RIP Ann B. Davis (May 5, 1926 – June 1, 2014)

You just know she made the best PB&J ever.

It would have been tough under any circumstances to say goodbye to the one and only Alice: She helped raise a couple hundred million of us. She was pretty damned good at it too.

It’s tougher all the more that we had to lose her in, maybe, an all too avoidable way. Ann Davis wasn’t a young lady, but by all accounts she was a sprightly and lively one. She fell in her bathroom and never woke up.

Everyone able to do so values their independence and rightly so. Makes it hard to cede independence—that’s surely what it feels like—when the body becomes a bit less nimble than the mind. To admit that’s so, to ask for help to compensate, has to be one of the hardest things any of us has to do.

There comes a day when surroundings and environments that you’d navigated without thought, for half your life or more, become deadly. Things change in an instant.

Seventy years ago the world exploded in war and when it was over people fucked like bunnies. Seventy years on we’ve got maybe the largest generation of senior citizens the world has ever seen.

They’re stubborn as hell and they don’t want to listen. To us, most of all, because they raised us—sure as Alice did. They don’t want to listen when we tell them we don’t want them to trip and fall.

I don’t know how the hell we’re gonna do it, folks, but we need to ornery-senior proof the planet.

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Every other year – the art world lets its hair down

Doesn’t seem easy for the arts to do the unexpected. Or rather, artists themselves thrive on the unusual and the risky, but the arts establishment does its best to steer them, and their production, right back toward the mainstream. This can’t be healthy.

But an equilibrium, or at least a compromise, seems to be in the offing. If the artists can’t come out to play every day (if they want to maintain a career, that is), then perhaps their reins can be slackened a bit every once in a while. Every other year, maybe.

They’re calling it the Biennial. It’s a series of events, held in alternate years, wherein established art institutions veer a bit off track and spend some time (not too much of course) playing in some unfamiliar sandboxes.

Noted examples include the Whitney Museum’s contemporary art Biennial; the Venice Bienniale (exploring an exciting if unconventional amalgam of modern art, film, dance, and architecture); and the Bienniale of Sydney, one of the longest running, most celebrated, and widely attended arts festivals in the world.

Now comes the New York Philharmonic‘s “NY Phil Biennial,” currently underway, bringing biennial daring to the sonic arts.

And it is daring. The world of classical music is, well, classical. It’s a world where Wagner is grudgingly accepted as a johnny-come-lately.

According to classical-music aficionados, if it ain’t Baroque, don’t fix it.

But Mozart and Beethoven were johnny-come-latelies themselves, once. All music, at some time or another, was new. New and stirring music is being composed all the time. And even in the staid and very classical milieu of the Philharmonic, new music is worth exploring. Occasionally, at least. Every other year, for an 11-day stretch.

Even at that hesitant pace the NY Phil is to be commended. That less-than-a-fortnight run will include 21 concerts, dozens of guest conductors, and some startling original performances—including operas based on Edgar Allen Poe’s The Raven, and a social-climbing pig named Gloria.There will also be symphonies and new-music premiers that while decidedly un-Baroque, are nonetheless likely to become classics in their own right.

All music starts somewhere, and the same can be said for art movements. This is the New York Philharmonic’s first Biennial, and their first serious foray into twenty-first century composition. May it not be their last.

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Memorial Day 2014 – Recognition and Thanks

Memorial Day. It’s the unofficial start of summer, a pre-solstice revelry of warm weather and outdoor fun. For many of us, myself thoroughly included, it’s a long-anticipated 3-day weekend, a barbecue bacchanalia, a day to relax and unwind.

But we all know it’s quite a bit more than that, don’t we? We find ourselves in the thirteenth year of war, and although we, Americans, often accuse ourselves and each other of forgetting or ignoring the young men and women who’ve gone to combat in our names, who are there right now, I don’t think they’re ever really far from our minds.

Especially on Memorial Day.

