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Quotes From Here And There

Albert Einstein
Any intelligent fool can make things bigger, more complex, and more violent. It takes a touch of genius - and a lot of courage - to move in the opposite direction.
Dylan Thomas
I fell in love – that is the only expression I can think of – at once, and am still at the mercy of words, though sometimes now, knowing a little of their behavior very well, I think I can influence them slightly and have even learned to beat them now and then, which they appear to enjoy.
Eddie Cantor
It takes twenty years to become an overnight success.
Edward Abbey
May your trails be crooked, winding, lonesome, dangerous, leading to the most amazing view. May your mountains rise into and above the clouds.
e e cummings
To be nobody but yourself in a world which is doing its best night and day to make you like everybody else means to fight the hardest battle any human being can fight and never stop fighting.
Eyler Coates
We've all heard that a million monkeys banging on a million typewriters will eventually produce a masterpiece. Now, thanks to the Internet, we know this is not true.
Friedrich Nietzsche
Without music, life would be a mistake.
Gustave Flaubert
The one way of tolerating existence is to lose oneself in literature as in a perpetual orgy.
Going to the Opera is like making love; we get bored but we come back.
Johann Wolfgang von Goethe
If I love you, what business is it of yours?
John Steinbeck
Only through imitation do we develop toward originality.
Lady Mary Wortley Montagu
There is no remedy so easy as books, which if they do not give cheerfulness, at least restore quiet to the most troubled mind.
Leonard Cohen
Ring the bells that still can ring;
Forget your perfect offering.
There is a crack in everything;
That's how the light gets in.
Montaigne
The greatest thing in the world is to know how to belong to oneself.
Paul Sweeney
You know you've read a good book when you turn the last page and feel a little as if you have lost a friend.
Peter Altenberg
I never dreamed of being Shakespeare or Goethe, and I never expected to hold the great mirror of truth up before the world; I dreamed only of being a little pocket mirror, the sort that a woman can carry in her purse; one that reflects small blemishes, and some great beauties, when held close enough to the heart.
Robert Frost
In three words, I can sum up everything I've learned about life: it goes on.
There's no money in poetry, but then there's no poetry in money.
Satchel Paige
Work like you don't need the money. Love like you've never been hurt. Dance like nobody's watching.
Thomas Mann
A writer is somebody for whom writing is more difficult than it is for other people.
V S Naipaul
The writer has only to listen very carefully and with a clear heart to what people say to him, and ask the next question, and the next.

My Personal Library


Godel's Theorem

An absolutely fantastic essay found here:

John von Neumann, the legendary mathematician who mastered calculus by the age of eight, who devised the familiar set-theoretic definition of the ordinal numbers at twenty, whose powers of calculation surpassed those of at least one early electronic computer, and who was described by Polya as "the only student I was ever afraid of", had the following to say regarding a certain episode in mathematical history:

This happened in our lifetime, and I know myself how humiliatingly easily my own values regarding the absolute mathematical truth changed during this episode, and how they changed three times in succession!
The cause of such awe was a short paper published in 1931 by the 25-year-old logician Kurt Godel, entitled Uber formal unentscheidbare Satze der Principia Mathematica und verwandter Systeme ("On Formally Undecidable Propositions of Principia Mathematica and Related Systems"). The revolutionary (and, to von Neumann and many others, disturbing) implication of the results therein was that any logical system comprehensive enough to describe elementary arithmetic necessarily contains propositions which can neither be proven nor disproven. Moreover, Godel proved that the internal consistency of such a system can never be proven except by employing reasoning which is not expressible within the system itself.


Background

To better understand the impact which Godel's findings must have had on his peers, we should first describe the mathematical climate of the time.

In the nineteenth century it had been discovered, through the work of Riemann, Lobachevsky and others, that coherent models of geometry could be constructed in which Euclid's parallel postulate (that, given a line L and a point P in the plane, exactly one line exists which contains P and is parallel to L) did not hold. This, in itself, was a shock to many mathematicians: for millenia it had been assumed that Euclid's description of geometry, founded as it was on a "self-evident" and minimal set of axioms, was one of the firmest, most trustworthy branches of mathematical knowledge. The existence of non-Euclidean geometries not only challenged mathematicians' geometrical intuition, but also the Platonist view that mathematics consisted of discoveries about eternal, pure forms whose existence was objective and unquestionable. More "monstrosities" such as continuous functions which were nowhere differentiable soon appeared, further fueling the general loss of faith in geometry.

