tag:blogger.com,1999:blog-75020462024-03-06T12:02:27.954-08:00Doug MillisonAnonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.comBlogger120125tag:blogger.com,1999:blog-7502046.post-47422063093324959062014-12-13T19:56:00.002-08:002014-12-13T21:03:50.076-08:00<div>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;">Great musical news from my friends Don and Deb of D-Squared! Here's their announcement of their beautiful new CD, "The Garden Wall."</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbKq16GLkq8olRDkPRPfIUaCu-XsyuMgP_BjT_i4GSQIZGSG-ou5Lh2Vy8lOWp1MBxzqyz_zLKzwKvZVUZ8i704MtTwtQCljYEGw4UNtUDNs8nOX1avcU2V_W_wZyngMeFHxYbw/s1600/10858572_787430901330267_587861666064978015_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbKq16GLkq8olRDkPRPfIUaCu-XsyuMgP_BjT_i4GSQIZGSG-ou5Lh2Vy8lOWp1MBxzqyz_zLKzwKvZVUZ8i704MtTwtQCljYEGw4UNtUDNs8nOX1avcU2V_W_wZyngMeFHxYbw/s1600/10858572_787430901330267_587861666064978015_n.jpg" height="355" width="400" /></a></div>
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<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;">We are excited to announce the release of our first recording in over eight years, a brand new all-instrumental CD entitled, "The Garden Wall”. </span><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;">Featuring folk harp, guitar, mandola, tenor banjo, percussion, and a saucy array of free reeds (accordion, bass harmonica, concertina and ... wait for it ... the bass accordion!), the tunes are a wordless journey through D-Squared's personal sound garden.</span><span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;"> It explores inner and outer landscapes, soars in flocks of birds, dances with lumbering bears, and celebrates birth, death and awakening in the natural world.</span><br />
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;">"The Garden Wall" was recorded and produced by friend and long-time collaborator, Kyle Harris. His imaginative production values sculpt D-Squared's sound as surely as any of the players. Gleaned from the archives of PlayR Recording in Phoenix, the 13 original works reflect D-Squared's distinctive musical palette and some adventurous tunesmithing. The lone traditional piece, Let All Mortal Flesh Keep Silent, defines the very depth of night.</span><br />
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;">Another friend and collaborator, William Meldrum, lends his deft percussive touch to many of the tracks. An integral part of D-Squared for years, Bill's sophisticated musical imagination never fails to delight. His dumbek emanates from a harem tent on Mongolian Horseman and his tambourine roll on Lightning Bug Waltz is the very embodiment of a crazed June bug.</span><br />
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;">"The Garden Wall" will be available from CD Baby, a great source of indie music, at </span><a href="http://l.facebook.com/l.php?u=http%3A%2F%2FCDBaby.com%2Fcd%2Fdsquared3&h=BAQE2nsiX&enc=AZM6u9XeK6UytPJIc3X0tpphgcCs8oT1DAbPlptAzSMHzivXbtXNG_Ma9pQSbCHdYzTsyjlXY3ieVAGpnqsn07kGQojzLLcMuqHKp9v_lmvi1P-K7P51t26eDIrLwzWQK4vFF9pPVHUqWwFrgQHAI9T0&s=1" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px; text-decoration: none;" target="_blank">CDBaby.com/cd/dsquared3</a><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px;"> and can be downloaded on a variety of download sites: iTunes, Rhapsody, Spotify, Amazon mp3, Xbox Music, etc. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Don on guitar, Deb on harp, and looks like Tony Norris on banjo, at HIGH COUNTRY COWBOY CHRISTMAS A Winter’s Night of Songs, Stories, Poems and Western; this year's event coming on December 20 at The Orpheum Theater in Flagstaff, Arizona</td></tr>
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Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-72241125832674287122014-11-07T09:06:00.002-08:002014-11-07T09:06:54.376-08:00<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMpC7fhz2-5reGip3eOIBFb178S4m6isxBJCt5c8pgR5OBarHy26bJtLB3FVYWFkLy-7PakAjP47cN9f6R6JLm9feZe6K6esHMFQb8zCFx4Lb_HQ4G5JKVpRJfnRKoBRFJP7_7Zg/s1600/All-I-Own-House-by-PKMN_dezeen_784_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMpC7fhz2-5reGip3eOIBFb178S4m6isxBJCt5c8pgR5OBarHy26bJtLB3FVYWFkLy-7PakAjP47cN9f6R6JLm9feZe6K6esHMFQb8zCFx4Lb_HQ4G5JKVpRJfnRKoBRFJP7_7Zg/s1600/All-I-Own-House-by-PKMN_dezeen_784_5.jpg" height="228" width="320" /></a></div>
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<a href="http://www.dezeen.com/2014/11/07/pkmn-architectures-all-i-own-house-modular-madrid-apartment-chipboard/">http://www.dezeen.com/2014/11/07/pkmn-architectures-all-i-own-house-modular-madrid-apartment-chipboard/</a>Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-77271015662195608852014-11-03T06:58:00.001-08:002014-11-03T06:58:01.714-08:00Dragoman<h3 style="background-color: white; color: #222222; font-family: arial, sans-serif;">dragoman</h3><div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px;"></div><div style="background-color: white; color: #555555; font-size: 13px;">PRONUNCIATION:</div><div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px; margin-left: 20px;">(DRAG-uh-man) <a href="http://wordsmith.org/words/dragoman.mp3" style="color: #1155cc;" target="_blank"><img align="top" alt="" border="0" class="CToWUd" height="24" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEiWx5hN8OIxWVPdVjmanI3l4XCKGCKsfpfFQ0GIL1it5nt9DUKTGBM2jAvpC9IA1gzFUhNocI7Swt2_e6DFvr2PBfsUI89gQQkwxw9lI5yW1FLZz4cDvZudOL2RSifmjrpXX1N1Tj93cJCi8g=s0-d-e1-ft" width="32" /></a></div><br style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px;" /><br />
<div style="background-color: white; color: #555555; font-size: 13px;">MEANING:</div><div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px; margin-left: 20px;"><i>noun</i>: An interpreter or guide.</div><br style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px;" /><br />
<div style="background-color: white; color: #555555; font-size: 13px;">ETYMOLOGY:</div><div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px; margin-left: 20px;">From French dragoman, from Italian dragomanno, from Latin/Greek dragoumanos, from Arabic tarjuman, and Aramaic, from Akkadian targumanu (interpreter). Earliest documented use: 1300s. Akkadian is a now-extinct Semitic language once spoken in ancient Mesopotamia (now Iraq) and written in cuneiform. Earliest documented use: 14th century.</div><br style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px;" /><br />
<div style="background-color: white; color: #555555; font-size: 13px;">USAGE:</div><div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 18.8888893127441px; margin-left: 20px;">"The pig doesn't express himself in some exotic swine-dialect, the farmer has no need to summon a dragoman fluent in grunts, each understands the other perfectly."<br />Eric Ormsby; Ambitious Diminutives; <i>Parnassus: Poetry in Review</i>; 2008.<br /><br />See more usage examples of <a href="http://www.vocabulary.com/dictionary/dragoman" style="color: #1155cc;" target="_blank">dragoman</a> in Vocabulary.com's <a href="http://www.vocabulary.com/dictionary" style="color: #1155cc;" target="_blank">dictionary</a>.</div><br /><br />
<a href="http://wordsmith.org/words/dragoman.html">http://wordsmith.org/words/dragoman.html</a>Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-26709624328192965872014-10-29T13:08:00.001-07:002014-10-29T13:13:22.344-07:00Book suggestions from Dave Monroe<img src="http://www.ucpress.edu/img/covers/isbn13/9780520257900.jpg" /><br />
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<a href="http://www.ucpress.edu/book.php?isbn=9780520257900#.VFFJG68SvzE.blogger">The Haunted Screen - Lotte H. Eisner - Paperback - University of California Press</a><br />
<br />
<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans', 'Lucida Sans Unicode', 'Lucida Grande', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 16.7986011505127px;">The golden age of German cinema began at the end of the First World War and ended shortly after the coming of sound. From </span><i style="color: #333333; font-family: 'Lucida Sans', 'Lucida Sans Unicode', 'Lucida Grande', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 16.7986011505127px;">The Cabinet of Dr. Caligari </i><span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans', 'Lucida Sans Unicode', 'Lucida Grande', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 16.7986011505127px;">onwards the principal films of this period were characterized by two influences: literary Expressionism and the innovations of the theater directors of this period, in particular Max Reinhardt. This book demonstrates the connection between German Romanticism and the cinema through Expressionist writings.</span><br />
<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans', 'Lucida Sans Unicode', 'Lucida Grande', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 16.7986011505127px;"><br /></span>
<img alt="1099199" src="https://d.gr-assets.com/books/1347356825l/1099199.jpg" /><br />
<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans', 'Lucida Sans Unicode', 'Lucida Grande', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 16.7986011505127px;"><br /></span>
