The City and the City is a science-fiction novel by British author China Mieville, which explores the concept of two cities that exist in the same physical space but are perceived as distinct and separate by their inhabitants. The book’s central themes of identity, perception, and borders make it a compelling lens through which to view the city of Jerusalem.

Jerusalem is a city that has been inhabited for thousands of years and is home to three major religions: Judaism, Christianity, and Islam. It is a city that is steeped in history, with layers of culture and identity built up over millennia. However, Jerusalem is also a city that is fiercely contested, with competing claims to land, sovereignty, and history. The city is divided into East and West Jerusalem, with each side claiming the city as their own.

Like the two cities in Mieville’s novel, Jerusalem is a city that is divided not just physically but also mentally. The different communities that live in the city often exist in parallel universes, with their own narratives, histories, and identities. The Jewish residents of West Jerusalem see the city as their capital, the heart of their state and their ancestral homeland. For the Palestinians who live in East Jerusalem, the city represents a symbol of their national identity and their struggle for self-determination. The Christian and Muslim communities also have their own unique perspectives on the city, adding to the complexity of its identity.

The separation of the different communities in Jerusalem is reinforced by physical barriers such as walls, checkpoints, and roadblocks. These physical barriers create distinct spaces within the city, which are often defined by their inhabitants’ ethnicity, religion, or political affiliations. These barriers are also reinforced by psychological borders, which are created by the different narratives and histories that each community has constructed for themselves.

One of the central ideas in The City and the City is that the separation of the two cities is maintained by a process of ‘unseeing.’ The inhabitants of each city are trained from birth to ignore the existence of the other city, to the point where they can walk past each other on the street without acknowledging each other’s presence. This concept is reflected in the way that the different communities in Jerusalem perceive each other. Each community constructs a mental map of the city that is filtered through their own narratives and histories, which can lead to a kind of ‘unseeing’ of the other communities that inhabit the same physical space.

The City and the City also explores the idea of identity, and how it is constructed and maintained. In the novel, the citizens of each city are required to wear specific clothing and act in specific ways to reinforce their identities. This is similar to the way that the different communities in Jerusalem construct their identities through dress, language, and cultural practices. The different communities in Jerusalem also have their own symbols and narratives that are used to reinforce their identities and justify their claims to the city.

In conclusion, The City and the City provides a fascinating lens through which to view the city of Jerusalem. The novel’s central themes of identity, perception, and borders are all relevant to the complex and contested city of Jerusalem. The separation of the different communities in Jerusalem is maintained not just by physical barriers but also by psychological borders, which are reinforced by the different narratives and histories that each community has constructed for themselves. The City and the City is a thought-provoking exploration of the way that we construct and maintain our identities and how we perceive the world around us.

The Zen proverb “Awaken the mind by fixing it nowhere” is a powerful reminder of the importance of mindfulness and meditation in our daily lives. At its core, Zen is a philosophy and practice that emphasizes the cultivation of awareness and mindfulness, with the goal of achieving a state of clarity and inner peace.

The concept of “fixing” in the Zen proverb “Awaken the mind by fixing it nowhere” can certainly be interpreted in multiple ways. While the term “fixing” could be seen as implying fixation or attachment, it can also be interpreted more broadly as a means of establishing a point of focus or attention.

When we “fix” our minds in this sense, we are not necessarily becoming fixated or attached to a particular idea or thought, but rather establishing a point of reference or anchor that allows us to remain present and focused in the moment. This can be particularly helpful in the context of meditation, where a specific object of focus – such as the breath – can help to calm the mind and cultivate a sense of inner stillness.

In this interpretation of the proverb, “fixing” can be seen as a means of establishing a sense of clarity and focus, rather than becoming attached or fixated on any particular idea or concept. By fixing our minds in this way, we are able to let go of distractions and cultivate a sense of inner calm and clarity, without becoming mired in thoughts or attachments that might prevent us from fully experiencing the present moment.

Whether seen as a means of fixation or attachment, or as a tool for establishing focus and clarity, the goal of the proverb remains the same – to awaken the mind and cultivate a deeper sense of mindfulness and awareness in our daily lives.

