Monday, December 31, 2007

Ring in the New Year

With oranges and lemons


The Bells of St. Clement's

City sounds these days are bereft of the beautiful chimes of bells. Instead, we are subjected to unidentifiable noises (is that a giant air conditioner, are those the rumblings of the subway, and when are these sirens going to stop)?

Still, we can do the best we can by remembering old nursery rhymes.
"Oranges and lemons", say the bells of St. Clement's
"You owe me five farthings", say the bells of St. Martin's
"When will you pay me?" say the bells of Old Bailey
"When I grow rich", say the bells of Shoreditch
Winter treats really are oranges - those reminders of sunny summers. And this little rhyme perfectly encapsulates the joyful ringing of church bells.

So, ring in the New Year with bells - at least here at Camera Lucida!

Happy New Year!

Friday, December 28, 2007

Is There a Muslim Architecture? - Update

The difference between "building" and "architecture"

Some thoughts:
- Muslim architecture is a confused and mishmash affair. So, it just barely fits in the category.

- Architecture is primarily about the carefully organized and planning of space and materials in order to erect a structure.

- Architecture also implies a history and a progression.
  • In my opinion, and studies, Muslim buildings are not carefully organized. There are very few blue-prints around for Muslim buildings
  • They are not really planned, and appear to rise out of an organic growth – start in the middle and just keep on growing, for example.
  • There is no historical antecedent nor progression in Islamic architecture. There is a historical presence, but no real progress or clear antecedent.
I'm working on this thesis, and will provide a more detailed commentary on it some time soon.

Wednesday, December 26, 2007

Articles

The Sins of the Fathers

Conquering the Architecture of Death
ChronWatch.com 02/7/08

License for Aesthetics in Wilders' "Fitna"
ChronWatch.com 04/02/08

The Visual Force of the Cross
ChronWatch.com 05/08/08

Olympian Ordeals: Can We Regain Our National Symbols in Time for Summer 2008?
Camera Lucida 05/15/08

Stealthy Islamic Inroads into our Culture
ChronWatch, 07/24/08

Zhang Yimou, Spokesman for China
ChronWatch, 09/13/08

Islam's Missionary Women
ChronWatch, 10/02/08

Race and Insurrection
Chronwatch, 11/09/08

Australia: Whose Land is it Anyway
American Thinker , 10/01/00
ChrownWatch, 11/01/09

The Underbelly of Belly Dance
Camera Lucida, 25/11/2007

Ingrid Mattson: Portrait of a Convert
Camera Lucida, 10/02/08

Nadya Suleman, The Inadvertent Cybele
Camera Lucida, 11/03/08

Critiquing the Critics of the Immigration Movie "Crossing Over"
Camera Lucida, 03/30/09

Sarah PalinLost Opportunity For Change
ChronWatch.com, 06/21/09

Sarah Palin: Whose Family Values
American Thinker , 06/26/09

Confessions of a Shopaholic: Even Feminists Cannot Alter the
Moral of Screwball Comedies
Camera Lucida, 08/04/09

A Welfare Tale
Frontpage Magazine, 01/13/00

A Return to Country
Frontpage Magazine, 02/16/00

Truth and Fiction in Polanski's The Ghostwriter

Reclaiming Religion from the Left
Frontpage Magazine, 04/19/00

Burqa Prejudice
Frontpage Magazine, 06/15/00

Monday, December 24, 2007

The Star of Bethlehem

A celestial manifestation

Genesis 1:15 He made the stars also.



The star that led the wise men to Jesus' manger has been extensively studied by astrologers (and astronomers) for centuries.

There is a consensus that it did occur, and was part of a natural, celestial, phenomenon.

A lay astrologer, Rick Larson, started his long project of trying to identify the authenticity and nature of this star after his daughter's innocent request that he put up a star on their Christmas decorations. His question: "What was the star?" led him to years of investigative work. You can read the transcript or watch the PBS video here.

Eventually, he concluded that the star was possibly a rare conjunction of Jupiter and Venus, making an extremely bright light.

But Larson doesn't stop there. Nine months earlier, there were some other celestial events which were recorded by St. John, indicating Jesus' conception. At Jesus' death, there was also a lunar eclipse recorded, as described in the crucifixion account.

Nature and the heavens conspired through the centuries to align the stars and the planets at the exact, precise location to indicate the mystery and glory of the birth of Jesus.

Merry Christmas to all!


Thursday, December 20, 2007

Is There a Muslim Architecture?

Some thoughts


Muslim architecture is a confused and mishmash affair. So, it just barely fits in the category.

Why is it a mishmash?

Because there is no real structure. One cannot say that this is "Mosque Architecture" or "Fort Architecture" or "Domestic Building Architecture." It is almost as if anything goes, anywhere.

Also, because of its extreme borrowed nature, including building on old churches and old Roman structures, and actually incorporating those architecture into their newly formed buildings, originality is a big problem. Christian/Western architecture hardly ever built on older structures, but rather built new buildings instead.

I should add also, that even within one building, there are so many styles and forms and shapes, that a coherent structure is difficult to find. It is as though the pulled all the stops, to make the most beautiful building.

So, one could say that there are "Muslim Buildings, with borrowed structures from previous buildings, and borrowed ideas, shapes and forms, with a haphazard collection of shapes forms and structures."

I think that is the extent of Muslim Architecture, to be precise.

Based on these five points, I will analyze the Mosque in Cordoba, Spain.

a. Cultural functionality
b. Aesthetics (beauty)
c. Spiritual dimensions
d. Technical invention --- NEW
e. Technical genius

Here are more points to consider:

a. Cultural functionality: As a place where Muslims can gather to worship their god.
Does it work? Yes.

b. Aesthetics: The repetition of the arches in all directions, giving a sense of infinite, never ending space.
Does it work? No - It would make me feel a little claustrophobic after a while. Like in a maze with no escape.

c. Spiritual dimension: The feeling of the infinity of god, endlessly repeated (like the arches) everywhere in the building.
Does it work? No - The confusion from the structure would leave me frustrated and unfulfilled. I can never find god.

d. Technical invention: None. Borrowed from previous "horseshoe" and curved arches from pre-Islamic and Byzantine models. The "innovation" is to put one arch on top of another, to heighten the ceiling. But this was already done in Roman aqueducts. Also, the pillars or columns and the foundation already existed from a previous Visigoth church.
Is it inventive? No.

e. Technical genius. None, since most of the structure's innovations were based on other existing structures (see d. above).
Is it ingenious? No.

Now, the Cordoba Mosque is a Christian Church. But then aren't the Christians doing the same by superimposing on an existing building? No. The original structure was a church. So, it is back to where it was.

Arches in Cordoba's Mosque (now Cathedral).

Arches in Cordoba's Mosque (now Cathedral).

