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Maybe the start of a new decade has me waxing philosophical as I wait for the evening of December 31, 2009 to progress further before partaking of good friends, food, and family for the countdown.
I like root cause analysis. Must be my engineering education. Humanity’s “other” problem is the root cause of much warfare, […]
Maybe the start of a new decade has me waxing philosophical as I wait for the evening of December 31, 2009 to progress further before partaking of good friends, food, and family for the countdown.
I like root cause analysis. Must be my engineering education. Humanity’s “other” problem is the root cause of much warfare, strife, ill will, prejudice, racism, and poverty, the maladies of the human condition we aren’t good at containing. The “other” is the person who doesn’t look like me/us, think like me/us, or act like me/us.
Simply, the “other” problem is created by how we define ourselves and the groups we participate in. It is a problem of relativity. If the “other” is worse or different, that makes us or me better or not different. Morally and ethically, we know it shouldn’t be. But it is damn hard to think otherwise. And even harder to put those thoughts into practice and the pursuit of justice for all.
The other is the other class of religion, the other denomination, the other political party, the adjacent landowner, the inhabitants of the ghetto, the other country, the other genre of music, the other people at the top of the hill, the person with lower or higher test scores, the people who go to that college or work for that company. And so on.
The other works great for sports and competition. It’s good to define your opposition in ways that help you win. But in human relations, not so much.
When defining the “other” escalates into portraying the “enemy,” strife and warfare ensue. Or a personal breach. Someone you refuse to speak to anymore. If you’ve ever witnessed a divorce, or been part of one, you know how two people who loved each other can become enemies. Sometimes, the “other” results from a simmering historical confrontation on a national scale.
Philosophically, do we need “others?” It can be a dog eat dog world out there. Only so many can share the spoils of life. Or the limited resources afforded by this planet. Either you win or…an “other” does.
Economically, who makes money off of “others?” If you think you deserve more than someone else, well, isn’t that person an “other?” Extracting and moving resources among people and getting paid for the services is the raison d’etre of an economy. The more we move resources among people, and the faster we do it, the more money someone makes. If we all had only what we needed and no yearning for more, how much economy could there be? I doubt greed is leaving the human condition anytime soon, though.
With respect to religion, why does worship in one way seem to, even if covertly, exclude the way others worship? Sure, many churches, synagogues, mosques, and temples work together to help others in need. But just drawing the boundaries of a church or group in this way creates an “other.”
Why is it that creating our individual identities (which includes the groups we belong to and the beliefs we adhere to) seems to somehow necessitate excluding “others?” And while most nice and rational people profess the tenets of human equality, still we join clubs, attend schools, make money, and otherwise live in ways that prevent equality, if for no other reason than the imbalance in resources we suck up when we have all that money or power and influence. No way can everyone end up on top. Is human competition and accumulation part of the human condition?
Humanity’s “other” problem may simply be an unsolvable dimension of the human condition. And believe me, I am at least as guilty of creating “others” in my mind as anyone. I strive to distinguish myself on the world stage, and in doing so I undoubtedly, even subconsciously, create “others.” But on this New Year’s Eve, I am urging myself and others to deliberately pay attention to the “other,” think about the boundaries we impose and why, face the envelope we are compelled to operate within, the lines we draw in the way we think about ourselves, and put a human face to anyone and everyone on the other side.
Happy New Year!
I write short stories (even had a few published). I read short stories. I critique short story collections (for the The Short Review, www.theshortreview.com). I imagine several dozen if not close to a hundred pass my eyes each year.
“Another Manhattan” by Donald Antrim is one of the best short stories published in the last […]
I write short stories (even had a few published). I read short stories. I critique short story collections (for the The Short Review, www.theshortreview.com). I imagine several dozen if not close to a hundred pass my eyes each year.
“Another Manhattan” by Donald Antrim is one of the best short stories published in the last five years. I would say “ever” but I don’t want to be one of those “instant classic” types. Saying almost anything about this story would be saying too much unless you’ve read it. So I will only repeat here what I wrote to the author on his Facebook page:
“Every time I read it, I feel those characters vibrating on a Richter scale of their own undoing. ” I should have added, from the opening sentence.
Of course, take my bias into consideration. Look at the photo on the home page of this blog. Unequivocally, I am a miserable failure at trying to think of myself as an ex-New Yorker. Still, this story could only be set in Manhattan. And if you’ve ever spent time there, lived there, or dreamed of there, I think you’ll know what I’m talking about.