The practice of Zen meditation, or zazen, is a powerful tool for cultivating this sense of mindfulness and stillness. In zazen, practitioners sit in a specific posture and focus their attention on the breath, allowing thoughts and sensations to arise and pass without attachment or judgment. Through this practice, we are able to cultivate a sense of inner stillness and clarity, and to develop a deeper understanding of ourselves and our place in the world.

The Zen proverb “Awaken the mind by fixing it nowhere” also speaks to the importance of letting go of our attachment to external goals and expectations. When we are constantly striving for success or seeking validation from others, we can become lost in a cycle of anxiety and self-doubt. By fixing the mind nowhere, we are able to let go of these external distractions and focus on our own inner truth and wisdom.

Ultimately, the practice of Zen is about learning to live in harmony with the world around us, to cultivate a sense of inner peace and stillness, and to let go of the distractions and attachments that keep us from living fully in the present moment.

Edwin Turner | January 14, 2019 | 9 comments

HIERONYMUS & BOSCH

Paul Kirchner’s Hieronymus & Bosch collects over eighty comic strips that riff on the afterlife of a “shameless ne’er-do-well named Hieronymus” and his faithful wooden toy duck, Bosch. The hapless pair are trapped in Hell, the primary setting for most of the strips (although we do get a bit of heaven and earth thrown in here and there). Kirchner’s Hell is a paradise of goofy gags. The one-pagers in Hieronymus & Bosch cackle with burlesque energy, propelled by a simple plot: our hero Hieronymus tries to escape, fails, and tries again.

And what sins have damned poor Hieronymus to Hell? When we first meet the cloaked miscreant he’s passed out, drooling all over an altar, clearly having enjoyed too much communion wine. An annoyed bishop prods him awake and kicks him from the church doors and into the village, where he proceeds to sin his ass off. Kirchner’s Hieronymus doesn’t quite fit all of the seven deadly sins in this morning (those same sins that the historical Hieronymus Bosch captured so well in his famous table), but he comes pretty damn close. Notably, he steals his comrade Bosch–a toy duck–from some poor kid. The wages of sin are death though, and poor Hieronymus, in a fit of wacky wrath, slips in some shit, falls on his toy duck, and careens into death.

Bad news: He’s in Hell, where hope is strictly prohibited:

And yet there is hope in Hell. The set-up in almost every strip in Hieronymus & Bosch is predicated on hope: Hope of escape, yes, primarily, but also hope for a bit of reprieve, a touch of novelty, a brief moment of entertainment, a flash of human contact. Maybe just a juicy red apple.

But juicy red apples are hard to come by in Hell. The damned are far more likely to encounter shit and piss. Hieronymus & Bosch puts the scatology in eschatology. “People often talk about all the shit they have to put up with in life, so I figured that if they end up in Hell they will have to put up with a great deal more,” Kirchner writes in an essay on the genesis of his latest collection. He continues: “My Hell is less about torment than frustration, aggravation, and humiliation, and shit seemed a good way to depict that.”

Kirchner’s Hell is full of shit: pools of it, moats of it, ice-cream cones full of it. And it’s not just the devils and demons that supply the excrement. No, even more insulting to Hell’s sorry denizens is the fact that they are literally being pissed and shat upon by the angels of Heaven above, a constant source of humiliation. If Kirchner’s vision of Hell is a space of abject indignation, his vision of Heaven is also colored by abjection. In Kirchner’s Heaven, schadenfreude is one of the greatest joys. The angels above are privy to all the punchlines below.

The demons of Kirchner’s Hell are downright sympathetic in comparison to these casually-cruel angels. Sure, the demons torture the damned souls, but they do so with a zany elan that almost comes across as loving. The demons are central to the Looney Tunes energy of Kirchner’s Hell. In each strip they foil our hero Hieronymus, out-tricking the would-be trickster in an eternal cycle of slapstick gags. And just like every other poor soul in Hell, the demons are just out there trying to have fun.

The demons get their jollies torturing Hieronymus and the other inhabitants of Hell by introducing something fun or entertaining to their prisoners, only to convert the potential pleasure into a degrading punishment. However, just as the demons torture the humans in Hell, they too are tortured by the Big Bad, Satan himself.

