Paul Gauguin: Painter in Paradise

Gauguin, Voyage de Tahiti lands upon our shores as a compelling welcome distraction to an otherwise calamitous September of hurricanes, earthquakes, civil unrest and threats of WWIII. Despite its languorous title, it promises no Tropical bliss or frangipani blossoms as it whisks us away from our daily contrivance and the Autumn chill for the Paradise atolls of French Polynesia, the backdrop to the last decade in the life of anti-conformist 19th century French Post-Impressionist painter Paul Gauguin (1848-1903) who had fled modern civilisation in order to live the simple life, immersed in nature.

(pict source)

Few of us will have been aware of Gauguin's life beyond his enchanting Polynesian portraits, and the film by Edouard Deluc attempts to remedy that. Be warned though that any hope for a smooth, fancy-free voyage across lush lands and ombré waters sprawled below heavenly Summer skies is 'compromised' as our voyage is in fact a tale of trouble in Paradise... and this means dark clouds!

Soon the landscapes of the island merge with the landscapes of a troubled mind. This is no blockbuster, no special effect in sight, no big budget, and no unnecessary pathos. It commands however a certain curiosity and sensitivity on the part of the viewer in order to appreciate such a movie. Here we have a painter's tale of Paradise lost.

'Haere Mai', oil on burlap by Paul Gauguin, via Guggenheim Museum, NYC

Gauguin, Voyage de Tahiti depicts Gauguin the artist (Koké as the locals called him) entertwined with the man himself, who had rejected the French Establishment, relinquished wife and offspring who he could no longer financially support, only to get caught up by his demons and by Establishment again thousands of miles later. This is a tale of artistic genius, moral dilemma, financial destitution, a tale of redemption and disillusion, a quest for identity and authenticity, a depiction of mysticism and a rejection of the so-called civilised world.

Paul Gauguin could have enjoyed a comfortable existence should he had kept to the conformist route he had taken as a marine merchant and a stockbroker's assistant, but then there would be no Paul Gauguin the artist. He died a pauper instead, yet rich within from the life and travel experiences he acquired along the way. His frugal livelihood contrasts with his oeuvre dotted across the world in art places and private collections, testimonies to his posthumous glory and recognition. When he relinquished his privileged upbringing and financial stability in order to embrace the artist's lifestyle, Gauguin embarked upon the exciting, harsh, morose, unpredictable, temptation-laced, financially unstable existence at odds with the traditional family life, the picket fence and the prim and proper.

This poster features 'Tehamana Has Many Parents', oil on jute canvas by Paul Gauguin

Vincent Cassel wears Paul Gauguin's role like a glove. One of the most prolific, versatile, immersive French actors of my generation, he excels at playing troubled characters with heart and soul: the known and the unknown, the modern and the period, the suave and the slick, the affable and the utterly despicable. In a nutshell, he lives and breathes and inhabits each of his roles. Cassel took up art classes to get under the artist's skin and learn the ropes like how to hold a paintbrush properly and how to apply paint. He caught the bug and ended up painting for himself in his spare time!

From the outset, the film appears to incarnate French cinéma d'auteur in the manner in which it explores the life of its main character. The methodology is by way of a close-range character study, down to the minutiae of glance, heartbeat and sigh. It strives for detail, and an intimate - intimist - soul journey, a stark-naked biopic portrayal in its varied facets that distills the character with spirit and truth, no embellishment or happy ending for the sake of it. It soaks in the atmosphere and takes us on with it.

'Orana Maria (We Hail Thee Mary)', by Paul Gauguin, via WikiArt

The film hasn't been out a week that it is already being criticised for its lack of objectivity. It conveniently - controversially - glosses over the fact that Gauguin then aged 43 fell in love (in lust?) with a 13-year old local Tahitian girl called Tehura (also known as Teha’amana), whom he then married. The girl was a juvenile! A closer look at Gauguin's biography reveals that his private life was dissolute: a life-long philanderer who contracted syphillis along the way, which he then transmitted to his conquests. Some will wave it off as an element of Bohemian territory - oh lovely!

Yet not looking at discrediting the critics, it must be added that the History of France and the world at large demonstrates that however morally wrong it was (is), the mature man-young girl 'paradigm' was (is) no rare occurrence, especially in the Arts, the Royal courts and under certain ideologies!

'Tahitian Pastorale', by Paul Gauguin, via WikiArt

Digression aside, such straightforward revelations in the film would have dented an already morally-questionable complex, flawed character but a glossing over ends up as a disservice and as an unvoluntary form of complicity. Truth hurts, so does its misrepresentation by way of a lie.

Those of us who had been blissfully unaware of Gauguin's dirty little secrets until today, are likely to be left confused, tainted, unsure as to whether still respect the artist, or dissociate his paintings from the man: respect the oeuvre but dislike (repudiate?) the man. Artist and man being intrinsically entertwined, this is simply impossible. My only surety in this is that I will never look at the portraits of Teha'amana and her virginal, innocent girl friends in quite the unbiased way I used to.




