Ken and I went to India in February, a three week wealthy tourist’s trip. Absolutely loved it, would like to go back, enthusiastically recommended it. I documented most of the trip on Twitter as I went. I collected all the tweets in a Storify page; quite readable with lots of photos.
Our trip started in Delhi. From there we took a luxury tourist train through Rajastan for seven days to Mumbai. Then flew to Kolkata, then to Varanasi, then back through Delhi to home. So many amazing experiences. Some tourist sites that stuck with me most are the Qutb Minar in Delhi, the Jantar Mantar observatory in Jaipur, the Elephanta Caves in Mumbai, the Marble Palace in Kolkata, and offerings to Shiva in Varanasi.
But what really struck with me is newfound respect for the sophistication of India. I had no idea what to expect. India is an enormous place. With a very rich and complex cultural history and a colonial period that was not entirely rapacious. Modern India is a dynamic, exciting, upwardly mobile place. With nearly 1.3 billion people. We all know China is the up-and-coming economic story but India is close behind it. I met a lot of Indians with pride, pride in their cultural history, in their intellectual history, in their new prime minister.
On a more mundane level I also came away with excitement for the diversity of Indian cuisine. The Indian food we get in the US is one specific type of cuisine: Mughlai, butter and cream and earthy rich flavors. But there’s a huge variety of other foods. Coconut milk in South Indian cuisine, sour fruits and shellfish in Kerala cuisine, strong mustard sauces in Bengali food. A particularly great day was cooking lessons in Delhi with the author of a Chettinad cookbook. There’s a lifetime of technique to learn just in the art of tadka, the way spices are precisely roasted or fried at various moments in preparation.
Johnny Reb was my school’s mascot. A big goofy fiberglass Confederate soldier. The school nickname was “The Rebels” and my hazy memory is the Confederate battle flag was occasionally used as decorative color. This seemed perfectly normal in Houston, Texas in the 1980s. Part of our Southern Heritage.
Young kids are blameless in this kind of thing, victims of indoctrination. By the time we got old enough for high school a lot of us found the racist association embarassing. A year after I graduated the upper class voted to change the mascot and banish any symbols of the Confederacy. (Which may or may not have had anything to do with the school also hiring its first African American teacher.) It took another 14 years before they changed the name from “Rebels” entirely.
I went to a great prep school and am thankful for the excellent education I got there. But only recently have I understood how white privilege helped gain me access to that education. SJS was not overtly racist or discriminatory. It just perpetuated (and still perpetuates) the advantages of whites. It is part of the legacy of one of the two Original Sins of America, the societal damage still extant six generations after the end of slavery.
South Carolina’s use of the Confederate battle flag is controversial again this week. The defense that the flag symbolizes Southern Heritage is sincere, which is what makes endemic racism so dangerous. The Confederate flag represents the South’s pride in slavery, treason, and victimhood. That flag is a hateful thing, deliberately hateful.
Here is a record of my visit to the Cooper Hewitt Museum in New York. There were 22 objects I liked enough to collect and I made 3 things myself. (Favorites: poster, staircase model.) I will be able to remember these things forever because of The Pen.
The Pen is a new thing at the Cooper Hewitt. My buddy Aaron Straup Cope was one of its creators. It’s pretty simple to use. When you visit the museum they loan you a fancy digital pin, on a lanyard. You point it at the labels for objects you like. You can also use it to design things on big computer screen tables. When you’re done you can visit the website on your ticket any time to see your collection. Unlike 90% of fancy museum technologies, this one actually works. It's used a lot. It’s designed to keep working for many years.
Aaron and his colaborator Seb Chan wrote a very long essay on the design of The Pen. It’s totally worth reading if you are interested in this kind of technology. But for the tl;dr crowd, a few key points.
The impressive thing to me is how simply all the tech worked without requiring you to understand or learn it. I wasn’t too excited about the design-your-own-objects part, but the tool for remembering the stuff I liked was excellent. I do wonder if there’s a simpler way to just build the collection product, something between this fancy three year project and simply adding some ugly QR-code stickers. Any new system designed for a museum will be well informed by The Pen.
I’ve gotten competent at making pizza at home. It’s an easy versatile meal, 15 minutes prep time once you have the dough. I tend to make a sort of puttanesca pizza: capers, olives, anchovies, sauce from a jar (the shame) and some salami. Today was turkey leftover pizza with white sauce, I regret being too timid to try cranberry sauce after baking.
My go-to cookbook is American Pie, specifically the “neo-Neapolitan” dough variant. I’ll make a batch of 5 servings of dough and freeze 4. A stand mixer is a huge help, the dough is very glutenous. I recently learned slicing the mozzerella works better than grating, and so much easier. The dough takes time to ferment, thaw, etc but not much active work.
The challenge of home pizza is our ovens don’t go over 550°F. I get decent results in a home oven on a pizza stone, but Ken just got a Baking Steel from Sur la Table so I gave that a shot. It definitely cooks faster and chars the crust more; too much so, the bottom was about to burn before the edge was fully baked. The steel is heavy, rusts, and needs seasoning like a cast iron skillet. I’m not sure it’s a huge improvement over a clay tile.
Neapolitan-style pizza dough is pretty tempermental. For something different and foolproof this pan pizza recipe works pretty well. A no-knead dough sort of fried up in a cast iron skillet in the oven. It’s not elegant, more of a fast-food style pizza, but it’s delicious and fresh and that is its own reward.