Satan is an intriguing figure in Hieronymus & Bosch, demonstrating a strangely perceptive ironic intelligence in the handful of strips in which he appears. He’s a creative figure, conjuring new tortures on the fly, and even with all his powers, he too is not immune to the degradation delivered from on high in Heaven. The last strip in the series is a masterstroke delivery of a classic slapstick punchline, but even if the joke is on Satan, Kirchner gives the Dark Lord the last word in Hieronymus & Bosch—quite literally. Satan authors the book’s postscript, an enthusiastic note delivered in the tone of an ebullient CEO bragging about his latest innovations. It’s all quite endearing. Indeed, one of my favorite moments in Kirchner’s strip happens when Satan sees that he’s been mocked. Some culprit (Hieronymus of course) has applied graffiti to the Satanic propaganda that decorates Hell. Instead of tracking down the guerrilla artist for additional tortures, Satan decides to keep the goatee and ‘stache.

Hieronymus’s tactic in this little episode is typical of his main strategy of resistance. Like most tricksters, he’s an artist, and Hell is his creative space. Throughout the collection Hieronymus tries his hand at all sorts of creation: he writes, sculpts, paints, and even puts on a shadow puppet show. Creative action is a form of protest in Hieronymus & Bosch, and there’s an implicit argument here for Kirchner’s readers. Hieronymus might be damned, but at least he’s going to make something out of it and have a little fun.

So hapless Hieronymus tries to have a little fun in Hell, as do the demons, as does Satan. Kirchner’s Hell often erupts with circus energy: there are dance contests and merry-go-rounds, whack-a-moles and magic shows, Punch and Judy shows and carnivals. Of course, these amusements are always tricks—but at least someone’s having fun.

Appropriately, Hieronymus & Bosch has a fun visual style. The work here is a bit simpler than Kirchner’s early surreal Dope Rider strips, and rounder and softer than his bus strips. This isn’t to say that Hieronymus & Bosch doesn’t showcase Kirchner’s affection for surrealism and Escheresque drafting techniques–it does–but the strips in Hieronymus & Bosch show restraint in employing those moves. There’s a cartooniness to these strips that’s reminiscent of a less-frenetic Sergio Aragones or a less-grotesque Basil Wolverton. And while the collection employs occasional motifs from the painter Hieronymus Bosch, Kirchner is not overly-beholden to his strip’s namesake.

For all the simplicity of his design, Hieronymus himself is remarkably expressive. His frowns protest, his smiles plead, his grins show flashes of (momentary) triumph. He’s our human in Hell, and Kirchner imbues him with an heroic spirit, despite his loutish ways. Hieronymus exemplifies the human position as an artistic position, one which opposes the existential despair of living in a world of repetition and boredom. If life often seems boring, repetitive, and even meaningless, it’s up to us to convert boredom into fun, to find meaning in our own creative action. The gags and goofs in Hieronymus & Bosch illustrate that there can be fun in failure, that even if we fail we can get up and try, try again.

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As we stand on the cusp of a new era, it’s natural to wonder what the future will hold. Some people believe that the future will be like the past, that we will continue to make the same mistakes and face the same problems. However, I am of the firm belief that the future will not be like the past, because in the past, the future was never like the past.

Let’s take a look back at history. Time and time again, people have predicted that the future would be like the past. But every time, they were proven wrong. The future has a way of surprising us, of defying our expectations and turning our assumptions on their heads.

Take, for example, the Industrial Revolution. In the 18th and 19th centuries, people were convinced that the future would be much like the past, with rural life continuing to dominate and technology playing a minor role. But the Industrial Revolution changed everything. It transformed the way we lived and worked, and it paved the way for the modern world.

Or consider the rise of the internet in the late 20th century. Again, people were convinced that the future would be like the past, with traditional media continuing to dominate and the internet playing a minor role. But the internet disrupted everything. It changed the way we communicate, the way we shop, the way we consume media, and the way we live our lives.

So, what can we expect from the future? Well, if history is any indication, we can expect the unexpected. We can expect new technologies, new ideas, and new ways of thinking that will change the world in ways we can’t even imagine. We can expect progress and innovation, as well as challenges and setbacks. But we can be sure that the future will not be like the past.