It remains that Paul Gauguin was a creative genius, the precursor of Modern Art and a visionary in his own right. His Art navigated the troubled waters of his soul in a spellbinding way. To see and think of him as a painter solely is restrictive: he was an accomplished artist whose Art encompassed printmaking, engraving, sculpture, ceramics and decorating. His creations are showcased in the most prestigious modern art galleries of the world, including Guggenheim and the Art Institute of Chicago, as further testament to his worldwide recognition.

"Gauguin was radically creative throughout his career. He never stopped experimenting with new methods, and his art continues to fascinate because it remains unpredictable, contradictory, and enormously varied in medium, form, and content." - Artist as Alchemist, the Paul Gauguin exhibition at the Art Institute of Chicago (June 25 - Sept. 10, 2017)

Gauguin, Voyage de Tahiti, directed by Edouard Deluc, starring Vincent Cassel, Tuhei Adams, Malik Zidi and Pua-Tai Hikutini, out now in France.

P.S: There is an interesting parallel to be drawn between Paul Gauguin and Scottish novelist, poet and travel writer Robert Louis Stevenson (1850-1894): both artist contemporaries from the second half of the 19th century, travellers and adventurers, who both died in Polynesia (Stevenson in Samoa), in middle age. Stevenson documented a particular segment of his journey to France as a short story, 'Travels with a Donkey in the Cévennes.' If Stevenson is still fondly remembered in the Cévennes to this day, it is because - according to a local politician and historian - 'he showed us the landscape that makes us who we are.' Such a statement may well apply to Gauguin too, in relation to Polynesia.

Aerial Views of Bygone England

In order to visually grasp in one quick swoop the extent of Britain's heavy industrialisation during the 1920s (notwithstanding the fact that the bulk of its Industrial Revolution had already been through by then), seek no other evidence than photographic - and better still the aerial shots! Britain from Above has made this possible, not only for institutions and corporations but also for the general public, by releasing its impressive photographic archive collection (over 82,500 records for England alone!) which provides the tools for a spot of investigative geography and history, right from the comfort of your home. And fascinating it is bound to be to anyone with a connection to Britain and curious to discover the face of its past!

Beswick, Manchester (1927), via Britain from Above

Second to none, Manchester was once my second home; I spent 16 years of my life there. Naturally as soon as I came across Britain from Above, curiosity got the better off me and I sifted through Manchester's photographic records, seeking the familiar neighbourhoods I had lived in and semi-familiar environs which I had travelled through, worked in or visited for one reason or another. Needless to say that present-day Manchester bears little resemblance to its bygone self, bar for specific landmarks: town hall, churches, flagship stores (the Lewis's department store, now Primark), canals, railways, certain roads and playing fields, and the odd pub here and there that has survived the accelerated nationwide 'pub cull' of the last 20 years.

As shown in the Beswick ward above, like elsewhere throughout the working-class areas of the city radiating right out of its centre, row upon row of identikit 19th-century brick terraced and back-to-back factory houses used to be tightly laid out, taking up every inch of available space for cheap low-rise high-density working-class housing - which was turning to slums by the 1920s. Nineteen thirties Manchester was a crowded place; its population had peaked at 766,311 inhabitants in 1931 before steadily shrinking, in line with the collapse of the textile and affiliated machine tool industries, down to 404,861 by 1991, a massive 52% fall in numbers within 60 years! By 1991, the slum clearances and industrial wastelands were lending a surreal urban landscape, especially east (Ancoats to Ashton-under-Lyne axis) and northeast (Cheetham Hill to Oldham axis).

Ordsall Hall Paper Works, Pomona Docks and Manchester Ship Canal, Old Trafford (1929), ibid.

From such a bird's eye view, from such a height, with eveything appearing like distant patterns dotted upon a canvas, it is all too tempting to feel nostalgic and gloss over a time period that was actually anything but kind and sweet. Although full employment was on - except during the Great Depression, it still came at a price, even by 1920s standards: harsh working conditions, long working hours, low wages, poor health, cramped and unsanitary living conditions, not to mention the smog, a deadly combination of smoke pollution (from factory and domestic coal burning) and fog, creating pea soup, which plagued industrial cities with a thick yellowish toxic shroud, bringing asthma and other respiratory ailments and drastically reducing visibility.

Manchester Ship Canal and Partington Coal Basin (1929), ibid.

Furthermore, the nation was still recovering from the throes of WWI, where 23,792 men and women from Greater Manchester alone had lost their lives on the front! Extrapolate this to the number of households affected by loss, the mothers, widow(er)s and orphans, the harsh economic reality of daily life sharpened the grief some more. You can be certain that the photographed households you are looking at are testaments to pain and hardship.

