Monthly Archives: June 2020

The best theatre plays about art, from Sunday in the Park with George to Red – Evening Standard

Posted: June 20, 2020 at 11:00 am

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Plays about art have the potential to be masterpieces or just painfully pretentious. Its a fine line, but the ones that do it well can create a thing of beauty.

There are plenty of discussions to be had about the nature of responsibility and truth when it comes to art, and artists lives have depths of drama, hedonism and anguish to be plumbed for the stage.

From biographies to surreal musings on obsession, here are some the plays about art to seek out:

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John Logans Red was inspired by a trip to Tate Modern, where he saw Mark Rothkos Seagram Murals. He said that as soon as he read the label recounting how they were created, the entire play came to him. Set in fifties New York, Rothko (originally played by Alfred Molina) is under commission to paint a series of murals for an upscale new restaurant. His assistant (a fictional character named Ken initially played by Eddie Redmayne and, later, Alfred Enoch) challenges him on accepting a commercial endeavour. In reality, Rothko told Harpers Bazaar his reasoning, saying: I hope to ruin the appetite of every son of a bitch who ever eats in that room.

Yasmina Rezas French three-hander stood the test of time. It ran for eight years in the West End (with everyone from Albert Finney to Richard Griffiths to the League of Gentleman in the casts), and returned for its 20 year anniversary to the Old Vic in 2016 with Rufus Sewell, Tim Key and Paul Ritter. A play about art and friendship, it sees a 15-year-long bond between three men tested when one buys an incredibly expensive, completely white painting or a piece of white shit. The play has been translated into 20 languages, with the English version adapted by Christopher Hampton.

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French pointillist artist George Seurats painting A Sunday Afternoon on the Island of La Grande Jatte was the inspiration for Stephen Sondheim and James Lapines musical. The story focuses on the painter and his great-grandson, also called George and also an artist, who grapples with the same ideas of artistic inspiration a century later. As the song goes: There are worse things than staring at the water as you're posing for a picture being painted by your lover, in the middle of the summer.

Artemisia Gentileschi's significance in Western art history has only recently been appreciated. In her lifetime, her talents were overshadowed by a sexual assault. In 1612, Agostino Tassi was tried for the rape of the painter when she was just 15, in a case that lasted seven months and gripped Renaissance Rome. Breach Theatre turned the real court transcripts from the trial into a new show. Bringing together myth, history and contemporary commentary, the play asks how much has changed in the intervening centuries and tells the story of a woman who took revenge through her art. The play was supposed to have a Barbican run, but instead streamed online over lockdown.

Nick Dears play, set in 18th century London, compresses the events of ten years of William Hogarths life into one single night. Michael Kitchen, Niamh Cusack and Simon Russell Beale were part of the opening RSC cast in 1986. According to Dear, what started as a play about the political manipulation of art turned into a lurid comedy of sexual manners, telling of the escapades of artists, politicians and royalty, and debating the nature of ambition, gender and the artists responsibility.

Another play that was supposed to open in London only to be scuppered by the pandemic is Jeremy O. Harriss melodrama Daddy. Franklin, a young Black artist about to embark on his first show, meets Andre, an older, wealthy, white art collector. He moves into Andres Bel Air home, where the action takes place in and around a real swimming pool, sunken into the stage. A surreal exploration of art, intimacy, identity and commodification follows, with George Michaels Father Figure playing in the background.

Janet Adler and Margaret Gibb, a pair of conceptual artists described as the most ferociously uncompromising voice of their generation, are the subject of Tim Crouchs experimental 2014 play. Adler has died, leaving her partner behind. Lou, formerly an art student and now an actress making a film about the object of her life-long obsession, Adler, breaks into the artists home unaware that Gibb is still living in it. Adler & Gibb looks at the pretensions of the art world and the way in which people leech off those they admire. Crouch said: The story developed over five years and still, even in rehearsal, I didnt know quite what it was.

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Originally titled Little Dancer after the statue that inspired it, Tony Award-winner Lynn Ahrens new musical imagines the life of Marie, the 14-year-old ballet dancer who disappeared from records after she posed for Edgar Degas. As a young woman, she is pulled between her love and her talent as a dancer, with the musical showing the well-trodden conflict between life and art. Its early days for this play, but we hope there will be more theres always room for a ballet/musical crossover.

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Black Eyed Peas On Crafting New Album Translation In Lockdown – Wonderland Magazine

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The music industry oracles on Black Lives Matter, surviving cancer, and crafting their new album Translation in lockdown.

Taken from the Autumn/Winter 2020 issue of Rollacoaster. Order your copy now.

In the distant future, when the world has been reduced to smouldering dystopian plains, and curious extra-terrestrial life finds itself methodically dredging the decimated earth for past relics, you can count on any Black Eyed Peas record like a cultural time capsule to reflect exactly where humanity was at, at that exact time. Or just before.

You see, throughout the last three decades, the salient pioneers have managed to maintain their status as one of the biggest boundary-pushing groups in the world restlessly warping, reinventing and redefining their addictive olio of pop, hip-hop, dance and conscious rap. The three founding members will.i.am, Taboo and Apl.de.ap harbour a preternatural foresight that has consistently positioned them teetering all-knowingly at the precipice of the next zeitgeist, right before it topples over us. Music industry oracles, if you will.

And their celestial music has soundtracked just about everything in our teen-to-adult lives. Their breakthrough album Elephunk in 2003 with longtime BEP singer Fergie saw their commercial success hit household name status with its breezy, thumping exuberance, tied off with politically-charged track Where Is The Love? (originally written in response to 9/11, but showcasing its heartbreakingly timeless relevance when rebooted in 2016 aimed at Americas gun violence crisis, and then again in an emotional live performance with Ariana Grande following the 2017 Manchester Arena bombing). Monkey Business in 2005 spurred on a hedonistic R&B era with the revved-up energy of Pump It and accessible house party fodder of My Humps. But world domination became irrefutable with 2009s party behemoth The E.N.D., which saw the group focus on our call for dance floor hedonism, with global hits I Gotta Feeling, Boom Boom Pow and Meet Me Halfway. After a years-long hiatus, their ambitious next project, 2018s Masters of the Sun, pivoted to a new era with tech-driven ideas; an intersection of an album meets a socially-conscious, augmented-reality comic book, and saw BEP trade their club prowess for a return to gritty politically-charged jazz flows in hit track Street Livin. Its a song, that no doubt akin to Where Is the Love? with its incensed lyricism and poignant indictment of the criminal justice system and police brutality, has bearing with the current Black Lives Matter protests and riots.

The forward-thinking vanguards have become an irrepressible industry institution propelling, shaping and spearheading whatever comes next. This summer sees the group drop their highly-anticipated eighth studio album Translation their first pop album in 10 years this time turning their focus to a Latin-infused sound with global rhythms and internet-breaking features of Shakira, J Balvin, Nicky Jam, Latin-trap star Ozuna and more.

But 2020 has been a year of uncertainty. No one could have foreseen a global pandemic, or its economic repercussions, or the unjust death of an unarmed black man in Minneapolis triggering global uprising and instilling a collective conscience in people all over the world. In the palm of my hand, my phone and social media feeds are dosing out overwhelming measures of panic, brutality, and polarity. And when I catch up with the trio over the phone from LA, they are impassioned, and hope releasing such triumphant sounds at such a time will help their fans explaining in a Twitter statement: with all the negativity, panic, pain, stress and confusion[we] think some sunshine and joy can lift peoples spirits

Their blueprint for success, like the thundering course of natural waters, are impossible to replicate. But one thing is clear, Black Eyed Peas are going nowhere. I caught up with will.i.am, Taboo and Apl.de.ap and talked about Black Lives Matter, surviving cancer, and crafting their album in lockdown

Rollacoaster: Hello guys, hows it going at this crazy time?

will.i.am: [doing an impression of a posh British accent] Hello, this is Will. Im doing a very rubbish UK accent.

[Laughter] Rollacoaster: Not rubbish at all! Im very impressed. How has lockdown been for you guys?

Taboo: Im in Los Angeles. I live in Pasadena so Ive just been locked down at my home, with my family, and periodically Ive been able to social distance at the studio with Apl and Will.

will.i.am: Yeah, it feels like COVID-19 was a year ago with the rise of this new thing that were dealing with right now. There are soldiers on the street, our city is on fire, businesses are destroyed.

Apl.de.ap: Theres people fighting, you know? The actual looters and then people who have to protest and protect buildings at the same time. Its really confusing.

Rollacoaster: You guys started out with conscious hip-hop, pouring socially astute messages into your music. I mean, Where Is The Love? came out 17 years ago, covering police brutality and systemic racism. With everything thats going on right now, is it kind of devastating to feel like nothing has changed in 17 years?

will.i.am: Nothing has changed for the black person in America. Nothing has changed in 100 years. I mean, theres been extreme progress with Jim Crow being undone, but the systematic racism that still exists in our justice system, nothing has changed.And you have this crippling and manipulating of lives, wickedness being implemented, lives being taken, broadcasted on our phones for us to see it happen. And at the same time, people havent been working. And if you aint working, you havent been making money; if youre not making money youre struggling, not eating. Its tough, so its compound on compound. Its the system giving people a triple middle finger.

