Postcard from the Gulf

January 23, 2011
Filed Under Enviornment, Nature | Leave a Comment

Sunset, Palmetto, Sea Oats, and the Gulf of Mexico. Courtesy of the author.

Beach bumming it in Florida. Spending most of my days here. More soon.

A More Perfect Union

January 15, 2011
Filed Under Art, Internet, Maps, Urban | Leave a Comment

A More Perfect Union looks at American self-identity through the medium of online dating services.  Culling data from over twenty online dating sites, the work is organized according to the same heuristics as the U.S. Census, sorting dating profiles by Congressional District and subjecting the imagery and text to statistical analysis.

R. Luke DuBois
A More Perfect Union
@ bitforms
Jan 13 – Feb 19, 2011

The North Face

January 12, 2011
Filed Under Exploration, History, Nature, Urban | Leave a Comment

When a snow storm traps you in your apartment, the only thing better than reading a tragic story about mountain climbers caught in a blizzard is watching the cheesy German film adaptation. R.I.P. Angerer, Hinterstoisser, Kurz, and Rainer.

The North Face, Sheepshead Bay, Brooklyn.

Theme and Variation #2

January 9, 2011
Filed Under Art, Urban | Leave a Comment

The blackface in the Taco version is scary, but the neon walking stick (like the Blade Runner umbrella) is tip top.

Art in the Age of Endless Reproduction

December 28, 2010
Filed Under Art, History, Internet | Leave a Comment


Walter Benjamin in the Bibliothèque National 1939 (Laptop added). Photo by Gisèle Freund

I just read Artie Vierkant’s The Image Object Post-Internet. It’s a doozy.  Vierkant addresses the current role of the art object as our culture continues to transition from a psychology of scaricty to one of abundance. In other words, he talks about how the relationship between art and mass-media continues to change (get even weirder) as we are increasingly both its subject and its generators. This is, of course, is chiefly due to the pervasiveness of the internet in everyday life.

Vierkant’s essay could be considered a 21st century version of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. It is strange to read one and then the other and consider how much things have changed and how much they have stayed the same. Writing in 1936 Benjamin discussed how mechanical reproduction destroys the uniqueness and authenticity (the “aura” as he labeled it) of the work of art. For Benjamin, this was not such a bad thing:

For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual…Instead of being based on ritual, [art's function] begins to be based on another practice—politics…By the absolute emphasis on its exhibition value as opposed to an ahistorical cult value, the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental.

Back in 2010, Vierkant continues to wrestle Benjamin’s alienation of the aura or as he puts it “the mentality imposed by a one-to-many system of distribution.”

Attention has always been a currency, but with the proliferation of networking methods and infinitely alterable and reproducible media, that attention has diverged and become split amongst anyone and everyone who wishes to seek it.  Fixed (which is to say, physical) media once imposed an economy to the image and object, a value driven by scarcity which necessitated a one-to-many system of distribution.  Over time this spread and democratization of image and object production tools has led to a perpetual iconoclasm, each successive volley of formats breeding a new dogma and its own particular  set  of  aesthetic principles…What has remained through each iconoclasm is an inability to fully break the mentality imposed by a one-to-many system of distribution.  The continual use of “They” in language: “They should make a second one, They should have done it this way, They should stop doing this,” &c., can be seen as sort of philosophical litmus test in which our method of discussing cultural production continually falls short.

Basically, until “They” is replaced by “We,” Benjamin’s aura will continue to exist:

“They” implies an alienation from production, a continuous deferral to action… This deferral is an act which accepts dogma, accepts a dominant image paradigm as an unchanging absolute rather than the result of a complicated history of new approaches.  “They” venerates this absoluteness, sanctifies it,  while its opposite,  “We,” postures towards the creation of  an alternative and constitutes an actual schism… The use of “We” is not to advocate solely for participatory structures of art but to insist on a participatory view of culture at large, and ultimately of taking iconoclasm itself as a quotidian activity…. culture and language are fundamentally changed by the ability for anyone to gain free access to the same image-creation tools used by mass-media workers, utilize the same or better structures to disseminate those images, and gain free access to the majority of canonical writings and concepts offered by institutions of higher learning.


Related Reading:

Dispersion, by Seth Price

New Media and the Gallery, by Paul Slocum

Rhizome interview with Guthrie Lonergan

Theme and Variation #1

November 26, 2010
Filed Under Art, Internet, Urban | Leave a Comment

Thanks Rafaël and Billy.

Click here for lessons.