Roman Aqueduct


Tuesday, December 18, 2007

Saint Joseph and Christ

Jesus's Earthly Father

We read so much about Mary and Jesus, and the art world has glorified her role in so many ways, that in these few days before Christmas, I thought I would post some paintings and sculptures of Joseph with Jesus.

Many of these painters are not famous, and in fact, the only two I could find who had paintings of Joseph in his role as father, or as an individual apart from the holy family unit, were El Greco and Rembrandt.

Left: St. Joseph. By Rudolph Blattler, Switzerland, 1899
Right: St. Joseph with the Christ Child.
By Giovanni Francesco Barbieri, Italy, 1600s


Left: Saint Joseph and Jesus. By Enrico Manfrini, Italy, 2000
Right: St. Joseph and Child. By Enrico Reffo, Italy, 1800s


Left: St. Joseph, The Holy Child. By Bartolome Esteban Murillo,
Spain, 1600s
Right: Holding Heaven. By Ron DiCianni, USA, 2004


Left: St. Joseph, The Holy Child. Cuzco School, Peru, 1700s
Right: St. Joseph and Jesus. By Guido Galletti, Italy, 1965


Left: Saint Joseph with Child. By Brother Simeon, USA, 1900
Right:Joseph with Infant Christ. By Bartolome Esteban Murillo,
Spain, 1655-56



Sunday, December 9, 2007

Update 2: Art and Politics

Notre Dame de la Méditerranée?

As always, politics tries to take over everything. And the "Mediterranean Union" is no different.

After searching hard to look for an article I remember reading in the Brussels Journal about a recent art exhibit in Rome exploring the "common Mediterranean identity" which of course really means the merging of Arab and European, all I could find was commentary, and nothing on the exhibition itself. There are no direct links to the exhibition at all.

Except for a google search which located the the most comprehensive information reprinted fully at American Renaissance: Italy: Mediterranean Man Explored In Rome Art Show - the original article is no longer available on the internet.

I suspect this is part of the continuous secrecy that shrouds all dealings between Europe and Arabia, hence my skepticism at Sarkozy's alliance (notwithstanding his obvious attempt at power mongering, leaving Germany out of the picture - now that could be excusable, but Sarko really doesn't understand the hot waters he's entering).

Here is a quote from the curator:
"This exhibition is an utopia, of bringing together united in dialogue the countries of the Mediterranean, with their wealth of history and culture, too often divided by tragic conflicts"
Here is the pertinent quote from the article, and the message of the exhibition:
The language of the artists on display at the Vittoriano complex in central Rome is experimental and seeks to launch a message which underlines the existing historic links between the people of this region, who all face onto a sea which should serve to unite different cultures who share a common if turbulent history.
I remember doing a google search for the artists mentioned, and found them all to be of the same body of modern/contemporary "artists", weak on the technique, and strong on the concept. So, perhaps in they are a community in their mediocrity, as dictated by the methods of current art schools. Yes, North and South have really merged.

Here are a couple of examples that I could find on-line, one of a Moroccan, another form a Jordanian. They could just as well come from any gallery in down town Toronto or New York.

Nawal Abdullah, Jordanian, from "Manifestations of Light" series. 2004

Naissance, by Fathiya Tahiri, Morocco. "Installation" at the 2005 Venice Biennial

What a long way art has come from the beautiful French gift of the Algiers Basilica.


Saturday, December 8, 2007

Update: Pray for Us

Notre Dame d'Afrique

I try not to infuse too much politics into the arts, but then my blog heading, A place to explore and shed light on how art, culture and society converge, cannot always work without politics.

In my previous post, I showed how the French of the 19th century gave the Algerians a solid Basilica, which stands to this day.

What are the French of the 21st century giving Algeria?

Gallia Watch has been documenting French politics on her blog, and more recently Sarkozy's trip to Algeria, and his attempt to build a bridge between Algeria and France.

According to this source, he plans to build a Mediterranean Union of the Souther European countries (France, Spain, Italy, Portugal and Malta), and Northern African Countries (Morocco, Algeria, Tunisia, Mauritania and Libya.) Already, the German chancellor has denounced his plan, and the EU is not too pleased with another competitive body.

But why is Sarkozy doing this? What is his goal for uniting Muslim countries with secular/Christian European states? Does he not heed the warnings of Bat Ye'or, and her Eurabia predicament? Because what will really happen is that the aggressive and manipulative Arabs will make sure they get their way: on immigration (open borders), Islamic culture dissemination, trade which benefits them, and above all a strong hold in Europe which they had to relinquish when they were forced out of Spain in 1492.

In fact, it was a weak European link that allowed them to enter Spain in the first place, and set up the longest reigning Islamic rule over Europe, even longer than what the Ottomans did to the southern and eastern Europeans.

Sarkozy is behaving exactly like the weak link, which is actually already there and about to break from the extreme pressures building in France from their resident Islamic "youths."

The Algerians have already started with their antagonism. Here is a comment by Algeria's Minister of Vetetran Affairs aiming a jab at Sarkozy's Jewish grandfather by saying that Sarkozy came to power due to a "Jewish lobby that has a monopoly on French industry."

At least the French of the 19th century knew to keep the Algerian at arms length. But what will France give Algeria in the 21st century? Probably the greatest, most terrible gift of all. Herself.


Priez Pour Nous et Pour les Musulmans

Notre Dame d'Afrique

Notre Dame d'Afrique across the Mediterranean from
Notre Dame de la Garde


During their colonization period in Algeria, the French built the Basilica Notre Dame d'Afrique in Algiers. Miraculously, the place still stands, and is still used as a place of worship for Catholic Algerians. The Church lies at the northern coastline of Algiers, and is thought to be a complement to the Notre Dame de la Garde across the Mediterranean in Marseilles.

Religion is a combination of tradition, architecture, geography and symbolism. And the French Catholics were susceptible to all of them when transferring their Catholicism to Algeria.

The statue of Mary in Notre Dame d'Afrique has fine Caucasian features, but is ebony black. The reasoning has to be that this metaphorically black Madonna would be a gateway into the rest of Africa at this point of entry, and act as an incentive for and a familiar guard over her new converts. It is also a clear indication that Algerian and French Catholics are two different peoples.

The positioning of the Basilica is also very important. As a new church, facing the hill-top Notre Dame de la Garde across the Mediterranean would give Notre Dame d'Afrique the support and the protection (and the prayers) from her mature brethren in Christ from across the sea.

Finally, the French modeled the Basilica after the Byzantine Eastern churches, which influenced the great domed mosques of the Ottoman period, who took their example from Constantinople's Hagia Sophia. Mosaics, also a feature borrowed by mosques from the Byzantines, figures both inside and outside Notre Dame d'Afrique. Thus this north African church, in the land of the Muslims, who wished to draw them into her interior, wouldn't be so strange and alien in her Islamic surroundings.

