I use the Gayatri mantra in my daily meditation practice. It’s also a great way to keep track of time during meditation. It takes me about five minutes to recite the mantra ten times. I use my fingers to keep track of the number of times I recite the mantra. The left hand counts individual repetitions and the right hand counts sets of ten repetitions:
om bhūr bhuvaḥ svaḥ tatsavitur vareṇyaṃ bhargo devasya dhīmahi dhiyo yo naḥ pracodayāt
In Devanagari: ॐ भूर् भुवः स्वः ।तत्सवितुर्वरेण्यंभर्गो॑ देवस्य धीमहि ।धियो यो नः प्रचोदयात् ॥. The mantra is usually repeated 108 times. The reason for that is a little bit esoteric and again, there are a few explanations which don’t always agree with one another. Here is one from Sadhguru:
Below is a video that will teach you the pronunciation and I also find the melody and orchestration quite charming. You can use it to learn the mantra initially since it also repeats 108 times.
There have been many translations of the text over the years but at the most basic level, you are asking for enlightenment. My current favourite translation is: “We meditate on the adorable glory of the radiant sun; may it inspire our intelligence.”
Mantra in Asana Practice
In Ashtanga Yoga, there are two mantras, that are regularly used before and after Asana practice. The opening mantra is this:
Abahu Purushakaram Shankhacakrsi Dharinam Sahasra Sirasam Svetam Pranamami Patanjalim Om
I bow to the lotus feet of the Supreme Guru which awaken insight into the happiness of pure Being, which are the refuge, the jungle physician, which eliminate the delusion caused by the poisonous herb of Samsara.
I prostrate before the sage Patanjali who has thousands of white, radiant heads and who has assumed the form of a man holding a conch shell, a wheel and a sword.
Svasthi Praja Bhyaha Pari Pala Yantam Nya Yena Margena Mahim Mahishaha Go Brahmanebhyaha Shubamastu Nityam Lokah Samastah Sukhino Bhavantu Om Shanti Shanti Shantihi
May the rulers of the earth keep to the path of virtue For protecting the welfare of all generations. May the religious, and all peoples be forever blessed, May all beings everywhere be happy and free Om peace, peace, perfect peace
Recently, I was invited to Cologne as a delegate of the fabulous Game Mixer programme. At the previous edition, which took place in November 2017 in Johannesburg, I already talked a little bit about Ashta and there seemed to be a lot of interest in the topic of Yoga and meditation. Specifically, what exactly I do every morning at an ungodly hour.
So this year, I prepared a little presentation on my own meditation practice, which started ten years ago. In many ways, I am still at the beginning of what looks like a life-long journey but I have learned a few things along the way, which I love to share.
Many people experience stress for one reason or another. For example, I used to feel that nothing I did was ever enough. My accomplishments were quickly followed by a feeling that I still hadn’t arrived and that in spite of my successes, there was something lacking.
Of course, this begs a few questions like “what is a success” and “what is it I want” neither of which I was able to answer. Instead, I would simply pursue new goals. But achieving them always left an empty space, which was invariably filled with the next project.
I know this type of behaviour is not uncommon especially among people in the entertainment industry. For many years, it left me stranded in a hamster wheel, chasing a promise of fulfilment that never arrived but often led me into exhaustion and disillusionment.
Yoga, meditation and other little routines and exercises I practice throughout the day have helped me overcome these feelings. They might not work for everyone as they have for me but it may be helpful for some to share my process so they can build on it or find out what works best for them. Here is roughly what my typical day looks like right now:
3.15 – 3.20 am: rise and shine
3.20 – 3.50 am: shower and bathroom routine
3.50 – 4.15 am: get dressed and cycle to the gym
4.20 – 5.50 am: asana practice
5.50 – 6.10 am: cycle home
6.10 – 6.50 am: pranayama
6.50 – 7.05 am: meditation
7.05 – 8.00 am: breakfast
8.00 – 12.00 pm: creative work (if I’m lucky)
12.00 – 1.00 pm: lunch
1.00 – 4.00 pm: administrative work (and procrastination of the same)
4.00 – 5.00 pm: light creative work and exercise
5.00 – 6.00 pm: dinner
6.00 – 9.00 pm: leisure time
9.00 – 3.15 am: sleep –> REPEAT
Depending on my current circumstances, the timing of the routine might shift but the durations remain the same. The reason why I do what to some might appear an excessively lengthy routine because for me, it is the foundation of happiness which is one of my ongoing projects.
I realise that this is a tricky schedule to maintain and I sometimes deviate from it; especially when I am travelling or during time of illness or injury. Also, you have to keep in mind that I have been doing this practice in one form or another for over ten years and in the beginning, my schedule wasn’t anywhere near what it is today. If you want to start exploring your own practice, my advice to you would be to find a good teacher and not to rush it. The key to a successful and sustainable practice is consistency, not speed or acrobatic ability. I am happy to share what I have learned so please feel free to reach out with any questions you might have.