https://www.goodreads.com/book/show/1099199.Reenchanted_Science<br />
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<h1 class="bookTitle" id="bookTitle" itemprop="name" style="background-color: white; color: #382110; font-family: georgia, serif; font-size: 22px; font-weight: normal; line-height: 1.1; margin: 0px; padding: 0px 0px 2px; width: 455px;">
Reenchanted Science: Holism in German Culture from Wilhelm II to Hitler</h1>
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<span class="by smallText" style="color: black; font-family: inherit; font-size: 13px; line-height: 14px;">by</span> <span itemprop="author" itemscope="" itemtype="http://schema.org/Person"><a class="authorName" href="https://www.goodreads.com/author/show/108956.Anne_Harrington" itemprop="url" style="color: #666600; font-family: georgia, serif; font-size: 13px; line-height: 19.7999992370605px; text-decoration: none;">Anne Harrington</a></span></div>
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<span id="freeText11738020676565276252">By the 1920s in Central Europe, it had become a truism among intellectuals that natural science had "disenchanted" the world, and in particular had reduced humans to mere mechanisms, devoid of higher purpose. But could a new science of "wholeness" heal what the old science of the "machine" had wrought? Some contemporary scientists thought it could. These years saw the spread of a new, "holistic" science designed to nourish the heart as well as the head, to "reenchant" even as it explained. Critics since have linked this holism to a German irrationalism that is supposed to have paved the way to Nazism. In a penetrating analysis of this science, Anne Harrington shows that in fact the story of holism in Germany is a politically heterogeneous story with multiple endings. Its alliances with Nazism were not inevitable, but resulted from reorganizational processes that ultimately brought commitments to wholeness and race, healing and death into a common framework.Before 1933, holistic science was a uniquely authoritative voice in cultural debates on the costs of modernization. It attracted not only scientists with Nazi sympathies but also moderates and leftists, some of whom left enduring humanistic legacies. Neither a "reduction" of science to its politics, nor a vision in which the sociocultural environment is a backdrop to the "internal" work of science, this story instead emphasizes how metaphor and imagery allow science to engage "real" phenomena of the laboratory in ways that are richly generative of human meanings and porous to the social and political imperatives of the hour.<a class="actionLinkLite" href="https://www.goodreads.com/book/show/1099199.Reenchanted_Science#" style="color: #215625; font-family: Helvetica, Arial, sans-serif; font-size: 12px; text-decoration: none;">(less)</a></span><br />
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<div class="uitext stacked darkGreyText" id="details" style="background-color: white; border-bottom-color: rgb(221, 221, 221); border-bottom-style: solid; border-bottom-width: 1px; color: #555555; font-family: Arial, Helvetica, Verdana, sans-serif; font-size: 11px; line-height: 18px; margin-bottom: 10px; padding-bottom: 5px;">
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<span itemprop="bookFormatType">Paperback</span>, <span itemprop="numberOfPages">336 pages</span></div>
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Published January 31st 1999 by Princeton University Press <nobr class="greyText" style="color: #aaaaaa;">(first published July 22nd 1996)</nobr><br />
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original title</div>
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Reenchanted Science</div>
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ISBN</div>
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0691050503 <span class="greyText" style="color: #aaaaaa;">(ISBN13: <span itemprop="isbn">9780691050508</span>)</span></div>
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Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-86484398937354320942014-01-22T08:58:00.000-08:002014-01-22T11:21:21.731-08:00My New Olive-drab Corduroy Jeans<br />
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Alice bought me a new pair of corduroy jeans. I like everything about them - the fit, the feel, the details. The olive drab color complements some other recent wardrobe additions and gives me a nice self-esteem boost, reminding me how far I have come since the bitter day when I vowed I’d never again let that Army color touch my skin.<br />
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Yes, I am letting that color touch my skin. We finished our business four decades ago, the Army and me; I made it free without shooting anybody, thank goodness. Militaristic taint or no, I am enjoying these sharp new corduroys.<br />
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Corduroy. Beautiful word. Strange amalgam of consonants C, D, and R. Those Os. That ambiguous Y. So what if “heart of a king” -<i> coeur du roy</i> - turns out to be just my garbled version of the folk etymology; it tells a truth.<br />
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I will always remember the corduroy roads of my youth, me along for the ride on holiday from school as salesman Dad drove us bumping over the logs deep into the swamps of south Louisiana, on a mission to change the way they drill oil wells with new tools based on revolutionary technology, one rig, one skeptical drilling engineer at a time.<br />
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Our family had been in oil-- the greasy, blue-collar bottom, not the big-money top, not even Dad’s sales success could lift us that high -- since my paternal grandfather and his brothers had worked together as a drilling crew in the oil fields of Pennsylvania early in the 20th century. When black gold gushed in Kansas the band of brothers followed the work west. On the other side of the family my maternal grandfather - I carry his name - helped drill the first successful oil well in Western Colorado. I represented my generation in the “oil patch.” On my first paid job at age twelve, I scrubbed and painted drill-collar thread protectors in the Lafayette, Louisiana tool yard of the company that employed my father. Seven years later I was cooking breakfast and cleaning up after forty roughnecks and roustabouts, as Galley Hand on Chevron Mobile Rig No. 9, a drilling platform one hundred twenty miles out in the Gulf of Mexico, a two-hour flight from Houma on the Louisiana coast.<br />
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I might as well have oil instead of blood pulsing through my body. That’s why, when the 2010 British-Petroleum oil spill poisoned the Gulf of Mexico, I felt personally responsible. But, I managed to get over that; everybody’s trashing Mother Earth.<br />
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I like the feel of these cords under my fingers, rough like those corduroy roads. And I like the way these hiphuggers snuggle my butt, how they tuck up around the adult diaper and hold it firmly in place. Whether I like it or not, the diaper helps me remember that my desire won't stop the mess out there any more than it will in here, up close and personal. But, I can still dress it up sharp and do it in style, in my new olive-drab corduroy jeans.<br />
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--Doug Millison, 22 January 2014<br />
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Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com2tag:blogger.com,1999:blog-7502046.post-16363287551923680812013-10-26T10:48:00.004-07:002013-10-26T10:48:52.930-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsuAzXTF_bQYB77gvHKjlG9x1_vl94mo9Y5JbsbB1XC3YC3dZMMEQRdyxipm7JZb_RRg2vXaqYndrqPUqdOvYw1-fBcllL3eDnSOcv-DThstNrEygJEmpiJgggwhga1bV7D2CqDA/s1600/1383777_10201614538059183_764305717_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsuAzXTF_bQYB77gvHKjlG9x1_vl94mo9Y5JbsbB1XC3YC3dZMMEQRdyxipm7JZb_RRg2vXaqYndrqPUqdOvYw1-fBcllL3eDnSOcv-DThstNrEygJEmpiJgggwhga1bV7D2CqDA/s640/1383777_10201614538059183_764305717_n.jpg" width="640" /></a></div>
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<div style="text-align: center;">
Still blooming. Thinking of Jiri and Pascal.</div>
Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-23407590776797975112013-04-07T09:36:00.001-07:002013-04-07T09:36:34.471-07:00Rooftop pigeon breeders<ins style="border: none; display: inline-table; height: 90px; margin: 0; padding: 0; position: relative; visibility: visible; width: 728px;"><ins id="aswift_0_anchor" style="border: none; display: block; height: 90px; margin: 0; padding: 0; position: relative; visibility: visible; width: 728px;"><a href="http://www.nytimes.com/2013/04/04/nyregion/breeding-pigeons-on-rooftops-and-blurring-racial-lines.html">http://www.nytimes.com/2013/04/04/nyregion/breeding-pigeons-on-rooftops-and-blurring-racial-lines.html</a></ins></ins><br />
<h1 class="articleHeadline" itemprop="headline">
Breeding Pigeons on Rooftops, and Crossing Racial Lines</h1>
