The Brooklyn Film Society has been organizing the Brooklyn Film Festival for decades, providing a public forum for the local community to view an extraordinarily wide range of national and international films. Scheduled from May 29 – June 7th, the 23rd edition of the festival features 6 categories of films: Narrative Feature, Narrative Short, Documentary Feature, Documentary Short, Animation, and Experimental.
The primary difference from past editions is the venue… all the films will be available on line, free of charge. So sign up following this link – and enjoy!
Just a few months ago, nobody, not even the most daring sci-fi screenwriter, could have predicted the current situation and/or the extent of the COVID-19 takeover. Besides the fact that we are all still dealing with the basics and a resolutive approach feels still far away, one thing seems certain: we won’t be able to go back to the pre-virus thinking and lifestyle anytime soon. The fear of the “invisible danger” that threatens our life is radically modifying our own life routine and the way we deal with our neighbors. It is a “Turning Point” in history. It is a moment that will ultimately reveal who we are as human beings. The Brooklyn Film Festival, with its 2020 event, plans to highlight and dissect people’s character and problem solving attitude as it shifts from one time zone to the next. The international role BFF has always played on the world’s stage, will now come truly handy while with our film lineup we travel from one corner of the planet to another. “Turning Point” is about refreshing our own point of view. It’s about rethinking our old assumptions and learning from the people who share our screen whether they live in a different continent or across the street. “Turning Point” is about reinventing our planet and our life.
I visited the Nelson-Atkins many times in recent decades when visiting family in Kansas City. I never visited the Kansas City Zoo because, while I am grateful for the essential services zoos can provide, animals in captivity generally depress me. Our son Milo and his 3-year old daughter were in Kansas City just after Amie and I visited in late February. With grand/great grand-parents they visited both the Nelson-Atkins and the Kansas City Zoo. The zoo was a huge hit with our grand-daughter, and I am grateful to that zoo for her exposure to live animals she might never otherwise get to see.
I did not know before just now what exceptions might exist to my general rule of avoiding even images of wild animals in captivity. I have discovered one. I suppose on reflection I will probably change my mind, but for now I stand by the idea that the directors of these two institutions are doing their best in tough times to find creative solutions for everyone:
Kansas City Zoo executive director Randy Wisthoff says their Humboldt penguins have missed their regular interactions with zoo visitors, so a field trip was in order.
Gabe Hopkins/The Nelson-Atkins Museum of Art.
Penguins were allowed to waddle through the galleries of Kansas City’s Nelson-Atkins Museum of Art. Both the museum and the Kansas City Zoo — home to the penguins — have been closed because of the pandemic.
The Nelson-Atkins Museum of Art.
What a time to be a penguin.
First, a group of the flightless birds were recently allowed to roam the halls of Chicago’s Shedd Aquarium — a through-the-looking-glass moment if there ever was one.
Now, penguins visited a museum for a “morning of fine art and culture.”
The outing was arranged by The Nelson-Atkins Museum of Art in Kansas City, Mo., and the Kansas City Zoo. Both institutions are closed to the public because the pandemic.
“Quarantine has caused everyone to go a little stir-crazy, even the residents of the Kansas City Zoo. So several of the penguins decided to go on a field trip to the Nelson-Atkins, which is still closed, to get a little culture,” said a caption accompanying the video. Continue reading
March 8, 2020 will remain a memorable date for me. I was walking down the mountain to pick up something from the store, and I came upon this gathering close the location where the feria happens in Escazu.
It will remain memorable because I was aware of the growing crisis in other parts of the world, but at this moment did not yet see it in perspective. Nor, on this lovely morning, did I have reason yet to think about family farms the way I am thinking about them today.
Amy Lombard for The New York Times
Thanks to Steven Kurutz, whose first two appearances in our pages (6 and 4 years ago, respectively) prepared us well for this charming news:
“Visible mending” has been taken up by those who want to protest fast fashion and disposable culture. It’s also thrifty.
Amy Lombard for The New York Times
Only a few generations ago, socks were routinely darned, sweaters mended and pants patched. You could buy a sewing kit at any drugstore. Knowing how to use it was a mark of good housekeeping.
Kate Sekules, 58, remembers that world, in which the act of repairing clothes was integral to wearing them. “My mother was a dressmaker to the end of her life,” said Ms. Sekules, who grew up in England. “My mother just mended as a matter of course.”