Manchester's cityscape is industrial no more! Photography by Daniel Nisbet, 2008, via Flickr

Further Resources on Manchester and the British Industry:

• Shirley Baker: Snapping the Ordinary to Write Local History by LBM
• City Fizz by ibid. 
• Design Interlude by ibid.
• Chorlton vs. Didsbury by ibid. 
• Manchester, Blackley, part of the At Home in Europe: Europe's White Working Class Communities case-study series, by (billionaire globalist George Soros-owned) Open Society Foundations
• How the 1930s Changed Housing, by Find My Past
• Manchester in the 19th Century, by The British Library
• Unearthing Manchester's Victorian Slums by The Guardian
• Nick Hedges Photography has explored over the last 50 years the reality of life for working-class Britain, via the Slum Housing & Poverty series (late 1960s/ early 70s), showing the impact of sub-standard 19th century housing and economic deprivation. The City That Was explores working-class culture at the turning point of post-industrial Britain, while New Dawns Old Nightmares depicts the depersonalised 1970s utilitarian housing estates that came to replace the torn-down terraced housing communities - the solution to a problem became a problem itself. 
• Grace's Guide to British Industrial History

No Future Without a Past

I have been incensed at the sight of the Confederate statues falling prey to the cultural marxist treatment, unceremoniously torn down, either by the local authorities or by private individuals themselves, then kicked about, trampled down and spat on. The proud, serving, dutiful, Confederate soldier and general, mocked, ridiculed, disrespected, by a bunch of savages who oscillate along that very fine line that separates the pro- from the anti-American.

George Washington's Mount Vernon

The culling of the Confederate statues is a historical and architectural auto-da-fé, promulgated under the pretence for equality. Sugar-coat it all you want, it is in no uncertain terms the rewriting of the past. It also indicates that a segment of the American populace still believes the War between North and South was a Civil War fought in the name of freedom for the black slaves. It was no Civil War, buddy, it was a Secession War: the Southern states had formed a confederate of states and expressed their wish to quit the United States, which is legal according to the Constitution. However the North didn't see it that way and anti-constitutionally declared war on the South.

The Confederate soldier statue at Old Durham County Courthouse, NC, was torn down on 14th August.

Back to Summer 2017, clashes and riots have ensued the removal of Confederate statues across the American Old South, feeding the mainstream media's anti-Trump and anti-fascist (?) frenzy at the same time. Anything goes as long as it leaves a trail of destruction of wares and reputations. The obligatory culture of blame, laced with the Soros-funded political correctness/ minority campaigns vs. white male privilege, culminates into high-voltage politicised disarray. Summer of Love, it is not.

I said it loud and clear in the comments section of The Conversation and I will say it loud and clear here:-

A nation that erases its past stands no chance of raising a future, simply because without the past, there is no future. Cleansing a nation of its history is the first step towards dismantling a nation.

The danger is that in “our”* haste to obliterate the past and customise a present that is devoid of certain elements of said past, we end up uprooting ourselves and our identities - all in the name of political correctness. This is exactly what the global agenda ultimately has in mind for us: a rewritten, pared-down historical mish-mash.

Donald J. Trump's Twitter account, 17-Aug-2017

_________

*“Our” is a generalisation I use to describe our redefined, retweaked, society: its redesign purported by the loud Godless liberal left, cultural marxists and nihilists, under the auspices of the mainstream media. A society that destroys its past has no future to look forward to and this is exactly what the leftists/ communists have in mind. A dangerous game is being played here through this history cull. Destroying statues, effigies and other monuments of historical significance: which one will be next, Mount Vernon or Mount Rushmore?



*Last updated 03-February-2018*


P.S:  The Destruction of Beauty, a visual case study of Birmingham's Chamberlain Square, by Architectural Revival.
 

'A nation that does not respect its past does not deserve the respect of the present and has no right to the future.' - Józef Piłsudzki

InstaGlam - Dolce & Gabbana

Welcome to LBM and Mirabelle's brand new series, InstaGlam, which explores brands that celebrate the beauty of life on Instagram! We start off on a strong and vibrant note with Italy's dynamic fashion duo, Domenico Dolce and Stefano Gabbana.

D&G Alta Moda Collection, AW2015-16

There is something warm and generous about the Dolce & Gabbana brand, a little like a seasoned Italian mama: warm, spicy, friendly, coquettish, hands-on, streetwise and nurturing all at once. And no better way to appreciate it than via Instagram, where both D&G and Stefano Gabbana go beyond the call of fashion duty to share inspiration.

D&G Alta Gioielleria, Palazzo Gangi Valguarnera, Palermo

It is a sunny, vibrant, joyful, technicolor celebration of life, where the D&G man, woman and child lust for life. It is a far cry from certain couture houses out there that have a clinical, rigid, no-frills, monochrome approach to fashion and lifestyle, season after season. D&G is actually more than a fashion brand, it is a lifestyle umbrella.

Elements of nature, religion (Alta Moda Collection), tradition, artistry, and couture wizardry combine their threads to compose a tapestry of covetable craftsmanship with faerie-like, romantic, folklore and bohemian accents. Much detailing and ornementation are at play and those wearable works of art manage to pique our curiosity and send a message to those fast and furious fashion creators who have sent the high street bland and drab.

In our troubled times of transience and fickleness, and under the globalised aseptised world that elites are pushing us towards, D&G spells Italian heirloom, old money, oodles of originality, opulence and a waff of quirky flamboyance, not to mention an ode to cultural enrichment through the rediscovery of culture. In other words, they bridge past and future, like their flagship retail store on Via Montenapoleone in Milan.