Attempts to re-establish the comfortable certainty of the past, by turning from geometry to set theory as the new foundation of mathematics, also ran aground. Set theory, when pushed too hard, soon yielded such abominations as Russell's "set of all sets which do not include themselves". It proved difficult to construct a theory of sets which outruled such objects without sacrificing one's principles in the process. Logicism, as espoused by Frege, Dedekind and Russell, gave birth to structures so complicated and unwieldy that the stated intention to formalize the intuitive laws of reasoning was obscured. Constructivism, which rejected even the law of trichotomy (that every real number is either greater than, equal to, or less than zero) was deservedly perceived as fanatical.

To sidestep the embarrassing possibility that multiple, equally defensible versions of mathematical truth might exist, mathematicians soon claimed to have never been searching for truth in the first place. The formalists, led by Hilbert, redefined mathematics as consisting of allegedly meaningless symbols which were not "about" anything in particular. The mathematician was recast as a practitioner who merely manipulated these empty signs, attempting to derive theorems (sentences consisting of the aforementioned meaning-free symbols) from axioms without concerning himself with the "truth" of his findings.

Hilbert hoped thus to outmanoeuvre intuition, and, more importantly, to make possible a proof of the consistency of mathematics. The logicists before him had already laid the foundation by developing a formal language in which mathematical statements could be expressed, along with symbolic transformation rules representing steps which could legally be followed in the progression from the beginning to the end of a valid proof. (The climactic, exhaustive chronicle of this endeavour is Russell and Whitehead's Principia Mathematica, page 362 of which finally yields the demonstration that 1 + 1 = 2.) With this framework in place, it should (Hilbert thought) be possible to study the combinatorial properties of the set of all sentences which could legally be derived from the system's axioms, and to prove that no two of them were logical opposites. This would obviously be an assurance that mathematics (or at least the portion modelled by this formal system) was free from internal contradiction: that is, that the axioms could not be used to prove both a theorem and its negation.

As well as proving the impossibility of internal contradiction, it was hoped that the set of "true" sentences (those which could be constructed by applying legal transformations to the axioms) could be proved complete in the sense that, given a sentence, one could be assured that either this sentence or its negation was a member of the set of true sentences. A formal system with this property is said to exhibit "decidability", since one need never be unsure of the truth of a given sentence.


Godel's theorem

Hilbert's dreams of reformulating classical mathematics as a formal axiomatic system equipped with absolute proofs of consistency and completeness were dealt a cruel blow by Godel's findings in 1931.

In his famous paper, Godel proved that it was impossible to find a metamathematical proof of such a system's consistency without employing rules of inference inexpressible within the formal system under consideration. (More precisely, Godel proved his results of any axiomatic system comprehensive enough to contain the whole of arithmetic. Henceforth, when the term "formal system" is used, it should be assumed that we are speaking of a system satisfying the aforementioned requirement. Less powerful systems, such as arithmetic equipped with addition alone or multiplication alone, can in fact be proved decidable and complete, as was shown by Presburger and Skolem in 1930.)

Godel's other main conclusion was that any such formal system is incomplete, and hence that "truth" within the system is undecidable. Specifically, he showed that it possible to construct a sentence such that neither the constructed sentence nor its negation is provable within the system. What is more, even if one were to arbitrarily decide that such a sentence was true and should therefore be added to the system's axioms, there would still exist other equally undecidable sentences within this new system; and no matter how far this process of augmentation is taken, there will always be further truths which elude proof.