Rollacoaster: And because of social media, fans are noticing the artists that are staying silent now. Do you think that musicians have a moral responsibility to use their platform to be vocal?

Apl.de.ap: You have to be mindful of how you react, it cant come from a angry place. You have to really take your time and get the right messaging.

Taboo: And then you have folks like Colin Kaepernick, where unfortunately it didnt go well for him. He got banned from the NFL for making a statement saying that its not right whats happening in our community.

will.i.am: Its not to say that every single musician has to have a moral responsibility, thats not fair. But we do need to celebrate those musicians who do do that. Bob Marley was a godsend. The Clash. Marvin Gaye. I think fans are intelligent enough to know that entertainment is entertainment. You know, not every artist has to be Malcolm X and Martin Luther King, but the ones that do step out we need to do a better job celebrating those people.

Rollacoaster: Looking at your journey so far, your art goes through these massive changes. With your new record, it feels like were at a different iteration of party music now. How do you decide whats next?

will.i.am: Its future casting. Like when we did electro music that was like, this is where its going, lets get on this, lets start collaborating, lets research, lets network like we did for The E.N.D. We saw what was happening in the underground in 2007. So we collaborated with the Boys Noizes and the David Guettas. And with the conscious jazz-influenced hip-hop, we were just students and fans of music of A Tribe Called Quest and De La Soul. We travelled around the world and we were like, wait a second, Macy Gray has a whole bunch of demographics that come to our show and Elephunk was born. And then Where Is The Love? was written in response to 9/11. And Monkey Business was an extension of our global travels and selling out venues that got us to arena status. Then after The E.N.D., we took a little break. Taboo fought and beat cancer, and now were students again. Then we did Masters of The Sun which is about police brutality and injustice, and we returned to our origins and made jazzy, street-conscious, social activist music. I was just listening to Street Livin right now and I was like, we could put this out right now with everything thats happening.

Apl.de.ap: Where Is The Love? (Remix) too.

Rollacoaster: Theyre both super fitting with the current times. And its so interesting that you talk about your changing demographics whats been your response to this rise of TikTok and user-generated content, with people out there doing different dance challenges to one of your latest singles Mamacita?

Taboo: Our core audience are the Peabodies, who are the fanbase that weve had throughout the years because they rocked with us no matter what era. When were were doing the jazzy hip-hop, then it was more underground backpack-type audiences, and then when we transitioned to Elephunk there was a broader audience. And now with TikTok, you tap into a younger demographic, and its cool because we come from the dance world, so we see folks doing their own versions of the Mamacita challenge. Its cool to see where people can take it and how inspired they are by our music and our frequency.

will.i.am: TikTok is like hyper-activity, its really not about your video, its about the content you give them for them to make their own visuals, which is a whole new world to engage. You set off activities and you see people compete. Its like when youre at the concert and you point the mic at the audience and they say where is the love, or you sing I gotta feeling, mic to the crowd, they go woo hoo in unison. Thats TikTok. Its call and response. Everybodys engaged. Doing a different version of the same thing.

Rollacoaster: You guys keep talking about this future casting can you explain what you mean a little bit?

will.i.am: Theres a lack of different types of content makers and participants in culture. There are some people that are like, this is happening right now, lets hop on it. Thats the cookie cutter. They see a shape, and they duplicate the shape after the shape already happened. And then theres folks that are like, I wonder whats coming next? Do you think people are going to like this, or do you think theyre going to like the combination of this style and that? Were those type of folks.

And weve seen you implement this future casting every step of the way. The multi-faceted format of Masters Of The Sun was so unique, looking into augmented reality and incorporating music in that way. Do you think were at the end of putting out straight-forward music albums?

will.i.am: I think were at the end of a lot of things. We have this one good friend of ours, who is a conspiracist with a big heart, and he said something to us like two or three years ago. We were all at dinner, and he was like soak it all in fellas, and enjoy this moment because these are the good old days. And he was absolutely one trillion percent correct. Why? Because we cant gather and go to a restaurant together right now, who knows if that experience will ever be the way that it was before, where all twenty people were at a table, eating dinner, freely breathing, laughing out loud.

Rollacoaster: Its so true. The future is a bit of a question mark right now. And how do you think its all going to affect the future of music?

will.i.am: Music will be needed. Theres going to be new types of sounds, new types of social gatherings around music. A whole new underground is being born right now. Every genre from jazz to blues to swing to hip-hop, it all was underground, and somethings being invented right now. Somethings happening right now.

Taboo: And with ways of artists performing, we had the opportunity to perform with some technology, kind of like robots, with automatic cameras that were filming us. Its about respecting the times but also finding creative ways to perform. Its about being creative and pushing the envelope of performances and how we can still create content for the world to get a glimpse of us, and making an effort to give you something other than just a Zoom performance.

Apl.de.ap: I feel like were going to slowly immerse into performing again. Being creative with like drive-in shows. Its going to look funny and there will be separation, but its just about testing it out, you know?

Rollacoaster: How do you guys feel about releasing a new album in the midst of all of this?

will.i.am: Yeah, its kind of crazy. Its like a double-edged sword because you want to be celebratory about an album or a project but then youre realising whats happening in real time, and it just hurts. It hurts because people are bringing up Where Is The Love? every time something bad happens. Our song that we created on the hills of 9/11 is always brought up and we love that song and its a song to provide therapy for folks that need it.

Rollacoaster: Why is your new album called Translation? And how does it mark a new era of Black Eyed Peas?

will.i.am: Translation is empathy, understanding, collaboration. To translate from one culture, and one language into something somebody else can understand, it takes patience, it takes tolerance, it takes educating. Translation is the bridge. And Black Eyed Peas, we bridge the gap, from this culture to that culture. We were the bridge between electronic music and pop. We were the bridge between what was going on in America to the rest of the world with Where Is The Love? Now were bridging whats happening in the Latin community to the rest of the world.

Rollacoaster: Knowing your track record, following this album theres going to be an explosion of Latin music

will.i.am: The Latin explosion has already happened. Its just to the rest of the world with English-speaking countries, they dont yet know the power of the Latin world. Like, Olly Murs is big in the UK, but not around the world.

Rollacoaster: Thats so true

will.i.am: Theres such a disconnect between what happens in the Spanish-speaking countries versus what happens in the English world. The English world is super isolated, like you could be big in freaking Atlanta but nobody knows about you in Ottawa, Canada. Like J Balvin is big in Columbia and also big in all of the Spanish-speaking countries. Olly Murs is big in the UK, but not big in all English-speaking countries. You could be big in freaking Wales, but they dont know you in Hawaii. What do you mean you mean like a whale in the ocean? No Wales bro- I see whales all the time!

Rollacoaster: [Laughter] Yes, that disconnect needs to be bridged. And ultimately, what do you want the impact of the album to be?

will.i.am: We designed it as a playlist because when youre making a playlist you want to make sure every song is a gem. Everybodys like, Ive got my singles, heres a bunch of bullshit songs to surround them with. There are very few albums that have like jam-packed gems, like [Michael Jacksons] Off The Wall, Thriller, [Stevie Wonders] Songs In The Key of Life, Marvin Gayes Whats Going On.

Rollacoaster: That makes sense; every album should really be full of hits. And what were the biggest challenges of tweaking and honing this record in lockdown?

Taboo: During the pandemic when it all went down, fortunately Will was in the studio, making sure that everything sonically went together, and transitioned from one song to another. He stayed focused on the project while everybody had to be isolated, and the studio was his home. It was a labour of love and time and effort to put together this whole project.

will.i.am: One time we were frustrated with how the songs were going. Apl was like, Will, can I be honest with you? You keep saying were missing something and I gotta tell you, I know what were missing and I hope you dont get mad. Its you bro, youre not focused. Youre doing this tech stuff and all this stuff and that stuff, and when we did Elephunk you were 100% there, and when we did Monkey Business you were 100% there, when we did The E.N.D., even though you were doing your tech stuff you were at least 90% there. But right now, youre not even 60% there. And youre frustrated but its you that youre frustrated with, because youre not there. I was like shit. You broke me down.

Apl.de.ap: I kept it simple and I said, Will, we need your all. Thats it. And not being distracted with a million things. I think thats what made the album really tight. Its a playlist to be put on and get the party going. And thats what we really want to say right now.

Taboo: [Laughs] Will had that Michael Jordan moment where he wanted to go play baseball, and then he went back to basketball. And then started winning championships again.

Black Eyed Peas new album Translation is out now via RCA UK.

Photographed over Skype by

Bartek Szmigulski

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Black Eyed Peas On Crafting New Album Translation In Lockdown - Wonderland Magazine

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The Great, Reviewed: A Proudly Fictional, Pleasurably Vulgar Spin on Catherine the Great – The New Yorker

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With her rosy cheeks, wide eyes, and frothy wardrobe, Elle Fanning, as Catherine, can look absolutely guileless one second and blood-hungry the next.Photograph by Ollie Upton / Hulu

In his 2011 biography of Catherine the Great (born Sophie of Anhalt-Zerbst, in Pomerania, in 1729), the late historian Robert K. Massie writes of her that more than any other monarch of her day, there was always a wide latitude for humor. Perhaps it was Catherines way of soften[ing] imperial presence with a sense of humor and a quick tongue, as Massie puts it, that enabled her to enact one of the greatest coups dtat in monarchical history: in the summer of 1762, eighteen years after arriving in Saint Petersburg as a teen-age bride to the future Peter III, the (allegedly) impotent and ill-tempered Emperor of Russia, she orchestrated a plan to overthrow him and ascend to the throne herself. Peter died just eight days after the coup, likely at an assassins hand, at a palace called Ropsha. Catherine, who ruled Russia for the next thirty-four years, proclaimed that Peters cause of death was hemorrhoidal colic, and then gave Ropsha to her lover, Grigory Orlov, who had helped her devise and execute the scheme. When it came to seizing power, the empress was deadly serious, which made her good-humored affect all the more threatening. She was a voracious readerof Voltaire and other Enlightenment philosophers, mostlya hobby that sharpened her mind and her tongue. When she arrived on Russian soil, she was a lamb. By the time she took the throne, she was a viper.

