Controversial Visions

July 4, 1776 — a date that lives on to commemorate the signing of the Declaration of Independence and to celebrate liberation from the tyranny of an oppressive global empire. It was a day, like any other, marked by a decision made by a group of idealists in a small assembly room in Independence Hall, Philadelphia, PA, to ratify the radically egalitarian vision expressed by a visionary document.

Thomas Jefferson, one of the legendary figures of US history, who was the primary author of the Declaration, outlined his case for the separation of the thirteen American colonies from the British Empire, stating, unequivocally:

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

These words have since become one of the best-known and widely regarded statements of human rights the world over. Jefferson's document has since become the seminal text underlying all modern democracies, all of which may be traced back to this seminal event — the signing and acceptance of this document and it's vision by the continental congress.

And even so, the text and its author are not without controversy. At the time, this bold vision of the egalitarian rights of man and separation from a global empire were deemed radical to the point of being considered to be treasonous (by the British). And subsequently, the founding fathers have come to be criticized for being slave-owners and for holding double standards with respect to their slaves.

However, we must consider the fact that Jefferson's bold, controversial vision was, actually, in its inception, even more radical than we give him credit for. The original draft of the Declaration of Independence contained the following passage indicting the British Empire for the practice of human slavery and condemning slavery in no uncertain terms:

“[King George] has waged cruel war against human nature itself, violating its most sacred rights of life & liberty in the persons of a distant people who never offended him, captivating & carrying them into slavery in another hemisphere, or to incur miserable death in their transportation thither. This piratical warfare, the opprobrium of infidel powers, is the warfare of the Christian king of Great Britain, determined to keep open a market where MEN should be bought & sold, he has prostituted his negative for suppressing every legislative attempt to prohibit or to restrain this execrable commerce…”

The sad reality was that the horrific practice of human trafficking and slavery, as practiced by the global, Christian British Empire and its colonies, was so widespread and entrenched in society, that this passage was deemed as being too controversial by Benjamin Franklin and John Adams. They edited and amended Jefferson's draft to exclude this passage from the final draft that was adopted by the continental congress on July 4, 1776.

It took another 87 years until Abraham Lincoln, another legendary figure from US history, issued the Emancipation Proclamation on January 1, 1863, to free all slaves in the United States. This executive order was controversial enough in the second half of the nineteenth century — one can only speculate on how much more controversial Jefferson's vision of radical egalitarianism would have been nearly 100 years earlier.

And yet, one can only wonder — what if the founding fathers had decided to leave that passage in — effectively to condemn the practice of slavery at the very outset — would that have given the modern civil rights movement a 100 year head-start? Would it have made the bloody, brutal US civil war unnecessary? Would we remember Jefferson, not Lincoln, as the heroic liberator of the slaves in America?

Controversy can often intimidate us from pursuing our visions — but one can only speculate on what the cost of abandoning or compromising on those visions might eventually be, in the long run!

At Horizon Cybermedia, we aim to hold true to our vision of pursuing the endless possibilities of modern digital media to redefine our cultural milieu. We aim for the horizon and we move boldly forward in our ongoing exploration of the constantly shifting seascape of digital media.

Do check out our current, ongoing web series, American Castle: the Secret World of William Randolph Hearst, and our YouTube channel.

Wishing you the very best,

Uday Gunjikar,
Founder and CEO,
Horizon Cybermedia.

A Question of Belief

I take my beliefs seriously, and sometimes, I feel compelled to express what I believe and why. I'm not sure if it has any impact on the rest of the world — maybe it's a way of clarifying my own thoughts about my beliefs in my own mind.

In the 21st Century, the biggest challenge — really, the only significant challenge — to Christian ideas and beliefs is science and the scientific method. As Neal Degrasse Tyson stated in the first episode of the brilliant new television program Cosmos, the scientific method is so powerful that, in a matter of a few centuries, it has taken us from Galileo's telescope to the moon and beyond — to nuclear power, Wifi and to the edge of quantum computing and biotechnology. Who can honestly foresee where it will continue to lead us?

But even though science continues to push the boundaries of explanation of the observable universe, and pushes the limits of observation of the universe itself, there still remain some kinds of questions about human experience that science is incapable of addressing adequately — philosophical concerns such as the purpose of human existence, the nature of human consciousness and identity, the metaphysics of human morality, the role in our lives of the humanities and arts, and, most notably, the nature of the human heart.