Americans’ relationship with their military is complex and complicated, and all too often contemptible. We fetishize heroism to the point of absurdity—not particularly for the benefit of anyone we send to the point of the spear, but rather to salve our own guilt; either for sending them there or for not going with them. Then, not content with true, unalloyed heroism, something that occurs in abundance—we create heroic fictions designed to further a narrative or an agenda. We feign hurt and confusion when the principals don’t play along.

And worse, far worse. When they return they’re treated in ways that are inexcusable, that are a stain on our society. This is currently in the news, but it’s far from new.

On Memorial Day, and hopefully every day, we can and must see how wrong this is. We can and must do better. As long as we send people to war, we can and must keep our collective promises to them once we bring them home.

Memorial Day began in 1868 as Decoration Day, a day to honor 620,000 who died in the U.S. Civil War. We still observe it as day to thank and reflect upon those who suffered the ultimate sacrifice. In a larger sense we observe thanks and reflection today in honor of everyone in uniform, and everyone who has worn a uniform, knowing that it was probably just fortune or circumstance that separated them from that same sad and extreme outcome.

Not coincidentally the U.S. Civil War is also the origin of another solemn tradition, one that’s just as emblematic of non-Hollywood heroism, just as indicative of the valor of the combat soldier. The Congressional Medal of Honor is, of course, our highest military award, one given only for “uncommon” bravery. But since the first recipient—Pvt. Jacob Parrott in 1863—and until the most recent, Spc. Kyle White on May 13th of this year, the Medal of Honor has been awarded 3,488 times. A number like that suggests that bravery might not be so uncommon after all.

On Memorial Days past here I’ve tended to tell individual stories, like those of Medal of Honor recipients Freddie Stowers and Charles J. Berry. I still believe that in individual stories a larger truth lies, and for that reason, along with respect and appreciation, I think those stories should go on being told.

But in reflecting on that fact that 3,488 Congressional Medals of Honor have been issued to date, I’ll take this Memorial Day as an opportunity to tell a more extensive tale.

The Civil War remains, by far, the conflict in which the most Medals of Honor were awarded. Nearly 44% of all the recipients earned their Medals between 1861 and 1865. The only woman thus far to earn the Medal, Dr. Mary E. Walker, won hers in 1861.

Like most instances of American combat, the Civil War was never officially declared a war, as the Constitution demands, by an act of Congress. The first declared war in which the Medal of Honor was earned was the Spanish-American War (1898). There were 110 Medals of Honor earned in that conflict.

Nearly 80% of all Medals of Honor awarded have been earned during undeclared wars. This includes all fourteen thus far earned in Iraq and Afghanistan.

It also includes conflicts you’ve likely never heard of. Did you know that the military mounted an armed expedition to Korea in 1871? There were fifteen Medals of Honor earned in the fighting there. The U.S. took part in the Samoan Civil War (1899; four Medals of Honor), the Boxer Rebellion (1899-1901; 59 Medals of Honor), and occupations of Vera Cruz (1914; 63 Medals of Honor); of Haiti (1915-1934; six Medals of Honor); and of the Dominican Republic (1916-1924; three Medals of Honor). The long, bloody subjugation of the Philippines (1899-1913), one of the most ignominious lost chapters of American history, was the occasion for 86 Medals of Honor to be awarded.

Nineteen Medal of Honor recipients have actually earned that honor twice. One president and two sons of presidents have earned the award. Fathers and sons have earned it.

Subjectively, meaning I don’t have the data or citation to prove it, I’m certain that many, many more men and women have earned the Congressional Medal of Honor, but never received it. There’s a good chance that right now, as I write this and later, as you read it, the Medal is being earned. Whether or not it’s ever received is ultimately irrelevant.

Regardless of how we feel about the conflicts that set the stage, every recipient of the Congressional Medal of Honor have earned our respect, thanks, and admiration. This is equally true of every member of the armed services who now serve, and who have ever served.

Happy Memorial Day. Thank you, Specialist White. Thank you, soldiers, sailors, marines, airmen, and veterans. This day is for you.