Moreover D&G does not rest on their laurels. Their marketing and brand management is savvy, edgy and responsive. When a couple of months ago D&G faced a backlash due to their supporting US First Lady Melania Trump who proudly and consistently wears their outfits, Stefano Gabbana, a fervent admirer of Melania's style and persona, responded to his detractors boldly. He pre-empted any call for boycott on their part by actually launching a... #BoycottD&G campaign through social media as well as a matching tee-shirt range! No adverse publicity, just a smart move; what appeared risqué at first immediately brought limelight, coverage, and ultimately served the brand in a positive fashion! Well done!

D&G is fashion that sings and flutters and seduces like the Italian language itself. This is fashion lifestyle by a life-loving duo, and you can feel, breathe and eat it all you like! Bellissima pasticceria della moda!

D&G Sneaker Patches

Living Up to Better Homes & Gardens

Roby and I had an interesting conversation recently about home expectations and the difference between men and women on the subject and how magazines and visual social media platforms like Instagram and Pinterest are geared towards the female market.

Lebanese fashion designer Elie Saab's Beirut home is a man-woman pacifier of style and comfort!

My husband laments that women drive their men to an early grave through the way they organise home life. Women, he argues, are heavily influenced by home and interiors magazines and home improvement programmes, and as a result seek to recreate the look in their own home - at their own peril.

It must be said though that in general terms, a woman's forte is a certain idea of style and aesthetics that defines her individually, elegance, an indeniable eye for detail and for the eye-pleasing (understand all the cute little things out there!). This unfortunately clashes with men's domesticity quest for efficiency, practicality, comfort, ease of use, durability: the no-thrills, no-BS, no superfluous, home! In other words, emotion vs. reason.

Interior designer Suzanne Kasler worked her magic on this Atlanta home!

Generally women are a soft touch: easily influenced, and thus a marketer's dream. PR guru Edward Bernays understood it almost a century ago.  In this day and age, the varied media platforms play their part in inspiring women as a priority because whatever the ladies fancy, it's quids in for the corporations!

Stenciled table project, via Better Homes & Gardens

A woman inspired has her appetite whet, i.e. her desire to purchase. The desire is influenced and reinforced further until they feel they have no other option than spend cash, seal the deal, make that purchase and with it that elusive slice of happiness!

Women have a propensity to spend cash on a whim, not only on fashion items but on homewares and home improvements that will come to pass with the next whim. New season paint scheme, furnishings upgrade, conservatory revamp, kitchen worktops replaced, when there is nothing wrong with what they have. They get bored quick and fancy a change and that house will never be quite enough. If they still feel unsatisfied, they will want to look for the next best place and sell this one off! Out with the (not so) old, in with the new...

A woman frets when her house is untidy (but is rather acceptant of her own untidiness). Their domesticity quest is form over function anytime! Clutter (trinkets, knick-knacks and other clutter contributors), poor sense of flow from one room area to the next... Objects are put away a certain way that only makes sense to her, everything in a place that is not about convenience but decorum. Yes I have been there too!

The Millhouse (Shaker) Kitchen by DeVOL Kitchens

If her home does not quite equate Better Homes & Gardens, a woman will be quick at blaming her man for not doing something about it (as in some DIY!) or getting a pay rise to afford the professionals in. A householder who strives for her house to look like BHG (and other lifestyle mags for that matter) might as well have a museum for a house. This is  therefore a no-go domestic area according to my husband. You must feel at home in your own home. Point taken.

The DeVOL is in the (kitchen handle) detail!

Further Resources on Style:

• Good Design according to Dieter Rams by Mirabelle
• Mirabelle's Interior Design Delight Pinterest board
  
• Stylessness is Lawlessness by LBM
• French Design Thrift in the Fabulous Fifties by ibid.
• Rétro-Géographie, a visual log of mid-century French architecture 
• Spacious Vulgarity: The Aesthetics and Morals of McMansions by Paul Mullins
• Architecture of Doom, a visual log of brutalist architecture that will fail to make you feel at home!

Watch Out, There's a Hipster in Your Coffee!

I can't quite figure out how it came about. As my spoon cuts into the foam of my cappuccino and the cocoa constellation dissipates into the milky way of my cup, I look up across the packed out café and smile absent-mindedly. I vividly remember the turning point. At the turn of the millennium, the coffee revolution took us almost unawares and I welcomed it with open arms and a big kiss. In one swell swoop, it swept aside the shameless kettle and Nescafé combo, the gritty coffee pot at work whose treacle-like substance would be laced with lashes of full fat milk and a spoonful of sugar to tone the bitterness and general malevolence. The conservative coffee machine would not fare any better either if you were to self-proclaim coffee maestro. And tumble would the slightly higher-brow cafetière (French Press) that only ever had pride of place in those households that vacationed in France and Italy.

The London Coffee Festival 2015

At that point, coffee had ceased to be that monochrome, low budget, one-dimensional, nonchalant affair, black or white, one sugar, no sugar. Strong and you call it espresso like you're in the know. Weak and you call it Americano, once again if you want to flaunt your two words of Italian (three if we add 'pizza').

