26.5.11
25.5.11
Zombie Mall - Long Shot
This is the Hektor 135 mm f.4 lens. I liked the staggered reflection inside the arcade doubled by the water on the walkway. Arcades are a favorite theme of mine too. They originated with sacred architecture...they offered an ambulatory around the inner sanctum of the basilica. The deserted mall is like an abandoned scene of faith. It was a tawdry faith, perhaps. One of the storefronts on this mall had been a dry cleaners, then a video rental franchise, and when that closed, it was a massage parlor. There is a progression there.
7.8.10
Bridge to Shrine Island Color
This photo is in honor of my mother, Ruth Ann Beddow, on her birthday.
3.3.10
skyway glimpsed
My current project is to capture the skyways in Minneapolis in some different forms. Here is a study of one skyway and a portrait of the artist as an old man.
26.2.10
Healing the Lemma of Viet Nam
Intuitively I agreed with the title when I found the book in a charity store -- Vietnam was a perfect war. I bought it without reading past the subtitle: "Technowar in Vietnam." It perfected the insanity, the hubris, the tragedy, the wanton destruction, the political impotence, the cultural suicide of all wars and wrapped it in a bright shiny ribbon. Iraq and Afghanistan are roadshow shadows of the real Show of the Century. Vietnam was the longest running war in American history by any measure. It only counted 55,000 dead, but negatively impacted half a million American military and an entire generation of civilians. It was the source of more continuous hours of prime time news coverage than any other war, or news event, or political career, or business or health or any other issue in American life in the last 40 years. It could not have been improved on, as wars go.
A friend of mine who won a purple heart in Nam said the biggest problem for vets, 40 years later, is that they loved and hated the war. And nothing helps them sort it out. I suppose a corrollary is that some who only hated the war, and a few who only loved it, had fewer problems readjusting to life in the world again. But the vast majority of those who served, particularly in combat, came away from the experience with new parts bolted on to their brains, hearts, and memories. Inhuman, in some respects, if you consider "human" to fit within the bounds of civilized values.
I don't, myself.
I think any person is candidate for human status, and humane treatment. Ah, I guess my baptism is showing.
But reading the lucid authoritative and insightful first pages of this book disinters (yes, brings up out of the grave) a growing obsession with Vietnam that peaked for me about 18 months ago, and which I had to bury for a long time.
I did not serve in Viet Nam. But I feel as though I have served the war in Viet Nam throughout my adult life. I call it the Lemma. Not "dilemma" which implies a twofold nature, a conundrum of choice. Lemma. Single. And the name for an ancient shape which is used in one context to denote infinity, another context to denote the path of the sun on the meridian of the International Dateline on globes in schools and libraries around the world.
The single lemma which contains all others. It is a shape like an airplane propeller, or the figure eight. You can start anywhere on the outline and if you move far enough you will have changed direction twice, crossed the center once, which means you will have gone in every direction and taken all sides of the issue represented by the Lemma. Death, evil, virtue, life, creation, destruction. Add Man, Woman, and Infinity and you almost have the rebus of the old television show introduced by Sam Jaffee: Ben Casey, M.D. -- every week during the beginning of Viet Nam's incursion into the American Living Room, Bedroom, and funeral parlor. And from there back out to the baptismal fonts and treatment centers of a staggered nation. In and out. Back and forth. Around and around, but all sides and every direction of every issue.
How does the lemma work as, lets say, the symbol of the legacy of Viet Nam? It isn't a cross carrying an individual conscience to the limit of human sacrifice. It isn't an eye of horus, branding the aeons with the ominous promise of mysteries reserved for a hierophantic caste. It isn't a rose, flesh and generous, ranging from prim to wanton in its phases but always joining the mind to the body indelibly, in time.
I think I am finally starting to get the 20th century...
Now, I know you have wondered what the @%#*&@^ happened in the 20th century. It was like, well, the end of civilization and the beginning of Wii-ocracy. Bridges and principles fall, while small gesture-based gizmos make billions for foreign corporations. And that is the part that is easy to report.
On a larger scale, you had the death of space and time itself. Okay, that is shopping large, I know, but computer viruses can infest the globe in a matter of hours, and speculative markets can crash faster than the speed of sound. In the old days, when history was still interesting, the simple fact of physical distance between two places pretty much resisted the spread of bad things along with the good. There was a viscosity to space, and an insolence to time. They were like teenage kids, you could mobilize them eventually, but it cost you your will to live. So a lot of things just never got off the ground, and that included really bleak things, like tyranny.