Mt. Wilson, Magic Mountain

November 22, 2010
Filed Under California, Enviornment, History, John Muir, Nature | Leave a Comment

A few days ago Oliver in Los Angeles sent me the photo (below) of a cowboy that he took while hiking on the Mt. Wilson Toll Road. Built in 1891 by The Pasadena and Mount Wilson Toll Road Company, the trail winds slowly up to the top of its namesake mountain, terminating at a 106 year-old observatory. Located in the San Gabriel Range, to northeast of Los Angeles, Mt. Wilson lies at an elevation of 5715 ft. (1742 meters). From the cities of Pasadena, Altadena, Sierra Madre, and Arcadia, you can look up and see the forest of antennae that border the observatory blinking at night like a far off space station or alien settlement which is funny, since it’s populated by mostly scientists.

I first visited Mt. Wilson in August of 1996. It was more a “why not” than a planned expedition. I was out west for the summer, drifting from Nevada to Southern California and then north up the Pacific coast with some friends. I had stopped in Pasadena to see my sister and her family and to catch up on sleep. After two days on the couch, I was getting restless and spent the morning driving around, seeing how close I could get to the mountains. Along with the evening pulse of the TV towers, Mt. Wilson lured me with its martian landscape and brutal indifference. Los Angeles was raised from an arid country whose hostility had been tamed by the efforts of civil engineers and real estate interests, but while the desert could be transformed into an oasis, the San Gabriels to the northeast were inhospitable. “In the mountains of San Gabriel, overlooking the lowland vines and fruit groves, Mother Nature is most ruggedly, thornily savage,” wrote John Muir. “Not even in the Sierra have I ever made the acquaintance of mountains more rigidly inaccessible.”

There was an access point by Eaton Canyon on a quiet street in the foothills of Altedena. I parked the car and walked down an unmarked trail. Mt. Wilson is not the tallest peak in the San Gabriel Range but it could be the strangest. In addition to the Star Wars appearance of its summit, there is also a general feeling of otherness on the lower section of the mountain. Perhaps this is due to its proximity to Los Angeles, as well as the sense of contrast its landscape affords. It doesn’t seem to belong there but there it is, and because it is, there is the possibility that it might as well be anywhere. The same way spaghetti westerns were filmed in Italy and Spain but portrayed the American southwest, the randomness of Mt. Wilson is a blank canvas onto which its haphazard urban visitors could project shaky narratives of their own.

It was hot, and I was wearing jeans and thrift store cowboy boots that I picked up in Las Vegas a week before. Twenty dollars and half a pack of Winston Lights was all I had. Although ill-dressed and unprepared, I did not stand out in the assortment of strangers I met on the way. My casual approach, I found, was common; I saw a few hiking boots and running shoes, but also checkered Vans, penny loafers,  flipflops, cuban heels and shredded espadrils. I exhanged formalities with a dusty bearded man who was carrying a loaded garbage bag, two stoned teenagers with a styrofoam cooler, a middle-aged women who wore a tie-dye dress and a large crystal on her neck, and a short elderly gentleman dressed in what I would consider an antiquated Sicilian fashion. It was as much a carnival atmosphere as there could be for the foothills.

Via the Toll Road, it’s about eight miles from Eaton Canyon to Mt. Wilson Observatory. It looked like it couldn’t be more than four, but the antennae on the summit continued to recede into the distance. The carnival adventure gave way to a sober solitude and then there was only wind and the distant roar of the city below. About a third of the way up, at Henninger Flats, I managed to get red ants in one of my boots and was riddled with existentialist visions of dying alone in the sun. The Flats were a foreboding place, home to giant water tanks and an abandoned fire camp for convicts. I found a shady grove of pines and collected my thoughts. Shelter from the sun is a rarity in the San Gabriels. Aside from Big Cone Douglas Firs, Canyon Live Oak and various Pines, the vegetation is mostly charparal, or brush cover composed of species that readily sprout after fire or have seeds that require a heat treatment before they will germinate. Many brush species which cause the fires to burn rapidly and with high intensity contain volatile oils. Fire is common in the San Gabriels. Every 30 to 50 years a massive conflagration will make its way across at least some portion of the range. The latest to occur was the Station Fire which lasted for 20 days and burned 160,577 acres (251 square miles) of land. The inferno came close to destroying the observatory and antennae but was reigned in at the last minute.

Time lapse photography from the 2009 Station Fire on Mt. Wilson. Flames appear around 28 seconds.