I’d like to avoid a one-way opinion piece on the story. I would like to “talk” about the story with others. It was published in The New Yorker (December 22 & 29, 2008). Read it (http://www.newyorker.com/fiction/features/2008/12/22/081222fi_fiction_antrim) and, if you don’t mind, come back and let me know. If you’ve read it, blog away!
This guy is worth your time.
Tagged with: Another Manhattan • Donald Antrim • Manhattan • short stories • The New Yorker • The Short Review
Yes, I made that word up, “exponentialized.” Surely, a little latitude is allowed on your own blog!
But what I am referring to are acrylic mixed media works by artist Grant Miller (who hails from Kansas City) at a show a few weeks ago courtesy of the Cecille R. Hunt Gallery, Webster University, St. Louis.
[…]
Yes, I made that word up, “exponentialized.” Surely, a little latitude is allowed on your own blog!
But what I am referring to are acrylic mixed media works by artist Grant Miller (who hails from Kansas City) at a show a few weeks ago courtesy of the Cecille R. Hunt Gallery, Webster University, St. Louis.
http://www.webster.edu/news/releases/images/grantmiller1.jpg
http://www.webster.edu/news/releases/images/grantmiller2.jpg
http://www.blackandwhiteartgallery.com/press/miller.pdf;
http://oneartworld.com/artists/G/Grant+Miller.html
Miller constructs elaborate and exceedingly intricate three dimensional spaces from linear elements – interconnected lines, shapes, frames, and rope. If you took all the shells of buildings (down to the girders and wiring) from a city skyline and jumbled them all together, you might get an inkling of what results in Miller’s work. They reminded me of labyrinths which themselves are interconnected and woven together. Three-dimensionalized. Exponentialized. Strangely enough, though, the resulting structure is anything but chaotic but rather seems to my eye to have an inherent structural stability, as in you couldn’t destroy it with wrecking ball if you tried.
As a music analogy, you might think Wagnerian, dense, robust, relentless, but every note connected to every other note and word (in the operas anyway) in some way.
The narrative description provided at the gallery (which, frankly, almost never make a lick of sense to me), say they are about overexposure (such as to cyberspace -hey, that’s where we are now!) and information overload. Perhaps, but here is what Miller’s work did to me: I felt like I was the center of these elaborate structures and that caused me to think about my relationship with the vastness (structural complexity?) of my interconnected world and even in specific ways, such has how I “connect” with people through this blog.
Then I realized something. This blog may be part of that vast astral cloud known as cyberspace but I’ve been connecting with a few people on a one-to-one basis through it. So, what results from this blog is perhaps the antithesis of Miller’s representations. A few solid human connections distilled from the miasma of information overload.
I found interesting to think about. I am anything but exponentialized at this moment.
Anyway, Grant Miller’s work is worth a closer look. I can’t recall anything quite like it.
Tagged with: Cecille R. Hunt • Grant Miller • Hunt Gallery • Information overload • St. Louis • Webster University
So, I attended the Saint Louis Symphony Orchestra’s Chamber Music concert (a woodwind quintet and a violin soloist) Wednesday evening November 18 2009 at the Pulitzer Museum in St. louis. It was sublime, marred by only one thing, which bothers me every time I visit the Pulitzer. There was a museum docent standing behind the […]
So, I attended the Saint Louis Symphony Orchestra’s Chamber Music concert (a woodwind quintet and a violin soloist) Wednesday evening November 18 2009 at the Pulitzer Museum in St. louis. It was sublime, marred by only one thing, which bothers me every time I visit the Pulitzer. There was a museum docent standing behind the musicians the entire performance. It is an utter distraction. Who insists that a docent stand there the entire performance? And by the way, in such a glorious space (you have to see this place to believe it, wide open, concrete, just lovely), why have the concert arranged like every other concert, where listeners have to sit still in rows and columns?
Since the music was supposed to be correlated to the art, why not allow everyone to just wander around, experience the art and the music within the spaces, so to speak? After all, space is what the design of this museum is all about.