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World Cup 2022 – Qatar’s and FIFA’s shame

This is not a world without misery, squalor, servitude, and slavery. These things, as much as they should be stamped out, remain tenaciously with us. We shouldn’t resign ourselves to them, but sometimes it seems like we might as well.

But when such evil is propagated not only for the usual reasons (religion, greed, ignorance, religion…religion…) but also for the very mindless, the very unnecessary—for entertainment, for sport—then we need to take a hard look at our world’s priorities, and ask what the hell is the matter with us all.

FIFA, World Cup fans, I’m looking at you.

In 2010, the executive committee of FIFA (Fédération Internationale de Football Association) announced that the 2022 World Cup tournament would be held in Doha, Qatar. The Persian Gulf emirate at once began building the infrastructure, and the dozen new stadiums, that FIFA deemed necessary for the world’s largest sporting event.

But you see, Qatar is the world’s wealthiest nation, on a per capita basis. The average income among their 280,000 citizens is nearly two hundred thousand dollars. Qataris don’t get their hands dirty.

Ninety-four percent of the manual workforce in Qatar is migrant, non-citizen, and subject to a brutal, medieval employment system called kafala, whereby the employer is considered sponsor, even quasi-owner. Employers can seize workers’ passports, withhold exit visas, and can reinterpret employment contracts at will. Workers have no recourse to the Qatari legal system. Once they arrive in the country, they are at their employers’ mercy.

The workers building the World Cup infrastructure are mainly from South Asia: India, Nepal, Pakistan, Sri Lanka. Many say they are being paid a fraction of what they were promised before they left home. They are working in triple-digit heat and living in conditions that reporters and human-rights activists alike describe as squalor. And they’re dying like flies.

Qatar has denied that any migrant workers have died working on World Cup projects. They’re playing a language game there: defining  “World Cup projects” as the stadiums only, and not counting any deaths that occurred during the infrastructure projects. Also, they’re don’t count “natural causes.” Like when a previously healthy twenty-something man dies of cardiac arrest—that’s natural causes.

There have also been suicides, scores of them. Those don’t count either.

Despite increasing attention to this ongoing human-rights calamity, both FIFA and Qatar have done next to nothing. The emirate has promised to make some changes, nearly universally characterized as “cosmetic” by human-rights watchers, to the kafala system. And FIFA? The president of that body, Sepp Blatter, hasn’t addressed these allegations at all; he has instead insisted as recently as a few months ago that it would be “impossible” to change the 2022 World Cup site. More recently, he admitted that awarding the tournament to Qatar was a mistake—but only because it will be too hot there for a summer series.

Sepp Blatter clearly has no conscience, nor shame. So the rest of the world has to be his conscience, and has to supply the shame.

Soccer fans: hundreds of workers have already died to bring you your 2022 World Cup. The International Trade Union Confederation has projected that at the present rate. the death toll will reach at least 4,000 before the games begin.

If the 2022 World Cup is held in Doha it will rightly forever be known as the Death Cup. It will be a stain on FIFA and the “beautiful game” for all time.

The only alternative is to stop this, right now; to rescue the workers trapped in Doha, to punish the Qataris responsible, and to turn FIFA into an organization that doesn’t place picayune sport above human life.

Shame on Qatar, and shame on FIFA. Their shame is monumental, and every day it grows.

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Vince McMahon’s financial smackdown

How was your day, last Friday? Was it better than WWE founder Vince McMahon’s? When McMahon woke up on May 16th, he was a billionaire. When he (presumably) drank himself to sleep that night, he wasn’t.

I had a $20 bill fall out of my wallet once. That hurt. And once I dropped a little over fifty bucks on scratch-off lottery tickets, without a thing to show for it. Mister McMahon, it’s reported, lost about $350 million in the course of one day.

So what happened? McMahon’s entertainment empire, cornerstoned firmly in the “wrestling” realm, is losing fans at precisely the same time it’s investing heavily in streaming media, and in a new deal with NBCUniversal for the Raw and Smackdown broadcast shows. The online services have picked up a paltry 700,000 subscribers and have been operating at a loss since launch. And the take from the TV shows ended up being less than half of even the most conservative projections. The result was a 40% loss in stock value before close of market on Friday, and a roundhouse punch to Vince McMahon’s bottom line.