Godel Numbering

The proofs of Godel's results hinge on the fact that the set of formulas expressible within a symbolic system is countable, and hence each formula may be mapped to a natural number. Therefore, metamathematical statements about these sentences may be construed as statements about natural numbers: meaning that these metamathematical statements are expressible in the system itself. As we will see, this power of the system to codify statements about itself turns out to be an Achille's heel of sorts, allowing Godel's ingenious construction of an undecidable sentence.

Godel considered a formal system containing only seven constant symbols: the left and right parentheses, as well as signs representing "not", "or", "for all", "zero", and "the successor of" (an operator which adds one to an integer, and can therefore be used to express all natural numbers via its repeated application to "zero"). Recall that Godel's aim was to assign a unique integer (usually called the "Godel number") to each sentence expressible within this system; to begin with, the constant symbols described above were allocated distinct natural numbers. Similarly, other primitive signs (such as letters representing sentential variables) are each assigned integers. Since the number of variables which might be needed in a sentence is potentially infinite, Godel was compelled to employ some simple number theory to avoid overlap between the integers associated with different types of variables. As such, a certain class of variables was assigned prime Godel numbers, while another class was allocated from the set of squares of primes, and so on.

A similar trick was used by Godel to calculate a unique integer associated with each sentence. A sentence is just a string of primitive symbols, each of which already has a natural number assigned to it. Obviously, a simple addition of the Godel numbers of symbols in the sentence is inadequate, since it does not guarantee uniqueness over the set of all sentences. Similarly, a weighted sum is out of the question since we do not have an upper bound on the Godel numbers of primitive symbols. (If such a bound existed, say N, then we could simply multiply successive symbols by 1, N+1, (N+1)2, etc., to obtain a unique Godel number for the sentence.) Instead, the Godel number of a sentence containing n symbols with respective Godel numbers G1,...,Gn is defined as the product p1G1* ... *pnGn where pi denotes the ith prime number. This representation allows us to unambiguously (as guaranteed by the fundamental theorem of arithmetic) retrieve a sentence from its Godel number via factorisation. Similarly, a sequence of sentences may be assigned a single Godel number by multiplying successive prime powers, the exponents being the Godel numbers of successive sentences in the sequence.


Outline Of Godel's Proof

Since every symbol, sentence, and sequence of sentences in the formal system has now been assigned a Godel number, and since the system under discussion is capable of expressing statements about natural numbers, we now have a way of expressing metamathematical statements in the language of the system. For example, the claim that one sentence implies another can be interpreted as asserting a certain numeric relation between the Godel numbers of the two sentences. This relation will obviously be very complex, since it will need to express, in the domain of Godel numbers, all possible legal transformations which may be applied to a sentence in the system. However, since in the end it is merely a statement about integers, it is certainly expressible in the language of the system itself. Similarly, a yet more complex relation between natural numbers m and n exists which expresses the claim "The sequence of sentences with Godel number m is a proof for the sentence with Godel number n".

To prove that an undecidable sentence existed, Godel needed to find a formula G which, somewhat like Epimenides (the Cretan who claimed "All Cretans are liars"), expressed the assertion that no proof of G exists. More precisely, this claim could be expressed in the language of the system as

There does not exist a natural number m such that m is the Godel number of a sequence of sentences forming a proof for the sentence with Godel number g.
where g is actually the Godel number of the sentence just quoted. The sentence can therefore be construed as making a claim about itself, namely that it is unprovable.

A little thought should show that constructing such a sentence is somewhat difficult. To calculate the Godel number of the above sentence, one follows the process described above of splitting it into primitive symbols, whose Godel numbers are encoded as exponents of successive primes. However, the result of this calculation, g, appears in the sentence itself, and therefore affects the calculation! It would appear at first that we need to be "lucky" by stumbling upon a number g with the property that, when substituted literally into this sentence, brings about the coincidence that the Godel number of the resultant sentence is also g.

Luck, of course, plays no part. Godel conceived of a complex but elegant construction which, through a process of iteration, shows how to find such a number in a finite number of steps. The details of this process, while readily understandable, are somewhat tedious and will not be described here. The end result is the important point: for a very general class of formal sysems, we have an explicit method for constructing a sentence, G, which asserts its own unprovability. Further, Godel showed that if the axioms of the system are consistent (meaning that it is impossible to derive two contradictory sentences from them) then G is indeed unprovable: since if a proof for G existed, then it would also be possible to prove its negation, making the system inconsistent. The converse also holds: discovery of a proof for G's negation would imply the existence of a proof for G. In other words, if the axioms are consistent, then G is formally undecidable.