And what an interior, with the prayer: "Notre Dame d'Afrique pray for us and the Muslims" written across nave facing the alter. And what a difference from Constantinople's Hagia Sophia, which after being converted into a Mosque by the Ottomans, now bears Islamic calligraphy plates which cover Christian images.

God helped the French to build the perfect church in Notre Dame d'Afrique. The proof is that it she still standing and performing her rites.

The Interior of Notre Dame d'Afrique with the mosaics,
the Black Madonna and the inscription "Prier pour nous
et pour les Musulmans"

[Click images to see a larger versions]

To get more information on the French presence in Algeria, Gallia Watch covers it along with several posts on Sarkozy's trip to Algeria, and also mentions Notre Dame d'Afrique at this post.

Sunday, December 2, 2007

Camera Lucida in the Hot Seat

Interview by blogger Beakerkin

Here is a comprehensive interview by blogger Beakerkin of The Beak Speaks, from New York City, who was kind enough to provide me with interesting and challenging questions. I hope it isn't too presumptuous to post it. I think this is a great way to re-introduce myself.

I have re-arranged the positions of the questions and answers somewhat.


General

Beakerkin: What are some of your favorite films?

Camera Lucida: I tend to go for the romantic ones like The Titanic and Gone with the Wind. But when I feel serious, I find that Eric Rohmer, the French director, has an uncanny probing into the human psyche, and he is quite generous too, rather than cynical.

But, I also love the black and white American classics with Ava Gardner, Audrey Hepburn, Lana Turner, Marlene Dietrich. And of course the indomitable Clark Gable, Gary Cooper, Cary Grant, Gregory Peck etc…

Beakerkin: I have noticed that few people on the left have a sense of humor. Is it just impossible to save the world and be comedic at the same time?

Camera Lucida: You know, I find that some of the most serious people have a real sense of humor, and some of the most avowed comics are very serious people. So, I guess the world works mysteriously with both kinds.

Beakerkin: Is there a semi-religious component to the far left? Are people like myself and Warren just more practical?

Camera Lucida: The only thing I can think of about the leftist mentality is that they have an inferior/superior complex. They feel inferior but want to come off as superior. Perhaps their religious component is their narcissism. They always seem so self-obsessed, and tend to worship whatever morality it is they themselves come up with.

Beakerkin: Is the study of the classics in Literature important ? Should students be introduced to Shakespeare and Moby Dick? Should we replace them with more current authors?

Camera Lucida: I find that modern novels (I tried reading Joyce, but got lost halfway, and the same with Virginia Wolf) tend to leave me slightly depressed. Either they’re too pessimistic, or they’re too self-conscious. I studied Shakespeare first when I was only 13 – we had to memorize parts of Macbeth for school tests. There’s nothing like memorization of beautiful parts of great literature. With time, the meaning becomes more and more relevant. Of course, we couldn’t understand it at the time!

As for Moby Dick, what fascinates me is that the author went into every possible field, from art to religion to botany to ship building, to write his book. A truly erudite author. I wonder if there are any like him around now?

Contemporary literature tends to be confessional and self-obsessed. And the authors are often called up on plagiarism. Is it lack of imagination?

Finally, I think also the Classics, Roman and Greek, should be taught. I studied Latin only for two years as a teenager, and it is amazing how it helps with language. I’m so sorry I didn’t study it more. Modern day life (from buildings to words) is still dependent on these ancient civilizations.

Art

Beakerkin: What are your views on art. Is there a particular school of art or artist that you are fond of?

Camera Lucida: These days I’ve been looking at a lot of Byzantine Art, which has bee relegated to the back burner of Art History. But the sumptuous golds, and the transcendent faces and expressions are very moving. I love the Leonardo drawings. I’ve been looking at a lot of Titian lately, especially at his many Mary Magdalenes. And Rembrandt’s depictions of Biblical stories are a great pleasure to contemplate.

Amongst the moderns, the flowers of Emil Nolde, the seascapes of Dufy, and the interiors of Matisse bring a smile to my face!

Beakerkin: We have an odd poster a Commie named Ducky who has a disdain for Renoir. He feels that Renoir is over rated. Yet in my opinion one can see the love of the subject he painted mostly women reflected in his art. What are your views on Renoir?

Camera Lucida: There is something funny about Renoir. If you look at his most famous painting Bal au Moulin de la Galette, it looks like people who got together during a summer (Sunday?) afternoon to enjoy each other’s company. In reality, though, most of the women in the painting are prostitutes or dancers from cabarets, and the men bohemian artists. There is nothing innocent about the painting.

I think this is the biggest catch in modern painting. It usually goes for some extreme, taboo subject, however subtly.

For example, Warhol’s Marilyn’s are really a form of iconography. But it is blasphemy, since he’s bringing an ordinary woman at the same level as say Mary.

Older painter also did their share of nudes (usually following classic myths), but often their biblical works are exemplary!

Beakerkin: Some religions like Islam and to a much lesser extent Judaism have prohibitions against sculpture and paintings in a house of worship. Does the presence of stained glass windows and frescoes in a church enhance the experience.

Camera Lucida: In Ethiopian (and Eastern Orthodox Churches, as far as I know), sculpture is prohibited, since it is believed to be closest to human form, due to its 3D nature. Yet, these are churches which put icons of Mary right in the church where people kneel to her and pray to her!

Personally, I think that anything that reminds you of God is wonderful. Religious art does it much better than secular art, for obvious reasons. But like everything else, we have the responsibility not to let the art dominate the belief itself. A painting, a hymn, or a sculpture cannot substitute for God.

Beakerkin: Traditional Jewish houses of worship do not have musical instruments. There is the Shofar but that is not a musical instrument. There is plenty of singing of prayers but it is done without instruments. My friends would often joke about playing the charge theme at sporting events before performing ceremonies. Do musical instruments in Church enhance or detract the overall experience?

Camera Lucida: Not at all. It is like paintings, sculptures and other works of art. In fact, the whole of religious art can be summarized as one of the ways in which we can remember God and get closer to Him. This is especially powerful during a Church service, surrounded by holy music and sacred stories on beautiful stained glass windows.

Originally, also, religious imagery was used as a teaching tool for illiterate converts, and also as a constant reminder to new believers through visual forms.

Beakerkin: There is a perception that religious people do not appreciate fine art. My experience has shown this to be a false premise. Is this just another stereotype?

Camera Lucida: It is a difficult not to regard say Matisse’s work as some very intelligent use of color and deconstruction of space. It all becomes a kind of mental playfulness when you compare it to Pietas of Christ. Religious paintings always leave me with wonder and deep emotion, whereas Matisse and all those other colorists just make me smile. (Or not – depending!)

Fashion/Design

Beakerkin: Is fashion a lower art form than painting or just a more practical application of art to every day life?

Camera Lucida: I really think that any kind of decorative art, like fashion, interior design, jewelery etc… is secondary to art. It lacks the attempt at spiritual depth, and is instead trying to give you superficial (surface) pleasure.

