Category Archives: Arts

Jumbo Religious Bon-bons

chocolatejesus.jpg

Paul Hina has some interesting comments about the Chocolate Jesus debacle in New York, this past Easter. Here is an excerpt:

“Catholic League head Bill Donohue called it “one of the worst assaults on Christian sensibilities ever”.

Really? Worst assault ever?

Donahue is an ass, and anyone familiar with his perpetual sense of outrage knows it.  I guess in some ways I can see how Christians might be offended by something like Serrano’s Piss Christ.  But this piece seems tame in comparison. If the piece were shaped from doody instead of chocolate then I could understand. But to me this artist is making an important social comment about the confectionary capitalism that revolves around western religious holidays.

Paul Hina: Chocolate Jesus

Well said!

Criminalising the consumer

appledrm.jpg
The Economist gives us a sober and reasonable editorial on the issue of Digital Rights Management (DRM) more commonly known as copy-protection. Here is an excerpt:

Belatedly, music executives have come to realise that DRM simply doesn’t work. It is supposed to stop unauthorised copying, but no copy-protection system has yet been devised that cannot be easily defeated. All it does is make life difficult for paying customers, while having little or no effect on clandestine copying plants that churn out pirate copies….

While most of today’s DRM schemes that come embedded on CDs and DVDs are likely to disappear over the next year or two, the need to protect copyrighted music and video will remain. Fortunately, there are better ways of doing this than treating customers as if they were criminals.

One of the most promising is Audible Magic’s content protection technology. Google is currently testing this to find the “fingerprints” of miscreants who have posted unauthorised television or movie clips on YouTube.

The beauty of such schemes is that they don’t actually prevent anyone from making copies of original content. Their purpose is simply to collect royalties when a breach of copyright has occurred. By being reactive rather than pre-emptive, normal law-abiding consumers are then
left in peace to enjoy their music and video collections in any way they choose. Why couldn’t we have thought of that in the beginning?
Tech.view | Criminalising the consumer | Economist.com

Meanwhile, the RIAA just keeps getting more and more creative in their pursuit of their criminalized customers. Here is a /. story about their latest exploits:

In an attempt to change the rules of the game, the RIAA secretly went to a federal district court in Denver with an ex parte application. The goal was to get the judge to rule that the federal Cable Communications Policy Act does not apply to the RIAA’s attempts to get subscriber information (pdf) from cable companies. Just to clarify, ex parte means that the application was secret, no one else — neither the ISP nor the subscribers — were given notice that this was going on. They were, in effect, asking the Court to rule that the RIAA does not need to get a court order to be able to force an ISP to disclose confidential subscriber information. The Magistrate Judge declined to rule on the issue (pdf), but did give them the ex parte discovery order they were looking for.
Slashdot | RIAA Secretly Tries to Get ISP Subscriber Info

Laced With History – John M. Kohler Art Center, Sheboygan, WI

Spirit House - Anna Peach
Above is a photo of a piece called “Spirit House” by Anna Peach. It is a dress and train assembled of found pieces of lace. It must be seen to be truly appreciated, the scale and construction are most impressive (as Tom would say).

To give you an example of the ingenuity of the artists in the lace exhibit. There is one who does pieces with “lost substrate” (my term). Think of “lost wax” bronze casting, where an original is made in wax, a mold is then cast around it, then the mold is heated to melt the wax, which runs out. Finally, the mold is filled with bronze to produce a finished piece. In the lost substrate process, delicate lace work is created on a soluble material. Once the lace work is finished, the whole piece is washed with water, the substrate dissolves, leaving only the lace. Brilliant!

Another brilliant example of creative artwork is a piece constructed entirely of hot glue mixed with pigment. The piece, called “Swirl” is like a great big swirl of paisley, and is about twelve feet across. Is is exhibited in a corner room of the gallery. It provokes the question, “How did they move it?”