Intelligence agencies, politicians and businesses are using psychological profiling to target individuals with messages on social media with the aim of swaying public opinion and persuading people to behave in ways that suits them. Often, these messages are not based in fact but designed to provoke emotional responses that serve the agenda of the poster.
The fact that people are susceptible to these kinds of messages shows how easily we can be persuaded of half truths and falsehoods. This has been successfully exploited by the advertising industry for many years but never to such dramatic effect as we have seen over the last two years.
Photos and videos are often used to assert validity but widespread access to image editing technology means that it will become increasingly harder to tell whether they have been altered. We live in a world with abundant opinions and information but limited means of judging their quality.
A recent study on information literacy revealed that the majority of school children cannot tell the difference between a news item and an advertisement. Another asserts that false messages are more likely to be believed than true ones.
But how can we maintain democratic principles if we are unable to make informed decisions? One way to address the problem is by teaching media literacy in schools. Three years ago, I was interviewed on that topic. I am reposting an abridged English translation below. The original German text can be found here.
Why should we still be learning when there is the internet?
The Internet offers knowledge for everyone. A massive library of content with aisles and aisles of shelves that multiply every second. The problem is no longer availability, but the sheer abundance of information. It is therefore less about finding, but more about learning to evaluate the quality of what there is. Therein lie both possibilities and problems and media literacy should be considered in this context. However, I would like to concretise this term, because studies such as ICILS 2013 [International Computer and Information Literacy Study, editor’s note] show that students must, above all, gain information literacy, which requires like many areas of life reflecting on the own real and digital environment.
So, should we remove textbooks from the classrooms?
One thing is certain: Despite this development, the textbook is still in the classroom is still the undisputed number one source of information. Textbooks are products of professional editorial work and the tasks are adapted to these materials. Once printed however, they can no longer be extended or updated and because the world continues to move, students often feel disconnected from the content.
This often causes young people to feel misunderstood not taken seriously by educational institutions. “What do I have to learn that for,” they often ask. This does not mean that textbooks are obsolete – on the contrary. There is much to be said for the haptic experience of the book. The printed word is not only a valuable cultural asset but they are also reliable. They still work, if the power fails or the computer doesn’t cooperate. I see digital content as a supplement not a substitute to analogue content.
From your point of view, what does this mean for teaching?
There is often a gap between school and the reality of life. The more technology permeates society, the greater this gap becomes. Our task is to continuously assess the objects and methods of learning; to test and compare them with the reality our children are exposed to. The extensive factual knowledge that pupils commit to short-term memory year after year like sizes, names, dates for example can be recalled in seconds, and often more reliably with the use of technology. But the subject of learning should not be limited to the use of computers, but must include the connection between the individual pieces of information. The context is key to understanding the meaning and evaluating the quality of information.
Learning with media and in context – how does it work?
I believe that children – and incidentally also adults – learn best when learning is embedded in an exciting context. In other words, we learn best when we are interested. An original story is a highly motivating context. People love good stories. Why should we not use this passion that is deeply rooted in us? There are many digital offerings that teach children how to handle media correctly; many of which are also fun to use but probably because work at the computer is still considered an exception and therefore partly is not perceived as ‘real’ teaching. Offers that use media in a considered and targeted way are still few and far in between. If children have spend an entire lesson watching a film or using software and at the end can’t tell what it was all about, then what was the purpose of the exercise? There is a lack of products that take content seriously: this is the starting point for the idea of the real world game and its first incarnation “Professor S.”.
I believe that story telling can be a powerful driver of our intellectual development because by creating stories we not only learn to recognise a good yarn but the research that goes into spinning our own helps us to develop critical thinking. One of the most useful skills I learned during my education is the ability to judge the quality of information. Like all things worth having, it doesn’t come over night and requires exercise which is why the sooner we start to teach these skills the better our world will be for all of us.
Last week, we were invited by UKIE to present Ashta at the Games Funding Conference in Liverpool. It was a fantastic opportunity to meet people developing, financing and distributing games in the UK and also a wonderful chance to introduce the youngest member of our team to a vital aspect of game development: presenting ideas.
Carmen joined LUDINC for a work experience as part of her International Baccalaureate. She wanted to spend time with us because she especially loves working with children. I was happy to have Carmen with me not just because she did a fantastic job but also because I value her curiosity and unique point of view.
Most new titles that are released are a testament to the fact that a large number of games are still made for male consumers. Our industry needs fresh perspectives and diversity to continue to thrive which is why I would love to see more young women in games. If you are currently considering a career in games I would like to hear from you.
