______________
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| Aimée Daniels, Delta to Chicago Blues |
Comments 21 November 2013: hi everyone--some comments. a lot of you need to go back in, rework some
of the entries, add to the writing where necessary, get the photos
right. we'll discuss tonight. I want the digital notebooks to represent
your very best work--also, they're public, on the class website--so all
the more reason to make them sing! tony
kouros--great still! and we know who...!
kyra--you
can probably find out the history of those photos--peter guralnick's
book, searching for robert johnson, is excellent. we'll see the actual
project..,.,
helen-- painting looks great, maybe a few words too...? of your special selection...
wendy-- give it a little more, wendy! needs better photo...
baylor--we'll see how you pick up with the songs...
aimée--
very nice post, aimée. see youtube interview with painter jake
berthot--he talks about "the painting taking over." I can send you link
if you wish.
noor-- the p
oem was over the top--hope your event went good too...
walker, baby--you're behind...!
beth--
really good ideas beth--I'd woirk on the writing a little more. what
you're talking about is super important. I liked (in particular): "deal with whats real. And because of the ruthless reality we never fail to have our music heard." ask
me about jamaica--sound systems, dubs--and about "ethnic chauvenism"
(excellnet book--from a long time back, though--by Orlando Paterson)alon-- you'll catch up, too, alon
feiya--not hugely developed, feiya, but it's a very clear idea--which is good--and has an emotional charge as well. carry things farther. and use spell check!
arami--
this was one of your best projects, arami--writing goes with it. I also
appreciate what you added to "gas mask" post--almost too effective...
will look forward to more recent work...
valdemar--we know you're back home--see you "a la vuelta" !
tessa-- good to see a project from you, last week!
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Helen Butler, Woody Guthrie
|
Tony's comments on Notebooks -- 14 November 2013:
Written late Thursday morning... look forward to seeing you this evening!
Kouros.
Now that's the perfect still, Kouros--I'm sure everyone who saw the
film would agree. And I like the very provisional quality of what you
write--it's direct, like someone talking to us--and open to
contradiction--Mississippi John Hurt's gentle side, as opposed to the
violence--or ribaldry--in the lyrics (although compare his "church"
songs, which always let another side come forth). Some musicians would
make it either-or (Blind Willie Johnson, for instance--or maybe even
Robert Johnson. But MJH shows us/reminds us of both. I think that comedy
(in the classic sense--the Lysistrata) can address this--and I'm glad
you write about it in your own way. You should always do this--share
these kinds of thought-sequences! They illuminate...
Kyra--
Looking forward to seeing how you connect Delta Blues to Chicago (and
Urban Blues in general)--and to where the change in the feeling of the
music takes you--in your projects and your writing both...
Helen--I
very much like the way the songs and life itself find ways of merging
in your work--which is especially striking in these last two posts.
Which says something about how important it is that "art" be motivated
by emotion (Tolstoy's definition, slightly amended!) Or
Wordsworth's--although tranquility may be harder to come by... The
pieces are adventurous, formally, and it's quite wonderful that you're
willing to share them with us. They also look particularly good in the
way you've posted them, with the apt fragments from the lyrics. I can
offer only encouragement!
Wendy-- the scale change from clay to
thread--the delicacy of the connections and the rawness of the way
you've handled the clay--are particularly evocative. writing about this
with your stacks of words seems a good way to start--doesn't commit you
to too much narrative--or too much explaining--and let's the visuals
speak in themselves. keep the lists as pointed--as specific--as you can
make them. or, who knows, one day you'll break into prose... Ask me
about this...
Baylor-- Baylor, we ALL appreciate just how real
you are in what you share with us. Your willingness to go where your
thoughts and feelings take you. Which must feel a bit out of control, at
times--pulling out all the stops. Human beings seem to rely so much on
convention--which step follows which--so that when you make the toppling
of conventions your mode, the ground is harder to find. That said, the
on-goingness of your songs--the very fact that you do them--that you
need to do them--with such Baylor energy and commitment--and
over-the-topness--there's a surge to this which will right a lot of
other wrongs. Great encouragement on my part, Baylor--run with it!