Ms. Sekules has kept up that thrifty tradition. She started one of the earliest secondhand online clothing exchanges, Refashioner. She buys all of her clothes vintage and mends them all, including her husband’s moth-eaten sweaters. Continue reading
ENZO PÉRÈS-LABOURDETTE / YALE E360
It is commonplace belief that music from our youth influences our taste in music for the rest of life, and that no music ever displaces the favorite music of our late teens and early twenties (this is lore, admittedly, not science), so it makes sense that this same period of music acquisition can influence much more:
The environmental movement has largely failed to connect with people of color and marginalized urban communities. By confronting issues from contaminated water to climate change, hip hop music can help bridge that divide and bring home the realities of environmental injustice.
When I was diversity director at North Carolina State University, part of my job was to recruit young people — often from communities of color — into the College of Natural Resources. It could be a struggle; these were talented and creative kids, but often they didn’t see how environmental or sustainability issues were relevant to their lives. Continue reading
Plastic has been on our radar for years, both as an environmental scourge and a raw material for the rising recycle and “upcycle” economy. Finding these creative uses for an ubiquitous waste material around the world has been inspiring, to say the least.
We hadn’t been familiar with the Precious Plastic model until we met the wonderful women from the Wagát Upcycling Lab. We applaud the community ethos of open source plans to address a global crisis.
Big Bang, Indeed!
There is something about EARTH University that produces some of the most creative entrepreneurs, whose work combines design, craftsmanship and social responsbility. We are happy to feature Mitica’s work in the shops for these reasons.
It is equally rewarding to introduce new friends here as it is to talk about old friends. I already mentioned Ceiba recently, but I chose one of their more esoteric (if extremely useful) products to highlight in that post. This group of artisans had our attention sufficiently with the beauty of their products when we first met them last year. When we brought some of the products home to test them out in our own kitchen, the utility factor added to our decision to carry their products. But a third factor, which is our extra attention to coffee and coffee culture as essential parts of Costa Rica’s identity, made their products among my personal favorites. So here I am providing a second look at their work.
This simple bird motif carving is a clip to hold your coffee bag shut after opening. I use it every day.
I also use the coffee scoop every morning, and while I love all their products it is these two coffee-centric ones I appreciate the most. Even for someone living in Costa Rica these are lovely little reminders of this country’s commitment to conservation, considering where Ceiba sources their wood, one of Costa Rica’s most important renewable resources. That makes me think these products are particularly well-suited to offer value as a takeaway for visitors to this country.
When we moved to Costa Rica in the mid-1990s one dimension of my work required analysis of the handicrafts sector as part of the nascent tourism industry. That led to my getting to know one of the country’s pioneering wood turners, Barry Biesanz. We have been friends ever since, and as we started planning for what is now Authentica, a range of Biesanz wood products were the first we committed to.
Above is a bowl not currently on display in Authentica, but it is a favored part of our home collection. Last year one of the old trees behind our home came down in a storm. Barry sent a few of his workmen to help clear it away. Months later this bowl was gifted to us, one of many bowls he had been able to craft from the wood from that tree. In the sign we have placed with his work, note the reference to defects. You can see those in the bowl above. During the last year Barry also introduced us to other Costa Rican artisans, and we have featured their work alongside his in the two shops.
To make the best use of the citrus in your life, visit Authentica and find this item. You may already have a fancy electric gadget that can perform the same function as this juicer, and it may seem self-evidently superior.
I beg to differ. First, on the experience: the mix of metal, plastic and/or glass of the electric juicer, designed for speed, eliminates any inherent satisfaction that either the fruit or the tool might provide. Holding this wooden juicer is a form of time travel. It resembles one I first saw in 1969. And that one likely resembled juicers in use in that village for hundreds of years, typically made of olive wood.
Secondly, I beg to differ on utility. Electric juicers may get the job done quicker, but this juicer gets another, more important job done. Its carbon footprint is a tiny fraction of the electric one, starting with construction and finishing with the use of electricity. And this is made by a group of craftsmen in Costa Rica who work with wood that has been recycled from previous use–timbers or railings from old homes–or wood from trees felled by storms. Experience + utility + sustainability = an authentic Costa Rica takeaway.