You can love a beautiful ring because of the fit, the combination of gem stones, the colors, and the exceptional design, but can you compare that feeling to one of Rembrandt’s crucifixions, or even Renoir’s transcendent (but not necessarily holy) faces?

Beakerkin: When I worked in the fashion industry there was an odd disdain for the customer. The designers would dread designing for the masses and this disdain would result in clothes that were poorly designed. What are your views of the fashion industry? Have the products become better or worse on an aesthetic level over the last five years?

Camera Lucida: I think many fashion designers have become like modern artists, where their "inner" creativity wins the day. In some ways fashion has gone both ways, where there are the crazies like John Galliano who just goes over the top. His clothes are very interesting to look at, but are totally unwearable.

And there are those like Stella McCartney, and even Betsy Johnson, who seem to be designing for themselves, in some basement with a sewing machine. Where they seem to have a disdain for craft. And their clothes are also unwearable (no style).

So, yes, it is all about themselves. Galliano is talented and can get away with it. But in my view, Stella and Betsy are just hoaxes.

Beakerkin: The people in the fashion industry of NYC have an odd divine mission mentality. This may seem odd but the Fashionistas have a sense of purpose that exceeds that of DHS. Is the devotion to fashion misunderstood by people like myself ? I am a numbers person and just see products, deadlines and profits? Am I missing the boat?

Camera Lucida: Yes, it all borders on the semi-religious. I think this is the mark of the modern artist, who has become The Creator. Fashion is no different.

Beakerkin: Most clothes are designed for tall rail thin women. In actuality fit models are not attractive and are selected for bodily proportion rather then beauty. Is unrealistic body image part of the problem in the fashion industry ? Lets face it most women are not 5'10 and a perfect size eight. What are your views on the subject ?

Camera Lucida: You know, I don’t think the average woman on the street cares about "realistic" fashion models. It’s like emulating the stars, we look up to them rather than be on equal footing with them.

That said, the ordinary woman is very creative at bringing the fashion to her level, after seeing what Cindy Crawford or Linda Evangelista was wearing lately. I think a down-to-earth fashion magazine like InStyle does a great job of that.

Ethiopia

Beakerkin: I am familiar with some of the people of Ethiopia, Eritrea, Tigre, etc. can you explain what the major groups are? What separates them tribal history, language or locality.

Camera Lucida: They are all part semitic peoples having descended from the Sabaeans of Southern Arabia peninsulas several thousand years ago. They are mostly found in the northern regions of Ethiopia.

There are actually three similar groups: the Tigrean, the Eritreans (who now have their own country) and the Amhara.

Their differences are mostly language, and historical leadership. The Amhara people are probably the most Ethiopian of the three, having invested in leadership and nation building unlike the Tigre, through centuries of dynasties of Kings and Emperors. For example like the late Emperor Haile Selassie. I would say the Tigre are more tribal oriented than national. An Amhara will say “I am an Ethiopian.” Whereas a Tigre is more likely to side with his ethnic group first.

Beakerkin: How far were you from the Gondar province where the Jewish population the Falasha lived ? Did you ever meet them in Ethiopia.

Camera Lucida: When I was very young, and still living in Ethiopia, we lived mostly in Addis Ababa, the new capital city in central Ethiopia. Gondar, much further north, used to be the old one. I honestly didn’t know anything about the Falasha until the whole brouhaha broke out. I remember people discussing the Falasha and saying that it was a ticket to get out of Ethiopia for “fake” ones. I don’t know how true this is. I also don’t think they were persecuted, but lived in rural areas like other Ethiopian agricultural peoples.

Beakerkin: Ethiopians have a Christian Church that has a slightly different Bible than the rest. I think the book of Enoch is accepted in the Ethiopian Cannon. What should lay people know about the Christians of Ethiopia?

Camera Lucida: Well, you have to understand that Ethiopia followed the Copts, and the monophysites, at the very early schisms. This was not really a theological disagreement, but rather a "political" loyalty to the Alexandrian Patriarch at the time. With the isolation that ensued, yes, there are versions of the Ethiopian Bible that do not meet the criteria of other Bibles. But, nonetheless, the Ethiopian Orthodox Church, throughout the centuries of Christianhood, has kept in touch with western and eastern churches (for example, Ethiopian monks were invited to the Florence Council as late as the 15th century), and still continues an ecumenical relationship with other churches.

Well, perhaps the most striking thing with the Ethiopian Orthodox Church tradition is its connection with the Old Testament. I think it is one of the most Judaic of the Christian Churches. For example, young boys are circumcised in the Jewish tradition, and some dietary habits of devout Christian follow the Old Testament strictures.

Beakerkin: There was a brutal Communist thug named Mengistu whose misrule created a civil war and massive deaths. Did the ethnic separatism of the Eritreans etc. start with Mengistu or exacerbate the divisions of Ethiopia.

Camera Lucida: The Eritrean question has been brewing since its federation with Ethiopia in the 1950s. But I can say that it had been successful in many ways. I know many Eritreans who really feel a deep connection with Ethiopia still. It was a Marxist rebel group which started the guerrilla warfare (not the general population), and it was funded by Arab, Muslim countries. So, the whole separation movement was initiated by a minority of outsiders.

Beakerkin: The Rastafarians have an unusual reverence for the former ruler of Ethiopia Haile Selassie. Is their odd views on pot smoking and the former ruler of your country annoying or comedic.

Camera Lucida: It is pretty annoying. Actually, Haile Selassie was generous to these people and gave them a bit of land outside of Addis (part of the Exodus?). I think he was hoping to bring them back to their senses. Or who knows, he may have been flattered. But, this non-Christian view does not win them many friends. Although, I must say, many Rastas have converted to the Orthodox Church, and have been trying to do the same to other Rastas in Jamaica.

Beakerkin: What is the official language of Ethiopia? Few people are aware that the fourth Semitic language Amharic is Ethiopian. Are Ethiopians more related culturally and historically to the people of the Arabian Peninsula and Semites then West Africans.

Camera Lucida: Yes, it is Amharic, which is a branch of the semitic languages. Ethiopia is unique in that her history is so separate from Arabia, and the rest of Africa. Even the original Sabaeans who migrated across the Red Sea eventually built their own separate culture and traditions. Plus, the Christian religion and tradition made it a country truly apart from the rest of Africa. Funnily enough, though, many African countries have turned to Ethiopia for leadership. For example the original Organization of African Unit (OAU) has its headquarters in Addis Ababa.

Tuesday, November 27, 2007

Churchill's Hobby

And Hitler's obsession
One of the most pleasantly surprising things I learned about Churchill was that he spent time painting watercolors. He was modest about it, though. And didn't let it influence his politics. I think it was something he did to appreciate nature and beauty, especially after the expensive purchase of his Chartwell House home, whose grounds he often used for painting.