Godel further noted that, although unprovable within the formal system itself, the sentence G can in fact be proved true via metamathematical reasoning. In fact, the immediately preceding discussion shows this: since we have established that no proof for G can exist, and since this is exactly the assertion made by G about itself, G is a true statement. Thus the system not only contains an undecidable sentence, but: since it contains a true, unprovable sentence: the system is also incomplete. (The term "completeness", applied to a formal system, implies that all true statements in the system are derivable from its axioms.) What is more, simply adding G to the axioms would not suffice to make the system complete, since exactly the same process could be applied to this augmented system to obtain another, similarly undecidable, sentence. Godel thus shattered all hope of ever constructing a consistent, complete formal system.

The final blow landed by Godel's paper was a demonstration of the impossibility of proving a formal system's consistency via a proof expressible within the system itself. A brief description of how he obtained this result follows. Above we saw how, from the assumption that the system's axioms were consistent, Godel proved that it contained a true, undecidable sentence and was thus incomplete. It turns out that the proof of this fact:

If this system is consistent, then it is incomplete.
is achievable within the system itself. To see how, note that the sentence G, which asserts its own unprovability, is equivalent to the statement "This system is incomplete", since it gives an explicit example of a true, undecidable sentence. Thus the statement above is equivalent to:
(This system is consistent) implies that G is true.
Next, let A be the statement "There exists a sentence which is unprovable". This claim is in fact equivalent to asserting the system's consistency, since if the system were inconsistent, then every sentence would be provable. (This is closely related to the fact that, if we have a false statement p in any logical system, then the sentence "p implies q" is true for any sentence q.) Hence the above statement may be expressed within the formal system as simply "A implies G". Godel showed that this latter sentence was formally provable within the system. Now, assume that a proof for A, i.e., a proof of the system's consistency, also existed. Then since we have proofs for both A and "A implies G", we have a proof of G. But G was previously proven unprovable. Therefore no proof of A can exist: the system cannot prove its own consistency.

Consequences of Godel's proof

Godel's findings were the catalyst for many philosophical controversies which continue even to the present day. The Oxford philosopher J.R. Lucas has made the claim that Godel's theorem precludes the existence of artificial intelligence, since any calculating machine is isomorphic to a formal system to which Godel's theorem applies. Others, notably Douglas Hofstadter, dismiss this view as "a transient moment of anthropocentric glory" and claim that Godel's proof may even offer insights about the workings of human intelligence which will be useful in the creation of AI.

Whilst the dream of establishing secure foundations for mathematics has never recovered from Godel's attack, his findings have not been construed as a reason to abandon all hope of extracting meaning from mathematical inquiry. Godel himself seemed to hold the view that Platonic realism provided the clearest definition of mathematical truth: of mathematical concepts, he said "It seems to me that the assumption of such objects is quite as legitimate as the assumption of physical bodies and there is quite as much reason to believe in their existence". According to Davis and Hersh, most modern mathematicians also secretly subscribe to Platonism: "like an underground religion, it is observed in private and rarely mentioned in public".

Godel's methods also sparked various fruitful lines of investigation which had far-reaching consequences. Since the publication of his paper, the first naturally-arising example of an undecidable set-theoretic statement has been found. Known as the continuum hypothesis, it is the statement that no set has a cardinality greater than that of the natural numbers but less than that of the reals. Godel himself showed in 1937 that this hypothesis cannot be proved from the axioms of set theory; Paul J. Cohen demonstrated in 1964 that neither can it be disproved.