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<span itemid="http://graphics8.nytimes.com/images/2013/04/04/nyregion/PIGEONS/PIGEONS-articleLarge-v2.jpg" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject">
<img alt="" border="0" height="424" itemid="http://graphics8.nytimes.com/images/2013/04/04/nyregion/PIGEONS/PIGEONS-articleLarge-v2.jpg" itemprop="url" src="http://graphics8.nytimes.com/images/2013/04/04/nyregion/PIGEONS/PIGEONS-articleLarge-v2.jpg" width="600" />
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<span itemid="http://graphics8.nytimes.com/images/2013/04/04/nyregion/PIGEONS/PIGEONS-articleLarge-v2.jpg" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject">Todd Heisler/The New York Times</span></div>
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<div class="caption" itemprop="description">
Delroy Sampson breeds his own
birds and spends hours each day scraping away droppings, stocking
feeders, hosing down coops, filling water canisters and hauling bags of
feed to the roof. </div>
</span>
</div>
<h6 class="byline">
By
<span itemid="http://topics.nytimes.com/top/reference/timestopics/people/b/joseph_berger/index.html" itemprop="author creator" itemscope="" itemtype="http://schema.org/Person">
<a href="http://topics.nytimes.com/top/reference/timestopics/people/b/joseph_berger/index.html" rel="author" title="More Articles by JOSEPH BERGER"><span itemprop="name">JOSEPH BERGER</span></a></span></h6>
<h6 class="dateline">
Published: April 3, 2013 </h6>
<div class="shareTools shareToolsThemeClassic articleShareToolsTop shareToolsInstance" data-description="The dwindling world of pigeon fliers has become more diverse as New York’s neighborhoods have experienced racial shifts." data-shares="facebook,twitter,google,save,email,showall|Share,print,singlepage,reprints,ad" data-title="Breeding Pigeons on Rooftops, and Crossing Racial Lines" data-url="http://www.nytimes.com/2013/04/04/nyregion/breeding-pigeons-on-rooftops-and-blurring-racial-lines.html">
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When New Yorkers consider the subculture of people who raise pigeons on
rooftops, many are likely to think of Terry Malloy, the longshoreman in
the 1954 film “On the Waterfront” played by Marlon Brando. He was a
classic rooftop breeder, rough-hewed, working-class and white ethnic to
his toes. </div>
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But that image has long needed some alteration because in the dwindling
world of rooftop fliers, as they are known, the men are as likely to be
working-class blacks or Hispanics. Many were introduced to the hobby by
Irish, Italian and other fliers of European descent, an unlikely
camaraderie that evolved in neighborhoods like Bushwick, Canarsie and
Ozone Park that were undergoing gradual racial shifts. </div>
<div itemprop="articleBody">
Ike Jones, an African-American who manages one of the last pigeon supply
stores for its Italian-Jewish owner, Joey Scott, said he learned much
of the craft when he was about 12. He then became a helper to George
Coppola, an Italian rooftop breeder in Bedford-Stuyvesant. </div>
<div itemprop="articleBody">
“I was amazed at his coop,” said Mr. Jones, now 65. “He had electricity
and running water, and I only had a box made of scrap wood. On Sunday
his wife would cook spaghetti and meatballs and I would eat with them
because I was always there.” </div>
<div itemprop="articleBody">
A new book, “The Global Pigeon,” by Colin Jerolmack, an assistant
professor of sociology at New York University who spent three years
hanging out with pigeon fliers, makes the point that pigeon breeding
brought Italian-Americans and other ethnic whites “into contact with
people of a different ethnic and age cohort with whom they were not
voluntarily associating before.” </div>
<div itemprop="articleBody">
“African-Americans in Bed-Stuy who mostly hang out with other
African-Americans, because they keep pigeons wind up being friends with
these 85-year-old white guys they would not usually associate with,” Dr.
Jerolmack said in an interview. </div>
<div itemprop="articleBody">
Take Delroy Sampson, a brawny 60-year-old electrician who calls himself
Panama after his country of birth. After 50 years of flying pigeons he
still quickens with excitement watching a flock wheel across a blue sky,
then spiral up like a whirlwind, split apart into two and merge once
again, as if they were a corps of ballerinas choreographed by George
Balanchine. </div>
<div itemprop="articleBody">
He does much of the choreographing, using a long stick with a Puerto
Rican flag — the Panamanian flag he had used fell apart — to scare them
into the sky, and sounding chirps and whistles to send them higher or
summon them back to the coop. </div>
<div itemprop="articleBody">
“They get up there in the clouds — like little dots,” Mr. Sampson said
while standing atop the three-family house he shares with his wife and
two children. “If you look at them, they actually do somersaults.”
</div>
<div itemprop="articleBody">
“See that!” he added, spotting a somersault. “I love them.” </div>
<div itemprop="articleBody">
Mr. Sampson was first seized with a passion for pigeons as a 10-year-old
immigrant when he saw the Walt Disney movie “The Pigeon That Worked a
Miracle.” A few years later, he fell under the influence of Joe LaRocca,
the president of a pigeon racing club. After Mr. Sampson learned the
basics of raising pigeons, Mr. LaRocca and a colleague talked to his
mother about his new hobby. </div>
<div itemprop="articleBody">
“They gave her the lesser of two evils,” he said. “I could hang out on
the street and the street would claim me, or I could be hanging out on
the roof with an interest in pigeons.” </div>
<div itemprop="articleBody">
A half-century later, Mr. Sampson still breeds his own birds, which come
in myriad varieties and look different from feral pigeons that haunt
the city’s squares and parks. In shops, pigeons typically cost $5 to $40
apiece, though sires of champion racers can cost six figures. </div>
<div itemprop="articleBody">
Like most breeders, Mr. Sampson spends hours each day scraping away bird
droppings, hosing down coops, stocking feeders, filling water canisters
and hauling 50-pound bags of feed up a 10-foot ladder and through a
hatch to the roof. He uses a syringe to vaccinate each of his 300 birds
against diseases and keeps a large rooftop medicine chest stocked with
antibiotics, herbs, bath salts, treatments for lice and mites, and even
Vicks Formula 44 for colds. </div>
<div itemprop="articleBody">
“I relate to the birds as if they’re like me,” he said. “If I’m sick, they’re sick. If I’m cold, they’re cold.” </div>
<div itemprop="articleBody">
He spends so much time on the roof, he has built himself a shack,
outfitted with a heater, a television and a bunk bed for napping. Pigeon
flying is often turned into a competitive game, with rivals sending
their flocks into the sky to mix with other flocks, with the goal of
luring the other pigeons into their own coops. Some breeders also race
pigeons. </div>
<div itemprop="articleBody">
One thing all fliers lament is that younger people are not taking up the
hobby. In the 1950s, every other low-rise roof in certain neighborhoods
seemed to have a pigeon coop. But fewer people showed interest in the
sport, and landlords also cracked down because gentrifiers did not like
the pigeon mess. Dr. Jerolmack estimates there are no more than 300
pigeon fliers left in the city. </div>
<div itemprop="articleBody">
Pigeons on Broadway, a supply store under the elevated J line in
Bushwick, is among only a small number of pigeon shops left. Mr. Jones,
its manager, compares the atmosphere to a barbershop, where “men come to
get away from their wives and the pressures of the week.” The
camaraderie has often involved vulgar but good-natured taunting about
how many birds a flier caught from another’s flocks. The chatter also
allows for racial taunts, though some remarks bite too hard. </div>
<div itemprop="articleBody">
Mr. Sampson, who has 20 other rooftop fliers within a mile of his house, <a href="http://cityroom.blogs.nytimes.com/2011/05/04/bird-week-mike-tyson-defends-the-pigeon/">including the former heavyweight champion Mike Tyson</a>,
recalled a hurtful moment in the otherwise accepted teasing when during
one racing competition someone said “the black guy can’t be beating the
white guy — he must be cheating.” </div>
<div itemprop="articleBody">
Aaron Marshall was first hooked as a 7-year-old in East Williamsburg
watching Italian, Irish and other white pigeon breeders on their roofs
and beguiled by the competition, with men boasting, “I caught five on
you and he caught five from me.” There and later in Ozone Park, he
learned many of his skills from a white man called Teddy the Greek and a
Dominican named Louie. </div>
<div itemprop="articleBody">
They taught him to keep new birds in the coop for four weeks and only
let them out when they are hungry so they will be trained to return. He
learned that pigeons may stray from a flock because they become
confused, feel threatened by a hawk, lose a mate or find the coop
overcrowded. He learned to get rid of birds that frequently pull away
from the flock, because such mavericks will lure birds to other flocks.
