Tuesday, October 09, 2012

Across South America Forever




And everybody knows who they are
In a velvet garden of rhinestone stars
Shining down on me, satin queen,
Overlords of insane scenes
They go dancing across the pages
Of a magazine


“Magazine,” Heart
quoted in Everybody Knows Who They Are





Effective immediately, Alice will no longer be selling her works that are published by Southern Music Company. The entire catalog of Southern Music Company was sold to Keiser Productions, Inc. on June 22, 2012. All of Alice's mallet solos that were originally published by Southern Music Company can now be obtained through Keiser Productions And Sheet Music Plus. Some of these titles include Rain Dance, Marimba Flamenca, and Gitano.







Everybody knows—well, Zappa fans know—
Frank Zappa wrote a song called “Inca Roads”
for marimba player Ruth Underwood.

Nobody knows, of course, why somebody
carved giant insect and animal glyphs
into a South American landscape.

I know I would tear up a magazine
and let the wind blow the crumpled pages
across South America forever.

She knows who she is and I admire that
but only enough to watch the pages
blow in new patterns over the old ones.






























Monday, October 08, 2012

Mindstorms And Music And One Smart Brick



Over the weekend I saw a video on YouTube that someone uploaded about two years ago. I’d never seen it before, but it struck me as one of the most interesting YouTube videos I’ve ever seen. It doesn’t show anything visually wild or extraordinary, but to me—interested in synthesizers and music notation and technology (and toys)—once I saw the video I couldn’t stop thinking about it.

And it’s not just me. One of the comments at the blog where I first saw the video echoes my own reaction:


This is just amazing. Such an uncomplicated construction and program yet it does something so interesting.

Kudos for the NXT Sequencer!


Andy, at the NXT blog
August 31, 2010


I don’t have a lot to say about this right now, but I want to do this post because this is a topic I’ve almost touched on a lot of times, but I’ve always—for one reason or another—decided to never really get into it here at the blog.

Computers, Language And The Goblin Universe

Two Schools Of Thought About Computer Science


So here in this post I’m going to embed this cool video, and then include a bunch of related links. At some point in the future—maybe not this week—I’ll come back to all this. It is very good stuff, all extraordinary.

Here’s the video. It is a music sequencer somebody built using the Lego NXT 2.0 kit. There’s a link to the kit below, along with some related books. I’m not going to get into this today, but these are all wonderful things.

Oh, and I want to mention, too, that the Teenage Engineering OP-1 synthesizer company in Sweden I posted about a few months ago in Beautiful Queen Of All The World’s Gadgets recently announced an “accessory pack” that includes attachments for mechanically interfacing with the Lego NXT environment. It is all insanely expensive, but it sure looks fun. (I’m very proud of myself about this—I’m terrible at managing money, but I’ve controlled myself and I have not purchased an OP-1 synthesizer! And in fact I haven’t ever purchased a Lego NXT kit. However Seymour Papert’s “Mindstorms” approach to mathematics and constructivism has shaped my thinking about math and algorithms for more than two decades now, and everyday when I do programming Mindstorms is part of me. ((And what is any puppet, or stop-motion video, but a MicroWorld constructed and shared?)) So sooner or later I’m going to break down and get the NXT and, probably, someday, an OP-1.)

Anyway.

Here’s the video. Again, it doesn’t look like much on the surface. But to my eyes it is extraordinary in the way it encapsulates the reality of what a sequencer does, the circular nature of the experience, and visually makes the reality available for creating little melodies by literally constructing them on the floor in front of you. This is something fundamentally different from carrying the abstraction of a sequence in your head, or as a linear expression in music notation. I love this little video a lot, and I love this whole world of “Mindstorms.” There is a great deal to this, and as you can see with Teenage Engineering’s release of the NXT attachments, it is a global phenomenon that grabs your affection and thinking and never lets go.

More to come. But it starts with this:






. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


(Just as a personal note,
I kind of think of
the
“Mindstorms” world as
the opposite, somehow,
of the world I posted about
in
Affannato.)



Seymour Papert’s “Mindstorms”
at Wikipedia

Logo (programming language)
at Wikipedia

Lego Mindstorms NXT
at Wikipedia




at Amazon


at Amazon


at Amazon




















Friday, October 05, 2012

A Consequence Of Puppets Revisited




He said, “You know, a monster might not want you.”

She gasped, putting one hand over her mouth. She pointed at him with her other hand and spoke through her fingers over her mouth.

She said, “That’s the most awful thing you’ve ever said to me!”







I started this week with a little stop-motion film, The Louisiana Sinkhole: An Apocalypse Opera. Although that was a short stop-motion film, it still required way more than a thousand individual images. And it was in color and it had dialogue and music.

I want to end the week with something that is kind of the opposite of that. I think of this kind of stuff all the time.

This is a single image. There’s no color. It doesn’t have dialogue or music. I didn’t even make up a caption to try to call it a cartoon.

It’s just a pencil drawing. I drew this back around the time I talked about in The Lost World Of Stacy And The Llama.

If photography didn’t exist, if animation didn’t exist, I would be happy doing drawings like this forever. The interplay of shapes. Lights and darks. Verticals and horizontals. Positive shapes and negative shapes.

In so many ways I am even happier doing things like this than photography and animation. I kind of envy the supervillain at the end of my post All The Issues Of Perspective, getting hauled off to an asylum where they take away his camera. But he can still draw.

But now I know I still have the same problems I talked about in This Woman From The Canals Of Mars. I just can’t—in my head, my heart—I can’t figure out what place something like this has in the modern world.

Maybe I should make some woman really, really mad so that she’d come over here and tear up all these things. Solve my problem for me like in Romanticized Portraits.





“There’s a high-wire act going on. The harmonica sounded like a real harmonica in the beginning, and then maybe a keyboard harmonica, a synth, doing things that seem technically almost impossible.”


That’s from the “Blindfold Test”
of woodwind player Ted Nash
in the August 2012 print issue
of
Downbeat magazine. He was
listening to a song from the
album
“Puppet Mischief”
by John Ellis and Double Wide



Jazz musicians now try to figure out
if they’re hearing a synthesizer play
even when they hear a harmonica
which would be something like puppet mischief,
something not real pretending to be real.