A fascinating variant of Godel's theorem was discovered in 1970, when it was proved that no general algorithm for solving all Diophantine equations (polynomial equations with integer coefficients and roots) can be formulated. Loosely, it can be shown that in any formal number theory, a Diophantine equation exists which is in some sense equivalent to Godel's self-denying sentence G. Such an equation can be interpreted as stating of itself that it has no solutions; in fact, if a solution were found, one could construct from it the Godel number of a proof that the equation had no solutions. It seems unlikely that we have come close to exhausting the list of surprises derived from Godel's work. Perhaps von Neumann may be allowed the last word on Godel's significance:

Kurt Godel's achievement in modern logic is singular and monumental: indeed it is more than a monument, it is a landmark which will remain visible far in space and time... The subject of logic has certainly completely changed its nature and possibilities with Godel's achievement.

The Steam-Powered Turing Machine

Here's an interesting type of Turing Machine I found on the University of Washington website while surfing the net...

The "Steam-Powered Turing Machine" mural was painted on a stairwell wall of Sieg Hall in 1987 by a dozen first-year graduate students seeking diversion on the eve of the qualifying examination.

The SPTM was originally conjured up a few years before this by Professor Alan Borning. Borning was undertaking a revision of the graduate program brochure. Professor Larry "Tomorrow" Ruzzo was late with his biographical information for the brochure - real late. In desperation, Borning threatened to provide text himself if Ruzzo failed to come through. The threat didn't work, and when the printing deadline arrived, Borning followed through - that year's graduate brochure carried the following description of Ruzzo's research interests:-
Currently, his principal research project involves the construction and programming of a vaguely parallel computer, consisting of 32 steam-powered Turing machines installed in the basement of Sieg Hall. Of particular interest is the use of triple-expansion bypass valves, coupled to individual governors on each engine, to achieve write-synchronization of the machines. Graduate students have played an important role in the construction and operation of the engine, particularly in stoking the boilers, and advanced undergraduates are occasionally allowed to polish the brass gauges.

Originally intended as a general computing engine, restrictions imposed by the Pollution Control and Noise Abatement Boards require that only algorithms running in polynomial time may be used. The project recently suffered another setback when one of Professor Ruzzo's graduate students slipped on a mouldering stack of ungraded homework exercises and fell under the write head of one of the machines. Now permanently embossed with a series of 1's and 0's, the student is suing to have the machine dismantled.
(In a peculiar twist, Ruzzo received a number of requests for reprints from departments of mining engineering in Eastern Europe!)

Indra Sinha long listed for $110,000 Australia-Asia Literary Award

Indra Sinha has been longlisted for $110,000 Australia-Asia Literary Award. The longlist for the Australia-Asia Literary Award was announced on October 17, 2008 by Culture and Arts Minister John Day.

The Australia-Asia Literary Award is the richest literary award in Australia and Asia valued at AUD $110,000.

This ground-breaking award is for a book-length work of literary fiction written by an author resident in Australia or Asia, or a work primarily set in Australia or an Asian country. Works must have been either written in, or translated into, English and published in the preceding year.

Recognizing the increasing predominance of electronic media and to emphasize the Award’s focus on literary merit, no matter what the format; the Award is open to any book-length work of literary fiction published either electronically or in print.

All works submitted must be nominated by publishers and written in the English language. If the winning entry is a work translated into English, the author will receive AUD $88,000 and the translator AUD $22,000.

Entries for the award closed on May 31, 2008.

The winner of the Australia-Asia Literary Award and the Western Australian Premier's Book Award Premier's Prize will be announced at an awards ceremony on Friday November 21, 2008 at Fraser's Restaurant in Kings Park, Western Australia

Australia-Asia Literary Award Longlist

J. M. COETZEE Diary of a Bad Year Publisher: Random House Group Ltd
Matthew CONDON The Trout Opera Publisher: Random House (Vintage)
Michelle DE KRETSER The Lost Dog Publisher: Allen & Unwin
Ceridwen DOVEY Blood Kin Publisher: Atlantic Books
Rodney HALL Love without Hope Publisher: Pan Macmillan
Mohsin HAMID The Reluctant Fundamentalist Publisher: Penguin
Mireille JUCHAU Burning In Giramondo Publishing
David MALOUF The Complete Stories Publisher: Random House
Alex MILLER Landscape of Farewell Publisher: Allen & Unwin
Haruki MURAKAMI After Dark Translator: Jay Rubin Publisher: Random House Group
Indra SINHA Animal’s People Publisher: Simon & Schuster UK Ltd
Janette TURNER HOSPITAL Orpheus Lost Publisher: HarperCollins