Contrast this with Hitler, a surprisingly competent artist, whose hubris got the better of him, and he decided to experiment with off-the-canvass creation and reconstruct the whole world according to his maligned vision. This, at least, is Eric Michaud's thesis in The Cult of Art in Nazi Germany about what was behind Hitler's grand project.

I bring this up because of my recent posts on auctions and exorbitant prices of useless and beyond mediocre works by the likes of ---- Damien Hirst et al.

Churchill's work is no masterpiece, but it comes with the history and wisdom of the man who said:
The cultivation of a hobby and new forms of interest is a policy of first importance to a public man.

The Marrakech painting is being put to auction this December 13 at London's Sothesby's. It was a gift from Churchill to President Harry Truman in 1951. It is likely to fetch $1.03 million.

A fair price for a worthy historical record.

Marrakech, about 1948. By Winston Churchill

Yes, and paintings attributed to Hitler do go up for auction. The good news is that they don't bring nearly as much as Churchill's.

Sunday, November 25, 2007

The Underbelly of Belly Dance

There is a curious phenomenon that has been going on in North America and Europe for the past few decades. Thousands of women are ‘shamelessly displaying their femininity’ through a Middle Eastern dance form more dubiously known as belly dance.

The ‘Finding your Femininity through Belly Dance’ hype is actually the last vestiges of the so-called female liberation’s movement. Belly dance is advertised to Western women as a way to release their apparent inhibitions regarding their bodies. The undulations, body waves, hip circles and other abdomen-centric movements appear to glorify the unique feminine body. If you are not embarrassed at moving in these overtly erotic ways ( there is no other word to describe the movements in belly dance but as erotic), then you have come a long way, seems to be the message.

Many belly dance aficionados have tried to historically disassociate the dance from its erotic nature. An ancient Egyptian woman called the Almeh, who was well versed in poetry, music dance and other intellectual stimuli, is portrayed as having been the sophisticated cultivator of the dance. Yet, this description fits perfectly with the modern Japanese Geisha, who is a sexualized entertainer of men despite her erudition and education. The prestigious Almeh no longer exists in modern Egypt, if she ever really existed before.

The belly dance craze in North America started gaining momentum in the seventies and has been growing steadily since. Recently, belly dance schools have tapped onto the extraordinary success of the fitness movements. Gyms started giving belly dance classes along side aerobics. Even yoga centers brought in their belly dance teachers. Still, most women attend classes in belly dance schools at many convenient (and sometimes quite inconvenient) locations. Finally, the convergence into popular culture was sealed when overt eroticism became a daily routine on TV and in the movies. Belly dancing became something to do.

The majority of women say they started belly dancing to make themselves feel better. They’re searching for some kind of uninhibited narcissism – a feel good about their body - while doing all these undulations and shimmies. Their ultimate proclamation is "we don’t need men to make ourselves feel better" slogan that came out of the feminist movement. Yet quite contrary to this much advertised slogan, it is the poor men who become subjugated to the girl-power type of behavior (exhibited by grandmothers and granddaughters alike) and who end up supporting the dancers.

There is also the unexpected (or probably quite expected) competition. The urge to be a belly dancer can be a cut-throat experience. Gilded in clenched smiles and girlish voices, what everyone really wants is to stand center stage in full sequined costumes. As with every activity which does not quite reach the level of art, the acrobatics and costumes in belly dance act as substitutes for artistic sublimities. Belly dancing styles become a contortionist’s feat of moving as many parts of the stomach muscles as possible. In fact, its initiation into North America was at Chicago's "World's Columbian Exposition" in 1893, which introduced to the American public the 'dancing girls of the Middle East’, whose huge popularity was mainly as a circus act, along with the hoochy koochy label.

Many North American professional belly dancers guard closely that they hail from the much more artistic and cultivated discipline of ballet. They started dancing very young, as is required of ballet, and were rejected an entrance into this elite art form. Belly dancing offered them a chance to script their own standards, where the rigorous ballet judges cannot criticize them – what do they know about belly dance anyway?

The overriding promise of belly dance is that ‘you will feel better about all the failures that have derailed your life no matter what they are’ is really a message about masks and camouflage. The real issues are not addressed and resolved. What better way to forget the past than to immerse oneself in something so foreign that all those forgone defeats can be forgotten. Ironically, far from giving them the self-worth they crave, it puts them in an ambiguous relationship with the dance. Even in Middle Eastern circles, where belly dancers are hired for weddings and other festivities, it is still a dance that is frowned upon. Dancers are forever trying to find euphemisms for their dance, emphasizing its folk nature, or its erudite beginnings, or as a dance for pregnant women. Unlike ballet, a belly dancer can never proudly and publicly proclaim her profession.

Reference:
Donna Carlton. Looking for Little Egypt. Bloomington, Ind. : IDD Books, 1994.

Thursday, November 22, 2007

True Thanksgiving

The legacy of Norman Rockwell

Freedom from Want. By Norman Rockwell, 1943

There are so many archived posts on this blog now, I thought this would be a good time to repost one that I especially enjoyed posting.

True Thanksgiving, I think, makes us consider why and how we give thanks. Every nation is in danger of resuming the malignant forces that overtook Europe during the first half of last century. I thought that a simple analysis of two paintings might make this point clearer.

From a post originally made on October 31, 2005. Appropriately mid-way between the American and the Canadian Thanksgiving Holidays.

Happy Thanksgiving.


Family Portraits: Adolf Wissel vs. Norman Rockwell

While doing research on color and the history of modern art, I came across this website which talks about Hitler's abhorrence for modern art, so much so that he would set up degenerate art exhibitions to ridicule these painters.

Instead, he wanted art that glorified his Aryan concept.

Now, this type of commissioned art had nothing to do with artistic requirements, but rather with ways to decimate Nazi propaganda.

Here is a strange, claustrophobic, family portrait, which is certainly meant to promote the happy, Aryan family life. It fails on many levels, although artistically, it is a well-composed piece.

Farm Family From Kahlenberg. By Adolf Wissel, 1939

The strangest thing about this portrait is the little boy, who is not quite in the center, and who looks directly at the viewer. Normally, one associates such a bold stare with a mature or heroic character. Not a disconcertingly young, and audacious boy.

But there are many more things going on in this picture:

1. There is no grandfather in the painting, which I'm sure is quite a deliberate omission. As though to say, we don't need our past, but must look into the future alone. It it the child-bearing women (the grandmother is present) who seem to matter more. In other words, create the world anew, by destroying it first - quite in league with the götterdämmerung for a new dawn.


I have manipulated the top picture to centralize the boy.
The bottom picture is the original.
(Click on images to view larger sizes without lines)


2. The boy is not really in the center of the original painting. If he were placed thus, he would be visually separate him from everyone else. His off-center position puts him close to his protective father.