The Greata droll, morbid new ten-episode series about Catherine and Peter that started streaming on Hulu last monthdoes not pretend to be historically accurate: the shows title card comes with an asterisk proclaiming it to be an occasionally true story. The series creator, Tony McNamara, plays fast and loose with the biographical facts that were so painstakingly recorded in Massies doorstopper. For the sake of dramatic expediency, the series compresses Catherines sprawling, ruthless ambitions into a compact, jewel-box time frame. The fictional Catherine, played with flinty cunning by Elle Fanning, does not wait almost two decades before staging her revolt. In the first episode, she looks forward to her new life as an empress with a swooning, girlish romanticism, but her outlook begins to darken almost from the moment she attends her first palace feast. Historians tell us that Peter III was a hotheaded man who was rendered unattractive after a battle with smallpox; he had far more passion for military stratagems than for his wifeor any other woman, for that matter. In her memoirs, Catherine succinctly roasted him as an idiot. In The Great, Peter (Nicholas Hoult) retains the idiocy but is also dashing and debonair, a frattish sybarite with a sadists taste for violence and an insatiable sexual appetite. He coldly greets his bride-to-be by saying, You look taller in your portrait, after staring for long seconds at her backside.

Despite its rollicking biographical liberties, The Great does seem to preserve something of Catherines quick, curious manner. With her rosy cheeks, wide eyes, and frothy wardrobe, Fanning can look absolutely guileless one second and blood-hungry the next. By the end of the first episode, Catherine has come to see that the only way to liberate herself from a tyrant is to learn his ways; that to escape her terrible marriage, she must become terrible herself. In this way, The Great pleasingly avoids smearing a shiny feminist gloss over the empresss story. In the fifth episode, titled War and Vomit, Catherine visits the front lines of a Russian battlefield while carrying a Tiffany-blue box full of macarons, in order to pose for an official battle painting. When she offers a cookie to a bloody soldier who says that he cannot take one, because he has lost his fingers, she proceeds to shove a macaron directly into his mouth. Its pistachio, if thats helpful, she says.

McNamara, who wrote the screenplay for The Favourite, from 2018, has distinguished himself with a style of royal satire that provokes moral and physical repulsion in equal measure. That filmstarring Olivia Colman as a petulant, tyrannical Queen Anne, and Rachel Weisz and Emma Stone as the ladies-in-waiting warring for her attentionsubverted queenly history by foregrounding Annes battles with gout and ravenous sexual demands. It is suggested that perhaps subsisting on a regular diet of mutton and cream at a time when plumbing technology was not very advanced may have led monarchs to smell like ripe gorgonzola, and to act just as sour. The same nauseating sense of hedonism pervades The Great. The show is ostentatiously vulgar (McNamara peppers the word cunt into nearly every scene, as if it is fine seasoning) and gross (I gasped when the archbishop, having informed Catherine that he must check whether her interior wall has been breached, reaches up to moisten two fingers in his mouth). Excess and violence are horrifically intertwined. In a late episode, Peter, afraid that someone is planning to overthrow him, sets up five torture stations at the palace to try to smoke out the traitor. This looks great! he says to the court doctor, surveying the scene from a balcony. In order to prove that she is no traitor (even though she absolutely is one), Catherine offers to sit at the fingernail-pulling station herself. The ensuing closeup, of Fanning writhing in pain, is enough to turn your stomach, but it also makes a point. Nobody is spared in Peters palace, least of all his flaxen bride.

The show is, despite all this, somehow a comedy, full of vituperative one-liners and thistle-sharp insults. (Women are for seeding, not reading, Peter tells Catherine, early in the show. Later, she reads him a passage by Diderot: Man will never be free until the last king has been strangled with the entrails of the last priest.) It is also a visual feast, with lavish set dressings and richly colored costumes. I couldnt help thinking, as I watched, that given the global halt in film production due to the pandemic, The Great may be the last over-the-top period piece to be released this year. There are fatty pheasants and cookie towers, hunting expeditions and ballroom escapades. Hoult prances around in animal pelts, waistcoats, and a comically large cross necklace, looking like a spoiled little boy who raided his mothers fairy box. When Catherine tells him to listen to his people and give them what they want, he snorts, What they want? Its a novel idea. Possibly French? I am a prisoner here, married to an idiot, Catherine says, in a line that echoes the assessment in her memoirs. Like The Favourite, The Great extends great sympathy to its monarch, held captive in a life she did not choose, while also mercilessly skewering her ruthlessness and misplaced largesse. The show may not be historically accurate, but it slices through history like a hot poker, to royaltys rancid core.

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The Price of Peace by Zachary D Carter review how liberals betrayed Keynes – The Guardian

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John Maynard Keynes lived through two world wars as well as the great depression between them, and as an economic adviser to British and American governments did his best to fend off political disaster. But Zachary Carters solid, sombre intellectual biography begins at a moment when Keynes himself, in his private capacity, seemed to be causing a seismic upset. The Universe totters, Lytton Strachey informed his cronies in the Bloomsbury set in 1922: the cataclysm had happened because Keynes whose previous lovers, conscientiously indexed in his archives, were a troupe of nameless men, among them the shoemaker of the Hague and the clergyman had taken up with a woman, the Russian ballerina Lydia Lopokova.

By starting with this salacious titbit, Carter enticingly sexes up a book that soon settles down, as Keynes did, to be grimly serious. When he married Lopokova, Keynes gave up the sportive pursuit known in Bloomsbury as buggery and, as he saltily put it, relished being foxed and gobbled by his wife. Cultivating what he called a disgusting and financial state of mind, he became a public man so loftily impersonal that in an obituary in 1946 his former adversary Lionel Robbins called him God-like.

But conservatives have never stopped alluding to his libertine youth as a means of disparaging his assault on balanced budgets and penny-pinching austerity. Joseph Schumpeter, an Austrian toff who wore riding gloves when he lectured at Harvard, sniffed that because Keynes was childless, his principles of economic management were short-run indifferent to future outcomes. The slur was recently repeated by Niall Ferguson. In 1983 William Rees-Mogg the proud begetter of jiving Jake, choreographer of the Westminster conga diagnosed Keyness hostility to the gold standard as a symptom of the amoralism for which homosexuals were in his view notorious.

Carter wastes no time on such odious aspersions, and instead interprets the hedonism of Bloomsbury as a positive influence on Keynes, whose ideal aim was the democratisation of fine living. Economy began as a miserly, parsimonious business: the Greek word refers to the virtuous practice of making do with less. Keynes, however, saw it as a doctrine that preached joy through statistics.

Im dubious about Carters claim that KeynessEconomic Consequences of the Peacedeserves to be ranked with StracheysEminent Victoriansand EliotsThe Waste Landas a modernist masterpiece; he does a better job of presenting the economist as an artist manqu when he suggests that Keynes saw money as something illusory a fiction, or what linguists call a floating signifier. Keynes daringly acknowledged his reliance on artifice by describing economic policy as a meaningless ritual, a trick to ensure that we continue spending the abstract, notional contents of our wallets.

The price of peace in 1918 was a grand scheme devised by Keynes that proposed sending money round in a circle, paid out to Germany as funds for rehabilitation and then paid back as reparations. Carter admiringly likens this arrangement to the mad machines in Rube Goldbergs cartoons; it might have held the squabbling world together for a while if President Woodrow Wilson hadnt bluntly rejected the elaborate, deceptive rules of the game.

Economics, for Keynes a form of play, was underpinned by aesthetics. An off-hand metaphor revealed his partiality: in Britains imperial heyday, he said the Bank of England was the conductor of the international orchestra. He reminded governments of their duty to subsidise entertainers, whose divine gift brightened our lives. His utopia was the Covent Garden theatre which is now the Royal Opera House, where he first saw Lopokova dance with Diaghilevs company. When it reopened in 1946, under the auspices of the newly established Arts Council, money ran out before the auditoriums lampshades had been paid for. Women hired as usherettes therefore donated their rationed clothing coupons to buy the fabric. This small sacrifice moved Keynes to tears.

Keynes dies two-thirds of the way through Carters book, which goes on to follow the contested afterlife of his ideas in America. Although Republicans denounced the welfare state as a socialist conspiracy, what John Kenneth Galbraith called reactionary Keynesianism seized on war as the highest form of deficit spending and, rather than diverting funds into something like the NHS, kept the country permanently militarised, poised for campaigns of mass death in Korea, Vietnam, Iraq and Afghanistan.