I reached the summit tired and thirsty and more concerned with getting down than with exploring. The water fountain was broken and I was nonplussed that the coke machine refused to take dollar bills. Some forlorn scientists drove past me in a golf cart, dodging giant pine cones. A chain saw was snorting in the distance. The domed observatory and rocky terrain did indeed endow the place a lunar quality. Had it not been for sparse forest of Jeffrey Pines and Big Cone Douglas Fir, I would not have been surprised to have come upon the Apollo 11 landing module. Such unearthly associations were not new to the place. The observatory has a history serving as a portal to new worlds. Usually, these worlds were defined in scientific or biblical terms, sometimes both. The original Mt. Wilson Observatory opened in 1908 and featured the largest operational telescope of its time. As the findings of astronomers were published and made their way from the purview of scientific journals into the popular press, the public’s fascination with astronomy and the cosmos increased. In the 1920′s and 30′s it reached a fever pitch and Mt. Wilson became a beacon of progress for both professional and amature astronomers and cosmologists. Letters poured in. While most where gracious or laudatory, there were some that were of a more enthusiastic nature. According to the Museum of Jurrasic Technology which hosts some of the latter category on their website:

These letters were communications to the astronomers by individuals who felt, often with a great degree of earnestness, that they were in possession of understandings or information that should be shared with the astronomers. The information contained in this class of letter was typically of astronomical or cosmological concern. These individuals had gleaned the information they wished to communicate either by experimentation, observation or intuition and invariably felt a strong sense of urgency in their need to communicate their observations to the observers at Mount Wilson.

A letter from a man named Edward begins with “This is to certify, That I have found the Key To all Existance,” while others are more modest but no less intriguing. “In the light of Modern science and the intrepretation of the scriptures,” reads a letter from a W. Charles Lamb. “I claim that these forms co-incide with the teachings of the latter an act of the Devine Spirit in His effort to reveal Him-Self to man.”

Letter from W. Charles Lamb. Courtesy of The Museum Of Jurassic Technology.

I made it back to the car just as it was getting dark. On my way down, I had run into a young kid who appeared to have walked out of a Cormac McCarthy novel. I was halfway to Eaton Canyon and he was heading up. He had a blanket, a bottle of Gatorade, a straw hat, and boots just like mine. We talked for a few minutes and smoked the last of my Winstons. He told me he was going up to Mt. Wilson to sleep under the stars and become a man. Then he asked me the purpose of my trip. I told him I didn’t know. I had gone up there looking for something meaningful and found a campus of towers and telescopes manned by a handful of lonely scientists who all looked like my high school chemistry teacher.

I went back to Mt. Wilson a few months ago. This time I wore hiking boots and took the shorter but steeper seven-mile Old Mt. Wilson Trail that starts west of Eaton Canyon in the foothills of Sierra Madre. It was another hot day and the route afforded me little of the human color that I had on the Toll Road. Instead, freakish Our Lord’s Candles stood in for the lack of human presence. Also known as Spanish Bayonet, the plant has a base of elongated sharp rigid leaves out of which protrudes a shoot three to nine feet tall. At the end of the shoot is a cluster of vibrant and edible yellow flowers that cause the plant to pop out in a sea of otherwise mundane chaparral. The sight of them can be unnerving. Their striking height, shape, and bright coloris extraterrestrial. They point towards the sky as if to ape television antennae and satellite dishes, sending secret messages to some far off place.

Five miles up, just past Manzanita Ridge, the old trail merged with the Toll Road and I started to see the ravages of the Station Fire. Aside from a few hearty stands of Pine and Fir, a whole side of the mountain was barren. Yet as I continued to look, I started to notice that clumps of chaparral were making a comeback. There was something uplifting about the unrelenting cycle of the fire and regeneration. The blazes had been burning for millennia and would continue to do so regardless of what humanity did to prevent them. There was a purpose. The charparall was as dependent on fire as fire was on the charparall. “In a sense, chaparral consumes fire no less than fire consumes chaparral,” wrote John McPhee.

The water fountain was working when I reached the summit this time. The scientists were still tooling around and the coke machine was gone. I ate a peanut butter banana sandwich and a chocolate bar. Chatty squirrels were wreaking havoc with the silence. I took a nap anyway. When I awoke, it was well past noon and I was getting hungry again. I would have had a ciggerette but I didn’t have any. I had quit a few years before, and didn’t want to start any fires.