Aimée--I
like that you get involved with the actual making of the projects. The
Delta one had a presence on the wall that was quite good. At the same
time, I sense that there's more to your thinking and feeling that you
could share with us--either in what you write (the entries tend to be a
little schematic)--or in the actual making (where a sense of involvement
and commitment become a metaphor for meaning--in fact, they can
actually become the meaning!) So, what I'm saying is that I want to
encourage you to take more leaps... Not just for this term, but in how
you show your creative side beyond Songs & Places. I know from hints
in what you say--a stance, or an attitude--that it's in there. Just
that I'm not sure you always find a way to let it out... That's why the
pieces can feel "in the middle"... We can talk about this if you'd
like...
(Also--this is present in the title you've given your
notebook--that it's in the present tense--which is a way of saying that
things are
en media res!)
Noor-- hmmm... You know that I
always appreciate how you find your own way, Noor--which also means
finding your own pace--and you know I encourage you in this... On the
other hand, there's such an opportunity here to use the songs from each
week as a kind of reflection of life. would be nice to have you share
more of this... So my role is to push you a little. That said, I also
know that you're in this for the long haul--which also gives
me--paciencia...to wait and see what for you must needs come next...
The
print last week was intrigiuing. I always like it when what you show us
has that of-the-hand directness. the drawing previous had it too--even
more... maybe it was those deportee lyrics...and your own experience
(real as well as imagined...)
Walker-- I liked that you put up
the two paiitings, and the half-way-showing drawing tucked underneath.
That revealed a lot. It would help to see the Boston ICA work you
mentioned--how you're riffing on what you liked there. (Color, shape,
movement, theme, handling, all or any of the above)--and maybe how you'd
discuss this. Your reticence can be appealing (the Walker "look") but
as I've mentioned, I also think that this S&P class can be a place
to move beyond the familiar. The two paintings (I don't see them yet on
the notebook) are an opening--hope to see more...!
Beth-- You
need to catch up a bit in the digital notebook! You've said many
wondeerful things in class--sometimes just in passing--would be nice for
you to articulate them in relation to the visual work (quite strong!)
that you've been doing. Would be a good (and ongoing) challenge, I
think. And this is a particularly sympathetic place in which to test the
waters, try it all out...
Alon-- Do keep on with the posts, and
with you musings. I think the most important thing about what you're
doing is that (despite the modest scale and the seemingly everyday
materials) each piece shares a kind of presence. An intensity. That's
important. The question is--do
you find it a sufficient personal
challenge? In a class like this, water seeks its own level. I want you
to maintain your Alon level!
Feiya-- Haven't seen you in class,
and the Notebook is a little behind. Your comments--and your piece--on
This Land Is Your Land--are interesting. I'm not sure that all you say
is actually in the song. Implicit, maybe--but they also bring in your
up-to-date undertstanding. Ultimately that's good--to be able to state
how
you understand the world. And if Woody Guthrie leads you to
this, even better. I do like that this piece has many levels working at
one time (open/contained, inviting/controlled) and your intuitive
juxtaposition of specific materials... That make it evocative--a way of
asking questions in visual terms...
Arami-- honey is a very good
metaphor (an ancient one, too). I hadn't understood how broadly you were
using it when you showed us the piece last week--but your thoughts here
help make that clear. And I think you're right when you say you have
trouble entering these songs. Maybe that's one of your three questions,
rephrased a bit? Visually, the central opening of the vessel (point of
view) and the flow of the honey are very well captured--expressively so,
even when your means (your approach) is measured. That can be a
powerful combination. It's the "formality" I alluded to last week--about
your coming from where you do. Also, closing with Baylor's lines also
seems just right. We all make own questions--and find our own ways to
express them...
Valdemar-- as so often with your work, this is a
beautiful piece. Both the painting (good photo this time, if modestly
small on your notebook page)--and the circuity of your writing. You
always push us to consider our own agency, Valdemar--and find ways to
make the push compelling relative to the material we're following.
Robert Johnson is a great example. Maybe follow up on the notion of the
trickster--the legba figure in African mythology. There's a connection
with the sensibility you describe as "Hermes believers--which also
figures in Native American lore. (I rememeber first reading Carlos
Castaneda's Don Juan books as an exposure to this...el brujo yaquí...y
su poder...) In my grad class last week we were talking about drawings
for Dante's drawings Inferno. It struck me that Latin-based words for
"Hell" (inferno) or the Greek (hades?) are so enticing to pronounce. The
sound is opposite to the meaning. Particularly l'enfer in French! I
think this contradiction is in Robert Johnson's songs--maybe his life
itself...maybe (thereby) in all our lives...