Meanwhile Keyness dream of making great art and beautiful evenings available to all citizens dwindled into the tacky abundance of the affluent society. Consumption, Keynes declared in 1936, is the sole end and object of all economic activity. What would he have thought of consumerism and the mile-long queues of famished shoppers in car parks when Ikea reopened earlier this month?

In Carters persuasive account, the slippery triangulations of Clinton and Blair are the final betrayal of Keynes: neoliberalism set markets free, unleashed speculators, and opened the way to a globalisation that treated people as disembodied profit maximisers and crammed them into Hillary Clintons basket of deplorables. Finally Carter admits that the Keynesian recipe for peace and prosperity has proved tragically incapable of sustaining democracy. Why did economic losers in the red states allow a demagogue like Trump to rip them off? Why do Tories crave a no-deal Brexit that will impoverish us all?

I do not have satisfying answers, says Carter with a morose shrug, after which he worries that we are blundering back into the moral quagmire that Keynes hoped to avoid. The book ends with an alarming reminder that victories for democracy and equality the end of slavery in the 19th century and the defeat of fascism in the 20th came at the end of a gun.

Keynes rebuffed criticism of his short-run solutions by pointing out: In the long run, we are all dead. True enough, but in the immediate future, as economies stall and societies fray, we may face a fate worse than death. The universe is tottering all over again.

The Price of Peace: Money, Democracy, and the Life of John Maynard Keynesby Zachary D Carter is published by Random House($35)

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The Price of Peace by Zachary D Carter review how liberals betrayed Keynes - The Guardian

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Will AI or Fighter Pilots Win the 2021 Dogfight? Or Both? – Walter Bradley Center for Natural and Artificial Intelligence

Posted: at 10:58 am

The US Air Force began as Billy Mitchells prophecy that air power could decide the next war. That happened, of course, when the B-29 superfortress dropped the atomic bomb on Hiroshima. Ever since, the USAF has sought to adapt to the latest and most decisive forms of military technology. But the challenges have drastically changed.

Most recently the USAF started USCYBERCOMMAND, due to the fact that a lone hacker can paralyze an entire nations infrastructure. The USAF also started the new Space Force, since a well placed orbital burst can take down the worlds satellite grid.

Now USAF is delving into the world of autonomous drones, the next logical step from the manned drones (drones operated by a controller on the ground, not in the plane, as per the video below) that have taken over the skies.

Up till now, the drones have not been considered a complete replacement for in-plane pilots due to slow reaction time. A fighter pilot must react in a split second in order to put the opponent on the defensive, thus getting within the enemys OODA loop. Manned drones cannot do that because the remote drone pilots reaction is too sluggish.

Computers, on the other hand, have a reaction time that is orders of magnitude faster than human reaction timemeasured in terms of light speed instead of milliseconds. So, if computers can make intelligent enough decisions in flight, then an autonomous drone could plausibly defeat human fighter pilots.

This thesis will be put to the test in the near future. Steven Rogers of the Air Force Research Lab has a team working on an autonomous fighter drone. The goal is to have a machine vs. man dogfight in July 2021.

He has lead a fundamental research project known as QuEST (Qualia Exploitation of Sensors) to apply the philosophical notion of qualia to artificial intelligence. Originally, it was an AI-only project aimed at giving computers some kind of consciousness but has since morphed into developing a set of decision-making criteria that would enable us to know when to apply a human-in-the-loop to AI. Dr. Rogers has successfully created and sold an AI-based startup that uses machine learning to detect breast cancer, using the same trade-off principle.

If Dr. Rogerss autonomous (or perhaps semi-autonomous) drones succeed, they could usher in a new stage in warfare, where robotic weapons controlled by augmented human intelligence can outperform standard human-controlled weapons.

We saw such a revolution occur after Deep Blue defeated Kasparov. Kasparov held a subsequent competition pitting humans, computers, and human computer hybrid players against each other. The surprising outcome is that neither chess experts nor supercomputers won. Instead, a team of amateurs that augmented their play with a chess engine defeated all other players.

In the same way, the outcome of future warfare will be decided, not by AI alone, but by finding and optimizing the trade-off between human and artificial intelligence.

Further reading:

The brain exceeds the most powerful computers in efficiency. Human thinking takes vastly less computational effort to arrive at the same conclusions. (Eric Holloway)

Why AI cant win wars as if wars were chess games: Is Vladimir Putin right? Will whoever leads in AI rule the world? Its not so simple. (Bradley A. Alaniz and Jed Macosko)

Why I doubt that AI can match the human mind: Computers are exclusively theorem generators, while humans appear to be axiom generators (Jonathan Bartlett)

and

Book at a Glance: Robert J.Markss Killer Robots

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Masterclass: Practice, reflect and be mindful, Vidit Gujrathi delves into the making of chess Grandmaster – Firstpost – Firstpost

Posted: at 10:58 am

Editor's note: Professional sport is as much a scientific pursuit as it is a recreational wonder. What appears routinely mundane is a result of the hours spent honing the craft and deciphering the body mechanics till it becomes a monotonous muscle memory. InFirstpost Masterclass, our latest weekly series, we look at precisely these aspects that make sport a far more intriguing act than we know.

After a somewhat rickety journey from International Master toGrandmaster, Vidit Gujrathi, made unwavering progress into the top 100 to top 50 and now occupies the 22nd rank in the world of chess. In the process,before his 23rd birthday, Vidit, leapfrogged the coveted 2700 Elo rating barrier, becoming the youngest Indian to complete the feat. The boy from Nashik has come a long way and is touted to takeover the reins of Indian chess from Viswanathan Anand in the near future.

Viditdebunksall theories that make chess players appear as otherworldly creaturesand firmly believes that the good old virtues of hard work, hustle, and honesty can propel an individual to great heights.

True to his Grandmaster attributes, Vidit's pragmatism,thoughtfulness, and problem-solving qualities shine throughthis interaction. Apart from playing somefeisty chess, Viditalso dabbles in live streaming on his YouTube channel and almost at all-times wears an amicable smile.

In this edition of the Firstpost Masterclass, Vidit dives deep into the mental and the physical aspects of chess, his training, playing style, and what it takes to be a SuperGrandmaster.

You are currently 25 years old and it has been more than seven years since you attained the GM norm, but do you remember the first time you played on the chessboard?I distinctly remember. I remember my first class at the coaching centre. I remember my first tournament that I played in Nashik and it was a very bad start. Back then, nobody would have predicted that I would become a Grandmaster and many of my colleagues tell me the same now. I didn't have all the qualities that people would generally associate with a candidate to become a Grandmaster.

The first time when I went outside Nashik for a tournament, I was seven years old and I was very scared because they (organisers) were not allowing parents inside the tournament hall and I didn't like that. So I was looking for my father and after the first five moves, I resigned from the game because I wanted to be with my father. So, there were these stories that didn't show a champion there, but I eventually overcame my fears.

What are the qualities that people typically associate with a potential Grandmaster and which ones you didn't have that made people think you could not be successful?

I think those qualities are dynamic in nature. It is something you're born with. Sure, there are certain aspects like genetics that you have but many of the qualities you learn over a period of time.

I was a very impatient child. So when you think of chess, patience is one of the first virtues that comes to your mind, but I developed it over time. The other quality was I couldnt handle losses. I used to throw tantrums, I used to cry because I could not tolerate the fact that I lost.

However, the other side of the coin is that I was very competitive. Losses drove me. I said to myself, 'I lost, let me just work on it. I will not lose the next time.' I channelised all that anger (from defeats) into preparation.

Apart from that, there are other basic traits you need, such as discipline. Discipline is you have to do things that you don't want to do because we do the things which we want to do. The main challenge comes when you have to do a tedious task or a task that you do not want to do.

Persistence is another key. You will not get results immediately. You have to keep striving. These are some of the important qualities that come to my mind.

Did you immediately fall in love with chess or did it happen gradually?

I used to love all the extracurricular activities. After I returned from school, it was very hard to keep me at home. My parents are doctors, so they had to find ways to engage me in some activity, while they were practicing. I used to play many sports. I used to play cricket and all the street sports you play in your childhood. There was a game called Brainvita a puzzle game played with marbles, also known as peg solitaire or solo noble I used to play that a lot in my childhood and they (parents) saw that I had an inclination towards the game. I enjoyed solving those puzzles. Chess was the next brain game that I was introduced to.

So, it wasnt planned, it was partly by accident as to how I got into chess. Just one of those things that I did and I took a liking to.

How much of a chess player, like a GM-level player, are you born with and how much can you become by practicing and honing your skills?

I believe that luck or destiny or fate or whatever you want to call it, plays a role, but its role is up to five percent. The rest 95 percent is your skills and that you learn from practice. Nobody is born with the skills. You can have a tendency to learn quickly. In my case, I was not good from the beginning but I kept at it for a long period of time and kept getting better at chess.

We are looking for an answer which would fit everything as to Why this happened or Why that happened. It is very basic actually, you just have to repeat the activity over and over again so that you learn.

Let's say I want to learn a particular software; it is not like I am born with the skills. I watch tutorial videos and I learn from that and I practice.

Vidit Gujrathi is currently ranked 22nd in the World and 2nd in India. Image Credit: David Llada/Firstpost

Do all the chess players need to have super high levels of Intelligent Quotient (IQ), some unbelievable ability to calculate, imagine, and memory?

