Thursday, September 9, 2021

Who wants to live forever? The social care crisis can't be fixed with more money (by Giles Fraser)


Since the beginning of the twentieth century, life expectancy in the West has risen roughly three months per year. In 1900, a new-born child in the US would, on average, live to 47. Now it is about 79; by the end of the century, it will be 100.

Some will call this progress — in sanitation, diet, medicine — as if more is always better. But the cost of this “progress” is rarely factored in.

£12 billion every year is the latest pledge to fix health and social care, mostly for the elderly. But what are we doing with all these extra years?

It depends, of course. Some will work longer; some will have more time with their grandchildren and great grandchildren. Others will be warehoused in care homes, living out their twilight years amid the background smell of stale urine, bored ridged between monthly visits from their guilty children. Many are not like this, but a great deal of them still are. My mother has made us promise we will take her to Dignitas long before it comes to this — and that when we bring her ashes back from Switzerland it will be in a Harrods bag, not a Tesco one. This, apparently, is dignity in dying.

Social care has come a long way since it was conceived in alms houses provided by the church: through Victorian workhouses, state-funded provision in the twentieth century and, more recently, to profit-making private companies. As our population gets older, so the need for such services grows ever larger. It is commendable that the Government is seeking to address the growing cost of social care, albeit through a tax levy that falls disproportionately on the working poor and the young. But the one thing that we are not talking about — and our silence is becoming ruinously expensive — is what a good life, and indeed a good death, looks like.

To put it another way, without a sense of what human life is for, and what its basic natural or even theological rhythms might be, we fall back on the idea that more is always better. Without some sort of agreed understanding that human life exists within fundamental limits, society will inevitably find itself unsustainable.

The idea of growth, of always seeking more, is built into the very nature of capitalism, as it is within liberal progressivism. In a secular society, meaning tends to get replaced by the idea of more; or rather, more becomes the meaning.

It is not a coincidence that just as we are pouring billions into end-of-life care, the fantastically wealthy are seeking their own way of outwitting ageing and death. Amazon founder Jeff Bezos is now throwing his fortune at some comically ludicrous “eternal life” start-up that seeks to keep him alive forever. “Man plans, God laughs”, as the old Jewish proverb puts it. It’s not just that Bezos can’t succeed in this ridiculous vanity project, but that we shouldn’t want him too. Death, after all, gives life its purpose.

The philosopher Martha Nussbaum once asked why it was that the immortal Greek gods would often fall in love with mortal human beings; Calypso with Odysseus, for instance. Her insightful response was that those who can die are capable of things that immortals are not. They are, for example, capable of courage, of risking everything for others on the battlefield in a way that immortals cannot. Indeed, the very possibility of love itself is bound up with the ability to sacrifice oneself for another. A life without the possibility of death becomes some sort of meaningless extension of mere existence — the unbearable lightness of being.

This means that there is no way of solving the social care crisis in purely economic terms. Because one cannot address a metaphysical question through economic policy. Indeed, the very basic question of what human life is for is one that politicians, still less economists, no longer feel they have any use for.

The first stage to recover a basic metaphysical scaffolding would be to reclaim something of that story in which death has some sort of wider significance, rather than being viewed as just some anticlimactic end. Because if having more — going on longer — is the meaning of life in a secular society, then death is inevitably and always some sort of failure. Whereas we would once have said of the dead that they have passed into glory, we now hear the medics apologise that “there was nothing that we could do”. Death was once — potentially, at least — an expression of some ultimate triumph. Now it is the bitter failure of our technology. And whatever we spend on it, no amount of money will overcome this gap.

Death, then, is the political issue we are not talking about. Even after the pandemic, when the daily death figures were broadcast on every news broadcast, we continue to say little about death other than making the uncritical assumption it is always to be avoided.

And so we are sleepwalking into a state of affairs in which the young will resent the elderly for the burden they place upon them. Of course, we should support the generous funding for social care. What we ought to be challenging is whether the medical technologies that are keeping us alive for ever longer complement our understanding of what human existence is for.

But I see little appetite for that. In a secular society, we have few intellectual or cultural resources to challenge the pervasiveness of more-ism. And to live deeper, more meaningful lives is not the same as living longer ones.

Who wants to live forever? - UnHerd


Wednesday, September 8, 2021

 

A story is like a black box – you put the reader in there: George Saunders on storytelling

The US writer George Saunders is celebrated both for his masterful prose and empathic storytelling. A MacArthur Fellow and National Book Award finalist, Saunders’s first novel, Lincoln in the Bardo, was released in 2017 to wide acclaim. In this short video, the author deconstructs what makes for an effective story, and describes his personal strategies for writing, revealing the importance of conversing with your characters, the pitfalls of fixing your intentions in place, and why good storytelling is a bit like being in love.

