Crucial Curation

Those who have followed this blog for a while, know of my love-hate relationship with social media. I have been on and off social networks — as if I was punishing the networks — when I got upset with the nature of conversation and interaction that people on the network were having.

The network is inert.

Lately, without wanting to do so, I have been away from the networks. [To be clear, I do not consider WordPress as one of them]. It’s almost impossible to be on a network without taking sides. And if you do not take a side, variants of history’s accusations are hurled at you from all sides. Taking sides is worse; the enslavement is unbearable.

While this phenomenon is obvious and in-your-face on digital social networks, it is not limited to them. Shoot first and ask questions later is becoming the norm. Everyone wants to be the quickest draw in the West. And the East. And the North and the South. Amit referred to it as a left-right mud-slinging contest in a recent Twitter thread. It’s not. It’s fact-slinging. Apparently different types of facts. Alternative facts. Your facts. My facts. True facts. Baseless facts. Useless facts. (Yes, I have read people use these pairs).

We are fast losing the ability to discern between opinions, suggestions, ideas, rhetoric, humour even. All these, and more are being abstracted as statements, open for the rest of us to vilify, mock, abuse, and in general – demean. We do not have the time to pause and refer to context. And even if we had the time, where is the context? In less than three minutes we send eight tweets on seven different themes. How does a reader get the context? When does the reader get context?

There is also the question of the platform. Take Twitter, because I have mentioned it a couple of times now. Most of us readily blame the platform for this phenomenon.

The platform is inert.

It has no means or the capacity or the intelligence to expose us any more than what we publish to the platform. The one thing that it has enabled — is give voice to everyone. In these times when voice is free, there’s a dash to be heard. Me, me, me! But no one listens, because everyone is busy talking. And one thing is clear: mostly, people are angry. And it seems like old anger, one which was voiceless so far. And it has become ugly and rotten.

Unlike the different types of facts, that we believe in, we don’t believe that there are multiple truths. We do not have the patience for any truth to reveal itself. Fleeting gratification appeals to our ever shortening attention spans.

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Jama Masjid, Kalburgai (Gulbarga)

Jama Masjid, Kalburgai (Gulbarga)

All is not lost however, as apocalyptic this post may sound: as long as you curate.

There are many people who are spreading joy (not by mis-attributed feel-good hackneyed cheesy-quotes on mushy-stock-images) but, by just being themselves, sharing life experiences. These are statements in the true sense. They carry with them, no attributes of opinions, suggestions, and such. There is no compulsion to engage. In this case, the consumption is the engagement.

That’s where curation becomes crucial.

This is not to say that we become unaware as citizens and humans. What’s wrong must be righted.

In the real-world. Not on Twitter.

It Ends with You: #ANTHEM 18

Well, it’s not really the end, so to speak. It’s not really the end as much as it is the limit. At least in this song. While the song keeps saying that you are the end – that is not what it means. We are apt to get lost in the literal meaning. And we should be careful. Love knows no end. If it did, it would be so small, so little, so less in meaning – I wouldn’t be love.

17.02.03: For the Love of Red

Living this life that I have lived, I have discovered, it’s not so. Love has limits, ends, boundaries. Unfortunately it has a start and an end, for those who choose to be in love or not. Not for a lover, however; the lover is always in love. You can throw restrictions and strictures at a lover — that person will continue to love, by throwing away the net of conventions.

 

For my readers who do not know Hindi, here’s the translation.

This song states the limit of love; there should be a poetry of how love starts. How it begins. How it is sparked.

That’s just me. But, This song has been on the top of my various playlists. For the first time, it is not the lyrics, but the sense of the song that is making sense. There are people who do not want, necessarily, to be in love. But they need a sense of it.

You can either define limits or you can define love. Not both.

For them, these limits may make sense. For the rest of us..

… ah, well…

It’s Love!

The Man in the Plane

Location: 33K feet above sea level; somewhere over Rajasthan.

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Saw an oldish man taking notes in the flight today (Today is relative; this happened a year ago, 4 Feb, 2016, to be precise).

Two books for reference. And another small notebook, with thoughts perhaps. He had some interesting method of referencing, as he flipped back and forth between the pages of the notebook, he seemed to find exactly what he was looking for.

What is the origin of our questions? Is it how we see ourselves or is it how we see others? How do we know ourselves? As ourselves or as a reference to others? Are these the questions of identity? Of experience? 

There is some romance in the academic rigour, as I’ve experienced it, off late.

3445: Elphinstone College
Everything that we learned in school and college needs to come back.

Fast!

A Vintage Moment

Not this one. This is just a moment in time; now.

Window Frame

In due course, it will be a vintage moment. When something wonderful was thought of and created, even if it was just in the tightly confined vast mindspace unlimited possibility.

Return of the Rhythm

Writing here feels a bit weird, now. Using a keyboard, i.e.