I havent taken an IQ test. I do not even see a point of taking one. I think the questions they ask are based upon logic, some mathematical questions, etc. Even if I score zero in the IQ test, I will still be good at chess. Maybe there might be some merit to it but unless I try it, I will never know.

Besides IQ, if that is not a yardstick, there must be some amount of ability to calculate and imagine?

You must have the ability to reflect.

Let's say you go wrong in a game. You need to have the ability to reflect on what went wrong. You have to analyse your mistakes, which is also a skill.

I am the type of person wholikes to reflect on things. How can I make this better? or Why did this happen? I am always questioning things. That's how I engage my intellect.

This is a question more suited for a scientist to answer. I can only speak from my experiences. I am an introvert and I have a reserved personality, so I am often occupied with my thoughts. I enjoy the space where I am just thinking. There are many people who get a high from interacting with others or they are at their best when they interact.

Let's say there is a seven-year-old kid who is listening to this conversation and wants to start playing chess. A kid doesn't need to think if s/he possesses one of those super abilities or not. If they just practice, with the right guidance they can become a Grandmaster and I can guarantee that. Kids don't need to worry if they have a great memory or if they are very smart. It is like any other skill, you just have to learn it.

Even though playing chessentails immense travelling, chess happens to be one of the only sports, if not the only, to be unaffected by the coronavirus as there is they alternative of playing it online. How have you been practicing currently, is it just books, puzzles, playing with your colleagues online? Could you briefly take me through your training routine?

Actually, during the lockdown, I have been working harder than before. Before the lockdown, there was travel-related stress. I was simply jumping from one plane to another, which was very hectic.

After I wake up and I get ready, I have a training session for close to two hours which involves checking different openings. I need to be at the top of my game when it comes to openings, especially at my level. At the top level, the minute changes matter. If I am solving tactics at a certain level at a certain speed, I have to improve by at least one second the next time around when I am training. It is those subtle changes that will help.As they say, such changes come in immeasurable units.

After doing that for the first two hours, I might continue for another hour or a half, before breaking for lunch. Sometimes in the afternoon, I am streaming online where I play chess, interact with people, explain games, or solve puzzles.

I like to learn some new software. The other day, I was learning photoshop for absolutely no reason, it is not going to help me in my career, but I just had the itch to do so. It is my guilty pleasure.

I have started with my physical exercises again. It is a hit-or-miss though. I am trying to be more regular. Every evening I am trying to exercise now, post which I do my meditations. Then I again play some training games online, in between you obviously interact with the family and sometimes you even have to do the dishes.

I have been working non-stop, I don't even take an afternoon nap these days, but I enjoy it. If you don't work hard, you will only be good, but not great.

I spent approximately six to seven hours in playing/training chess. I am just exercising a little bit to not be out of shape and some meditation. I have started my YouTube channel as well, so some of my time goes there.

How different is routine preparation compared to the preparation two weeksprior to a classical tournament?

I hate that time (two weeks before a tournament). It is so intense. The amount of preparation that you have to do is insane. If I have a tournament coming up and if I have a training session with my coach, it involves a minimum of six to seven hours of very intensive chess.

I wake up, have my breakfast, and engage myself for a three-hour practice session. It is very intense with no breaks. After its completion, I have lunch. Usually, we take a brisk walk after lunch. A half an hour break follows and if you're lucky, you can get a nap in, and immediately after that, you do another three-hour training session. So, it is a total of six hours working with the coach.

In the evening, you do your exercises and do your physical routines, maybe go for a run and after the entire day during the late evening, you have to do some self-study. Not everything can be practiced with the coach, you have to do some things on your own. Self-study involves introspection, so maybe one or two of that too.

What does introspection involve?

So, let's say I learned a new thing or say I learned a new weakness about my opponent, I have to reflect over it How can I exploit it?, How can I use it to my advantage?

You are preparing a strategy and constantly thinking about the game. Whenever I have had successes, I have had a clear mindset and a single-minded focus. I was never doing multiple things. When I am involved in multiple things, my concentration is diluted.

How different are the preparations before a Classical tournament to a Blitz?

It is very different. Most tournaments that we play are Classical and they require a higher amount of preparations because in Blitz it is more about your shape and the way you feel.

Are you feeling sharp? Have you rested well? Are you nervous during the game? Are your hands shaking? Do you feel fresh? Can you see the moves quickly? These are some of the questions that you have to address in Blitz. It is less intense.

In Classical, even a single game is very hard to play because it lasts for six hours. The cost of a mistake is much higher. You can play a beautiful game for five hours, where you have played all the right moves but in the sixth hour, you make a mistake and all the effort over the last five hours can go down the drain and you can end up losing half a point or even a game.

The stakes are much higher, the prize of each move is high and the skill required is more too, as you have to be more precise in Classical.

In Blitz, you can get away with a bluff but in a Classical, the opponent has time to catch your bluff. Classical is a tougher game.

Do chess players find 'the perfect zone' or are they always in a particular thinking zone? Likewise, how do you define rhythm, considering you always have to preempt the moves?

If I train well before a tournament I feel confident. I do feel that I am seeing moves better and I feel in control. A lot of it depends on the mindset. I feel good when I know that I did everything that I could before a match. I make peace with myself and if I lose I will not have anything that I did (or not) to blame for.

Let's say if I have been lazy, procrastinating my training, or essentially taking things a bit casually, then I will feel guilty. I will have no reason to complain then because I blew the chance when I had it.

When I do everything I can, which is very hard to do by the way, like everyone I procrastinate. I am lazy at times. I am not perfect and I make mistakes but if you avoid repeating mistakes, it helps.

Achieving 'the zone' is certainly not easy but one of the good things about chess is because it requires so much effort and attention, you cannot do many things at once. So, when you are calculating moves, your attention won't waver. However, when you are idle, while your opponent is thinking, that's when all the thoughts arrive: 'What if I don't win?' 'What will people think if I lose this game?, They will ridicule me.'

Thoughts will come, whether I pay attention to them or not is within my control. If I have the ability to shut it out, then it is just a thought that I didn't ponder over. Ill just let it pass. But, you can get sucked into thoughts like 'Someone will tag me on Twitter', 'What if my ranking drops and I will not get invitations to other events' and that can lead to problems.

How much does meditation help in eliminating disturbances like these? How long have you been meditating?

Meditation is also one of those things which is tough to do. It is disciplining your mind, and your mind doesn't want to be disciplined, it wants to wander everywhere. The mind doesn't want to be idle, it is very hard to control and focus.

I have been meditating properly for a year or two now. Before that, I did meditate but not on a regular basis. It has been helping me.

One of the other things that I do is mindfulness. The term is used so often nowadays that it has lost its meaning, but if you're mindful of what you are doing, it makes a huge difference. You can be mindful for 10 minutes or one hour, but to do it for a sustained period of time, you have to constantly train your mind to be mindful, and then you can see its effect.

Vidit Gujrathi attained the Grandmaster title when he was 18. Image courtesy: Vasily Papin

You become more alert about how you're feeling, what you should be doing etc so mindfulness has changed the game for me. Speaking in chess rating parlance, I am still between 1800 to 2000 level if I can say so. I am climbing the ladder. In the early stages, you see big improvements, so that's where I am right now.

Coronavirus doesnt hinder chess training but like other sports, it does bother the physical aspect that is involved in chess. Would you expand on how much of the sport is physical and what does a chess players body go through while playing a tournament and how there is a need to be fit?

The physical aspect of the sport is misunderstood many times. From my personal experience, I would say that last year was the toughest year for me physically, because I was having a health issue due to which I lost a lot of weight and that caused a lot of problems. I was unable to focus during games. If you are experiencing a shooting pain somewhere in your body, it will be very hard to focus, so physical well-being does matter. You don't need to be a freak. You need to be healthy and you need to have great stamina which is important when you are playing for six hours.

Once they had a calorie counter attached to chess players arms and hearts and we burn a lot of calories while playing chess. One player burned over 1000 calories in three hours. You need to regain the energy and for that, you have to work out, you have to be able to sit on the board for long hours, otherwise, you will be exhausted.

Garry Kasparov (former World Champion), worked out a lot. He was extremely fit. He used to train in Croatia and he has a houseby the sea. After a chess practice session, he used to go for a swim and he completed lap-after-lap and I have heard hewas extremely fast. He maintained a very high level of fitness. Even Magnus Carlsen (reigning World Champion) is extremely fit. He has a six-pack. He plays football for hours and I have played with him so I know what levels of fitness he maintains.

Having touched on the mental and physical aspects of your sport, could you describe your style of play? I understand you were influenced by Jos Ral Capablanca and Kasparov?

Kasparov was winning while I started the following chess and his results inspired me but my play is not like him. My first book was on Capablanca.

In chess your personality plays a big role. There are players who are naturally very aggressive and it reflects in their playing style. They want to go for the kill immediately. I am more of the other kind. I play solid, try to keep things under control. I don't like mayhem or going for the kill from the beginning. Many times, I doplay aggressively, because, in order to become a good player, you have to play all kinds of chess.

But you have a tendency or preference to a certain type of play and your personality reflects in it. For example, GM Adhibans style is to directly go all-in from move one. There is no break. It is either crash or kill. That's his style, that's his personality, he's very aggressive in his chess and he has an inclination towards it. Mine is more controlled. If I have to give a cricketing analogy, my style of play is of a Rahul Dravid mould. Very stable.

