Arts

“Matt Cheney”:http://mumpsimus.blogspot.com/2005/09/genius.html voices a common complaint about the MacArthur foundation awards.

bq. I’m glad Lethem was chosen, and certainly am excited for him, but this choice continues the unfortunate trend of the MacArthur award often going to writers who have already found a lot of success. Imagine, for instance, how much it would have changed Lethem’s life to get this award not right now, when his books sell well, but ten (or even five) years ago, when the $500,000 would have done exactly what it is supposed to do: free the recipient from financial considerations that limit their ability to experiment.

And indeed, a cursory glance at the list of awardees tells us that well over half of them are over 40, and/or well established in their career paths. Of course, the MacArthur foundation has excellent institutional reasons for choosing people who already seem to have established themselves – to do otherwise would be to take much bigger risks that MacArthur awardees are going to flake out later or have mediocre careers. But then, would you do better? If you think so, your nominations (more or less serious please) invited in comments for people who _should_ get awards in the future. Less serious speculations as to the most plausible blogger to receive a MacArthur are also invited (my money would be on “Cory Doctorow”:http://www.craphound.com/bio.php).

I’m back from a few days in Munich, which I’d recommend as excellent value to visit. (I suspect there’s an oversupply of hotel rooms in advance of next summer’s world cup.) It rained nearly the whole time I was there, but that didn’t stop me from visiting some excellent art galleries: the wonderful “Alte Pinakothek”:http://www.pinakothek.de/alte-pinakothek/ , the goodish “Neue Pinakotek”:http://www.pinakothek.de/neue-pinakothek/ and the sinister and intruiging “Villa Stuck”:http://www.villastuck.de/ . Of course I also managed to consume a large number of excellent sausages and quantities of “Dunkles Weißbier”:http://www.xs4all.nl/~patto1ro/munibrew.htm ! All of which brings me on to a less flattering observation on Germany and the Germans, namely, that the Germans may well be the worst dressed of the major industrial nations. Admittedly, the competition is stiff from us British and from the Americans, but I think the Germans may win on grounds of sheer uniformity. It is possible to sit and watch a string of people of all ages and sizes walk past all dressed as follows: dark denim jeans, dark denim jacket, trainers (sneakers). The monotony is hardly broken by the occasional deviant who leaves the denim jacket behind for a regulation black leather one. Since “Jamie Oliver’s Naked Chef”:http://www.jamieoliver.com/ is now dubbed into German — so much for Chirac joking with Schroeder about British cuisine — I can’t help wondering whether the Germans aren’t in line for some British or American clothing-and-lifestlye fascism TV: “Trinny and Susannah”:http://www.bbc.co.uk/lifestyle/tv_and_radio/what_not_to_wear/index.shtml or “Queer Eye for the Straight Guy”:http://www.imdb.com/title/tt0358332/ perhaps. But perhaps they already get those shows and are showing a laudable determination to resist.

[For Alex: here’s a link to a picture of Gabriel Cornelius von Max’s “Monkeys as Judges of Art”:http://de.wikipedia.org/wiki/Bild:Gabriel_Cornelius_von_Max%2C_1840-1915%2C_Monkeys_as_Judges_of_Art%2C_1889.jpg from the Neue Pinakothek.]

How fitting that the greatest sporting moment (so far) of the 21st century, and one of the greatest comebacks of all time, should be commemorated “thus”:http://icliverpool.icnetwork.co.uk/0500liverpoolfc/0100news/tm_objectid=15870300%26method=full%26siteid=50061%26headline=night%2dof%2dtriumph%2dcaptured%2din%2dlego%2d-name_page.html :

bq. WITH a triumphant look on his face, Steven Gerrard can be seen standing next to the Champions League Trophy flanked by his manager, Rafael Benitez.

bq. But look again. For this is not an image from the historic final between Liverpool and AC Milan in Turkey earlier this year – it is a re-creation of the scene made entirely from Lego.

bq. Artists Darren Neave and John Cake – who are known as The Little Artists – have built the work from the toy bricks and it will go on display at Liverpool’s Walker Art Gallery later this week.