Of course, the man’s still worth about $750 million. We probably don’t need to weep for him.

Say what you want about entertainment wrestling (what else would you call it?), or McMahon’s outsized personality, or his wife’s avaricious political ambitions. You can even make a pretty reasonable argument that Vince McMahon and the WWE offer nothing constructive to society, and that what happened on Friday was some long-overdue comeuppance. Fake wrestling does nothing for me, so I might be inclined to agree with you.

WWE fans, though—dwindling though they may be—would probably beg to differ. And since they’re the ones voting with their dollars (or lack thereof) then I suppose theirs are the only opinions that matter.

I think I’m giving McMahon some slack here, probably much more than I’d be tempted to otherwise. Because although his strange, strange enterprise doesn’t thrill me in of itself, it has launched some interesting careers. Some of those I shake my head at (there’s no accounting for taste). But in other cases, one in particular, I think Vince McMahon’s talent as a talent scout has done us all a great service.

In 1987 one of the most classic, enduringly enjoyable movies of all time was made. I don’t think it would have been half as good, though, if some years earlier Vince McMahon hadn’t recognized and rewarded the towering potential of one awesomely talented gentle giant.

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Simon Smith’s stunning London

Director and filmmaker Simon Smith has just given us one of the most stunning short films of the year—collaborating across nine decades to create Wonderful London in 1924 & 2014 (link).

Here are Smith’s own words on how he captured this juxtaposition that’s outside of time, in a timeless city:

“In 1924, Harry B. Parkinson and Frank Miller documented London in a fantastic series of short films, known as “Wonderful London”. Over the last few months, I have stood in their foot-steps, recapturing their shots exactly, and have blended the two together creating a window through time.”

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Hot Tech Today: Beyond the controversy

I won’t pretend to be unbiased on this one, or even un-self-interested. I’ve been ‘fessing up about my association with Hot Tech Today since the summer of 2012. Back then we were scrabbling together a little tech blog, posting a few articles per day, augmenting those with some oh-so-slightly risque photo spreads, and—in all honesty—going mostly unnoticed.

Spring ’14 has seen a revivification of Hot Tech Today, a transformation into a multimedia digital magazine, targeted to Apple and Android users. This iteration has, to put it mildly, not gone unnoticed. And although the feedback hasn’t been uniformly negative (a lot of subscribers have left some very complimentary reviews, quite a number of them of the five-star variety)…the froth and churn of some very vocal online HTT protesters, and the resulting press coverage, has created the current controversy that I and other Hot Tech Today insiders find ourselves addressing again and again.

To start with, I’m a writer and contributing editor for the magazine. I write at least one column per issue, usually an opinion piece, and handle editorial duties for the rest of the mag as well as for a lot of our other internal and external communications. As far as the photo spreads and the now-famous Hot Tech Hotties go, I’m so far removed from that part of the business as to almost be without a relevant opinion.

Except that sounds like a cop-out, even to me, and since it’s the eye of the storm in which we find ourselves, I can’t avoid answering it.

Let’s backtrack, then, and take a look at the nature of the anti-HTT opinions. They date from much earlier this spring, from before the launch of issue #1, in fact. They included broadsides fired in Huffington Post, Salon, The Guardian, and Gawker (and most recently, and perhaps a bit more balanced, Forbes). Some of the early impetus might have been triggered by this one (admittedly provocative) image. Beyond the accusations of sexism, though, which seemed bound up solely in how people chose to interpret that “Tech Sexy” picture, the overriding concern, in all those attacks, was that the photos and videos presented in Hot Tech Today somehow contribute to the impediments faced by women working in the tech industries, and in their struggles to be respected as equals in the workplace.

