tag:blogger.com,1999:blog-32181463829357238622024-03-12T19:44:19.704-04:00The Museum of Peripheral ArtThe Museum of Peripheral Art focuses on creative works in the periphery of cultural centers and explores how we interpret reproductions of art. A peripheral experience might be, for example, how we interact with a massive, site-specific sculpture just through words and/or photographs. The goal is not necessarily to bring us closer to the original but to provide a unique experience with the work through another medium, which the original might not convey.drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comBlogger701125tag:blogger.com,1999:blog-3218146382935723862.post-50253593026800068872021-09-06T18:06:00.035-04:002021-10-28T14:49:11.762-04:00Elizabeth Holmes = Design Flaw<p><span style="font-family: arial;"><b><span style="color: #999999; font-size: medium;">by Drew Martin</span></b><br />Much has been said of and written about Elizabeth Holmes, the "genius"-impersonator who raised $9B to feed her farcical blood-testing company, Theranos, which is a <i><a href="https://www.merriam-webster.com/dictionary/portmanteau" target="_blank">portmanteau</a></i> she concocted from “therapy” and “diagnosis”. Ironically, speakers of the Greek language say it resembles the word for death and other ominous meanings.</span></p><p><span style="font-family: arial;">So I will not add much more to the chatter. Her trial has started. The jury has been selected. It is going to be a roller coaster ride. And as guilty as she is, I can see her being acquitted - she's newly married with a newborn baby*, and she's blaming everything on abuses she says she suffered from Ramesh "Sunny" Balwani who was the president and chief operating officer of Theranos (and her secret lover during his time at the company). It's totally absurd, but a jury might buy it. And as she once said, <i>"I am too pretty to go to jail."</i></span></p><p><span style="font-family: arial;">Her looks had a lot to do with this (blondes have more funds). She charmed her multi-millionaire board members who were older white men, none of them in biotech. Her young age and false promises were a fountain of youth for them.<br /><br />One thing that struck me as particularly interesting was the "time machine" she "designed" as a kid. I have heard Holmes talk about it from a clip shared in the podcasts <a href="https://abcaudio.com/podcasts/the-dropout/" target="_blank">The Dropout</a>, and <a href="https://podcasts.apple.com/us/podcast/bad-blood-the-final-chapter/id1575738174" target="_blank">Bad Blood</a>, and it's mentioned in Ken Auletta's New Yorker article, <i><a href="https://www.newyorker.com/magazine/2014/12/15/blood-simpler" target="_blank">Blood, Simpler</a></i> from 2014. Holmes is quoted saying:<br /><br /><i><b><span style="color: #999999;">"I still have a notebook with a complete design for a time machine that I designed when I must have been, like, seven. The wonderful thing about the way I was raised is that no one ever told me that I couldn’t do those things.”</span></b></i><br /><br />In the audio clip she elaborates by saying her drawing showed how everything would work (after all, as she said it was a "complete" design). Holmes uses this childhood story to explain how she was always inventing but it's also a pretty good metaphor for the failure of her company. Edison, the device that was supposed to have run hundreds of tests on a drop of blood, and which she claimed was being used on the battlefields of Afghanistan, was a lemon...never worked, never used in battle or Walgreens (a deceitful partnership that actually helped raise the valuation from $1B to $9B).<br /><br />And that last part of the quote has something very millennial about it...<i>The wonderful thing about the way I was raised is that no one every told me that I couldn't do those things</i>. It's not about hard work we find in the saying of the actual Thomas Edison, <i>"Genius is one percent inspiration and 99 percent perspiration"</i> or about</span><span style="font-family: arial;"> responsibility, or practicality...it's about fantasy and playtime, and that's great to develop creativity in children and adults, and to take a break from reality but it's a playtime Holmes extended into the real world to scam investors and later to unremorsefully party at </span><a href="https://burningman.org/" style="font-family: arial;" target="_blank">Burning Man</a><span style="font-family: arial;"> as Theranos crashed and burned.</span></p><p><span style="font-family: arial;">Even bankrupt <a href="https://youtu.be/p8rWz9np3W4" target="_blank">John DeLorean</a>, who was charged with defrauding investors, manufactured 9,000 road-worthy cars and he was an actual skilled engineer and inventor who developed several successful automobiles for General Motors before leaving to start his own company. Holmes has been compared more to ponzi-scheme fraudster <a href="https://en.wikipedia.org/wiki/Bernie_Madoff" target="_blank">Bernie Madoff</a> who died this year in federal prison. He had illegally accumulated nearly $65B.<br /><br />Sometimes I think...Well at least she did this or that (insert actual accomplishment). For example, she learned Mandarin and claims to be fluent. Learning a language is difficult and admirable, and in her cas it only added to her aura, but not the technical underpinnings and scientific know-how of biotech. Then there's her Vaporware patent. That's legit, right? As patent attorney Brett Trout points out in his post <i><a href="https://blawgit.com/2019/03/20/elizabeth-holmes-theranos-and-the-patenting-of-vaporware/" target="_blank">Elizabeth Holmes, Theranos, and the Patenting of Vaporware</a></i>, the examiners at the USPTO (United States Patent and Trade Office)...</span></p><p><span style="font-family: arial;"><i>"...have no ability to use the written description of a patent application to try to actually build or use the claimed invention. In many cases, especially in the case of complex technology, confirming the patent accurately describes how to make or use a viable technology would require massive amounts of time and money to produce a prototype. Given the rarity of applicants spending massive amounts of money try to patent a technology that does not exist, forcing the USPTO to conduct experiments to determine the viability of every claimed invention would be a massive waste of time and resources. The USPTO is, therefore, left with no choice, but to assume that the patent applicant has described the technology in the patent application sufficiently to allow a person of ordinary skill in the art to produce the claimed technology."</i></span></p><p><span style="font-family: arial;">If Holmes had tried to patent something knowingly impossible, such as her time machine, or a perpetual motion machine promising free and unlimited energy, the examiner would have turned it down. In other words, Holmes got a patent on fake technology only because it was not known as fake. It's Theranos in a nutshell. It's Holmes through and through. So it's not that her Edison machines had a design flaw, it's that they were based on fake technology. Holmes' thinking is the design flaw.</span></p><p><span style="font-family: arial;">Trout raises the question of why this situation at the USPTO is not a bigger problem. </span></p><p><span style="font-family: arial;"><i>"...a patent only gives the patent owner the right to stop someone else from making, using, or selling, the technology claimed in the patent. If the technology does not exist, the patent owner has no rights to enforce. Second, if a patent owner were to get a patent on fake technology and then try to enforce its patent against a competitor making a different product, the competitor would investigate the patent, and call in experts to invalidate the patent in court, by proving that the description in the patent does not describe a technology in such full, clear, concise, and exact terms as to enable any person skilled in the art to make or use the technology. So even if the USPTO were to grant a patent on a technology that does not exist, the market would ordinarily weed out those patents before they can do any harm."</i></span></p><p><span style="font-family: arial;">And that's how Theranos went down...they were weeded out.<br /><br />As a kid I was interested in prosthetics because of my fascination with the show, <i>The Six Million Dollar Man</i>. Unlike other superhero stories at that time, this was about empowering a disabled man with so much technology that he was superhuman. I was concerned about blindness so I designed an artificial eye. It "plugged" into the optic nerve, which a teacher laughed at and said was impossible. It was farfetched like Holmes' time machine, and that incompleteness to the design was something I took to heart. A year or two later, I watched on TV a one-legged runner hobble through a marathon on a straight, crude prosthetic leg with a raw leg stump where it was attached. This was decades before blades, so I sketched out an artificial leg for runners. I was a young teenager when I conceived it but it shows some realistic thinking: it used a rubber prosthetic foot that was new to market, and existing buckle closures I knew from ski boots. It had discs that could be added to adjust for the height of the athlete, and a spring loaded knee, which was something I thought would make it more natural for running. You could see how it could work with some re-engineering. It was a practical improvement of what was available at the time when more disabled people were pursuing athletic endeavors. <br /></span></p><p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5z4cJUc4KH1CnlClhz5O_notHC74dziqvaZLCsG2N9JOdzc9x8ykMcR2mZiee81til6-NRsYjnZDN2e6tNaAzp-80GXfM-LKzGM5q8NqpeclNyIkZPjOirqURj4r3JNgZeXXTJE9Kyjs/s914/prosthetic+leg+665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="665" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5z4cJUc4KH1CnlClhz5O_notHC74dziqvaZLCsG2N9JOdzc9x8ykMcR2mZiee81til6-NRsYjnZDN2e6tNaAzp-80GXfM-LKzGM5q8NqpeclNyIkZPjOirqURj4r3JNgZeXXTJE9Kyjs/w466-h640/prosthetic+leg+665.jpg" width="466" /></a></span></div><span style="font-family: arial;"><br /></span><span style="font-family: arial;">Will there one day be technology to run accurate 300 tests on a drop of blood? Most certainly. But it will happen through advancements in research and development, and under peer review, not through fantasies of privileged kid. Scientists such as Copernicus, Newton, and Einstein, who made conceptual leaps, landed on a surface they created. They envisioned the other side of the misty void. Holmes jumped without knowing how far that other side was and what it would take to get there.<br /></span><span style="font-family: arial;"><br />*And not to get into the atrocious state of the prison system in the United States, but much has been said about jurors being sympathetic to Holmes having just given birth, and people questioning the timing before she might serve twenty years in prison. Wanda Bertram and Wendy Sawyer wrote an article on the <a href="https://www.prisonpolicy.org/blog/2021/05/05/mothers-day-2021/" target="_blank">The Prison Policy Initiative</a> about the incarceration of mothers and pregnant women.<br /><br /><i>"...80% of the women who will go to jail this year are mothers — including 55,000 women who are pregnant when they are admitted. Beyond having to leave their children in someone else’s care, these women will be impacted by the brutal side effects of going to jail: Aggravation of mental health problems, a greater risk of suicide, and a much higher likelihood of ending up homeless or deprived of essential financial benefits."</i><br /><br />It states that jail/prison separates 2.3 million mothers from their children and that many who are incarcerated are awaiting trial simply because they can’t afford bail.<br /><br />No one should waste his or her life in prison but Holmes is guilty of scamming $9B and harming more than a million Theranos patients. If she is acquitted she will brush the whole trial off as a bother and slink back into a privileged life. She'll write a book or perform some other egregious act. If she's not going to prison I hope she is ordered to 20 years of full time community service to help the children and families of mothers in jail because one thing that has not been mentioned in any of this is race, and in the end an acquittal will be based primarily on the fact that she is a white mother.