

I took my father [who test-piloted the Vulcan and Victor. PH] to see Vulcan XH558 fly what was then thought to be its final flight (it subsequently was overhauled and took to the skies again). It flew along the length of the runway at a 45 degree angle with its bomb bay doors open. On the inside of the doors in huge letters was the single word ‘farewell’. It was really quite an emotional experience both for my father and myself.

There’s a lengthy item on WikiPedia about this aircraft. I will repost a couple of parts of that article.

Avro Vulcan XH558 (civil aircraft registration G-VLCN) The Spirit Of Great Britain is the only airworthy example of the 134 Avro Vulcan V bombers that were operated by the Royal Air Force from 1953 until 1985. Vulcan XH558 served with the RAF between 1960 and 1985 in the bomber, maritime reconnaissance and air-to-air refuelling roles. The RAF operated XH558 as a display aircraft from 1986 until 1992, when budget cuts forced its retirement.

It is operated by the Vulcan to the Sky Trust as a display aircraft, funded entirely by charitable donations and the UK Heritage Lottery Fund. It is registered with the United Kingdom Civil Aviation Authority as G-VLCN but has an exemption to fly in Royal Air Force markings as XH558.

Restoration to flight
The engineering staff of the Vulcan Operating Company (the engineering arm of Vulcan to the Sky Trust, owners of XH558) worked to return Vulcan XH558 to flight, with the first test flight taking place on 18 October 2007. They were supported by the “Vulcan to the Sky” club, a supporters and fundraising organisation. Though the website carried an announcement on 1 August 2006 that the project was in danger of being abandoned due to lack of finance, the target of raising the remaining £1.2m was achieved on 31 August 2006, thanks to a high-profile publicity campaign orchestrated by the supporters club, Vulcan to the Sky Club (formerly Vulcan 558 Club).

Time had almost run out for XH558 when Sir Jack Hayward, a British philanthropist, donated £500,000, which topped off the £860,000 already raised by Vulcan to the Sky Club and Friends. Although the aircraft restoration was nearly complete, the aircraft was not ready for the flypast down The Mall in London for the 25th Anniversary of the Falklands conflict on 17 June 2007 or the RAF Waddington Airshow and the Royal International Air Tattoo (RIAT).

It was intended that the Vulcan would fly during at least one UK airshow during the 2007 season, but due to delays in returning the aircraft to flight, mainly down to delays in the return of refurbished flight-critical components, the aircraft was not ready for the display season.

On 16 August 2007, the aircraft started engine testing on the airfield at Bruntingthorpe. On the next day, XH558’s No.3 Rolls-Royce Olympus 202 jet engine was run for the first time in over 20 years. This is a different engine from that used by XH558 during its final season with the RAF’s Vulcan Display Flight in 1992, with all four of the Vulcan’s original Olympus 202 engines having been replaced by zero-hour units which had been stored since 1982. The VTS Team also has another four fully inhibited engines in stock. The removed engines were either scrapped, sectioned for display or passed on to VRT’s XL426 at Southend. Another milestone in the restoration project was achieved on 22 August 2007, when all four of XH558’s Olympus engines were run at nearly full power settings, for short intervals.

The first post-restoration flight, which lasted 34 minutes, took place on 18 October 2007.

What a great project!

Now to a couple of videos. (There are many to chose from on YouTube, by the way.)

The first is a 45-minute documentary that I have only watched for the first few minutes, but it looks a good one.

and the second is much shorter but reveals to great effect the wonderful sound of the Vulcan’s engines.

Published on Oct 28, 2012
When the engines exceed 92% power, the Vulcan makes this cool howl sound.

On to New Year’s Eve!

The family flight!

A most unusual formation flight!

(and trust me, it’s highly watchable even for non-aviation bods!)

Dan Gomez recently sent me a link to a news item and video of a quite extraordinary formation flight. It concerns the fleet of five development A350 XWB development aircraft.

The Airbus A350 XWB
The Airbus A350 XWB

This picture was taken from a Press Release in 2013 on the Airbus website announcing the first flight:

14 June 2013

A new chapter has opened in Airbus’ 43-year history as the first A350 XWB, the world’s most efficient large twin-engined commercial aircraft, powered aloft this morning for its maiden flight at Blagnac in Toulouse, France at 10.00 hours local time. Equipped with Rolls-Royce Trent XWB turbofans, the A350 XWB first flight is taking place over south-western France.