This is an advantage that puppets have
over drawing and music and writing—
A drawing can be rendered by software
or projected and traced. Music software
can be programmed to produce any sound.
A whole novel now can be a collage,
paragraphs plagiarized from all over.
But a puppet is what a puppet is.
Everybody watching a puppet knows
somebody made the puppet, somebody
is moving it around and somebody
planned the show. It’s like a conspiracy
but one that everybody is in on.

Maybe the only answer possible
is to do a show about a puppet
that likes to draw. Or make music. Or write.

And when she asks, “Who am I taking off
my clothes and posing for? Am I your muse,
or am I doing this for the puppet?”
I will be able to honestly say,
“I have no idea. Does it matter?”

And I have no idea what she’ll say.






. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .




*


A Consequence Of Puppets


Refuge, Sanctuary And Asylum As Synonyms




















Thursday, October 04, 2012

Romanticized Portraits




Artist Dick Heldar returns to 1890s England from the war in the Sudan after sustaining eye injuries and turns to painting for a living. While his realistic paintings of scenes from the war in Sudan slowly achieve a certain popularity, he ekes a living painting romanticized portraits. Eventually, the old war injury to his eyes starts getting worse and Heldar realizes he is going blind. Before he completely loses his sight, Dick resolves to paint his masterpiece, Melancholia, using a prostitute named Bessie as a model. He drinks heavily to keep his eyesight going. Dick deliberately drives Bessie to hysteria to get the right expressions.

Dick's eyesight fades just as he completes his masterpiece, and he collapses in exhaustion. Bessie returns and destroys the painting in revenge, smearing the still wet paint across the canvas. When Dick invites his friend, Maisie, to view his masterpiece (which he can no longer see), she cannot bring herself to tell Dick about his ruined canvas. Bessie returns and reveals she has destroyed his masterpiece.


That’s from the
Wikipedia synopsis of

“The Light That Failed”
by Rudyard Kipling

A Project Gutenberg edition
of
“The Light That Failed” is available.
The HTML version is here.





“Don't cry,” he said, and took her into his arms. “You only did what you thought right.”

“I— I ain’t a little piece of dirt, and if you say that I’ll never come to you again.”

“You don’t know what you’ve done to me. I’m not angry—indeed, I’m not. Be quiet for a minute.”

Bessie remained in his arms shrinking. Dick’s first thought was connected with Maisie, and it hurt him as white-hot iron hurts an open sore.

Not for nothing is a man permitted to ally himself to the wrong woman.


from “The Light That Failed”
by Rudyard Kipling




Of all the novels I’ve read in my life
I wouldn’t hesitate to try to write
a story using a similar plot,
except for two books: Hesse’s “Siddhartha”
and “The Light That Failed,” by Rudyard Kipling.

And of those two books I am most in awe
of “The Light That Failed,” by Rudyard Kipling.

The blind painter embraces the woman.

“You don’t know what you’ve done to me,” he says.

But he holds her. And tells her not to cry.

I know someone who thinks computer games
will put the film business out-of-business.

That person couldn’t care less about books.

Books aren’t even in their equation.

Anything I wrote about that person
I would call a romanticized portrait.




. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Reduction Of The Muse


*


Point and counterpoint:

The real “Maisie” read the novel
and wrote:
"If you happen to read
this singular, if somewhat murky
little story you are very likely
to rather wonder if real people
could be quite so stupid and
objectionable as this crowd."

-- Flo Garrard

quoted in The girl he left behind--
Jad Adams reflects on the lost love
that inspired Rudyard Kipling's first novel





















Wednesday, October 03, 2012

Tools For A Bridge Over A Canal On Mars





I said, “I’m thinking of buying some new painting knives.”

She said, “How much do they cost?”

I said, “Some Amazon store has a Liquitex set for eighteen dollars.”

She said, “That’s not very expensive. Why don’t you just buy them?”

I said, “When you add on shipping it’s like, you know, one third of a tank of gas. I think it’s more sensible to save the money for gas.”

She said, “That’s probably true.”

For a moment neither of us said anything.

Then she said, “It’s the twenty-first century. Does the word ‘sensible’ have any application to the context of painting?”

I didn’t say anything.

She said, “If you bought the knives and could paint anything at all, what would you paint?”

I said, “I’d still like to do a portrait of that girl I saw yawning.”

She said, “If you painted something you didn’t have to ask to pose for you, what would you paint?”

I said, “I’d like to take a trip to Los Angeles. Do a landscape of that bridge Tony Scott jumped off of.”

She said, “Do you see my point?”

I smiled, but tucked down the corners of my mouth. But she saw me smile.

I reached over and clicked on the PROCEED TO CHECKOUT button.

She smiled, and didn’t even bother to tuck down the corners of her mouth.























Tuesday, October 02, 2012

A Dream Woman’s Dream House On Long Island





Just then the hyena stopped whimpering in the night and started to make a strange, human, almost crying sound. The woman heard it and stirred uneasily. She did not wake. In her dream she was at the house on Long Island and it was the night before her daughter’s début. Somehow her father was there and he had been very rude. Then the noise the hyena made was so loud she woke and for a moment she did not know where she was and she was very afraid.


from The Snows of Kilimanjaro
by Ernest Hemingway





Wild dogs cry out in the night


“Africa,” Toto
quoted in Makeup, Jazz And Wild Dogs





I was so happy to get yesterday’s post up, The Louisiana Sinkhole: An Apocalypse Opera, that today I just kind of slacked-off and didn’t prepare anything.

But I do have a bunch of little book references to mention. These are all sort of unrelated and the only thing they have in common is that for one reason or another I’ve been thinking about all these books lately. I mean, normally I think of movies or songs or odd things happening in the world. For the last few days I’ve been thinking about half a dozen or so books. I don’t have one grand theme linking everything together. I’m just going to describe the books I’ve been thinking about and a little of the context around the books.