The London Coffee Festival

Coffee would be and it would be much more: a coffee named desire. Coffee was going to finally exist, express itself, albeit with attitude and a price tag that yells out indulgence. The Italian vocabulary would expand, and be re-invented should its linguistics become suddenly too limitative. Enter Frappuccino, the foam-at-the-mouth, shirty, expansive creation that makes the paltry espresso look like a size zero, deflated, monastic model. Savvy marketers gave themselves carte blanche to jazz up, sex up, amplify and yuppify coffee and make it indispensable under its new guises. Under the new paradigm, coffee became art creation, indulgence, a liquid brunch - and a neat, no-questions-asked multi-billion-dollar endeavour at the check-out.

The London Coffee Festival North 2016

The revolution would redefine coffee to the point where it would take a long sentence to define your drink to the barman, sorry the garçon, sorry the barista. Just so you can listen to yourself saying it in that all-knowing encompassing 'I'm in the club' way while the punter behind you in the queue quietly rehearses their prose before their grand finale, a brief, sudden verbal diarrhea of a purchasing interjection, cured by a fancy drink that costs a pretty penny.

The London Coffee Festival North 2016

Along with that morning white that suddenly became a long Ethiopian roast skinny decaff latte, the staff behind the counter would be redefined too. Enter Barista, full steam ahead, the busy body that is all arms, concentrated like a strong coffee! They whizz their magic within a few square feet perimeter on the other side of the counter like a storm in a teacup, precise, repetitive movements, attached to shiny expensive machinery with pumps and gaskets, and through the steam, the pulls and the metallic thuds, you would be forgiven to believe they're operating the Orient Express. They add the drama that you bought and paid for to your humble cup, tick boxes and scribble ancient codes on it, spin a thousand variants and combinations around coffee like they're the key to the Graal's safe, so many of them, they've morphed into algorithms. They froth up a hot beverage like a coiffeur teases a curl, with painstaking dedication. And if the impermanence of coffee art weren't fleetingly irrelevant, you have latte art to ponder about.




Now to the crux of the coffee is that correlation of late between fancy, jazzy, niche-market coffee from the café in the know, and the hipster. If we are to believe the hype, it's being percolated to us like it's non-negotiable.

Coffee has become art and science, especially in its percolation. Coffee is edgy: it has become the new absinthe. And in its heyday, absinthe was the poison of choice to the creative mind losing its mind in the buvettes of Montmartre. Modern creatives or wannabe creatives display their edge by drinking connoisseur coffee, a safer healthier option! They still look like the 1890s never quite went away, bar for the rolled-up sleeves displaying elaborate tattoos on their forearms. They wear the bushy beard, checkered shirts, suspenders. Unroll the sleeves to hide those arms, and the chaps wouldn't be out of place on those long-forgotten family photos circa 1890. But why, oh my, did fancy coffee and hipster become an item, if only for the fact that both are stuff of a fashion trend? I doubt I will eat my words on this one: fancy coffee will outlive the hipster but for the time being, chance is you'll spot them together like two coffee beans in a pod behind the counter, about to squeeze into that ristretto.




Hurry up if you wish to catch a gulp (sorry, a slice) of the action! The London Coffee Festival is taking place in a couple of days, 6th to 9th April, Old Truman Brewery, Brick Lane, London.

Transience, Pillar of Modern Society (Part 2)

In Part 1 of this essay, we established that theoretically speaking whoever strives to defy time would be able to make a claim for immortality. Thus whoever claims to be immortal has transcended the timely restrictions imposed upon their life as a human. The notion of immortality takes us back to the catchy aliteration of the timeless timeline of Time. Timelessness evokes magnitude, amplitude, uninterrupted vastness in space and time. It expresses continuity, cohesion and stability.

The Ouroboros symbolises eternity. (Pict source)

Transience, on the other hand, sits precariously on the opposite end of the spectrum. Transience implies a notion of time that is fleeting, brief, truncated, interrupted, non-lasting, whimsical and ultimately unreliable and inefficient. This is about discontinuity. There is a sense of disturbance to it like an underwater current. Beware the underlying chaos!

Now referring to the Merriam-Webster dictionary, the noun transience is defined as 'the quality or state of being transient.' Synonyms: Ephemerality, evanescence, impermanence, momentariness. Antonyms: Endurance, permanence.

The adjective transient is defined as 'passing especially quickly into and out of existence: transitory. [...] Passing through or by a place with only a brief stay or sojourn.'

Bearing in mind the immediate adversity imposed upon us by entropy and mortality, the human prerogative aims to make the most effective use of time within a competitive production model. For should it not to be the case, the process would ultimately lead to doom.

Detail of the Vault, Mausoleum of Galla Placidia, Ravenna, Italy

However it appears that our production model has redefined efficiency under a new paradigm. Efficiency used to involve durability under a long-lasting good or service. This as a mission statement had a vision to it, to serve not only the present but the future too. Transience does not and cannot sustain durability. It does not build upon an impetus, it interrupts it. A society whose production model is built upon transience is akin to a transient (casual) friendship that you cultivate with somebody: it does not grow roots or leaves, it does not evolve and deepen because there is no commitment to it, no fire, no bond, no guarantee. It is a stunted affair that remains so until the transient element is corrected.