<br /></span><p></p>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-25135025320762751072020-12-10T20:01:00.009-05:002020-12-10T20:06:51.580-05:00Light and Fire<p><span style="font-family: arial;"><span style="color: #999999; font-size: medium;"><b>by Drew Martin</b></span><br />It has taken me a while to comprehend that pretty much the whole artworld has slipped into the realm of peripheral art, which is a little shocking because that's my <i>schtick</i>. For me it was a matter of growing up in New Jersey, in the periphery of the artworld, ground zero - MoMA. <br /><br />The rings of this MoPA banner logo represent the radio and television waves, </span><span style="font-family: arial;">which I pictured in my head as a kid, </span><span style="font-family: arial;">emanating from Manhattan. And now, finally, New Yorkers and inhabitants of other major art centers are having the same kind of experience. So close and yet so far away. </span></p><p><span style="font-family: arial;">I think we will see two kinds of movement in the artworld...a gravitational pull of dedicated audiences back to the centers, <i>and </i>a continuing expansion of the virtual for everyone else. <br /><br />Last night I was walking by the <i>Lichtundfire</i> in the Lower East Side and noticed them getting ready for a poetry reading by Jonathan Goodman. I stopped in and spoke with Jonathan and the director, Priska Juschka, but I couldn't stay because I had to go across the street to make dinner. They encouraged me to stream the event on Facebook, which I did. It was a very meta experience. I listened to the reading and when Jonathan took breaks, I looked out the window to see the audience going for a smoke down on the street, below.<br /><br />I really liked Goodman's poetry, and the start of the feed was really touching. There was Priska, on her knees talking </span><span style="font-family: arial;">through a KN95 mask </span><span style="font-family: arial;">to the laptop seated on the chair in the front row, not really knowing who she was talking to but sending a message that could have been from all of humanity to an unknown alien civilization. It was very <i>first contact</i> - thoughtfully explaining it was their first time streaming an event and despite the challenges she said it was also new and fun.</span></p><p><span style="font-family: arial;">You can learn more about <i>Lichtundfire</i></span><span style="font-family: arial;">, and about the current show </span><i style="font-family: arial;">Quantum Sphere</i><span style="font-family: arial;">, a five-year-anniversary group show,</span><span style="font-family: arial;"> from their website, <a href="http://www.lichtundfire.com">www.lichtundfire.com</a>.</span></p><p><span style="font-family: arial;">Here are a few photos I took with my phone of my favorite pieces, which do not capture the whole show:</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAc3-MGu7FqoldU_Dbgr7sT5VuxOeQnklLA3tdUDPzIKFgEfnEz0ExTmVj9JgbWvXUb0fEbyzSlqHMccWYL19AWjOv1ll9QQxwqqz6g3-vSw3CKJsU3y4bWhFpvUIp2gozHWmZSN1rVWk/s665/lichtundfirecolorpainting_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAc3-MGu7FqoldU_Dbgr7sT5VuxOeQnklLA3tdUDPzIKFgEfnEz0ExTmVj9JgbWvXUb0fEbyzSlqHMccWYL19AWjOv1ll9QQxwqqz6g3-vSw3CKJsU3y4bWhFpvUIp2gozHWmZSN1rVWk/s16000/lichtundfirecolorpainting_665.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHenrS3OxAz-Jf0phuE1UurB3Qu-6UshbrCZTV8l9GdpUhVcJA5O8IQVBF2WvLIfXNsaJN8I93ip85z63oqj6Ojbbc7_gL0BrucdcrJElZg0bu-YC8E0FyLcFz7Ougfohgt1cRz_B4zH4/s655/lichtundfire06_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="655" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHenrS3OxAz-Jf0phuE1UurB3Qu-6UshbrCZTV8l9GdpUhVcJA5O8IQVBF2WvLIfXNsaJN8I93ip85z63oqj6Ojbbc7_gL0BrucdcrJElZg0bu-YC8E0FyLcFz7Ougfohgt1cRz_B4zH4/s16000/lichtundfire06_665.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8VL-7FAWznOxygGRdvVxMbyi-JptAS_NuTF-_HlsZAYPcaBLl4GK72ju0kc7JqXpSrLZzUFvdDeBallGBjQpg7zX313p69g1Au6wTLCDU250w6lT9-KFzX9MKHJzlBNVvEW7FqT4QQP8/s665/lichtundfire05_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8VL-7FAWznOxygGRdvVxMbyi-JptAS_NuTF-_HlsZAYPcaBLl4GK72ju0kc7JqXpSrLZzUFvdDeBallGBjQpg7zX313p69g1Au6wTLCDU250w6lT9-KFzX9MKHJzlBNVvEW7FqT4QQP8/s16000/lichtundfire05_665.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-4houOtjG3mKvXDhMLTGHUrjQlzZvkf-N5VbKhBNpInlEdT9UGD5PXASWdySetXzC2UJVFeZlOuyMvlvPB9GhY1HspBP7OCLFTSTK0I8-3tj3ReatLH4QhPkQweWpHjY3U_hjdhY9Ig/s665/lichtundfire04_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-4houOtjG3mKvXDhMLTGHUrjQlzZvkf-N5VbKhBNpInlEdT9UGD5PXASWdySetXzC2UJVFeZlOuyMvlvPB9GhY1HspBP7OCLFTSTK0I8-3tj3ReatLH4QhPkQweWpHjY3U_hjdhY9Ig/s16000/lichtundfire04_665.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeZeuhyAALQTEzioMs1NjOOY2GVLJTNZRVlGLE7FshY7Ylyie9GiWIPf8kICBfjkBX2eys2r83QH_DHvMPn7OQ94ep217qZZLy5fmpX_gSpNe-IyC6mOeyPoghW5s89UrpMnk0VHEGME/s665/lichtundfire03_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="441" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeZeuhyAALQTEzioMs1NjOOY2GVLJTNZRVlGLE7FshY7Ylyie9GiWIPf8kICBfjkBX2eys2r83QH_DHvMPn7OQ94ep217qZZLy5fmpX_gSpNe-IyC6mOeyPoghW5s89UrpMnk0VHEGME/s16000/lichtundfire03_665.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu7tuq1Qw5DPdw7IMPptsQA24QYLXtHVpMtJRq0dVe13ebgZ0iH0A-dIarJSfG9EX2rmV5TnGJofgIwB5W1o8uIFeEl19yjE-wSlgo1M8o-KETR_fK-49pUDFoaovSF-ZBWJndVsfMTn4/s665/lichtundfire01_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu7tuq1Qw5DPdw7IMPptsQA24QYLXtHVpMtJRq0dVe13ebgZ0iH0A-dIarJSfG9EX2rmV5TnGJofgIwB5W1o8uIFeEl19yjE-wSlgo1M8o-KETR_fK-49pUDFoaovSF-ZBWJndVsfMTn4/s16000/lichtundfire01_665.jpg" /></a></div><br /><span style="font-family: arial;"><a href="https://fb.watch/2iuDxgoyvT/" target="_blank">Click here to watch a recording of the event.</a></span><span style="font-family: arial;"><br /></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitybAm2Dl8vBE0RnrUkAVFW319pCPYvehYz1cz-mAKiSpulpBxSZmjkA_QFrRmCS4z3UxBej-uPToH01ahpEBOmpA3XubzmebVA1nZWFvDCMSUG8ZD2rarRU7qJUUVvJAsWCOyQBvtpqM/s665/lichtundfirejonandpriska.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitybAm2Dl8vBE0RnrUkAVFW319pCPYvehYz1cz-mAKiSpulpBxSZmjkA_QFrRmCS4z3UxBej-uPToH01ahpEBOmpA3XubzmebVA1nZWFvDCMSUG8ZD2rarRU7qJUUVvJAsWCOyQBvtpqM/s16000/lichtundfirejonandpriska.jpg" /></a></div>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-28076952503941487682020-12-08T19:27:00.012-05:002020-12-08T19:53:13.895-05:00Gold Rush<p><span style="font-family: arial;"><span style="color: #999999; font-size: medium;"><b>by Drew Martin</b></span><br />What were the first human interactions with and reactions to gold that set us down the path were we worshiped it as a standard of beauty and a symbol of wealth and power? Did a landscape of pushed-up, lackluster rocks reveal a vein of gold that resembled a lightning streak? Did it bleed out of stones around the first fires like shiny blood? Did it represent eternity as it lay untarnished among rotting wood and decaying animals? Did its brightness in the sun, make people think it was from the sun itself?</span></p><p><span style="font-family: arial;">A surprising fact is that gold did come from stars and not, like diamonds, from any process on Earth. But the Earth did concentrate gold dust.</span></p><p><span style="font-family: arial;">Most of the matter in the universe was created during the Big Bang, but gold and other precious metals were not. The prevailing theory is that gold is produced by the collision of neutron stars, and a lot of it...enough to generate a mass about ten times the size of our moon, per event.<br /><br />So maybe there is something out of this world about gold that we respond to in a profound way that has driven humans to hysteria, fueling hundreds of years of colonial slavery and looting. During Spain's grip on the Americas, about three million ships carrying gold back to Europe sank to the bottom of the ocean - an estimated $771 trillion of gold buried at sea.</span></p><p><span style="font-family: arial;">A couple years ago I visited the Museo Oro del Peru. The range of uses and beauty of the gold on display is staggering but is only a hint of the treasures once cherished by the Incan people and envied by Europeans. </span></p><p><span style="font-family: arial;">The following are some pictures I took with my phone during my visit:</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh74UgsXzpaeG7KqlTYm-1673VaHtjEI_TtpIFkhhv8L66obZy9RYmD3oDkjqV3aayEV5XILxkcvXwe8JM_T-qIDR3MjNYO9V108ShapmPpLPkXpAnMXPEd5ZslFx2tVJchLjsckw4Vm-Q/s665/oro06_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh74UgsXzpaeG7KqlTYm-1673VaHtjEI_TtpIFkhhv8L66obZy9RYmD3oDkjqV3aayEV5XILxkcvXwe8JM_T-qIDR3MjNYO9V108ShapmPpLPkXpAnMXPEd5ZslFx2tVJchLjsckw4Vm-Q/s16000/oro06_665.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdJL8CirgAkSbCORPCpdBPA0YEoFaxECMMLhkYH-jmMg-yF8nt2eIal6HkJT92vDRDQ-2njGcL08lARtrzBu4fFBcFKsg3jQY7npkkCq16vdMoXelV5X2Tysmm2vgn7zUeIIAbmAoQa9w/s834/oro01_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="834" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdJL8CirgAkSbCORPCpdBPA0YEoFaxECMMLhkYH-jmMg-yF8nt2eIal6HkJT92vDRDQ-2njGcL08lARtrzBu4fFBcFKsg3jQY7npkkCq16vdMoXelV5X2Tysmm2vgn7zUeIIAbmAoQa9w/s16000/oro01_665.jpg" /></a><br /><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoB8p0nxCVjEFsuCYGURyY-BYeLkMvg3yw15_8Qib0Mp0mOJQTqwOS86qmDzfStqwoLv0JR_JTfyumF-GN437siJznVs_RJJqGsiwg8uRgRsSxCDJZkljxQll8xO6VNZ-nGg_M6D5ukA/s770/oro02_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="770" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoB8p0nxCVjEFsuCYGURyY-BYeLkMvg3yw15_8Qib0Mp0mOJQTqwOS86qmDzfStqwoLv0JR_JTfyumF-GN437siJznVs_RJJqGsiwg8uRgRsSxCDJZkljxQll8xO6VNZ-nGg_M6D5ukA/s16000/oro02_665.jpg" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAT93fmPZYLeemqXu4nbgnpPRSWO3ncymDlmf8WNL-D6-cUKBuyuwjdC127jvAPOagHSpCc1PyCn1D0IR3yleR_ZWmzmELw8PCWd2Y7orLuknRnftM7gVN5DRDiYtV6HzY3Q-IYdR1TB4/s665/oro14_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="410" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAT93fmPZYLeemqXu4nbgnpPRSWO3ncymDlmf8WNL-D6-cUKBuyuwjdC127jvAPOagHSpCc1PyCn1D0IR3yleR_ZWmzmELw8PCWd2Y7orLuknRnftM7gVN5DRDiYtV6HzY3Q-IYdR1TB4/s16000/oro14_665.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXWRrf5cHbDkKN-fTKMjhmEhBjaMkIxIfdu_OyYYJS2ZMxjRP4Db5NCzy6HQdIvAPuNVRyOs9OTmCxCsy1iUPuFtWUsYU6m4UdmZUfZm0pPHCP6VczOvoVDBVT69Brp2g4nOHFvefeQRU/s665/oro15_665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXWRrf5cHbDkKN-fTKMjhmEhBjaMkIxIfdu_OyYYJS2ZMxjRP4Db5NCzy6HQdIvAPuNVRyOs9OTmCxCsy1iUPuFtWUsYU6m4UdmZUfZm0pPHCP6VczOvoVDBVT69Brp2g4nOHFvefeQRU/s16000/oro15_665.jpg" /></a></div><div><br /></div><div><span style="font-family: arial;">Outside the museum are iron Spanish cannons. Their power and purpose is gone. They now resemble works of art with surfaces mottled by impressionist sculptors.</span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKn8aebh8XGQCvSZPPoJluHmo1eVkIx8YcvCPL0i-3DU85I8pnU05GNeQL6HSh0HoUmi0c0DyTz9ZZK33evlsWQDy7DDigjqfM26F90h4n_7jhBJDa_ySx11bMYCocyT8LUySFuxg5NdE/s665/oro13_665_ironcannons.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKn8aebh8XGQCvSZPPoJluHmo1eVkIx8YcvCPL0i-3DU85I8pnU05GNeQL6HSh0HoUmi0c0DyTz9ZZK33evlsWQDy7DDigjqfM26F90h4n_7jhBJDa_ySx11bMYCocyT8LUySFuxg5NdE/s16000/oro13_665_ironcannons.jpg" /></a></div><div><br /></div><span style="font-family: arial;">Inside the museum are many displays of weapons...these doughnut-like <i>porras de piedra</i> below, are stone bludgeons once affixed to wooden handles and used by Incan warriors to defend their land and protect their treasures.<br /></span><br /><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQLN-SVcmbkfppiR53gFIEqiT6PAJm0hp4oAjkXaPv4UMXOCQSk3CEbNlRG1QFmjmxlS1FgLqCbVgiji8qzfTKhVOq5qIrUf9u5M4QN6KtQouhYPYKsVpOCkiAXmeGEDtjqUu6hRT13k/s665/oro13_665_porras+de+piedra+stone+bludgeons.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQLN-SVcmbkfppiR53gFIEqiT6PAJm0hp4oAjkXaPv4UMXOCQSk3CEbNlRG1QFmjmxlS1FgLqCbVgiji8qzfTKhVOq5qIrUf9u5M4QN6KtQouhYPYKsVpOCkiAXmeGEDtjqUu6hRT13k/s16000/oro13_665_porras+de+piedra+stone+bludgeons.jpg" /></a></div><br /><span style="font-family: arial;"><br /></span></div>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-76042894848702916942020-12-07T22:42:00.015-05:002020-12-10T16:50:39.672-05:0035 Centuries of Glass<p><span style="font-family: arial;"><span style="color: #999999; font-size: medium;"><b>by Drew Martin</b></span><br />If you are reading this post on your phone, it is very likely you are seeing it through Gorilla Glass developed by Corning Incorporated, in Corning, New York. <br /><br />Corning is the center of glass research and development in the United States and is also a cute little town along a beautiful mountain range and the Chemung River. It is also home to the amazing <a href="https://home.cmog.org" target="_blank">Corning Museum of Glass</a>, which I have always wanted to go to, and was finally able to visit on the way to Niagara Falls this summer when travel was restricted to only in-state (New York) trips because of the Coronavirus.