John Muir in Naptown

September 20, 2010
Filed Under Enviornment, History, John Muir, Nature, Urban | Leave a Comment

When you hear the name John Muir what comes to mind? Usually it’s something like Yosemite and the Sierras and old bearded guys wandering around alpine meadows full of various Asteraceae, not strip malls, parking lots and Amber Waves of Grain. Life is full of  weird surprises. One day I found myself in Indianapolis standing before a John Muir historical marker in the middle of macadam median on Illinois Street the southside of downtown.

It was a typical August day in Indiana. A sluggish, warm breeze. Thick heat. Cicadas whirred in their doppler-like drone. The setting, while posessing some vague  anomalous charm, was far from idilic.The marker was located on a traffic island planted with a dozen or so sad looking crabapple trees, surrounded by a moat of highly traversed asphalt and sentried with orange barrier fencing and pylons. Mysterious pipes rose from the middle of the island like giant black worms. Across the street, a parking garage loomed with its brutalist indifference. Had I listened more closely, I probably would have been able to hear Muir rolling over in his grave but the traffic was too loud. Cars whooshed passed, their occupants staring at me with oblivious countenances.

Standing on Muir Island, looking north.

Marooned on what I hastily christened Muir Island, I mumbled a few derogatory statements concerning the automobile, engineers and everything their epoch had wrought. But after I read the plaque, I realized it really was a fitting setting for such a marker. After all the site marked not where Muir wrote Our National Parks or The Mountains of California, but was the former location of a carriage materials factory that employed Muir as an engineer.

“I greatly enjoyed this mechanical work,” Muir later wrote. “[I] began to invent and introduce labor-saving improvements and was so successful that my botanical and geological studies were in danger of being seriously interrupted.”

One has to wonder what would have happened if Muir had stuck around Indianapolis. He had a profound influence in the National Parks Movement, founding the Sierra Club and serving as its first president. He roped in President Theodore Roosevelt into preserving America’s western forests. It is terrifying to think what the western landscape would be like if he had put the same energy into altering it by fostering the transportation revolution with mechanical inventions. Luckily, he poked his eye out with a metal file while working at the factory. His other eye, acting in sympathy, stopped working as well. It was “the darkest time of my life,” wrote Muir. Temporarily blinded, he was confined to a dark room for about six weeks. When he recovered, his employers suggested a possible partnership in the business. To this Muir replied:

“. . .although I liked the inventive work and the earnest rush and roar and whirl of the factory, Nature’s attractions were stronger and I must soon get away.”

Illinois Street, looking south. Muir Island dead ahead.

Fact was, Muir was not so happy in the urban din of Indianapolis. “I feel so utterly homeless,” he wrote. As soon as he had recovered he was making plans for his “Thousand Mile Walk to the Gulf” that would eventually take him to California and his destiny as a naturalist-preservationist.

It seems bizarre that Muir was drawn to Indianapolis, a place that native Kurt Vonnegut would later describe as “…just another someplace where automobiles lived, with a symphony orchestra and all. And a race track.” But the city afforded him a melding of his interests both industrial and natural.

“I saw that Indianapolis was an important railroad center,” wrote Muir. “And probably had manufactories of different sorts in which I could find employment, with the advantage of being in the heart of one of the very richest forest of deciduous hard wood trees on the continent.”

In terms of wilderness and wildlife, Indianapolis and its formerly forested hinterlands today stand in stark contrast to the mountains of California. The rich, deciduous hardwood forests that helped draw Muir to the area have been whittled down to a majestic corridor of parkland bordering the White River. The factories and machines are ever-present and nature continues to make its way around them as best as it can.

American Abstraction Found Buried in Brooklyn

July 31, 2010
Filed Under Art, History, Urban | Leave a Comment

Ilya Bolotowsky’s “Untitled” before restoration. Courtesy of Shamil Salah / Hudson and Salah Art Conservation Studios
Bolotowsky’s “Untitled” (on the right) after restoration. Courtesy of the Brooklyn Museum.

The lost Williamsburg Murals at the Brooklyn Museum keep haunting me. Back in 1936, the New York City Housing Authority commissioned four American Abstractionists to paint murals for a new William Lescaze housing project in Williamsburg, Brooklyn. Funded by the WPA, the murals were installed in what was once the project’s recreation center and offices. Over time their colors faded and the residents lost interest in them.  Some were painted over. Others were coated with rubber cement and we serving as bulletin boards. By the time they were rediscovered in 1984, most art historians believed that they had been lost or destroyed. You can now view them in their restored splendor in the Hall of the Americas on the first floor of the Brooklyn Museum.

You can read the old New York Times story about the WPA murals here.

You can also read about them on the American Abstract Artists’ website here.