(3 August 2009, Club Cache)
Neither an imitation nor a tribute, but a snapshot of one of the many epochs that develop in parallel in the city. The band and the patrons live their parts with flair.
4 August 2009
2 August 2009
Take Dance
(Dance Theatre Workshop, 2 August 2009)
The first sequence resembled a warm-up. The players' movements were loose without being spontaneous; the movements lacked purpose. Subsequent sequences improved. Still, a dance often exhibited physique, instead of conveying a thought. The dancers moved the way they had been instructed to, not the way they thought they looked best or felt they communicated most. In solo dances, Amy Young had the vitality that others lacked.
The dancers were at their best---the movements were pointed and pauses were held---when conversing in couples. The conversations of Nana Tsuda and Kile Hotchkiss shone in their fallen elegance, the sometimes formulaic narrative notwithstanding. And it is hard to surpass the eloquence of the red dress against the background of the black-and-white suit.
The first sequence resembled a warm-up. The players' movements were loose without being spontaneous; the movements lacked purpose. Subsequent sequences improved. Still, a dance often exhibited physique, instead of conveying a thought. The dancers moved the way they had been instructed to, not the way they thought they looked best or felt they communicated most. In solo dances, Amy Young had the vitality that others lacked.
The dancers were at their best---the movements were pointed and pauses were held---when conversing in couples. The conversations of Nana Tsuda and Kile Hotchkiss shone in their fallen elegance, the sometimes formulaic narrative notwithstanding. And it is hard to surpass the eloquence of the red dress against the background of the black-and-white suit.
25 July 2009
Kunstmuseum Bonn
(25 July 2009)
Before photography, committing an image to canvas was the only way to guard it against the erosive effects of repeated recall. The invention of photography has raised the bar for the painter by requiring that the painting be not only well-executed, but also false in a manner appreciated by many. Modern failures are exhibited at the Kunstmuseum because they encourage art today for the sake of breakthroughs tomorrow at the price of rewarding mediocrity today, and because they contain a lesson.
The paintings' ugliness calls one's attention to the fortuitous nature of the man-made beauty, displayed and often taken for granted elsewhere. By regressing several steps in their artistic development, the artists question the path that the beauty has taken towards its contemporary form. Even when the finishing touches are grazed just a little, the works incite creativity in the viewer.
The displayed works aim to baffle, not please or enlighten. The bafflement shifts the burden of creativity on the viewer, thereby betraying an artist who has nothing to say.
Before photography, committing an image to canvas was the only way to guard it against the erosive effects of repeated recall. The invention of photography has raised the bar for the painter by requiring that the painting be not only well-executed, but also false in a manner appreciated by many. Modern failures are exhibited at the Kunstmuseum because they encourage art today for the sake of breakthroughs tomorrow at the price of rewarding mediocrity today, and because they contain a lesson.
The paintings' ugliness calls one's attention to the fortuitous nature of the man-made beauty, displayed and often taken for granted elsewhere. By regressing several steps in their artistic development, the artists question the path that the beauty has taken towards its contemporary form. Even when the finishing touches are grazed just a little, the works incite creativity in the viewer.
The displayed works aim to baffle, not please or enlighten. The bafflement shifts the burden of creativity on the viewer, thereby betraying an artist who has nothing to say.
21 June 2009
Agatha Christie: Poirot (1989-2008)
With his fastidious habits, he would not have fit in his native Belgium. In London, a city accommodating (but not indifferent to) eccentrics, he is accepted, with his peculiarities dismissed as foreign quirks. Rearing his thoughts in discipline, he expects exacting discipline from the world that he inhabits. When such discipline is found lacking, it is introduced by interference (e.g., adjusting items on a mantelpiece) or inference (e.g., discovering the necessary in what initially seemed to be arbitrary). His unique ability to bring order---the ability that is the defining characteristic of being alive---is what makes others consider Poirot a hero.
In the "Sad Cypress," Poirot says that to wish a murder is not the same as to commit a murder. The difference is qualitative, not quantitative. To wish for something is to evaluate the prospect of attaining it. Someone who wishes for something may eventually conclude its undesirability, whereas someone who refrains from wishing may do so only because he anticipates his inability to resist the temptation of committing whatever he wishes for.