Much is made in this exhibit of the role that lace has played in society over the years, and its delicate dance with such variable concepts as femininity and feminism. Merrill Mason, amongst others, plumbs the depth of these relationships with a collection of pieces in which lace is cast in iron or bronze, and in exploring the molds which would be needed to do so.

http://www.jmkac.org/index.php?option=com_content&task=view&id=36&Itemid=36

Public Lewdness

 Prince  (1981, NYC) © Laura Levine

The New Yorker has a wonderful profile of Prince (“our Dorian Grey”) in their April 9th issue. Here is an excerpt:

His backup dancers—Nandy and Maya McClean, twenty-six-year-old twins from Sydney, Australia—were energetic and effectively underclad, but Prince was still the most seductive presence onstage. When he simply cocked his head and smiled, it seemed like an act of public lewdness. He is androgynous but not effeminate, perfectly formed (one of the V.I.P.s at my table kept pointing out his butt to her husband, who didn’t seem to mind) but not in the way of a gym rat. Prince’s casual virtuosity, combined with his evident joy in wearing tight clothing, made every song he did entertaining.

Pawn is a fan of such “public lewdness”.

Dueling Lyrics

Pomus, Shuman, Fagin: Tears Dry on Their Own

hiding_tears.jpg I wish I could sing no regrets
And no emotional debt
Cause as he kissed goodbye the sunsets
So we are history
A shadow covers me
The sky above a blaze
That Only lovers see

He walks away the sun goes down
He takes the day but I’m grown
And in your way
My blue shade
My tears dry on their own

He walks away the sun goes down
He takes the day but I’m grown
And in your way
My deep shade
My tears dry on their own

Arthur Hamilton, Cry Me a River:rivertears.jpg

Now you say you’re lonely
You cried the long night through
Well, you can cry me a river
Cry me a river
I cried a river over you
Now you say you’re sorry
For being so untrue
Well, you can cry me a river
Cry me a river
Cause I cried, I cried
I cried a river over you
You drove me,
Nearly drove me out of my head
While you never shed a tear
Remember?
I remember all that you said
Told me love was too plebeian
Told me you were through with me and
Now you say you say love me
Well, just to prove you do
Come on and cry me a river
Cry me a river

Kurt Vonnegut, RIP

Kurt Vonnegut - NY Times

Riding on a bus for 13 hours from Milwaukee, WI to Marshall, MN. January 1979 following a bout with hepatitis, the deepest snowfall and most prolonged winter freeze of my still young life. The bus breaks down in a snowstorm midway from Minneapolis to Marshall and we have to wait an additional 3 hours for the company to send a new one from the Twin Cities, and then continue on to Marshall, another three hours in the white furry mess that the landscape has become.

I don’t care, I am reading Slaughterhouse-Five and I am having my eyes opened to a Timequake draped in blacknew way of thinking and seeing things. Kurt Vonnegut had got me, and he never let go. Until today, that is. Even to his last his raw cynicism mixed with boundless hope and clear vision of what can be, his optimistic pessimism, his hopeless expectation, changed many lives, and changed the very sense of American literature.

Flags are flying at half staff in our hearts tonight, our bookshelves draped in black.

The Times, as is their wont, had an exemplary obit at the ready. You may find it here:
Kurt Vonnegut, Writer of Classics of the American Counterculture, Dies at 84 – New York Times

Guided by Voices (and history).

Sen. Joe Biden (D-DE)Pres. Jed Bartlett (fictional)

On MoveOn.org’s recent Virtual Town Hall Meeting, Democratic presidential candidates were asked by a woman from Coconut Grove, Florida “In your opinion, what is the best and fastest way to get out of Iraq?” Here is Sen. Joe Biden’s (D-DE) response:

To be responsible, one has to be able to answer a two-word question in
my view after you’ve put forward what you think should be done, and
that is: Then what? After we pull our troops out, then what? After we
cap troops, then what? After we cut partial funding, then what?