There is a certain tendency, but it doesn't mean that Dravid cannot hit a six, he would prefer to have things under control. Like (VVS) Laxman would still prefer to play Test matches over T20s. It doesn't mean he can't hit a ball for a six. Similarly, I have to attack many times or play aggressive chess if my opponent is solid. To become a greatchess player you have toexcel in every aspect.

We are humans, we are not perfect. There are certain things we do better and so we have a preference to do a particular task in a particular way. Your personalityreflectsin your style of play.

When people see Kasparov, they know that he willgo for the kill. Whereas with Carlsen, you know he is the type of a player who is going to tire you, manure you and ground you. That's what makeschess more fun if it gives a unique element to the sport and for the fans to watch.

When did you decide that you are a d4 player and how did it come about?

In my childhood, I was taught to play e4 and I used to play e4 often. I went to some tournaments and I lost and as I said I was reflecting regarding what went wrong and I thought that maybe e4 doesn't suit me or maybe those kinds of positions don't suit me. Thats when I decided to move to d4 and I saw good results. That is where the exercise of reflection helps. In my early days itself, I moved to d4, and here is where an individuals personality comes to fore.

Earlier when I used to play e4, it would turn out to be a chaotic game. Whilst when I played d4 it is more controlled, more closed and more manuring. It is more from Carlsen's style of play - to squeeze out and play long games. With e4 there is a higher risk of losing. So that didn't bode well when I was young.

In e4 there are more chances of having unclear positions. The opponent (with black pieces) can counter with Sicilian defence and opposite side castling but in d4 it is very rare to see opposite side castling. Usually, both white and black castle on the same side, which avoids a direct confrontation. You attack my king, I attack your king, so essentially whoever attacks first wins, but in d4 or c4 positions white never castles long side, black also never castles long side and it is a slow battle.

How do you recover from a stunning move that has caught you off guard, something you didnt account for during your preparations? How tough is it to stay in the present and not start to think about the defeat?

Of course, it is unpleasant and it happens a lot of times. Like nowadays with computers being used for preparations, you cannot simply know all the lines. The opponent has checked the lines with the engine. He plays the moves and he knows the answers to it, but you are trying to figure it out on the board. It is very unpleasant and no one likes to be caught in that position. The problem is that you have no choice but to deal with it.

My mindset at that time is just to try and make him uncomfortable as well. Even if he is blitzing out, it is impossible for him to know almost everything. Very rarely you can know everything because chess is so vast. I can make an unexpected move, too, and throw him off his preparation or either catch his bluff or you can bluff out.

There are two approaches: You can be very objective or very practical. Objectively, I try to find the best move or be practical and pose threats. So, I try and use the combination of both.

You said your opponent could be bluffing or it could be a prepared line. Your mind does all those calculations to find the right solution. But at times, you will end up missing it and will know it only retrospectively. At that moment how difficult it is to remain in the present and not lose your focus?

You will easily miss some lines because it is impossible to know everything all the time. That is one of the reasons we prepare so extensively to avoid surprises on the board but it is inevitable. There are so many things to know you cant know all the things somewhere you will get caught. You just have to minimise the chances of being found out.

To remain in the present is one of the toughest challenges. I think every chess player or any sports player gets this thought, What if I lose the game? or What if it doesnt go the way I want?

A playing style of the chess player is related to theindividual's personality. Image courtesy: Leenart Ootes

Lets say you are playing the final match and you have done a lot of hard work and if you dont you end up losing everything. It is an unpleasant feeling every sports player can relate to it on some level. There is no right answer as to how to deal with it. I am still learning.

But one of the things is to focus on the process and not on the end result. It helps you because you cant control if you win or lose and if you dont prepare the chances of losing are more. So you have to focus on the process and you have to be very zen-like and not let the results affect you. It is understandable that you want to win, but it cannot throw you off if you dont end up winning. Dont get too excited with a win and if you lose dont get too sad, so you have to have that equilibrium. If you get too excited after a win you are bound to be too sad after you lose.

You have to train to be zen-like. Just be in the present, not focus too much on the result. It hurts not to win but you have to train your mind. It doesnt come naturally, even Carlsen gets visibly upset at a mistake or a loss. But another quality of a champion is how you forge a comeback. Many times when he has lost a game, he has been able to come back in the next rounds so thats also an approach to where you lose to take away all that frustration in the next game.

I think there should be a study where they make some scientific checklists. I really want to know how to deal with such situations.

Playing against the computer, a boon or a bane? Does it stagnate the creativity of a chess player? Nowadays with some unreal algorithms and patterns, it is impossible to beat a computer, right?

Playing with a computer is a very masochistic thing to do. There is only suffering and unless you enjoy that, there is no point. I would not play with a computer because I know I will end up losing. It is much more fun to play against a human, but I use the computer as a tool. I use it to analyse my mistakes. I use it to find new ideas. It is like a tool that helps me to navigate. It isnt my playing partner or a friend. It is just a tool that I use to improve myself.

It is impossible or very foolish to even ignore it because your competitors are using it. They will have a competitive edge, you have to adapt to new tools. I didnt use the engine so much (in formative years) but now the AI (artificial intelligence) has arrived with stronger hardware and much more data online. You have to be very flexible. Computer is definitely a boon, but it depends on how you use it.

It hampers creativity if you let it, but also it sharpens your skills. It is basically like an application on your phone. WhatsApp is great for connectivity, Instagram is great for connectivity, but if it becomes an addiction it is bad for you; if you use it to connect with people it is good.

Viswanathan Anand said that computers have sabotaged creativity in chess, it is difficult to play a beautiful game nowadays, to what extent do you agree to this statement?

Previously they used to find ideas on board and the joy of finding a new idea was great. But, now the computer finds it for you and you are simply sourcing the information. You dont experience the high of creating brilliance on the board. Even if you find a brilliant move, the computer refutes it.

When you are playing a game as a Grandmaster you have a certain authority of the game but now anybody who is sitting on the phone can spot the mistake and call you out. On the flip side, people are playing chess at a very high level because they have learned it from computers. The engine has evolved the game and has made it more accessible. It has its own pros and cons. It is a long debate.

You were Anish Giris second for some time. How much does that help to be involved with someone who is in the top 10 sharing ideas notes etc? Could you explain what your role was and at what point did you draw the line and say okay I do not want to be a second anymore and work solely towards your progress?

I got to know how he organises his training sessions, what sort of a mindset you need against specific opponents, and many other things that you learn in the process. Basically I upped my game after the stint. I worked on areas where I was lacking and got to learn from him. It is like in any sport if you are helping someone. Lets say in tennis, being a partner of (Roger) Federer is going to help you learn because you will learn from what he does and how he trains.

I was playing chess professionally and as a trainer or as a second you have to give a lot of time, which hinders your growth.

I am obviously learning simultaneously but I could not be with Anish in every tournament because I was playing matches myself. I wanted to improve in my own career so it is very common to have these training sessions with higher rated players and like-minded people but you also face each other in tournaments. Now we are close to each other in world rankings. We play in tournaments and face each other quite a few times.

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Masterclass: Practice, reflect and be mindful, Vidit Gujrathi delves into the making of chess Grandmaster - Firstpost - Firstpost

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Nexon Reveals Their New Mobile Adventure Title V4 – Bleeding Cool News

Posted: at 10:58 am

Nexon has got a brand new MMORPG on the way for mobile as iOS and Andriod players will be able to get in on V4. The company has been teasing the game for a minute since 2019 but we haven't seen much of anything as it's been in development with a lot of hush-hush happening about the project. But we now have a few little details about the game, which are listed below, and we know you can sign up for pre-registration starting on June 25th. We also know the game will be playable in all regions at launch sometime in the latter half of 2020, so none of the region testing stuff will be taking place. No word yet on whether there will be a beta to test out all of the kinks or if the game will just be ready to go in a few months. Beyond that, everything else about the game is being kept shrouded in mystery for the time being. We'll see what Nexon has to deliver after having a successful run with AxE: Alliance Vs Empire over the past few years.

Gavin is the current Games Editor for Bleeding Cool. He has been a lifelong geek who can chat with you about comics, television, video games, and even pro wrestling. He can also teach you how to play Star Trek chess, be your Mercy on Overwatch, recommend random cool music, and goes rogue in D&D. He also enjoys hundreds of other geeky things that can't be covered in a single paragraph. Follow @TheGavinSheehan on Facebook, Twitter, Instagram, and Vero, for random pictures and musings.

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Star Wars: 5 Ways Luke Is The Best Part Of The Original Trilogy (& 5 Ways It’s Han) – CBR – Comic Book Resources

Posted: at 10:58 am

The classic Star Wars trilogy practically reinvented the field of science fiction, a space opera series that drew inspiration from Flash Gordon and Japanese cinema of the 1950s, not to mention Westerns. Ever since 1977, iconic characters like Luke Skywalker, Han Solo, and princess Leia have been saving the galaxy, and their legacy continues today.

