We Are Making An Irreversible Leap

Signs are everywhere. Our dear lives and its inescapable surroundings are changing their course; or is it that big changes around us are affecting things that matter to us the most. 2023 suggests that we are changing, politically, culturally, and technologically in a faster pace than ever before. We, like the unannounced eruption of a volcano or arrival of an earthquake, are pushed to a sudden leap into the unknown. A quantum leap or a disruptive upheaval? Only time will tell. We are a species that is good at adapting and fitting in–and that gives us hope.

Moving beyond individual events, which are perceptible to our naked senses, what are the big drifts and developments that shaping our world? What is the big picture? We should not go about as if we have not seen them.

It took humanity over two million years to progress from sharpened rocks to polished met- al for hunting and gathering. In modern times, humanity took over a hundred years to move from steam engines (1712) to electric engines (1834). Boom! Comes the post-modern contemporary times. In last fifty years, along with new philosophies of relativism and subjective truth and cultural mayhems came Internet of things, Artificial Intelligence, big data, blockchain, 5G, 3D printing, robotics, drone, gene editing, nanotechnology, and more. Now is the time of AI assisted creation, convergence, and confluence. The result is not easily predictable. Change will change everything. The lines between humans and machines are blurring, except that we can a see a few things coming and take guard. The potential for transformative change in areas like work, governance, and creative industry is significant and potentially irreversible. Don’t miss the bus; quick, get out of your comfy tent. Be the early majority.

In population we have surged past China to become the world’s most populous nation, and having a considerable number of young people may be a demographic dividend. But what needs a serious debate and intervention is that a populous country with mega billionaires, with political patronage, on one side and 111th position out of 125 in the Global Hunger Index may make many walk on the tightrope; and many more fall out of balance. The monies and powers are with only a few, the vast majority are just part of the population.

Climate change is real; and this change is irreversible. The 2023 UN Climate Change Conference was convened from 30 November to 12 December 2023 in Dubai. It brought to the fore the impasse and pre- tended concern for the earth and ecology. Despite rhetoric of urgency, the conference failed to substantially narrow the ambition gap between current national pledges and the emissions reductions needed to limit global warming. The lack of concrete timelines and immediate action plans remains a glaring concern. The omnipresence of fossil fuel companies and lobbyists throughout COP28 cast a dark shadow on the conference’s credibility. Their active role in shaping discussions and influencing outcomes raises serious questions about true commitment to decarbonisation. Concerns about equity and justice permeated the conference. Issues such as historical responsibility, intergenerational fairness, and the disproportionate impact of climate change on developing nations were inadequately addressed, furthering existing vulnerabilities.

We have a new parliament building; the Indian Parliament Mandir is the symbol of Indian democracy and republic. The size of our parliament building has increased, but the length and quality of our parliamentary debates have decreased. Political polarisation and democratic recession deepened in India. There is an erosion of freedoms. India’s press freedom rank dropped further to 161 out of 180 countries surveyed in the World Press Freedom Index released by Reporters Without Borders in 2023. There were attempts to push out elected members of parliament out of parliament: some succumbed, other fought back, and some others are still fighting.

Erosion of institutional autonomy is suicidal. Concerns have been raised about the diminishing independence of key institutions like the judiciary, election commission, and media, potentially undermining checks and balances within the system. There is a shrinking space for dissent. Crackdowns on civil liberties, increased restrictions on freedom of expression and assembly, and the targeting of activists and critics raise concerns about democratic backsliding. Majoritarianism and marginalisation: The rise of majoritarian politics and the potential marginalisation of minority communities and their voices pose a challenge to India’s inclusive and pluralistic democracy. The spread of fake news and propaganda online can manipulate public opinion, hinder informed discourse, and weaken democratic processes.

We are at the turn of a year. One of the foremost thinkers and philosophers of China, Confucius, four centuries before the common era, said, “We have two lives; the second one begins when we realise we have only one.” One can begin one’s second life from any point in one’s life. Every time we show a little more courage to love, speak the truth, etc. we are beginning our second life. When we decide to help someone, or more importantly, be brave enough to ask for help we are beginning our next year, next life. Martin Heidegger famously said that your destiny cannot be changed, but can be challenged. Every time we begin again, we are challenging our density.

There is a thought-provoking poem by a Brazilian poet called, Mario de Andrade; and the poem’s name is My Soul Is in a Hurry. The poet, as he passes through his midlife, looks back at his life and writes, my future is shorter than my past, I have fewer days in front of me, and more days behind me. I have no time for mediocrity, lethargy or excuses. As the poem proceeds he uses a beautiful metaphor of a boy with a bowl of cherries. He says, my life is like boy with a bowl of cherries. As soon as the child got the bowl of cherries he just began to gulp them in. All on a sudden he realises that he has only a few cherries that are left in the bowl. He stops; he takes a deep breath, now he begins to eat the remaining cherries attentively and passionately. And the poem ends with the words, “We have two lives; the second one begins when we realise we have only one.” Happy New Year.

Written as TOGETHER editorial.