An international crew of six is on board, comprising two Flight Test Pilots, one Test Flight Engineer and three Flight Test Engineers. At the controls of the A350 XWB’s first flight are Peter Chandler, Airbus’ Chief Test Pilot, and Guy Magrin, Project Pilot for the A350 XWB. Accompanying them in the cockpit is Pascal Verneau, the A350 XWB Project Test Flight Engineer. At their flight test stations in the main aircraft cabin and monitoring the progress of the flight via an extensive array of flight test instrumentation are the three flight test engineers: Fernando Alonso, Head of Airbus Flight & Integration Test Centre; Patrick du Ché, Head of Development Flight Tests; and Emanuele Costanzo, lead Flight Test Engineer for the Trent XWB engine.

This first flight marks the beginning of a test campaign totaling around 2,500 flight hours with a fleet of five development aircraft. The rigorous flight testing will lead to the certification of the A350-900 variant by the European EASA and US FAA airworthiness authorities, prior to entry into service in the second half of 2014 with first operator Qatar Airways.

Anyway, moving on to the video. Here it is:

Published on Dec 2, 2014

The five test and development A350-900s took to the skies for a formation flight in September 2014, bringing together all of the aircraft used for Airbus’ successful campaign leading to certification of this latest Airbus wide-body jetliner.

(Interesting to note that the video has already been watched approaching 1.7 million times!)

A ‘growing’ awareness.

The pun is deliberate!

Just at the moment there seems to be an incredible explosion of awareness about the need to change. Won’t say anymore other than from the day of the Winter Solstice, less that two weeks away, I will be publishing a number of posts about this new awareness and the implications, the positive implications, for the coming years.

To set the tone, I am republishing an article that appeared on the website of the organisation Nature Needs Half. I am grateful for their permission to so do.

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Nature Needs Half in the Earth Island Journal

Originally published in the Earth Island Journal by William H. Funk

Conservation group promoting an ambitious new proposal for wilderness protection

During the last half century conservationists around the world have won some impressive victories to protect wild places. Here in the US, the Wilderness Act preserves some 110 million acres of public land. Private holdings by groups like The Nature Conservancy safeguard tens of millions of additional acres. The idea of protecting ecosystems from industrial development has spread around the world. There’s the Mavuradonha Wilderness in Zimbabwe, the El Carmen ecosystem in northern Mexico, Kissama National Park in Angola, and the Tasmanian Wilderness in Australia, to name just a few stunning parks and preserves; UNESCO’s world heritage list includes 197 sites of special beauty and/or biodiversity.

Photo by Trey Ratcliff Nature Needs Half has set out an unbelievable challenge: to formally, legally set aside one half of Earth’s land and water as interconnected natural areas.
Photo by Trey Ratcliff Nature Needs Half has set out an unbelievable challenge: to formally, legally set aside one half of Earth’s land and water as interconnected natural areas.

But conservation biologists now recognize that these sanctuaries are limited in what they can accomplish precisely because they are special — which is to say, rare. Parks and preserves are all too often islands of biological integrity in a sea of human development. To really protect natural systems, healthy biomes need to be the rule, not the exception.

To achieve that vision, The WILD Foundation, a multinational NGO based in Boulder, Colorado, is pushing a bold concept called “Nature Needs Half.” In a world in which even the wealthiest governments routinely abdicate their responsibilities toward future generations and the environment, Nature Needs Half has set out an unbelievable challenge: to formally, legally set aside one half of Earth’s land and water as interconnected natural areas.

This is, of course, a hugely ambitious endeavor, opposing as it does the assumption that Earth’s resources are here to be exploited solely by humans. We live in what some have called the “Anthropocene,” the Age of Man, a world in which every aspect of physical being, from the oceanic depths to the troposphere, has been radically altered by humankind. Rivers are being dammed, forests leveled, oceans emptied and wildlife eradicated. It’s not a pretty picture, but as an empiric truth it’s difficult to refute. Consider a few facts:

The long-term acidification of the oceans by our ongoing buildup of industrial carbon dioxide is killing off coral reefs around the world, resulting in the loss of a critical barrier to storm surge and further endangering coastal areas at heightened risk from rising seas and stronger and more frequent storms.

Hydropower is increasingly being developed in South America, South Asia and sub-Saharan Africa, preventing the migration of anadromous fishes and destroying the elaborate flood-regime ecosystems of biomes like the Amazon.