It’s a pretty harsh charge, and we take it quite seriously—and personally. Our response all along has been that it’s a false equivalency. Are we leveraging sex appeal? Are we embracing the idea that not only “tech is sexy,” but also that aficionados of cutting-edge technology also enjoy spicy pics and vids? You bet. But that’s a far cry from disrespecting anyone, or suggesting that gender or appearance have anything to do with aptitude or performance. We’ve never come close to crossing that line, and we never will.

One of our co-founders, Erica Williams, as one of those storied women of tech, has answered these accusations much better than I can, and she deserves to be quoted at length:

“We certainly foresaw some level of backlash, and frankly we’re fine with that. Our magazine isn’t for everyone, and anyone who finds our material objectionable is cheerfully invited to go elsewhere for their tech news. What has surprised us, though, is the strongly held yet very wrong position put forward by some of our detractors that our magazine is somehow demeaning to women in general, and to women working in the tech industry in particular.

I challenge anyone to find anything in Hot Tech Today, be it in our articles, videos, or photo spreads, that in any way demeans or belittles anyone. Do we embrace sexuality? Absolutely! Is sexuality a bad thing? We and millions of others think not.

I’m confident that nothing we’ve said, done, or published in any way reflects negatively on women working in the tech industries.”

All I’d add to that is that Hot Tech Today is, first and foremost, a magazine devoted to tech reporting. Recent articles have examined the impacts of Edward Snowden’s NSA leaks, the new leadership at Microsoft, and the incalculable loss of net neutrality. Part of my responsibility, to my HTT partners and to our readers, is to make sure that Hot Tech Today is and will remain one of the best publications available on the subject of contemporary technology. That won’t change, no matter what the Hot Tech Hotties are (or aren’t) wearing, or what manner of controversy might as a result ensue.

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RIP Bob Hoskins (Oct. 26, 1942 – April 29, 2014)

Fondest farewell to a phenomenal actor, Robert William Hoskins Jr.

Undoubtedly best known for his starring role in 1988′s Who Framed Roger Rabbit, his film and screen resume is long and impressive, dating from the early seventies, and numbering well over 100 roles and appearances. I got to know him from his brief but pivotal turn in Pink Floyd’s The Wall (1982). It was clear then to even my uneducated eyes that Hoskins was an uncommonly gifted actor.

We haven’t seen much of Mr. Hoskins in the last several years. He was diagnosed with Parkinsons disease in 2011, and largely retired from acting the following year.

He died this morning in London of complications from pneumonia. He was 71. His fans, of which I’m one, miss him already.

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The new creators

The birth of digital interconnectivity brought with it an intrinsic challenge: Would our participation in the global conversation be active, or passive?

And the answer came almost at once, because the digital revolution determined, definitively, that content is king. Content is our universal currency, all across the virtual landscape, and we can buy in only with content creation of our own. With very few exceptions, that’s exactly what we do.

Which of course brings its own woes—a deflation of content value, you might say. There’s a flood of content here, in every format and genre, for every audience and (if we’re being honest) for no audience at all. There’s so much content available, much of it free and so easily and readily accessed, that the searcher is often paralyzed by the garish wealth of choices. And then, digging in, the searcher finds the quality of much of what’s on offer to be…lacking, in a word.

But you know, it’s not all like that. Which makes the search for content—quality content, a treasure hunt. I assure you: the treasures are there.

So hat’s off to the new creators, the ones harnessing twenty-first century tools to give us video, audio, text, and images unlike anything ever experienced before. Some of them are transplants from old media, and bring with them old-media muscle. But some are self-supported newcomers—and they’re giving the legacy creators quite the run for their money.

With that in mind, I take this opportunity to recognize Mark Smith (full disclosure: he’s an old friend, and he’s been featured here at the Deconstruction before). Mark is a full-fledged (if self-appointed) content creator, whose ebooks and videos are well worth checking out. Particularly compelling is his new YouTube series, Digital Bottle. Chapter One of DB (heheh), in three parts, is complete, and I’ve embedded it below. I’ve done this not just because Mark’s a friend, or because if he’s recognized and enriched for his creativity I might catch some of the crumbs. I’ve done it because Digital Bottle encapsulates the DIY magnificence of new media. With practically no budget, little backstory and no fanfare, Mark weaves here an eerie and compelling story that rivals anything (and outperforms quite a lot) that the studios crank out.