Today marks the beginning of an exciting new chapter for our company. We have closed our offices in Berlin and found a new home in the city of Bristol in the beautiful south west of England. Why did we leave our beloved Berlin? There are a number of reasons but everything began with Professor S.:
When Professor S. made its debut, it received widespread acclaim and awards both nationally and internationally. Schools and teachers loved the idea and our growth in German primary schools is testament to that. However, we noticed that teachers were often struggling with ageing computers and poor internet connections.
In order to improve the situation, we formed a partnership with Open-Mesh in the US to provide low cost WIFI solutions and improve connectivity in the schools. Still, many schools were struggling to finance and maintain those solutions. But help was at hand: Johanna Wanka, Germany’s minister for education and research announced a five billion euro package to kickstart digital education in Germany.
Sadly, in the summer of 2017 it became clear that no concrete provisions were made inside the government to secure adequate funding for the initiative and support from the ministry quickly fizzled out. Even though most people agree that progress in digital education needs to be made and Angela Merkel has shown renewed support earlier this year, small companies like ours struggle to survive in a climate of political uncertainty.
But there is a more fundamental, philosophical reason underlying our decision to move to England. In the United States and the United Kingdom, it is easier to create innovations because there is an understanding that to make something new one has to take risks. While in continental Europe – Germany and France in particular – there is a perception that risk is something to be avoided.
Both positions have merit in that the former creates a frequently booming industry based on new ideas while the latter creates an economically more stable environment resting on the foundations of tried and tested concepts.
It is easy to see that LUDINC, as an innovator in education technology would thrive in a climate where entrepreneurship is encouraged and nurtured. Clearly, there are more advantages to being here and I will say more about those in later posts.
Naturally, we will continue to provide our German customers with the same great products and services they have come to expect from us and we look forward to doing the same for our new friends and partners in the UK.
It is a great joy for me to announce today that after the success of Professor S. and with the kind support of the Medienboard Berlin Brandenburg and the German Computer Game Award LudInc is now developing a new game for kids between the ages of 6 and 12 called:
The story follows the adventures of a little octopus girl called Ashta. She was born in a river at the northernmost tip of Indonesia on a little island called Pulo Aceh together with 51 little brothers and sisters. Ashta likes to swim close to the beach and listen and dance to the music the humans are playing. She loves to sit in the coral trees and watch the world go by. Unlike her fellow octopi, she is very sociable and she has a lot of friends in the lagoon. She loves to scare her friends by hiding and imitating different animals. Her father Bob is Ashta’s favourite relative and mentor. Bob enjoys the little pleasures in life. Ashta’s mum calls him lazy but Ashta loves his easy going attitude. Bob often takes Ashta to the beach to collect shells and candy the humans leave behind.
One day, a group of sharks are feeding in the bay. Ashta barely manages to escape and gets separated from her family. Followed by the sharks she swims into the open sea. Having lost her way and with the sharks still in pursuit she swims farther into the ocean until she reaches the east coast of India. There, she makes friends with a young bull from Mexico and together they embark on an adventurous journey to reunite “Ashta” with her family.
The idea came to me last summer after I had spent almost every day over a six months period practising the physical exercises of the Ashtanga Yoga primary series. The practise continues to improve my life in many ways and I wish I would have discovered it sooner. Yoga not only promotes physical health and fitness but also emotional well-being, concentration and learning abilities. I believe I would have greatly benefited from being introduced to Yoga while I was still at school.However, when I was a kid, Yoga was virtually unheard of. That is why I am grateful for the opportunity to now introduce a younger audience to the practice using the tools I am most familiar with: storytelling, gaming and music.
A big thank you goes out to the Medienboard Berlin Brandenburg who continue to believe in us. A special thank you also goes to the German Computer Game Award (DCP) and the Goethe Institute who invited me to Sao Paulo last year for a wonderful opportunity to meet with and learn more about the Brazilian games industry. During my stay in Sao Paulo I also met our Brazilian co-producer Paula Cosenza. Paula’s company, Bossanova Films has recently opened an animation department which produces high quality children’s content and I am very much looking forward to working with her. “Ashta” will be our first international co-production and I am very excited about that.
Our gratitude also goes to the Arnold Zweig School in Berlin, where we already had an opportunity to try the story and exercise sequence with a third grade class. There will be other opportunities to test the game mechanics later this month but even at this early stage of development, “Ashta” is a big hit with the students and teachers.
We still have a lot of work ahead of us and you can also help by sharing your thoughts: Do you practise Yoga? Do you think Yoga would be beneficial for your kids? Would you spend money on an app that teaches your kids yoga? Do you think an animated story is a useful teaching tool?
Today we are celebrating a milestone at LudInc and I am very happy to share fantastic news with you: Thanks to our partner Westermann, Professor S. now has a full page feature in the brand new Westermann print catalogue, which is distributed to over 13,000 primary schools in all of Germany.