The accelerating rate of animal and plants extinctions under the twin hammers of climate change and habitat loss is being compared to Earth’s five other extinction events that followed catastrophic geophysical change such as meteor impact or sudden tectonic shifts. In the case of the sixth great extinction, however, the root cause is purely biotic: us. Either from directly causing species decline through poaching, habitat conversion and the introduction of competitive exotic species, or by indirectly altering ecosystems through our industrial assault on the planet’s atmosphere, one in eight birds, one in four mammals, one in five invertebrates, one in three amphibians, and half of the world’s turtles are facing the eternal night of extinction.

Given those facts, the Nature Needs Half goal is startling in the grandiosity of its vision and the ambitious range of its projects. It is also, in a word, fair. “Half the world for humanity, half for the rest of life, to make a planet both self-sustaining and pleasant,” is how eminent naturalist E.O. Wilson explains the idea in his book The Future of Life. Other endorsers include marine explorer Sylvia Earle and the Zoological Society of London. And while the scope and scale of Nature Needs Half is unprecedented, conservation groups such as the World Wildlife Fund recognize that connecting biodiverse “hotspots” must guide preservation efforts.

The stated goal of Nature Needs Half is “to ensure that enough wild areas of land and water are protected and interconnected (usually at least about half of any given ecoregion) to maintain nature’s life-supporting systems and the diversity of life on Earth, to ensure human health and prosperity, and to secure a bountiful, beautiful legacy of resilient, wild nature.” Underlying this objective is the assumption that humanity, despite its often destructively “unnatural” behavior, is inescapably a part of life on Earth, and that efforts to preserve and protect untrammeled wilderness areas are ultimately means of assuring that the ecosystem services people depend upon are available to us in the distant future. We’re all in this together, and the sooner H. sapiens gets that through its pointy little head, the better off we’ll all be.

How is “protected” defined? The International Union for the Conservation of Nature defines it quite flexibly: “A protected area is a clearly defined geographical space, recognized, dedicated and managed, through legal or other effective means, to achieve the long term conservation of nature with associated ecosystem services and cultural values.” Thus any number of means may be put into play to preserve land, from conservation easements in Virginia to armed ranger patrols in Namibia; what matters is the end result, namely the retention of naturally functioning ecosystems over time.

During the past two decades scientists have determined that the planet’s ecoregions need at least 50 percent ecological integrity, and in some cases more, to ensure the survival of their biological productivity over the long term. (In plain language, “ecological integrity” means that an area’s biodiversity and basic processes are mostly intact.) The goals of Nature Needs Half simply echo the empirical scientific reality: to function over time the world’s biomes need at least half of their structural integrity preserved from human alteration. We are currently falling short of that. A recent report from Yale’s Environmental Performance Index states that just17 percent of Earth’s terrestrial areas and inland waters, and less than 10 percent of marine areas, are currently protected (though for many parks and refuges in poorer countries this protection is often illusory), while about 43 percent remains relatively open and undeveloped, with low human populations and generally undamaged ecosystems.

Nature Needs Half is pursuing its aim in two simultaneous directions: the protection of at least half of the planet’s mostly intact contiguous wilderness areas — concentrating on Eurasian boreal forests, the Amazon basin and Antarctica — and the identification and protection of those fragments or hotspots of abundant biodiversity that have become isolated islands in a sea of human activity.

The aims of Nature Needs Half are precisely the kind of bold approach, rooted in cutting-edge science, which our increasingly desperate times call for. In an Anthropocene of radical climate change and accelerating species extinctions, nothing less than a grand vision of what might yet be achieved will bring about the preservation of our remaining unspoiled landscapes. As the most farsighted wilderness preservation program on Earth, Nature Needs Half promises to be the kind of revolutionary undertaking that, if its aims are fully or even mostly achieved, will be looked back on centuries from now as perhaps the most important attainment in modern human history.

William H. Funk
William H. Funk is a freelance writer, documentary filmmaker and environmental lawyer living in Virginia’s Shenandoah Valley. His work explores the confluences of the natural world, history, culture, law and politics, and as an attorney he has had broad experience with land preservation and endangered species. He may be contacted at williamfunk3@icloud.com or williamhfunk.weebly.com

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Rather puts my next book chapter, Community, into perspective; that chapter being published in thirty minutes time.

One clever man and his dog!

A reposting of a fascinating item regarding Ra Paulette.

As is the way of our interconnected world, I clicked on a link in a recent post over on Sue Dreamwalker’s blog that then took me to an item on a new blog site from Vision Keeper called World Metamorphosis. The item was about an American, Ra Paulette, who …

The American artist Ra Paulette has spent the last 10 years carving wondrous creations in the walls of a cave located in Northern New Mexico. For many years now, Paulette has walked to work into the hot desert, with only his faithful dog by his side. After much hard work, Paulette has finally allowed the public to view the incredible masterpiece he has been working on all of this time.