This is very reminiscent of a response given by President Jed Bartlett in a fictional debate with a Republican challenger in season 4 of The West Wing. In response to Florida Gov. Richie’s “ten word answer” to a question, Barlett responds:

What comes next? That’s the important thing, what comes next? Every once in a while, every once in a while, there’s a day with an absolute right and an absolute wrong, but those days almost always include body counts. Other than that, there aren’t very many un-nuanced moments in leading a country that’s way too big for ten words. I’m the President of the United States, not the President of the people who agree with me.

Now is Sen. Biden honestly asking the question or is he (consciously or not) influenced by the hidden hand of Aaron Sorkin, much as he was guided by the voices of Abraham Lincoln and Neil Kinnock during his aborted 1988 presidential campaign?

For what it’s worth, Pawn agrees with Biden on this (and with Bartlett on his query). There are no good answers on Iraq, and very few good questions, for that matter. Its a shame that Biden’s own policy positions are nowhere near as nuanced as the understanding revealed by his simple question, “Then what?”

Long Live the Stooges!

Chaos at the Line Where Performer and Audience Blur

Iggy Pop and The Stooges took to the stage at the United Palace Theater, and proved that some things just don’t change. Pawn actually remembers going to see Iggy at Milwaukee’s lovely Riverside Theater almost twenty years ago, and deciding that the balcony was the safest place from which to enjoy the show. At the United Palace, Iggy invited the audience to “Invade the stage” and they took him up on it.

More covereage here: Music Review | Iggy Pop and The Stooges

Whiteboard Web Design

No One Belongs Here More Than You

A wordsmith friend of Pawn sent this link to a delightful piece of self-promotion by author Miranda July. It is well worth the time to step through the entire slide show.

Follow up: New York magazine, April 23, 2007 issue, The Approval Matrix had this entry:
“Nonebelongsheremorethanyou.com, quite possibly the most endearing Website ever.”
http://nymag.com/arts/all/approvalmatrix/30604/index.html

Greening the Man – or how do you burn without polluting?

Green Man

Fresh from the counter-culture wires. Burning Man, that annual bacchanal in the Nevada dessert, has had an environmental epiphany. They have decided to attempt a zero carbon footprint for the next festival. Here is the skinny:

Greening the Man

In 2007, we will calculate the amount of climate changing gases that are released into the air by the construction and the burning of the Man and its pedestal. This is called a carbon footprint. Then we’ll
sponsor projects in the outside world that will efface this imprint. Such actions might include the planting of trees or the development of non-polluting energy resources.

 

Having played with fire, we’ll take care to cleanse its atmospheric playground.

 

We are taking some radical measures to ensure that Black Rock City will be the largest “Green” community in the world. These steps will all be covered soon in more detail but this is the outline.

 

1. A Vehicle free Playa.

No gas powered vehicles will be parked within the perimeter of Black Rock City. We
will have an adjacent parking area approximately a quarter of a mile away. Cars and trucks will be able to unload at camp but then must park in the lot. Those choosing to come in RVs will have a separate RV lot to park in. We will also be operating a number of bio-diesel fueled buses to bring you and your equipment from the parking area to your camps. Art Cars will not be affected by this.

 

2. People are the Power.

Another step we are taking is a power grid for all of Burningman. We will not be allowing generators this year unless they run on bio-diesel or a solar source. We will be providing a solar power grid for Burningman assisted by a “power plant” run by the power of Burningman attendees. We will have bicycles and “hamster wheels” that YOU will use to power all of Burningman. We are still working out how access to the grid will be provided and details will be given soon.

3. “Burning Potties”

We have reached a deal with Incinolet http://incinolet.com/ to use their new waste system that uses a powerful heater and blower to reduce your human waste into ash. We will provide participants with plenty of ash bags.

 

By starting with these simple steps we will continue to ensure that

Burningman is a proving ground for a better society.

What about this whole “Carbon Offset” concept? Can we really build a trading economy based upon sin-transference?