"Faith Healer" at the Guthrie
The oddest thing about the play for me, was the woodeness with which Joe gave us the supposedly charismatic central character. At least for the first extended monologue.
The play itself was an experiment. Even an act of aggression against conventions of play format. It was, finally, four monologues in series. It could have been rearranged. The wife could have started things off with her clenched fist of memory brandished in the face of the crowd, suddenly flowering into a grief and confession that would have pulled tears from a Sony robot. Instead Joe played lead off, palavering and pacing, strewing language on the stage like handfuls of rusty tacks, stale figs and bright glass marbles.
Crown Jewels, the face of liberty, caged.
20.1.10
Lesson of the 20th century unlearned in the 21st
But the subtext was transportation technology enabling the spread of local diseases globally, communication technology enabling the manias of fanatics, information technology enabling the zeal of bigots and tyrants. The century was framed with optimism: the Italian Futurists at one end and Steve Jobs at the other. The Futurists contexted Mussolini. Steve Jobs godfathered the "freedom" of a techno elite isolated from the reality of their environment by the self-medication of personal music appliances....and note that those appliances came with a built-in tether to a monolithic market presence. If you want to know the future of local government in the next two decades, don't think the US Constitution. Think iTunes.
The lesson of the 20th century was simple and easy to grasp: massive adoption of technology enabled a hyper-aggressive minority to dominate the will of masses of people for a while.
Lets look at this lesson and see if we can make any sense of the widespread failure to learn from it.
The key phrase in the lesson statement isn't "a hyper-aggressive minority to dominate the will of masses of people" although that has a lot of intrinsic interest.
"For a while" is the operating issue here. There is a fast, "hyper" aspect to the growth of technology. But it is self limiting. The control a Comintern, Stasi or a TSA is able to leverage from technology has a built in freshness date, and once the masses under their control wake up to the trade-offs of surveillance and constraints on behavior involved, theirs is a precipitous fall of power.
"For a while" energetic and short-sighted people can leverage technology to gain unfair advantage over slower-moving masses of people. But the slower moving masses will reach the same point as the early adopters and exploiters, eventually. And at that point, the game changes.
We have seen where the game change occurs in the financial world with the growth and bursting of two major bubbles in succession: the high-tech IPO universe which collapsed irretrievably in the early oughts, and the leveraged mortgage based derivative market which collapsed in 2008.
But we haven't really learned the lesson. In local governments, smaller corporations, and many other second-tier organizations, a new wave of aggressive, rootless technology exploiters will impose the same lesson on unsuspecting and unprepared members of their organizations -- selling technological sizzle that smells, finally, more like burning wires than steak.
The solution to this trickle down of failed expectations is not to try to resist technology in a luddite manner: banning or disabling the machines themselves.
The solution is to learn the lesson, talk up the lesson, remind ourselves of the lesson in various ways, and for leadership to embrace it, not deny it in their own self-interest. Anyone trying to ride a wave of technology change to power is going to faceplant on a shallow sandbar sooner or later. The cycle shortens as the wave moves down the food chain from national to regional to local purview.
So lets use our smarts to make the 21st Century safe for human relationships again. When we forget that technology is only the see-saw, and without two people involved there is no real movement, we leave ourselves open for a very disappointing day at the playground.
17.11.09
A real Alchemist's laboratory: Schwaller laboratoire 2.avi
Video tour of a working alchemist's laboratory in France. There is a special quality to the space where stuff is made with the complete intensity of the intelligence, the heart, the soul, the spirit. There is no appreciation of "sterility" here, instead the opposite, it is as though the ceramics and glassware in their wooden shrines and dusty counters invite impurity to give meaning to purity in contrast, and in context...just as the imperfection of your lover is the perfect setting for the gem of your love, which is perfect in anticipation and regret only, never in the moment of work....impure, dust-blessed, asymmetrical work: A mere promise of the final art. And after the true art, the artist has disappeared, and the tourists parade back and forth in their dusty settings, looking everywhere for the clue except to their own imperfections, their own materia prima, their own lapis exilis.





