Month: July 2004

  • Scoop

    This afternoon I came across, in a briefcase I seldom use, two books I had not looked at since I bought them last month:

    • The Footprints of God,
      a recently published paperback by Greg Iles, a writer who
      graduated from Trinity High School, Natchez, Mississippi, in 1979, and
      from the University of Mississippi in Oxford in 1983.
    • Sanctuary, by the better-known Mississippi writer William Faulkner.

    At the time I purchased the books, indeed until I looked up Iles on the
    Web today, I was not aware of the Mississippi connection.  Their
    physical connection, lying together today in my briefcase, is, of
    course, purely coincidental.  My view of coincidence is close to
    that of Arthur Koestler, who wrote The Challenge of Chance and The Roots of Coincidence, and to that of Loren Eiseley, who wrote of a dice game and of "the Other Player" in his autobiography, All the Strange Hours.

    A Log24 entry yesterday referred to a comedic novel on the role of chance in physics, Cosmic Banditos
    Today's New York Times quotes an entertainer who referred to President
    Bush yesterday, at a political fund-raiser, as a bandito.  Another
    coincidence... this one related directly to the philosophy of coincidences expounded jokingly in Cosmic Banditos.

    I draw no conclusions from such coincidences, but they do inspire me to
    look a little deeper into life's details -- where, some say, God
    is.  Free association on these details, together with a passage in
    Sanctuary, inspired the following collage:

    The image “http://www.log24.com/log/pix04A/040709-FritoReba.jpg†cannot be displayed, because it contains errors.


    Related Texts

    Faulkner on a trinity of women
    in Sanctuary (Ch. 25):

    "Miss Reba emerged from behind the
    screen with three glasses of gin. 'This'll put some heart into
    us,' she said. 'We're setting here like three old sick cats.' 
    They bowed formally and drank, patting their lips.  Then they
    began to talk.  They were all talking at once,* again in half-completed sentences, but without pauses for agreement or affirmation."

    "In Defense of the Brand":

    "When I was helping Frito corn chips expand its core user group in the
    mid-'90s, we didn't ask Frito-Lay to just wave the Fritos banner. The brand
    was elevated to a place where it could address its core users in a way that
    was relevant to their lifestyle. We took the profile of the audience and
    created a campaign starring Reba McEntire. It captured the brand's essence,
    and set Frito eaters amidst good music, good people, and good fun."

    Song lyric, Reba McEntire:

    "I might have been born
    just plain white trash,
    but Fancy was my name."

    Loren Eiseley,
    Notes of an Alchemist:

    I never found
    the hole in the wall;
    I never found
    Pancho Villa country
    where you see the enemy first.
    -- "The Invisible Horseman"

  • Bandito

    12:25 PM July 8:

    "Willst Du lieber
    einen gelben Stern
    haben?
    " she asked.
    "Oder einen roten?"

    -- Martin Cruz Smith,
    Stallion Gate,
    Ballantine paperback,
    1987, page 101

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    Personally, I prefer
    a blue-green star:

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    Follow-up of
    2 PM July 9, 2004 --


    From today's New York Times
    :

    "Texas Bandito, how much money
    did you put in your pocket today?"
    John
    Mellencamp crooned
    in a country ballad.

    In a two-and-a-half hour gala
    that raised $7.5 million,
    a record for a
    single event,
    Chevy Chase poked fun at
    the president's pronunciation
    of
    "nuclear"...
     
    The image “http://www.log24.com/log/pix04A/040709-Three.jpg†cannot be displayed, because it contains errors.

    The concert
    brought 6,200 people,
    paying $250 to $25,000 each...
    beating the $6.8 million haul
    from a parallel gala last month
    in
    Los Angeles featuring
    Barbra Streisand,
    Willie Nelson,
    and Billy
    Crystal.
    The take will be split....


    Here, Chevy, is another

      way to pronounce "nuclear"--

    The image “http://www.log24.com/log/pix04A/FootprintsOfGod3.jpg†cannot be displayed, because it contains errors.


    The Source:

    The image “http://www.log24.com/log/pix04A/FootprintsOfGod2.jpg†cannot be displayed, because it contains errors.

    Click on picture for details.

  • Beyond Geometry

    (Title of current L. A. art exhibit)

    John Baez:

    What is the difference between topology and geometry?

    Geometry you learn in high school; topology in college. So, topology costs more.

    A bit more seriously....

    "The greatest obstacle to discovery
    is not ignorance --
      it is the illusion of knowledge."

    -- Daniel J. Boorstin,
    American historian, educator, writer.
    Source: The Washington Post,
    "The Six O'Clock Scholar,"
    by Carol Krucoff (29 Jan. 1984)

    For the illusion of knowledge,
    see (for instance)
    The Importance of Being Nothingness,
    by Craig J. Hogan
    (American Scientist, Sept.-Oct. 2001).