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| Arami Matevosyan, MJH, You are My Sunshine |
Hola everyone. I missed doing the comments
last week, got to a good look at what you've been doing on the posts
just this morning. Here you be:
Kouros--posting the films is
good. we'd still like to see some evidence of your thinking and your
approach--the questions you ask yourself, maybe via still images (the
figure in the alleyway, last film--or specifics of figure on bench).
maybe a question as to why this one didn't work in all the ways you
demand of yourself? getting feedback on this could be good, kouros...
Kyra--interesting thoughts, as often with your posts. "Parts
of the story are missing, and that's haunting." I'd say take on a
single song--that's fine--but also reflect on the broader topic for the
week--the british ballad sources in general, and all the references I
gave you about cecil sharp. It would br great to see you weave them
together. This in general for the material I give you. The specifics are
always good (a particular song) but also good to see them against the
wider landscape (social, cultural, musical).
Note for everyone:
remember that the class works at several levels. The S&P: American
Roots blogsite I've got going is new this semester. Likewise the music
downloads on berkeley box. Using rapidshare was clumsy. The box links
have made accessing the songs much more flexible. But the contents of
each download represent all the earlier iterations of the class--and the
emphasis does shift from semester to semester. (This semester, for
example, the cecil sharp material). That said, ALL the song material I
give you remains worthwhile. For your projects and blog posts--follow
what most engages you--but also make reference to the broader themes.
This is what I just wrote to Kyra.
Helen.
Your Barbara Allen painting remains one of your most engaging--the way
it does seem to capture the theme of the song. The polaroids fit well,
too--it's always interesting to get a look into each of your individual
worlds (this goes for everyone!) In Helen's case--the look is
particularly visual--because the choice of the images is pertinenent and
evocative. Note for the group: I posted Helen's selection of English
folk material on the blog--it's there along with the other posts for
Barbara Allen/British Ballad Sources as a Week 6 Supplement. I encourage
each of you to take a listen!.
Wendy-- I think
the playfulness on your part is good. However, Louis Collins is a pretty
deeply mysterious song, so giving it a light approach misses something
of what the original is about--more, it misses something of why
mississippi john hurt sang the song the way he did. has to do with the
story he told--and what he left out. I know that last week you were out
sick--and that sometinmes the ideas behind a project get clarified in
conversation. But they should also work first-time-through on the
notebook post. All said, I do like the playfulness!
Baylor--the song was wonderful--in part the words--
I’m gonna take my family into
the hills
We’re gonna live off roots and
rocks and dollar bills
and in part
your true Baylor performance--all the kinds of emphasis you
insert--musically and psychologically, through your presence. It's a
gift you share with the whole group-- a good thing! In your rangy intro
(free-association is fine here, Baylor) the idea that gets me the most
is commual music becoming a music of lonliness. That being folk music
today, or some such. It holds as an idea--but I'd also have to say that
(sometimes--sometimes more often than not) when we sing together in
class, there is a kind of coming together. It's my hope that you all
will take that with you, find your own ways to go on re-creating it. (I
know some of you already do). / Dylan is such a complicated soul--I'd
have a hard time boxing him in any regard. His gift (ultimately) is that
he can bring so much together so astutely--intelligence, vision, music,
the whole thing--while managing (often at a steep price) to avoid
letting the world categorize him.
Aimée-- Very glad
you're making these posts again. I do want you to share more of your
thinking as to process. I think I missed that in last week's review,
when I made my comments about your gradient rectangles. Aimee--I hope
you know that when I say things, ultimately I'm trying to encourage
you--find out what you're about, where you're going, where you need to
go... (I see again that you even chose this as your blog title!) The
reason I said look at Richard Tuttle is that is he uses "intractable"
physical materials not referentially, and not symbolically--but for
their own physical properties--these he fashions into relationships of
meaning. In this, he could be a guide to you. I want each part (every
aspect) of what you make to add up... We'll continue to discuss. I don't
care if it shares working methods with the architecture studios (after
all, that's what you've been doing here.) But I DO want all the parts to
have an "absolute" physical presence... Let's continue to discuss this
in class...