Of course, that’s just my opinion, and it might be a tad biased. Watch for yourself, then hit Mark up, and tell him what you think….

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Back that shniz up

Take it as a warning. Learn by my woeful example. There are a thousand stupid tech-based ways you can lose hours or worse of work, whether through your own lapses or through the randomness of electron waywardness. In my case—yes okay, it was definitely a dumbass lapse (but explainable! which I will in a moment…) —but the firstline defense for either type of volatile memory bitchslap is the same one they’ve told us since the storage was big and floppy:

Back up your work.

What I lost was an early pivotal scene (or so it seemed to me) in something that’s either going to be a novel (my first choice), or novella or short (runners up), at which I’ve been pecking for months (yet still have only slogged a few chapters into), but for which I’ve lately started to get a little more interested and excited. It’s going to be a ghost story (or is it?!). Why the heck not, here’s a sneak preview for you sneaky pre-viewers.

Anyway it was as I said a pivotal scene, with what felt to me like some heavy psychological lifting. Wasn’t the easiest thing to write. and I was happy to be done with it.

I was also happy, ironically enough, that me and the fam had just sprung for that vital-ist component of the back-it-up credo: a huge chunk of external memory, in the form of this comfortingly blue-lit (it’s like it’s winking!) 3-TB external hard drive.

I’d just hooked it up right before I started writing. In fact, it was even as I opened the ghost-story doc file, that I thought of something I hadn’t explored when playing with the new hard drive, just moments before: Could I save directly to it? I was fairly certain I could (pretty dumb piece of hardware if I couldn’t), but the main backing-up function it served, according to it’s read-me’s and tutorials and whatnot, was to run automatic periodic backups–of files and folders on a daily basis, and full-system every week. But of course you had to be able to save directly to it, right? Easy enough to confirm, and I already had a doc open: my ghost story. So I went to “save as” and sure enough, there was my brand new hard drive. I’d already saved a full-system backup to the thing (that was part of the freshly out-of-the-box playing with), but no harm no foul, I figured foolishly, and went ahead and saved a copy of my terrifyingly psychologically ambiguous (spoilers!) ghost story directly to the new toy.

Then I spent a couple hours writing that pivotal scene I mentioned earlier. I wrote it well, if my humble memory serves.

When I finished writing that evening I clicked save once (habit), then closed the ghost-story doc. Didn’t have to do that, knowing as I did that I’d work on it the next day. But I did. And having saved that day’s work to the external drive, I hadn’t changed at all the original file, sitting all spooky and ambiguously haunted there on the internal hard drive.

Then overnight the automatic daily save did its thing, overwriting the new and improved manuscript, with the previously (unpivoted) one. All that work was gone.

So, well..hell. The first draft of Moby Dick was lost at sea, right? I lost a chapter. However…

Although the writing process hasn’t changed much since Herman Melville’s day (it’s never really changed, in this writer’s opinion–only the tools have) something very fundamental about cognition has. The change is happening right now.

Having been (with only slight exaggeration) gifted by birthright with unlimited digital memory, our own on-board memory capacities are atrophying. We don’t even remember phone numbers anymore. We just collect them occasionally if a device dies unexpectedly, or transfer them from device to device if we have a chance to upgrade without interruption.

Meanwhile a thousand years ago, bards were reciting by memory a thousand different poems, each with a thousand lines.

In the aggregate, on merits, I’d take digital memory over wetware. All respect to all bards, their encyclopedic memory for lots and lots of poetry doesn’t compare to the modern age’s ability to preserve everything. It’s just these occasional failures, these unexpected and unrecoverable losses of data that against all odds, didn’t get saved…that sting. Losing that chapter stung. It stings sharpest of all to know that wet memory being what it is, I’ll never recreate precisely what I wrote that night.