The pigeons, he said, taught him empathy. </div>
<div itemprop="articleBody">
“You experience what it is to have a living thing,” said Mr. Marshall,
who is now 56 and is a maintenance worker. “It shows you how good you
are at caring for it when it comes back. What good is it for a child to
have a violent video game compared to having a living, breathing, loving
animal that needs your compassion and care? If I hadn’t been on the
roof who knows what kind of trouble I would have gotten into.” </div>
Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com1tag:blogger.com,1999:blog-7502046.post-52662003557008392132013-03-10T21:05:00.003-07:002013-03-12T09:09:14.558-07:00Little Free Art Gallery on exhibit at "The Free Gallery", Opening Night, 1 March 2013 <span style="font-size: x-small;">[All photos by Doug Millison]</span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2wpuxhQBQ0JBY0tMDkRKKVlN1I4zNncInMku4TqKxw7mT_vLzQzew3U7TBZSO9j8UbIdO65ZfS1qLTvh8H2413z8EKxGtJ9nYIvKRuQY9ZByKwZLmujiWUfetEVwN27jEegDeLw/s1600/photo%252820%2529.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2wpuxhQBQ0JBY0tMDkRKKVlN1I4zNncInMku4TqKxw7mT_vLzQzew3U7TBZSO9j8UbIdO65ZfS1qLTvh8H2413z8EKxGtJ9nYIvKRuQY9ZByKwZLmujiWUfetEVwN27jEegDeLw/s400/photo%252820%2529.JPG" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption">"The Free Gallery" is an art gallery inside another art gallery, Pro Arts, in downtown Oakland, California. </td></tr>
</tbody></table>
<blockquote class="tr_bq">
<span style="font-size: small;">The work of art may thus consist of a formal arrangement that
generates relationships between people, or be born of a social process; I
have described this phenomenon as 'relational aesthetics,' whose main
feature is to consider interhuman exchange as an aesthetic object in and
of itself. </span><br />
<span style="font-size: small;">–Nicolas Bourriaud<i>, Postproduction Culture as Screenplay: How Art Reprograms the World</i></span></blockquote>
<br />
<i> </i>"The Free Gallery" is a work of social art, a work of art that borrows the social form of the art gallery and whose major elements include the activity of the people who visit the exhibit and the relationships that they form in the process. "The Free Gallery" proprietor, Jocelyn Meggait of Free Utopian Projects, has built a gallery within the hosting Pro Arts gallery in Oakland, California, and has organized an exhibit of art works and interesting second-hand objects from nearly 70 artists. The public is invited through March 29, visitors can expect to find art works and other treasures and choose one to take away for free.<br />
<br />
I donated three new "Single-Serving Size" Little Free Art Gallery works
to be exhibited and given away at the show: <i>The Hilary Box</i>, <i>Boss Joss</i>, and <i>Big Joss Man, Can't You Hear Me When I Call?</i> The Little Free Art Gallery project also borrows the social form of the art gallery and incorporates the activity of the people who visit and "enter" the gallery installation, and who take a piece of art from it <i><br /></i><br />
<br />
<i></i>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGT1Q_YcIIxxw9AX9inoAEU9Gg5ScUH-FUM8USvmoknF5A3c3tWxuE4NytY4WCwbEgoHLxd2N-3Dwg2bdFjvlffqGuppsyUJy_WJc7KrrbPPEi8tOJUWnJlFdVeF5nD75Jucp_PQ/s1600/6553_4980618307158_844888155_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGT1Q_YcIIxxw9AX9inoAEU9Gg5ScUH-FUM8USvmoknF5A3c3tWxuE4NytY4WCwbEgoHLxd2N-3Dwg2bdFjvlffqGuppsyUJy_WJc7KrrbPPEi8tOJUWnJlFdVeF5nD75Jucp_PQ/s400/6553_4980618307158_844888155_n.jpg" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption">I donated three "Single-Serving Size" Little Free Art Gallery works to be exhibited and given away at the show: <i>The Hilary Box</i>, <i>Boss Joss</i>, and <i>Big Joss Man, Can't You Hear Me When I Call? </i></td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZmqd8JmmJBS7Vvw59oN37oC3idSmsKcjjVgCzW7c3_AbyXTeq71kdmkQ7i_boRVBy9l9-uUEXDl5NnjgKhQ88Y9cztDQ7FdLUmMDL11h8ki4YHB__Psm9zxaYS_AWCs5L0_hECA/s1600/photo%252819%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZmqd8JmmJBS7Vvw59oN37oC3idSmsKcjjVgCzW7c3_AbyXTeq71kdmkQ7i_boRVBy9l9-uUEXDl5NnjgKhQ88Y9cztDQ7FdLUmMDL11h8ki4YHB__Psm9zxaYS_AWCs5L0_hECA/s320/photo%252819%2529.JPG" width="239" /></a></div>
<br />
<br />
The exhibit replicates the social experience of the art gallery. Visitors respond to publicity about "The Free Gallery" in social media, from Pro Arts, and other sources, and come to visit. Admission is free. Instead of selling the works on exhibit, "The Free Gallery" offers its exhibited items for free, one for each visitor who wishes to take one. Meggait interviews each visitor and records the reason given for this particular selection, and photographs the patron with her selection. A basket at the information desk offers offer business cards and flyers from exhibiting artists, as well as "The Free Gallery" post card. A guest book sits ready for visitor comments. New art works are placed in "The Free Gallery" daily throughout the show. On opening night, Meggait said that she expects everything to be taken by visitors by the end of the exhibit period.<br />
<br />
In explaining "The Free Gallery", organizer Jocelyn Meggait points to the writings of Nicolas Bourriaud whose book <i>Relational Aesthetics</i> provides a theoretical frame for understanding art works that replicate social forms. (Bourriaud's <i>Postproduction: Culture as Screenplay: How
Art Reprograms the World</i> quoted above, is available online as a pdf, search the title at
Google.) "The Free Gallery" thus not only presents a well-curated and attractively-designed display of art works and interesting second-hand items, as an art work itself it includes the activity of the visitors who arrive: they view the exhibit, talk with other visitors, select a work, describe why they are taking it, have their photo taken. The social process that unfolds over time in this gallery-within-a-gallery constitutes Meggait's work of social art. <br />
<br />
The Little Free Art Gallery works that I donated to "The Free Gallery" are also social art works. Intended as art objects, their exterior and interior surfaces have been decorated the way I create scrapbook collages, with a variety of materials and imagery spanning a spectrum of styles.<br />
<br />
Little Free Art Gallery also recreates the art gallery social experience. Visitors are invited to open the door and "enter" the Little Free Art Gallery, view the art work on exhibit within, and to take the Little Free Art Gallery home (in the
case of a Single-Serving Size box) or who take a piece of art from it if the Little Free Art Gallery in question is a permanent
installation. They are also invited to contact the Little Free Art Gallery blog or Facebook Page, to let the project organizer (me) know the where it ended up, in whatever level of detail the new owner is willing to provide.<br />
<br />
One interesting contrast: "The Free Gallery" seems to have been inspired by art school theoretical studies, while Little Free Art Gallery is the result of my search to solve a practical problem – where to find exhibit space for my art, in the absence of relationships with existing art galleries. Creating my own exhibit space for temporary or permanent art installations led me to the discovery that I could use Little Free Art Gallery to recreate the art gallery experience and at the same time undermine or otherwise question the conventions of this social activity. Only later, after encountering the Free: A Utopian Project Page on Facebook, and after I had started designing and writing about the Little Free Art Gallery project, did I read Bourriaud's book and apply his theoretical framework to what I was doing.<br />
<br />
Reading <i>Postproduction: Culture as Screenplay: How
Art Reprograms the World </i>in recent weeks has opened my eyes to a surprising number of parallels between projects from my career as online journalist and Web editorial consultant/designer and key art historical, critical and theoretical developments from the 1970s to the present. I plan to detail some of these parallels in an article called "Life Imitates Art History" to be published in the near future here, on the Little Free Art Gallery blog, and Facebook Page. <br />
<div style="text-align: left;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZR7tuq3RM4hfLF4fL9me9oSKi4x2bvPk8eEDNongaQYVYsm-wwN4UFDo7e8y0SN3q3ZyDu87Sn76s0-cbXGBAj6TbQkcDOFVBfrGJZh3ehkzpKu7uDEbxz4sIlzhKqMy9aAmSw/s1600/563457_430760617012518_2024632885_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZR7tuq3RM4hfLF4fL9me9oSKi4x2bvPk8eEDNongaQYVYsm-wwN4UFDo7e8y0SN3q3ZyDu87Sn76s0-cbXGBAj6TbQkcDOFVBfrGJZh3ehkzpKu7uDEbxz4sIlzhKqMy9aAmSw/s400/563457_430760617012518_2024632885_n.jpg" width="300" /></a></td></tr>
<tr align="left"><td class="tr-caption"><i>The Hilary Box</i>, a "Single-Serving Size" Little Free Art Gallery
featuring a collage from T<i>he Concrete Jungle Book</i> project, by Morris