Of course, there will always be those who cling to the past, who resist change and long for the “good old days.” But they will inevitably be left behind as the world moves forward. The future belongs to those who embrace change, who are willing to take risks and try new things.

In conclusion, the future will not be like the past, because in the past, the future was never like the past. We can expect the unexpected, and we should embrace it with open arms. The world is changing, and we have the opportunity to be a part of that change. Let’s not be held back by the past. Let’s look to the future with hope and optimism, knowing that anything is possible.

Suspension of disbelief is a crucial aspect of the movie-going experience. When we enter a movie theater or turn on our screens to watch a film, we are making a conscious decision to believe in the reality presented to us, even if it is entirely fictional. This suspension of disbelief is a contract between the filmmaker and the audience, and it is essential for creating an immersive and engaging experience.

Good filmmaking is deceptive precisely because it hides its own artifice. The goal of the filmmaker is to create a world that feels real and believable, even if it is entirely constructed. Whether through stunning visual effects, expertly crafted sets, or convincing performances from actors, the best films are those that make us forget that we are watching a movie.

The use of special effects is an integral part of this process, but it is important to remember that they are only effective if they are used correctly. The phrase “the thing about sfx is that they lack effect and therefore are not special” speaks to the idea that special effects can only be truly special if they are used in a way that enhances the story and supports the suspension of disbelief.

When special effects are used simply for their own sake, without regard for the story or the audience’s immersion in the film, they can actually detract from the overall experience. For example, if a scene is overly reliant on CGI effects that look fake or unconvincing, it can break the spell of the movie and remind the audience that they are watching a work of fiction.

On the other hand, when special effects are used sparingly and in service of the story, they can be incredibly effective. For example, a well-timed explosion or a subtle use of CGI to enhance a practical effect can add to the overall experience and make the film more immersive.

Ultimately, the key to effective special effects is to use them in service of the story and to support the suspension of disbelief. When done correctly, special effects can be a powerful tool for immersing the audience in the world of the film and creating a truly unforgettable experience. However, it is important for filmmakers to remember that special effects alone are not enough to make a great movie. Story, character, and emotion are ultimately what make a film truly special, and special effects should be used to support and enhance these elements, rather than replace them.

Time is the author of authors. Time is the greatest innovator, time is wine, time is not progress but amount, time is a mighty monarch, to time I’m heir, time will rust the sword of fame, time is a silent sickle but this time it has fallen sleep in the afternoon sunshine

The concept of time has been the subject of philosophical debate for centuries. Time is a fascinating and complex phenomenon that has inspired many poets, thinkers, and scientists to explore its meaning and significance. One of the most compelling aspects of time is its ability to shape and transform everything around us.

The phrase “time is the author of authors” speaks to the transformative power of time. It implies that time is the force that shapes all things, including the works of the greatest authors, artists, and thinkers. Time is the medium through which everything is created, and it is the ultimate arbiter of what endures and what does not.

The idea that time is the greatest innovator speaks to its ability to drive change and progress. Throughout history, time has been the catalyst for countless innovations, from the development of agriculture and the wheel to the creation of the internet and space travel. Time is constantly pushing us forward, driving us to discover new technologies, new ideas, and new ways of living.

“Time is wine” suggests that time can be savored and appreciated like a fine vintage. Just as wine ages and improves with time, so too can our experiences and memories become richer and more valuable as they accumulate over time. The phrase also speaks to the idea that time is something to be enjoyed and celebrated, rather than simply endured.

While time is often associated with progress, “time is not progress but amount” implies that the value of time is not in how much we achieve or how far we go, but in the sheer amount of time we have to experience life. Time is a finite resource, and each moment we have is precious and irreplaceable. It is up to us to make the most of the time we have, rather than simply trying to accumulate more of it.

“Time is a mighty monarch” emphasizes the power and importance of time. It is a force that rules over everything, from the smallest cells in our bodies to the largest galaxies in the universe. Time is an unrelenting force that cannot be stopped or controlled, and we are all subject to its dictates.

“To time I’m heir” acknowledges our relationship to time. We are all heirs to the passage of time, and it is up to us to make the most of the time we have. We cannot control time, but we can control how we use it. By recognizing our relationship to time, we can live more purposeful and meaningful lives.