</span></p><p><span style="font-family: arial;">The Museum is a fascinating combination of galleries, interactive displays, and a full schedule of glass-making demonstrations, which are not simply tourist gimmicks. The one I saw was run by two young women who were creating artwork for a local installation.<br /><br /></span><span style="font-family: arial;">We are so accustomed to glass that we forget how magical it is, and this museum does a great job showing how versatile and ancient but also modern it is as an art form.</span></p><p><span style="font-family: arial;">Even though I spent several hours at the Museum, I could have easily stayed the whole day exploring "35 centuries of glass galleries". <br /><br />Here as some of the pictures I took with my phone. The first two images are of the <i>Continuous Mile</i>, explained here from the Museum website.<br /><br />"<i>Continuous Mile</i> took Liza Lou longer than a year to make with a team of more than 50 beadworkers from several townships in KwaZulu-Natal, South Africa. The monumental sculpture is composed of a coiled and stacked cotton rope, measuring a mile in length, sewn with more than 4.5 million glossy black glass beads. It is a work about work..."</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbn1H5EpWAQJyunCzTf-b4vJUvJuukiwMmZ6Lq15VSx9F4Pi32-l-IlMbUMT-1A8F3TVL0aPm0IYHp-8hYegnBj_eucmM7fH6WMxYynWRML-A4kvUXgg-6X78hnITCUNK9zud45aHeugw/s665/glassropenear665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbn1H5EpWAQJyunCzTf-b4vJUvJuukiwMmZ6Lq15VSx9F4Pi32-l-IlMbUMT-1A8F3TVL0aPm0IYHp-8hYegnBj_eucmM7fH6WMxYynWRML-A4kvUXgg-6X78hnITCUNK9zud45aHeugw/s16000/glassropenear665.jpg" /></a><br /><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglVnAdc-gHpTe8XZLRD7IvOR5d9pYbWSNNL6pxK6SytrmVr5f7-Bjjx1yKyLhYf-_eFYSeUVgQ1CndGJX8R_JMHTYzVseLhTAAdNO22zPrXVfe8QKGl4syw_A_7G5-58HyHsAyGVyrC-U/s665/glassropefar665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglVnAdc-gHpTe8XZLRD7IvOR5d9pYbWSNNL6pxK6SytrmVr5f7-Bjjx1yKyLhYf-_eFYSeUVgQ1CndGJX8R_JMHTYzVseLhTAAdNO22zPrXVfe8QKGl4syw_A_7G5-58HyHsAyGVyrC-U/s16000/glassropefar665.jpg" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42Om09RUQAXKjhS6KjRzkgHxkc0yijVPL7UtbvjzRbc2yJWe3V5lxECJcnVKLPPzUp5P44BFPRGV9CtXtPFgawbULKBr_My5bzpFymgeAMZoV-0s-X22kjsjzX09jYOmrDSk5nhdedRI/s665/glassskulls665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42Om09RUQAXKjhS6KjRzkgHxkc0yijVPL7UtbvjzRbc2yJWe3V5lxECJcnVKLPPzUp5P44BFPRGV9CtXtPFgawbULKBr_My5bzpFymgeAMZoV-0s-X22kjsjzX09jYOmrDSk5nhdedRI/s16000/glassskulls665.jpg" /></a></div><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWI-sMJuxagdQ_XxmWeuZaVTrHrjLzDumMOUXxI-lpyCG94XCqNuMIhbzkNlJoHN1FxFiNRCdtDOTCsRlXgFcj1iWYTSW76QaGmeWRD1HWHh7rbZnugzz61P6gCJy_QZhkTqMSkUHuN3M/s16000/glasswall665.jpg" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWiDth0bLC6pk5CJMl4UveCvbxratH62jKtskYPtIklept-erEWdPf84Cz5UtZQ20eRLKkDPbeNtBBxqP4PxgKBcjC0Gn5JcJdW7h9Cs58tAZktwBMSCknosPx3cYGTyLnV6-vIzdtTQ/s665/glassreliefdisc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWiDth0bLC6pk5CJMl4UveCvbxratH62jKtskYPtIklept-erEWdPf84Cz5UtZQ20eRLKkDPbeNtBBxqP4PxgKBcjC0Gn5JcJdW7h9Cs58tAZktwBMSCknosPx3cYGTyLnV6-vIzdtTQ/s16000/glassreliefdisc.jpg" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAvQ9mSAfkN2yIISjf3GrcF_y1D-HPcEuZrzEL_o6C7hhlkjOdqpvktvvLlh0NnyVkJaAHjyPTMKTNIbrWd-ELzy8nGq5iKJiu7yzIO8NhViDl2ui0CKZNtukiofbjVo0NnHLhJ4Bjc2Y/s665/glassorb.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAvQ9mSAfkN2yIISjf3GrcF_y1D-HPcEuZrzEL_o6C7hhlkjOdqpvktvvLlh0NnyVkJaAHjyPTMKTNIbrWd-ELzy8nGq5iKJiu7yzIO8NhViDl2ui0CKZNtukiofbjVo0NnHLhJ4Bjc2Y/s16000/glassorb.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkIjNvoFkD1l76yH7FRxUNMbnVQZtBffeaEJbG14I5pXjzeUGRpSmAYFo9nkAjvCrOgLQ0I9EK6jjohZVP4aXdRfqog1P_aUVCCOht4qV8JGKZJGzyM_GCycjWmdDdJO7seRark4-S45Y/s665/glassfox665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="402" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkIjNvoFkD1l76yH7FRxUNMbnVQZtBffeaEJbG14I5pXjzeUGRpSmAYFo9nkAjvCrOgLQ0I9EK6jjohZVP4aXdRfqog1P_aUVCCOht4qV8JGKZJGzyM_GCycjWmdDdJO7seRark4-S45Y/s16000/glassfox665.jpg" /></a></div><span style="font-family: arial;"><div><div class="separator" style="clear: both; text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHAxbJPvMZKvhyqOgH9dHhCDAm1qKbe_G4ZCNxZmK12Uxq7O1TL0-R8r7IXVGhWYK0t5sSTcgXkJUlvfj5VrIWooFsrKn3390-pBiCls3dP2fk0PxBYiZgUHLEA1UmmPxLDFO5hXMd-s/s887/glassboneswall665.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHAxbJPvMZKvhyqOgH9dHhCDAm1qKbe_G4ZCNxZmK12Uxq7O1TL0-R8r7IXVGhWYK0t5sSTcgXkJUlvfj5VrIWooFsrKn3390-pBiCls3dP2fk0PxBYiZgUHLEA1UmmPxLDFO5hXMd-s/s16000/glassboneswall665.jpg" /></a></div><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqW36Jc4YJTe_hxZ5AD0rGGIQMKYCYKkSYAfRxQq_QlXZPlngNLIjsjMRQs78TxqX4EcN17QvsrrR7oFCQznePY5sDNsbVaEFzOKzVcfSZ6gd_OxdFVMPBYsaZt9PN2VJlhZBY6BU269k/s887/glassbonesdetail665.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqW36Jc4YJTe_hxZ5AD0rGGIQMKYCYKkSYAfRxQq_QlXZPlngNLIjsjMRQs78TxqX4EcN17QvsrrR7oFCQznePY5sDNsbVaEFzOKzVcfSZ6gd_OxdFVMPBYsaZt9PN2VJlhZBY6BU269k/s16000/glassbonesdetail665.jpg" /></a></div><br /></span><div><span style="font-family: arial;">I also love this window of a house I passed during my morning run in Corning.<br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha3w4aa0LfDoSxjXgAxZOcZ7MvxKW23J3MEPmE3VyRVpZzHatYWECkBoQjWAExpyE7voA94j_mbV1DVlSNHAAK_X_lW95j-rVLnwDRLIWhnPsRAUcnpQFcRcFfNhXPcTsfVM0wITWiUY0/s665/glasshouse665.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha3w4aa0LfDoSxjXgAxZOcZ7MvxKW23J3MEPmE3VyRVpZzHatYWECkBoQjWAExpyE7voA94j_mbV1DVlSNHAAK_X_lW95j-rVLnwDRLIWhnPsRAUcnpQFcRcFfNhXPcTsfVM0wITWiUY0/s16000/glasshouse665.jpg" /></a></div><br /></div>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-33357567199181273022020-12-06T14:27:00.054-05:002020-12-06T16:11:18.172-05:00Measure of the Earth<div style="text-align: left;"><span style="font-family: arial;"><span style="color: #999999; font-size: medium;"><b>by Drew Martin</b></span><br /><span>For a human-made object there is a person or team of people who conceived, designed, and created it. And then there is the audience...possibly a consumer, or maybe simply an observer. Part of the fascination of the viewer is understanding how this object came to be. What materials comprise it? What was the process? How long did it take? How much did it cost? What is its purpose?<br /><br />If this object is small enough, and we are permitted to get near it and touch it, we can walk around it, and maybe even roll it around in our hands. If it is large, such as a building, we can also walk around it but might need to properly view it from a hilltop at a great distance or another edifice, and perhaps we can enter it and ascend to its top floor. But it still does not take that long to understand its dimensions and place in its surroundings.</span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span>Imagine this object is a spaceship and you are placed inside it. You would not have any clue about its shape or size unless you left the location where you first found yourself and walked around it, and maybe even did a spacewalk so you could get a good look at it, the same way you would walk around a sculpture in a gallery, plaza, or garden, to take it in from every angle. </span></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WM_69X2Ayu1JrPdkdEh8_e8wm9gjnkMv8zQe3FFtEOlZd0AzDZBhZlR1xlCIdVUIQ9Ecw4N53JeiiCgIn67HqQhw8tgEC5kbfol-GgDJHAUg7py010As_3HmwSl9PbRvLrdKH-b7n0o/s665/insideserra665.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="348" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WM_69X2Ayu1JrPdkdEh8_e8wm9gjnkMv8zQe3FFtEOlZd0AzDZBhZlR1xlCIdVUIQ9Ecw4N53JeiiCgIn67HqQhw8tgEC5kbfol-GgDJHAUg7py010As_3HmwSl9PbRvLrdKH-b7n0o/s16000/insideserra665.jpg" /></a></div><br />Think about your favorite sculpture. Now think about having never seen it before, and being place somewhere on its surface, but you are the size of a flea. How would you understand its shape, size and placement? If its size is far more massive than you, how would you ever accurately get to know its dimensions and mass?</span></div><div style="text-align: left;"><br /><span style="font-family: arial;">Replace the human-made object with something from nature and the questions change in terms of how it came to be, but understanding its form is still a matter of observation that requires our mobility and senses. Scale up a rock, to a continent and the challenge is the same. You need more time and input to understand its shape and size. Scale it up to a planet and you will find a level of mystery and misunderstanding that will evoke creation myths and ideas that challenge reality. </span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">For thousands of years of human civilization, our planet Earth was an unknown object that, at best, was depicted in crude maps. It has only been about half a century that we were able to photograph it from its orbit. And even when scientists from the past agreed it was round, they had no real understanding of its </span><span style="font-family: arial;">precise size</span><span style="font-family: arial;">. And once they concluded it was a globe of certain dimensions, there were still two theories by the 17th Century that questioned its true shape.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">The first approach, supported by René Descartes in France, was that Earth was egg shaped, narrower at the equator and elongated at the poles. This was countered by Sir Isaac Newton in England, that our planet bulged at the equator and was flatter at the poles. Descartes, the more philosophical of the two, approached the issue with a mixture of science and wild thinking. Newton, more scientifically diligent, had reached his answer through mathematical deduction. </span></div><div style="text-align: left;"><span style="font-family: arial;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span>This debate had far-reaching political and national interests. It is no wonder France and England locked horns on the issue - both were big colonial powers with invested pride in their greatest minds and nations' scientific achievements. The truth was that Newton's reasoning was more modern and scientific but for a French scientist to embrace it, would be unpatriotic bordering on treason. So the two nations literally stuck to their guns. </span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span>The reason why this mattered at all, considering that most people do not pay much mind to such topics, actually reached far beyond the scientific community and was indeed extremely practical. Colonial powers relied heavily on maritime accuracy to get from their country to their colonies and back. Many (stolen) riches and lives were at stake and depended on making transatlantic voyages in wind-powered, wooden boats. A perfect sphere, on which degrees of longitude and latitude were established, would be smooth sailing in terms of destination points. But this global location network was off. And scientists noticed something was different about how a pendulum clock that was calibrated with a certain accuracy in Europe behaved quite differently at the equator. So in order to correct their perceived anomalies, it was crucial to get a precise measurement of how the Earth was truly shaped. To do this required triangulation, the science behind our modern-day GPS navigation. </span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span>Triangulation is a field we take for granted, especially when we considered that more than three hundred years ago there were no satellites or even planes. So triangulation meant creating a super straight baseline for miles along the ground, and using known heights (of mountains and volcanoes) to calculate the curvature of the Earth in order to adjust the degrees of longitude and latitude. Latitude was the most urgent to understand because that is where the precision in destination mattered most in a transatlantic voyage.</span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQa22f1BAvrPj84N1OsToKhtSBVfa5guv6lp36Oyqt834Sl1klVn6F-6Bk3HYL-d2KH0cTiTAlBZfWp41zW3s6vAaUzBy1Xiy6IGfDS892tP_u738-H9tS59TxTnJRVGInBIaOBBeU2mw/s665/MeasureOfTheEarth665x430.