Since we started this platform in 2011 I have been on the lookout for graphical representations that help me, and therefore might help others, understand complex issues related to the environment. Photography has been the easiest reach for me, perhaps because I am a son of, a brother of, and a father of people who have mastered that form. Comics were not part of my life, so that form has eluded me. And I realize that the work of Susie Cagle escaped my attention–as I have shared visual artists’ depictions of natural phenomena, with science and especially ecological issues emphasized–until now. And this is a good way for her work to come to my attention, because in our family we have been debating this tree’s value for decades:
A to-scale sculpture of a juvenile humpback whale ribcage made of plastic bottles.
An artist doing something about it. Whether or not the root problem is solved, we can all be more creative about doing something about the problem. Angela Haseltine Pozzi demonstrates by example. That’s a nice story to start the day with. Thanks to National Public Radio (USA) for brightening our day:
In her gallery in Bandon, Ore., Angela Haseltine Pozzi stands next to an enormous sea dragon sculpted from plastics found on Oregon’s famously ‘pristine’ beaches.
At Coquille Point along the remote and rugged southern Oregon Coast, the wind is tumultuous and the sea just as violent. Huge waves crash up against the giant, moss-cloaked rocks perched off the beach.
Angela Haseltine Pozzi founded Washed Ashore in 2010. The nonprofit turns plastics taken from Oregon’s beaches into eye-opening sculptures of threatened marine life.
This particular stretch of the Oregon coastline is famous for being pristine and wild. But train your eyes down a little closer to the beach and sand as Angela Haseltine Pozzi so often does, and even here you’ll find bits of plastic.
“I think the most disturbing thing I find is detergent bottles and bleach bottles with giant bite marks out of them by fish,” she says.
A sea star made mostly of plastic water bottles from the 2008 Summer Olympics in China that are still washing up on Oregon beaches today.
Haseltine Pozzi is a local artist and longtime art teacher who’s made it her mission to collect as much of this shameful garbage as possible. It washes up from Asia, Europe, California and right here in Oregon.
In her gallery in the nearby town of Bandon, where she’d spend summers with her grandmother exploring the wild beaches, she’s now taking these plastic invaders and turning them into jaw-dropping sculptures. The plastic bottle caps, cocktail toothpicks, shotgun shell casings — anything — form life-size garbage creatures of the very marine life threatened by all this plastic. Continue reading
At the same time Crist has been writing multiple teaser posts about our upcoming Authentica shops we continually search for both classic and innovative artisanally crafted items to highlight there. Each discovery feels like stumbling upon a gem while sifting through stones.
Those discoveries have even more personal impact when they have an upcycled or recycled element. Wagát Upcycling Lab is just one of those exciting discoveries. Continue reading
Authentica opened the first of its two shops last week, and this post is a quick statement of what occurred to me while looking across the shop once all the displays were set up. Back in early June I thought that two words simultaneously riffing off the concept of creative destruction, and our two decades of practicing entrepreneurial conservation, was enough of a tag line for saying what we are doing.
But now three more words seem worthy of adding to the mix. Because across this room it is clear that the pursuit of creative conservation is contextual and very specific; we are doing this all for artisans. I do not mean that just in the sense that we are completely motivated to do what Authentica is doing, for the sake of artisans, though that is true. The variety of items on display–colorful totems of Costa Rica’s culture, design-forward textiles, sensuous ceramics and turned wood objects, specialty coffees and artisanal chocolates–made clear now that Authentica should be more explicit. Say clearly that all proceeds from every sale in Authentica get reinvested back into building a better economy for artisans. Maybe it can be said in fewer than five words, the way 100% Forward says all that Organikos needs to say. Brevity is the soul of wit, and wit is a powerful currency. I will work on it in the days to come.
‘Wyrd goes ever as it must.’
After some weeks of letting the ideas in this essay settle in, and not reading (until now) any of the criticism of those ideas, it is more clear to me that I mistook Franzen’s position for something familiar, even close to home. Going back through my own postings on this platform, the mistake is understandable. We have been highlighting soft and gradual and mostly (but not all, by any means) comforting approaches to thinking about climate change.
I just revisited this post, thinking that Franzen’s position is like that word I heard 5+ years ago, but Franzen is not a collapsitarian. From my poking around, it is not clear that Paul Kingsnorth is one either. In that earlier post I linked to the About section on his website and it is still as funny ever, but now this:
Who are you?