The photo-sharing site Flickr has come out with some nifty features recently that make it even more fun to browse pictures on the site than before. Beware, there are hundreds of thousands of photos to see, and more ways to navigate the Web site than before so a simple click can take you away from whatever it is that you were doing for longer than what you might expect. Of course, just like with blogs and many other things, there is a lot of uninteresting mediocre material. But there are also great pictures to view. To help find these, Flickr came out with the interestingness feature. To figure out what gets highlighted in this section, they are using “a ranking algorithm based on user behavior around the photos taking into account some obvious things like how many users add the photo to their favorites and some subtle things like the relationship between the person who uploaded the photo and the people who are commenting (plus a whole bunch of secret sauce)”. There is a calendar feature that lets you browse the interestingness category by day.

Another new feature is their clustering of tags. First, let me take a step back for those who are not familiar with the service at all. When users upload photos to the system they can tag them with descriptors such as name of location, type of event, etc. Photos across the entire site can be viewed by tags. Say you are interested in viewing photos of Chicago. There are over 70,000 photos tagged with “chicago” so you are likely shown many that are not of interest. Tags in and of themselves are only so useful since someone may tag all their private party photos with the name of the city in which the party took place, but that won’t be of much interest to someone looking for pictures of the urban landscape. This is where the new clustering feature comes in handy. For popular tags, the system now offers you related tags so you can be sure that you’ll be viewing pictures of the Chicago skyline, buildings or Millennium Park if that is what’s of interest. (Note that when looking for something specific, it’s worth checking alternate spellings/specifications. For example, you’ll get more pictures of Millennium Park under the misspelled tag milleniumpark than under the correct spelling millenniumpark.)

Some basics about Flickr: anyone can create a free account, which comes with the ability to feature 200 photos organized in up to three sets with a 20MB upload limit per month. For $24.95/year you get much more (unlimited storage, 2GB upload limit, no ads, etc.). You can add contacts and specify them as acquaintances or friends. When you upload photos, you can specify them as public or restricted to your contacts. You can join communities based on interest and affiliation. You can mark photos as your favorite and find them easily later. You can add notes to photos. You can leave comments on people’s photo pages. It’s a neat service, I recommend giving it a try.

When you upload photos, you can either reserve all rights or specify a Creative Commons license for them. Although many people – especially those who seem to be pros – reserve all rights, many do not. Thanks to the Creative Commons licenses, the site offers great illustrations for those in need of adding some photos to other sites, presentations or whatnot without worrying about copyright infringement.

I really enjoy browsing the site aimlessly, but I also appreciate viewing pictures from people to whom I have some connection. So if you happen to have a flickr account, how about posting a link in the comments? My album is here.

Realistically speaking, I better put the Time Sink button on this post. Enjoy!

In the July edition of Prospect Erik Tarloff reviews What Good are the Arts? by John Carey. Tarloff’s critique (subscription-only link I think, but give it a try) is summed up in the write-off

If I prefer Ribena to Château Lafite, does that make me a fool? No. It’s just a matter of taste—as it is for art. That is John Carey’s thesis, and it’s wrong

I haven’t read Carey’s book yet, but as far as I’m concerned, Tarloff is wrong. Not having read the book, I won’t assert that Carey is right, but he is certainly raising the right questions.

The difference between ‘Art’ (I’ll defend the scare quotes later) and mass-produced cultural products is, in most respects, just like the difference between Château Lafite and Ribena. One takes a lot of skill and indefinable talent to produce, and an experienced palate to appreciate , and the other is cheaply produced in bulk and reliably appeals to basic tastes we all possess[1]

In fact, this comparison is too favorable to ‘Art’ since a lot of stuff produced under that banner, and accepted by its official representatives, has none of the merits of Château Lafite, while lots of things that don’t make into the canon are subtle and complex.

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Giulini’s recording of The Marriage of Figaro was, I think, the first opera CD I ever bought. It remains one of my better choices. He died the other day at 91, and “there’s an obit in the Guardian”:http://www.guardian.co.uk/obituaries/story/0,3604,1507333,00.html .

Nearly a week has passed since I endured the finale of Phyllida Lloyd’s Ring for the “English National Opera”:http://www.eno.org/home/index.php . I wrote up earlier episodes on CT, so I ought to complete the job. Kathleen Broderick was just amazingly good as Brunnhilde and the orchestra — under the direction of Paul Daniels — played very well. But producer Phyllida Lloyd should be shot, or worse.