Comments

‘Layers of Meaning’ Makes the Difference Between a Good and a Great Visual Design

Visual Design, coming under the broader umbrella of visual art or visual aesthetics, has the limitation of finding common accepted grounds considering a design being design-worthy or not, because aesthetics is very subjective; and each one has one’s own standards of beauty and elegancy. It is difficult to categorically pinpoint why a design looks great or why a design looks ordinary. Comparative study between designs might help us cut the clutter. I place on table two cover designs I have made with the same brief for the Together magazine. I would like to clarify why I went with the option that finally sent to the publication; that might tell the difference also between a good visual design and a better visual design. Understanding Layered Designs The design process begins when the designer receives the oral or writer brief from the publication. Then begins the rigorous non-linear process of understanding the idea/brief (empathising), outlining the idea in clear categori...

Fan Ho’s Street Photography

The history of 20th-century street photography is incomplete without recognising the monumental contribution of Fan Ho. A master of light, shadow, and human connection, Ho captured the soul of mid-century Hong Kong , transforming everyday moments into timeless works of art. His unique vision blended a keen eye for geometry with a profound understanding of human dignity, leaving behind a body of work that continues to inspire and resonate. Fan Ho was born in Shanghai in 1931 and emigrated to Hong Kong in 1949, arriving at a moment of profound historical rupture when the city was rapidly transforming into a modern metropolis teeming with refugees, traders, and labourers. Armed initially with a simple camera given to him by his father, he began photographing the street life of the city as a teenager and would continue refining this practice over the course of six decades. Study the PDF below (for academic use only) Fan Ho's Street Photography PDF To fully appreciate Fan Ho’s photogr...

Compassion Fatigue

What does one do when one’s compassion cup goes dry and empty; when one comes to a point where there is nothing more left to give? I lost my mother very recently. She was 93. For the last two and a half years, she was ill, and for the last one and a half years, she was bedridden. Though all her children, when they visited her, used to be generous in taking care of her needs, it was my brother and his wife who took care of her day in and day out. They did an amazing job; they regulated their daily routine to make sure that mother did not lack anything, they sacrificed their possible travels and outdoor fun activities to make sure that there was someone with mother always. As days passed, weeks passed, months and years passed, I could see exhaustion and a certain level of irritation setting in with them. There were feelings of helplessness and powerlessness in the face of distress and pain, for medically they could do nothing more for mother, except to give palliative care . Other...

Indian Political Spectrum: Left, Right, and Centre

Left-wing, right-wing, and centre are terms used to describe different positions on the political spectrum. The terms left-wing and right-wing originated from the seating arrangements in the French National Assembly during the French Revolution (1789). Supporters of the King and the traditional social order sat on the president's right side. These were generally considered more conservative and resistant to change. Supporters of the revolution and those advocating for a more egalitarian society sat on the president's left side. These were seen as more progressive and willing to challenge the status quo. Over time, these seating positions became symbolic of broader political viewpoints. The terms "left" and "right" were eventually used to describe the entire spectrum of political ideologies, not just those present during the French Revolution. Left Wing focuses on equality, social justice, and reform. Left-wing ideologies generally believe in reducing econo...

Visual Analysis: SEMIOTICS

Visual analysis is a systematic and scientific approach to examining visual materials that goes far beyond casual observation. In our visually saturated world, images have become a inescapable universal language that shapes our perceptions, attitudes, and experiences. From the artworks adorning gallery walls to the advertisements lining city streets, visuals communicate narratives, evoke emotions, and reflect sociocultural ideologies . However, the process of seeing and interpreting visuals is not as spontaneous or natural as we often assume. As John Berger notably stated, " seeing is an active decision ," suggesting that the process of interpreting visuals is neither spontaneous nor natural, but rather requires conscious effort and critical thinking. The way we perceive and interpret visual content is heavily influenced by habits, conventions, and our individual perspectives. Serious visual analyses requires conscious effort and critical analysis to unravel the ...

Millet’s Gleaners Is a Social Commentary

Jean-François Millet's The Gleaners (1857) is a seminal work of the Realist movement, noted for its unflinching yet dignified portrayal of the rural poor. It represented a critical turn in 19th-century art that brought the lowest ranks of rural society to the forefront of high art. Exhibited during a time of post-revolutionary tension (following the 1848 French Revolution), the painting was viewed with suspicion by the bourgeoisie and conservative elites. The three women represent the rural, poor—authorised to gather leftover wheat. Critics of the time perceived the painting as a nod to revolutionary sentiment, with some interpreting the three figures as a form of rebellious commentary on the social inequality in post-1848, France. The Gleaners, 1857, Jean-François Millet, Oil on Canvas, in: Musée d'Orsay, Paris. A Mirror to Class Inequality: Millet juxtaposes the hunched, impoverished women in the foreground with the abundant harvest and carts full...

The 'Last Supper' of Vincent van Gogh: ‘Café Terrace at Night’

In the autumn of 1888, during one of the most prolific periods of his artistic life in Arles, France, Vincent van Gogh produced what would become one of his most celebrated night scenes: Café Terrace at Night. Painted in September of that year and now housed in the Kröller-Müller Museum in Otterlo, Netherlands, the work depicts a lit café terrace on the Place du Forum spilling its warm amber light onto cobblestoned streets under a canopy of stars. On its surface, it is a masterwork of Post-Impressionist urban life — intimate, luminous, and quietly alive. Yet for more than a century, a persistent and provocative theory has shadowed the painting's reception: that Café Terrace at Night is not merely a depiction of a nocturnal café scene, but a deliberate, veiled, reimagining of Leonardo da Vinci's The Last Supper. Proponents of this theory, most notably the Flemish art historian Jef van der Burgh, argue that van Gogh encoded Christian iconography within the composition through th...

photo.graph.art.design

Search This Blog