Armstrong, Jr. proudly a.k.a."Little Mo" with help from the Nonhuman
Crew including yrs truly, Doug Millison</td><td class="tr-caption"></td><td class="tr-caption"></td><td class="tr-caption"></td><td class="tr-caption"></td><td class="tr-caption"></td><td class="tr-caption"></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlU9i9gWKA4xF0cO3b-TZ-Yj_ZJ99wyLTi6GuKPPA6zdxzQSfHSsj8mM8dEyP6jCoe1xJRlIKEdECX0vGerw0qos_IN4a_wjH5pcttP6g4NGYbeeW0LI1Z8GwGvmtWBAO7iKFb7w/s1600/photo(18).JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlU9i9gWKA4xF0cO3b-TZ-Yj_ZJ99wyLTi6GuKPPA6zdxzQSfHSsj8mM8dEyP6jCoe1xJRlIKEdECX0vGerw0qos_IN4a_wjH5pcttP6g4NGYbeeW0LI1Z8GwGvmtWBAO7iKFb7w/s400/photo(18).JPG" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption"><i>Big Joss Man, Can't You Hear Me When I Call?</i> Single-Serving Size Little Free Art Gallery, back and side view, on exhibit at "The Free Gallery"</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZq7hzJZJRC3XsITSPp5nQmaWNhiTxoiH2-JtX0K5sacVhjSj63jVOTsE3EMzkCa6QH0Aw07f_MepgzB6eGBgi2rj0vs5-kdICWMOKJgJN3mkbvf0bNxROgnRO_5poZuiRjYN7mg/s1600/photo(15).JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZq7hzJZJRC3XsITSPp5nQmaWNhiTxoiH2-JtX0K5sacVhjSj63jVOTsE3EMzkCa6QH0Aw07f_MepgzB6eGBgi2rj0vs5-kdICWMOKJgJN3mkbvf0bNxROgnRO_5poZuiRjYN7mg/s320/photo(15).JPG" width="320" /></a></td></tr>
<tr align="left"><td class="tr-caption"><i>Boss Joss </i>XS Little Free Art Gallery on exhibit at "The Free Gallery"</td><td class="tr-caption"><br /></td><td class="tr-caption"><br /></td><td class="tr-caption"><br /></td><td class="tr-caption"><br /></td></tr>
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Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-63913017776406600622013-03-01T13:56:00.001-08:002013-03-01T13:56:40.681-08:00Tonight, 6-8 p.m. at the Artists Reception for "The Free Gallery" at Pro Arts, Oakland, California Hope to see you tonight, 6-8 p.m. at the Artists Reception for <span class="fbPhotosPhotoCaption" data-ft="{"type":45}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">"The Free Gallery" at Pro Arts, Oakland, California </span></span><br /><span class="fbPhotosPhotoCaption" data-ft="{"type":45}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><a href="http://www.proartsgallery.org/exhibitions/2013_exhibitioncall_freegallery.php" rel="nofollow nofollow" target="_blank"><span>http://</span><wbr></wbr><span class="word_break"></span><span>www.proartsgallery.org/</span><wbr></wbr><span class="word_break"></span><span>exhibitions/</span><wbr></wbr><span class="word_break"></span><span>2013_exhibitioncall_freegal</span><wbr></wbr><span class="word_break"></span>lery.php</a> </span></span><br />50 Frank H. Ogawa Plaza, Oakland (at Oakland Art Gallery) Phone (510) 763-4361<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR7vpkR9XansMkaReXB9t477dJRTeybDtOBWHVbXDdqQnALdi_co_GVN3V8RFTFPwPoMyWK9fwl4Rl2iX639LIAuUovf71aU-FQn5PwjetjvAg4Vc55H97tMNj8PQSqlXnjRJltg/s1600/garageshadow.card.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR7vpkR9XansMkaReXB9t477dJRTeybDtOBWHVbXDdqQnALdi_co_GVN3V8RFTFPwPoMyWK9fwl4Rl2iX639LIAuUovf71aU-FQn5PwjetjvAg4Vc55H97tMNj8PQSqlXnjRJltg/s640/garageshadow.card.jpg" width="640" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span class="fbPhotosPhotoCaption" data-ft="{"type":45}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Image for photo flyer to give away at "The Free Gallery" at Pro Arts, Oakland, California, March 1-29, 2013 <a href="http://www.proartsgallery.org/exhibitions/2013_exhibitioncall_freegallery.php" rel="nofollow nofollow" target="_blank"><span>http://</span><wbr></wbr><span class="word_break"></span><span>www.proartsgallery.org/</span><wbr></wbr><span class="word_break"></span><span>exhibitions/</span><wbr></wbr><span class="word_break"></span><span>2013_exhibitioncall_freegal</span><wbr></wbr><span class="word_break"></span>lery.php</a></span></span></td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-89906507341767191772013-02-26T08:45:00.000-08:002013-02-26T08:45:14.267-08:00The Free Show" preview starts today at Pro Arts in downtown Oakland, at 10 am., including 3 of my Little Free Art Gallery pieces, everything to be given away for free when the show opens March 1<span class="userContent">"The Free Show" preview starts today at Pro Arts in downtown Oakland, at 10 am. I've got 3 Little Free Art Gallery pieces on exhibit, to be given away free. I'm not sure yet how it's all going to work, I guess on March 1 when the show ope<span class="text_exposed_show">ns
officially, an "Artists Reception and Free Art Launch" will take place
from 6-8 p.m., maybe that is when people will be able to take the art
and other gallery items for free, I have no idea how it will work then
or afterwards, maybe I will find out more before then. At any rate, it
will be interesting to see how people respond to the whole thing.</span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.proartsgallery.org/exhibitions/images/freegallery_installation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://www.proartsgallery.org/exhibitions/images/freegallery_installation.jpg" width="640" /></a></div>
<br />
<span class="userContent"><span class="text_exposed_show"><a href="http://www.proartsgallery.org/exhibitions/2013_exhibitioncall_freegallery.php">http://www.proartsgallery.org/exhibitions/2013_exhibitioncall_freegallery.php</a> </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGT1Q_YcIIxxw9AX9inoAEU9Gg5ScUH-FUM8USvmoknF5A3c3tWxuE4NytY4WCwbEgoHLxd2N-3Dwg2bdFjvlffqGuppsyUJy_WJc7KrrbPPEi8tOJUWnJlFdVeF5nD75Jucp_PQ/s1600/6553_4980618307158_844888155_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGT1Q_YcIIxxw9AX9inoAEU9Gg5ScUH-FUM8USvmoknF5A3c3tWxuE4NytY4WCwbEgoHLxd2N-3Dwg2bdFjvlffqGuppsyUJy_WJc7KrrbPPEi8tOJUWnJlFdVeF5nD75Jucp_PQ/s640/6553_4980618307158_844888155_n.jpg" width="640" /></a></td></tr>
<tr align="left"><td class="tr-caption">"The Hilary Box", "Boss Joss", and "Big Joss Man, Can't You Hear Me When I Call" are 3 Little Free Art Gallery confections by Doug Millison, to be exhibited and given away for free at "The Free Gallery", Pro Arts, Oakland, California, March 1-29; show preview starts February 26, 2013</td></tr>
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Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-8411906384760878112013-02-24T10:02:00.002-08:002013-02-24T10:02:25.115-08:00"Family Group" (Garage Collage Series 1)<div style="text-align: left;">
</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8rMMybkeKE3-ZL11TeGRPJWAxGgHNDMeK_-72xQUlE-MOliB9uflG1mn3ctDALsGQ6r9BX3Se0i5y68OetJu7h9uIEoACYwZ_gPDd0vx7kYlEaxVYFybr7A89r3nmrrgg1zoZVQ/s1600/photo(7).JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8rMMybkeKE3-ZL11TeGRPJWAxGgHNDMeK_-72xQUlE-MOliB9uflG1mn3ctDALsGQ6r9BX3Se0i5y68OetJu7h9uIEoACYwZ_gPDd0vx7kYlEaxVYFybr7A89r3nmrrgg1zoZVQ/s640/photo(7).JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Family Group - Dad & Mom" (Garage Collage Series 1)</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQI7MqC3FCOZzNqlKTfVBJxzWIHA4CwJAwDpZHTLUNnehPpipi9CGHYbL8VhKLGUlaEzwqdHDmGWczpxWWHi5K2x09MWYo3QXiM-edR0Z2F-4YWIEzYsn-LiinbhBNXqOXMEcqtQ/s1600/photo(8).JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQI7MqC3FCOZzNqlKTfVBJxzWIHA4CwJAwDpZHTLUNnehPpipi9CGHYbL8VhKLGUlaEzwqdHDmGWczpxWWHi5K2x09MWYo3QXiM-edR0Z2F-4YWIEzYsn-LiinbhBNXqOXMEcqtQ/s640/photo(8).JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Family Group- - Dad, Mom & Jr. " (Garage Collage Series 1)</td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-17092831588515953602013-02-12T11:23:00.001-08:002013-02-12T11:23:14.016-08:00Cría Jesses y te sacarán las heces<a href="http://ffffound.com/image/ac56592e4db89ab78429d4a956e8d8e51bcf2794">Cría Jesses y te sacarán las heces</a>: <br />
<a href="http://ffffound.com/image/ac56592e4db89ab78429d4a956e8d8e51bcf2794"><img alt="" border="0" height="475" src="http://img.ffffound.com/static-data/assets/6/ac56592e4db89ab78429d4a956e8d8e51bcf2794_m.gif" width="480" /></a><br />
via <a href="http://oh-jess.tumblr.com/">http://oh-jess.tumblr.com/</a>Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-38326714122956092352012-12-29T09:55:00.001-08:002012-12-29T09:55:41.713-08:00The Strange Story of William Faulkner’s Only Children’s Book<a href="http://feedproxy.google.com/~r/brainpickings/rss/~3/mOyW9MkiVBY/">The Strange Story of William Faulkner’s Only Children’s Book</a>: <br />