RELATED: Star Wars: 5 Reasons Luke Was a Better Character (& 5 Reasons It Was Palpatine)

It's not just the special effects and cool quotes that made the original trilogy's movies so special; it's also the characters, from the farmboy turned hero Luke to the smuggler Han and the imposing Darth Vader. No doubt Luke and Han are two of the coolest heroes of this trilogy, but which of them is truly the best part of these movies, and why?

A dynamic character is a fun character; after all, it's boring if the lead ends up the same as when the story start4ed. Luke underwent some significant changes during this trilogy, even in the span of A New Hope alone.

He started as a frustrated farmboy, but that didn't last long. He grew up fast when his family was killed and he found himself on the Death Star, and from there, he grew up into a responsible and selfless Jedi who only wants to bring peace to the universe.

The Millenium Falcon is an iconic spaceship, just like the X-Wing, and Han has it all to himself. He won it from Lando Calrissian in a card game, and now he and Chewbacca cruise the stars in style.

Luke wishes he had a ship like this one, from its advanced engine to its unique shape to its many hidden compartments and space-chess board game set. Many heroes by now have flown on this ship, and in the original trilogy, it was Han who led the way.

Luke is a Skywalker, and that means a lot in this universe. Han, by contrast, doesn't even have a meaningful last name; an Imperial agent just gave him the name Solo out of convenience. The Skywalker name means much more.

RELATED: 10 Plot Devices Star Wars Can't Seem To Quit

Being the estranged son of Anakin/Darth Vader, Luke has a big role to play in the galaxy, and Obi-Wan made this fact clear once he invited Luke to his hut and shared Anakin's famed blue lightsaber with him. Luke's path to Jedihood had begun.

Luke has a destiny, while Han needs to make his own. Han isn't a Jedi and can't use the force, so he has to rely on his own street smarts, tricks of the trade, and good aim with a blaster to get by in this mean galaxy.

And he does it in style. Han has angered and annoyed many people, but he always gets away with it since he's savvy enough to talk his way out of a bind or know how to escape being cornered. That shows how tough and resourceful he is.

At first, Luke only had his lightsaber and Obi-Wan's lessons to guide him, and he was no match for Darth Vader just yet. But he's a fast learner, and he didn't need much time to complete Yoda's advanced lessons on Dagobah.

RELATED: Star Wars: 10 Most Underappreciated Races In the Galaxy

It's only natural, since Luke is the son of Anakin Skywalker, who in turn was born from the Force itself. Luke has the potential to be the most powerful Jedi of all time, and that's saying a lot, given the Jedi Order's long history.

During The Empire Strikes Back, the Rebellion set up shop on Hoth, and Luke got himself into big trouble when a wampa ambushed him and dragged him off to its den. Luke escaped... only to stumble into a blizzard at night.

Luke nearly died, but Han risked his own life to ride on a tauntaun and find his friend. From there, the crafty rogue sliced open his fallen tauntaun and placed Luke inside to save his life, then built a shelter. Without Han's help, Luke (and the hope of the Jedi Order) would have been lost to the cold.

Luke owed Han a few favors from the first two movies, and he got a chance to repay his smuggler friend in Return of the Jedi. By now, Han was frozen in carbonite at Jabba's palace, and Leia got herself captured trying to rescue him.

RELATED: Star Wars: 10 Most Memorable Luke Skywalker Quotes

At this point, Luke took an active role in his plan, and he took on all of Jabba's minions at the Sarlacc Pit with his new green lightsaber. Han and Leia were freed, Jabba's ship crashed in flames, and Luke flew all his friends off Tatooine in victory.

Han Solo often gets the best quotes, but arguably, his best dialogue is during his Cloud City carbonite freezing scene. He is about to be lowered into the freezing pit, and Leia cries out, "I love you!"

Harrison Ford went off-script to return Leia's feelings in true Han Solo style: "I know." He only had time for two words, but they were true to the character and highly impactful after how often Leia an Han had butted heads. Han Solo isn't so lonely anymore.

This was perhaps the most meaningful thing Luke did in the entire original trilogy. He came to terms with Darth Vader being his father, and he even turned himself over to Vader and was shuttled straight to the second Death Star.

Luke knew what he was in for, and started imploring Vader to reclaim his identity as the Jedi Anakin Skywalker. Vader lamented that it was too late, but Luke didn't give up, even when Emperor Palpatine tempted him with the Dark Side. And when Luke was being zapped to death, Vader was inspired enough by his son to assassinate Palpatine himself.

Han Solo has his own personal arcs, even if he's not training to become a Jedi and turn Darth Vader back to the light. For the longest time, Han had a skeptical, pragmatic attitude and didn't have any romantic ideals about anything.

He summed this up by saying that hokey religions and lightsabers are nothing compared to a good old blaster pistol, but he changed his tune when he witnessed Luke's heroics. Han became Luke's best friend and ally, and learned not to underestimate the Jedi. That's big of him.

NEXT: Star Wars: 5 Reasons Han Solo is the Best Pilot (& 5 Why It's Vader)

Next Batman: 5 X-Men Villains He'd Beat In A Fight (& 5 He'd Lose To)

I graduated high school in Kansas City in 2009, then earned my Associate's in Arts in 2011 at MCC Longview, then my BA in Creative Writing at UMKC in 2013. I have a passion for creative fiction and I've studied and practiced my craft for over ten years. Currently, I'm expanding my resume and skill set with jobs such as SEO writing and journalism.

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Father’s Day: What Dad taught us (and what we taught him) – HeraldScotland

Posted: at 10:58 am

IF we accept that manhood and masculinity have changed greatly since the turn of the century it follows that dadhood and whatever -inity you attach to it have too.

Sure, the interminable Fathers Day offerings at the supermarkets still play to the stereotype Jason Statham boxset, anyone? but beyond the cliche of the sofa-bound dad enjoying a bonanza of beer, crisps and football theres a truer picture, one of a more participatory father who may even feel embarrassment at being asked to put his feet up and crack open a cold one today when he could be vacuuming the curtains, washing the sheets and preparing three different lunches for the kids.

Okay, perhaps thats taking things a little too far. Many a cold one will be cracked open today, some football might be watched (good luck finding it, though) and a study published last month shows that even in lockdown women are still doing most of the housework and childcare. Still, theres no denying the fact that in the span of the life of, say, Brooklyn Beckham, an awful lot about fatherhood that was once taken for granted has shifted. And probably forever.

I use Beckham Jnr as a useful measure of change because dad David was the original metrosexual, a term implying a degree of vanity and a working knowledge of moisturiser but also a break-down of traditional gender roles, and it was from the metrosexual that the New Dad sprang.

Brooklyn Beckham became 21 in March, meaning a generation has grown up and come of age in an era in which fathers those self-same New Dads have seen their rights regarding parental leave strengthened and codified, the expectations placed on them increased accordingly, and a wealth of research published that covers everything from the hormonal changes that occur when men become fathers to the cognitive benefits that accrue to babies and toddlers from increased interaction with their dads. At the same time, more men are working from home.

The stay-at-home dad who acts as main carer while his partner goes out to work isnt an anomaly, hes a fixture of virtually any primary school playground in the country. Thats progress.

Put it another way: for men who have become fathers in the last couple of decades it means priorities have been re-calibrated, ambitions re-addressed and measures of success re-defined.

The distant disciplinarian who valued worth in terms of the regularity of his promotions and the weight of his pay packet has been edged out of the picture by a guy who does the school drop-off and pick-up, can handle a nappy, knows that NCT isnt a kind of sports car and who, most of all, is involved in his childrens lives in a way which is different from the past and which sets a template for the future.

READ MORE:It's 30 years since Checkpoint Charlie was torn down but could the Allies have stopped it going up?

Here, we meet a selection of Scottish men, hear how fatherhood has changed and affected them and learn what their children make of their efforts so far.

Derek Dick, 62, is a singer-songwriter best known as Marillion frontman Fish, and passionate gardener see funnyfarmkitchengarden online. His daughter Tara Nowy, 29, works in PR and is a former model.

Derek

What has your child taught you?

The mysteries of social media and that most tech does not respond to swearing loudly at it.

What one thing would you wish to teach her and why?

How to grow her own food and discover the myriad benefits of gardening. With the new normal on its way we need to relearn old skills and discover whats important. She is, I am proud to say, now standing at the garden gate. Peace has no price.

What did your dad teach you?

To always be open, honest, caring and understanding of others, that money is not to be worshipped, a betrayal should never be a surprise, family is of paramount importance and I should always be there for my daughter.

What is the biggest sacrifice your dad made for you?

Buying season tickets for Hibs in the early 1970s so we could at least spend a few hours together at Easter Road away from his ever-demanding commitment to the family garage business.

READ MORE:The remarkable secrets of Edinburgh landmark Arthur's Seat

The tears of despair over the years in pursuit of the ever elusive holy grail of the Scottish Cup were finally all made worth it when we lifted the trophy in May 2016. Tara and I both saw him in hospital the day after the match and he left us the next day with the biggest smile on his face. A perfect send-off.

What was your dads relationship like with his own dad?

Love and emotions were not expressed well during their lifetimes. My dad worshipped his father, but it was, at times, a difficult relationship as my grandfather was a very uncompromising alpha male, a product of First World War experiences. My dad and I talked about him a lot when we both got older and had a very close relationship. My father was scared of him and respected and loved him deeply at the same time. We all continue to learn from the previous generations mistakes.

Tara

What has your dad taught you?