There are a couple of explicit links to the blog, however. The first book I’ll mention relates to yesterday’s post. Then I have a library note. And then I’ll mention a couple that relate to last Friday’s post. The first and last are sort of behind-the-scenes at Impossible Kisses things. The library thing is just something that has never happened to me before at a library.

(As I type this, I realize that I am not exactly correct. There is a kind of thread linking all three of these bits I’m going to narrate today, but I’m not going to go that deeply into things. Now that I’ve thought about it—or, rather, now that it has sort of forced itself on me without me even trying to think of it—I will think about it more and maybe do another post touching on the weirdly personal thread that does link all three of these things.)

But here is what I have for today.


*

When I was setting up the location for yesterday’s video, I had to carry around my cactus garden. At one point I reached down to move the container around and my left hand pressed up against a cactus plant and I got a bunch of thorns stuck in me.

So ever since I’ve been thinking of “The Snows of Kilimanjaro.”

I strongly suspect I’m not going to die from the cactus spines, but, you know, they are thorn punctures. And it would be a cool, literary way to go, although I’ve never been much of a Hemingway fan. And more than that, I’ve never been much attracted to the kind of life Hemingway writes about. Tough guys and tragic women. I’ve never been a very tough guy, and tragic women usually make me angry rather than romantic.

That having been said, however, it occurred to me that I have known three women who might, on occasion, dream about a house on Long Island and their daughter’s début.

The first was a young woman named Patty who worked in a bookstore during her summer vacation from a cool, east coast college. She appeared, after a fashion, a fiction fashion, in my story about the ancient sailors:

Kings And Queens Of The Ancient Seas (Part One)

Kings And Queens Of The Ancient Seas (Part Two)

Kings And Queens Of The Ancient Seas (Part Three)

The second was a businesswoman named Beth. She appeared in a post that was practically a documentary, Beth Plays Pinball.

(Wednesday morning note: It occurs to me that since that post about Beth is a long reference to Jerzy Kosinski’s novel "Pinball" it should be counted as another book. I guess it should. But strangely Wikipedia doesn’t have a page for "Pinball." Amazon sells it, however. Could that mean something? )

And the third is going to be nameless here. But I may have more to say someday about that third woman in a another post.

So that’s the first book I’ve been thinking about recently. Because of an on-set injury (my own!) I’ve been reminiscing about some brushes with high society I’ve had. I’m pretty sure I’m not going to die, however. The wild dogs outside aren’t even howling, let alone crying.


*


Just a few days ago I took out some books from a library south of here. The librarian was very pretty, and while she was checking out my books we were talking about old TV shows. When she tried to check out the last book, the computer just beeped. The computer wouldn’t let that last book get checked out. I don’t remember that ever happening to me before, and the librarian looked so surprised that I guess it didn’t happen to her very often, either.

So the computer beeped and flashed some message. The librarian had to stop talking to me and bend down to grab a big binder full of procedures for when something unexpected happens. It took her a while to flip through the binder and find the proper procedure.

Apparently the book I was trying to check out for some reason had a bar code, but no entry for the bar code number existed in the computer system. So the librarian typed some letter-code into the check out record which allowed me to take the book home, but flagged it in the system so that when I return the book someone will put it aside and correct the card catalogue.

The book turned out to be not very good (to me) but it has an interesting title: “Painting More Than The Eye Can See,” by Robert Wade.

(Another Wednesday morning note: The book wasn’t about painting more than the eye can see at all. It was about trivial, and essential obnoxious, painting techniques and conventions which present the appearance of depicting more than the eye can see. Do so-called ‘workshop painters’ really paint, or do they just pretend to paint, do they just present the appearance of painting?)

So that’s another book I’ve been thinking about. It’s always interesting thinking about there being more than the eye can see.


*


This last bit of business is about two books:

The Long Secret,” by Louise Fitzhugh

Mrs. Frisby and the Rats of NIMH,” by Robert C. O'Brien

I’ve recently re-read both these books—they’re both “kids’ books” but they’re both really good kids’ books. And it was these two books that got me thinking about the kind of topics I wrote about in last Friday’s post, Pumpkin Are Free (Reprise). But I thought the two stories I used last Friday in the post made the issues more interesting, and more fun (and, I hope, about larger issues than ‘just’ personal things).

But I do recommend these two books. I’ve written about “The Rats of NIMH” before, in my post Triss. “The Rats of NIMH” is so good that I’d call it one of the best books of any kind I’ve ever read.

I got to thinking about those two books because “The Rats of NIMH” tells a personal story and a much larger story, both at the same time. But “The Long Secret” (which is a sequel to “Harriet the Spy”) tells just a personal story.

So I started wondering if there are larger implications to that.

I was wondering if “The Rats of NIMH” would be considered a “boy’s book” and “The Long Secret” would be considered a “girl’s book,” and I wondered how much such gender stereotyping might in fact shape children’s thinking—would boys then be more inclined to think of life in one way and girls in another, because art and entertainment presented boys with a vastly larger, expansive world than the introspective, self-centered world presented to girls?

I don’t know what the answer is. There was a time—and this is just a very personal, very subjective observation—there was a time a couple of decades ago when I thought pop culture was making a kind of effort to get rid of gender stereotyping. And that to me seemed like a good thing. But nowadays I get the impression very strongly that many people—men and women—seem to embrace gender stereotyping under the guise that it somehow acknowledges or even celebrates actual differences between the sexes.

I don’t know. I certainly believe there are neurological and biochemical differences between the sexes. But at the same time I think that inside, in terms of our consciousness, our mind, our deeper self, I think we are all “simply” human beings. And I don’t see anything good coming from divisive approaches to so-called “art” and so-called “entertainment” which erect dehumanizing and artificial boundaries to our thinking.

I strongly suspect that is just obnoxious corporate marketing at work, and obnoxious exploitative politics at work. But it is tricky. I certainly know some very, very smart women who accept the modern world and even celebrate contemporary approaches to gender.

So I don’t know. Maybe I’m correct and a lot of modern people are wrong. Or maybe I’m wrong, maybe I’m just shaped by having been born on the fringe of the hippie era.

