Progression/Regression...

Last Sunday I went to see Duchamp Man Ray Picabia, at the Tate Modern, along with my friend Kiran. I was quite amazed at the quality of prints that Man Ray made while experimenting with photographic techniques. They were delectable. I reminisced about my undergrad college course in photography in which I exposed objects on photographic paper directly (without the camera), while in the darkroom, which is what Man Ray did almost a century before me. Man Ray created a wonderful new world of art by layering the images of objects on paper. Picabia, on the other hand created a new style of painting by playing with this layering of objects, but on canvas. Thus using traditional materials of painting, Picabia was influenced by what was happening in avant-garde photography at the time. An older form of art was renewing itself with the influence of a new art form.

I found this cross-pollination of artistic mediums very interesting, as it doesn't follow a linear or predictable trajectory that our limited minds impose on the future development of art. You would expect the artist to explore new paradigms of painting rather than compete with the photographic world.

While watching Beowulf, while half-asleep on the plane to London, I was delighted by the thought of how a film made with live actors was adopting a video game syntax. While video games programmers try to emulate movies by making the games more “realistic,” the last thing I expected was a movie-maker to emulate video games by making the movie more “ game-like.” There’s a curious link between the Picabia-Man Ray and movie-video game cases.

A Nabob's Pleasure - This isn't your Usual Colonial Architecture

While reading the March issue of Marg magazine, I was pleasantly surprised to see an article, A Delhi Nabob's Pursuit Of Pleasure: The Transformation of Build-heritage into a Pleasure Retreat, on the East India Company's Delhi Resident, Thomas Metcalfe 's (1795-1853) building activities. He was a memorable character in Dalyrmple's The Last Mughal, and the father of the revengeful Theo Metcalfe, who massacred a number of natives during the revolt of 1857. Thomas represented the last of a dying breed of Englishman; one who appreciated local arts and culture and incorporated elements of Mughal life into his own. He wasn't as extreme as some Nabobs before him such as David Ochterlony who dressed in Mughal clothes, kept harems, and probably was more comfortable with speaking Urdu than with speaking English.

Metcalfe built three major buildings - Ludlow Castle, Metcalfe House and Dilkusha. He built them as his claim to English nobility, and as a rival and a parallel to Bahadur Shah Zafar II's Mughal's buildings. All three were pulverized during the revolt, and the Marg article tries to makes sense of what's left. Dalyrmple writes that Metcalfe House, called Jahan Numa (World Showing), was "an expansive and palatial Palladian bungalow, on the banks of the Yamuna, north of the city." While Dilkusha (Delighter of the Heart), a country house, was a "converted octagonal Mughal tomb near Mehrauli." Dalyrmple adds, " both Metcalfe's houses were surrounded by extensive gateways; both were deocrated with follies, and even, in the case of Dilkusha, a lighthouse, a small fort, a pigeon house, a boating pond and an ornamental ziggurat." The idea of combining Mughal and English architecture with European sensibilities is fascinating. Having ancient ruins as part of the estate, added a Romantic feel to it. However the internal rooms were quite English: There was a library of over 25,000 books, a Napoleon Memorabilia room, and an oratory. The house was essentially an art gallery, with numerous paintings and art objects on display.

The author of the Marg article, Jyoti Sharma, seems to equate Thomas with the other Nabob's such such as David Ochterlony and Willam Fraser. However, Thomas was far less a true Nabob than the others before him. Based on Dalyrmple's writing, Thomas clearly followed English patterns of behaviour, such as following a very rigid daily schedule and wearing English clothes tailored by his London tailors. The design and architecture of Dilkusha are ample evidence of his strong Western tastes and life-style. The Mughal elements are "just for show." Thus Thomas is a symbol of the changing attitudes of the English towards India. He is a transitional figure; he fits between the Nabobs with their harems and future English leaders with strict Victorian sensibilites and a passion for religious conversions.

Bhindi is Forever

Bhindi (Ladies Finger) is disputably the current king, sorry, queen, of vegetables. I love it and have it at least once everyday. My brother loves it and when he is in Mumbai, he eats it twice a day. My mom cooks it in two different styles daily for some variation. On my recent trip to Corbett, I met a mother and daughter duo. The mother was extolling the wonders of the vegetable and how much her daughter loves it. We went into a rather deep discussion as to why bhindi has become so popular. Our parents don't seem to be such big fans of it. My dad won't touch it. But the majority of people my age whom I know well enough to venture into the intimate topic of whether or not bhindi is their favorite vegetable, have tended to cast their vote in favor of this sexy plant.

When sliced vertically, the geometric star shape is a sight to behold. The lush green color is both soothing and attractive. It is crunchy and doesn't have too strong a taste and takes on the additional flavor of the spices it is cooked in quite comfortably.

Above is a photo of an article from Air India's Swagat Magazine. The model Rajneesh Duggal has a bhindi tatooed on his back. Apparently it is his favorite vegetable too and the photo is part of ad campaign for People for the Ethical Treatment of Animals (PETA). The bhindi is moving up in the world and the media is taking notice. Here's to a world of the Trendy Bhindi!