Noor. "He sings with such tenderness ..." Well, that
is about the most accurate thing one could say about MJH. And that it
happens in virtually every song--this remains a miracle. A Mississippi
John Hurt miracle. The bio I have on reserve (yes, biography can be a
sometimes tedious route--but it IS a route...!) offers much evidence as
to why this is so. (The tenderness.) So does Betsy's retelling of Max
Ochs' story. But listening to the songs--yes, that's ultimately the most
important.
Walker. The visuals are good, Walter. But some more
of your ideas would add a lot... You need to find the right way (for
yourself) to do this... That's what the "digital notebooks" are for.
Nonetheless, the visuals are good, Walter.
Beth. What you write
about the cuckoo (this didn't come in class as I recall) is super. The
emphasis--how you say what you say, how it reflects your concerns in the
painitng. All good. With Barbara Allen--again, we all responded to the
"Beth approach"--your way of drawing (guileless--in a good sense). It's
important that you're willing to do these paintings, Beth--and to share
them openly with the group. To be applauded!
Re the site: think about
whether the more complex background adds to or takes away from your own
visuals. In a way, I'd like to see your own work, unadorned. That would
allow it to shine forth more...
Alon. It's always interesting to
read your discussion of your work, the way you make explicit how you
see the challenges you're taking on. All good. And you know the group is
behind you as to your iconic 'bean heads'"... Also good. Making
memorable characters is not an easy thing to do--and people appreciate
it when they see it! Regarding last week--you'd written me prior that
you had an exam earlier that night. When you came in, I realized later,
this had slipped my mind. Remembered later. In any case, you're an
important part of the group--look forward to this evening!
Feiya.
I don't see a post yet for lat week's work. Look forward to what you
present on the site. I did think that the project itself was quite
coherent. And it represented an approach (in terms of making, of vision,
of how to do things) that you seem comfortable with. I did give some
thought later as to whether the stark geometry of the floor, and the
isolated literalness of the "pallet" captured the feeling in the song.
I'd like to hear more from you about this... In general, the more
clearly you write, the better we'll have access to your projects. I know
there's a language issue--and sometimes it seems to me that what you
present is simplified (maybe for this reason)--so let me encourage you
to show us a more engaged/complex understanding of what you're about in
the course... More nuance...
Arami. First of all, your title--the
Black Lamb--is quite wonderful. Evocative and (in ways maybe known only
to you) probably very accurate. Your project--the color drawing--was
also very good. (And I never say this lightly!) So take it as a big
encouragement to follow your own path--heart and feelings and ideas all
interwoven. What you write is likewise engaging--how you understood the
jas olbrecht overview--and the max ochs story (I'm pretty sure you know
how close that is to me--but if not, ask). I'm glad you found it
meaningful--especially in terms of the language. Betsy would have liked
that, too... (She liked that I shared her chapbook with the
class--sometimes I bring in an actual copy. I have one upstairs in my
office--ask me to. If you stop by there a little before class--say 5:50
Office 482 upstairs, I'll remember to.) This that you wrote was
particularly fine: "He is the wooden ring and I always hold him to a
standing higher than he will ever really know..." Says it all, Arami...
Valdermar.
I got a little behind, wasn't able to get to my comments last week.
Pero como sabes, siempre me interesa la dirección en que llevas las
canciones, las ideas. Lo americano, digamos. Lo siento un poco que me
queda mas "a una distancia" este semestere. No se por que pasa así.
Posible tenes idea... Pero todavia, me alegro verte cada semana. No te
agaches de ofrecer comentario cuando hablamos de los projectos juntos en
clase... Te esperamos!
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| Alon Daks, Banks of the Ohio (Sarajevo Hagaddah) |
10 October (Week 6) / Comments:
Appalachian Songs: Will the Circle be Unbroken, Banks of the Ohio
British Sources: Barbara Allen, Down by the Salley Gardens / Comin' Through the Rye
Kouros--
New film tonight... at some point the right way to handle words will
become part of this. It's ongoing... I do like what you start with, non
the less, and seeing the films posted is great.