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQa22f1BAvrPj84N1OsToKhtSBVfa5guv6lp36Oyqt834Sl1klVn6F-6Bk3HYL-d2KH0cTiTAlBZfWp41zW3s6vAaUzBy1Xiy6IGfDS892tP_u738-H9tS59TxTnJRVGInBIaOBBeU2mw/s16000/MeasureOfTheEarth665x430.jpg" /></a></div><br />I recently finished <i>A Measure of the Earth </i>by </span><span style="font-family: arial;">Larrie D. Ferreiro</span><span style="font-family: arial;">, which is a rollercoaster ride of the first international scientific expedition, the Geodesic Mission (sponsored by Spain and France) in the 1700s, to Ecuador (then Peru) to measure a degree of latitude. But this expedition, for the most part, looked anything but scientific. Baseline towers were vandalized by the locals, lines of credit were wasted on extravagant accommodations, some of the scientists became idle with all the delays, or were battered by the field conditions, intoxicated in local affairs, and caught up in brawls and lawsuits, all of which jeopardized their goal. </span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Spoiler alert - the scientists finally and pretty accurately get their measurement, which actually supports Newton's prediction. Some went on to continue contributing to the fields of their interests. While some of the lesser important members of the expedition were abandoned with no way to return home.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Despite all the challenges and moments of failure, the eventual success of the mission inspired future international scientific enterprises. "The most famous of these...were the cooperative voyages from 1761 to 1769 to observe the transit of Venus, so as to establish its distance from the sun to allow more precise calculations for planetary astronomy. Scientists from Britain, France, Russia, and Austria coordinated their observations around the world and corresponded with each other about the results, despite the intervening Seven Years War (1756 - 1763) that pitted their nations against each other."</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">The Geodesic Mission had many other positive results. It led to the concept of a standard system of measurement, which evolved into the metric system. And witnessing the effects of smallpox across South America led to mass inoculations against pandemic and endemic diseases. The mission was also a revelation from an anthropological point of view. South America had been off limits to the rest of the world because Spain, the superpower that dominated it, wanted to keep it in the dark. Reports by the French scientists about the people and customs of the regions to which they traveled painted a better picture of the lifestyles and achievements of people under Spanish rule. </span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">My favorite story about the expedition is that one of the scientists used the term "equator" so much and spoke of the "people of the equator" that when this region gained independence, it naturally became the name of the country - Ecuador.</span></div>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-15182663519888315482019-08-04T16:07:00.000-04:002019-08-09T06:44:32.678-04:00Butterfly People<div>
<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I thought it was about time to revisit this blog. In a quickening world of Insta posts, it is important to take a step back for a bit more thoughtful review after a good read.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn1RWPCKdB8CuQbPZ6xVOTFxrvW5vZqcHIaTMMahSIDEiLy2xXXrp90KUXt14d-RncA2SqAKqrtqLR7_3G4MRTLCXuu-COSOPgUInZJKgkGEWcSepVlYugnZoW66j5s9w_k2nkTVhMiwY/s1600/Butterfly665.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="665" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn1RWPCKdB8CuQbPZ6xVOTFxrvW5vZqcHIaTMMahSIDEiLy2xXXrp90KUXt14d-RncA2SqAKqrtqLR7_3G4MRTLCXuu-COSOPgUInZJKgkGEWcSepVlYugnZoW66j5s9w_k2nkTVhMiwY/s1600/Butterfly665.jpg" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I just finished reading <i>Butterfly People</i> by Columbia University professor of History, William Leach. It is a fascinating read of a bygone era, when people traveled the world to collect butterflies and moths. But it is so much more than that because it happened in the mid to late 19th Century, when industrialization and the progress of railroads brought city people closer to a kind of nature they never experienced before but which also led to its destruction.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It took me a while to get engaged with the personalities behind this phenomenon, but I really liked the bigger picture ideas Leach expressed up front, and periodically throughout. Perhaps I read too far into this thought, but it sounded like he was suggesting that Americans, who may have been reluctant to Darwin's newly proposed theory of evolution (and some still are), actually embraced it as a tool to help explain the thousands of species of butterflies brought to their attention by the collectors, especially because the study of butterflies,<i> Lepidopterology</i> (or as one correspondent wrote - <i>Butterflyology</i>) detailed everything from wing veins (wing venation) to the comparative anatomy of their genitalia. Not to mention the magical transformation of the sluggish leaf-chomping worm into a beautifully-colored fluttering insect with only a feeding tube instead of a mouth. Especially mind-boggling is the fact that the butterfly remembers its former self and lays its eggs on the very same type of leaf it previously dined as a caterpillar.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I really liked how Leach explained the parallel rise of fascination with the natural world in this part of American history along with the aesthetics of the new industrial world.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"From the 1850s on, a human-made spectrum of color appeared not only in exhibits of world's fairs but in the latest fashions worn by visitors to the fairs, as well as in machine-made goods transformed by industrial design, dead things endowed with the appeal of living forms. Whether Americans were able to reconcile these to worlds of color for themselves, or whether they even cared or thought about it, is difficult (if not impossible) to establish. Did they prefer the unexpected and perishable tints and shades of living things to the "permanent" and "fast" palette of machine-produced things, the blue in a butterfly wing to the same blue in a magazine ad? did they perceive artifactual red as more "beautiful" than organic red? Or did they view them as of equal value, together forming a whole no one had ever before experienced?"</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And there is much talk of aesthetics, not only of the butterflies (and moths) but also how to record them, especially when photographic processes began to challenge the beautifully observed drawings by artists such as Mary Peart (above). I love the discussion in which Leach engages this topic.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"William Holland's photos may have attracted a new legion of amateurs, but in time, and in the manner of all such photos, they would also promote distance from butterflies and from the natural world generally by "suppressing" the handwork or the illustrating skills of individual naturalists. In contrast, by depending on their own artistic craft, both Mary Peart and Herman Strecker engaged butterflies more intimately and closely than if they had photographed them, relying on machinery devised by others. 'The correlation of nature-study and drawing is so natural and inevitable,' Anna Comstock argued in her popular Handbook of Nature Study, 'that it needs never be revealed to the pupil. When the child is interested in studying any object, he enjoys illustrating his observations with drawings; the happy absorption of children thus engaged is a delight to witness.' By enlisting the child's own ability, sketching or painting led to a level of seeing and immersion greater than any reached by those who lacked the skill or discipline to draw or paint."</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">While this book is primarily a reflection of all the ups and downs of obsessive collecting, the conclusive, sour note is that the interest sparked by the butterfly enthusiasts led to economic entomology, which <i>"turned natural history into a killing machine, wrenching it away from its ecological and aesthetic-oriented roots"</i> with <i>"schemes to slaughter insects wholesale..."</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"The growth of economic entomology and of laboratory science, and the increasing preoccupation with mere taxonomy, broke the connection between beauty and science that natural history had tied together. the result was to leave science to the professionals, and the beauty of nature to the amateurs - and to the commercial market, the bauble stores, and the spectacle theater."</i></span></div>
drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-1759330535181936882018-04-12T15:59:00.002-04:002019-08-04T15:06:04.285-04:00Tom of Finland: They Called it Filth. It Became a Revolution.<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #999999; font-size: large;">by Drew Martin</span></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">I haven't posted in a long time. I've been inward. But I was really moved by the film <i>Tom of Finland</i>, which I saw yesterday -</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> a </span><span style="font-family: "arial" , "helvetica" , sans-serif;">biopic</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> about </span><span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;">Touko Valio Laaksonen (1920-1991).</span><br />
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<span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;">In terms of cultural influence, I am not sure there is anyone who matches Touko because his drawings created a liberated environment for what was in his day a crime* - being gay. </span><span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;">I doubt the LGBT community would be as advanced today without his work and </span><span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;">I would even go so far as to say he invented gay pride. </span><br />
<span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;"><br />Touko is famous for his "stylized highly masculinized homoerotic fetish art" which is one way of saying - he drew what turned him on. And by drawing his fantasy, he presented to the world a healthy view of a taboo culture. As we see in the film, it was incredibly dangerous to be gay.** The police searches were unrelenting, the arrests were brutal, and punishment was either jail time or being put into an asylum for "treatment."</span><br />
<span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;"><br />The film could have been a little less obvious in parts but it certainly shows his journey. I like how it does not focus too much on the artwork. It's not a parade of drawings but rather it shows his evolution of first creating the images for himself, then using them for hook-ups (which wasn't always a success), and finally as something he put out in the world, which changed the lives of many of his fans. </span><br />
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<span style="background-color: white; color: #222222; font-family: "roboto" , "arial" , sans-serif;"><br /></span>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-44945943325155592212017-01-09T21:15:00.001-05:002017-01-09T22:45:19.299-05:00The Secret of Drawing: Drawing by Design<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin </b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In the final installation titled <i>Drawing by Design</i> of the four-part
series, <i>The Secret of Drawing</i>, BBC host Andrew Graham-Dixon takes a look at
drawing’s most practical application; design. For the designer, drawing is the starting
point of an idea that can be realized as a product such as a building, furniture, or fashion. And while that does indeed seem practical, we see
several artists at work during this hour who have flights of fancy before directing
their ideas into something that can in fact be made. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Graham-Dixon first sits with Mark Fisher
who has made a career of designing stage sets for bands such as <i>U2</i>, <i>The Rolling
Stones</i>, and <i>Pink Floyd</i>. They are grand structures that can be set up and broken