Ironically, the picture with the centered boy is also the more claustrophobic, and it is the less successful design of the two. The artist was correct to compose his painting in the original manner.

Yet, this original composition, as well as being true to design, is really true to sentiment and psychology as well.

As the visually centered character, the boy would then really be on his own. I would suspect that the painter is projecting his own immaturity and lack of independence by avoiding this central position for the boy. But the painter still doesn't underestimate the aggressive and audacious character of the boy, making him stare at us with a bold and insolent stare.

This goes quite well with the National Socialists, who never wanted the father figure too far away, being unable to mature into independent and responsible men. But, they were aggressive, demanding and ruthless little boys at heart.

3. The women seem to have an even stronger presence here. The father's connection is with the old woman, presumably his mother. Not with his father, who is absent. And the rather burly young girl on the left is busy with her books, suggesting the rather masculine role many Nazi women were to play later on. Of course the wife is the child bearer, producing both the young boy (future leader) and the young girls (a future feminist and a future mother).

4. There is no centered visual hierarchy of people here. Although the father dominates a mini-pyramid of his daughter (to the left) and his son, he is in the background. His wife seems to have some more prominence, being in the foreground. And the father's timid eye-contact with the grandmother seems to make her his center. As mentioned, it is the young boy who seems to dominate the scene.

5. There is a lively dusk sky behind. But any warmth that emanates from the golds and oranges has be negated by the huddled family in its dark clothes and dour expressions.

6. For a farm family, there is very little farm food around. Whatever is displayed is consigned to the small bottom left-hand corner of the picture. The fragile tea-cup and the girl busy with her pen and paper suggest a less visceral family, more sophisticated rather than down-to-earth. Even the young boy has a delicately carved horse in lieu of the real thing.

7. The horizon seems to have been flattened out as though we’re in some stage-set interior with a backdrop, full of fantasy and manipulation. So, the exterior may really be an interior portrait gallery, and the family just posing as the earth-bound food-providing farmers.

Now contrast this with the Rockwell painting.

Freedom from Want. By Norman Rockwell, 1943

1. The grandfather is the center, both pictorially and actually - there is no ambiguity about that.

2. The picture is designed in the classic pyramidal fashion, with the important figures at the top of the pyramid (grandfather and grandmother) and the rest of family widening out to the base.

3. Unlike the Wissel whose nature which we cannot seem to reach, Rockwell has brought nature into to the family, with the turkey, fruits and vegetables all laid out on the table. Rockwell's Nature is really abundant.

4. All the food follows the central and important axis, with the grandfather at the top.

5. Although we are indoors, there is a sense of space and light. The elongated perspective of the table with its white tablecloth connects with the white curtains on the window, which in turn promises to take us out into the sunny mid-day exterior.

6. Finally, this family seems to be fully enjoying the moment. And even the one person looking at us is doing so with a sense of fun and mischief, unlike the dour expression of the young boy in Wissel's painting.

Saturday, November 17, 2007

Mere Anarchy

The restrained optimism of art historian Kenneth Clark
This is the world that I think we're losing, when we deviate from the standards I've been writing about in the last few posts. Renowned (and my favorite) art historian and critic Kenneth Clark talks about standards, beauty, creativity, nature, and above all confidence in this short video.




Here is the quote that fits exactly what I’ve been trying to say
We can destroy ourselves by cynicism and disillusionment just as effectively as by bombs.
He goes on to quote a section from W.B. Yeates's poem The Second Coming:
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
"Mere anarchy is loosed upon the world."

Clark is mildly optimistic. And I am too. During my Biblical Art scavenge, I found some real gems. I'm sure there's more to come.

Sunday, November 11, 2007

How Hard is it Really?

Update: More on paintings
Rather than put this as a new post sometime next week, I thought I would update it as a continuation of yesterday's post. I just happened come by these observations from another blog which seems to say essentially the same things I did about "how hard is it really?" It is nice to have some confirmation by someone else, since such ideas brings out arguments that could last days (years?)

Over at 2Blowhards (what does that mean?) a regular poster Donald Pittenger writes about Flair in Art (part one of two).

Here is the decisive quote:
Given that we know what female nudes by Matisse and Modigliani look like, just how hard is it to paint a female nude in the general style they used? I contend it is fairly easy for someone with moderate talent, a little art training, and modest artistic skills to do so. Painting a convincing representational female nude posed against an elaborate background (not just a drop-sheet) requires far more knowledge and skill.
Almost word for word - just how hard is it? Please do read the rest at 2Blowhards.

There is a long discussion in the comments section which seems to stress that at least these artists were "original." But that is a moot point as Donald Pittenger points out:

I agree that coming up with a new style of art of any sort isn't trivial. The point I tried to make was -- GIVEN that the styles of Matisse and Modigliani exist, then it isn't terrible hard for someone with average painting skills to do something pretty similar. IMPLICIT in this idea (I should have made it explicit) is that it's a LOT HARDER to do a similar riff on, say, Rembrandt.

There. If more people said this, we wouldn't be dealing with the atrocities of the Damien Hirsts.

Now look at a Matisse (although I do confess that I like Matisse, but that is probably because I like interior and textile design, which his work reminds me of.)

And a Rembrandt.

This Matisse was recently was auctioned off for $33.6million at this year's Christie Fall Auction.

Left: L’Odalisque, Harmonie Bleue, 1937. By Henri Matisse.
Right: Portrait of Hendrickje at Window, 1656-57. By Rembrandt Harmenszoon van Rijn

[Click on pictures to see larger versions
]

Saturday, November 10, 2007

Abstract Painting

How hard is it really?
I know that abstract or abstracted painting has several hundred (thousand, hundreds of thousands) books dedicated to deciphering its mysterious and alluring qualities, but how hard is it really?

Any painter, with a modicum of talent, an understanding of color and composition, and some knowledge about the technicalities of painting, can produce an abstract work. And sell it too. There, I've said the sacrilegious words.

There was recently a conundrum over a painting that a lady truck driver bought at a yard sale, which turned out to be a Pollock, based on finger prints and other details. No-one from the art world accepted that verdict, and the woman has been on several talk shows to voice her plight. Because of their discredit, she cannot sell the work. The art world, as I've shown in a previous post, is all about the in-group, selling the in-work.

But, this begs a further question. If the art world cannot recognize a Pollock just by looking at it, what is there about a Pollock to recognize? A bunch of paint blots?

It is the same with a Rothko. One artist once asked me - "How does he do it?" "What?" I asked. "Make those incandescent layers?" Now, I don't find Rothko particularly stimulating nor transcendent. But, like any other artist, he knew very well how to manipulate paint, and preferred to do just that rather than make any real paintings.

It is even easy to do with photoshop, as I demonstrated with this photograph



on my post on the California wildfires. Now, if I were with the "in" crowd, and had a few hundred such experiments to show that I'm really serious about this all, and went to an art school somewhere in London preferably, I might have a shot at becoming a millionaire.