It all began with a mile long walk into the wilderness where Paulette discovered the cave. He has since transformed the everyday limestone walls into gorgeous hallways and spaces that are surprisingly full of light. Learn more about the man behind the carvings and check out the magnificent cave artwork here! (Source: Phoenix is Risen)

Caves1

 

Then it was a ‘hop, skip and a jump’ to go across to Ra Paulette’s website, where one reads such glorious details as:

Process

Process

Manual labor is the foundation of my self expression. To do it well, to do it beautifully, is a “whole-person” activity, engaging mental and emotional strengths as well as physical strength.

When digging and excavating the caves I break down all the movements into their simplest parts and reassemble them into the most efficient patterns and strategies that will accomplish the task while maintaining bodily ease. Like a dancer, I “feel” the body and its movement in a conscious way.

I’m fond of calling this “the dance of digging”, and it is the secret of how this old man can get so much done.

Then words that are more poem than anything else:

The Present

LUMINOUS CAVES
the world within the earth and ourselves

My final and most ambitious project is both an environmental and social art project that uses solitude and the beauty of the natural world to create an experience that fosters spiritual renewal and personal well being. It is a culmination of everything I have learned and dreamed of in creating caves.

A mile walk in the wilderness becomes a pilgrimage journey to a hand dug, elaborately sculpted cave complex illuminated by the sun through multiple tunneled windows. The cave is both a shared ecumenical shrine and an otherworldly venue for presentations and performances designed to address issues of social welfare and the art of well being.

In social art, creating the work of art is not the objective in itself, as in an exhibit, but is a means to bring about social change. The response to the artwork is not merely left to its audience as an endpoint in the process but is an element in a larger encompassing creative process. In the analogy of art being one of the colors on the social artist’s palette, the canvas would be society itself, its social conditions in a particular location. In using the aesthetic to address societal suffering, social art is not content with merely decorating the world; its intent is to change it.

Changing the world is a tall order. Art doesn’t attempt to force change through direct action but to catalyze it by affecting the emotional basis from which change can occur.

Begging the question, “How can we change what we do before we change how we feel?” Its underlying premise is that when through wonder and the sense of beauty we move from the emotional realm of our desires and fears to the more expansive and deeper feelings of thanksgiving and appreciation of life with a sense of its sacredness, our actions will automatically be modified, creating a better world – ‘like magic’.

This is the magic of art, music, theatre, and of the beauty of the natural world. We need for that magic to play a more direct role in our lives.

Please, please read the rest of these wonderful thoughts and ideas

Will close with another photograph of Ra working inside the caves.

Cave2

Maybe I’m not even here.

Lovely interlude during the week.

I came across this a few weeks ago and made a mental note to share it with you before too long.

Here’s what I saw:

Here are the details:

A film by Shixie (Xiangjun Shi)

Graduation Project at Rhode Island School of Design 2013
A Science Communication Project at Brown University Department of Physics
NYC ACM SIGGRAPH MetroCAF 2013 Jury Award
Vimeo Staff Pick – October 27th 2013
10th NYC Downtown Short Film Festival

It is rather cute; and clever!

Never looking backwards!

“They didn’t bring us here to change the past!”

That quote is from the film Interstellar.  Last Thursday, Jean and me, with our neighbours Dordie and Bill, went into Grants Pass to watch the film.  Speaking for myself, even after three days have passed, I still haven’t settled on a clear opinion of the film. Don’t get me wrong, it was a magnificent production and held one’s attention for every minute of the three-hour performance.

All of which is a preamble for an insightful essay from George Monbiot published on November 11th and republished here with George’s kind permission.

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Better Dead Than Different

Our visions of the future are defined, like the film Interstellar, by technological optimism and political defeatism.

By George Monbiot, published in the Guardian 12th November 2014

“It’s like we’ve forgotten who we are,” the hero of Interstellar complains. “Explorers, pioneers, not caretakers … We’re not meant to save the world. We’re meant to leave it.” It could be the epigraph of our age.

Don’t get me wrong. Interstellar is a magnificent film, true to the richest traditions of science fiction, visually and auditorally astounding. See past the necessary silliness and you will find a moving exploration of parenthood, separation and ageing. It is also a classic exposition of two of the great themes of our age: technological optimism and political defeatism.