Directors: Tom Mason, Sarah Klein

Executive Producer: Ken Burns

Website: Redglass Pictures

25 July 2017

A story is like a black box – you put the reader in there: George Saunders on storytelling | Aeon Videos


Thursday, August 12, 2021

Mary Chapin Carpenter - I Have A Need For Solitude (Studio)


I Have a Need For Solitude
I have a need
For solitude
I'll never be
Safe in crowded rooms
I like the sound
Of silence coming on
I come around
When everyone has gone
I have a need
For cool, verdant spaces
Beneath the trees
Secret empty places
Nobody knows
So no one will intrude
I have a need
For solitude
But you can find me, when the light is changing
At that time of day when there's
Little day remaining
You can find me where I've been waiting
Waiting here for you
I never was
The pretty girl in school
I never was
Fast, tough and cool
All I was
All my life it seems
Was hard to love
Harder now to keep
But you can find me, when the light is changing
At that time of day when there's
Little day remaining
I have a need
For solitude
I'll never be
Safe in crowded rooms
I like the sound
Of silence coming on
I come around when all the rest have gone
Source: LyricFind
Songwriters: Mary Carpenter
I Have a Need for Solitude lyrics © Sony/ATV Music Publishing LLC

Sunday, August 1, 2021

THE TRUELOVE (by David Whyte)


There is a faith in loving fiercely

the one who is rightfully yours,

especially if you have

waited years and especially

if part of you never believed

you could deserve this

loved and beckoning hand

held out to you this way.


I am thinking of faith now

and the testaments of loneliness

and what we feel we are

worthy of in this world.


Years ago in the Hebrides,

I remember an old man

who walked every morning

on the grey stones

to the shore of baying seals,

who would press his hat

to his chest in the blustering

salt wind and say his prayer

to the turbulent Jesus

hidden in the water,


and I think of the story

of the storm and everyone

waking and seeing

the distant

yet familiar figure

far across the water

calling to them


and how we are all

preparing for that

abrupt waking,

and that calling,

and that moment

we have to say yes,

except it will

not come so grandly

so Biblically

but more subtly

and intimately in the face

of the one you know

you have to love


so that when

we finally step out of the boat

toward them, we find

everything holds

us, and everything confirms

our courage, and if you wanted

to drown you could,

but you don’t

because finally

after all this struggle

and all these years

you simply don’t want to

any more

you’ve simply had enough

of drowning

and you want to live and you

want to love and you will

walk across any territory

and any darkness

however fluid and however

dangerous to take the

one hand you know

belongs in yours.



Friday, July 30, 2021

Footsteps | Short Doc about a trio of Foley Artists and How Movie Sounds...


Meet the artists who create sounds for movies – and have so much fun doing it

In 1938, the Orson Welles-led radio programme The Mercury Theatre on the Air – now best known for its infamous War of the Worlds Martian invasion scare – adapted Dracula as a radio drama. At Welles’s request, the CBS sound department needed to imitate the sound of a stake being stabbed through a vampire’s heart. After auditioning a cabbage being punctured by a broomstick (‘much too leafy’), Welles instead turned to a watermelon. Lucille Fletcher, writing for The New Yorker in 1940, recalled the session:

Welles stepped from the control booth, seized a hammer, and took a crack at the melon. Even the studio audience shuddered at the sound. That night, on a coast-to-coast network, he gave millions of listeners nightmares with what, even though it be produced with a melon and hammer, is indubitably the sound a stake would make piercing the heart of an undead body.
Today, the practical art of reproducing of sound effects for media is known as Foley – named after the legendary US sound effects pioneer Jack Foley (1891-1967). And as the Welles anecdote above illustrates, the work of these artists has been an essential tool for storytelling since the Golden Age of Radio, when radio dramas had to immerse audiences solely with audio. In Footsteps, the Canadian filmmaker Jeremy Benning explores the work of three contemporary Foley artists – Andy Malcolm, Sandra Fox and Goro Koyama – working out of Footsteps Studios in Uxbridge, Ontario. The trio carry on a tradition that, despite some technological advances, still mostly belongs to the hands, feet and many props of wily sound creators.