down in a matter of hours – temporary, experiential, fully-loaded architectural
stages that transform sports stadiums into music venues for thousands of fans. Graham-Dixon calls Fisher a real <i>“Renaissance man”</i> for his range of talents, and they both acknowledge the influence of Leonardo da Vinci. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;">In this show we get an introduction to the history of perspective through the work of Filippo Brunelleschi and Piero della Francesca. The latter referred to perspective as his mistress, when his wife tried to call him to bed at night, away from his studies and drawings/paintings.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This segues to an exploration of architecture with the
fantastic ideas of the French architect Étienne-Louis Boullée, and the brat pack group of
architects who went by the name of Archigram, which influenced the likes of Zaha
Hadid, and Ron Arad. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Arad explains how computers changed his profession.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><i>"I always thought as an arrogant student that you can only design what you can
draw. You know? If you can’t draw, how can you design? It’s different now with
computers because you can design things that you couldn’t possible draw."</i><br /><br /><o:p></o:p></span></div>
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;">"In the old days there was, you know, the drawings, and then
the drafting technical drawings, and then there used to be the artisans –
model</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">makers that make the prototypes.
Now with computers, and computer drawings, and with computer models, there’s no
middle man."</span></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And finally, we round off the show with a look at fashion drawings.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We see the drawings of Julie Verhoeven who is a fashion designer. I liked seeing her at work because of a unique approach whereby she spends weeks acc</span><span style="font-family: "arial" , "helvetica" , sans-serif;">umulating a mass of visual stimuli before she puts all her ideas together as drawings and then she barely takes the pen off the page because she says she doesn’t want to break the line of her thought.</span></div>
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<span style="background-color: white; color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">The full documentary of this fourth and final episode can be watched here:</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x4X-jWKzaaQ" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-44820460663133345032017-01-08T20:48:00.000-05:002017-01-09T06:25:44.034-05:00The Secret of Drawing: All in the Mind<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<i style="font-family: Arial, Helvetica, sans-serif;">The Secret of Drawing: All in the Mind</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> is the third of a four-part series from the BBC about drawing, which I have been enjoying and writing about. In this episode the host, Andrew Graham-Dixon, takes a closer look at how the Western tradition drawing became synonymous with accurate representation and the empirical mind, followed by the reaction to move away from it. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We visit Sarah Simblet, professor of life drawing at the Ruskin School of Drawing and Fine Art at
Oxford, who makes a distinction between her detailed anatomical drawings and some of her more abstract work.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"With these I suppose it's a process of looking, seeing, thinking, understanding, gaining knowledge of something that exists in the world...with these, it's really drawing an emotion...it's like an outwards breath."</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One thing that Graham-Dixon pushes in this episode is which part of the human mind artists call on and how much of the inner self they reveal. He explains the efforts made by Picasso and other artists such as André Masson to undo their schooling and work in a child-like state. But first he explains how drawing has often been a kind of secret diary for many artists. A more revealing expression can sometimes be seen in the under-drawings of the more proper frescoes that hide them, like a thought being buried in the subconscious.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmhDULohrgm3mZ2-o8KhNOhp1uklmu8WDIIXO2KImdqYjWTrOnEieGPZUL4bS50bxsUCqLnPiWis5EV-J5S7hbE5oskt-DgnLi4XIsogcU5yy88ISpLb6mkdcuCwqtL00YJOLDDm0Ee-Y/s1600/bbcdraw38.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />We hear from John Tchelenko, the head of drawing and cognition at Camberwell College of Art in London, who studies the way the eye and hand interact with the mind in order to understand how artists observe three-dimensional objects and depict them on a two-dimensional surface. And then we take another look at cave paintings and what they imply about the mind of early humans.</span><o:p></o:p><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There is also an interesting chat with the illustrator David Shrigley. When Graham-Dixon talks about surrealist concepts of subconscious-drawing Shrigley adds that he feels like he is part of the human collective consciousness when he is drawing.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Graham-Dixon covers a lot of different ideas in this episode. He expounds upon the notion that artists are often more emotionally sensitive, and then segues to the artwork of psychiatric patients, and then, more broadly, outsider art.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, we meet up with Michael Landy, who seems to be an incarnation of Graham-Dixon's kick-off thesis for the show. Landy is a conceptual artist and one of the Young British Artists. In his piece <i>Break Down</i> he shredded, dismantled, and crushed his earthly possessions including all of his artwork. What followed this performance was of great interest to Graham-Dixon because Landy started over again by drawing. His first drawings were of weeds. They were beautiful, like something Albrecht Dürer would have drawn 500 years ago. And then he made more intimate and emotional pieces, like a series of drawings of his father.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />The full documentary of this third episode can be watched here:</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/DY_t2cwJQnw" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-79744186648271929612017-01-07T12:21:00.001-05:002017-01-07T22:54:13.911-05:00The Secret of Drawing: Storylines<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Pictured here is <i>The Great Wave off Kanagawa</i> from the early 1830s by Katsushika Hokusai who is considered to be the father of <i>manga</i>, which means "random sketches" and is an art form that actually can be traced back more than 700 years earlier to the <i>Scrolls of Frolicking Animals</i> from by Toba Sōjō, a Japanese artist-monk-astronomer.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">These two artists are featured in the BBC production, <i>The Secret of Drawing: Storylines</i>, the second episode in a four-part series dedicated to the art of drawing. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">The writer and presenter of the show, Andrew Graham-Dixon starts the show off with by saying,</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><i>Human beings need stories, myths, tales, legends... And history shows that the drawing has played just as crucial a part in satisfying that basic need as the word. But there’s a big difference between what happens when you tell a story and what happens when you draw it. And I think the great French artist Henri Matisse put his finger on it when he said that whereas the writer has to use the shared language of speech, every artist uses his (and her) own self-invented visual language so every element of every story that he (or she) draws out is shot through with his (or her) own personality and idiosyncrasies.</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;">Graham-Dixon explores the idea of drawing as storytelling through American comic book artists, British political cartoonists, Japanese manga and anime creators, a Hollywood storyboard illustrator, and an old-school French animator. He seems genuinely fascinated by the comic book culture in America and the artists who produce such a wide range of material. Surprisingly, for me, he dwells on what he sees as a dark streak throughout all the American comics, even with <i>Peanuts</i>, whose creator [Charles Schulz] he introduces as a depressive. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Graham-Dixon adds to the mix some of the greatest political cartoonists from the 1700 and 1800s, including William Hogarth and James Gillray of England. Hogarth's </span><i style="font-family: arial, helvetica, sans-serif;">Gin Lane</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> is a loaded scene with layers of narrative and social commentary, such as a drunk mother dropping her baby. Gillray continued the tradition but took it to another level by perfecting the cartoon with a quick read, greatly exaggerated reality, and sharp wit, so much so that his </span><i style="font-family: arial, helvetica, sans-serif;">Plum-pudding in Danger</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, which mocks George III and Napoleon, is considered one of the best political cartoons of all time, and has been continuously copied, and referenced every since.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Martin Rowson, a modern British political cartoonist a.k.a. visual journalist interviewed in the show offers,</span><br />
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<i style="font-family: arial, helvetica, sans-serif;">We read images in an entirely different way to the way we read text. Ultimately, the most effective, quickest, sharpest instrument for getting a political point across is using a cartoon.</i><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Graham-Dixon takes this a step further by introducing artists such as Goya and Picasso who made very politically charged works such as Goya's <i>Disasters of War</i>, and Picasso's cartoon-like mockery of Franco by depicting him as a penis-turd-creature, and ultimately his <i>Guernica</i>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">While all these styles and artists are fascinating, I feel like the part of the show that is most aligned with what I thought the entire series would be about is when he interviews the motion-picture storyboard artist, J. Todd Anderson.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"It’s my job to get what’s in a director’s head onto paper. It’s not my job to create the shots. It’s my job to interpret their language into a visual language."</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"It’s very important that I get as close to the images in their brain onto paper so that everybody when they walk on the set is making the same movie. They’re not all imagining what’s going on." </i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Graham-Anderson explores the early start of animated movies and then concludes with Sylvain Chomet, a French animator who expresses that animations should not always be directed for children, but rather that creative, youthful soul still inside all of us.</span></div>
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<span style="background-color: white; color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">The full documentary of this second episode can be watched here:</span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VEz3JwCMZcQ" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-40405392338948248502017-01-04T23:21:00.001-05:002017-01-05T14:23:14.674-05:00The Secret of Drawing: The Line of Enquiry <span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Secret of Drawing: The Line of Enquiry</i> is the first of four episodes from 2005 by the BBC, which takes a closer look at drawing. This episode begins with the narrator and host, Andrew Graham-Dixon,</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> saying:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Once upon a time, the ability to draw was seen as the first
and most essential skill of any artist. But in the age of the unmade bed and
the pickled shark, drawing is widely perceived as an old-fashioned activity.
