Friday, December 20, 2019
"The rebels have landed on the top of the main Star Destroyer. They are heading to its communication tower, which is guiding a fleet of planet-destroying ships up to space. The mission is to bomb the tower. The rebels from the ocean moon are charging on horse-like animals. Finn and Jannah run to their target while under heavy fire. It is then we see morning light in the sky above the destroyer. The alien clouds, falling X-wing Starfighters, blasted TIE fighters, flying stormtroopers, the warrior courage of the black man and black woman—all of this happening under a darkling blue sky. The scene lasts for about three or so seconds, but it's incredibly beautiful. The rest of the film was dead to me."
Wednesday, December 18, 2019

Carpenteria, 2019

Ruined friendships & relationships, stress, thousands of dollars & months of time, greenhouse-gas emissions (flights; car rentals), all so some Austrians can admire this big -- for me -- picture & conclude, "So that's what they're doing in Vancouver."

Mamiya 7, 80mm lens, struggling to stand upright on a mucky sea cliff right at twilight.  Shallow depth-of-field because anything slower would have blurred.  No idea if the image is good or not -- I half-suspect it isn't; 99.5% of the others taken on this particular day weren't -- but it's an extraordinarily accurate status update.
Tuesday, December 17, 2019
Rodney is a friend and the author of this text has been publicly critical of my work.  But these paragraphs are fair, accurate, and well argued:

"What I mean to say is that the piece doesn’t only fail because it constitutes a glittering middle finger to the poor and struggling. That’s just obvious. More deeply, it fails because even the positive responses it has garnered evince a vile combination of distanced privilege and smug reverence for facile critical discourse. It’s bad enough that some are content to relish the work’s apparent beauty, unbothered by its corollary suffering. For the chandelier’s defenders, it is valuable because it causes us to think about these issues.

But here’s the thing: the rest of us have already been thinking – have already been seething, for years. This symbol of oblivious decadence shows us nothing that we did not already feel deeply. For this reason it can’t be argued in good faith that its meaning lies in the genesis of conversation. Torqued Chandelier is far more concrete; the sculpture’s material is not only its phony crystal, but also its urban setting, whose social traumas cannot be divorced from the work. Those traumas, having been inflicted by the exact interests that allow this piece to shine so brightly, are both the symptom and the target of this class war taunt. The gaudy decoration simply is what it is."
Sunday, December 15, 2019
"Men struggle more in the dating market when young and over time adjust expectations as the market prices their deficiencies more shrewdly."

(Courtesy Mark Tingay)

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