The faceless banking corporations and multinationals that govern us have cleverly refashioned efficiency since the industrial heyday - and have accelerated its process with the coming of age of mass-consumerism. We mostly have one person to thank for this, Public Relations spin doctor and business insider Edward Bernays - Simon Freud's nephew - and a top influencer in the world of advertising and consumer psychology. He used consumer profiling to serve private interests, using strong-arm tactics to influence purchasing decision. He is indeed the father of customer trickery.

Another representation of eternity. (Pict source)

Bernays was also a trendsetter who wrapped both corporations and consumers tightly around his little finger. He for instance encouraged women to take up smoking by glamourising the cigarette in post-WWI New York City by way of savvy advertising campaigns that centered around personal gratification and desire, concepts that still ring true to this day in advertising. He also engineered water fluoridation PR campaigns to get public trust. Apart from getting us into bad habits, Bernays also wrote a few influential books, including Propaganda, a PR treatise whose most fervent reader was Joseph Goebbels, that's right, Hitler's henchman and future Minister of Public Enlightenment and Propaganda under Germany's Third Reich.

When efficiency used to be defined by the clever use of time in order to accomplish a task and deliver a good or service via a process that would bring a lasting effect in terms of quality (to stand the test of time according to our human proclivities), this is no longer applicable. In the third and final part of this essay, we will see how vested interests have corrupted the production model under a socio-political ideology in order to reframe and rephrase efficiency, with transience at the core. I will describe the areas which I have identified as being of a transient nature, under the remodelled paradigm of efficiency. (to be continued)

_________

Transience, Pillar of Modern Society is a 3-part series:  Part 1  |  Part 2  |  Part 3

Transience, Pillar of Modern Society (Part 1)

In order to discuss transience, we need to start off with the unadulterated notion of Time. If we were to represent its timeline, it would be intrinsically timeless, infinite: imagine a continuous ribbon, i.e. with no beginning and no end. This itself is not easy to figure out as a human being. Our lives are brief (compared to the estimated age of planet Earth), and our biological clock takes us to sleep one third of every day, and in the remaining two thirds we cram activities that are structured around our lifestages and other rites of passage (the different echelons of education, household, work, leisure, travel, socialising, etc). To say that we humans are time-constrained by our frame of reference in relation to time itself is almost an understatement!

Mehinako Bench - Monkey by the Mehinako Tribe, via Xapiri

Meanwhile the same notion of infinity that applies to time also applies to space above and beyond the solar system, with no beginning and no end either. The notion of infinite is baffling for us mere mortals, it is a dimension all to itself that we cannot apply in our lives because we are by essence finite (at least in our body form).

Now as a human, when you hold a vision for yourself and the world, you need to take into account two fundamentally nonmutable parameters that make you stand right against the test of time: (a) the natural entropy (decay, degenerescence, obsolescence) of inanimate objects and the all-encompassing natural environment, and (b) the mortality of living beings, which occurs as the end point of entropy, the latter manifesting itself through ageing process, health problems, accidents, war and conflicts, etc.

Transient occurrence? Scilla autumnalis, Korsika, 1922, via ETH Zürich, photo by Eduard Rübel

If there is one certainty to expect - and accept - from life it is that, no matter what, we will one day cease to exist (at least in this dimension, under the current set-up). Death is not a probability, it is a certainty, a fact of life, a circumstantial expectancy. Even the wealthiest, healthiest, happiest, kindest person on earth will one day die. Pharaohs understood it, which is why they were very keen on prolonging human life into the afterlife, in order to bridge the finality expressed by death and bring on the idea of immortality to the defunct. More broadly, religion is here to help us accept the end of life and open to the probability of redemption and reincarnation. Because the notion of death as the all-consuming be-all and end-all, anticlimactic grand finale, is perceived by most of us as the ultimate human tragedy, we must therefore believe in the possibility of a follow-up, a continuity of sorts.

Transcending mortality in spirit in order to live on in death is one thing, but you can transcend mortality in more prosaic ways, through transmission; passing on a legacy, heritage to be inherited by your next of kin, local community or to civilisation as a whole (values, skillsets, discoveries, physical assets, material goods, hard cash). Leaving a trace on earth as you pass on is not only an act of philanthropy, it is almost certainly a survival skill, a tangible proof of life ('Hey, I was here, look what I accomplished!'), however discrete. It might sound egotistical, yet essentially this is what we all do, whether consciously or not. Depending upon the individual and the circumstances, leaving something behind (as legacy, heritage) may not necessarily be positive and beneficial. Rather it may be morally and/ or physically nefarious: calomny, debt, detritus, a trail of death and destruction... Think about what Nero or Hitler left behind.