To stand my ground, to stand up for what I believe in. But, most importantly, never to judge anyone by their colour, creed or background.

If you had a child, what would you want to teach them?

I would want our relationship to be as close as mine with my parents. A lot of that comes from being open about your feelings and talking things through.

How different do you think life is for you than it was for your dad?

There were definite differences before, but I feel everything is about to change a whole lot more after this pandemic, hopefully for the better, socially and economically, as we have all had time to reflect and learn.

What is the biggest sacrifice your dad has made for you?

My mum got cancer when I was small and my dad came off tour to look after the family through that tough time.

The MacPhee family hail from South Uist. Kerry MacPhee, 34, is a cyclist and community liaison officer based in Stirling and her father Don, 63, is skipper on the Renfrew Ferry. He recently hit the headlines after diving into the River Clyde to save a woman.

Don

What has your child taught you?

Having children is a great leveller. What always intrigued me when Kerry and her four siblings were growing up is getting that childs view and how often what they said was completely unexpected.

What one thing would you wish to teach them and why?

That everyone is equal. Very quickly they learned that appearance is not the way to judge a person.

What did your dad teach you?

No matter who are dealing with, sit and talk to the person not to the job, status, or suit.

READ MORE:"A lot of people hated Marc. And they thought I was the boyfriend." Dave Ball on life in and out of Soft Cell

What is the biggest sacrifice your dad made for you?

His time. He was a schoolteacher and when he wasnt working, I would always tag along with him. Wed go fishing and out on the hills doing the peat. When I had my own kids, I understood the value of engaging with your children in whatever you were doing, be it taking apart an engine or butchering a sheep.

What was your dads relationship like with his own dad?

They were very close, like most island families are. My dad died when I was 15. Afterwards I became known as Don Theresa because Theresa was my mothers name. As is tradition, most of the other lads were known after their fathers.

Kerry

What has your dad taught you?

A wee nugget of simple advice in Gaidhlig, Cum a dol. In English, it means keep going. Hes a grafter of a man, a typical islander spinning a dozen plates at once who will never say no to helping someone.

If you had a child, what would you want to teach them?

The importance of community. By that, I mean having their own strong tribe of friends who, outwith their family network, are people they could ask for help and equally give support to.

If you could teach your dad one thing, what would it be?

Sometimes its okay to say no to people.

How different do you think life is for you than it was for your dad?

He has been an island man pretty much all his life. My dad left South Uist for secondary school in Fort William and a brief period at university, although never for very long. Ive been in Stirling since I left home for university and had opportunities he never did.

What is the biggest sacrifice your dad has made for you?

When I was growing up, my dad was a scallop diver. Thats a tough gig to provide for your family. Hes had the bends from diving, which was serious, but still kept going. The smell of Fairy washing-up liquid always reminds me of him because he would get one of us to cover the zip across the shoulders of his diving suit with it to help yank it closed or open.

Niall Mackenzie is a three times British Superbikes champion and former Grand Prix rider. His son Taylor competes in British Superbikes

Niall

What has your child taught you?

That I dont know it all. I had a defining moment in 2010 when we were having a heated debate about his riding. Taylor said: Dont just tell me what Im doing wrong, tell me how to do things correctly and Ill do my best to change.

READ MORE:Shyness, love and lives of quiet desperation: the art of Alan Bennett

I walked off and had a chat with myself, and took that on board. Also, I realised then constructive criticism and support is much more productive than criticism.

What one thing would you wish to teach him?

My job is more or less done now but from early on I made manners, looking everyone straight in the eye and shaking hands (different times now!) a priority. Basic stuff, but it has served him well.

What did your dad teach you?

He was a fan of the Queens English so he taught me the importance of speaking properly. I grew up on a very working class council estate in central Scotland and communicated in as much slang and rough language as the next guy, however, in his company I spoke differently. That served me well when I began to travel and meet people in later life. He also taught me to drive a car while at primary school, which was awesome.

What is the biggest sacrifice your dad made for you?

Having me. He was 59 when I was conceived with his much younger second wife Amelia (32). I wasnt planned and my mum hid her pregnancy until the day I was born. She complained of indigestion at work, disappeared at lunchtime and came back with me. Despite all of this I was always very much loved and cared for.

What was your dads relationship like with his own dad?

His dad died before I was born, but I think his relationship was similar to mine with my dad. He had lots of brothers and sisters but my dad was encouraged to spread his wings so went to work in the tea industry in India in his early twenties. His dad was the station master at Forres.

Taylor

What has your dad taught you?

That he can fix almost anything with Jubilee clips, duct tape and Araldite.

If you had a child, what would you want to teach them and why?

That you shouldnt fix most things with Jubilee clips, duct tape and Araldite. Doing things properly is better in the long run.

If you could teach your dad one thing, what would it be?

That Google is here now so things can easily be repaired properly without the need for Jubilee clips, duct tape and Araldite. That said, hes the kind of guy youd want if you were stranded on a desert island. Hed be the guy that could build a shelter and make a boat.

What is the biggest sacrifice your dad has made for you?

A relatively financial secure retirement to fund my early racing career.

Douglas MacIntyre has run The Creeping Bent record label since 1994. He is currently making music under the name Port Sulphur. He is the father of five, including Dugald and Sonny.

Douglas

What have your children taught you?

They have taught me to be more open-minded. I was 38 when I became a father for the first time, and probably set in my ways. I have five children; Amelia (20), Dugald (18), Matilda (16), and Sonny and Flora, who are 13-year-old twins.

READ MORE:Vanessa Branson on how the Scottish island of Eilean Shona won her heart

They all have an individual viewpoint.I feel I am constantly learning by looking at the world from their perspective, and have a high regard for young people in general. They are the future.

What one thing would you wish to teach them and why?

Id like to think Ive helped pass on some of the basics regarding right and wrong. I have been successful in teaching the boys that there is only one team in Lanarkshire. Both are season ticket holders for Hamilton Academical.

What did your dad teach you?

My dad was brought up in rural South Lanarkshire (as was I), and he taught me about natural history, particularly ornithology.We would go out birdwatching most evenings during spring and summer, and I have retained a knowledge of birdsong.

He also used the old Scots language names for birds, which caused me some confusion when I started reading my Observer Book of British Birds and learned that thereceivedname for a blue dykie was actually a dunnock. Other Scots names I used for birds when I was growing upincludedwhaup (curlew), peeweep (lapwing), kittieneedle (common sandpiper), stuckie (starling), shelffie (chaffinch), hoolet (tawny owl).

What was your dads relationship like with his own dad?

My dad had a good relationship with his own father, who was a highlander from Corpach who moved to Lanarkshire for employment. He spoke the Scots tongue, which wasabsorbedby my dad and in turn me. They spent most of their spare time fishing for brown trout in local rivers, which, again, is something that has passed down to me and my children.

Dugald, 18

What has your dad taught you?

My dad taught me how to play chess, which I remember playing one weekend when we were in the highlands. He also taught me how to fish for brown trout in the local river, and I have a great memory of going fishing with Dad and Grandpa. He has also taught me what is wrong and what is right.

How different do you think life is for you than it was for your dad?

I think our life is easier, and because of the internet we have lots of options and things to do to stop us getting bored.

If you could teach your dad one thing, what would it be?

Id teach him how to play computer games.

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NSA urges Government to stand by UK farmers during trade talks – The Scottish Farmer

Posted: at 10:56 am

AS THE UK begins trade talks with New Zealand and Australia, the National Sheep Association has urged the government to consider the 'potential ramifications' of what will be agreed.

NSA chief executive Phil Stocker said: Trade deals are always going to be complex by nature, with each presenting different challenges and opportunities. With the addition of Australia, New Zealand and the CPTPP, the UK is now undertaking six major new trade deals running alongside each other. Having come from a position of not negotiating our own deals for many years, the UK is undertaking a big challenge, particularly when our future trading relationship with the EU is so uncertain.

NSA is concerned about several factors with the new trade deals that are underway: Every country that we negotiate with is unique, and for the farming industry, sheep farming in particular, deals with New Zealand and Australia create unique challenges," said Mr Stocker. "This is due to sheep farming, and the export of sheepmeat, being such large parts of their industry. We are talking here about the three largest sheepmeat exporting nations in the world, with the UK being additionally unique by having such a large population and consumer market.

You can be sure that sheepmeat would only travel in one direction, in part because of population numbers, but also because our high production standards mean we can be undercut even though the product is travelling across the globe. It is not uncommon for nations to protect their agriculture industries for sound strategic reasons and this is exactly what we will expect from the UK Government," he said.

NSA been clear with our Government from day one, when seeking free trade agreements, the UK must not be willing to sacrifice our farming industry or undermine our values and standards for the sake of a deal that might benefit other British industries.

The UK currently has a fine balance with lamb and mutton exports, imports, and domestic consumption," added Mr Stocker. "There is very real concern that increasing Tariff rate quotas (TRQs) for either New Zealand or Australia will damage this balance and make no common sense at all. We would have that concern in normal times but now, with future trade with the EU being uncertain, getting these deals wrong would have catastrophic effects for our industry and for the environments and communities that benefit from it.

We have heard Government commit to not compromising the UK market and our production standards time and time again, yet they wont commit to it in legislation and as such it just leaves you feeling very nervous.

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