Many modern art schools don’t even teach it; preferring to arm their students
with digital or video cameras. I’d like to challenge the tedious modern
prejudice that it’s trendy not to draw, and that those who do draw are sad
reactionaries stuck in a dead past. I think the exact opposite is true. Drawing
is the single most fruitful and vital artistic skill at work in the world
today.</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I really like this series but Graham-Dixon's </span><i style="font-family: Arial, Helvetica, sans-serif;">unmade bed</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> <i>and</i> </span><i style="font-family: Arial, Helvetica, sans-serif;">pickled shark</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> comment takes a jab at Tracey Emin and Damien Hirst despite the fact that Emin always speaks very highly about life drawing and that she is quite good at it, and drawing is essential to Hirst's creative process. The drawing section of his website starts off with this passage:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Drawing has always been an essential part of Hirst’s creative process. Whilst his sculptural works are initially thought out through detailed sketches – often including precise dimensions and fabrication notes – he also draws obsessively for the sake of drawing. Numbering over 1, 500, this body of work points to Hirst’s use of the medium as a means of refining and exploring the ideas that sit at the heart of his entire artistic output. He also describes it as a good way to explore complicated ideas without incurring the costs involved in the fabrication of new works.</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Otherwise, I love the insight of this BBC production, which tries to elevate the act of drawing to scientific research and a visual philosophy.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The first artist interviewed is actually one of Britain's leading heart surgeons, Francis Wells, who uses drawing to not only prepare for the details of an operation but to also explain a replay of the procedure to his team. He actually uses blood from the open chest cavity of the patient to draw on paper while he waits for the heart to stabilize.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Not surprisingly, Wells is fascinated by the drawings of Leonardo da Vinci. He studies them to see what da Vinci was trying to explain through his heart studies, and even uses things he has learned from the centuries-old works for his modern surgery. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Graham-Dixon starts to formulate a kind of <i>da Vinci code</i> question...<i>Do you think these drawings contain within them other things
that people haven’t quite tweaked yet?</i> To which Wells replies:</span><br />
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Well I am sure there are. One has to be careful in not romancing it too much
and saying that the solutions to all of our problems are here. They’re not. But I
think the essence of what we‘re seeing is someone who is absolutely,
conspicuously honest. They’re searching for the truth. Nowadays, by thinking about his observations
that he made and taking it seriously, it can take you down lines of thought
that you might work out yourself with other information that’s available.</i><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What follows is a look at the start of a fascinating group in 1603 Rome. The Accademia dei Lincei (</span><span style="font-family: "arial" , "helvetica" , sans-serif;">The Academy of the Linxes, for its all-seeing eye) g</span><span style="font-family: "arial" , "helvetica" , sans-serif;">ave "new impetus to the Renaissance cross-pollination of fine art and the natural
sciences." It is even credited for having established the ground rules for empirical science through the Paper Museum, a collection of thousands of drawings of natural and man-made objects. The founder of the Paper Museum, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Cassiano dal Pozzo encouraged that we look at everything with the understanding that sometimes insight comes from when you focus on just one thing. Drawing it again and again to get to its very essence.</span><br />
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<b style="font-family: arial, helvetica, sans-serif;"><span style="color: #999999;"><i>No progress can ever be made without finding out everything
you can about everything there is</i></span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>And yes, that is a drawing of a man with a penis on his head. Apparently, at one time it was a sign of good luck.</i></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />The great 18</span><sup style="font-family: Arial, Helvetica, sans-serif;">th</sup><span style="font-family: "arial" , "helvetica" , sans-serif;"> century scientist-artist George Stubbs followed in the footsteps of da Vinci's curiosity and Cassiano's thoroughness and in turn, discovered much more by studying horses than he needed to know to paint horses. Through comparative anatomy he asked the question that Charles Darwin answered in the theory of evolution; about how humans relate to other species.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">This one-hour episode covers even more ground, including John Russell who drew the moon in the 18th century through a telescope with such accuracy that his five-foot-square drawing could easily be mistaken for a photograph, and John James Audobon whose book <i>The Birds of America</i> is one of the most impressive (and massive) collection of drawings ever printed.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The remainder of the hour covers the drawings of J.M.W. Turner, John Constable and several other artists.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The full documentary of this first episode can be watched here:</span><br />
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drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-6308687736562385212017-01-02T22:26:00.001-05:002017-01-02T22:32:41.364-05:00What Do Artists Do All Day?<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">I have recently been enjoying the BBC's artists series titled <i>What Do Artists Do All Day?</i> On the <a href="http://www.bbc.co.uk/programmes/b01rjr1d" target="_blank">BBC Four program homepage</a> is a description of the 30-minute profiles:<i> Intimate, observational portraits of leading artists, revealing unique insights into their working lives and creative process</i>. I have watched several of them and they have been consistently good. At the bottom of this post is a playlist of 23 artists, and I have noticed additional artists on the show's <a href="http://www.bbc.co.uk/programmes/b01rjr1d/clips" target="_blank">clips site</a>. For me, this is the next best thing to a studio visit, and in some ways even more satisfying because of the choice edits. Here are screen grabs from some of the artist profiles.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">(note: the beginning of this first video is silent - the sound with kick in)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/videoseries?list=PLM4S2hGZDSE4645tTLQ-q0CGiR4eSFlBW" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-91613111915592432802017-01-01T01:37:00.001-05:002017-01-01T02:06:24.626-05:00Princeton University Art Museum: An On-Campus Collection That's Out of This World<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #999999; font-size: large;"><b>by Drew Martin</b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">New York and Philadelphia are two powerhouse art museum cities close enough apart for day trips and with respective collections ready to wow each other’s residents. As someone who lives in New Jersey, I feel a strong tug from both places. For the art lovers who shuttle back and forth I would like to point out the intimate but outstandingly Princeton University Art Museum </span><span style="font-family: "arial" , "helvetica" , sans-serif;">midway between Manhattan and Philly</span><span style="font-family: "arial" , "helvetica" , sans-serif;">, which should not be overlooked. Princeton University was established in 1746 and started to build up its collection of art in 1755, which is nearly a century before the Metropolitan Museum of Art (1850) and almost 40 years before the Louvre (1793). The Princeton University Art Museum has a lot of firsts, including the first John Singer Sargent portrait done in America and the first Vincent Van Gogh painting to make it to the Western hemisphere. It is a fantastic collection with more than 92,000 works of art from around the world that cover more than five thousand years of history. The admission is free and it is located on one of the prettiest and most prestigious colleges in America with a great downtown at the edge of campus. I did an afternoon trip there yesterday and spent a few hours in the museum. Here are some</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> pictures I took while I tagged along with a tour, and wandered through the galleries on my own. Scroll through them to take a stroll through the collection:</span><br />
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drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-21987103779107131592016-12-31T03:16:00.000-05:002016-12-31T04:13:11.441-05:00A Year in Review: The Museum of Peripheral Art in 2016<div class="separator" style="clear: both; text-align: center;">
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<br />drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-46852065385083618162016-12-25T20:35:00.001-05:002016-12-26T08:58:57.329-05:00Expose Yourself to Art and See What Happens<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>New Tate Modern: Switched On</i> is a slick and upbeat BBC Documentary from 2016 about the Tate Modern, which draws more than five million visitors each year. It is a behind the scenes look at the new Switch House (a ten-story<i> twisted ziggurat</i>) and is hosted by Scottish journalist Andrew Marr and BBC arts, culture, and entertainment correspondent Brenda Emmanus.
In a rendezvous introduction, Marr and Emmanus approach the museum from river and street; old and new entrances. Marr dramatically sets the stage while cruising down the Thames, <br /><br />I<i><b><span style="color: #999999;">n the year 2000 a building reopened on the south bank of the Thames, which created a kind of buzz around the world, and may have changed the way we in Britain think about the art of our own times. It certainly became one of the most visited places in Britain. And some people think it turned dirty, commercial old London into the most cultural, vibrant city on the planet. It was, of course, the old bankside powerstation; better known today as Tate Modern.