Wayana Bead Loin Cloth by the Wayana-Aparai Tribe, via Xapiri

Man standing the test of time in order to defy it has held true from the opening chapter to the History of Civilisation. From those early days on, the visionaries and luminaries of society in their widest scope have made it their goal to channel philosophical ideas, produce material goods and execute architectural constructions that would as beacons of grace and progress collectively advance the human condition and bring progress to society - and have a lasting effect. Think the greats of this world and their accomplishments: The Founding Fathers of America's Constitution, Napoleon's Civil Law Code, Nikola Tesla, Gustave Eiffel, Marie Curie, Louis Pasteur, etc. They materialised a vision for the better good for the now and most importantly for generations to come: legislation, a code of conduct, scientific discoveries. It was part of the organic, natural altruistic evolution of man: to labour for the betterment of oneself and others. Of course this carries on into the present but in Part 2 we shall find out how transience was introduced into our business, production and political model in order to thwart progress, and at the same time unhinge the present into a permanent fixture.

Ideas transcend time. The notion of immortality - or rather the defiance of time within its human constraints - is realised through art, sciences (inventions), applied to objects and constructions that bring a mechanical and/ or aesthetic (beautification) momentum and purpose into our lives and those of generations to come, erecting towers that take us closer to the Heavens and Wisdom. The Seven Wonders of the Ancient World are one example of the socio-cultural legacy that has perdured to this day, if only as accounts (feeding the stuff of myths and legends) or as scattered archeological fragments for most of them - bar for the otherworldly Great Pyramid of Giza, still standing in its time-defying, mystical, enigmatical grace. (to be continued)

Of space and time! Buchenwindform, Vizzavonapass, Korsika 1922, via ETH Zürich, photo by Eduard Rübel

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Transience, Pillar of Modern Society is a 3-part series:  Part 1  |  Part 2  |  Part 3

Write to Your Heart's Content

Who still puts pen to paper nowadays? To those of you nodding a 'Not me', glancing away, or rolling those eyes like I'm out of touch, let it be known: the technological panacea may not apply to our personal communications after all. Time to dust off your stationery pads and replace those dried-out pens. I'm going to show you why this should be done.

Best Wishes from my hometown, via Delcampe

Our handwritten prowesses and the availability of stationery of all styles and denominations (fancy, formal, sober, classical, feminine - you name it), have been seriously put to the test by technological advances that have made it easier and quicker to communicate in our personal affairs the messages, announcements, invitations, RSVPs, thank you notes, letters and the likes. You can even send electronic postcards. Choose a template, tweak it or customise it if you wish to express some form of individuality and creativity, type up a few words and click 'send'.

Here's the catch. Notice how I put 'some form' in italic in the paragraph above. You have no reason to feel smug because no matter the fanciness and advanced level of the graphics, typeface - and/ or interface - the communication will remain purely electronic and robotic. Carrying sentiments in a personnal communication of the sort is doomed to be diluted, lost in the proverbial translation.

Souvenir from my hometown (ibid.)

As much as you try to make it personal and personable, the very essence of the personal touch is missing because the personal finds its perfection in the time, effort and dedication that were put into the making of the letter. This might involve the quirks of the handwritten prose (or poetry for that matter) that makes it uniquely you, the movement of the sentence being carried out by the way you form your characters, and the pauses that make the sentences come alive, breathe. The handwritten carries a letter. The electronic does not. The handwritten makes a letter individual and unique. It is an act of creativity all to itself. The handwritten letter is a one-to-one communication that reflects the commitment of the writer to the recipient. However no matter how much you tweak and customise an electronic file, you will not be able to recreate that individuality, that uniqueness.

Now think about paper, card, envelope, stamp, stick-on embellishments. A letter is physical: it is not just about word content, it involves the type of material it is written on and this too summons feelings: the choice and quality of the paper, its finish, its size and colour, the way it was folded, how the pen glided upon it - or maybe scratched it. How the ink got absorbed into the paper, the blots, the smears, the marks, the fades, the imperfections... Now look at the paper, touch and feel it. What's its condition? Is it soft, delicate, flimsy, thin, thick, embossed, filigreed, crinkled, aged? Does it feel ordinary? Expensive? What is the handwriting like? Neat, perky, flourished, eccentric, messy, illegible, tired? How about the spelling? There is no doubt that a letter carries a lot of meaning. It has more to say than words themselves. It is clear that a letter comes alive when it is handwritten.

ibid.

I remember vividly to this day how during my very first job in a small translation office in England, I used to sneakily type up a letter to my grandma on my fancy Mac computer whenever I had some 'free time' at work. I would then mail the letter to her that very same evening. However what I was doing by means of efficiency, expediency and practicality while genuinely aiming for a letter to my grandma, she would sadly feel that efficiency, expediency and practicality of mine when she opened my letter, and that kind of killed the spirit and purpose of my letters to her. My good intentions were a mixed bag, maybe because as a keen and yet traditional letter-writer, she held the belief that unless handwritten, a letter shall never claim to be that personal and committed.

I agree that a personal letter takes time to write and you have to be in the mood to do it. Yet if you consider it a time-consuming piece of work (a chore even), and look at ways to devise it with efficiency, expediency and practicality in mind, maybe you should reconsider sending that letter at all - or opt for a less ambitious communication: a postcard.

ibid.