Helen. Thanks for your looking into the English country songs, Helen. Will find ways to share with the group.
Kyra.
All good thoughts. If there were easy answers, we probably wouldn't
have--or need--the songs, although each culture expresses them
differently. (How for instance, lost love plays out in blues lyrics).
Good connection between love, garden, leaves and willows--you can
imagine the weir being made of the same--or the "wattle fence" in old
Chinese poems. Enclosure then opening. It's the opening that holds the
loss--but also the exhilaration...
Wendy. Circles, yes. The
middle photo (where piece is horizontal) is particularly powerful in
conveying the feel of what you made. Also, regarding Ralph
Stanley--there's been a lot written about African rhythmic sources for
banjo playing (the banjo was originally an African
instrument)--partoicularly in blue grass. That plus the importance of
the communal--the African village form where houses are arranged in a
circle--might tell us something. At least it ads another layer to the
Anglo-Saxon Protestant sensibility. (Another connection--the cyclical
sense of time in so many things from Chinese culture!) All of these
together resonate... Music included...
Baylor. We'll hear the new song tonight...!
Aimée.
I like that you're intrigued by connections between artists as
different as Lead Belly and Maybelle Carter (although remember the story
of Lesley Riddle--the African American man who made song collecting
trips with A.P. Carter. You can hear some on YouTube if you poke
around.) However, I'm not sure what you mean by "can share a genre..."
Maybe you'll say more in class about this, and write more here.
Noor. Bring in some of what you're doing "outside"--even when it seems to relate only tangentially. Everyone will enjoy it!
Walker. Keep up with this, Walker!
Beth. You, too, Beth!
Alon.
When we first looked, I hadn't made the connection between the
background you used and that in the Sarajevo Hagaddah image--including
the X's... As I wrote you, I think everyone responded to the directness
of the drawing. I also like your noticing the "explaining" gestures in
the two images. An interesting part of human culture, no--that need to
include others by making an ex-plan-ation...? Maybe the etymology of
explain points to something here--to make level or smooth out, but also:
"Originally
explane, spelling altered by influence of
plain.
Also see plane; occasionally used more literally, of the unfolding of
material things: Evelyn has buds that "explain into leaves"
Unfolding--that's important--implies revealing something yet unseen...
Feiya.
We'll talk about the "simplicity" here, Feiya (bring both week's
projects this evening). A question of how much you FIND in the
music--and in the specifics of its cultural conext. That's why I
suggested starting with a particular place, in a particular time. For
example, Deep Gap, North Carolina (Doc Watson), in 1923--or the
birthplace of any of the other of the musicians we're listening to...
Valdemar.
This "class analysis" of Barbara Allen is quite delightful--especially
since you both mean it, but also allow for playful elements to peek
through--which of course subvert the seriousness of anlysis per se!
Using the bell as your running motif--or an un-named (but clearly
powerful) "the landlord" figure. A question-- dikes...or dykes? Also,
isn't it interesting that a song stays with us regardless of the social
precepts? And is sung by people of all classes? (I have an American
cowboy version by Don Edwards for tonight.) Have a conversation with
Kyra about what you've written here--and Kyra--you with Valdemar!
Tessa.
These are really Tessa's songs, but she's delayed in the southland, so
we'll have to wait till next week for her thoughts and comments...
Arami--
Glad that you're also doing this. Just read your first entries--very
much on the right track. Will offer more comments next week! For now,
here's my favorite recording of Katyuasha:
YouTube - Катюша_-_Лидия Русланова
 |
| Arami Matevosyan, Banks of the Ohio |
October 3 (Week 5) / Comments:
There were a dearth of posts this week--you need to stay with this, you guys!
Kuoros--
Very nice to see the films posted, kouros--and the feel of the site in
general. I know you had a question about words, I'm wondering how some
of the film makers you admire handled the writing? I agree that
"explaining" is a non-starter. Also not what I'd want. The films
themselves--and where they come from--are the main point. But you could
also use this semester to explore what you'd say (writing wise) in a
sympathetic setting... and see how everyone responds. The films, though,
have been great to see!