Urban Voices: A Literary Anthology On Bombay

My work appears in an anthology titled Urban Voice edited by Sunil Poolani. The theme for the anthology is the city of Bombay - the perennial favorite. Praise for earlier issue of Urban Voice appears here. Also featured in the anthology is Murzban Shroff, author of Breathless In Bombay. His well-crafted tragi-comic piece can be read here. Also there's Jane Bhandari whom I know only by reputation, courtesy the fantastic community of Caferati. Her work can be found here.

Paying Homage To Tagore


Today is Gurudev Rabindranath Tagore's birth anniversary. In the memory of a great poet, novelist, playwright, philosopher, musician, educationist and visionary...

I do not leave the trace of wings in the air,
But I'm glad I had my flight.

-Rabindranath Tagore



Eight Weird Things About Me

In the memory of a blog that was updated quite regularly until a month back, I'm taking up the tag by Aloi which is nearly two months old. Thanks Aloi for some fodder for thought; I seem to be starved of it for quite some time now. Here are eight of the many weird things about me:-
  1. I do not like speaking unless it's absolutely necessary or enjoyable; I studiously hate small talk. The written word can claim so much more pith and consequence than speech that the latter seems almost mundane and unnecessary in comparison.
  2. I love walking. It helps me clear my head and think of solutions I might not be able to think of otherwise.
  3. I love Beethoven's Moonlight Sonata and can listen to it for hours on end. In fact, I almost never change to another song once I put it on.
  4. I am Indian and I do not understand cricket. Period.
  5. Whether in words or in colors, I do not like capturing things that are apparently and easily beautiful. I rather like to capture things in a way which reveals smaller beauties that are concealed beneath the surface of routine and are difficult to capture.
  6. I love good books. Someone once told me that reading a good book ten times is better than reading ten bad books; I would make the count hundred.
  7. I've a thing for Bengali language, literature and culture. I wish to travel the length and breadth of Bengal someday.
  8. I'm extremely non-judgmental. If I love something, I praise it heartily. If I don't like something, I pack up and move on. Different people want different things from life, and it is best not to try to stick to the rut of our opinions too much. My opinions are anyways not precious to me; I try to argue against them and refine them all the time.
In keeping with the good graces of some of my fellow bloggers, I do not wish to tag anyone in particular. If this tag strikes your fancy, please have a go at it. And please let me know so that I can read your version of eight random things about me and have a much needed laugh at your expense. ;-)

Done with that! Now for some (more) candid talk. When I started with this blog, it was an end in itself. But in thinking about it over the past few days, it has crossed my mind that this blog has gradually become incidental, the means to an end as of yet vague in description. It's purpose has changed to exploring other people's blogs and lives and basking in the awareness of how different lives can be even for people living in the same city, not to speak of the chasm that separates people on different continents. And yet there is a great universality to what we all seek and seek to express. And my quiet awareness of this universality seems to be growing as I lurk on blogs by people I do not know (which is what I've been doing all this while that this blog has remained forlorn), taking away pieces of a shared existence without letting the blogger even know about it.

Also I'm about to finish college in a week or so and conclude an education which unfortunately has not taught me anything. I hope that I can laugh at the useless wretchedness of it all after a few years. But then I know I will be able to.

Be Careful, Tread Softly, You Are Living A Dream

That's the way I feel. I knew that I would try getting a novel published sooner or later. But this is much more than I'd expected. My Book Pitch got four publishers interested at The Kala Ghoda Arts Festival. And as expected, I'm over the moon.

I like the fact that I don't know where this may lead me. But I know that I've arrived and am here to stay. And I do not say this with arrogance, but with a calm solitude of the person who knows that he has found a calling worth cherishing for the rest of his life through thick or thin. In fact, I count the announcement being made at the David Sassoon Library as an apt omen for the commencement of my writing career.


