Computers are changing the way we think. "Calm, focused,
undistracted, the linear mind is being pushed aside by a new kind of
mind that wants and needs to take in and dole out information in short,
disjointed, often overlapping bursts—the faster, the better." This is
probably not a good thing, says Nicholas Carr.
Working with found objects of metal, stone and glass, Leroy E. Fresquez Jr. finds his materials in wrecking yards and demolition sites. He makes use of old farm equipment, long-abandoned trucks and railroad spikes, building new narrative from these materials while incorporating and acknowledging their original purpose. He calls his work "a recycled art"—the discarded pieces he discovers already hold their own inherent beauty and history. Scrap-heaped materials become dignified through re-visioning, selection, and placement. In Sacred Heart Cross, he combines an exhaust manifold from a 1920s pickup and barbed wire.
The Kids Are All Right has been on a roll since its premiere at the 2010 Sundance Film Festival. It is directed (and co-written) by Lisa Cholodenko (High Art, Laurel Canyon),
a filmmaker who favors stories about characters who initiate change.
Sometimes this change is intentional, other times inadvertent, but by
the end the status quo is reshaped.
This summer I reread Dietrich Bonhoeffer's Letters and Papers from Prison in Fortress Press's extraordinary new edition of his collected works. Letters and Papers
remains almost endlessly suggestive and stimulating theologically. But
in this reading I noticed how often the imprisoned Lutheran pastor
Amazon says that the most highlighted Bible passage on Amazon’s Kindle e-reader is Philippians 4:6–7: “Do not be anxious about anything, but in every situation, by prayer and petition, with thanksgiving, present your requests to God. And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus” (Atlantic, November 2).