The sad part is that the public, and the wealthy plebians who've spent billions on useless pieces, will one day realize is that this was all a hoax.

How much better to be honest with one's self, and do service to the tradition and excellence of drawing and painting, rather than cop out with scribbles and blotches which managed to end up off the drawing board?

Rothko committed suicide, and Pollock ended up in a drink-induced car accident. I would think even Pollock's method was a slow cruise towards his demise.

Art is important. It is important still to make it real.



Sunday, November 4, 2007

Authentic Biblical Paintings

Where Truth and Beauty meet
And suddenly a woman who had a flow of blood for twelve years came from behind and touched the hem of His garment; for she said to herself, "If only I may touch His garment, I shall be made whole." But Jesus turned around, and when He saw her He said, "Be of good cheer, daughter; your faith has made you whole." And the woman was made well from that hour.(Matthew 9:20-22)
With the graceless Damien Hirsts overrunning the art world, and arrogantly trying to invade Biblical art as well, there are those under the radar who are painting truly beautiful depictions of Biblical stories.

Stephen Gjertson’s The Hem of His Garment is a masterly rendition by a recent (not Renaissance or Medieval) artist of the woman who searched for Jesus to ask for healing, and in her humility was satisfied to touch his hem. Yet, Jesus, in His knowing way, places His hand on her head, acknowledging her presence despite the mayhem of the crowd.

The Hem of His Garment, by Stephen Gjertson, 2001
[click image to view larger version]

What I love about this painting is the utter humility of the woman, and her deep satisfaction that she has found the Lord at all. She makes no public demonstration demanding that he see her, or even speak to her. She is satisfied at just touching the hem.

On an artistic level, the draping clothes make a curtain-like effect around the woman, which isn't claustrophobic because of the gentle grays and plums the artist has used. Also, despite her lowly position on the ground, these subdued colors act as a backdrop to highlight her presence, especially with her reddish (though not gaudy) dress, making her even more prominent in the painting.

There is also the confident and sure hand of Jesus which is slightly highlighted compared to the other hands, which makes it clear whose hand it really is without us having to know who the "His" of the title is. Although there is something regal about the extra drapes, and silver-gray cloth of Jesus' attire.

The whole painting has a subdued, grayish, tint, which gives it a calming and confident presence. Yes, despite this travails of this woman who crawled through the crowd on her hands and knees, she will (and she does) meet her Lord.

Update:
"Portrait" version of The Hem of His Garment

Saturday, October 27, 2007

Apoycalypse California

The Pale Horse
Left: Death on a Pale Horse, by J.M.W. Turner, 1825-30;
Right: Photoshopped from an image of the 2007 California wildfires

I took the image below of the firefighter with the blast of flame behind him, and photoshopped it to make the one above.

I was struck by the figurative nature of the flame, and it reminded me of a horse-like creature - of course since I was free-associating with the Apocalypse that's probably how the image evolved. The whole idea came from that famous Pope and the bonfire image that was circulating a few weeks ago.

Image downloaded from the internet of the 2007 California wildfires

This is a great image, and I really didn't want to do it a disservice by altering it. The lone, brave firefighter almost being engulfed by the flame still continues his duty of saving lives.

These wildfires are not haphazard. They are Biblical in the convergence of the errors involved. We are the masters of our destiny.

Saturday, October 20, 2007

Skulls and Butterflies

Damien Hirst's blasphemy

Damien Hirst infamously stuck a dead shark in container full of formaldehyde, gave it a title and called it art. One of his worst is a dead lamb, enclosed in a glass cage of formaldehyde which he cruelly entitled Away from the Flock. Later on, he got rid of the formaldehyde, and just started to display rotting animals.

I was pleasantly surprised to see some more recent art works of his that seemed to portray simple beauty and with titles like Crown of Glory. Still they looked just a little too symmetrical at first glance.

My slight suspicion was soon justified. Hirst used dead butterflies, thousands of them, to make his images which look like stained-glass windows.

This is something creepily sacrilegious on many levels.

Firstly, Hirst is demonstrating his inherent laziness. Stained glass are made through skill, creativity and talent. They are created almost out of nothing, coming from deep within the artist's imagination. Hirst forfeited talent and skill, and instead spent his time collecting dead butterflies to mimic these great works of art.

Secondly, why didn't Hirst use collages of paper, if he really cannot draw or carve out glass? Unlike butterfly collectors, who work with one butterfly at a time, one wonders how many Hirst killed, or had killed, to come with the thousands that he needed for his collage.

And finally, stained glass are associated with Churches, and a glorification of God. Hirst has managed to entice us into the beauty of stained glass, and simultaneously spook us with his method. His intention had never been to produce religious pieces, but rather items that would shock and repulse people.

It is no surprise that one his most popular and expensive work is a diamond encrusted human skull. He sold the piece, which he called For the Love of God, for $100 million.

With artists like this, who needs the Devil.

Sunday, October 14, 2007

A Sample of Connected Thoughts

Figuring out the cracks
Shibboleth, by Doris Salcedo. Currently at the Tate

Ugly Betty is a show about an ugly Hispanic woman who ends up working in the New York fashion industry. Yet, in real life, the Ugly Betty star (ironically named America) is cute and charming. Why couldn't she be cute (although she is somewhat charming) in the movie? I suspect it is an attempt to tell the average viewer that beauty is only skin deep, and that we have been judging ethnic women by unfair and wrong standards. Yes, she's ugly, but look at how good she is.

But why not have a show of a "Beautiful Maria", or some such title? Wasn't Maria good enough with beauty to top it off, to be a star in West Side Story? Maybe they're just worried that all beautiful Hispanic female leads might never get their hero.

Still, ugly Betty didn't stop Ugly Betty from becoming a hit.

Julie Taymor made the Lion King, a glorification of Africa with African songs, African American (and African) actors, and African animals.

She also recently directed Across the Universe, using Beatles songs to stage her own anti-establishment movie/musical berating American traditions and culture.

Why is Taymor able to make such a glorified and grand musical about Africans, but does such a terrible job at directing a movie full of the lovely Beatles melodies?

I suspect it is quite simple. Taymor finds more to admire in an alien, distant, culture than she does in her own. Although, for all purposes, she seems to know very little about this alien culture apart from a few clichéd, feel-good examples.

The Tate Gallery has sponsored and set up an installation which required a fissure in its floor. The Colombian artist who made the crack in the floor says "it represents borders, the experience of immigrants, the experience of segregation, the experience of racial hatred...It is the experience of a Third World person coming into the heart of Europe."

After the installation is removed, there will be a "scar", which the Tate owners are quite happy about since it will be a "memorial to the issues [the artist] touches on."

Why a scar?

To expiate their deadly sins, which includes not letting in illegal (i.e criminal) Third Worlders into their society. The irony is many British are so overwhelmed by these forsaken immigrants, that they in turn are leaving for Australia, New Zealand, and yes for Canada.