“Time will rust the sword of fame” suggests that even the greatest accomplishments and achievements will eventually be eroded by the passage of time. Time has a way of leveling the playing field, reducing everything to the same level of insignificance. While our accomplishments may be impressive in the moment, they will eventually be forgotten or overshadowed by the march of time.

“Time is a silent sickle but this time it has fallen asleep in the afternoon sunshine” captures the paradoxical nature of time. While time is often thought of as an unrelenting force, it can also be slow and languid, like a warm summer day. This phrase suggests that time can be both a source of comfort and a harbinger of change. It is a reminder that, even as time marches on, there are moments of stillness and peace that we can savor and appreciate.

The experience of psychosis is often misunderstood by those who have not experienced it firsthand. There is a common misconception that the psychotic individual is simply imagining things or “thinking” that they are seeing or hearing things that are not there. However, this is far from the reality of the situation.

The truth is that the psychotic individual does, in fact, see or hear things that are not there. This is not a matter of imagination or “thinking” that something is there when it is not. Rather, it is a matter of the brain receiving sense data that is not actually present in the external environment.

This experience is known as an hallucination, and it is a hallmark symptom of psychosis. Hallucinations can take many forms, including visual, auditory, tactile, and olfactory. They can be experienced as vivid, lifelike images or sounds that are perceived as real by the individual experiencing them.

It is important to note that the experience of an hallucination is not manufactured by the brain in the same way that imagination is. Imagination is a creative process that involves the conscious mind generating mental images or ideas. In contrast, hallucinations are experienced as if they are real and are perceived by the brain as actual sensory input.

This is why it is incorrect to say that the psychotic individual is only “thinking” that they are seeing or hearing something that is not there. From their perspective, they are perceiving something that is just as real and tangible as anything else in their environment. This perception is not something that they can simply turn off or ignore, but rather it is an integral part of their experience of the world around them.

Furthermore, the individual experiencing an hallucination may act in response to it in a way that seems logical to them, just as we act in response to our own sense data. This may involve interacting with the perceived object or responding to the perceived sound as if it were real.

In conclusion, it is important to understand that the experience of psychosis involves more than simply “thinking” that something is there when it is not. The hallucinations experienced by the psychotic individual are received by the brain as actual sensory input and are perceived as real and tangible. It is important to recognize and understand this experience in order to provide effective treatment and support for individuals experiencing psychosis.

Software has become an essential part of modern life. From the devices we use to the applications we rely on, software has become the preferred interface with reality for many people. However, this preference comes with limitations that are often overlooked. The reality is that software is trapped in modernity, and as a result, the best vantage point we have is limited to seeing the universe from one angle. Unfortunately, this limited perspective often leads to individuals arguing for why their angle is the angle everybody else should be using.

One of the biggest limitations of software is that it is created by humans who are products of their time. This means that the software is often limited by the biases, beliefs, and worldviews of its creators. As a result, the software may not be able to represent or understand the complexity of the world accurately. For example, many facial recognition algorithms have been shown to be less accurate when identifying people of color or women. This limitation is due to the bias of the programmers who created the algorithm.

Another limitation of software is that it is often designed to solve a specific problem or set of problems. However, the world is complex and ever-changing, and software cannot always adapt to new situations or contexts. This means that software can become outdated quickly, which can limit its usefulness. For example, software that was designed to work on older operating systems may not function correctly on newer systems.

Furthermore, software can be limiting in terms of the user experience. Many software applications are designed with a specific user in mind, and as a result, they may not be intuitive or accessible to others. For example, a software application designed for a technical audience may be challenging for someone without a technical background to use.

The limitations of software mean that the best vantage point we have to see the universe is limited to one angle. Unfortunately, many individuals who use software often argue that their angle is the only angle that should be used. This argument often leads to a lack of diversity in perspectives, which can limit our ability to understand and solve complex problems.

In conclusion, software is a vital tool in modern life, but it is not without limitations. Its limitations are due to its creators, its narrow focus, and its limitations in terms of user experience. These limitations mean that the best vantage point we have is limited to one angle, and as a result, individuals often argue for their angle as the only perspective that should be used. To overcome these limitations, we must acknowledge the biases and limitations of software and work towards creating more diverse and inclusive software applications that can adapt to the ever-changing world.