March 8th, 2011

For Lester

I’m not much for euphemisms about death. People don’t pass (either on or away); they die. I think the man I’m about to eulogize would have agreed with me.

Not that Lester Mazor (1936-2011) was above a good euphemism when it suited his purposes. Lester was, among other things, a master of subtle language–of making direct statements that also embraced a particularly enigmatic psychic space that made it hard to tell what he really thought. As a person, his views on humanitarianism, justice, equality, and power were all crystal clear. (He was for the first three of those, and generally skeptical of the latter.) As a teacher–and he was a master teacher–he managed to cloak his own views in ways that forced his students to think, to confront their own (mis)perceptions and prejudices, and to dig a little deeper.

I first met Lester when a friend convinced me to go to a “Law Lunch” that Lester and some of his students had organized in one of the Master’s Houses on the Hampshire College campus; the speaker was someone from Eastern (then Soviet) Europe. “Law Lunch” was definitely a euphemism. There was lunch, that was literally true. But “law” was part of it only insofar as a discussion of what it was like to live under totalitarian rule is actually about “the law.” As a professor of law and legal philosophy, with an interest in Eastern European culture, politics, and history, Lester knew what he was doing. He made the the system at Hampshire work for him, and he used it to attract and build out programs and student participants across the spectrum of his and their mutual interests.

For me, that event was a hook from which I couldn’t wriggle off. Through one vehicle or another, he introduced me to people who remain friends to this day, all while pushing–sometimes gently, sometimes less so–towards the intellectual and academic areas needed to help us grow. When a friend and I expressed an interest in Kafka–an outgrowth of a reading for some other class with him–he encouraged us to teach our own class on it, and taught us how to learn even more in the process. When the study of Dead White European Males seemed in danger of being overthrown completely, Lester helped some of us organize the “DWEM Sem.” Then by co-teaching it with us, he stirred in all the radicalism needed to keep the conversation lively and the academics sharp and relevant.

This was all during an era of turmoil, the last great moment of revolution before the one we’re in now, from the reunification of his beloved Berlin, to the liberation of Eastern Europe, the fall of the Soviet Union, the first Iraq war, and the election of the first Baby Boomer president. Through all of that, Lester remained a stabilizing force, that rare kind of person with whom you can study history as it’s being made. And now, as then, it makes me mindful–amidst the exhilaration of freedom–of the ways in which justice can be brushed aside. Lester was a revolutionary, but he wasn’t in it for the fervor.

There’s something euphemistic about the term “memorial service,” too; I’m not sure what Lester would have thought of that one. Calm and sometimes paternal, I had seen him cry and I knew his larger-than-life exterior was a container for a larger-then-life heart. Still, I think he would have readily signed on to the idea that we do these things–memorials, public eulogies, remembrances of those just … passed–for ourselves more than for the dead. And if I’d ever said I’d write such a thing about him when he was gone, no doubt he’d have shrugged his shoulders and given me one of his little “hmm-mmms” that seemed to emanate from somewhere deep inside, and then suggest that I check both Aristotle’s “Poetics” and Norman O. Brown‘s “Life Against Death.”

I have mine right here, Lester, and Brown quotes Jespersen quite clearly: “Men sang out their feelings long before they were able to speak their thoughts.” Consider this my song.

February 1st, 2011

Googly Eyes For Google?

I have to admit: a little part of me was rather saddened today to see the launch of the Google Art Project.

The arguments in its favor make perfect sense, in the abstract.  It offers easy access to a lot of art, globally (or at least, for those with a good internet connection and a good computer).  In mapping galleries and providing scanning options of the space, it can help someone understand a work of art in its museum context – what works are adjacent, what surrounds it, etc. – as well as get a feeling for a place they may be planning to visit.  Providing selected works for high-definition, very detailed viewing offers some joys, too; it can be hard to see most paintings at this level of magnification while they hang on the walls of a museum.

And then there’s the broader trend: museums are digitizing their collections, developing online companion pieces to 3-D exhibitions, creating Smartphone apps, developing teaching tools, and more.  All of which – I can say unambiguously – is the right thing to do, and must be done.  The museum person and the technologist in me are in agreement on the need to embrace this challenge.