I suppose time will tell. Somehow. (I’ll get back to this, someday, in the context of that third person I mentioned up above in the second part of today’s post.)


*

So that’s what I have for today. Another very old fashioned kind of blog post. Just me rambling about what’s been going on lately.







. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .



Things Libraries Throw Away


The Pigeon That Laughed At Hemingway



Dream Birds Untangle Dream Knots


Dream Lover Fantasy Update


*


Oh.

P.S. This is post number 1,700.

Nice round number. I'd like to
quit, go away someplace. But
I can't think of anywhere to go.

So: See you tomorrow.

























Monday, October 01, 2012

The Louisiana Sinkhole: An Apocalypse Opera




Still stands the forest primeval; but
under the shade of its branches

Dwells another race, with other
customs and language.


from Evangeline: A Tale of Acadie
by Henry Wadsworth Longfellow

A Project Gutenberg edition
of “Evangeline” is available.
The HTML version is here.






























Sunday, September 30, 2012

2012 3rd Quarter Index



September 2012


Sunday, September 30, 2012 - 2012 3rd Quarter Index


Friday, September 28, 2012 - Pumpkin Are Free (Reprise)

Thursday, September 27, 2012 - On-Set Injury Report: Lizard Down!

Wednesday, September 26, 2012 - Refuge, Sanctuary And Asylum As Synonyms

Tuesday, September 25, 2012 - The Real Lesson Of The Gargoyle Arrow

Monday, September 24, 2012 - Pumpkin Are Free


Friday, September 21, 2012 - Puddle Monsters: Terror In The Distance

Thursday, September 20, 2012 - The Sinkhole, The Supervillain, And The Plan

Wednesday, September 19, 2012 - Synthetic Arcadia And The Hole

Tuesday, September 18, 2012 - Orchestra By Piano Light

Monday, September 17, 2012 - In Louisiana The Bottom Fell Out Of A Swamp


Friday, September 14, 2012 - Jupiter Impact: A Postscript

Thursday, September 13, 2012 - Synthetic Hyperborea, Liminal Entities And Scripts...

Wednesday, September 12, 2012 - Steampunk: A Postscript

Tuesday, September 11, 2012 - Astrophysics Versus Steam-Punk Musicians

Monday, September 10, 2012 - A Piece Of Paper Above An Asteroid


Friday, September 7, 2012 - When The Light Is All Reflections

Thursday, September 6, 2012 - Two Donut Shops

Wednesday, September 5, 2012 - Weather (At The Fox Point)

Tuesday, September 4, 2012 - Weather (Or Not)

Monday, September 3, 2012 - Dinosaur Girls And The Night Behind Me



August 2012


Friday, August 31, 2012 - Solving A Mystery In The Dark (W/Photos)

Thursday, August 30, 2012 - Impossible Places: Guitars And Flutes

Wednesday, August 29, 2012 - A Quick Enceladus Note, And Other Stuff

Tuesday, August 28, 2012 - All The Issues Of Perspective

Monday, August 27, 2012 - Candy At The End Of The World


Friday, August 24, 2012 - The Occult Technology Of Guitars And Keyboards

Thursday, August 23, 2012 - Clouds Want To Be A Secret Book

Wednesday, August 22, 2012 - Memories Are White And Yellow Against Green

Tuesday, August 21, 2012 - Animals That Can Rip Apart Eternity

Monday, August 20, 2012 - Changing Something That Can’t Be Changed


Friday, August 17, 2012 - Indigo And Sepia: Sparrows In The Sun

Thursday, August 16, 2012 - A Universe Of Colors And Adding What We Can

Wednesday, August 15, 2012 - A Personal Tower Of Babel?

Tuesday, August 14, 2012 - Death, Dancing, Death-Wise For Real

Monday, August 13, 2012 - Sixteen Seductive Ounces


Friday, August 10, 2012 - Pretty Flowers With The Loch Ness Monster

Thursday, August 9, 2012 - This Makes Me Think Of “The Swan” Too

Wednesday, August 8, 2012 - A Telescope For Tartarus

Tuesday, August 7, 2012 - A Secret Book Of Dark Writings

Monday, August 6, 2012 - Magic, And Amy As Only A Memory


Friday, August 3, 2012 - The Loch Ness Monster Versus Pretty Flowers

Thursday, August 2, 2012 - The Fons Et Origo Of Lost Worlds

Wednesday, August 1, 2012 - Dead From Golgotha



July 2012


Tuesday, July 31, 2012 - Playing The Dawn (Or To The Dawn)

Monday, July 30, 2012 - The Many Faces Of Mary (Elizabeth Winstead)


Friday, July 27, 2012 - A Failed Post (And A Little Something Extra)

Thursday, July 26, 2012 - Tours Of Intimate Confusion

Wednesday, July 25, 2012 - “Did Lightning Hit This Tree?”

Tuesday, July 24, 2012 - Eccentricity: A Note On Yesterday’s Photo

Monday, July 23, 2012 - Almost Like The Mast Of A Sailboat


Friday, July 20, 2012 - Associative Editing Techniques

Thursday, July 19, 2012 - A Cool Kaossilator 2 Tip

Wednesday, July 18, 2012 - Pluto’s Fifth Moon Has No Name (Yet)

Tuesday, July 17, 2012 - They Throw Away Desks, Don’t They?

Monday, July 16, 2012 - Mystery Four Thousand Miles From France


Friday, July 13, 2012 - Praying Mantis In A Parking Lot

Thursday, July 12, 2012 - Watermelon Rain?

Wednesday, July 11, 2012 - Change: Sudden, Incomprehensible And Deadly

Tuesday, July 10, 2012 - Machines Of Rapacious Hate

Monday, July 9, 2012 - Iterations And Interruptions To World Domination


Friday, July 6, 2012 - Models Of Mind, And Grammar

Thursday, July 5, 2012 - Seven-Segment Displays

Wednesday, July 4, 2012 - A Spider-Man Note

Tuesday, July 3, 2012 - Lucy Thought It Was Just Odd Dreams

Monday, July 2, 2012 - “Underwear Distance Of Love” (Reprise)


Sunday, July 1, 2012 - 2012 2nd Quarter Index

































Friday, September 28, 2012

Pumpkin Are Free (Reprise)





SIDNEY: “Casey Becker? She sits next to me in English.”