I am 75% English, 25% Greek Cypriot, 100% European and 0% European Union. I share 96% of my genetic material with chimpanzees and 60% with bananas. I am descended from the Viking Earls of the Orkney Isles. I live with my English-Punjabi wife and our two children in the west of Ireland, where 85% of the men are descended from eastern Mediterranean farmers.
I’m a writer. I mainly write novels, poetry and essays.
Tell me about your writing
My non-fiction takes deep dives into big questions about how we might live in a world losing its cultural and ecological bearings at a rapid rate.
My fiction is mythological, otherworldly and multilayered, and is aimed at adults with at least one underworld journey under their belts…
It is worth reading in full, to see how his views may have changed in recent years, but mainly what caught my attention is the program of courses he has created, which look worthy of promotion, especially as captured in the photos (©Natasha Lythgoe) below and at the top:
The Wyrd School is a writing school unlike any other. Founded in 2018 by Paul Kingsnorth, an award-winning novelist, poet and essayist, with two decades of writing experience, we are home to unique writing courses, talks, and other events designed to bring the human and the non-human worlds back into contact, and to help you produce writing and art from the resulting sparks.
Wyrd is an old Anglo-Saxon word, often translated as fate or destiny. Continue reading
Ten years ago I was in Tirana and if I squinted I might have seen this article coming. I was working on a project for the United Nations Development Programme, focused on the Prespa Lakes Basin, and the visits in Tirana were like a time warp. In a good way, as it is now more easy to see:
In the Albanian capital of Tirana, the country’s strange history and bright future collide.
The paneled facade of the Plaza Tirana. Federico Ciamei
Over the past five years, Albania has been discovered by travelers as that rare thing: a largely unexplored corner of Europe (one with some 265 miles of coastline). The small Balkan country sits just across the Adriatic and Ionian seas from Italy’s heel and a mere 45-minute ferry ride away from the Greek island of Corfu. It’s recently gotten its first high-end waterside resorts, and as the beach town of Sarande and the seaside city of Vlore have become more comfortable, so too has Tirana — the country’s capital, about 22 miles inland with a population of over half a million — grown more cosmopolitan, with new restaurants, shops and galleries joining the almost surrealist pastiche of testaments to the city’s past. For a good example of the way eras collide in Tirana, just visit Skanderbeg Square, recently renovated with new fountains and rosy granite paving, and home to an 18th-century mosque and minaret, a domed Albanian Orthodox church opened in 2012, a set of government buildings that echo the fascist architecture of Mussolini’s Italy and a Brutalist monolith that houses the National Historical Museum.
Initially settled by Illyrian and Greek tribes during ancient times, Albania spent over four centuries as part of the Ottoman Empire. After 1912, it became a fascist-leaning monarchy, and then, in the wake of World War II, a Communist state ruled by the infamous dictator Enver Hoxha. In 1991, a full year behind many of its Eastern Bloc neighbors, the country saw its first democratic elections, as well as murmurings of a cultural awakening. Tirana may not have a robust avant-garde scene, but it does have a gritty, iconoclastic edge — the Pyramid, a large monument to Hoxha in the center of town, is now popular with skateboarders — and a joie de vivre that’s enticed many former expats. “There’s so much potential,” says Flori Uka, a local winemaker who trained in northeastern Italy and now specializes in vintages made from organic Kallmet grapes grown just outside the city. “We were isolated for so long, but today it’s possible for creative people to do what they love. The place has become very receptive to the new.” Continue reading
A set of pink seesaws allowed people to share some fun along the U.S.-Mexico border wall this week. Here, a woman helps her little girls ride the seesaw that was installed near Ciudad de Juarez, Mexico. Christian Chavez/AP
Despite being a few days late within the news cycle, this story deserves to be highlighted. In fact, in face of the bombardment of negatives along the border, we’d say it’s imperative to keep the power of joy as a constant point of reference.
A stretch of the border wall between the U.S. and Mexico was adorned with a set of pink see-saws this week — allowing children (and grownups) to play together across the barrier. The event was “filled with joy, excitement, and togetherness,” says architect Ronald Rael, a leader of the project.