No matter what, I believe in rekindling the habit of letter/ card writing. I started the year by sending out a few pretty cards to some family members who I had lost touch with, and to Marie L., a 98-year-old lady friend of my grandma's who I have been visiting lately, wishing them a Happy New Year, enquiring about them and updating them on some personal news. That is a way to show you genuinely care and it will give them - and you - a boost!

Sweet Dreams are Made of This

Traditionally the lead-up to Christmas is sugar-coated bliss. Codename indulgence. It sees confectioners, chocolatiers, pâtissiers and glaciers (*) whip up a frenzy to a feast for the eyes and the palate. In order to experience the finished article, gently shoo the words away from this page for the photos to do the talking, as an inspirational appetizer. If you are dreaming of a white Christmas, you have it here in layers and textures... Layers of whipped cream and peaks of meringue and lashings of royal icing, for the layers of wool and other fabrics are unnecessary: they may safely remain cosied up in drawers!

Calissons d'Aix by La Maison Jouvaud

Amandines by La Maison Jouvaud

The pastry industry at large is empowered at Christmas: excellence is its byword. From muted sweet nothings to the more elaborate gâteaux, excellence seeks and excellence finds! Dusting off classic recipes, resurrecting old favourites, piping a soupçon of innovation into tradition, or throwing caution to the wind in order to surpass itself within the Christmas logs department.

Dacquoise is a great starting point!

Angelina Paris is sooo jolie! (pict source from top left: 1 * 2 * 3). Montage by LBM, assisted by PicMonkey.

French Christmas logs are likely to be nipped and tucked these days, turning their ephemeral works of art into edible covet pieces of couture. Traditionally every pâtissier worth their salt (and sugar) produces a Christmas log masterpiece every Christmastime. The idea is for the log to stand out and get attention. And if it does, it will end up gracing the pages of fashion glossies and reaping accolades. Art meets the palate, fashion gets eaten up... Call it as you please. We end up with a couture collection of innovative, eccentric and even totally crazed-up edible outfits for a log! Talk about edible design unleashed... The sample below is on the conservative side, but Elle has 33 more for you to gawk at!

L'Instant Féérique by Thiriet, via Elle

(*) glaciers = ice cream makers

A Wes Anderson Yuletide

If there is one modern film director who is able to bring Christmas magic to children and adults alike, command your attention and massage your emotion, film maestro Wes Anderson is the man of the action! Expect to be delighted!

via H&M

Swedish fast fashion brand H&M didn't go cheap for its Christmas advertising campaign. It moved away from the obvious and embraced the experiential. No tipsy petticoats or swaying cocktail dresses! Instead it geared itself up as H&M Lines, and took us - courtesy of Wes Anderson - on the train journey of a lifetime. The famed American film director took the H&M brand and accoutrement outside the box and beyond any marketer's expectations to a place of story-telling, of family-friendliness, of style and elegance that might as well showcase upmarket fashion retail and the couture brands, let me tell you! It's all about attitude and how fluid you are about positioning your brand in a highly competitive market.

via It's Nice That

Anderson's signature directorial approach brings together a vintage yet timeless timeline as a backdrop to the storyline: nostalgia without the wallow. The sweeping camera technique frames each scene in its exactitude before neatly sliding sideways or upwards/ downwards to the next scene, taking us for the ride without a bump, bathed in ambient pastel colours that remind the sweet-inclined of those special occasion chocolates dressed in robes of whipped mint creams and rosewater sugar paste. I call it 'Retro Candiland'! Adrien Brody is relishingly moody, like a silent movie actor, and the rest of the cast play their moody, restrained and instrospected selves. They unravel with the plot, shedding the wallflower and warming up, growing on us as likeable characters.

ibid.

Wes Anderson is the ultimate crowd gatherer: the laid-back and the snooty, the young and the less so, the show-off and the parsimonious, the well-off and the lacking, will find themselves in his commercial, should they allow themselves to. Anderson's message resonates clearly too: the company you're in (i.e. the group of individuals) matters more than the presents, and no matter the journey, be sure to enjoy it rather than solely focus on the destination. Christmas goes beyond the one-sided retail relationship of giving and/ or receiving, it is about sharing and enjoying the special moment in togetherness!

via BBC

Trust me that this is one Christmas commercial that will not grate or ire you. It will also write another page in the grand history of brand advertising. It commands multiple viewings and makes you itchy to reach out for your closest and dearest: 'No matter what, I'll be home to you for Christmas! But if my journey takes me off a tangent, a change of direction beyond my control, I might as well make the most out of it.' The short film celebrates the vagaries of life and the little joys to be had along the way.




Meanwhile in his methodical approach, Wes Anderson doesn't lose sight of the child within. There is a little boy in the film, who so resembles Wes as his child alter ego. The little kid has every reason to cheer up as he steps into the lounge waggon. And the marveling little kid is everyone of us. Come together and keep the magic alive!


P.S: The robins are home for Christmas... or maybe not?