TATUM: “Not anymore.”



Casey doesn’t sit next to Sidney in English
anymore because Casey’s family decided
to buy an old spaceship, fix it and fly to Mars.
The family had such an interesting time on Mars
that they continued outward bound and visited
a settlement in the asteroids. Nobody
in the family really wanted to return home
so they continued even farther outward bound
to visit a research station on Saturn’s moon
and see for themselves the beauty of Saturn’s rings.

In fact I think on a blog or something like that
Casey’s grandmother Hazel wrote about their trip
and the family meeting where they all talked about
going on to Saturn rather than return home.


“Why? Why does anybody want to go anywhere? Why did the bear go round the mountain? To see what he could see! I’ve never seen the Rings. That’s reason enough to go anywhere. The race has been doing it for all time. The dull ones stay home—and the bright ones stir around and try to see what trouble they can dig up. It’s the human pattern. It doesn’t need a reason, any more than a flat cat needs a reason to buzz. Why anything?”

“When are you coming back?”

“I may never come back. I like free fall. Doesn’t take any muscle. Take a look at old Charlie. You know how old he is? I did some checking. He’s at least a hundred and sixty. That’s encouraging at my age—makes me feel like a young girl. I may see quite a few things yet.”

Dr. Stone said, “Of course you will, Mother Hazel.”

Roger Stone turned to his wife. “Edith?”

“Yes, dear?”

“What’s your opinion?”

“Well ... there’s actually no reason why we should go back to Luna, not just now.”

“So I was thinking. But what about Meade?”

“Me?” said Meade.

Hazel put in drily, “They’re thinking you are about husband-high, hon.”

Dr. Stone looked at her daughter and nodded slightly. Meade looked surprised, then said, “Pooh! I’m in no hurry. Besides—there’s a Patrol base on Titan. There ought to be lots of young officers.”

Hazel answered, “It’s a Patrol research base, hon—probably nothing but dedicated scientists.”

“Well, perhaps when I get through with them they won’t be so dedicated!”

Roger Stone turned to the twins. “Boys?”

Castor answered for the Team. “Do we get a vote? Sure!”

Roger Stone grasped a stanchion, pulled himself forward. “Then it’s settled. All of you—Hazel, boys, Meade—set up trial orbits. I’ll start the mass computations.”


Oh, damn, I got that wrong, that’s why Meade Stone left school.
I remember what happened to Casey Becker.

Casey doesn’t sit next to Sidney anymore
because Sidney’s boyfriend Billy murdered Casey.
Not just murdered. Billy splatter-movie killed her—
hung her from a tree, her insides on the outside.
Billy killed Casey as part of his larger plan
to also kill Sidney and her Dad and frame it
on Sidney’s Dad as a murder-suicide spree.
Billy wanted to get revenge for Sidney’s Mom
having an affair with Billy’s Dad and causing
Billy’s Mom to leave, breaking up Billy’s family.
Billy got the idea for the murder scheme
when Sidney’s own illegitimate half-brother
came by and killed Sidney’s mother the year before
because she disowned him while still loving Sidney.

I always mix up those two kids’ stories. My bad.






. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Okay—Please!—nobody sue me.

The Sidney Prescott story is from
the famous kids’ movie, “Scream
directed by Wes Craven.

The Meade Stone story is from
the famous kids’ book, “The Rolling Stones
written by Robert Heinlein.

I wonder what stories
the next generation of kids
will be entertained by?



*


Pumpkin Are Free



You Damn Punk Kids


Ancient Cities Of The Moon



The Name “Gillian”


Preliminary Notes For A Space Opera


A Bird Who Could Fly To Neptune






















Thursday, September 27, 2012

On-Set Injury Report: Lizard Down!






“Real knives freak me out. So I had to cut through duct tape. I kept thinking I was going to pull up too hard and stab myself in the face. It took almost like ten times or something before they had to cut the duct tape so it was only a thread that I had to cut through.”


Actress Emma Roberts
“Scream 4” commentary track





“One time I was looking around his [Ray Harryhausen’s] garage and up in the rafters of the garage something was sticking out. There was like the skull of something going behind some boxes. I couldn’t see what it was. It was all in pieces. It was the dragon from “The Seventh Voyage of Sinbad.” I just thought: Oh, what a sad end for such a wonderful creature.”


Dennis Muren
quoted in Two Dragons




A movie set is a completely controlled environment. Nobody ever should get seriously hurt on a movie set.

Not even a doll.

I’ve mentioned that I’m working on a new little stop-motion film, and I’ve mentioned that it is going to be about the Louisiana sinkhole. (I’m imagining a kind of follow-up to “Where Did The Cows Go?”.) I’d hoped to complete it for my Friday post, but there is a delay.

Rubber Lizard is injured.

It may not be clear from watching stop-motion films, but these things put a lot of pressure and wear-and-tear on the “actors.” Even a very short stop-motion film requires hundreds or possibly thousands of individual images. Every image, every single image, requires the dolls to be handled and manipulated. Dolls get lifted, squeezed, twisted around, dropped. During a long sequence the animator may get sweaty hands. And unless dolls are custom-built, the material that is used in dolls often simply degrades over time all by itself. And Rubber Lizard and Little Plastic Doll have been working hard at these things for more than two years. In the stop-motion world, that’s something like retirement age.

Anyway, the current project Little Plastic Doll and Rubber Lizard are working on has a couple of scenes with a little action to them, and Rubber Lizard’s tail developed a bit of a tear. And when the tail tore, one or two little sections near the tear started to fragment a bit.

(FYI, Little Plastic Doll ripped her dress a little, too, but she’s being a trouper about it and not complaining. She’s devoting herself to trying to keep up Rubber Lizard’s spirits.)

So I had to stop and work out a plan to save Rubber Lizard.

In stop-motion work this is not uncommon at all. For instance, King Kong was repaired almost daily. And I mentioned how the dragon from “The Seventh Voyage of Sinbad” eventually sort of went to pieces.