Wagnerphobes are going to be mystified at the complaint that a production of the Ring was silly. “Isn’t it always?” Kieran might say. Well, up to a point. This production of Twilight of the Gods was really very silly indeed, but also trite, one-dimensional, incoherent and offensive. I have no objection to modern dress productions of opera or Shakespeare, to radical changes of location or period. That’s fine. If a producer can give us a new insight into a work of art, or make it come alive for a modern audience, that is ok by me. But this wasn’t anything like that.

It was gratuitous and exploitative. (This was signalled before the performance even started by the programme, which contained photographs of the Twin Towers burning, a severed hand amidst post-Tsunami debris, and cows being burnt in Britain’s last episode of foot-and-mouth disease.) The culmination of this urge to grab hold of any random news image or bit of popular culture for shock value was the portrayal of Brunnhilde as a suicide bomber in Act 3. In between we were treated to Siegfried as rhinestone cowboy and Brunnhilde as Judy Garland (opening of Act 1) and Hagen as game-show host (wedding in Act 2). Why does Judy Garland metamorphose into a Palestinian suicide bomber?! I have absolutely no idea.

Utter crap.

Two blogospheric manifestations of Beckett. First, Maud Newton links to an old piece in the Guardian, defending the critically panned novel, _Mercier and Camier_ as a good starting-point if you want to start reading Beckett. While I agree, I think that his early novel, _Watt_ is even better; it’s a sort of evolutionary missing link between Flann O’Brian and Beckett’s own later work. Some very fine jokes; I especially like the railway porter who is both “stout” and “bitter.” If you start by reading Beckett’s earlier novels, you’re more likely to get and enjoy the less obvious (but still real) comedy of his later work. _Waiting for Godot_ is a very funny play if you’ve got a particular sense of humour.

But if you really want to find out about the brighter side of Beckett, you need to ask Janice Brown. Mark Kleiman gives her grief for perverse reading and misattribution in this widely cited (and rather scary) speech, but by far the best bit is her stirring closing paragraph, in which she puts Beckett to work ladling out some Chicken Soup for the Conservative Soul.

Freedom requires us to have courage; to live with our own convictions; to question and struggle and strive. And to fail. To Fail. Recently, I saw a quote attributed to Samuel Beckett. He asks: “Ever tried? Ever failed?” Well, no matter. He says, “Try again. Fail better.” Trying to live as free people is always going to be a struggle. But we should commit ourselves to trying and failing, and trying again. To failing better until we really do become like that city on the hill, which offered the world salvation.

This passes beyond misprision into an appalling sort of creativity. What _would_ that city on the hill look like if Beckett were the architect? Inquiring minds would like to know.

Update: small changes following comment from Jacob Levy.

Update 2: title changed following realization that a Bad Pun was trapped in the post’s main body, waiting to be liberated.

Amardeep Singh at the Valve presents us with a long quote from Samuel Johnson on aesthetics. It’s a nice quote, but I prefer the one below the fold (taken from The Rambler no. 106), which seems quite apposite to the enterprise of blogging.
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The Washington Post has a piece on the battle between “family friendly” editors who sanitize films for conservative family consumption and film directors, which poses some interesting political questions. On the one hand, I reckon that leftwingers should be supporting conservatives on principle in this fight. As I wrote at the beginning of this year (in one of the worst-titled posts of all time), there’s a strong argument that conservatives should have the right to ‘remix’ bits of the culture that they don’t want to consume. Why shouldn’t they be able to take the sex out of Hollywood movies that their kids watch (just as leftwingers might want to protect their kids from rampant consumerism)? On the other, there are clear costs to this:

Family Flix, which claims to have the toughest standards, removes “sexual innuendo,” including suggestions or depictions of homosexuality. It recently edited “The SpongeBob SquarePants Movie,” an animated film with a PG rating, to eliminate a scene in which a male starfish character sings and dances while dressed in fishnet stockings and high heels.

I’m strongly attracted to what might be called, for want of a better term, BoingBoing socialism. That is, I buy the argument that some of the key goals of the left can best be achieved through maximizing individuals’ control over the conditions of their consumption (and, by extension, maximizing their ability to remix and re-produce cultural goods). But what’s sauce for the goose is sauce for the gander. Empowering people to make cultural choices we might ‘like’ is also going to empower them to make choices that we might dislike too – to separate themselves from what many of us would consider to be a minimal shared social consensus on homosexuality. There are some extremely vexing questions about the appropriate relationship between the common culture and dissenting sub-cultures like the one that Christian conservatives have very successfully created, a difficult balance to be struck. As individuals’ ability to remix their cultural consumption increases, so too will these questions become more urgent. At the moment, I don’t have any very good answers to them.

