Anodyne
Saturday, July 20, 2013
 

Woodshedding #2, 2013

Difference from shared materials. Sharp-edged September Vancouver light.  Critics will probably only see mild pathological similarity, but there's also an echo here.

My judgment: #2 came faster than #1 and is better for any number of reasons mostly having to do with internal mirroring and repetition.  Eg., the red hydrant and the Ford's brake light; the diagonal arch formed by the bridge's streetlight and the streetlight on the corner; the vertical seam doubling the crane and the condo-construction photograph; and the sharp wheel and the fuzzed-out wheel, which I didn't touch or alter. The complicated cut-out shadow at lower left, and the zig-zaggy overlapped vehicles directly above it, which precisely rhyme with the lane and crosswalk lines beside them, are a great gift, one of those "abstract" intervals of reality I perceive more and more often now.  In passing: #1 was digitally framed and cropped after-the-fact, while #2 was screen-cropped, even to the point of moving between computers to play with different framing.
 
At the Podunk Hollow Raytheon Pavilion

"Steely Dan played a few of their live favorites, including 'Show Biz People,' fueled by some fine Becker guitar work."
Friday, July 19, 2013
 

Thursday, July 18, 2013
 
Long cranky revealing interview with two of my favorite artists, one definitely crankier than the other.

DF:  We play county fairs too. [W]e play nice fairs. They have sheep-breeding contests and things like that. I enjoy those. It's fun. Sometimes the audience is all farm animals. That's cool, too. Sometimes it's hard to tell these geriatric people apart from the farm animals, actually. It's all assisted living.

WB: I remember I was talking to a Haitian cab driver here in New York. I told him that when I was down in Haiti I heard about how when dinnertime came the mother would give a couple of pennies to the kids, and they'd go to the village and buy four pennies' worth of oil to cook dinner. He was quiet for a while and then he said, 'But that was a strong penny.'
Wednesday, July 17, 2013
 

Woodshedding, 2013

"[A]n outgrowth of the aural tradition in jazz, where a player works out by ear and intuition the music he or she heard played in public."
Tuesday, July 16, 2013
 

Local youngster makes good.  Somewhere up in heaven Guy Edwards is smiling down on kindred spirit M-A LeC.'s humor, humility, & massive talent.

"To prepare myself for my climb, and to ensure myself that I had the fitness required to do my link up safely, without exhaustion leading to poor decision making, I went for a training run. After getting off work early I jogged from my home to the 'Apron' of the Squamish Chief and proceeded to free solo 'Rock On', down climb Calculus Crack, jog to the base of Angels Crest, solo that as well, then run behind the Chief to Shannon Falls and solo Skywalker. After a swim in the beautiful pool below the upper tier of Shannon Falls I jogged back to the parking lot below the Apron and checked the time. It had been 5 hours since I left my home, I was pretty sure the Slesse mission would not be a problem. I was stoked!

I wanted to do the link up as soon as possible, while the approach to the Rib was still in good condition and before the pocket glacier approach to the Buttress deteriorated completely. But I had to work all week. I packed my bag Thursday night, and due to my lack of Vehicular Transport Means I walked directly from work to a Greyhound Bus station and cruised to Vancouver. I always feel bad-ass taking my climbing pack on the Bus with my fancy technical ice tool strapped to the outside... the bright yellow helmet, not so much.

I hitchhiked my way into the Fraser Valley, and was pleased to get picked up despite the visible ice tool on my pack. Luckily I don't look like a serial killer, although most serial killers don't look like serial killers either according to my Mother who works in a Correctional Facility.

Now comes the embarrassing part of the story. Once I was in the Fraser Valley, my dear Mother drove out and picked me up and gave me a ride to the start of the gravel road leading to the trailhead. Sorry Mom, I'll get a car soon. I gave her a vague description of what I was going to attempt, not giving too many details that I could fill her in on once I was back down in one piece. I started hiking the road towards the trailhead at 11:30 PM...."
 

A smooth faux-70s counterpoint to that summery new Daft Punk record that's blasting on everybody's car stereo all up and down Main Street.  Or, more accurately, Aja's willowy Brazilian cousin, voiced in Portugese.
Monday, July 15, 2013
 

"If you’re watching, cinematic realism is probably not your top priority.”
 
"A form of asynchronous, organically overlapping storytelling..."
 
The spatial coherence of multiple images implied through street signs; numbers; sunlight; position of background details.  "Is that Tobias in jail?"  Insisting on every detail as a potential signifier.  Asking viewers to read each image, even the blurry, more-or-less randomly framed & exposed ones, as equally meaningful in the reconstruction of the moment(s) that are the composite work's real subject. (Thus #5's seemingly odd or arbitrary cropping, tilted so as to include both the surveillance camera -- self-reflexivity! -- and the street address -- "4610" at the far right hand edge of the frame).
 
An artwork depicting the before and after of an instant.

What the camera sees.

What it elides.

What it doesn't see.

"The ongoing moment."
Sunday, July 14, 2013
 

ACT (Aesthetically Claimed Thing): Helen Gahagan Douglas

"She was one of twenty.  In a later statement she told the House, 'I will not be stampeded by hysteria nor will I waver for political expediency.'" (Roger Morris, Richard Milhous Nixon: The Rise of An American Politician)
 

977 W. 46th Street, panel 5
 

977 W. 46th Street, panel 4

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