It’s not uncommon, apparently, but it is very disturbing when it actually happens to you. Or, you know, I mean, to one of your own “actors.”

My stomach was, a little, tied into knots worrying about this.

So I considered all sorts of things but eventually settled on a very, very simple fix.

Modern “rubber” is usually some kind of advanced, flexible plastic. And acrylic paints are really just advanced, semi-flexible plastics with pigments suspended in them.

So I very, very carefully mixed up some of my best Liquitex heavy-body acrylics and did something like a craft project.

I layered-on and built-up a new surface where Rubber Lizard’s tail had started to fragment. And I layered-on the acrylic to where the tear had started and then pressed the torn portions together so the acrylic could—I hope—act as an adhesive. When all that dried, I coated the entire area of the tear and fragmenting as a kind of sheath, which I hope will unify the repairs and help hold everything together.

Acrylics dry quickly, but since some of the areas I built-up are slightly thick, I’m going to let this dry over the whole weekend before I attempt to start filming again.

I’m very nervous because everything looks like it went reasonably well. (And a fringe benefit of using acrylic paints is that I could match Rubber Lizard’s color pretty carefully.) I’m hoping everything holds together when Rubber Lizard has to start moving around and acting. As I said, this type of filming puts a lot of pressure on an “actor,” and the dolls really work hard.

Time will tell.

I’m not sure what’s up for tomorrow now.

In the meantime, Little Plastic Doll and Tina are staying with Rubber Lizard, keeping him company while he’s on-the-mend. This is a picture of everyone, with a little blob of the final green paint I blended over the repairs:





. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .



Freedom From The Wild/Lost In Metonymy


Kite Flying In America (With Trout)


What Is A Toy?





















Wednesday, September 26, 2012

Refuge, Sanctuary And Asylum As Synonyms




Deep is wild, with beasts one meets
usually in dreams. Here the giant octopus
drags in its arms. We meet it.
We are hungry in the upper air, and you

have the sea-spear that shoots deep;
you fire accurately, raising a conflagration
of black ink. The animal grabs stone
in slow motion, pulls far under a ledge
and piles the loose rock there as if
to hide might be enough. It holds tight,

builds sanctuary, and I think cries
“sanctuary!”—it dies at your second shot.
We come aboveboard then, with our eight-armed
dinner and no hunger left, pursued by the bland
eyes of fish who couldn’t care, by black
water and the death we made there.


from Underwater
by Michael Schmidt
quoted in Underwater This Is The Cathedral Sea




I don’t have a lot for today, and in particular I don’t have a real point for this post. But this is something I think about a lot so I’m going to do this post anyway.



This is a scan I found somewhere on the internet of an Andrew Wyeth painting called, “Refuge.” It is considered the “last” of the Helga paintings:


It’s not my favorite of the Helga images but I like it a lot.

I’ve been thinking about these images a lot because over the weekend just for fun I looked through the book, “The Helga Pictures.”

A long time ago when I looked through the Wikipedia entry for the paintings I was struck by this observation:

“For art critic James Gardner, Testorf "has the curious distinction of being the last person to be made famous by a painting".”

I suppose that’s true. But in my own mind I always think of the Helga paintings—just because of when they came out, around 1986—as being comparable in some difficult-to-define way to the photographs Victor Skrebneski took of Cindy Crawford.

I wrote about that business very briefly in, A Failed Post (And A Little Something Extra).

I know one was art and the other was advertising. I know one was painting and the other was photography. But they were roughly contemporary images and I think of them both as being the last two examples of models made very famous (mostly) just by images.

(And I know, of course, a lot of it is simply media dynamics. Some advertising catches on in the context of an era, some doesn’t, and a person could make the case that it is really the context that does the defining and not the content. So Skrebneski’s beautiful graphic portraits of Cindy Crawford may not have made such a fuss in a different context. And some people in the art world regard the set (“suite”) of Helga images as media manipulation from start to finish—after all, many artists create a series of a model. But, nonetheless, it seems to me that these two cases are examples where critics may have a point, but the reality of the content has a point, too: Both I think are examples of art that really does stand out even once the criticisms have been acknowledged as valid. At least that’s my subjective response, just my opinion, and that’s why I don’t think I’m wasting my time thinking about this stuff.)

Anyway.

So I’ve been thinking, again, about the differences between photographs of a person and drawings/paintings of a person.

Two things stand out to me right away. I can still remember how beautiful Cindy Crawford appeared in Skrebneski’s photographs. Obviously lots of photographers have photographed her, but to my eyes Skrebneski captured something unique, something almost magic, in his images. So I believe photography as a medium can capture amazing portraits. And I still remember how excited I was when I learned somebody had discovered and published a photograph of Victorine Meurent, Manet’s famous model. In that case, I don’t think the photograph captured anything special, anything unique, anything almost magic comparable to Manet’s images.

But it occurred to me a couple of days ago that although I have loved the Helga images for decades, I have never felt any imperative at all to ever see a photograph of Helga Testorf, the Helga model.

Once I thought that, of course, I made myself look around the internet. I checked out a couple of photographs of Helga Testorf. And I only shrugged. In photographs I just see an anonymous woman, nothing of the almost magic Wyeth captured in his drawings and paintings.

This is very interesting to me.

Many “drawn” images these days—illustrations and comics and graphics novels—are blunt copies of photographs. Many are, in fact, tracings of photographs, or hand-corrected (or “corrected”) digital variations of photographs that a software algorithm has rendered “in the style of a drawing.”

This is very interesting to me, and I can’t really even say why. Maybe it’s because it seems possible for some images to capture something like a spark of life to them, something almost like real life magic.

Photographs can do it, but almost never actually accomplish it. Drawings and paintings can do it, but almost always nowadays essentially force themselves to forsake the quality and, rather, to embrace the trivial superficiality found in most photographs.

The net result, of course, is that contemporary culture is to a large extent completely missing out on an essential content-component of what for centuries and centuries has been called, “art.”