<i>A rare vintage treasure, with stunning black-and-white illustrations and a side of controversy.</i><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img align="right" src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree.jpg" style="margin: 9px 0 3px 15px;" width="180" /></a>As a lover of <a href="http://www.brainpickings.org/index.php/2011/07/25/childrens-books-by-adult-authors-2/">obscure children’s books</a> <a href="http://www.brainpickings.org/index.php/2011/07/19/7-childrens-books-by-adult-literature-authors/">by famous authors of grown-up literature</a>, I was delighted to discover <a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><b><i>The Wishing Tree</i></b></a> (<a href="http://www.amazon.co.uk/Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick0d-21"><i>UK</i></a>; <a href="http://www.worldcat.org/title/wishing-tree/oclc/604454&referer=brief_results"><i>public library</i></a>) by none other than <b>William Faulkner</b> — a sort of grimly whimsical morality tale, somewhere between <i>Alice In Wonderland</i>, <i>Don Quixote</i>, and <i>To Kill a Mockingbird</i>, about a girl who embarks upon a strange adventure on her birthday only to realize the importance of choosing one’s wishes with consideration and kindness.<br />
But far more intriguing than the mere existence of the book is the bizarre story of how it came to be: In 1927, Faulkner gave the story to Victoria “Cho-Cho” Franklin, the daughter of his childhood sweetheart, Estelle Oldham, with whom he was still in love. He hoped Estelle would leave her unhappy marriage and marry him instead — which she did two years later.<br />
The tiny book was typed and bound on colored paper by Faulkner himself. (It wasn’t uncommon in those days for <a href="http://www.brainpickings.org/index.php/2012/08/30/anais-nin-letterpress/">authors to hand-craft and publish their own books</a>.) The first page of the book read:<br />
<blockquote>For his dear friend<br />
<br />
Victoria<br />
<br />
on her eight birthday<br />
<br />
Bill he made<br />
<br />
this Book</blockquote>Faulkner included this beautiful dedication verse:<br />
<blockquote>To Victoria<br />
‘. . . . . . . I have seen music, heard<br />
<br />
Grave and windless bells; mine air<br />
<br />
Hath verities of vernal leaf and bird.<br />
Ah, let this fade: it doth and must; nor grieve,<br />
<br />
Dream ever, though; she ever young and fair.’</blockquote>On the left-hand page facing the dedication verse, the following text appeared:<br />
<blockquote>single mss. impression<br />
<br />
oxford-mississippi-<br />
<br />
5-february-i927</blockquote><a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree2.jpg" width="500" /></a><br />
The catch? Faulkner turned out to be an unapologetic, serial <a href="http://www.brainpickings.org/index.php/2011/12/02/regifting-api/">regifter</a>: He made another copy of the book for his friend’s daughter, a little girl dying of cancer, and then two more for two other children — his godson and to the daughter of his friend, the actress Ruth Ford — years later. Each child believed the book had been made exclusively for him or her. But apart from the ethical question, a more practical one presented itself when Victoria tried to publish the book nearly four decades later, only to find out she wasn’t the only rights-holder.<br />
Copyright was eventually worked out and in 1964, Faulkner’s granddaughter Victoria, Cho-Cho’s daughter, got Random House New York — who just five years later commissioned <a href="http://www.brainpickings.org/index.php/2011/11/15/salvador-dali-alice-in-wonderland-1969/">Salvador Dalí’s exquisite <i>Alice In Wonderland</i> illustrations</a> — to publish a limited edition of 500 numbered copies, featuring stunning black-and-white illustrations by artist Don Bolognese. I was lucky enough to hunt down one of the surviving copies, number 121.<br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree21.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree20.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree1.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree7.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree3.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree4.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree5.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree6.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree8.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree9.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree10.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree11.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree12.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree13.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree16.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree14.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree17.jpg" width="500" /></a><br />
<a href="http://www.amazon.com/The-Wishing-Tree-William-Faulkner/dp/B000HW0HPO/?tag=braipick-20"><img src="http://www.brainpickings.org/wp-content/uploads/2012/12/faulknerwishingtree15.jpg" width="500" /></a><br />
<blockquote>…if you are kind to helpless things, you don’t need a Wishing Tree to make things come true.</blockquote><a href="http://www.amazon.com/Wishing-Tree-William-Faulkner/dp/0701102403/?tag=braipick-20"><b><i>The Wishing Tree</i></b></a>, sadly long out of print, remains Faulkner’s only known children’s book. On April 8, 1967, a version of the story appeared in <i>The Saturday Evening Post</i>. Three days later, Random House released a <a href="http://www.amazon.com/Wishing-Tree-William-Faulkner/dp/0701102403/?tag=braipick-20">regular edition</a>, now also out of print but findable used with some persistence.<br />
<i>Thanks, <a href="http://www.aniquemautner.com/">Anique</a></i><br />
<div style="background: #f8f8f8; border: 1px dotted #d7d7d7; color: black; font-style: italic; margin: 15px 0 0 0; padding: 10px 15px; text-align: center;"><b>Donating = Loving</b>In 2012, bringing you (ad-free) Brain Pickings took more than <b>5,000 hours</b>. If you found any joy and stimulation here this year, please consider becoming a Member and supporting with a recurring monthly <a href="http://www.brainpickings.org/index.php/donate/">donation</a> of your choosing, between a cup of coffee and a fancy dinner:<br />
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<img height="1" src="http://feeds.feedburner.com/~r/brainpickings/rss/~4/mOyW9MkiVBY" width="1" />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-50614994466781985562012-12-13T07:53:00.002-08:002012-12-13T07:53:36.798-08:00How we roll…<div class="separator" style="clear: both; text-align: center;">
<a href="http://25.media.tumblr.com/tumblr_m6c81p441w1qa5z1ro1_500.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="145" src="http://25.media.tumblr.com/tumblr_m6c81p441w1qa5z1ro1_500.gif" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-46736890643695827432012-08-03T17:30:00.002-07:002012-08-03T17:32:57.335-07:00…lost in a labyrinth of books…<a href="http://www.buzzfeed.com/gavon/maze-made-out-of-250000-books"></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://s3-ec.buzzfed.com/static/enhanced/terminal05/2012/8/1/14/enhanced-buzz-wide-9852-1343845729-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="417" src="http://s3-ec.buzzfed.com/static/enhanced/terminal05/2012/8/1/14/enhanced-buzz-wide-9852-1343845729-11.jpg" width="640" /></a></div>
<br />
<span class="commentBody" data-jsid="text">…as ebooks displace printed volumes we wander through their midst</span> as
if lost in a maze, or perhaps searching for enlightenment as spiritual
seekers walking through a holy labyrinth. As if we don't know any more
what to do with our books except to pile them up or carve them up as
sculpture or otherwise assimilate them as raw material for Art.…<br />
<span class="commentBody" data-jsid="text"></span><br />
<br />
<a href="http://www.buzzfeed.com/gavon/maze-made-out-of-250000-books">http://www.buzzfeed.com/gavon/maze-made-out-of-250000-books</a><span class="commentBody" data-jsid="text"> </span>Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-27755952191072599982012-04-11T09:11:00.001-07:002012-04-11T09:11:03.430-07:00"The Mind Outside My Head"<a href="http://feedproxy.google.com/%7Er/nybooks/%7E3/1n5L_FurAFc/">The Mind Outside My Head</a>: Tim Parks<br />
<br />
<blockquote class="tr_bq">
"…Everything
we see, hear, touch, taste, and smell, Manzotti argues, involves the
same creation of a physical unity—the moment of consciousness—sustained
by processes within and without the head. The room, or part of a room,
that you see now, including the screen on which you’re reading this
blog, becomes, in combination with your faculties, a whole; this is
consciousness. It happens in time, and it takes time (consciousness of
visual phenomena seems to require at least 100 milliseconds to occur),
and it changes constantly…" </blockquote>
<div>
<br />
<div style="width: 470px;">
<img alt="" src="http://assets.nybooks.com/media/img/blogimages/Rainbow_jpg_470x652_q85.jpg" style="margin: 0;" /><br />
<br />
Peter Marlow/Magnum Photos<br />
Lighthouse at Dungeness, coast of Kent, Great Britain, 2006<br />
<br /></div>
</div>
“There are no images.” This was the first time I noticed Riccardo Manzotti. It was a <a href="http://www.nybooks.com/blogs/nyrblog/2009/oct/27/beauty-and-the-brain-the-puzzle/">conference on art and neuroscience</a>.