The Earth and its inhabitants are facing planetary catastrophe, caused by “six billion people, and every one of them trying to have it all”, which weirdly translates into a succession of blights, trashing the world’s crops and sucking the oxygen out of the atmosphere. (When your major receipts are in the US, you can’t afford to earn the hatred of the broadcast media by mentioning climate change. The blight, an obvious substitute, has probably averted millions of dollars of lost takings).

The civilisational collapse at the start of the film is intercut with interviews with veterans of the Dust Bowl of the 1930s. Their worn faces prefigure the themes of ageing and loss. But they also remind us inadvertently of a world of political agency. Great follies were committed but big, brave things were done to put them right: think of the New Deal and the Civilian Conservation Corps (1). That world is almost as different from our own as the planets visited by Interstellar’s astronauts.

They leave the Earth to find a place to which humans can escape or, if that fails, one in which a cargo of frozen embryos can be deposited. It takes an effort, when you emerge, to remember that such fantasies are taken seriously by millions of adults, who consider them a realistic alternative to addressing the problems we face on Earth.

NASA runs a website devoted to the idea (2). It claims that gigantic spaceships, “could be wonderful places to live; about the size of a California beach town and endowed with weightless recreation, fantastic views, freedom, elbow-room in spades, and great wealth.” Of course, no one could leave, except to enter another spaceship, and the slightest malfunction would cause instant annihilation. But “settlements in earth orbit will have one of the most stunning views in our solar system – the living, ever-changing Earth.” We can look back and remember how beautiful it was.

And then there’s the money to be made. “Space colonization is, at its core, a real estate business. … Those that colonize space will control vast lands, enormous amounts of electrical power, and nearly unlimited material resources. [This] will create wealth beyond our wildest imagination and wield power – hopefully for good rather than for ill.”(3) In other words, we would leave not only the Earth behind but also ourselves.

That’s a common characteristic of such fantasies: their lack of imagination. Wild flights of technological fancy are accompanied by a stolid incapacity to picture the inner life of those who might inhabit such systems. People who would consider the idea of living in the Gobi Desert intolerable – where, an estate agent might point out, there is oxygen, radiation-screening, atmospheric pressure and 1g of gravity – rhapsodise about living on Mars. People who imagine that human life on Earth will end because of power and greed and oppression imagine we will escape these forces in pressure vessels controlled by technicians, in which we would be trapped like tadpoles in a jamjar.

If space colonisation is impossible today, when Richard Branson, for all his billions, cannot even propel people safely past the atmosphere(4), how will it look in a world that has fallen so far into disaster that leaving it for a lifeless, airless lump of rock would be perceived as a good option? We’d be lucky in these circumstances to possess the wherewithal to make bricks.

Only by understanding this as a religious impulse can we avoid the conclusion that those who gleefully await this future are insane. Just as it is easier to pray for life after death than it is to confront oppression, this fantasy permits us to escape the complexities of life on Earth for a starlit wonderland beyond politics. In Interstellar, as in many other versions of the story, space is heaven, overseen by a benign Technology, peopled by delivering angels with oxygen tanks.

Space colonisation is an extreme version of a common belief: that it is easier to adapt to our problems than to solve them. Earlier this year, the economist Andrew Lilico argued in the Telegraph(5) that we can’t afford to prevent escalating climate change, so instead we must learn to live with it. He was challenged on Twitter to explain how people in the tropics might adapt to a world in which four degrees of global warming had taken place. He replied: “I imagine tropics adapt to 4C world by being wastelands with few folk living in them. Why’s that not an option?”(6)

Re-reading his article in the light of this comment, I realised that it hinged on the word “we”. When the headline maintained that “We have failed to prevent global warming, so we must adapt to it” (7), the “we” referred in these instances to different people. We in the rich world can brook no taxation to encourage green energy, or regulation to discourage the consumption of fossil fuels. We cannot adapt even to an extra penny of tax. But the other “we”, which turns out to mean “they” – the people of the tropics – can and must adapt to the loss of their homes, their land and their lives, as entire regions become wastelands. Why is that not an option?

The lives of the poor appear unimaginable to people in his position, like the lives of those who might move to another planet or a space station. So reducing the amount of energy we consume and replacing fossil fuels with other sources, simple and cheap as these are by comparison to all other options, is inconceivable and outrageous, while the mass abandonment of much of the inhabited surface of the world is a realistic and reasonable request. “It is not contrary to reason to prefer the destruction of the whole world to the scratching of my finger”, David Hume noted (8), and here we see his contemplation reified.