(And I think about one other thing too, but I’m going to mention this quickly and parenthetically: In a very tangential way, a very internet sort of way, I once crossed paths with a young woman who very much wants to be a celebrity. In many ways she is succeeding. But I am always struck when once or twice a year I look in at her Tumblr. She seems to be always putting up photographs of herself. They seem to be always modern, extreme close-ups of herself. But there is no “almost magic” in these images at all. They are images that present the appearance of what simply might be just another, say, Kim Kardashian wannabe. So I think to myself: Why would a woman do that to herself? Is it because in our modern culture that essential content-component of art—the “almost magic” element that an artist, exceptional photographer or competent painter, can somehow sometimes capture—has become completely lost, and it never even occurs to current generations to look for it? I don’t know. It’s disconcerting and depressing and discouraging and, probably, other “d” words that I don’t want to think about.)

So that’s today’s post. Just an old fashioned kind of blog post—me rambling on about stuff I’ve been thinking about lately.


Looking for refuge
I think I’m lucky I’m not
in an asylum.






. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .



Jeanne Hébuterne — Art As A Grail


All The Issues Of Perspective


Anna Kournikova’s Face


















Tuesday, September 25, 2012

The Real Lesson Of The Gargoyle Arrow





I see myself pointing this at Juli
but then Juli says some improvised lines
and not, “Help me, Obi-Wan Kenobi,
you’re my only hope.”
So then I say, “Cut.”







I stopped to look in at my cactus plants
and outside my window saw a gargoyle.


I took some photos through the window glass
rather than make noise and scare the gargoyle
by trying to slide open the window.


When I was drawing the gargoyle arrow
in Microsoft Paint I had time to think
and I realized I should have opened
the window regardless of any noise.

If the window noise had scared the gargoyle
then possibly it was just a young squirrel
sitting in the corner of the gutter.

But if the noise didn’t scare the creature
then I’d know it might be a real gargoyle.

Now I’ll never know. I have the pictures.

The arrow points at the creature I saw.

The real lesson of the gargoyle arrow
for me is next time I see a gargoyle
I’ll try to scare it then take a picture
to make sure I’m not photographing squirrels.

I’m not exactly sure what to expect
if I scare a real gargoyle. Squirrels just run.

I’m thinking real gargoyles just sit and stare.

Life is adventure. Maybe I’ll find out.

I’ll get photos. If I don’t get eaten.







. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .



A Squirrel And A Donut For Ever And Ever


Exerting Agency, Liminal Entities And Scripts


It’s A Photograph And This
























Monday, September 24, 2012

Pumpkin Are Free






Pumpkin are free. But this is the time of year
when I’m bound, when I’m shackled by fantasy,
enslaved by dreams of going back to school, too,
with the kids, but as some kind of professor,
teaching something like Poetry 101,
where I’d use “The Bonfire” by Frost as a text,
with a different student reading it aloud
every day, letting all the students hear it
every day, letting all the students learn how
every day, a careful poem is always new.

Pumpkin are free. But this time of year scares me,
frightens me, this scary pumpkin time of year,
although even as I type that I’m thinking
it must not be this time of year that scares me
even if all the colors now are like fire—
wood gathered, set ablaze, bright signs through cold air—
but rather I must scare myself, as if school
even existed anymore, as if books
even existed anymore, as if poems
even existed anymore, old or new.

I couldn’t eat anything made with pumpkin,
certainly not donuts that terrify me,
lost and bound in donut-dreams I’ve created
and set ablaze that scare me. Pumpkin are free.







. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


“Oh, Let’s Go Up The Hill And Scare Ourselves...”

Let’s Go To The Library And Scare Ourselves


This Scary, Pumpkin Time Of Year

This Scary, Pumpkin Time Of Year, Part Two


The Fons Et Origo Of Mad Laughter


Merica Uns On Unkin


*


I took that photo early Sunday evening
and I wrote the words late Sunday night.
I haven’t completely finished with
that Louisiana sinkhole business
but I had a strange weekend
and I wanted to start the week
with this.

























Friday, September 21, 2012

Puddle Monsters: Terror In The Distance





“It’s like a puddle,” she said, “this sinkhole.
A giant puddle so deep you’d be afraid
as an adult to play the way kids played
and for fun pretend at the tempter role

and dare a friend to jump it, either whole
or a narrow spot where the strange shape made
a ledge here and one there, a place to trade
a play leap for a play glimpse of your soul.”

They looked in. Some places reflected sky.
Some places were deep, changing, endless black.
Four friends moved closer, all of them seeing

that distance. Sky and depth seemed to defy
them, lure them, pull and press them, make them crack.
They helped each other turn away. Fleeing.
























Thursday, September 20, 2012

The Sinkhole, The Supervillain, And The Plan





Louisiana officials are investigating whether an underground salt cavern may be responsible for a large sinkhole that has swallowed 100-foot-tall cypress trees and prompted evacuations in a southern Louisiana bayou.

The state's Department of Natural Resources ordered Texas Brine Company, which mines the cavern, to drill a well into the cavern to see whether it caused the dark gray slurry-filled hole nearby.

Measurements taken Monday showed the sinkhole measures 324 feet in diameter and is 50 feet deep, but in one corner it goes down 422 feet, said John Boudreaux, director of the Office of Homeland Security in Assumption Parish, about 30 miles south of Baton Rouge.







It has been reported to parish officials that there was a slough-in at the sinkhole site early this morning. Approximately 25’ of embankment on the east side (closer to Texas Brine’s office building) fell into the sinkhole. Several trees were lost during this slough-in.







Rootless cosmopolitan (Russian language: безродный космополит, "bezrodniy kosmopolit") was a Soviet euphemism widely used during Joseph Stalin's anti-Semitic campaign of 1948–1953, which culminated in the "exposure" of the alleged Doctors' plot. The term "rootless cosmopolitan" referred mostly (but not explicitly) to Jewish intellectuals, as an accusation in their lack of patriotism, i.e., lack of full allegiance to the Soviet Union. The expression was first coined by Russian literary critic Vissarion Belinsky to describe writers who lacked (Russian) national character.