Which brings me to… Every time I go to the Pulitzer, there are more docents standing around than visitors. And they stare at you, And they follow you around. And they are sometimes on top of you to where you can’t even hold a quiet conversation with the people you came with without feeling like your privacy is being violated. It is the height of irony that such a glorious and open space (I do love it, don’t get me wrong) feels so confining. Even just approaching the entrance doors, you see some burley guy standing right there with his arms crossed, like your public enemy number one just for wanting to patronize and support the museum. I fully understand the need to protect the art. But can’t they find a less intrusive way of doing this? I go to museums all around the world and this is the only one that feels like it’s run by Homeland Security.
The one positive from all this is the first time this happened, I came home and wrote a one-act play about the experience.
Imagine if the notes and sounds from the woodwind quintet and violin solo followed you around, nestled up to you, surrounded you, and “spoke” to you about the art you are viewing? Now that would be an experience!
Once again, David Robertson and the St. Louis Symphony Orchestra are downright avant-garde, performing a “Water Concerto for Water Percussion and Orchestra” by contemporary composer Tan Dun Friday evening on the eve of Halloween. I couldn’t tell you if this was great music or a great performance because I’d never heard any such thing before. […]
Once again, David Robertson and the St. Louis Symphony Orchestra are downright avant-garde, performing a “Water Concerto for Water Percussion and Orchestra” by contemporary composer Tan Dun Friday evening on the eve of Halloween. I couldn’t tell you if this was great music or a great performance because I’d never heard any such thing before. But I can tell you I was fascinated by the idea, the new sounds, and the new instruments.
Picture several pedestal style sink bowls (elegant ones of clear glass, not the ones in my kitchen or bathroom) filled with water surrounded by a variety of devices to make sounds with them. The ones I remember are a hollow tube that reminded me of glassware we used to use in chemistry lab in high school and college, and gourds placed in the water played like a miniature drum set. I can’t describe what all of this sounded like except to say that it all seemed to me as fluid as the water I was watching being played.
The piece began with very quiet sounds emanating from the water percussion (Colin Currie the percussion soloist) and then the audience was definitely paying full attention after the entrance of the horns. The piece ended with a shower, the percussionist holding a strainer high above his head, letting the water drain back into the bowl. In between, well, get the recording, if there is one, or ever will be!
But here’s another unique thing: This soloist (a percussionist) moved around the stage among his various instruments and was even accompanied by his own “section” (two water percussionists at either end of the stage. At various points, he had to quickly grab his next instrument for making sound within a second after turning a page of his music. Then, he moved dance like to the Xylophone and played that for a while. Usually, a soloist moves around, but only around a fixed axis.
It was a bit humorous to watch the audience give a standing ovation as I am pretty sure none of them had any way to benchmark this performance either. But I guess that’s become the thing to do now – standing ovations no matter what. It must be like grade inflation in the schools. I suppose I like the newest of musical sounds but am still a fuddy dud in other ways. Maybe they were standing for the bold selections of our conductor.
It may be a few decades before Water concertos becomes part of the standard repertoire, but this listener, who has been going to symphony concerts for more than four decades, has nothing but admiration, respect, and praise for this conductor and the new sounds he is bringing to this somewhat weary Midwestern city. If I can’t bring myself to stand up at Powell Hall, I’ll certainly make a stand here.
Tagged with: Colin Currie • David Robertson • percussion • Powell Hall • Saint Louis Symphony Orchestra • Tan Dun • Water Concerto
Edith Wharton writes about the gilded age and New York “society” in The Age of Innocence. What can you add to a discussion on a book that’s been around for a century and an author that won a Pulitzer Prize in 1921? What the hell, not everything worth saying about this book resides in the […]
Edith Wharton writes about the gilded age and New York “society” in The Age of Innocence. What can you add to a discussion on a book that’s been around for a century and an author that won a Pulitzer Prize in 1921? What the hell, not everything worth saying about this book resides in the stacks of the libraries of the Seven Sister colleges for women.
To me, Wharton’s novel represents how “systems theory” can be used not only to analyze fiction but social dynamics and group behavior. New York society is a closed system and its inhabitants struggle to maintain that system in an equilibrium. When Countess Ellen Olenska arrives on the scene, she disrupts the equilibrium. That disruption could probably be tolerated but Archer Newland falling in love with her cannot as he is already committed to May Welland. Thus, the novel is, in one sense, about how this social system works to rid itself of this “infection.” In more than one instance, Wharton uses the words system and systematized to describe how the society works almost like a machine to extract and discard what is not desired.
