“Bosch’s view of human nature is there in all his works. One work I will be discussing is the Haywain. It is a triptych which exists in two versions, one in the Escorial and the other in the Prado. We will be looking at the Prado painting.”
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When I revisited this article, to review my comment, I had been recommended once.
I looked at the top comments, and learned a great deal about my own limitations. Both of these comments were so profound, I had to recommend them, even though they each conflict with my first reaction, diametrically.
CClevelandMorristown NJ5h ago
As a donor to this undertaking (year 2355), I have been happy to support a project that, for almost two decades already, repeatedly renews a public conversation such as that I’m reading here. For me, this work requires an uncomfortable contemplation of the human lifespan, for example. As we venture deeper into the Anthropocene — and acknowledge more and more how the human species is irrevocably shaping our planet — an artistic creation that cannot be experienced within a single human lifetime humbles me to reflect on worlds beyond my possible contemplation. Just as I wonder about the time perception of creatures with such disparate lifespans as a common housefly or a giant tortoise, so too can I revel in imagining an entity for which a 639-year composition might be perceived as little more than a brief tune. For years, even when I wake in the night, I think about this continuum of sound in Halberstadt, and feel connected to past and future. As a human statement, and as a work of art — the exact opposite of narcissim, I find — this ongoing performance, is truly humbling and inspirational.
37 Recommended
Gabrielle Rose commented 6 hours agoGGabrielle RosePhiladelphia, PA6h ago
Years ago I was with a friend at the Boston Ballet watching a piece by Merce Cunningham. It went on for quite some time in dead silence. I glanced at the program and showed my friend the line “Music by John Cage. “ In the absolute stillness of the theater we were laughing with tears streaming down our faces, but in total silence, one of those terrible moments when you CAN NOT make a sound, which makes the moment that much more absurd. It was more than 40 years ago. All I had to read was John Cage and it set me off.
33 Recommended
“The opening scenes of the filmed version of the Broadway musical “Hamilton,” which starts streaming on Disney+ on Independence Day weekend, pull you back in time to two distinct periods. The people onstage, in their breeches and brass-buttoned coats, belong to the New York of 1776. That’s when a 19-year-old freshly arrived from the Caribbean — the “bastard, immigrant, son of a whore” who shares his name with the show — makes his move and takes his shot, joining up with a squad of anti-British revolutionaries and eventually finding his way to George Washington’s right hand and the front of the $10 bill.
But this Hamilton, played with relentless energy and sly charm by Lin-Manuel Miranda, who wrote the music, book and lyrics, also belongs to the New York of 2016. Filmed (by the show’s director, Thomas Kail, and the cinematographer Declan Quinn) in front of a live audience at the Richard Rodgers Theater in June of that year, the movie, while not strictly speaking a documentary, is nonetheless a document of its moment. It evokes a swirl of ideas, debates, dreams and assumptions that can feel, in the present moment, as elusive as the intrigue and ideological sparring of the late 1700s.”
By
“A fifth grader in New Jersey is a master of curlicues and connecting loops. His technique is so good he was named a state and national champion of a dying art: cursive writing, a skill that once seemed destined to go the way of the typewriter.
The boy, Edbert Aquino, who is 10, took home last year’s national trophy, $500 and bragging rights for his Roman Catholic elementary school in Bergen County.”
But competition for the prize might just get stiffer in New Jersey.
Assemblywoman Angela McKnight, a Democrat from Jersey City, has introduced legislation that would require public schools to again teach a skill that had been phased out across the country, but is now enjoying something of a revival.
http://www.nytimes.com/2013/05/13/books/inferno-by-dan-brown.html
“But it takes more than geography to keep a Brown escapade spinning. The formula also calls for sinister cultism of some sort, and in this case the dark scheming involves overpopulation. One character, Zobrist, is a wealthy Malthusian with a powerful, secretive, high-tech army at his command (Mr. Brown says it is real, but he has given it “the Consortium” as a fake name) and a doomsday plot to implement. While talking about controlling the rapid growth in population with the head of the World Health Organization, Zobrist is told, “We’re at seven billion now, so it’s a little late for that.” His reply, a fine specimen of mustache-twirling villainy: “Is it?”
There’s a lot more in “Inferno” along these lines. And it all ties together. Dante’s nightmare vision becomes the book’s visual correlative for what its scientific calculations suggest. And eventually the book involves itself with Transhumanism, genetic manipulation and the potential for pandemics. Just as Mr. Brown’s “Lost Symbol” tried to stir interest in the noetic sciences (studying mind-body connections). “Inferno” puts the idea of a plague front and center, invoking the black plague, its casualty count and its culling effect on mankind. Mr. Brown is more serious than usual when he invokes Dante’s dire warning: “The darkest places in hell are reserved for those who maintain their neutrality in times of moral crisis.”
But the main emphasis here is hardly on gloom. It is on the prodigious research and love of trivia that inform Mr. Brown’s stories (this one makes mincemeat of all those factoid-heavy wannabes, like Matthew Pearl’s “Dante Club”), the ease with which he sets them in motion, the nifty tricks (Dante’s plaster death mask is pilfered from its museum setting, then toted through the secret passageways of Florence in a Ziploc bag) and the cliffhangers. (Sienna: “Don’t tell me we’re in the wrong museum.” Robert: “Sienna, we’re in the wrong country.”) There is the gamesmanship that goes with crypto-bits like “PPPPPPP.” (Sienna: “Seven Ps is … a message?” Robert, grinning: “It is. And if you’ve studied Dante, it’s a very clear one.”)
And finally there is the sense of play that saves Mr. Brown’s books from ponderousness, even when he is waxing wise about some ancient mystery or architectural wonder. Once the globe-trotting begins in earnest, private planes figure in the story and Langdon calls his publisher to ask for one. No, says the publisher, then adds: “Let me rephrase that. We don’t have access to private jets for authors of tomes about religious history. If you want to write ‘Fifty Shades of Iconography,’ we can talk.”Guess what: Mr. Brown has already written it. And then some.”
Climate Effect: Adaptation‘The Machine Stops’
by E. M. Forster
Forster’s eerily prescient novella imagines a world where life on earth’s surface — besides ferns and “a little grass” — has become impossible. Humans live underground, where they communicate via glowing blue-lit plates and eat, drink and sleep to the rhythm of the eternally humming “Machine.”
Written in 1909 — just over a decade after the Swedish scientist Svante Arrhenius suggested anthropogenic emissions could change the climate — “The Machine Stops” prophetically described something like the internet. But it was far off in imagining how we would adapt to climate change, said Jonathan Foley, executive director of the California Academy of Sciences.“The idea that we could have self-sufficient civilization underground basically requires we replace the sun,” Dr. Foley said. “And any technology that’s capable of doing that — whether it be fusion, or some kind of magical technology — would have to be so powerful that I’d ask: Why didn’t we solve the climate problem first?”
Dr. Foley said the novel’s ideas weren’t that far from the science-fiction-like discussions he heard coming from Silicon Valley, where vertical gardens, orbiting microwave transmitters or machines that harvest carbon are touted as silver bullets for climate change. “The actual solutions are far simpler,” he said. “But they’re not as sexy. Like, hey: What if we threw less food away, or we ate less meat?”
Dr. Foley said that if he ever wrote a novel, it would be one in which “we all do the slow, hard muddling work of just pitching in, but no hero rides in on a spaceship to save us all.” It would be a terrible novel, he admitted. “No one would buy it, and Hollywood wouldn’t make a movie, but it’s the one I want, and it would surely save the world.”
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