The trees lost in the Louisiana sinkhole
were hard-working Louisiana bayou trees,
deeply-rooted Louisiana bayou trees,
and not shifty rootless cosmopolitan trees
jetting off to Shanghai or London or New York
agitating for trees-of-the-world to unite
in a transcendental one world union of trees.

But industrial corporations still dug down
to do their business under those deeply-rooted
Louisiana bayou trees, pumping products
into and out of the geology down there,
down there in the strata of ancient salt and things
that hold up the ground itself with the bayou trees,
until the geology itself somehow quit—
maybe arches shattered or cavern walls crumbled
or pillar shapes fractured—and the geology
gave up holding up the ground and the ground fell down
into itself and the geology below.

You know one of those trees is going to survive.

Betrayed, abandoned, left for dead, its world destroyed,
that one tree will somehow drag itself to safety
and slowly regain strength, suffering every day,
becoming stronger, crafty and swearing revenge.

A supervillain tree, transmogrified by hate
and all the strange products corporations pumped down
into the failed geology it fell into.

And eventually when the government tries
to use a nuclear device to kill the tree
the supervillain tree reveals geology
has agreed to work with it, and the rocks of Earth
call down the rocks of outer space and meteors
destroy the plane carrying the nuclear bomb.

Then a General will put down binoculars
and look at a beautiful woman Scientist
and say, “That was our best hope. What can we do now?”

And the woman Scientist will look at the man
and say, “General, it’s about time you asked me.”

The General will let the woman Scientist
do what she wants to fight the supervillain tree
but he’ll wonder, “Was that sinkhole an accident?”

The woman Scientist will know he’s suspicious
but won’t care because she has a plan of her own.

Meanwhile, a Reporter is watching them both talk...


*


“Just stop typing,” she said, reading over my shoulder.

“No,” I said, “I’ve got this all worked out. It’s like a soap opera.”

“A supervillain tree?” she asked. “Rocks calling down meteors to destroy a plane? Just stop typing. Tomorrow’s going to be another day. Start something else. Because this is not like a soap opera. It’s like two drunk kids talking late at night at a science fiction convention.”

I looked at her. I said, “Did you notice I dropped the hint that the woman scientist might be the real supervillain?”

She said, “Yeah. I did. I noticed that. But I didn’t care. Because it’s stupid.”

I didn’t say anything.

She said, “Don’t start that frowning thing! Just stop typing. Really.”

I gestured toward the screen and started to speak, but she interrupted me.

“No, really,” she said. “Don’t talk. Just stop typing. And come away from the computer. Really. I mean it. Here. Look. I’ll get you a Redbull. Come over here.”

I looked over. She had gotten a Redbull from the refrigerator. I thought, “She has a plan.”

She did. And it worked.


        THE END























Wednesday, September 19, 2012

Synthetic Arcadia And The Hole





On November 20, 1980, when the disaster took place, the Diamond Crystal Salt Company operated the Jefferson Island salt mine under the lake, while a Texaco oil rig drilled down from the surface of the lake searching for petroleum. Due to a miscalculation, the 14-inch (36 cm) drill bit entered the mine, starting a chain of events which turned what was at the time an almost 10-foot (3.0 m) deep freshwater lake into a salt water lake with a deep hole.

It is difficult to determine exactly what occurred, as all of the evidence was destroyed or washed away in the ensuing maelstrom. One explanation is that a miscalculation by Texaco regarding their location resulted in the drill puncturing the roof of the third level of the mine. This created an opening in the bottom of the lake. The lake then drained into the hole, expanding the size of that hole as the soil and salt were washed into the mine by the rushing water, filling the enormous caverns left by the removal of salt over the years. The resultant whirlpool sucked in the drilling platform, eleven barges, many trees and 65 acres (260,000 m2) of the surrounding terrain. So much water drained into those caverns that the flow of the Delcambre Canal that usually empties the lake into Vermilion Bay was reversed, making the canal a temporary inlet. This backflow created, for a few days, the tallest waterfall ever in the state of Louisiana, at 164 feet (50 m), as the lake refilled with salt water from the Delcambre Canal and Vermilion Bay. The water downflowing into the mine caverns displaced air which erupted as compressed air and then later as 400-foot (120 m) geysers up through the mineshafts.


“Lake Peigneur”
at Wikipedia





The origin of the designation Acadia is credited to the explorer Giovanni da Verrazzano, who on his 16th century map applied the ancient Greek name "Arcadia" to the entire Atlantic coast north of Virginia (note the inclusion of the 'r' of the original Greek name). "Arcadia" derives from the Arcadia district in Greece which since Classical antiquity had the extended meanings of "refuge" or "idyllic place". The Dictionary of Canadian Biography says: "Arcadia, the name Verrazzano gave to Maryland or Virginia 'on account of the beauty of the trees,' made its first cartographical appearance in the 1548 Gastaldo map and is the only name on that map to survive in Canadian usage. . . . In the 17th century Champlain fixed its present orthography, with the 'r' omitted, and Ganong has shown its gradual progress northeastwards, in a succession of maps, to its resting place in the Atlantic Provinces."


“Acadia”
at Wikipedia





Still stands the forest primeval; but
under the shade of its branches

Dwells another race, with other
customs and language.


from Evangeline: A Tale of Acadie
by Henry Wadsworth Longfellow

A Project Gutenberg edition
of “Evangeline” is available.
The HTML version is here.






So now we know. Arcadia is not
in Arcadia. And it’s not in France.
It’s not in Nova Scotia. And it’s not
in Louisiana. And soon enough
even Louisiana might not be
in Louisiana any longer.

The forest primeval lost its bottom.

Or rather the bottom was tricked away
by technology, cut away below
the ground below the roots below the trees.

Synthetic Arcadia is the place
that hasn’t fallen into the hole yet.

Synthetic Arcadia and the hole
both are getting larger: Other places,
other customs and other languages.

If I were writing about a woman—
the name Evangeline is a nice one
but it is a name I could never use—
she would be unhappy with the music
she hears, love songs about endless kisses,
and she would go searching for other songs
about kisses that are impossible
where everyone, everything, is falling
away from Synthetic Arcadia.

So now we know. That’s better than nothing.