The tale of morality lurking within the novel is a juxtaposition between the deception New York society uses against Archer Newland and the deception Archer Newland must deploy to pursue his love of Countess Olenska. Which is worse? Clearly, Wharton allows society’s deception to win with a sly grin upon all of those in the know (including Archer’s wife May, who was in on the deception from the get go). Archer is such a broken man by the end that he cannot bring himself to accompany his son to visit the Countess thirty years later.
The one thing you can conclude is that deception rules the day and the social system trumps any individual member of it.
One other thing notable: The Age of Innocence reminded me a great deal of another of my favorite literary works, A Streetcar Named Desire. In both, a femme non grata enters and disrupts the social “system” and therefore must ultimately be banished and removed.
Tagged with: A Streetcar Named Desire • Edith Wharton • Social Dynamics • Systems Theory • The Age of Innocence
For a change of pace, here’s a poem dedicated to the inconsequential in your peripheral vision that still manages to take you out of yourself if only for a moment
Urban Moment
Lonely square, you are out of place
In this vast plane of concrete sidewalk
Deliberately cut, as if for the planting of a […]
For a change of pace, here’s a poem dedicated to the inconsequential in your peripheral vision that still manages to take you out of yourself if only for a moment
Urban Moment
Lonely square, you are out of place
In this vast plane of concrete sidewalk
Deliberately cut, as if for the planting of a tiny bush
In-filled with weeds of tiny broadleaf
You curve the strides of human giants
Who hustle past you, thick Bonzai jungle
As you would appear to an insect or an ant
Break this stride from hotel
To skyward tower of corporate strength
Disrupt this pedestrian’s gait
Intrude on this mind
Consumed with the importance of the day
As a mirror might force a pause
For a look, not at what will be seen by others
Or to check a statement of fashion
But a glimpse into a state of mind
To see hurt where others see happy
To see failure when colleagues see competence
To see ugly when lovers see beauty
As things could or couldn’t be, as they should be, as they want to be
If for only a moment
Plush carpet of green
Of perfect form from the avian view
Like the statuesque order that is Manhattan from the sky
Lonely piece of precise geometry
Tiny emblem on the urban surface
A dash of reflection carved from the day
Lovely square
A brush with the lushness of life
Jason Makansi, October 2009
Last night at the Saint Louis Symphony Orchestra’s (SLSO) opening performance of its 130th season, I was struck by the juxtaposition of a contemporary work, Osvaldo Golijov’s “Azul” and Mahler’s 5th Symphony. What struck me was how Mahler’s work was diminished. Imagine that. Diminishing a composer known for being over the top, which only takes […]
Last night at the Saint Louis Symphony Orchestra’s (SLSO) opening performance of its 130th season, I was struck by the juxtaposition of a contemporary work, Osvaldo Golijov’s “Azul” and Mahler’s 5th Symphony. What struck me was how Mahler’s work was diminished. Imagine that. Diminishing a composer known for being over the top, which only takes away the word “over.” Still on top, if not over, in other words.
Now don’t get me wrong, I love other works of Mahler, particularly the early symphonies one and two (Resurrection). Barring the Adagietto beginning of the last movement (or Part III), the Mahler 5th had little contrast and form compared to “Azul.” Every movement (or section) of the 5th sounded like a finale. Being a writer type, I concluded that Mahler really either needed a good editor to sculpt this work or to file down his ego. It just came off as somewhat muddled, and this I am sure had nothing to do with the Orchestra under David Robertson. Musical fragments struggled to join up into something larger. With the exception, I have to point out, of that Adagietto, in which the aching harp anchors the soul-searching violas for the intro. What an exquisite section.
This “Azul,” though, reminded me of a science experiment in which all you could exclaim at the end is “Eureka!” An experiment gone right. I could best think of the piece as a triple concerto since it had a cello, hyper-accordion (yes, hyper!), and percussion (enough instruments to seat two percussionists). The piece begins with a mournful cello solo but with a promise of something better, more joyous, and, guess what, promise fulfilled! Later (and I don’t remember which movement it was), the cellist sawed into these magnificent arpeggios, the percussion just went freaking crazy, and unconditional joy filled the auditorium. Meanwhile, the hyper-accordion did what I guess it does best, acting really hyper but the sounds emanating are really cool. Apparently, this instrument allows effects like a synthesizer.