Still, I felt sad by the digital rigor mortis of this art, and those clinically captured galleries. For one thing, it’s hard to see even a small work of art effectively on a computer screen.  (In my office set-up, I have two; that is, one computer running two, new, 19″ flat panels. Even with that luxurious arrangement, I still don’t feel like it’s adequate, not least because Google compresses the viewing picture into an inset box.)  Zooming in on specific works of art shows you much detail, but you lose the three-dimensionality to which the human eye responds so well in person, as it moves back and forth between different zoom levels and focal points in nano-seconds.

You might (rightly) ask yourself whether my perspective means much, as an insider: that the value of this system is for the people who cannot get to these museums in person.  But if you are a regular museum goer, it’s hard to see this really taking the place of an in-person visit.  And if you’re not a regular museum goer, either because you don’t like museums or you don’t find art particularly stimulating … well, I just wonder how much allure – or benefit – there is to seeing works of art you probably are not familiar with as they hang in galleries you haven’t visited.  In fact at some level, this is a very elite take on the idea of accessibility: you need to be able to appreciate art in order to appreciate art in this context.

I admire Google for trying this out, just as I appreciate so many of the company’s Beta and Lab initiatives; Google has the resources to test out solutions to problems real and imagined, and I consider myself generally better off for their experiments.  Certainly the museums that participated made the right choice: why wouldn’t you want to collaborate with Google on such a project?  If it had been my client, I would surely have recommended they move ahead.  But this whole thing feels cold to me, demonstrating once again the challenge of trying to replace (or even supplement) the in-person experience of an authentic work of art with a simulation, where so much detail and context is lost.  Untangling the gordian knot of digital solutions for art museums is not going to be as simple as one slice through the center with the Google Art Project.

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Update: Also read this piece by Menachem Wecker on the Iconia blog, with other perspectives (as well as mine) on Google Art Project. Boston Globe art critic Sebastian Smee weighs in. ArtInfo has a piece on another company that created and deployed a similar (perhaps better) technology.

December 16th, 2010

Public Fun

I woke up yesterday feeling intellectually under-caffeinated. When that didn’t change after a large cup of coffee, I decided something else needed to happen—and in the random and mysterious ways of the subconscious, I started thinking about some wordplay around letters of the alphabet. I started, of course, with “A,” and came up with almonds, alfalfa, and asparagus off the top of my head. As I wrote them down on a scrap of paper, next to my computer, my conscious mind took over, and I thought about Tweeting my three words. But … why?

Why indeed. My three words all happened to be foods, and I thought it might be fun to focus my brain teaser a bit further by requiring all the words for each letter to be foods. The alliteration was clear (if nonsensical—but then, the whole thing was nonsensical), so I thought of calling them “alliterative diets.” But who would do a diet of almonds, alfalfa, and asparagus? It seemed more fun expressly calling them fake diets. Alliterative fake diets. And so a Twitter hashtag was born.

If none of this sounds funny, well, you had to be there. It’s not funny the way that most humor isn’t once you start dissecting it–so I’ll stop, and just point out that you can see the (public) list of my Tweeted #AlliterativeFakeDiets by clicking on that link. Then I’ll move on to say that what you (most likely) cannot see is the way this took off on Facebook with a couple of friends. They responded to my silly idea precisely because it was silly, and because they like food, and by the time I’d gotten to “F,” the theme was fairly clear and they were off and running. All the letters not at the link above were covered by my friends, on Facebook, from their own inspiration.

And this, you might say, is why I love the internet—and have come to love social networking in particular. Not so much because I created a nonsensical brain teaser for myself and then others thought it was fun, but because it makes it possible to have fun with people, in near-real-time, over distances large or small. If I had just mentioned it to my wife, she would probably have brushed it off as early morning nonsense. My three year old might have enjoyed playing, but I couldn’t stick around all day to hear her come up with food words. My colleagues might have enjoyed this (at least some of them) but I didn’t want to forcibly interrupt—and, anyway, some of them follow me on Twitter and could join in there. Why share them over Twitter in the first place? Because my “alliterative fake diets” concept is exactly the sort of thing that works well on the internet generally and Twitter and Facebook in particular.