Nevermind. There’s always one last refuge, another slice of the writing process that’s never changed. Whenever feeling low, whether because of writing woes or any other reason, just enjoy an ale from a crystal goblet. Do that, and it’s impossible to be depressed (or to feel like anything less than a Viking)

Edited (Viking-like) to add another writing thought, and shout-out to
Nocturnal Press Publications taking on my vamp-thriller, Voracious.
Nocturnal helped me remember that no piece of writing is ever quite
done. So tho’ I left that particular monster-infested world years ago,
this writerly lifestyle means it’s never really lost in the rear-view.
Thanks, Shane and NP – Voracious is now avail in
print and electronic formats.
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American Blogger – shunned on arrival

Never has one movie been so thoroughly panned, largely by representatives of its supposed subject community, on the strength of its pre-release trailer alone (see here and here). American Blogger is a documentary created by Chris Wiegand, in which he travels the country in a vintage Airstream RV, interviewing bloggers and getting their take on the reach and scope of our yet-evolving information-age communications platform.

Or it can described more pithily, as per SoCal tweeter @SueBob who describes the film thusly: “Mansplaining Blogging Using My Wife’s Friends.” Indeed, filmmaker Wiegand seems to have set out to record first his wife’s blogging travails, then the entire universe of her blogging friends. Nothing inherently wrong with that, but judging by the trailer, the “American Blogger” of whom Wiegand speaks is white, female, and more than a wee bit attractive (to be fair–sort of–a lone African-American female does appear in the trailer, just as the narrator boasts that Wiegand interviews “a range of bloggers”).

I’m resisting the urge to pile on here, if only because I haven’t seen the movie. The trailer is plenty discouraging though—if the aim was to present the “American blogger” to the world, then I have to suspect that Wiegand has fallen short.

To portray the American blogger, or to even somehow represent him/her/them/us, a filmmaker needs to engage a pool of bloggers as diverse as America itself. Indeed, there aren’t a whole lot of unifying factors across our population, except perhaps this: We think we have something to say, and we’re using this particular platform in which to say it. Does Wiegand capture that? I’m not sure, but the trailer gives no indication that he has.

Beyond that, I’ll do my best to withhold judgment and see what sort of film Mr. Wiegand has created for us. Meanwhile, please enjoy this strange, strange trailer:

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Past masterpieces, new perspectives

This is the second time we’ve seen this, so we’ll go ahead and call it a trend. Modern digital artists are revisiting the canvases of painters departed, lending dimensionality to their works. When last we checked in Picasso’s haunting “Guernica” was exploding in CGI; now we’re invited to explore like never before the depths and personalities of Gyula Benczúr‘s 1896 oil, Budavár Repossession. Behold the virtual interpretation of Hungarian graphic artist Zsolt Ekho Farkas:

Results may vary. Some of us might reasonably label this vandalism, or at least unearned appropriation. We might say that the work was completed in 1896, when the artist lowered his brush. A twenty-first century add-on isn’t welcome and doesn’t belong.

Or we might be little more tolerant, and give Farkas et.al. a bit more benefit of doubt. Maybe he’s not appropriating Benczúr’s work; maybe he’s just giving us all a new tool for exploring it.

I’m in the latter camp, if only because that’s what I’d like to believe. Also, let’s not deny it, 3D art is just mind-blowingly cool.

I’m genuinely interested in both points of view, though. So where do you stand? Is 3D reinterpretation an assault on cultural history? Or is it a legitimate application that can lead to a new species of art appreciation?

All viewpoints are welcome and equally respected. Log in or drop us a line, and let us know what you think.

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Join the culture cadre

The United States is one of the few modern societies that, from the top, generally ignores most of its internal cultural development, and ruthlessly politicizes the rest. We haven’t been verging on cultural wasteland-edness for generations on accident—it’s imprinted on our national character, whether we like it or not.

So—NEA grants and public art be damned. Why be part of a system that doesn’t like you and will never understand you?

