Neuroscience can’t rob us of responsibility for our actions, but it can relieve us of guilt for simply being human.
When the young directors of the French New Wave burst onto the scene, in 1959 and 1960, they quickly found that their plan to “take over” the French movie industry (as Eric Rohmer put it) was a double-edged sword. Regardless of their artistic intentions and ingenuity, they were subject to the norms of the industry—the demands of producers, the caprices of stars, the wrath of critics, the law of the box office. It was a fearsome arena that these young intellectual gladiators entered naïvely, on the assumption that its lions were decrepit and would slink away quietly. In retrospect, the sixties come off as a glorious moment of innovative French filmmaking, but the New Wave directors all faced varieties of deep trouble, many of which come to the fore in “Contempt,” where Godard poses a terrifying question: What the hell is an intellectual doing in the movie business and why in the world does he think he can survive it?
As he navigates a way back to his home planet, Riddick mopes around, slays amphibious water monsters, and injects himself and a hyena pup with a kind of performance-enhancing serum. At about the 35-minute mark, competing bounty-hunter teams arrive for Riddick’s head. All one can say to that is bwah-ha-ha.
The funny thing about these restoration projects is that if they’re done correctly, like the Wizard of Oz, you’ll see it on a big screen or for Blu-ray authoring, and an older person will say, ‘It’s just the way I remembered it’—but it’s infinitely better. The color never looked that good. But to the audience it’s just perfect—you’ve recaptured what I remember.
The kinds of truth that art gives us many, many times are small truths. They don’t have the resonance of an encyclical from the Pope stating an eternal truth, but they partake of the quality of eternity. There is a sort of timeless delight in them. And it’s that timeless delighting, the timeless rightness of a little thing or the resonant rightness of a bigger thing—that’s what it can do. Let a blind up for a moment.
The stark reality is that, as exposed and scrutinized as we now are, we will probably never be less visible than this. It will only escalate.
In a time of violence, the task of poetry is in some way to reconcile us to our world and to allow us a measure of tenderness and grace with which to exist.
The major difference between the iPad mini and my original iPad, purchased in 2010: I’m still actually using this one every day, almost a year after I bought it.
I love reviews like this — one’s done after spending a long time with something. I’ve done them myself before.
Much of what is said here resonates with my usage as well. Then iPad mini is a very purpose driven device for me and I find many cases daily where it serves it.
I’m guessing I’m with them on this.
Each novel encryption effort generated anxiety. When Mr. Zimmermann introduced the Zfone, an encrypted phone technology, N.S.A. analysts circulated the announcement in an e-mail titled “This can’t be good.”
Interesting that Microsoft and Apple seem to have traded places.