The Louvre will be loaning out some of its master paintings to Abu Dhabi. Critics are concerned they will be censoring religious paintings, and of course the famous nudes. I would think also that other more "benign" paintings will be censored. For example, Delacroix’s Marianne, a strong female figure leading her countrymen to freedom.

Is it all in the name of money?

I doubt it. The Louvre is also expanding its Islamic art section with millions of dollars funding from Saudi Arabia. The French are selling off one of their most famous national words, Liberté, and getting nothing back in return.


Liberty Leading the People, by Eugène Delacroix, 1830



Monday, October 8, 2007

The Hirsi Ali Debacle

Getting real about Islam


Why did Hirsi Ali take so long to make the unequivocal statement that there is no moderate Islam?

Well, she's actually been saying that all along, but she always qualified it with some kind of possibility for reform or evolution of the religion.

But, especially, she has watered down these beliefs because of her attachment to Muslim women, who she thinks can benefit from a reformed Islam since it is clear that they would never renounce their religion. Therefore, fully admitting that moderate Islam doesn't exist would be tantamount to saying that all those Muslim women are destined to suffer the consequences of their religion.

Her mission has thus been carefully camouflaged with feminist rhetoric above all, and atheistic and anti-religious (of all religions, including Christianity) sentiment, and a wishful thinking that ordinary Muslims can reject the religious Islam and turn it into some kind of an improved cultural non-religious version.

Ali's whole trajectory has been a bitter admission of the truth. And it is her feminist, leftist and atheistic positions that obstructed the truth from her. Like all ideologues, she is a self-proclaimed missionary. She has always felt that her role was to save her fellow Muslim women, despite her terrible film "Submission" which alienated her from those very women.

Still, I think there is a deeper issue here. Ali has nothing concrete or practical with which to replace this fundamental loss. She adheres to no country having moved from one to another all her life; she has no religion; the religion she denounced is also a denunciation of her culture; and she has no political aim other than to allow the individual to manifest himself to the fullest, as she has argued through her faithful adherence to the Enlightenment philosophies.

Thus, although Ali may temporarily bring awareness to these important issues of Islam and its incompatibility with the West, her behavior has repeatedly shown that she alienates friends, irritates governments, brings disastrous projects to the table, and publicly ruminates through her own thought's evolutions to arrive at a comfortable system. What more can she bring? And will she be a female, black version of Mark Steyn, who has the ability to narrow down problems affecting Western Civilization, but is ever-vague (I would say disingenuous) about bringing forth real solutions to these real dangers?

We have to wait and see. But, I wouldn’t idolize Ali too much.

Saturday, September 29, 2007

Fall Season Parody at the CBC I

This is funny

Rick Mercer, the quintessential Canadian America-basher, who manages to cajole politicians into doing embarrassing things, has somehow got Conrad Black to be his pool boy. Now, that could have been funny in itself, but what makes Mercer ever pathetic is his deferential "Lord Black" when he addresses the soon-to-be-jailed-non-Canadian-citizen (quite a mouthful, worthy of a...) British Lord. "Connie", replies the Lord, dryly.

Mercer has hours of parody (his version, anyway) of Black, when Black was a successful, not quite that rich business man and galloping around the world giving soirées with his wife. But that all changed when Black started his bitter fight with the American justice system. That is when Mercer became his ally.

Black must be cursing the days when he has to bow down to the likes of Mercer, on a show he probably hates, in order to get the sympathy of the Canadian audience.

Too late, though. The wheel is already rolling.

Tuesday, September 25, 2007

Toronto's Latest Casualty

To urban "development"

This lovely house



which became my inspiration for this rendition



and later on this repeat pattern design



became yet another casualty in the Toronto architectural landscape sometime last summer.



And just as I predicted, a condo-style building is rising up to accommodate all those mystery tenants, and progress is going fine, as of September 2007.



I've blogged about it, and those suspicious new tenants here.

Funny how intuition works sometimes. I wonder who will thank me for making a historical record

Sunday, September 16, 2007

The Global Film Festival

A.k.a. The Toronto International Film Festival

Well, TIFF lives up to its international name.

The winner of the Festival is a film by a Canadian director, whose story is based in London (England, that is, not Ontario) about a Russian mafia group, with an unwatchable fight scene in a Turkish bath. This from the director who gave us The History of Violence in last year's festival.

We were also graced with a new film by Ang Lee (of Brokeback Mountain fame). But this time he comes to Toronto with a Venice Festival win of a Chinese crime story set in Japanese-occupied Shanghai, with more unwatchable scenes.

There is also the $10,00 winner of the Telefilm Canada Pitch 2005 which is an incomprehensible, Hindi, film set in India directed by an "Indo-Canadian." The director, Ritchie Mehta, is no relation of Deepa Mehta, whose film Water was chosen as the "Canadian Film" gala opener at TIFF 2005. Water is about the fate of Hindu widows in the holy city Varanasi, with an Indian cast, and in Hindi. Real Indians protested to its filming on location, calling it sacrilegious, and shut down the production, so Mehta had to film it in Sri Lanka.

Modern films have no sense of place. They instead resort to violence, fantasy, or sacrilege to fill in the empty gaps. If the audience can be thrilled or transported, then reality and geography can be ignored without anyone missing them, or recognizing their absence.

Toronto is becoming exemplary at showing us films with these deficits. But, of course, to the film goers and filmmakers, this is no deficit. Film, after all, to them, is the ultimate fantasy.

Monday, September 10, 2007

The Holy as Transparent

Like a gemstone



The Holy is transparent, whereas the unholy is opaque.

And that which is in the middle, which can go either way, is neutral.

This is the discussion of a couple of Rabbis at this weekly show.

I think the idea of gemstones (or stones in general) wonderfully explains this concept.

A beautifully cut gem, like a diamond or an aquamarine, gives so much pleasure to our eyes because it is so transparent. The more transparent, the more expensive. What gives it this transparency is the work that went into making it so faceted. Holiness requires work to achieve its perfect transparency.

Those uncut gemstones, which have the potential to be worked on to be transparent (cabochons for the precious stones, and others like turquoise or lapis lazuli) are less attractive to us because of their middle-ground. But, we still desire them because we see the potential in them.

Yet, sometimes what looks like a potential turquoise can end up looking like an opaque pebble. We are least attracted to this pebble, and most likely to discard it at some point.

And that is exactly what the judicious Rabbis say. The opaque requires no judgment. They call it evil at one point, but prefer in the end to describe it as something which wouldn't bring us closer to God, and therefore something to be discarded.

On a more practical level, evil (the opaque) always leaves us questioning and probing (why, how what, etc...) whereas we marvel at the clarity of Holiness.

But, rather than judge it with our limited capacity, it is better to leave the opaque aside, and concentrate instead on the Holiness that is in front of us.