The seesaws were installed on Sunday, when their steel beams were eased through the slats of the tall fence that divides Sunland Park, N.M., from Colonia Anapra — a community on the western side of Ciudad Juárez in Mexico.
“Everyone was very happy and excited to engage the seesaws,” Rael says via email, describing the mood at Sunday’s event. And while he admits to being a little nervous about the completion of a project that had been brewing for 10 years, he says it went off without a hitch.
“It was peaceful and fun — a day at a park for the children and mothers of Anapra,” Rael says.
The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence. Continue reading
This oasis of green in the hyper-developed city has an important job: it can contain one million gallons of water. Here’s how.
Thursday night in Costa Rica Amie and I attended an event at the oldest, yet freshest Marriott in this country. Fresh with actions around sustainability. Fresh with a renovation and landscape plan that enhances the property’s coffee hacienda origins. And fresh with ideas from other parts of the world in their ongoing series of TED events. The picture above was on the screen as the speaker explained one of her projects; she gave an extended version of the TED talk she first presented earlier this year. I found some additional information about it to share here:
Rainwater flows from the green roof through wetlands that frame two sides of the park into the retention pond; water can also collect in the detention lawn.
Bangkok is sinking. Spilling out across the delta of the Chao Phraya River, the Thai capital was once known as the Venice of the East for its network of canals.Today, thanks to explosive development, many of those waterways have been filled with cement. With nowhere for water to go, Bangkok has become notorious for frequent, destructive floods, sometimes after as little as 30 minutes of rain. The reality is that this city of 20 million people, built on shifting river mud, is sinking at the rate of more than one centimeter a year and could be below sea level as soon as 2030.
Stationary bikes serve two purposes: to give people a workout and to keep the pond water from getting stagnant.
Thai landscape architect Kotchakorn Voraakhom, a TED Fellow, watched firsthand as her city became a dense concrete jungle. “When I was young, there were rice fields and canals in the city,” she remembers. “I could hear boats from my house in central Bangkok. Now, all those fields and canals have been stopped with concrete and covered by highrises. All of the buildings and concrete become obstacles for water to drain, so the city floods.”
At her Bangkok firm Landprocess, Voraakhom designs parks, gardens, green roofs and bridges that address the city’s flooding problem while also reconnecting residents to their natural environment. “We’re so much in the buildings,” she says. “I think it’s very necessary for us, as urbanists, to have places where we can reconnect to our nature, to Mother Earth. Just to see the sky.”
We’ve written a great deal about the sobering truth of human created climate change lately; highlighting the difficult science of the increasingly limited options on how to avert worst case scenarios.
There’s something calming about this piece of animation by Sebastian Ramn that addressed climate change as nature’s SOS, reaching out to creative communities and NGOs who may be in search of ways to get involved in any way possible.
More information at natureneeds.help
Ocean Sole turns reclaimed flip-flops into colourful, hand-made animal toys and sculptures. Tonnes of flip-flops wash up on the east African coast every year.
Photograph: Courtesy of Ocean Sole/Plastic Soup
And speaking of plastics, a new book has come to our attention thanks to the Guardian, and thanks to Island Books for the explanation of the book:
Plastics have transformed every aspect of our lives. Yet the very properties that make them attractive—they are cheap to make, light, and durable—spell disaster when trash makes its way into the environment. Plastic Soup: An Atlas of Ocean Pollution is a beautifully-illustrated survey of the plastics clogging our seas, their impacts on wildlife and people around the world, and inspirational initiatives designed to tackle the problem.
Peter Smith made this floating work, World of Litter, in 2012.
Photograph: Courtesy of Jos van Zetten/Plastic Soup
In Plastic Soup, Michiel Roscam Abbing of the Plastic Soup Foundation reveals the scope of the issue: plastic trash now lurks on every corner of the planet. With striking photography and graphics, Plastic Soup brings this challenge to brilliant life for readers. Yet it also sends a message of hope; although the scale of the problem is massive, so is the dedication of activists working to check it. Plastic Soup highlights a diverse array of projects to curb plastic waste and raise awareness, from plastic-free grocery stores to innovative laws and art installations.
According to some estimates, if we continue on our current path, the oceans will contain more plastic than fish by the year 2050. Created to inform and inspire readers, Plastic Soup is a critical tool in the fight to reverse this trend.