This is one of the most exciting things to have happened in a long time. Scientists using a new photographic technique have made amazing strides in deciphering the famed Oxyrhynchus papyrii (the contents of an Egyptian trash-heap). Apparently, just in the last few days, they have discovered previously unknown writings by Sophocles, Euripides, Hesiod, and Lucian, as well as a long epic passage from Archilochos. It’s not particularly likely that you’ve ever had a look at how much Archilochos there is in the world, but let me tell you: ain’t a whole lot. Not even one complete poem, if memory serves. (Oxford’s Delectus ex Iambis et Elegis Graecis has all the details.) From the Independent:

The previously unknown texts, read for the first time last week, include parts of a long-lost tragedy – the Epigonoi (“Progeny”) by the 5th-century BC Greek playwright Sophocles; part of a lost novel by the 2nd-century Greek writer Lucian; unknown material by Euripides; mythological poetry by the 1st-century BC Greek poet Parthenios; work by the 7th-century BC poet Hesiod; and an epic poem by Archilochos, a 7th-century successor of Homer, describing events leading up to the Trojan War. Additional material from Hesiod, Euripides and Sophocles almost certainly await discovery.

Oxford academics have been working alongside infra-red specialists from Brigham Young University, Utah. Their operation is likely to increase the number of great literary works fully or partially surviving from the ancient Greek world by up to a fifth. It could easily double the surviving body of lesser work – the pulp fiction and sitcoms of the day.

Go Mormons! (Now if only you could find those darn gold plates and diamond spectacles!) I know every Classics scholar and enthusiast in the whole world is waiting with bated breath…
On the other hand, this Scotsman headline is enthusiastic but misleading: “‘Lost’ classical manuscripts give up their secrets after 9,000 years.” What’s 7,000-odd years among friends, after all?

It wasn’t my intention to post twice on Wagner in 24 hours, but “the Observer’s report on the ENO’s Twilight of the Gods”:http://observer.guardian.co.uk/uk_news/story/0,6903,1451219,00.html has me worried:

bq. In what will come to be regarded by opera fans as a moment of bizarre heresy – or of creative triumph – Brunnhilde, the leading character in the ENO’s new production of Wagner’s Twilight of the Gods, was portrayed as a suicide bomber. Clad in a modern jacket packed with explosives, the betrayed lover of Siegfried, played by Kathleen Broderick, obliterated the rest of the cast by detonating herself in the dramatic ‘immolation scene’ that ends the opera.

I have tickets to see this production at the end of the month and, since, I have already attended the previous three in ENO’s cycle, I’m going to go. I hope my worst fears won’t be realized.

From “a piece by Andrew Clark”:http://news.ft.com/cms/s/8cf0b7c8-a0e0-11d9-95e5-00000e2511c8.html in today’s Financial Times:

bq. Until the final scene, the Hamburg State Opera’s November 2002 production of Die Meistersinger von Nurnberg had proceeded without comment. Everyone was primed to applaud the hymn to “holy German art” that brings Richard Wagner’s four-hour pageant to a climax. Then came the bombshell. Midway through Hans Sachs’s monologue about honouring German masters over “foreign vanities”, the music came to an abrupt halt. Suddenly one of the mastersingers started speaking: “Have you actually thought about what you are singing?” he asked. No one had experienced anything like it in an opera house. There followed a lively stage discussion – some of it shouted down by outraged members of the audience – about Wagner’s anti-Semitism in the context of 19th and 20th century German nationalism.

There’s much to disagree with in Clark’s piece, both in terms of particular judgements about the relationship between ideology and music and over the claims he makes for the extent of Wagner’s influence. Still, worth a look.

As CT’s resident Rousseauiste, I’d like to pass on the news to residents of New York City (and parts thereabouts) that the Johnson Theater will be staging the “first ever US production of Jean-Jacques Rousseau’s play Narcisse”:http://www.theaterforthenewcity.net/narcisse.htm from 7-10 April:

bq. an utterly contemporary drama that deals with the problem of narcissism and sexual ambiguity. The play is about a man who falls in love with an image of himself dressed as a woman and explores contemporary issues of desire, self-obsession and the difficulty of the relation between the sexes.

Enjoy!