Every federal region has its own catalogue and Professor S. is featured in every one of them. But this marks only the start of a much larger distribution effort which will continue with the didacta trade fair for education. Professor S. is already played in 70 schools all over Germany and we are set to grow in 2017.
If you are at the didacta please join me on the 17th of February at 10 am for my talk “The Mobile Natives – How Children Learn in the World of New Media”. I will share my experience from developing Professor S. inside primary schools in Berlin. Professor S. is recognised as one of the most innovative and exciting teaching games available today and I can’t wait to show it to you. If you don’t know Professor S. here is a video that explains how it works:
This is a hard question which is why I have decided to start a list, which I will update from time to time to see which of the songs and albums actually survive over time. I haven’t included any new music because during the first few years my opinion of it often changes. My self imposed rule is: to qualify as an all time favourite, I first have to like the music for a few years. So here are some of my current favourite albums and songs in no particular order. Where possible, I have included a Youtube link to the track which may or may not work in your country. Feel free to leave any and all of your favourite music in the comments.
Last week I was in Sheffield for the Children’s Media Conference. I was invited to talk about Professor S. as part of a panel called “Innovation in Education”, of which there is a very nice summary report here.
The event was very well organised and it had a cosy and welcoming feel to it. It was encouraging to see how many great projects were presented there. I only stayed for a day but I saw plenty of interesting talks and also made some great contacts.
The keynote speech that evening by cartoonist Chris Riddell was very entertaining. He took us on a journey through his career, working method and his opinions about the recent referendum, which unsurprisingly also featured prominently in the talk about European financing the following morning.
Although Creative Europe says in a recent statement that there will be no substantial changes until 2017, the mood among UK producers was sombre. After all, it will be hard to finance future british stories without EU support.
As a UK citizen living in Germany, I am personally affected by the changes that may come out of the referendum. Moreover, I am sad to see the country I call my home now ever more distant.
In recent years my world has shrunk through affordable air travel, free video calls and freedom of movement. Communication is easier than ever in part because English has become a common global language. As a result, I have friends from all over the world who also socialise and do business globally.
In my mind, physical borders have already lost in importance and I doubt I would miss them if they disappeared tomorrow. After all, we all share one planet and would therefore benefit from sharing resources and growing understanding and tolerance more than we would stand to loose from distancing ourselves from our fellow human beings.
The film industry in particular benefits from the free movement of people and ideas and many projects would be difficult to realise without drawing on talent from other countries.
Time will tell how this decision will affect us in the long run but I have no doubt that interesting times lie ahead.
I am staying at a friend’s place at the moment. She has a piano so I get to play it from time to time. I have forgotten a lot of the tunes I used to play but I remember a few. I started learning instruments when I was 4. My mum and I had moved into a commune in the country side. The people there had a band and played a lot of shows at music festivals and local venues. My very first public performance was at one of those shows. Someone gave me a drum and told me to play along with the band – from that moment on, I was hooked.
The keyboard player in the band offered to give me piano lessons, which I happily accepted. A couple of years later, I started playing guitar. Later, I picked up bass guitar and also the drums. I would often switch between different instruments and go through long cycles of favouring one instrument over the others.
Over the years, I have played in a lot of different bands. I also love improvising and I would often get together with other musicians to play whatever came into our heads. One of our practise rooms was inside an old box van which we used to take out into the country side to play in a field or forest. There was a generator inside the van that powered the amplifiers and even a little cooker to make cups of tea during the breaks.
Sadly, no recordings survive from the “van sessions” – at least none that I know of.
My first enduring band project was called “Camp Blackfoot“, which was a punk / jazz / rock band that existed between 1996 and 2001. We did one tour of France and Italy and released on album called “Critical Seed vs. the Spartan Society”. I played bass on all but one song but I also play lead and rhythm guitar on some of the tracks under the pseudonym “Lex Fontaine”. You can listen to the epic opening track “Exorcismo Di Paulo” here:
Between working on Camp Blackfoot and studying, I made a scarce living playing in different Jazz bands among which was a saxophone and guitar duo with the fabulously talented Alex Ward. We played pubs, cafes, hotel bars, golf clubs, shopping streets – you name it. Here is a track from our original demo – the beautiful “Goodbye Porkpie Hat”:
After Camp Blackfoot came a new band called “Vin Mariani”. We never progressed past the song-writing stage but our demo recordings survive. Below, you can listen to one of our tracks called “Art Rat” which I co-wrote with Nich Eglin and Luigi Cibrario. On this track, I play bass, lead guitar and keyboard.
The demise of Vin Mariani was followed by two years of musical inactivity during which I worked for Harley-Davidson, who had just opened their European headquarters in Oxford. Working for Harley-Davidson was an interesting experience which I might describe in a different post. Suffice it to say, that I was not cut out for a corporate career so I decided to start writing music for film. It all started with this demo:
In my next post I might entertain you with more stories from my career as a film composer.