Someone had spoken about the images we keep in our minds. Manzotti
seemed agitated. The girl sitting next to me explained that he built
robots, was a genius. “There are no images and no representations in our
minds,” he insisted. “Our visual experience of the world is a continuum
between see-er and seen united in a shared process of seeing.” <br />
<br />
I
was curious, if only because, as a novelist I’d always supposed I was
dealing in images, imagery. This stuff might have implications. So we
had a beer together. <br />
<br />
Manzotti has a degree in
engineering and another in philosophy. He teaches in the psychology
department at IULM University, Milan. The move from engineering to
philosophy was prompted by conceptual problems he’d run into when first
seeking to build robots. What does it mean that a subject sees an
object? “People say the robot stores images of the world through its
video camera. It doesn’t, it stores digital data. It has no images.”<br />
<br />
Manzotti
is what they call a radical externalist: for him consciousness is not
safely confined within a brain whose neurons select and store
information received from a separate world, appropriating, segmenting,
and manipulating various forms of input. Instead, he offers a model he
calls Spread Mind: consciousness is a process shared between various
otherwise distinct processes which, for convenience’s sake we have
separated out and stabilized in the words <i>subject</i> and <i>object</i>. Language, or at least our modern language, thus encourages a false account of experience.<br />
<br />
His
favorite example is the rainbow. For the rainbow experience to happen
we need sunshine, raindrops, and a spectator. It is not that the sun and
the raindrops cease to exist if there is no one there to see them.
Manzotti is not a Bishop Berkeley. But unless someone is present at a
particular point no colored arch can appear. The rainbow is hence a
process requiring various elements, one of which happens to be an
instrument of sense perception. It doesn’t exist whole and separate in
the world nor does it exist as an acquired image in the head separated
from what is perceived (the view held by the “internalists” who account
for the majority of neuroscientists); rather, consciousness is spread
between sunlight, raindrops, and visual cortex, creating a unique,
transitory new whole, the rainbow experience. Or again: the viewer
doesn’t see the world; he is part of a world process.<br />
<br />
Everything
we see, hear, touch, taste, and smell, Manzotti argues, involves the
same creation of a physical unity—the moment of consciousness—sustained
by processes within and without the head. The room, or part of a room,
that you see now, including the screen on which you’re reading this
blog, becomes, in combination with your faculties, a whole; this is
consciousness. It happens in time, and it takes time (consciousness of
visual phenomena seems to require at least 100 milliseconds to occur),
and it changes constantly. <br />
<br />
This minimal time lapse
(some claim it is as much as 500 milliseconds) required for brain and
world to generate consciousness allows Manzotti to deal with what would
seem to be the obvious objection to the externalist theory. Do we not
have consciousness when the eyes are shut and the mind lies in silence?
And what about dreams? Isn’t the brain evidently sufficient to sustain
consciousness without support from outside? <br />
<br />
We do
indeed have consciousness in these moments, Manzotti replies, but it is
still spread out between mind and world. It may take only a fraction of a
second for you to become conscious of the face appearing at your
window, and then three more years before the same face surfaces in a
dream, perhaps mingled with all kinds of other stimuli from elsewhere.
But this doesn’t change the fact that consciousness is a coming together
of brain and world: the physical process begun at the window is
continuing in memory and dream. The congenitally blind, Manzotti points
out, don’t dream colors because they have never encountered them.
Consciousness is the mingling of mind process with the processes we call
objects that are all in a state of flux, however fast or slow.<br />
<br />
<div>
<br />
<br />
<br />
<div style="width: 190px;">
<img alt="" src="http://assets.nybooks.com/media/img/blogimages/manzotti_jpg_190x255_q85.jpg" style="margin: 0;" /><br />
<br />
Gianni Ansaldi<br />
Riccardo Manzotti<br />
<br /></div>
</div>
Let’s
leave aside the gospel truth or otherwise of all this. I tend to be
skeptical of people with big ideas and Manzotti, like Einstein I
suppose, has the long unkempt hair and animated manner of the possibly
crazy scientist or visionary. All the same, you can see at once that
taking his externalist ideas on board would radically change our
approach to the notion of what an individual or a self is. Which in
turn, for a novelist—and <a href="http://www.nybooks.com/blogs/nyrblog/2012/feb/28/writers-job/">that’s my job</a>—means
a different way of thinking about narrative, about description, about
character. The fact is that I met Manzotti shortly after attending a
ten-day retreat where, in strict silence, people were trying to develop a
Buddhist meditation technique called Vipassana. I had gone originally
for <a href="http://tim-parks.com/non-fiction/teach-us-to-sit-still/">health reasons</a>,
assured that the technique was useful for chronic pain and with no
intention at all (for heaven’s sake) of taking on board any ideas that
might be in the air. But the experience was so fascinating it was
impossible not to be curious. <br />
<br />
“Are you aware,” I asked
Manzotti, “of the Buddhist principle of ‘conditioned arising,’ which
seems remarkably similar to your insistence that there are neither
objects nor subjects nor images, but only processes in a state of flux?”<br />
<br />
Manzotti
is irritated by this digression. He isn’t aware of Buddhist ideas. Just
as he worries that people will confuse his determinedly “physical” view
of consciousness with Berkeley’s idealism, so he wants to avoid like
the plague being mixed up with anything that smells New Age.<br />
<br />
“The
Buddha,” I rib him, “argued that the world was made up of
infinitesimally small particles in a constant cause-and-effect flux, and
in Vipassana the meditator is invited to contemplate that flux in his
own mind and body and to accept his oneness with it. Do it for ten days
in a row in complete silence and you begin to understand why Buddhists
don’t accept the existence of the self as a separate entity, or, if you
like, why Buddhist priests don’t write novels.”<br />
<br />
Manzotti
reflects. He is a man who publishes academic papers constructed, as is
appropriate, with the most careful reasoning in the most respectable
journals and, to boot, designs charming comic-strip essays that
introduce non-professionals to his view of the world by analyzing such
things as what it means when we see a face, or hear a tune, or call a
thing an object.<br />
<br />
Over a drink, however, he’ll go a little further:<br />
<br />
<blockquote>
If,
as I believe, the orthodox, internalist vision of consciousness is
false and even naive, then we have to ask why so many intelligent people
hold it. It’s not hard to understand. By locating consciousness
exclusively within the brain we can imagine that the subject, me, at
some very deep level, is not subject to the same law of constant change
that evidently governs the phenomena around me. The subject accrues and
sheds attributes, but remains in essence him or herself. This allows for
the notion of someone’s being responsible, even for actions carried out
years ago, and hence gives rise to a particular moral universe; it also
creates the comforting illusion that perhaps the self could survive
separate from the world. Behind it all there is the desire to deny
change in ourselves, perhaps to survive death. Anyway, to be an entity
outside the world.</blockquote>
I laugh: “If we’re going to claim
that society holds the vision it does because it’s comforting and
convenient, then why do you hold a different one?”<br />
<br />
Manzotti
doesn’t answer the question directly. It’s time to order another beer.