Kyra. Thoughtful, again, Kyra. I don't
know the answer to the appropriation question. Not even sure it's the
right word. Noor said something a while back (I don't think she posted
it) about "no more folksongs, just wandering singers..." Either way, the
sings are ours if we make them ours... I love the Clarence Ashlewy
photo, too... Much better to see him "down home..."
Ask this evening about musican portraits--what and why...
Helen.
Ask about what blogger is doing in term of contrast. (It affects
everyone's work). That said, the painting is good to see again, on
line--but I'm glad we saw it first in person. I very much like what
you're writing--the way it spans the sources and the personal. (As in,
"told not to cry...") And I like that you bring in the second reference
to Mary's tears over Lazarus... That's the link between the two
testaments, in a way. Does everyone on the group understand what
happened in the Exodus story--and how that connects with the Lazarus
being raised? Let's discuss in class... Also, in your writing week
prior--I'd also like you to bring up what you said here about "the
breadth of the material..." Again, we'll discuss with the group!
Alon.
That second paragraph is quite something, Alon. Your particular use
analytic language. Do you think your visual work is equally particular?
That is, how would you compare the two (for your own understanding)?
That said, reading what you write brings a new dimension to the visual
work--always good.
With the Tostitos piece (a first,
Alon!)--everyone liked it (found it delightful) when we first saw it. I
think your written description only adds. The writing and the working is
a good combination for you. As for the work--maybe consider this: not
everything has to add up...
Valdemar. Another engaging
exploration, Valdermar! Hearth and hogar. And their gods...and
goddesses... I think you're right about hearth being central. Also, I
appreciate the ways you find to re-cast a "this-world" understanding of
things. Yes, the songs often go beyond, in their various metaphysical
ways--but your linking those "heavenly" ideas back to our more earthly
experience is important. And a preoccupation that you often voice (also
good!) I wonder if we could connect this notion with the physicality of
painting?.
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| Beth Shepard, Work Songs and Spirituals |
|
|
27 September (Week 4) / Comments
Hi--here are some quick comments from mr. D...
Kouros Alaghband ??? mister kouros, where are't thou?
Kyra
Baldwin good thoughts, kyra--the notes are great--but I also want to
see kyra go beyond her school self... (am I right here?) I think you're
right about water--ask me about Po Chü-I. keep the work open and
expressive--always!
Helen Butler keep up, helen
Wendy Kay Ho very thoughtful entries! you're using this well... be sassy...
Baylor Odabashian intro is beautiful, and funny--and honest, just like your songs
Aimee
Louise Daniels good on jumpin' judy--your enthusiasm is just
right--let it guide you even more--let us see a fuller version of what
you cn do...
Noor Al-Samarrai thank you for this noor--it's beautiful-- "God's salty tears..." you bring so many things to bear...
William Walker stay up with this walker... make it meaningful...
Beth Estelle Shephard good beth
"They would take the clothes rub them against the board and stroke back and forth using all their might." Strength and perseverance...
Alon Daks keep up, Alon
Feiya Ma the painting has the same sense of surprise as your face, feiya. thoughts are good, too...
Nikita Mariette Aitkin please keep up, nikita
Arami Matevosyan--you'll start in soon...Valdemar Díaz Hinojosa beautiful interpretation, valdemar--everyone in our group should read this!
Tessa Shipey--tessa--why don't you do some posts, too?
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| Helen Butler, Down in the Valley |
19 September 2013 (Week 3). Comments on your posts:
Kouros-- I see two post titles, but would like to see the the
corresponding entires! USE this as a notebook, Kouros--just the way you
use your smartphone... The ideas you present in showing the films are
good--your notes, so to speak. Maybe include some stills plus notes
here, week by week... That would be excellent. Tell us about this in
class...
Kyra. Very good. The reproduction of your drawing is
clear, and a good scale--and I like the way you make your way through
the meaning of the verses in terms of direction (up and down, near and
far) as well as in terms of personal psychology. Somehow makes me think
of the wooden bridge path boardwalk in Tilden over the marsh, near Lake
Anza... The painter I mentioned was Ni Zan (Ni Tsan, old Wade-Giles
spelling.)
Helen. Repro looks good. Bumps the contrast a little.