In contrast, grassroots self-organization has transformed every other people-powered entity aiming to maturate outside the government’s grip. Why can’t it do the same for cultural self-determination?

So I give to you the U.S. Department of Arts and Culture.  Don’t let the official-sounding name fool you; this is a “citizen-powered initiative” that wants nothing to do with the established hierarchy—beyond a bit of good-natured irony. Their mission is described as cultivating “the public interest in art and culture, and [to] catalyze art and culture in the public interest.” Every artist, writer, and lover of cultural growth should consider joining (if for no other reason, then because Glenn Beck thinks it’s a real government agency, and is a fresh and convincing argument for home-schooling).

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The sadness will last forever: Reliving the art of Vincent Van Gogh

We enjoyed a weekend outing, this weekend past (“we” being the Deconstruction Family), to the Cleveland Museum of Art—a world-class institution, boasting a world-class collection, right in the heart of the Rust Belt, and stone’s throw from the Lake Erie shoreline. I cannot commend, nor recommend, this museum enough.

CMA is currently hosting a fascinating special exhibition, called “Repetitions,” a look at Vincent Van Gogh’s practice of reproducing, or producing variations on a theme, of previous works. Witness, for example, his numerous still-life renderings of Sunflowers, each quite different, and each equally, independently gorgeous.

This gives us an exceptional glimpse into the workmanship, the day-to-day practices, of a legendary artist best known for a tragic and extraordinary life. We’re not accustomed to thinking of Vincent in terms of an assembly-line process.

And he deserves this second look. Because although he’s been heralded almost universally since his death as one of the most important artists of the last half-millennium, one must suspect that at least some of this has to do with a shared awe (there’s no other word for it) for his well-known insanity.

Vincent Van Gogh was clearly, dreadfully mentally ill. It translated into his art—the swirls of colors and the distorted perspectives of his later work, particularly those created in his last, frenetic year of 1890, seem to confirm a viewpoint and perspective of an artist who was not seeing the world as most of us see it. It made him, perhaps, a better artist, or at least a more driven one. There was a 70-day period in that last year where he completed 70 paintings. But it also made him a wretch of a man, scarcely able to care for himself, and probably doomed to pass, as he did, far too young, at the age of 37.

On the other hand, the legend of Van Gogh’s madness has taken on a life of his own, perhaps unfairly and to the detriment of a man who lived and died and did the best he could. Two of the best known examples of Van Gogh’s insanity just might be apocryphal: his self-mutilation, and his actual suicide. All we know for certain, in the first respect, is that his ear was cut off. He himself claimed not to remember how it happened (one recent theory is that Paul Gauguin did it). And as for his suicide, that’s equally unclear. On the 27th of July, 1890, he stumbled home, with a bullet wound to his chest. When asked if he’d done the deed, he said that he “must have.” No gun was ever found, though. And a rich merchant’s son, who lived nearby and who was well known as a vicious tormentor of the pitiful artist, was hustled out of town the very next day.

The wound itself was surprisingly not serious. It seemed to have deflected off a rib and missed his organs. However he quickly developed an infection, and within a day and a half, was dying. His beloved brother and protector Theo, his only real friend, had enough time to rush to his side. Van Gogh died in his arms.

His last words have been variously reported. One version had it that, while Theo held him, he said “I want to die like this.”

Another version, this one relayed by Theo himself, is even more poignant, and in one phrase sums up Vincent Van Gogh’s life, death, art, and perhaps the very tortured way he experienced the world.

He said, “The sadness will last forever.”

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Voracious 2014 edition – order now from Nocturnal Press Publications

Couldn’t be happier to report that the latest edition of my 2012 novella, Voracious, is now available for pre-order from Nocturnal Press Publications. All thanks, then, to Shane and his crackerjack team for shepherding this project to fruition.

Amenable to a bit of a waking nightmare? Looking for monsters that just might be looking for you? Then consider adding Voracious to your late-night reading list. Just remember what I’ve told you about these creatures, the ones I call voracious: They feed at will, and the can utterly control you.

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