In the "Sad Cypress," Poirot says that to wish a murder is not the same as to commit a murder. The difference is qualitative, not quantitative. To wish for something is to evaluate the prospect of attaining it. Someone who wishes for something may eventually conclude its undesirability, whereas someone who refrains from wishing may do so only because he anticipates his inability to resist the temptation of committing whatever he wishes for.
15 June 2009
"Mythologies" by Roland Barthes (1957)
Science is a belief informed by evidence; ideology is a belief in spite of evidence; myth is a belief in the absence of evidence. Culture is a system of malleable beliefs; civilization is a system of all beliefs, malleable or not. Thus, for instance, the primitive fear of height is not a part of culture, whereas the belief that this fear can be overcome is. Roland Barthes explores myths.
Whatever M. Barthes aims to achieve with the abstract discourse at the end of the volume either fails or poses the questions that do not merit answers. Confused, but grammatically correct, the discourse is uninformative. Nearly by accident, however, the author describes the myth well by observing that "Mythical speech is made of a material which has already been worked on so as to make it suitable for communication." (The emphasis is in the original.) Indeed, the beliefs forming a myth must be infectious, and therefore altered in order to be suited for easy transmission across individuals.
M. Barthes is at his best when he is least didactic, merely a reporter. In his essay "Operation Margarine," he alerts the reader to the perils of every-day marketing: "A little 'confessed' evil saves one from acknowledging a lot of hidden evil." In "The Iconography of the Abbe Pierre," he warns that looking at the images of saints can crowd out, rather than inspire, charitable acts. The crowding-out occurs either subconsciously, when the charitable feeling is enjoyed without committing any charity (a sensation analogous to viewing pornography), or through misinformation, when the prevalence of charitable images is mistaken for the prevalence of justice in the world. In "Toys," the author points out that the children's toys that are replicas of the objects used by adults encourage a child to accept the world as it is, thereby nurturing a consumer, not a producer.
The petite bourgeoisie, whom M. Barthes both criticises and pities, are portrayed as a class who measure their worth in the consumption of objects, are vulnerable to the manipulation by the advertising industry (commercial and political), and are keen to emulate the outward symptoms of the others' perceived happiness.
Whatever M. Barthes aims to achieve with the abstract discourse at the end of the volume either fails or poses the questions that do not merit answers. Confused, but grammatically correct, the discourse is uninformative. Nearly by accident, however, the author describes the myth well by observing that "Mythical speech is made of a material which has already been worked on so as to make it suitable for communication." (The emphasis is in the original.) Indeed, the beliefs forming a myth must be infectious, and therefore altered in order to be suited for easy transmission across individuals.
M. Barthes is at his best when he is least didactic, merely a reporter. In his essay "Operation Margarine," he alerts the reader to the perils of every-day marketing: "A little 'confessed' evil saves one from acknowledging a lot of hidden evil." In "The Iconography of the Abbe Pierre," he warns that looking at the images of saints can crowd out, rather than inspire, charitable acts. The crowding-out occurs either subconsciously, when the charitable feeling is enjoyed without committing any charity (a sensation analogous to viewing pornography), or through misinformation, when the prevalence of charitable images is mistaken for the prevalence of justice in the world. In "Toys," the author points out that the children's toys that are replicas of the objects used by adults encourage a child to accept the world as it is, thereby nurturing a consumer, not a producer.
The petite bourgeoisie, whom M. Barthes both criticises and pities, are portrayed as a class who measure their worth in the consumption of objects, are vulnerable to the manipulation by the advertising industry (commercial and political), and are keen to emulate the outward symptoms of the others' perceived happiness.
12 June 2009
Spider's Web
(Cambridge Arts Theatre, 11 June 2009)
Much of the enjoyment of this mystery story is derived from suspense. Indeed, most kinds of enjoyment are rooted in suspense. One can listen to an ocean for hours, but not to a clock, because one never knows when the next ocean wave breaks, whereas the timing of the ticking clock is no mystery. Similarly, the enjoyment of memories is the enjoyment of the unexpected during sequential recall.