I find my situation slightly strange, because most of the blogger-cum-writers I know usually have an agent who takes care of all the details that bother us writers, including finding a suitable publisher for the books. In fact, McKoala got an agent recently. And here I've four publishers interested, and I don't yet have an agent to take care of things. God bless me!

Here's a brief outline of the book pitch:
Set in the fictional world of Prince of Wales Medical College attached to Queen Elizabeth Memorial (QEM) Hospital, the novel revolves around the lives of its four central characters – Vinay Sengupta, Bhoomika Sen, Shyamsunder Chatterji, and Arnaz Eduljee.

Vinay is the son of a retired lieutenant colonel, who wants Vinay to join the army as a medical officer when he is done with his studies.

Bhoomika is the daughter of a rich beer baron and a classical singer. Her parents had separated when she was four years old and she has grown up with her mother.

With a banker for his father and a housewife for his mother, Shyamsunder is a bourgeois nerd whose only accomplishment to date is his admission to the prestigious medical school.

The only non-Bengali protagonist, Arnaz is the daughter of a small-time industrialist mother. From her, Arnaz has inherited the verve and vivacity which make her the cynosure of attention on all occasions.

Set amidst the turmoil of anti-reservation riots that flare up across the country, A Cure For The Doctor tells the story of these doctors grappling with the thrill of their newfound affections, the burden of their noble profession, and the apathy of an indifferent government.
Other successful book pitches may be found here.

This book is not the sort that I might normally write - it has more to do with plot and incident than with the literary novel of detached observations that I may be able to pull off easily. You could even classify it as chick-lit or lad-lit due to certain lightheartedness of the romantic plot. For me though, the attempt will largely be styloclastic, if the word exists. It will be a sharp deviation from the sort of literature I appreciate and that I might write in the future. It will be in fact like an illegitimate child with a history more colorful and intriguing than legitimacy can provide.

I wish to thank Peter Griffin, Jason Evans, Sarah Hina, and Amogh Bhole for helping make this possible for me in some way or the other.

I'm keeping my fingers crossed and waiting to see how things shape up. Meanwhile living the dream while it lasts...

My Heart - A Preview

My Heart

Bae Chang-Ho’s My Heart shall be screened today at the Max Mueller Bhavan at 1830 hours i. e. 6:30 in the evening. The director is considered the foremost exponent of the Korean New Wave cinema. In a stark departure from his usual style of film-making, My Heart is set in the Korea of 1920’s.

The movie is shot amidst the beautiful scenery of Korea. It tells the story of Sun-Yi (played by Kim Yoo-Mi, the director’s wife), who is married off to a ten-year old spoiled brat. When her husband grows past adolescence, he brings home a mistress much to the petrifaction of Sun-Yi. The movie tells the story of how Sun-Yi leaves home and searches for an identity of her own. In a way, the movie mirrors the struggle of Korea to find its identity in a shrinking world.

Here’s what director Bae Chang-Ho thought of his movie’s purpose:

In 1985, I filmed Deep Blue Night, which dealt with the issue of identity among illegal Korean immigrants in the U.S.

It has been many years since then and today Korea is experiencing the effects of globalization. The government has made English a must-learn foreign language, which students are required to learn. As the boundaries of culture have become somewhat ambiguous, I think it is time to think seriously about Korean identity.

The answer to the question, ‘Who are Koreans?’ has been the driving force behind making My Heart. I hope people around the world can understand the psychological characteristics of Koreans represented by jung (love, affection) in this movies.

My Heart, my 15th film, has its background in the beginning of the 20th century when the traditional culture of Korea was vividly alive. I hope it shows the origins of Korean way of thinking.

The movie has won the First Prize and Audience Award at Benodes International Film Festival, France and the Audience Award, Udine Far East Film Festival, Italy.

Two of the gems of experimental cinema - Manhatta and The Man With The Movie-Camera - were screened at the Gallery Beyond yesterday. Since I missed the first one (I watched it on the internet anyway), I shall review only The Man With The Movie-Camera.The Man With The Movie-Camera

Made in 1929 by Dziga Vertov with cinematography by his brother Mikhail Khaufman, The Man With The Movie-Camera captures the Russian life in all its avatars. The movie has no story as such, yet one could call it the story of a people and a time.