I got combinations for the first few letters fairly quickly, and popped them into Twitter, and it had served its original purpose for me: my word recall had improved, my brain was firing a bit faster, and the caffeine was now doing its neuron-connecting job more effectively. But the “conversation” around this with friends took it to a whole new level: it went from brain teaser to mood changer. How could it not be uplifting to see them coming up with combinations like “wasa, waterzoi, watermelon,” and then discussing whether there were rules about what could be included or why one combination worked better than the other? The internet was built for this. Maybe not purpose-built, but it serves the purpose nonetheless. And while it’s easy to laugh off as a means of wasting time, in this case I think the intellectual and emotional benefits were well worth it. We finished the alphabet, which felt good, and that’s a feeling I won’t dismiss easily.

November 4th, 2010

Don’t Ask

“The Ask”, by Sam Lipsyte – New York: Farrar, Straus and Giroux, 2010

Let’s get right to it: This is no master work. If anything, it feels like two books that got workshopped into one.

The majority of Sam Lipsyte’s 2010 novel “The Ask” is an exercise in witty glibness, a chance for Lipsyte to show off his humor skills. Lipsyte is clever and creative–funny is the right word–and he has created some entertaining foils for protagonist Milo Burke. It’s hard not to smile at the joke of an unwanted child whose mother named her “Vagina,” and of the kindly hospital worker who introduced an “r” to save her some self-respect. Likewise the entertaining, faux-hip linguistic stylings of Horace, who makes up words and terms at will, and who (we discover) lives in some cage-filled converted Brooklyn warehouse that seems both realistic and far-fetched. Together the three of them work in the development department of one of New York’s lesser universities, hence the title’s reference to a basic fundraising activity.

But the jokes about Horace and Vargina wear thin after a while, as does the antagonism with and between Milo and his son Bernie and wife Maura. Milo himself grows tired of them all, and in an unwritten and explosive moment early in the book, he loses his job by offending a student whose very expression bore the kind of entitlement that Milo couldn’t stand (and also envied). But while it would be charitable to ascribe all of this ennui to authorial intent, I have the feeling it’s mere coincidence. Tiresome is tiresome.

It is also hard to make a legless Iraq war vet a good comic foil for anything, and so it’s hardly a surprise that it doesn’t work well here. Don is the bastard son of Milo’s long-lost, wealthy college friend of Purdy, and Milo–whose own childhood suffered from a different kind of bastardization–seems to want to find some sympathetic kinship with Don, to express an appreciation for a level of childhood loss that Milo believes is part of his own pain and yet, of course, Don has more pressing concerns.

Purdy gets Milo his job back, as part of the a vague commitment to make a gift to the university. Purdy also sets Milo to the task of being his go-between with Don, the son he can barely stand to acknowledge let alone see. But the humor again grows thin as Milo himself starts to fall apart, under the weight of an adulteress of a wife, an ungrateful child, a demanding friend, a lost-and-barely-regained job, and his own misery at having abandoned his artistic pursuits in favor of some kind of faux-bo-ho existence.

The book, too, starts to fall apart under this weight. Then, in the last 5o pages, Lipsyte takes off ardently in a different and, at times, more earnest direction. It is a transition–from glibness to sadness–that doesn’t work well, and the arrows in Lipsyte’s quiver are neither as sharp nor as well-aimed as he thinks. Unlike (say) a Roth or an Updike, who (particularly in their early work) managed such effective takedowns of different parts of society along with the unhappinesses of their characters, Lipsyte offers no such salvation here. Early on there’s an effective series of jabs at the fundraising culture at unesteemed institutions of higher education. But as social commentary it ranks low and, by the end of the book, it’s lost in Milo’s self-absorbtion.

Lipsyte is clearly good for clever, 21st century turns-of-phrase. Perhaps this story just got away from him. But honestly, I’d have run away too.

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