What do you think is the most important among what you learned from the master chef “Jiro Ono”?
Rei Masuda: It is a professionalism, anyway whether on work or a way of life. Honestly, I think that anyone can cook sushi if trained as long as a year or so. However, Jiro always thinks about how to make customers eat his sushi better and how his sushi can become more delicious. Even now when he turned 91 (at this interview in November 2016), I think his attitude is really amazing. It leads to the current reputation of Sukiyabashi Jiro. There are various kinds of chefs in the world, and I think some people are doing for money, but Jiro has no intention of making money. He just likes to work. He just wants to see the customers’ happy face. In shot he is an old-fashioned “artisan”. I really wish to become an artisan like Jiro.
Source – https://pocket-concierge.jp/blog_en/topchefinterviews_002_sushimasuda/
When you experience that heartbreak and humiliation, are you able to make it useful in your work?
David Whyte- I would certainly say so in poetry, and I hope it’s so in human relationships too. I’ve learned there’s a cycle of grief in every art form and relationship. When I finished my last book of poetry, Pilgrim, I realised the tide was about to turn, so I started writing furiously.
There’s that great line at the end of As You Like It, where Shakespeare says: “The words of Mercury are harsh after the songs of Apollo.” The songs of Apollo have poetry and lyricism, and Mercury is the messenger god who is getting the work out in the world—through printing it and reading it. I remember when I suddenly wrote a poem in a very different voice and I knew that particular tide was over. There was a kind of a beautiful, poignant grief to it. At the same time there was a sense of completion and harvest, and a sense of thankfulness.
If you read the great German-speaking poet Rilke, around the Duino Elegies, he had an experience of this visitation—of an enormous tidal current of creativity and presence and then the sense of suddenly being left. This feeling of being left is just the fact that you don’t recognise the new territory. You’re meant not to know. I think one of our great tasks as human beings is to find the part of us that is big enough for life, that can put its arms around the part that finds things difficult, that wants life to be different.
Source – https://www.dumbofeather.com/conversations/david-whyte-is-an-everyday-poet/
Q: You describe a dramatic case in which some American researchers traveled to India and basically co-opted time-honored and widely known folk-remedies for purely commercial purposes.
Shiva: Absolutely. I have called this phenomenon of stealing common knowledge and indigenous science “biopiracy” and “intellectual piracy.” According to patent systems we shouldn’t be able to patent what exists as “prior art.” But the United States patent system is somewhat perverted. First of all, it does not treat the prior art of other societies as “prior art.” Therefore anyone from the United States can travel to another country, find out about the use of a medicinal plant, or find a seed that farmers use, come back here, claim it as an invention or an innovation, take a patent on it, and grab an exclusive right to the use of the products or processes that are linked to that knowledge.
Q: A lot of your work and ideas focus on intersecting forms of oppression—class, patriarchy, colonialism. How do you overcome those oppressive forces? How can you convince someone to cede authority or resources?
Nawal-El-Saadwi-[Laughs.] Well, it’s very difficult. This is everyone’s struggle—whether against men in the family, or against capitalism. It’s power. I don’t think that people in power can be convinced by words or articles. They will never give it up by choice. Even a husband in the house, no—power has to be taken with power. Mubarak resigned because the people showed their power. If it had been only a few hundred protesters, he would never go, but because it was 20 million, the whole country, he had no choice. You can’t eradicate power with weakness. Knowledge and unity—these were power in the hands of the people.
Within a household, the individual woman must have power. It’s not easy—it means political rights, economic independence, knowledge. A lot of women are afraid of loneliness, so when they see a woman who can live alone, then they think, “Hmm, I can do that.” But you need an example, and that is why I am proud to say I have divorced three husbands.
Q: how much of why we should delete social media is inherent in social media versus how it’s been developed so far? Is there a way to isolate the good parts of social media?” You’ve talked about this.
Jaron Lanier : Yeah, I very strongly feel that we can isolate the good parts of social media which are very real and very true and just cut off and incinerate the bad parts, and the bad parts can be described very clearly as a manipulation engine. It’s the algorithms that are measuring you and then calculating what you should experience in order to change your behavior according to an algorithm. It’s that manipulation engine that’s the problem. It’s not the smartphone. It’s not the general idea of social media. It’s not the general idea of the internet. It’s none of those things. It’s really the manipulation machine. And that’s the thing that needs to be shut down.
Source : https://www.recode.net/2018/7/27/17618756/jaron-lanier-deleting-social-media-book-kara-swisher-too-embarrassed-podcast
by Ten Arguments For Deleting Your Social Media Accounts Right Now
Shank: I happen to be reading “Farmer Boy” by Laura Ingalls Wilder to my daughter while I was also reading “The Glass Cage,” and I was struck by a scene in which Almanzo, the farmer boy of the title, asks his dad why they slowly thresh the crops by hand on stormy days in winter, rather than hiring the threshing machine that would finish the job quickly. His dad says, “All it saves is time, son. And what good is time, with nothing to do? You want to sit and twiddle your thumbs, all these stormy winter days?” This book is set in the 1800s, when it was possible for a family farmer to make that kind of quality-of-life-over-efficiency choice. Is it possible to make such a choice in the modern world?
Carr: That’s a lovely passage – I wish I’d been aware of it while writing the book. It would have served well as an epigraph. It gets to the heart of one of my central arguments: that technology in general and automation in particular shape our experience of life and hence our sense of engagement and fulfillment. We’re often too quick to believe that if we’re “freed up” from hard work, we’ll enjoy life more, but the opposite often turns out be true. When things become too easy for us, we become self-absorbed and anxious. True freedom comes from accomplishing hard things, from being busy at some meaningful task in the real world. As I write in the book, “Automation often frees us from that which makes us feel free.” I do think that, for economic and employment reasons, it’s becoming harder for people to resist labor-saving technology. At the same time, though, we’re seeing young people getting involved in small-scale agriculture and various handicrafts, often using more traditional, less automated tools. So all is not lost. Resistance is not futile.
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Playboy: In terms of modern art, critical opinion is divided about the sincerity or deceitfulness, simplicity or complexity of contemporary abstract painting. What is your own opinion?
Nabokov: I do not see any essential difference between abstract and primitive art. Both are simple and sincere. Naturally, we should not generalize in these matters: It is the individual artist that counts. But if we accept for a moment the general notion of “modern art,” then we must admit that the trouble with it is that it is so commonplace, imitative and academic. Blurs and blotches have merely replaced the mass prettiness of a hundred years ago, pictures of Italian girls, handsome beggars, romantic ruins, and so forth. But just as among those corny oils there might occur the work of a true artist with a richer play of light and shade, with some original streak of violence or tenderness, so among the corn of primitive and abstract art one may come across a flash of great talent. Only talent interests me in paintings and books. Not general ideas, but the individual contribution.
Source : http://reprints.longform.org/playboy-interview-vladimir-nabokov