A couple of hours ago, I completed a handwritten assignment: over 11,000 words, in seventy-five pages. The wrist and the fingers feel different; rejuvenated, or something like that. Like the return of an old memory; only that the sense of the memory is physical.

When I got to know about this assignment, I was a bit surprised. In this age and time? Handwritten assignments? That too, these long? I mean who does that anymore! A friend even called it regressive. And she would be right. But I decided to go through it. If nothing; as an experience.

When I finished the first three pages, I was not sure I’d be able to complete. The wrist and the fingers were ready to fall off. And I posted a picture of the pages that I had written, on Facebook, and wondered socially aloud, if I could complete it. Like an angel that she is, my English teacher from school, saw that post and asked me to keep at it. All through, whenever I talked about this — with friends and family — all I saw were congratulatory thoughts and lots of “thumbs ups.”

20161213_175457-01

The first seven – eight pages were painful, to say the least. And they were excruciatingly slow. Somewhere around that time, I found my rhythm. The muscle memory, which I thought I had lost, forever, kicked in. Ink started flowing on paper. The speed of my thought and the speed of my writing, found harmony. It was sweet music and dance. Fond memories of learning, discovering new things, surfaced slowly and put me in a happy place.

I am glad I didn’t give up.

Thank you, you know who you are.

PS: This post is a measly three-hundred and thirteen words. Perhaps this assignment was more than just a submission for my course-work.

209 pages

This book that I am reading. A mass market paperback. It’s called “What is History?” by Edward Hallett Carr. I started reading it on 10th October, this year; am on page 112, now. That seems like an achievement to me. So, as is my nature, I posted this update on Goodreads, and it showed up on my Facebook feed. (Not magically; I’ve given Goodreads permission to publish on Facebook on my behalf.)

Of all the people who saw that post, it was picked up by my English teacher from school, and she commented, “Atul, keep up the speed.”

Disclaimer: She is my favourite teacher of all times and I am her favourite student of all times. (Irrespective of the thousands of kids she taught after I completed high school. A few of these thousand kids may have been good, but I am her favourite, I am sure. Let’s not dwell on the fact that I didn’t make it to Editor of the school magazine, in my last year. Those were purely technical issues.)

More than twenty-five years later, she keeps tabs on what read and write. On my previous post, she said, “Well tried.” That was a message, if I ever got one. That’s who and how she is; she always pushes you forward.

You are never as good (or bad) as what you just accomplished, you are as good as what you can achieve.

Perhaps, that was her mantra for all of us. Perhaps that’s why I am not as lost as I think I would have been, otherwise.

20161129_222808

Back to the book.

This book is about Historiography. Unlike most facile stuff that I once used to read, it’s not an easy read. Here’s a sample:

This is the real indictment of those who seek to erect a super-historical standard or criterion in the light of which judgement is passed on historical events or situations—whether that standard derives from some divine authority postulated by the theologians, or from a static Reason or Nature postulated by the philosophers of the Enlightenment. It is not that shortcomings occur in the application of the standard, or defects in the standard itself. It is that the attempt to erect such a standard is unhistorical and contradicts the very essence of history. [E. H. Carr, What is History?]

As is obvious, such a paragraph takes time (for me, at least). The idea in itself is quite simple and straightforward. The manner in which it is presented seeks that the reader be involved with heart, soul, and mind.

So, yes, I’ll complete this book. Soon enough, for it’s the kind that needs to be savoured.

And that’s the speed. Thank you Ma’am!

Writers & Carpenters

Writing is difficult. Writing well, is another matter altogether.

Carpentry is difficult too. Carpentering well, is another matter. Just like writing well.

Writers get distracted; just like carpenters. Writers and carpenters have their own means of getting distracted. Writers get distracted by style, grammar, method, medium, and such. Carpenters think of paint, cuts, design, trends, and such. (Needless to say, I am making things up for carpenters. I am not a carpenter. Though I would have liked to be one. Come to think of it, I am, perhaps, making things up for writers too!)

When distracted and diffused*, writers write nonsense or trite passages and carpenters make bad furniture or misaligned shelves. And this distraction is perhaps important. For writers and carpenters. It offers an opportunity to move away from the known, experiment, make mistakes, fail (often miserably), learn, and therefore, create something new.

6172: Buddha

After all the wandering through the land of distractions, however, the writer and the carpenter return. To the place where they started. Everything is the same, but nothing is. The intercourse of familiarity and strangeness is at once comforting and disquieting. This conflict is beauty’s birthplace.

The carpenter creates a writing desk for the expression through words, as the writer would, and the writer measures and assembles his words as the carpenter would. The open window is witness: to what the carpenter would like the writer to see and to how the writer sees what the carpenter intended.

It may not happen at first, but it is a stage for success.

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* Kathy’s Song, Paul Simon