The company have attained the ultimate goal of most human endeavour: creating order, for which intelligence and good manners are indispensable. Clarissa Hailsham-Brown (Melanie Gutteridge)--- cheerful, not hysterical, happy, not content out of ignorance, kind out of wisdom, not out of duty or fear---would have met even Alfred Hitchcock's standards of understated glamour, perhaps.
Much of the enjoyment of this mystery story is derived from suspense. Indeed, most kinds of enjoyment are rooted in suspense. One can listen to an ocean for hours, but not to a clock, because one never knows when the next ocean wave breaks, whereas the timing of the ticking clock is no mystery. Similarly, the enjoyment of memories is the enjoyment of the unexpected during sequential recall.
The company have attained the ultimate goal of most human endeavour: creating order, for which intelligence and good manners are indispensable. Clarissa Hailsham-Brown (Melanie Gutteridge)--- cheerful, not hysterical, happy, not content out of ignorance, kind out of wisdom, not out of duty or fear---would have met even Alfred Hitchcock's standards of understated glamour, perhaps.
Arcadia
(Duke of York's Theatre, 12 June 2009)
"Arcadia" is as aesthetically close to mathematics as literature ever gets. The play is precise, elegant, and ends with a hope.
Generating knowledge, inspiring knowledge, and recovering lost knowledge lead to, if not immortality, then at least serenity. One finds it necessary to justify the dissemination of knowledge no more than one finds it necessary to justify other primitive instincts: eating or fighting for one's life. Yet, these other primitive instincts are the means for fulfilling the instinct for sharing knowledge, which benefits many, the union of whom is the ultimate organism, on the immortality of which one is wise to bet in one's conduct.
All useful knowledge must eventually be written in mathematics, which is defined to be any logically tight argument. A literary project is akin to one in pure mathematics in that either project is guided by its creator's good taste, even though the project's application may not be apparent at the time of its creation. Yet, good taste---an eye for simplicity---is the anticipation, even if unconscious, of future applications. Good taste is refined and tested by wisely chosen intellectual companions.
Superficially, science is about creations, whereas literature is about creators. Should not posterity care only about the creation, not the identity its creator, the trivia of his biography, and the circumstances of his labour? The biography is the manual to the creative process and fulfilling life, and in this the biography is valuable. When the biography merely exploits the cult of celebrity among the better educated, however, it has little value beyond entertainment.
Tom Stoppard's writing, David Leveaux's direction, and the company's performances are impeccable. Ed Stoppard's performance is definitive of character acting.
"Arcadia" is as aesthetically close to mathematics as literature ever gets. The play is precise, elegant, and ends with a hope.
Generating knowledge, inspiring knowledge, and recovering lost knowledge lead to, if not immortality, then at least serenity. One finds it necessary to justify the dissemination of knowledge no more than one finds it necessary to justify other primitive instincts: eating or fighting for one's life. Yet, these other primitive instincts are the means for fulfilling the instinct for sharing knowledge, which benefits many, the union of whom is the ultimate organism, on the immortality of which one is wise to bet in one's conduct.
All useful knowledge must eventually be written in mathematics, which is defined to be any logically tight argument. A literary project is akin to one in pure mathematics in that either project is guided by its creator's good taste, even though the project's application may not be apparent at the time of its creation. Yet, good taste---an eye for simplicity---is the anticipation, even if unconscious, of future applications. Good taste is refined and tested by wisely chosen intellectual companions.
Superficially, science is about creations, whereas literature is about creators. Should not posterity care only about the creation, not the identity its creator, the trivia of his biography, and the circumstances of his labour? The biography is the manual to the creative process and fulfilling life, and in this the biography is valuable. When the biography merely exploits the cult of celebrity among the better educated, however, it has little value beyond entertainment.
Tom Stoppard's writing, David Leveaux's direction, and the company's performances are impeccable. Ed Stoppard's performance is definitive of character acting.
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