I don't want to delve into the details of the philosophical questions I grappled with on my journey towards my Christian faith because doing so would be an arduous trek into some obscure conceits. Ultimately, what I personally find most compelling about Christianity, is an intangible, undefinable sense of veracity that seems to transcend any purely intellectual attempt to grasp it. Perhaps that is what a leap of faith amounts to — making a decision to believe in something without complete knowledge, but with a reasonable, reasoned sense of the authenticity of the object of one's faith. At the same time, one must be careful to keep an open mind and always ask questions, not allowing oneself to become trapped by dogma.

Like Giordano Bruno, whose life and vision were dramatically portrayed in episode 1 of the television show Cosmos, I guess my own faith is inspired by a sort of personal vision or insight that helps me reconcile what I know in the context of my scientific background and education and what I believe in the context of my faith. The difference is that my vision seeks to transcend science and religion (even as it is a concrete idea, not a mystical vision), and I hope that I do not meet with the same level of derision among skeptical scientific thinkers as Bruno did among religious people for his vision of a universe modeled after Copernican ideas.

The idea that inspires me is that the creation of the universe may be analogized with a more mundane act of creativity that we are more familiar with. If God's creation of the observable universe can be thought of as something like, e.g., J.R.R. Tolkein's creation of middle earth or C.S. Lewis' creation of Narnia, it somehow makes more sense. If we think of God as existing beyond space and time and creating the universe as a continuity, in the way that an author writes a book, then the universe may have a history of billions of years, even if it was, in a sense, created only a few millennia ago, from God's point of view. This would be similar, in a sense, to Tolkein writing his books 60 years ago, but his middle earth having a chronology or history of, perhaps, thousands of years.

We human beings, trapped in the continuity of our universe, would be incapable of comprehending or appreciating the space-time continuum that God might operate in even as the characters in a book might be incapable of comprehending the continuity of the universe inhabited by the book's author and readers. The difference, of course, is that the drama played out in our universe is seemingly impromptu and unscripted — real life happens as a product of human free agency, not, as far as we know, because it has been pre-determined or scripted by God (though some philosophers might argue to the contrary).

Anyway, to speak in simple terms, it helps me to think of the universe as something between a novel and a dream — a product of the creative imagination of an omnipotent intelligence beyond space and time, i.e. God. But because the characters in God's “novel” have free will and, as such, could influence the “plot” of the story with their own actions, things started going wrong when the “characters” started violently attacking and killing one another — depicted in the Bible as being initiated by a primordial act of fratricide — the story of Cain and Abel. Naturally, God, the author of this “imagined” universe, becomes concerned and attempts a series of interventions, which the characters in the “novel” perceive as supernatural events. Ultimately, God decides to write himself into the story as the protagonist to bring order to the chaos — and so, he creates Christ, who, though he is no different from any of the other characters in the story, happens to have God's own consciousness projected onto him. God identifies with the protagonist of his story, even as an author might identify with the lead character in his novel, and, in that sense, Christ is perceived as the very son of God, with a Divinely inspired mission to redeem mankind from its unfortunate condition.

Do I have any evidence to support these ideas? No, but it is a theory that attempts to explain certain facts about the universe, such as the origins of human consciousness and morality, man's relationship with God, etc. And even though it may not have any mathematical underpinnings to elucidate its meaning, it has the virtue of providing a coherent explanation of some Christian ideas. Much as the theories posited by major scientific theorists (Newton, Einstein, etc.) attempt to explain the observable scientific facts of our universe.

In that context, the miraculous and the marvelous are well within the realm of possibility. If one is limited only by the extent of our imaginations in our power to disrupt the fictional universes we might create, then a God, with an infinite imagination, would have an infinite power of intervention into the universe of his creation — our universe. Perhaps, some day, we might see such a display of his powers! In any case, it remains interesting to note that one of the New Testament gospels begins with the phrase, “In the beginning was the Word, and the Word was with God . . . .”

Thus, I am inspired by this somewhat grandiose cosmological vision, which may appear to be bordering on the fantastic, but is, ultimately, no more fantastic than one of Einstein's thought experiments! And while it is lacking in specificity, it is, at least, no less empirically verifiable! Ultimately, it inspires me and gives me faith along with some speculative answers to some of the questions that I am faced with. And while it may be far from the truth, at least it works as a theory, providing an explanation, however imperfect, of the observable facts, in a way that, perhaps, Newtonian physics provided answers before Einstein appeared on the scene!