“Notions of convenience might not be the same for everyone,” he
eventually ponders. “For example, a guy obsessed by building a robot
that simulates human behavior would have special reasons for wanting to
get the model of consciousness right.” <br />
<br />
<div>
<br />
<br />
<br />
<div style="width: 470px;">
<img alt="" src="http://assets.nybooks.com/media/img/blogimages/manzotti-comic_png_470x327_q85.jpg" style="margin: 0;" /><br />
<br />
The Reasoner<br />
A panel from <i>A process oriented externalist solution to the hard problem</i> by Riccardo Manzotti<br />
<br /></div>
<br /></div>
For
some time I walk the streets of Milan trying to accept that
consciousness is not locked in my head but spread out across the revving
traffic, the rustling leaves, the dog shit, the blue sky, the gritty
cobbles, the solemn facades, the soft breeze, the unseasonal
temperatures, the screaming children, the air, the women. After a while
it begins to make sense. There are small shifts of mood passing from
street to park, from outside to inside, from red to blue, male to
female, night to day, tram to metro, center to suburb. There are varying
tensions between focus of vision and field of vision, between
conversation and background noise. In general there is more: the
intrusion of smells, the slap of a passing truck, a persistent touching
of heat and breeze. Oddly, the critical faculty is somewhat attenuated;
one distinguishes a little less urgently between the beautiful and the
ugly, the slow line and the fast in bank and supermarket. Sometimes it’s
a tiny bit like reading a passage from Joyce, who was never a favorite
author of mine.<br />
<br />
Not of course that Manzotti would ever
suggest that people should do this. He’s a scientist. Consciousness is
consciousness whatever your ideas about it. You don’t decide whether the
mind is spread, if spread it is. All the same, once you accept that
this might be a more accurate model of how things are, then oddly enough
things do begin to feel different. I guess we’re just that kind of
creature: within or without, consciousness can be profoundly altered by a
voice declaring, “There are no images.”<br />
<br />
<div>
<a href="http://feeds.feedburner.com/%7Eff/nybooks?a=1n5L_FurAFc:nbztTBxa1H4:yIl2AUoC8zA"><img border="0" src="http://feeds.feedburner.com/%7Eff/nybooks?d=yIl2AUoC8zA" /></a> <a href="http://feeds.feedburner.com/%7Eff/nybooks?a=1n5L_FurAFc:nbztTBxa1H4:qj6IDK7rITs"><img border="0" src="http://feeds.feedburner.com/%7Eff/nybooks?d=qj6IDK7rITs" /></a> <a href="http://feeds.feedburner.com/%7Eff/nybooks?a=1n5L_FurAFc:nbztTBxa1H4:I9og5sOYxJI"><img border="0" src="http://feeds.feedburner.com/%7Eff/nybooks?d=I9og5sOYxJI" /></a> <a href="http://feeds.feedburner.com/%7Eff/nybooks?a=1n5L_FurAFc:nbztTBxa1H4:gIN9vFwOqvQ"><img border="0" src="http://feeds.feedburner.com/%7Eff/nybooks?i=1n5L_FurAFc:nbztTBxa1H4:gIN9vFwOqvQ" /></a> <a href="http://feeds.feedburner.com/%7Eff/nybooks?a=1n5L_FurAFc:nbztTBxa1H4:V_sGLiPBpWU"><img border="0" src="http://feeds.feedburner.com/%7Eff/nybooks?i=1n5L_FurAFc:nbztTBxa1H4:V_sGLiPBpWU" /></a> <a href="http://feeds.feedburner.com/%7Eff/nybooks?a=1n5L_FurAFc:nbztTBxa1H4:-BTjWOF_DHI"><img border="0" src="http://feeds.feedburner.com/%7Eff/nybooks?i=1n5L_FurAFc:nbztTBxa1H4:-BTjWOF_DHI" /></a></div>
<img height="1" src="http://feeds.feedburner.com/%7Er/nybooks/%7E4/1n5L_FurAFc" width="1" />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-9623655211896650092012-02-05T08:43:00.000-08:002014-09-06T08:22:01.705-07:00Works by JS & Doug Millison, projected during our talk at Junkyard Knife 2011 @ SFCurators Salon, October 2011, Madrone Studios, San Francisco<a href="http://www.facebook.com/photo.php?v=301372403208133">Video of works by JS & Doug Millison, projected during our talk at Junkyard Knife 2011 @ SFCurators Salon, October 2011, Madrone Studios, San Francisco </a>Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-65760636722879725922012-01-26T20:59:00.000-08:002012-01-26T20:59:42.520-08:00Sunset, 17 January 2012, seen from the living room<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ZRIW_-tQIxlIqChiEZ9PpqpxpEhJvMGZ_i4xeCDOezLswZWCQU-0JI3WjKC0nU1zEHcD2qgWHJP6pkpxrMYuZT2KwgNi0fTwQJlbuHSZAI6zS4ScyWUYYaB3qvRGH-xengeCgA/s1600/set2.17jan12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ZRIW_-tQIxlIqChiEZ9PpqpxpEhJvMGZ_i4xeCDOezLswZWCQU-0JI3WjKC0nU1zEHcD2qgWHJP6pkpxrMYuZT2KwgNi0fTwQJlbuHSZAI6zS4ScyWUYYaB3qvRGH-xengeCgA/s640/set2.17jan12.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photo by Doug Millison</td></tr>
</tbody></table>
<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-68588772045048666242012-01-09T21:58:00.000-08:002012-01-09T21:58:40.088-08:002012 Resolutions, continuedMake altered-book journals with discarded books and recycled junk mail, instead of buying new blank books.Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-71622586500507911152012-01-08T10:58:00.000-08:002012-01-08T10:58:50.498-08:002012 Resolutions, revised<b>2012 Resolutions, Part II, Interpersonal Relations, revised</b><br /> <br />
<blockquote class="tr_bq">
Postal mail instead of email</blockquote>
<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-55279559872598751742012-01-03T10:24:00.001-08:002012-01-03T20:20:18.957-08:00New Year's Resolutions, part III: Food related, revisedNew Year's Resolutions, part III: Food related, revised: <br />
1. Lemons-->lemonade<br />
2. Roses = Stop + sniff <br />
3. Coffee = Wake up + smellAnonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-24998934614804934882012-01-01T09:31:00.000-08:002012-01-01T09:31:51.086-08:00Happy New Year 2012<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvlst2ggBCjqibzbWZ_F4P64KiTtIG4zKIvSaZ4C6O0gg_qft7rkU9-a7jYh7nXfzRDhpg986ARc_sb1EMHLfmpABJH7BtAQEYEjqNryz1l6ShLzw8Jss6k2LUa3waOgyJgHVx3Q/s1600/sunset2.31dec2011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvlst2ggBCjqibzbWZ_F4P64KiTtIG4zKIvSaZ4C6O0gg_qft7rkU9-a7jYh7nXfzRDhpg986ARc_sb1EMHLfmpABJH7BtAQEYEjqNryz1l6ShLzw8Jss6k2LUa3waOgyJgHVx3Q/s640/sunset2.31dec2011.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Final sunset of 2011, photo by me, view from our living room.</td></tr>
</tbody></table>
<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-14523073637869929362011-12-27T11:30:00.000-08:002011-12-27T11:30:28.556-08:00"Urban Cliff, Airy Space, Great View"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbX_I9-EaQ3nZagVUMXioPFBroSJtQXKPwmrHbgYibcxt9o_nEybA3mng1mkOvUIz0l_ZS4LxiCR51-gyxp4ZBRK6JvoGq3pqw6T5quCYLuwBZWZ6j13Xlb2QBGvuXzD8xZfIhaA/s1600/urbancliff.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbX_I9-EaQ3nZagVUMXioPFBroSJtQXKPwmrHbgYibcxt9o_nEybA3mng1mkOvUIz0l_ZS4LxiCR51-gyxp4ZBRK6JvoGq3pqw6T5quCYLuwBZWZ6j13Xlb2QBGvuXzD8xZfIhaA/s640/urbancliff.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Urban Cliff, Airy Space, Great View" photo by Doug Millison </td></tr>
</tbody></table>
<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-86435315729614287912011-12-17T08:44:00.000-08:002011-12-17T08:44:09.557-08:00"We architects are celebrated as heroes -- but humiliation is part of our daily lives." <a href="http://artinfo.com/news/story/interview-with-star-architect-rem-koolhaas-were-building-assembly-line-cities-and-buildings">http://artinfo.com/news/story/interview-with-star-architect-rem-koolhaas-were-building-assembly-line-cities-and-buildings</a><br />
<br />
<blockquote class="tr_bq">
<b>Koolhaas:</b> That's our dirty secret. We architects are celebrated
as heroes -- but humiliation is part of our daily lives. The biggest
part of our work for competitions and bid invitations disappears
automatically. No other profession would accept such conditions. But you
can't look at these designs as waste. They're ideas; they will survive
in books.<br />
<b>SPIEGEL:</b> A few years ago, you unveiled a spectacular design for a
science museum here in HafenCity, the so-called Science Center. It
still hasn't been built.<br />
<b>Koolhaas:</b> I haven't heard anything about it in a long time.<br />
<b>SPIEGEL:</b> How long did you work on the design?<br />
<b>Koolhaas:</b> Maybe three years.<br />
<b>SPIEGEL:</b> And then?<br />
<b>Koolhaas:</b> Then, we suddenly stopped hearing anything. We couldn't
reach anybody anymore. The last thing we heard was that a young woman
was trying to turn our design for a museum into a residential building.<br />
<b>SPIEGEL:</b> Is that sort of thing normal?<br />
<b>Koolhaas:</b> Very typical. You get to a point where you have nothing
to say to each other anymore. The funding is frozen, the project is in a
holding pattern, and both sides gradually lose interest.</blockquote>Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0tag:blogger.com,1999:blog-7502046.post-54896238685304854012011-12-09T20:24:00.001-08:002011-12-09T20:25:28.529-08:00You can Subscribe to my posts on Facebook: http://www.facebook.com/dougmillisonCouldn't make one of the new Subscribe buttons work on this blog yet, but you can Subscribe at my Facebook Profile, <a href="http://www.facebook.com/dougmillison">http://www.facebook.com/dougmillison</a><br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/07862983697040911126noreply@blogger.com0