Uber’s sure in a shitstorm now. On top of the long standing questions about their treatment of drivers, insurance, regulatory issues, etc they’ve shot themselves in the foot twice this week with ethical lapses. Once with an executive proposing doing “opposition research” on a journalist to discredit her, and again with troubling concerns about the privacy of rider records. I love the Uber product, but it’s clear the company has a serious problem.
Google’s “Don’t be Evil” policy was a valuable guiding principle for us. It was a shorthand for not doing things that were obviously unethical. Uber needs that. “Should we offer our drivers shady subprime loans?” Of course not, that’d be evil. “Should we poach Lyft drivers without worrying how it screws up their ride dispatch?” No, don’t be evil. There’s reasonable debate about exactly what is ethical or acceptable. For instance I’m 100% fine with Uber throwing elbows at corrupt cab companies. But the overriding principle needs to be acting ethically or else you end up with the shitstorm Uber has.
Uber’s problem appears to be at the top with Travis Kalanick, the founder and CEO. He’s set the company on an aggressive libertarian path and it’s ugly. (I’m also struck by Kalanick’s early founder role with Scour, a late-90's product for pirating music from unwitting people’s unsecured Windows computers.) It may be that a lack of ethics is in the company’s DNA.
I love Uber, but a transportation product like theirs is a natural monopoly and Uber is showing themselves untrustworthy. I’m beginning to share the pessimistic view of Metafilter user rhizome that “the taxi industry is so corrupt that any organization that would unseat them has to be just as bad”. It shouldn’t be that way, Uber could do better.
I’ve spent more time than was fun at various German museums and monuments remembering the Holocaust, the hideous state sponsored wholesale slaughter of Jews, Roma, and other “undesireables”. I’m always impressed with how direct and without bullshit the presentation is. “We did these things. These are the things we did.” Little explanation of why, certainly no attempt to justify or explain away. Not even a facile apology. Just a documentation of the evil that Germans did. It is enough.
I want a museum about the American Indian genocide. A couple of rooms documenting pre-Columbian life, to convey the Native American’s culture, their society, their technology. Purely to humanize them and set the context for what comes next. Then room after room documenting the systemic program of murder, and burning, and sabotage. A room dedicated to the science of disease, the amount of destruction wrought by smallpox whether accidental or deliberate. A room or two of war weapons. Letters from the Indian killers explaining their techniques and goals. A room about the Indians who fought back and the disproportionate response to that rebellion. A whole diorama about Andrew Jackson (themed to the twenty dollar bill). One stark room depicting the mathematical scale of the genocide, perhaps with abstract sculpture. A temporary exhibit on the Trail of Tears not as an anomaly, but as a systemization of the violence done more haphazardly before.
It’s not a museum about Native Americans really. It’s a museum about Europeans, the things we did to conquer this continent. And should never forget.
Originally a comment on Metafilter
Ken and I went back to Paris for the first time in a few years, visited a bunch of old favorite spots. Some sadly in decline (Le Caveau du Palais), some still good. And a couple of new experiences.
I’ve loved the street art in Paris. So many fun discoveries, random art in unexpected public places, some beautiful works by Mesnager, L'Atlas, C214, Space Invader, Miss Tic, and so many more. Sadly, my visit to Paris in 2014 was a bit more discouraging.
The bits I’ve found in the posh parts of town, the 1st, 2nd, 4th, and 6th have been interesting. But a lot of work I remember is gone. Many suspiciously blank spots where there used to be invaders, or interesting affiches, or other things. It feels like someone went and cleaned many of the streets.
Also a very discouraging walk through Bellveille; see my Flickr photos. It’s always been a grimy neighborhood, it’s part of the charm, but the street art there has taken a turn for shitty tags over clever site pieces. And the amazing old gallery at La Forge / La Kommune is completely gone, the artist squat space has been replaced by an ugly modern building. An inevitable development, but a disappointing conclusion for a street art walk. Some of that energy has moved down to Rue Dénoyez but it’s mostly tags, not interest art. Also apparently that space is threatened.
Sorry to be a bummer, maybe it’s just me. Particularly sad to have found almost nothing new and exciting.
I love the phrase between the thought and the act. It summarizes a slightly mystical experience of humanity, the difference between willing to do something and actually doing it. It comes up in all sorts of contexts. In twitch games it explains the value of better UI for allowing the player to do what they intend (as in League of Legends quick casting). In general human affairs it describes being effective. You may think of a great product idea but ideas alone are worthless; it’s the implementation that has value. The phrase also has a second meaning it ethics, the difference between thinking of doing something vs. actually doing it.
I think the best known use of this phrase is slightly different, coming from TS Eliot’s The Hollow Men.
Between the idea
I don’t like the use of “motion” though, since in so many cases the motion is the act.
The earliest use of the phrase “between the thought and the act” I could find occurs a few years before the Eliot poem, on page 242 of the 1917 book Educational Psychology by Kate Gordon. I have no idea if that book had much reach though. I wonder if the phrase comes from an older idea, maybe Greek philosophy?
Every time I think of the phrase, I hear the Crime & The City Solution song The Adversary.
Update: Douwe tells me of the 1910 Dutch poem Het Huwelijk by Belgian poet Willem Elsschot (English translation), which contains the phrase "tussen droom en daad", roughly the same meaning.
Update 2: my old gamer buddy Hronk wrote to tell me that this concept shows up in Shakespeare's Julius Caesar, Act 2 Scene 1, Brutus reflecting on the turmoil of making a decision.
Since Cassius first did whet me against Caesar,