But this is life, after all, and joy wants to continue but of course it cannot so a bittersweet section of longing follows. And, yes, there is a trick ending similar to so many of the symphonies of the Romantic Period (when you never quite know when the brash ending chord will sound) but I won’t give it away.
At times, especially early on in the work, the music reminded of a gelatinous mass crawling amorphously throughout the volume of Powell Hall. I mean that in the best of ways. Such an unusual shape to the sound with plenty of interesting things going on at the edges of the mass. It reminded me of Michael Gordon’s music at times (see earlier post).
Thank someone that Conductor David Robertson has a freewheeling imagination regarding contemporary composers and more obscure works of the masters. If you weren’t there, you missed your chance to see the hands of the principal cellist of the SLSO crawl up and down the neck of his instrument like crabs one moment, then as if he was giving a massage the next. Truly a chance of a lifetime to experience the premier of this work in our fair city.
Tagged with: Azul • David Robertson • hyper-accordion • Mahler • Osvaldo Golijov • Powell Hall • Saint Louis Symphony Orchestra • Symphony No. 5
OK, I’m lying. They weren’t dueling at all. But last night’s (September 11, 2009) recital of the Arianna Quartet here in St. Louis featured a Brahms quintet with TWO violas! What a great idea…well, to me it’s great, having played the viola a good part of my life. What was interesting was how the second […]
OK, I’m lying. They weren’t dueling at all. But last night’s (September 11, 2009) recital of the Arianna Quartet here in St. Louis featured a Brahms quintet with TWO violas! What a great idea…well, to me it’s great, having played the viola a good part of my life. What was interesting was how the second viola seemed to support the cello line more than the first viola line. So, I am biased, but I found the overall sound to be richer, fuller, and really wondered why chamber music composers haven’t been doing this for years. Brahms is, like, my favorite composer anyway, and Joanna Mendoza, the Arianna violist, had given me private lessons for a few months last year, so bias is dripping from these words. Anyway, I’ve been attending Arianna chamber concerts for at least five years. This is yet another of those cultural treasures that exists in the City of St. Louis, which I would describe as a big city that acts like a small town EXCEPT in its cultural affairs. Also impressive is that Arianna is getting close to filling their regular concert hall, the Lee Theatre at the Touhill Performing Arts Center, University of Missouri – St. Louis (UMSL). Could it be that these wonderful string players are enlarging the public’s interest in chamber music? Check out their next performance and decide for yourself!
In college, I tried to buy an album every week, despite having only $15-20 per week of spending money (and this was NYC) and invariably counting my pennies on Sunday to scrounge up enough for a Hungry Mac’s burger and fries. Having come from Signal Mountain, TN to Manhattan, there were so many new tunes […]
In college, I tried to buy an album every week, despite having only $15-20 per week of spending money (and this was NYC) and invariably counting my pennies on Sunday to scrounge up enough for a Hungry Mac’s burger and fries. Having come from Signal Mountain, TN to Manhattan, there were so many new tunes to discover. It was, and still is, a regular source of pleasure I put up there with, well, you probably know, what those pleasures are. I am always on the hunt for new, unique sounds, usually in the category (my own making) of “alchemy.” This is the mixing, combining, integrating of instruments, styles, genres, etc to make new sounds precious to the ear.
Michael Gordon fits this category. He’s a contemporary composer of, well, some fusion of classical instruments into a penetrating percussive tone and electronica type beats. I have two of his CDs, Weather and Decasia. I also saw a dance piece entitled Natural Selection to one of the cuts off Weather this summer performed by the Keigwin Dance Co at the Joyce Theatre in NYC. Any description I might give of Gordon’s music would probably ruin your initial listening experience, so I will only use one word: Pulsating. Think of a pulsar in space (there’s a nice visual rendition at Wikipedia). From what little I’ve gathered, Gordon is pretty well known around NYC but I’m not so sure about anywhere else. His Wiki entry states that he is a co-founder of the Bang on a Can Festival. That’s probably as good a place as any to start if you’re interested. http://en.wikipedia.org/wiki/Michael_Gordon_(composer)
Of the two CDs, I’d start wtih Decasia. Put on an artsy coat and thin black tie, crank it up, get in front of your speakers, and be that guy in those old Maxell commercials. Repeat, with headphones.
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