The movie shows the Russian way of life in minute detail, and not often in the sad way that directors of art movies are wont to perceive. The camera captures in a most natural way the beautifully uncertain smiles, the lips that make unheard whispers, basking ladies, the victories and the excitement, the routine and the indifference - all captured with the devouring eye of a greedy voyeur and the detailed panache of a keen observer. The result is a movie which speaks of life without judgment and the consequent pitfalls that a jaundiced eye brings to the task of film-making.

Dziga Vertov made use of a variety of cinematographic techniques in this movie. The double exposures, the use of slow motion and fast motion techniques, still shots, multiple split-screens were especially prominent and effective throughout the movie.

Made by him in response to critics who ridiculed his earlier film One-Sixth Part Of The World, The Man With The Movie-Camera was Vertov’s cinematic experiment without the use of a premeditated script, actors, sets, and intertitles. And throughout the movie, this fact of experimentation is highlighted when the movie shows a giant camera apprehending the scenes of common life or when it shows people in the theatre watching the man with the movie-camera do his job of (what else but) making a movie.

For me, the darkness, the quiet and the solitude of Gallery Beyond have become as much a part of the experience as the movies themselves. And I seem to grudge when the lights come on and it’s time to leave.

Experimental Cinema For The Cinéastes - The Loss Of Solitude

The third session of Experimental Cinema screenings (and my second), Gallery Beyond showcased the last four of Avant-Garde movies they had chosen to screen. I say chosen to screen because the Avant-Garde Collection (from which the movies are being shown) is a much wider collection comprising many more movies than time would have allowed them to show.

The four movies screened were:

  • Regen (Rain) (Netherlands, 1929) directed by Joris Ivens, 14 minutes: This is a movie every Bombayite would love to watch, especially if you’ve grown up watching the rain and what gentle poetry it can create on the streets and in the minds of men. If you can catch this short film anytime, please do so. It is a lovely evocation of rain in Amsterdam and how people react to it. Perhaps the most lyrical of all Avant-Garde movies, it is for the best that it is a silent movie. The gentle strumming of the guitar throughout the movie is the only sound the movie has. It is the director’s best documentary before he moved on to doing political documentaries. It is now my favorite documentary; when you have watched it, it will be yours too.
  • H2O (US, 1929) directed by Ralph Steiner, 12 minutes: This movie demonstrates what light can do with surfaces, especially with water. An intensive exploration of the play between light and water, it soon delves into abstractions leaving the consciousness of the existence of water behind. Recommended only if you love the sort of cinema that academics can argue and debate over.
  • Even - As You And I (US, 1937) directed by Roger Barlow, Harry Hay, and LeRoy Robbins, 12 minutes: A story of how three directors, fed up with the traditional boy meets girl plot, decide to create a surreal movie for a competition. A funny take on surrealism, it shows the three directors shooting the movie from every angle, even inside drains and on electricity poles. Finally when they are done with the movie, the deadline for the contest has already passed. The movie ends with them seeing the ad for another competition of surreal cinema.
  • Ballet Méchanique (France, 1924) directed by Fernand Leger, 11 minutes: The only movie which I did not like, perhaps for lack of knowledge. It shows different objects in repetitive motion and from different perspectives. I have to agree that this was perhaps the most experimental of the experimental genre.

After the four movies one of which was a spoof of surreal cinema, an anthology of surreal cinema was screened. Then two of Luis Bunuel’s movies - Un Chien Andalou and L’Age D’Or both of which were absolutely likeable classics. I’d not planned to sit through them but saw them anyway.

However, there was a noisy crowd to watch the movies with cells ringing and whispers doing the rounds and the shifting of chairs and the moving of people and one guy even suppressing his laughter at his simple comprehension of the complexity of L’Age D’Or, unlike my first time when the screening hall was perfectly calm and silent and it was fun watching the great movies.

 

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