Meanwhile, even as we reflect on these profound themes, I encourage you to check out Horizon Cybermedia's current, ongoing production — a multi-part web series entitled American Castle: The Secret World of William Randolph Hearst. I hope you enjoy it!

Wishing you the very best,

Uday Gunjikar
Founder and CEO,
Horizon Cybermedia, Inc.

 

Napoleon

A couple of weeks ago, I had the rare opportunity to attend a premiere showing of the 1927 black and white silent film Napoleon at the Paramount Theater of the Arts in Oakland, CA, sponsored by the San Francisco Silent Film Festival. This was the first time that the six hour silent film had been shown in its entirety in the United States since the ’20’s. When Hollywood received the original print, it was edited down to a fraction of its original length and screened to unflattering reviews. Now, for the first time in ages, it can truly be appreciated for the cinematic masterpiece that it is.

The screening was accompanied by an original soundtrack composed and conducted by Carl Davis and performed by the Oakland East Bay Symphony. The rousing, breathtaking score was inspired by the music of Beethoven and Mozart, and created a remarkable atmosphere around the entire show. In essence, this was five and-a-half hours of live orchestral music while Academy Award winning film-maker Kevin Brownlow’s restoration of the film played onscreen.

It was a unique experience, celebrating a unique film. It played to packed houses for four matinée showings over two weekends — it was a minor feat of athletic endurance to sit through the entire performance, but coming out of it, you really felt as if you had actually been there — actually been through the French Revolution and witnessed, first-hand, the rise of Napoleon Bonaparte from obscurity in the French Revolutionary army to the heights of glory as the emperor of France.

The film is probably most striking in its vivid depiction of the French Revolution. It presents, in bone-crunching detail, the horrors of the Reign of Terror and the atrocities committed by the likes of historical figures such as Danton, Robespierre, Marat and Saint-Juste, the last having been played by the director himself. It depicts, in brutal immediacy, the horrors of war, in its representation of the Siege of Toulon and of Napoleon’s unlikely victory over invading forces. Finally, it presents a breathtaking hour-long climax using an experimental cinematic technique with three screens and projectors giving the audience an immersive experience of Napoleon’s Italian campaign.

Probably the most fascinating aspect of this unique event is the story of how film-maker Kevin Brownlow accomplished this remarkable achievement in film restoration. The film was literally pieced together from remnants in various archival collections, having never been recognized before for its true artistic merit. It makes you wonder how many other unrecognized cinematic masterpieces have been condemned to obscurity, waiting for someone to restore them to their original glory.

The screening was, in and of itself, a unique experience. It was a festive atmosphere at the remarkable Paramount Theater of the Arts in downtown Oakland, CA. There were three intermissions, including a two hour dinner break, during which one could appreciate the decor, purchase memorabilia from the souvenir shop or head to the bar for a Napoleon cocktail.

After this remarkable experience, one has to wonder if we have lost something of the grandeur of the past in our fast-paced modern society, in the rush to get ahead in our lives and to claw our way to the top of the heap. Experiencing a record of history in this unique format — getting a historical perspective on human concerns from the past — makes you reflect on the human condition in the present day and wonder what we have lost over time. In a sense, this entire festival was a celebration of the recovery of a lost heritage, a lost past — the film at the center of the event being, itself, a restoration of a work from the dustheap of history to the status of a recognized cinematic masterpiece. As such, it is emblematic of our need to reconnect with a forgotten past and restore it to its forgotten glory.

Hopefully, this Renaissance spirit will continue and the San Francisco Silent Film Festival will host many more such spectacular events in the future!

Meanwhile, do check out Horizon Cybermedia‘s ongoing series of web videos, Exploration with Uday Gunjikar.

Wishing you the very best,
Uday Gunjikar
Founder and CEO,
Horizon Cybermedia, Inc.

Driving through the Desert

One of the most formative experiences of my life — maybe because it was borderline traumatic — happened to me when I first drove out to the beautiful state of California to start on my new job back in the year 2000.