But at least Andrew Lilico could explain what he meant, by contrast to most of those who talk breezily about adapting to climate breakdown. Relocating cities to higher ground? Moving roads and railways, diverting rivers, depopulating nations, leaving the planet? Never mind the details. Technology, our interstellar god, will sort it out, some day, somehow.

George: this is a formula for the deferment of hard choices to an ever-receding neverland of life after planetary death.

No wonder it is popular.

www.monbiot.com

References:

1. http://www.cityprojectca.org/blog/archives/5392

2. http://settlement.arc.nasa.gov

3. http://settlement.arc.nasa.gov/

4. http://www.theguardian.com/science/2014/nov/01/sir-richard-branson-space-tourism-project-doubt

5. http://www.telegraph.co.uk/finance/economics/10644867/We-have-failed-to-prevent-global-warming-so-we-must-adapt-to-it.html

6. http://www.businessgreen.com/bg/james-blog/2337458/climate-adaptation-lobby-is-reckless-dangerous-and-partly-right

7. http://www.telegraph.co.uk/finance/economics/10644867/We-have-failed-to-prevent-global-warming-so-we-must-adapt-to-it.html

8. https://ebooks.adelaide.edu.au/h/hume/david/h92t/B2.3.3.html

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Do go and see Interstellar!

Ambition; the film.

Striving to achieve what is humanly possible.

A day almost exclusively devoted to writing left me wondering what to post for today.

Then in my ‘blog’ folder was this recent item from the blog site EarthSky.

It is republished here as it was received by me.

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Exciting Rosetta space mission inspires a magical short film

A very good 7-minute film, called Ambition. It’s not like any film about space exploration you’ve ever seen. The Rosetta comet mission lies at its heart.

Everything about the European Space Agency’s Rosetta mission – which, in August, caught up to Comet 67P/Churyumov–Gerasimenko and began moving in tandem with it – has been fantastic so far. For us space buffs, this mission has gone a long way toward fulfilling our fantasies about what might be accomplished in outer space. It’s caused us to remember why we got so excited about space exploration in the first place. And now – just weeks before Rosetta will send a lander to the surface of its comet – ESA and Platige Image have released a very good short film, called Ambition. It’s not a space documentary, or like any film about space exploration you’ve ever seen. It doesn’t focus so much on the mission itself – although the Rosetta mission does lie at the heart of the film – as on why we need to go into space.

The film features an apprentice magician and her master, talking about the making of solar systems.

I won’t tell you more; you should watch the film. It might touch your heart in ways you’ve forgotten, as the Rosetta mission itself has touched mine.

Tomek Baginski directed the film Ambition, which stars Aiden Gillen – who played Littlefinger in Game of Thrones – and Aisling Franciosi. Its producers shot Ambition on location in Iceland and produced it primarily in Poland. Its first public screening was October 24, 2014 during the British Film Institute’s celebration of Sci-Fi: Days of Fear and Wonder, at the Southbank, London.

By the way, Tim Reyes at UniverseToday.com has written a very good essay about the film Ambition, and what it means in the context of U.S. and European space efforts, and in the larger context of our striving to meet challenges in the world today. He also says you should watch the film. Because it’s about what it means to want to know what’s possible.

In the film Ambition, a young magician tries to build a solar system … but fails.
In the film Ambition, a young magician tries to build a solar system … but fails.
Did you assume this was an artist’s concept? It’s not. It’s a real image. It’s the Rosetta spacecraft’s selfie with comet 67P/Churyumov–Gerasimenko, imaged Sunday, September 7, 2014. Image via ESA/Rosetta/Philae/CIVA
Did you assume this was an artist’s concept? It’s not. It’s a real image. It’s the Rosetta spacecraft’s selfie with comet 67P/Churyumov–Gerasimenko, imaged Sunday, September 7, 2014. Image via ESA/Rosetta/Philae/CIVA

Bottom line: A very good 7-minute film, called Ambition. It’s not like any film about space exploration you’ve ever seen. The Rosetta comet mission lies at its heart.

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And here is that film.

Published on Oct 24, 2014
Ambition is a collaboration between Platige Image and ESA. Directed by Tomek Bagiński and starring Aidan Gillen and Aisling Franciosi, Ambition was shot on location in Iceland, and screened on 24 October 2014 during the British Film Institute’s celebration of Sci-Fi: Days of Fear and Wonder, at the Southbank, London.