Your writing is quite to the point, I like "aeroplane." But then, we
Americans are always suckers for British usage... Look forward to seeing
more of your paintings, Helen--this is a good "poetic" medium for
you... especially when you can make the kinds of connections you did in
this one... PS. Who was the Irish painter--a woman--you mentioned in
class?
Wendy. Our in-class discussion brought out a lot about the back
of your images, too. People were intrigued by the discrepancy (Miles,
for one). That seems to also go with the song--the Andy Griffith version
is homey, but the lyrics themselves leave an element of doubt... Same
relationship in You Are My Sunshine between verse and chorus...
Baylor.
Your musings are always interesting, Baylor--the emerge from some
(unknown?) place, just like your singing. That's good! As far as
"unfree and rabid…" (nice way of putting it) who could argue? I used to
do the class with hand notebooks--where everything shows, and everything
becomes a part of the rhythm (and maybe the harmony, too, if one is so
inclined...) But this blog thing (forced on me by a bunch of
Architecture grad students in 2007) seems like a necessary way of being
in the clime of today. Maybe the handling can offer a bit of redemption
(as of old)...like hearing the telephone operator (in a seemingly
endless phone call with your bank) laugh unexpectedly... So many ways to
be human...so many ways that it shows...
Aimée. Do keep up the
posts, Aimée..do some writing each day--it will be good for you, and
good for us to read (and see who you are)...
Noor. That is a good
photo, Noor. Although the connotations of "under the freeway" are very
strong. Saw a woman on Solano in full purdah (is that the word)--just
her eyes and her shoes (occasionally) visible... And of course, school
girls at Albany High (near the pool) with backpacks and headscarves.
Regarding your posts: Would be good to read and see here, too... Hope
you will...
Miles. I see Itsy Bitsy Spider. My comments for
Baylor probably apply, too, Miles. (See his blog post.) I know that the
"digital notebooks" are more some people's medium than others, but I
want you to see this as a way of being "present" in this strange new
world of ours--and still find ways to keep yourself whole... That's how
I'd frame the challenge. And yes, I don't know if it's possible. But
that's also the challenge!
Walker. Don't be averse to writing, Walker. Some notes will help you understand your projects as well...
Beth.
This is a good post, Beth--and what you write (plus the back yard
photo) really do help us understand the project. Actually, I think it's
better that the post followed the review in class. Our seeing the work
without an "explanation" will help you see what's coming across. Some
projects speak entirely visually. (That's not a bad goal.) But
regardless, the emotional tone of what you're after should be visible at
the get go (that is, just by looking). We live in an "explaining"
culture--and yet the advertising that surrounds us (in media works in
just the way I've described. Pity. So why not make personal expression
(which can be shared--importantly!) work the same way. Let's discuss
more in class... Ask about Francis Bacon...
Alon. Hi, Number 87.Let's see some posts! Also, thanks again for the medjool dates--they were delicious!
Feiya.
Nice post, Feiya! Somehow your thoughts seem just right. The image
involves elements of "expectedness" (which can also be cliches) but I
think here it all adds up because you're so open about what the images
mean to you. Did you know that Mt. Tamaulpais (in Marin) was also
thought to be a sleeping maiden's profile (that was the California
Indian legend). And the bird+letter image has a very old history. (I'm
thinking of the hoopoe bird that carried messages from the Queen of
Sheba to her love, King Solomon... I'll show some images in class--one
attached above.
Nikita. Really good post, Nikita. Pix aren't as
good as they could be (they don't do justice to your painting), but no
matter. What strikes me here is that you're presenting these ideas in
the opposite way from how you presented them in class. In class--love
and dependence on one person are problematic. Here--your grandparents'
connection--even though fraught--is "awesome." So, it's very good you're
thinking about these things--and using the projects to express thoughts
and feelings. btw, remember that the group responded very positively to
what you made. Take that as an encouragement (even when the "I still
don't know" creeps in.) Doubt is (often) good... (Ask me about the book
title, Yes, But...) And Alberto Giacometti...
Valdemar. I felt we
left you a little in the lurch last week. I like very much that you're
painting. The scale doesn't matter--small is fine. There were things I
thought about after thursday evening--if you bring last week's painting
as well as a new one, I'll be glad to share my thoughts with you.
Actually, maybe bring all three. They're small-- you could pin them up
together. That would give us a point of reference!