At the time, I was working in St. Louis, MO, and had only just accepted a job in Northern California. I had a few days before I started, so I decided to drive across the country from Missouri to California in my bright blue Pontiac Grand Am. I drove through Missouri, Kansas and Colorado on the I-70 going westwards. It was a pleasant enough drive. I can still remember driving through the vast expanse of the Kansas prairie — I had never before driven through such a vast plain in my life — and enjoying the sunset on the flattest, widest horizon I had ever seen. I also remember the quaint country hotel where I overnighted and the breathtaking snow-capped peaks in the distance as I drove through Colorado the following day, after passing through Denver.

Pretty soon, I arrived in Utah and took the I-15 northwards to Salt Lake City, where I got onto the I-80 going westwards towards California. Leaving Salt Lake City, what awaited me was a long stretch of driving through a barren wasteland — the deserts of Utah and Nevada — a tough, relentless drive. I still remember checking my gas as I left Salt Lake City — the gas gauge read half-full (or half-empty, depending on how you look at it)! “No problem,” I thought to myself. “This should be enough gas to get me to the next town, where I can fill up.” And so, I began my fateful drive through the barren Bonneville Salt Flats, a dreaded stretch of desert west of Salt Lake City.

As I drove on, the desert yawned out ahead of me — a vast, parched wasteland. Not the least hint of civilization or culture for miles. I continued along the highway, glancing nervously at the gas gauge. The sun beat down mercilessly. I passed by the occasional truck on the otherwise empty road. Not a car to be seen. The gas gauge continued to fall, and still there was nothing. I began to wonder if I would ever get to the next town. I began to imagine terrible scenarios — being stranded in the middle of the desert without food, water or gas for my car. Even if I had a cell phone on me — and I didn’t at the time — it would probably have been useless in the middle of the Salt Flats!

In the end, I was literally driving on fumes and praying to Jesus Christ with all my might, but still, pushing forward through the desert, hoping for a miracle! And a miracle did come! Just as I heard my car engine begin to sputter, I arrived at a gas station, frequented by truckers. It seemed like the only gas station in that desert for miles — a run-down establishment overcharging for gasoline and other provisions — but it was, at the time, a veritable Godsend! An oasis! Nirvana! I whispered my thanks to God as the gas tank in my car greedily swallowed the gasoline I pumped into it!

I continued my drive through the deserts of Nevada and, as I approached California, from a distance, it truly seemed to be the Promised Land — a green haze seemed to have settled over the verdant hills of Northern California, signifying the promise of salvation from the relentless arid wasteland that I had left behind me. And as I drove through a hilly stretch of road in California, approaching my destination, it truly seemed like “a land flowing with milk and honey!” It may sound somewhat naïve, but that experience has stayed with me ever since then. I can’t help but wonder what might have happened if I had chickened out on the desert road, with the gas gauge reading empty and nothing but vast stretches of barren desert in all directions! That experience makes me think twice about taking anything for granted and makes me appreciate art, culture and civilization all the more!

The vast prairie horizons of Kansas, the majestic mountainous horizons of Colorado and the desert horizons of Utah and Nevada are ingrained in my memory and partly became my inspiration in launching Horizon Cybermedia several years later. The experience continues to inspire me to push forward in life even when it seems as if I am driving through the desert on an empty gas tank — because if you push forward, you just might make it to the deserted gas station in the middle of nowhere that will save your life and enable you to continue on your journey, all the way to the Promised Land you are hoping for!

Please do check out my series of web videos, Exploration with Uday Gunjikar, inspiring one to continue to travel and explore and pass through new horizons and into unexplored territory. In this modern world, with all the amenities that civilization offers us, one might imagine that there is no more room for exploration or adventure, but that notion couldn’t be further from the truth! As long as there are human beings on the earth, there will continue to be new horizons to explore, because all experience is subjective and civilization is always in flux!

Wishing you the very best,

Uday Gunjikar
Founder and CEO,
Horizon Cybermedia, Inc.

The Medium is the Message

In my previous blog post, I promised that I would be making a major announcement about my friend, novelist Ashwin Sanghi’s first novel The Rozabal Line, and my reconnection with him after several decades.

So here goes:

For the last several months, I have been developing a feature-length screenplay based on the novel. I have collaborated with the novelist, Ashwin, on this project, in an attempt to capture his authorial vision as authentically as possible in the cinematic medium and language of screenwriting. If you happen to have followed the news in India, you might even have read a news article in the Indian newspapers in which Ashwin made press statement to this effect.

