“An anthropologist proposed a game to children in an african tribe. He put a basket full of fruit near a tree and told the children that whoever got there first won the sweet fruits. When he told them to run, they all took eachothers hands and ran together, then sat together enjoying their treats.
When he asked them why they had run like that when one could have had all the fruits for himself, they said ‘UBUNTU, how can one of us be happy if all the others are sad?’ (‘UBUNTU’ in the Xhosa culture means: ‘I am because we are)”
So beautiful :)
I know I have already shared my today’s dose of inspiration, but I just had to share this one little excerpt from Ken Robinson’s book Out of Our Minds:
Some weeks before our son started at university in Los Angeles, we went along for an orientation day. At one point, the students were taken…
Post-racism America is a myth
I still wish he’d been Spiderman.
This is resonating with me very strongly right now…
Reaching your limits as a human being is, at first, disappointing and embarrassing.
Then, after reflecting on those limits, it can be truly humbling, give you a sense of clarity, and feelings of freedom.
Written by an 8th grader
WHAT THIS IS AMAZINGI’m blown away, wow.
This is really cool!
A Handy Tip For the Easily Distracted - by Miranda July
I really love Miranda July’s work, there’s just something about it that really clicks with me. Maybe it’s the fact that it’s just so bizarre it’s entertaining. One of my all time favorite movies (that no one’s ever heard of) is Me You and Everyone We Know. Last time I checked, it’s on Netflix for free, go watch it…just be ready for the weirdness. It’s in that weirdness though that truly beautiful storytelling comes out. The following is from the article behind this video on Nowness (p.s. The Future was released years ago, it’s also on Netflix, although I liked MY&EWK better)
Miranda July: The Future
The Artist and Filmmaker Presents An Exclusive Vignette Inspired By Her Magical New Film
Miranda July dreams up an idiosyncratic solution to the interruptions of modern life in “A Handy Tip for the Easily Distracted.” An offcut from July’s latest film, The Future, the scene has been reconstituted by the actress, writer and filmmaker for NOWNESS, complete with a score by David Byrne collaborator Steven Reker. July drew on her performance art piece, “Things We Don’t Understand and Are Definitely Not Going to Talk About” for her sophomore feature; it follows 2005’s Me and You and Everyone We Know, which won the Caméra d’Or prize at Cannes. The film’s plot centers on LA couple Sophie (July) and Jason (Hamish Linklater), whose decision to adopt the sickly stray cat Paw Paw sees them grapple with the impending responsibility of the pet’s care. This being a July vehicle, things take a characteristically kooky turn, with Paw Paw stepping in as narrator, and the couple embarking on a quest to seize the day: Sophie strives to reach her artistic potential by creating a definitive dance number, and Jason hands his future over to fate, following “signs” from the universe. We spoke to the prolific July, who has also exhibited as a performance artist at the Guggenheim and the Whitney Biennale and written for publications including The Paris Review and The New Yorker.
Why didn’t the scene above make the final cut of The Future?
This scene was meant to make it clear that Sophie was struggling against distraction, after losing time on YouTube—we all know how alluring these distractions are, and here we are seeing her attempting to take charge. I had her rig up a grape juice booby trap. In the next scene, which is actually in the movie, you see her run past the table and her white dress is covered in grape juice, which seemed like a funny visual way of showing that she had sacrificed the dress for the internet. Except that nobody got the whole grape juice trap. I don’t think a single person understood why she was doing any of it. It just seemed like a bizarre performance in the middle of the movie. So I cut it. It’s nice to show it here, and hopefully with the cards it isn’t too mystifying.
What compelled you to tell a story so focused on temporality?
It didn’t start out being about time, but the longer it took to make, the older I got and the more pressure I felt. It was made more acute by me being in my mid-thirties—a very particular time in any woman’s life.
Can you sum up what the movie is about for you?
My work is never only about the story—it is always about what is inside the people who are in the story. But, in the most basic sense, it’s about time: getting through it, minute by minute, stopping it, and the end of it, death.
You’ve said that The Future is your version of a horror movie. Can you explain why?
The character I play in the movie fails to make the dance she sets out to make, and then flees her life. She moves to a world where she will never have to try and fail again. No one cares if she’s creative there. This is a sort of horror movie for a person like me, who has created her sense of self through making things. But it’s also a fantasy: a fear-fantasy.
I need to do this! If only I could put the internet under a bowl…
Both Sherlock and Elementary on TV at the same time!!! What to do, what to do…
I need to get to know London again.
Great season opener! A little unwieldy, but soooo fun :D