Benning’s short documentary offers a charming glimpse into Footsteps Studios’ 25-acre ‘Foley farm’, including the custom-built recording studio at its heart. Located an hour north of Toronto and far from the film industry’s epicentre, this studio is nonetheless one of the most respected in Hollywood. With the movies Cloverfield (2008) and Blade Runner 2049 (2017), the television show The Handmaid’s Tale (2017-), and the video game Red Dead Redemption (2010) among its hundreds of credits, there’s a good chance you’ve experienced their work. Although, as Malcolm points out, if they’ve done their job well enough, you wouldn’t have realised they’d done anything at all.

Foley artists bring stories to life by embodying the noises they create, tapping into our shared intuition for listening. Anything from the sound of a cowboy’s gun going off to something as simple as the squeak of a door hinge is recreated with keen attention to detail. This can be seen (and heard) throughout the film as Malcolm, Fox and Koyama reveal fun and surprising tricks of the trade. Fox likens their work to that of a musician – it’s not enough to simply mimic the sound of a shoe touching the ground, it has to sound three-dimensional, it has to sound human. Indeed, during the radio days, the first ‘sound effects men’ were percussionists recruited from the pit orchestras of movie houses.

In Footsteps, this search for the best sound for any given scenario sparks relentless ingenuity: jello is mashed and gargled to simulate vampires feeding on flesh; an improvised glove fitted with metal fingers is mined to create the sound of a robot’s touch. With perfectionistic streaks rivalling that of Welles, the group is clearly serious about their craft. But the artists’ joy at having found a niche that offers them endless opportunities for invention emanates from almost every scene. A ceaselessly entertaining watch, the film is an uplifting reminder that creative work doesn’t always mean a relentless grind to achieve fame and acclaim – sometimes it can be about striking just the right piece of produce with just the right blunt object.

Written by Tamur Qutab




Thursday, July 8, 2021


Everything Is Going to Be All Right (by Derek Mahon)


How should I not be glad to contemplate

the clouds clearing beyond the dormer window

and a high tide reflected on the ceiling?

There will be dying, there will be dying,

but there is no need to go into that.

The poems flow from the hand unbidden

and the hidden source is the watchful heart.

The sun rises in spite of everything

and the far cities are beautiful and bright.

I lie here in a riot of sunlight

watching the day break and the clouds flying.

Everything is going to be all right.



Wednesday, July 7, 2021

Not the Same River. Not the Same Man (animation by Michelle Brand)


A leaf, a bird and a fisherman animate Heraclitus’ aphorism on flux


It is not possible, said the pre-Socratic Greek philosopher Heraclitus, to step into the same river twice. As the argument goes, the river is made up of constantly flowing waters, for one thing; for another, people themselves are always changing – life experiences accumulating like sediment on a stream bed. Heraclitus was alluding to the idea of flux: that it doesn’t make sense to think in terms of static states of being, but, rather, in terms of processes unfolding over time.


In the contemplative film Not the Same River. Not the Same Man by the German-English filmmaker Michelle Brand, a fisherman takes his boat out to a river, while a bird circles above, and a leaf falls, tracing ripples on the water’s surface. In just a few hand-painted lines of bold blue, black and red acrylic, Brand captures the river’s flow and the fleeting thoughts of the fisherman as they animate his face. Staggered, overlapping frames create an echo of movements just gone by. The pulsing soundtrack, by the Polish accordion ensemble Motion Trio, captures the insistent pull of the water. Both the river and the fisherman are in constant change, but they also transform each other: when the fisherman steps into the river, eddies swirl away from him; and the river washes and soothes his feet, feeds him with fish. A bird, flying in and out of the scene, seems to wait for the chance to catch a fish stirred up by the fisherman’s presence.


Animation, a process that turns static images into movement over time, is an apt medium for Heraclitus’ aphorism. Each frame is hand-painted, so even moments of stillness seem to flicker with the subtle variations in how a line was formed or how the paint dried. No two frames, and no two moments, are identical. Yet, the past leaves its mark on the present, like small waves in the boat’s wake.


Heraclitus’ ideas are known to us only through fragments, preserved in the writings of others, with most of his work lost to time. His aphorism of the river has been picked up and turned over like a pebble in the palms of so many thinkers over the millennia – accruing new layers of meaning through different interpretations. For some, Heraclitus’ ancient theory of flux even seems to have anticipated some of the latest ideas in quantum mechanics.


The idea of impermanence, of fleeting, ephemeral moments, can be a melancholy one for those who would wish to hold on to a cherished state, but the idea of flux also suggest possibilities for new experiences and sensations in the inevitable process of transformation. As the fisherman himself seems to dissolve in fluttering lines of paint, he joins the river on its course – a final metamorphosis wrought by time.


Written by Freya Howarth

Director: Michelle Brand

Not The Same River. Not The Same Man (2017) on Vimeo