</span></b></i><br /><br />Brenda Emmanus continues the duet,<br /><br /><i><b><span style="color: #999999;">And now, Herzog & de Meuron, the architect behind this powerhouse of modern and contemporary art have added a new extension: the Switch House, which promises to electrify our understanding of culture and our place in it all over again.</span></b></i> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">When Marr asks British sculptor Anthony Gormley during a tour of the galleries what he would say to people who might find contemporary art off-putting, Gormley responds, <br /><br /><i><b><span style="color: #999999;">Don't let your prejudices win. Expose yourself to art and see what happens.</span></b></i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><b><span style="color: #999999;"><br /></span></b></i></span>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hIb1aVBXSuc" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-10869824759074900222016-12-25T05:55:00.002-05:002016-12-29T09:31:31.564-05:00Turning The Art World Inside Out<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
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<i style="font-family: Arial, Helvetica, sans-serif;">Turning The Art World Inside Out</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> is a BBC arts documentary from 2013 hosted by Alan Yentob as part of its <i>Imagine</i> series. It serves to explain what is </span><i style="font-family: Arial, Helvetica, sans-serif;">Outsider Art</i><span style="font-family: "arial" , "helvetica" , sans-serif;">. I became particularly interested in Outsider Art in the late 1980s when I went to school and started to officially study art history as part of my art studio curriculum. Western art history was all fine and good but the formality of it made me switch to African art studies because I was interested in art that was more part of day-to-day celebrations and rituals. But then I found out about Outsider Art and how all-consuming it is for the artists. While the total immersion of this kind of art for its creator is often associated with debilitating mental issues and histories of childhood sexual abuse, the idea of living in one's own creative landscape is a romanticized notion for many trained artists; it certainly was for me. One of the artists featured in this documentary, Ionel Talpazan (a Romanian artist based in Harlem who only paints and sculpts UFOs), expands the scope of an imagined world,</span></div>
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<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif;"><i><b>The artist is like an astronaut. With the mind you can travel the entire universe. </b></i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was first exposed to Grandma Prisbrey and her</span><i style="font-family: Arial, Helvetica, sans-serif;"> Bottle Village</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> in Simi Valley, California, and then a visit to Simon Rodia's </span><i style="font-family: Arial, Helvetica, sans-serif;">Watts Towers</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> in Los Angeles made me even more interested, especially when I learned that his eclectic scrap material towers were visited more by people living outside the United States than by Americans. [Unfortunately, neither of them are mentioned in this film.]</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />The real turning point for me, however, was when I got to see dozens of work by the Swiss outsider artist </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Adolf Wölfli in </span><span style="font-family: "arial" , "helvetica" , sans-serif;">a show at my campus art gallery at the University of California at Santa Barbara. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Wölfli, was one of the fi</span><span style="font-family: "arial" , "helvetica" , sans-serif;">rst outsider artists to put this kind of work on the map. He even created his own system of musical notation, which was embedded in his densely packed drawings. <br /><br />The professional French artist </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Jean Debuffet is credited with bringing this kind of work out of the asylums and into the art world in the 1940s. He loved that it was a <i>stranger</i> to culture and innocent of calculated trappings. He gave Outsider Art its first name,<i> </i></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>l'Art Brut</i>, a term he borrowed from the wine industry, meaning <i>raw</i> and without sugar. The term Outsider Art was coined by art critic Roger Cardinal in 1972 as an English synonym for l'Art Brut.<br /><br />While I certainly did not need an introduction to this type of art, I really liked this BBC production because it showed me the work of many artists and centers I did not know about, and Yentob is a patient and thoughtful host.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/98RUUhVgLR0" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-13986122048323134542016-12-18T21:37:00.003-05:002016-12-18T22:11:11.459-05:00Something From Nothing: The Art of Rap<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another great documentary I saw this weekend is the 2012 <i>Something From Nothing: The Art of Rap</i>. Directed and hosted by Ice-T the documentary takes you across America to hear from the masters of rap about their personal introduction to hip-hop and their unique anecdotes. When Ice-T puts everyone from Eminem to Salt of Salt-N-Pepa on the spot to rap something that influenced them, they all seamlessly jump into verse committed to memory. My favorite part was hearing how they work. Immortal Technique makes himself physically hungry first or gets pumps up at the gym. Rakim starts with a piece of paper where he draws 16 dots for a 16-bar rhyme so he knows "what he is dealing with." Ras Kass used to "go to school" at a desk he stole from his junior high school and brought home in order to have a focused place to write. Everyone has different approaches but they all acknowledged the hard work it took to become great, the embarrassing failures they endured in the beginning, and the importance of creativity.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/AhwBUydknWI" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-50548114074228362692016-12-18T20:39:00.002-05:002016-12-18T22:31:21.116-05:00Buddhist Art: A Fragile Inheritance<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #999999; font-size: large;">by Drew Martin</span></b><br />Last night I watched an interesting documentary called <i>Buddhist Art: A Fragile Inheritance</i>, which is about the state of Buddhist wall paintings around Asia. The documentary focuses on China, Bhutan, and India, and the conservation efforts to minimize the damage from humidity, earthquakes, floods, tourists and other factors that jeopardize a multitude of hundreds-of-years-old works of art. Some of the worst damage is even done by poorly-trained teams of restorers who have patched cracks with incompatible materials, painted over the artwork with modern pigments, and varnished the walls in an attempt to make them look better. One cultural difference is that in many places the imagery is part of the religious concept of reincarnation and cycles of life; so repainting the originals has been a tradition. But now the residents of these places understand the importance their paintings have on a world stage and are willing to preserve them. The Courtauld Institute of Art in London has been involved in recent years to help determine the best way to maintain the paintings with the least amount of restoration. The documentary scratches the surface of the vast number of wall paintings that are in disrepair but gives a pretty good overview about what is being done to conserve them, especially the various techniques to analyze the damage, and the materials used to prevent them from crumbling such as special adhesives and grouts based on the composition of earthen walls. At the Mogao Caves in Jiuquan, China, also known as the <i>Thousand Buddha Grottoes</i>, the 492 cave temple paintings can have 18,000 visitors a day so the national park has handled the influx of tourists and the damage their presence brings by building a massive center complete with exact replicas of the temples. The feeling I had at the end of the documentary was that it is remarkable that on one hand we have a group of people dedicated to preserving art that is crumbling while there are also people in the world determined to destroy such works. The more recent destruction of the architectural heritage of Palmyra, Syria by ISIS brought back the bad memories of the destruction of the 4th- and 5th-century carved Buddhas of Bamiyan in Afghanistan by the Taliban. Even if the efforts of the art restorers can never be complete, the hope behind their actions is even more important than what they physically save.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-20020544207687538112016-12-15T10:36:00.002-05:002016-12-17T17:19:32.415-05:0010 Little Paintings<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #999999; font-size: large;">by Drew Martin</span></b><br />If you look too long at fingernails they start to look like little hooves. In a sense they are. As an unadorned male I never personally thought too long about painting my nails so I never really appreciated their potential. Not until I found out one of my friends from childhood has a salon. Her "mostly nail pics on here" Instagram feed was a bit of a revelation for me for what can be done with the 10 little blank canvases at the ends of our hands. Here are some of my favorites. To see more follow her on Instagram <a href="https://www.instagram.com/michellerose222/?hl=en" target="_blank">@michellerose222</a>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-24810029797522373052016-12-14T22:00:00.004-05:002016-12-15T10:17:40.650-05:00A Man Full of Trouble<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #999999; font-size: large;"><b>by Drew Martin</b></span><br />I was walking around taking pictures of Alex Da Corte's show <i>A Man Full of Trouble</i> at Maccarone this afternoon when the gallery assistant said, <i>"You know we have professional pictures of the show already, right?"</i> Perhaps he felt bad seeing me in the contorted positions I assumed to get certain shots. He did say it as if he wanted to help me...or better yet, to relieve me of my own efforts. I said, <i>"Yeah, but I am trying to get pictures like this."</i> And I showed him the following photo on my camera display.<br /></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: center;">He was a little surprised that I showed this particular shot to him because it seems like the least significant piece in the show. He said, <i>"Oh yeah. That's actually the artist's favorite piece here. In fact, it was the inspiration for the rest of the show."</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />There are some really interesting pieces such as this free-form neon light sculpture.<br /></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />And because I start off every morning with a bowl of cooked oats, I immediately gravitated to a tall sculpture with an over-sized replica of a Quaker Oats container. I did not pick up on the reference of this and the stack of $100 Ben Franklin towels to Da Corte's hometown - Philadelphia.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One of my favorite pieces is this pair of Kit Cat Clocks because in a span of almost 30 seconds their pendular tails seem to be matched for about five seconds before they fall back out of synchronicity.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Here are a few more pictures I took of the show:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-78802122733537172512016-12-14T20:35:00.006-05:002016-12-15T10:18:17.535-05:00Right Here, Write Now<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In our busy schedules and hectic days there is still an
oasis of idle time where routine takes a late siesta. It’s a a fuzzy hour in the mid-afternoon. If you try to do work during that time you won’t be efficient
so you might as well get up and walk around and discover something new. I was
at a late luncheon today and instead of joining a couple colleagues to
take a taxi back, I decided to walk off the meal and stop in a gallery or two
before returning to my office. The first place I visited was the Westbeth
Gallery where I took some pictures of the participatory installation </span><i style="font-family: arial, helvetica, sans-serif;">Write Now</i><span style="font-family: "arial" , "helvetica" , sans-serif;">. The gallery has multiple rooms and tables with Post-it notes, pens, and messages on the wall: </span><i style="font-family: arial, helvetica, sans-serif;">What Do You Want To Leave Behind in 2016?</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> or </span><i style="font-family: arial, helvetica, sans-serif;">What Do You Want The World To Bring Into 2017?</i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When I was about to leave, the gallery sitter asked me if I had written something. I hadn't, so I put down my camera and drew the following </span><i style="font-family: Arial, Helvetica, sans-serif;">Someone For Everyone</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> Post-it here.</span></div>
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drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-1912822520018623592016-12-13T10:03:00.003-05:002018-06-07T18:22:50.343-04:00William Carlos Williams and Paterson of Paterson in Jim Jarmusch's New Film - Paterson<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #999999; font-size: large;">by Drew Martin</span></b><br />Last night I saw a special screening of <i>Paterson </i>that was introduced
by its writer and director Jim Jarmusch at the Williams Center for the Arts in Rutherford, New Jersey. The Center honors the great poet and physician William Carlos Williams, or as joked in the film Carlo Williams Carlos, who was born, practiced, and died in Rutherford.<br /><br />The City of Paterson is close to my heart and home. I go there for runs by its beautiful waterfall and up in the
hill-top park of Garret Mountain. I bring my friends there to show them the falls - the largest east of Niagara, and I talk about it to everyone I meet. Paterson is one of the most historic cities in the
country and has a wealth of culture. If you have read <i>On The Road</i>, it is where
Jack Kerouac begins his quest, and returns to visit his aunt. More famously, it was the inspiration behind Williams' epic poem <i>Paterson. </i><br /><br />Jarmusch’s
<i>Paterson</i> is an ode to Williams through the uneventful life of a NJ
Transit bus driver/poet in Paterson, named Paterson (played by Adam Driver) whose more eccentric wife, Laura (played by Golshifteh Farahani)</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> has a
thing for black and white patterns, which she uses to adorn their small home,
dog, and cupcakes.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The main theme in <i>Paterson</i> is duplication and once you start thinking about how ubiquitous it is in the film, you feel like it is the underlying structure of the