If you have read The Rozabal Line, you would have noticed that, in spite of being a pretty brief novel, it is extremely dense and complex–packing more ideas into its two hundred or so pages than most novels do in twice as many. As such, adapting the novel into a screenplay, with its interweaving plot-lines and its non-sequential structure, was particularly challenging. However, I am proud to say that I think we have succeeded in developing a really engaging and enjoyable fast-paced thriller screenplay that is currently undergoing its final edits and should be complete very soon.

If you are familiar with this novel and the content of the story, it would be pretty apparent to you that it is very controversial in its subject matter. It is the sort of story that challenges all your assumptions and dares to take you to places you might never have imagined before. Truly, the story is about challenging and engaging you at every level, daring you to question your belief system and ask yourself some pretty tough questions, such as, “Why do I believe what I do? Am I accurate in my beliefs and assumptions?” and so forth.

This story is not and never has been about undermining anyone’s faith or beliefs. However, I realize that when one asks difficult questions or addresses sensitive issues, such as religion, one will inevitably provoke a hostile response from some quarters. In an attempt to anticipate and preempt any such misinformed or ill-informed assessment of this screenplay, I am going to attempt to clarify some points here and, hopefully, prevent the kind of uproar generated by novels like The DaVinci Code, which, in fact, treads on similar territory as The Rozabal Line, though the two novels are completely different in most other respects, such as theme, style and structure.

Firstly, this is a work of speculative fiction. Spelling out what that means–it is a story, a narrative, meant to entertain you, the audience, while, hopefully, broadening your horizons at the same time. So in no way should this story be regarded as factual or journalistic, though it contains many factual and historical elements embedded within its narrative thread. Basically, it is intended to be a fun exercise in which one speculates on certain possibilities and, in doing so, one comes to a deeper understanding of the way things are by asking oneself some tough questions through the process of suspension of disbelief.

Secondly, this story is not intended to preach any kind of doctrine to you or dogma at you. I fully understand that there are people out there who don’t get what this means and who perceive any sort of narrative as some sort of religious tract or testament of faith. That’s not what this is! Rather, it is designed to challenge and encourage you to think critically! “The medium is the message,” to quote Marshall McLuhan. There is no explicit message here other than the challenge to ask difficult questions! If you pay close attention, you will notice that the story undermines itself at every level. This is by design–it is about challenging you, the audience, to play the detective and dig up the clues to what’s really going on here!

Finally, as I suggested earlier, this story should not be regarded as a statement of our personal belief systems. The words and ideas expressed by any of the characters in the story cannot and should not be ascribed to the novelist and/or screenwriter themselves! Personally, I consider myself to be a moderate Christian (who believes in the tolerance of all religions, philosophies and belief systems–even ones I may disagree with or object to–as long as they don’t violate the law or human rights). And as for Ashwin Sanghi, I believe he is a practising Hindu, who shares many of my own points of view on matters of tolerance and human rights.

One of the central themes in this story is the distortion of words and ideas, and how a nuanced, accurate view of history and current events is essential to promoting peace and understanding across the world. I can only hope that the same principles apply to my words and those of Ashwin Sanghi! The reality is that we live in an age of mass media, and in this echo chamber, distortion and oversimplification are inescapable! I can only hope that when people realize the true consequences of distortions and inaccuracies, they will make a greater attempt to discover the truth!

That said, I hope to get this movie made in Hollywood, once the screenplay is completed. Stay tuned for further announcements!

Meanwhile, please feel free to check out Horizon Cybermedia’s website, http://www.explorationtheseries.com, for our ongoing video series, Exploration with Uday Gunjikar. A new episode is currently in the editing room and should be online pretty soon.

Wishing you the very best,

Uday Gunjikar
Founder and CEO,
Horizon Cybermedia, Inc.

Radical Islam Threatened by Hollywood

Not long ago, I ran across an article on the web—an Associated Press release—that included the following passage (quoted verbatim):

Elsewhere in the northwest, a car bomb exploded close to a movie theater in the city of Peshawar [in Pakistan], killing at least six people and wounding 80 others, witnesses and police officer Saleem Khan said. Authorities blamed militants that have targeted theaters before in the region, believing them to be un-Islamic.