universe. We start with the repetition of words in the poetry-narrative by Paterson conceiving and then writing down his thoughts. And it is in the dialogue: in one of the first scenes Paterson and Laura discuss having kids - twins. <i>“One for you, and one for me”</i> Paterson
offers in a tone and manner that does not expand the conversation but rather neatly wraps it up. This is how he approaches his life through poetry – packaging ideas in tidy, economic lines. <br /><br />Twins of all ages and walks of life serve as a double-take visual motif
throughout the film, and the theme of duplication gets played out even more in
the repetition of things people say to him. At one point his bus breaks down and he asks everyone to get off. An elderly twin bus passenger asks him if the electrical problem that stopped them might cause the bus to burst into a ball of fire. This dramatic question is later repeated by his wife, and then his bartender.<br /><br />Duplication in inherent in the name William Carlos
Williams, as it is with Paterson (of Paterson). And for that matter within the name Paterson – pater-son or father-son; and New Jersey, a copy of
Jersey. It also gives more meaning to the repetition of life: waking up to his wife,
eating Cheerios out of a glass, walking to and from the bus depot, talking with the dispatcher, walking the dog, and visiting a local pub at night. By showing these repeated events, the details that deviate from the norm stand out that much more - both in what is introduced as well as what is absent.<br /><br /><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In contrast to the theme of duplication is the idea of
one-of-a-kind and irreplaceable originals. Paterson keeps all of his poems in a
“secret” notebook, which his wife urges him to photocopy. He never gets around to it and this leads to a great loss in the end. But through this we understand that creativity flows like water over the waterfall and what is not lost is the repetitive urge to write. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I have not seen all of Jarmusch’s films but one scene that
stands out in my mind from his <i>Broken Flowers</i> is a fragment of a conversation between teenage girls on a bus. It is just part of a discussion but it is a microcosm. I think this shows off Jarmusch's greatest skill - he lets you listen. In <i>Paterson</i> we get much more of this as Paterson overhears his passengers' conversations as he drives the bus. A discussion about anarchism is
even kicked back and forth by Kara Hayward and Jared Gilman who played opposite each other as young, platonic lovers in Wes Anderson’s <i>Moonrise Kingdom</i>. Here we see them grown up, riding the bus in Paterson.<br /><br /><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The most endearing scene is when Paterson meets a young girl by the old mills who reads him her poem <i>Water Falls</i> and discusses poetry
with him. There is also a series of mini scenes of a leaning mailbox that Paterson uprights each time he comes home from
work, which functions like the broken newel cap of the staircase in <i>It’s a Wonderful
Life</i>. It is a source of frustration but also comments on the human attention needed to
maintain a home/relationship. In <i>Paterson</i> it plays out for one of the biggest laughs when we find out his dog is behind the gag. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The City of Paterson is more than a set for Jarmusch. It is a
city and land that yields the poems. You see this in the scenes of Paterson at
the falls, where he writes at lunchtime, and also in a late night laundromat that
he passes where he hears a local rapper working on his bars. Also with a
reference to Fetty Wap, Jarmusch nods to a new generation of word craft.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I met Jim Jarmusch last night. I had not planned to. In fact,
I was nicely asked to not approach him as press but he came over to me and
somehow I got engulfed in a conversation about Paterson. So I asked him why
Paterson, and he said that he started thinking about doing a film there 27
years ago. He had moved out from Ohio (he says <i>escaped</i>) and settled down in New
York City. He said he had heard a lot about other cities and was surprised to
discover all the great history about Paterson. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You could tell it was important for Jarmusch to screen this film so close to
where it was filmed and have our local support, in Williams' home town. There was a great turnout at
the Williams Center for the Arts and Jarmusch said a very nice introduction to the film. Even though
the movie can be shown over and over again, the effort to organize the evening that gathered an enthusiastic audience and Jarmusch’s youthful presence certainly made it a
one-of-a-kind event.</span><o:p></o:p></div>
drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-69184232458767749272016-12-09T09:11:00.002-05:002016-12-09T14:55:16.181-05:00The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When I worked in a zoo in the north of the Czech Republic
during a mid 1990s I was always impressed by the range of exotic sounds that
reached out to me at the crack of dawn as I walked from the nearby trolley bus
station to the entrance gate. Some noises were difficult to match to an animal,
or even a species. The gibbons in the zoo, for example, had a high-pitched
looping call that I first mistook for a tropical bird. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Recently, I was perusing the arts section of my local library when a book on this
subject caught my attention: <i>The Great Animal Orchestra: Finding the Origins of
Music in the World’s Wild Places</i> by Dr. Bernie Krause. The cover features a few
different creatures: a long-legged bird, a monkey, and a couple dragonflies.
There is also a bar of music. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I expected this book to speak to my audio experiences
from my zoo days through a journalist-style narrative of the animal kingdom. On
this it delivers but it is so much more than what I had imagined. For one
thing, unlike a lot of non-fiction books, this masterly written work follows a great arc of thought. When you read something by an author such as Malcolm
Gladwell you basically get a thesis upfront followed by supportive case studies to prove the author’s point. It’s that or simply a collection of
magazine-type articles. Krause, by contrast, develops an incredibly
well-conceived 236-page history of sound on Earth. He outlines this
through three general sound categories: <i>Geophony</i>, <i>Biophony</i>, and <i>Anthrophony</i>.
<br /><br />Geophony covers the sounds made by the Earth: wind blowing, water gurgling, ice
cracking, storms thundering, volcanoes erupting, wildfires raging, and the
ground rumbling. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Krause takes the reader back millions of years when the only
sounds you would have heard on the planet were that of the Geophony. Even more
mind-boggling is the idea that these sounds influenced all the other sounds
that came after them. He explains how a bird’s call is fine-tuned to the
Geophony soundscape. For example, a bird that lives near a waterfall will have
a call that can be heard over the constant rush of water. I could add that this
seems in line with the loud call of seagulls who are typically communicating
over the crash of waves. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Most elegant is Krause’s description of waves around
the world and how the cadence and strength differs greatly and is even affected
by level of salinity, and the rake of the shoreline. He compares the drawn-out
thunderous crashes of the surf at Big Sur to the delicate quick patter off the coast of Tanzania. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One thing I question after reading this book is his
inclusion of plant life in the Geophony. For example, he describes how the wind
blowing over broken reeds is nature’s first Pan-flute, which presumably could have been an
inspiration to music-making humans. In terms of evolution, plants and animals
share a common primordial ancestor; the same spark of life. For this reason, there should probably be a
<i>Botaphony</i> to speak entirely to plants including their slow growth sounds, and
the array of animated noises they can make including that of falling trees and limbs, and the rubbing together of branches. In fact, the sound of
wind and fire are often botanical. Think of the rustling of leaves and the crackling
of burning wood. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Biophony, as described by Krause includes the noises made by creatures
great and small. Whale calls can circle the Earth in open water. Shrimp snap
their claws so loudly that they create a sonic bubble around them that stuns
their prey.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Krause is a professional musician and sound technician but what
is expressed most in this book is his skill of being a good listener. This
translates to his talent as a writer and makes me realize that reading is
simply a form of listening. The most notable takeaway from Krause is to appreciate the sounds of our world and to really understand the
connections within the bandwidth of an environment. The most poignant example
of this is the common notion that certain creatures vocalize simply for mating
and territorial claim but this overlooks the most fascinating element of how
they might harmonize and synchronize their calls, which still provides them
with a medium for hooking up with mates and staking their turf, but is also a
defense from their auditory predators who cannot pinpoint a single source when
confronted with their surround-sound. That is, until this sound is disrupted by
another noise, which might come from the Geophony, such as a storm; the
Biophony, such as a howl or a growl; or more commonly, the Anthrophony, which
is the noise we and our creations make. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Krause breaks the Anthrophony down into
Electromechanical noises from that range from pencil sharpeners to pile
drivers, and Physiological noises from sneezing to shouting. He also explains
Anthrophonic sounds as controlled and incidental.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Krause’s mission with this book seems two-fold. First, it is
an educational read about understanding sounds and learning to listen. But it
also has a sound-environment protection agenda. He writes about </span><i style="font-family: arial, helvetica, sans-serif;">“bioacoustics
information”</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> versus </span><i style="font-family: arial, helvetica, sans-serif;">“uncorrelated acoustic debris”</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> or less politely,</span><i style="font-family: arial, helvetica, sans-serif;"> “acoustic
garbage.”</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> He explains how our brains labor to filter out harmful noises.
Interestingly, while we might feel that we can adjust to invasive sounds, our
bodies unconsciously continue to display the same nervous tension, fatigue, and
irritation as they did when the noise was first introduced and perceived as
stressful. He compares artificial white noise to fluorescent lighting. Not too
long ago some employers introduced artificial white noise to their companies in
hopes of focusing the attention of their staff. The results were
counterproductive and could not compare to natural white noise such as waves
and waterfalls, which have unique cadence patterns with subtle signatures that
do indeed pacify humans. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The most upsetting part of Krause’s exposé is the fact
that fatal whale beachings, which are sometimes induced by the hemorrhaging
of their inner ears, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">might be due to Navy sonar testing.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> Aside from the physical pain they experience, they become disoriented and go off course. Krause’s environmentalism via the natural soundscape
makes perfect sense: he illustrates the density of sound with graphs of his
recordings that reflect the shocking but expected reduction of life through various
activities such as logging. The removal of vegetation is devastating but
Anthrophonic noise pollution alone is enough to disrupt a habitat as well. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">While Krause
certainly struggles with the fact that our natural environment is rapidly
diminishing, with technology fueling this decline, he does offer some hope that
a new generation of smart-phone kids would use the recording technology in their hands to rediscover and appreciate natural soundscapes as he himself did on
assignment decades ago. </span></div>
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drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-44244150857449432232016-11-19T19:54:00.001-05:002016-11-20T10:23:13.696-05:00Artfully Awear at The Stable<span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>by Drew Martin</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here are some pictures from last night's event at The Stable in Ridgewood, NJ. It was the first of an artist talk series I helped kick off through the Ridgewood Arts Council. I am a new member of the arts council and on my first meeting a few months ago I proposed the idea for the series that would have a salon feel. It was great to be able to collaborate with other members of the council to make it happen. With a $0 budget we pulled it together with catered food, a classical guitarist, a beautiful space, and of course a great artist to start it off with a lot of positive energy.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Our first speaker was Ariel Adkins of <a href="http://www.artfullyawear.com/" target="_blank">Artfully Awear</a>. Ariel came out from Brooklyn to talk to an energetic crowd of fifty or so residents including several local artists. We</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> held the presentation i</span><span style="font-family: "arial" , "helvetica" , sans-serif;">n the main room of the building, which is actually a restored stable that was built just after the Civil War for the last working farm in Ridgewood. In the upper-level loft space Ariel hung eight of her dresses on a clothes line we strung between the ceiling beams so that people could take a look at her work up close.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xMFzkeLzudk" width="560"></iframe>drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.comtag:blogger.com,1999:blog-3218146382935723862.post-78898570042038733852016-11-18T11:12:00.001-05:002016-11-18T11:14:35.295-05:00Artist Talk with Ariel Adkins<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIiklcXDrwOghsJZFEcUgHFX5071DMQ3_XtExhSxBdHh4c4JRgwzZ5eLnvjVSrcZOnhRCQK7QImIHJ7bv87sn79yocN76-95EpkKIVFS-ogAob21kKTxkcokq9MuXdhto0877sGFOt_i0/s1600/flyerRACartisttalkArielAdkinsNov18_675.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIiklcXDrwOghsJZFEcUgHFX5071DMQ3_XtExhSxBdHh4c4JRgwzZ5eLnvjVSrcZOnhRCQK7QImIHJ7bv87sn79yocN76-95EpkKIVFS-ogAob21kKTxkcokq9MuXdhto0877sGFOt_i0/s1600/flyerRACartisttalkArielAdkinsNov18_675.jpg" /></a></div>
<br />drewhttp://www.blogger.com/profile/14878804257799821597noreply@blogger.com