The article, entitled U.N. seeks $543 million for Pakistan refugees, was originally published at this link. It has since been updated by the Associated Press and no longer includes the passage cited above. The same news story, Bomb at Pakistan movie house kills 6, may also be found at this link, which also contains a similar passage as follows:

Militants have targeted movie theaters in the region in the past, charging that the businesses violate the tenets of Islam. Pakistan’s Dawn News television channel reported that some theaters in the area have recently received threats from the Taliban, and that a few theater owners have shut down.

I find these passages to be particularly eye-opening as they clarify and put into sharp relief what radical Islam and, for that matter, any sort of religious extremism, represents to the world of culture and the arts—which naturally includes cinema. Religious extremists are invariably threatened by the arts because the arts represent freedom of expression and a representation of the truth. Religious extremists, like the Taliban and other repressive theocracies of the world, which base their very existence on propaganda and authoritarian dogma, invariably find themselves at odds with artists and artistes of all kinds.

Islamic radicalism has always been about repression—the suppression of individual freedoms and the violation of human rights. Thus, it comes as no surprise that the same fanatical theocracies that have no qualms about resorting to outright brutality to protect and further their social, political and religious agendas—a fact that the world is witnessing only too clearly with recent events in Iran—would feel threatened by culture, the arts and, most recently, by Western cinema, as evidenced by the recent bombings of movie theaters in Pakistan orchestrated by the Taliban.

From the earliest of times, Islamic culture has been characterized by a particularly intense hostility towards imagery or rendering. Some of this fanaticism may be justified by Islamic apologists as an attempt to assert the peculiar brand of monotheism that Muslims adhere to. And, of course, there is no denying the cultural achievements of the past, in such Islamic cultural centers as Beirut, Lebanon and Baghdad, Iraq. However, it cannot be denied that the radical Islamic movement of recent times, as epitomized by the likes of the Taliban and Al Quaeda, have displayed a pretty ruthless hostility towards all forms of artistic representation. And this destructiveness has been felt only too keenly in such Islamic cultural centers as Beirut and Baghdad, which are now wastelands thanks to decades of sectarian violence and brutality.

In March 2001, in fact, the Taliban ordered the destruction of two gigantic, ancient statues of the Buddha in the Bamiyan province of Afghanistan—an act of ruthless vandalism against art and culture—against historical artifacts of immense archaeological importance and cultural value—an act that many believe was an ominous precursor to the destruction, only six months following, of another pair of monoliths of immense socio-cultural importance, namely the Twin Towers of the World Trade Center in the great Western cultural center of New York City. Arguably, the destruction of the World Trade Center on 9/11 is an undeniable expression of a deep-seated hostility for Western art, culture and, in this case, architecture, on the part of radical Islamic factions.

After all, if Islamic radicals like the Taliban, Al Quaeda and the Ahmadinejad regime in Iran have no problem with murdering thousands of innocent civilians (by sponsoring terrorism) or engaging in brutal misogynistic practices or controlling their populations with an iron fist through religious dogma, can it be at all surprising that they would find Western cinema threatening? One has to wonder: how many Hollywood movie stars would feel the least bit comfortable having any dealings with the likes of the Taliban or Al-Quaeda or the Iranian regime of Mahmoud Ahmadinejad? And, furthermore, how agreeable would Hollywood or Las Vegas, with their culture of over-the-top extravagance, be to the average Islamic radical?

I have no doubt that when the likes of Osama bin Laden condemn Western and, in particular, American culture as inimical to the tenets of radical Islam, what they have in mind are such cultural centers as Hollywood and Las Vegas—cities whose culture has always been about extravagance and excess of every kind. For a religion that enforces draconian dietary regulations and forbids the consumption of alcoholic beverages, Hollywood would have to be a profound anathema!

No wonder that the Taliban and other Islamic radicals feel compelled to bomb movie theaters in Peshawar, Pakistan!

Horizon Cybermedia, on the other hand, is about preserving art and culture in the face of brutal religious extremism. We are about championing the cause of freedom, especially in the venue of artistic self-expression. For us, the worst possible of all scenarios would be to be subjected to an Islamic theocracy that denies us our basic freedoms and human rights—freedoms such as those that enable us to produce art, culture and cinema!

Check us out at our website http://www.explorationtheseries.com, which features our ongoing film series, Exploration with Uday Gunjikar, a travelogue documenting our sojourns to remarkable venues the world over.

Wishing you the very best,

Uday Gunjikar,
Founder and CEO,
Horizon Cybermedia, Inc.