    A bit more seriously...

    "These cases are
    neither harmless nor amusing."
    -- Craig J. Hogan, op. cit.

    For example:

    "Thanks to Dr. Matrix
    for honouring this website
    with the Award for Science Excellence
    on May 14, 2002 and selecting it
    for prominent display in the categories
    of Mathematics and Creative Minds."

    See also my notes
    On Dharwadker's Attempted Proof,
    November 28, 2000, and
    The God-Shaped Hole,

    February 21, 2001.

  • Not-So-Solemn Requiem

    Funeral song for Marlon Brando to sing, at long last, to the immortal Grace Kelly...

    "Everybody's just dying to be heard..."

    -- KHYI radio, Plano, Texas, 4:00 PM EDT

    (... followed at 4:04 PM by ...
    "I guess I just woke up
    from my American dream
    .")

    Relevant theology...

    "Death is not earnest in the same way the eternal
    is.  To the earnestness of death belongs precisely that capacity
    for awakening, that resonance of a profound mockery which, detached
    from the thought of the eternal, is an empty and often brash jest, but
    together with the thought of the eternal is just what it should be...."

    -- Søren Kierkegaard, Works of Love,
       Harper Torchbooks, 1964, p. 324

  • Elegance

    The image “http://www.log24.com/log/pix04A/040707-Grace.jpg†cannot be displayed, because it contains errors.

    Except, of course, for
    Amazing Grace.

  • Contender

    "Jack Nicholson has said he believes, as do many actors, that when Brando's gone, everyone moves up a place."


    --
    Claudia Luther and Elaine Dutka,
      
    Los Angeles Times staff writers


    Marlon Brando in On the Waterfront:

    Terry Malloy: "It wasn't him, Charley, it was you. Remember that night
    in the Garden you came down to my dressing room and you said, 'Kid,
    this ain't your night. We're going for the price on Wilson.' You
    remember that? 'This ain't your night'! My night! I coulda taken Wilson
    apart! So what happens? He gets the title shot outdoors on the ballpark
    and what do I get? A one-way ticket to Palookaville! You was my
    brother, Charley, you shoulda looked out for me a little bit. You
    shoulda taken care of me just a little bit so I wouldn't have to take
    them dives for the short-end money."
    Charley Malloy: "Oh, I had some bets down for you. You saw some money."
    Terry Malloy: "You don't understand. I coulda had class. I
    coulda been a contender. I coulda been somebody, instead of a bum,
    which is what I am, let's face it. It was you, Charley."


    Sylvester Stallone in Rocky:

     "I can't beat him. But
    that don't bother me. The only thing I want to do is to go the
    distance, that's all. Because if that bell rings and I'm still
    standing, then I'm gonna know for the first time in my life, see, that
    I wasn't just another bum from the neighborhood."

  • Is Nothing Sacred?

    ...continued...


    From
    a review in today's

    New York Times

    of an L.A. art exhibit,

    "Beyond Geometry"

    By Michael Kimmelman
    in Los Angeles

    The roots of this work go back to Duchamp, the abiding spirit of
    "Beyond Geometry." When he acquired his porcelain urinal in 1917 from a
    plumbing equipment manufacturer on lower Fifth Avenue in Manhattan,
    signed it R. Mutt and submitted the now infamous "Fountain" to the
    Society of Independent Artists exhibition, he set the stage for nearly
    every subsequent attempt to blur the difference between art and
    everyday life.

    This was the great breakthrough of modernism or the end of culture as
    we know it, depending on your perspective. Either way, after Duchamp,
    as the artist Joseph Kosuth has put it, all art became conceptual.

    Duchamp predicted that even a breath might end up being called a work
    of art, and he was right. Gilbert and George started calling their
    performances sculptures in the 70's. Chris Burden, James Lee Byars and
    others said that their actions were sculptures. Smithson declared
    derelict factories and suburbs to be sculptures. Artists even made
    light, the ultimate intangible, into sculpture.

    The show includes sculptures by Richard Serra and Barnett Newman. I
    recall Mr. Serra once talking about how Barnett Newman's paintings
    invite you to walk past them, to experience them not in a single glance
    but over time, physically. He said the paintings, with their vertical
    stripes, or "zips," are "about dividing and placing spaces next to one
    another, not about illusionism."

    "They're great when you have to walk by them and immerse yourself in
    the divisions of their spaces," he added. Meaning, they're like
    sculptures.

    Nomenclature is not the point. What matters is the ethos of
    countercultural disruption, looking at the world and art through the
    other end of the telescope, which is the heart of "Beyond Geometry" and
    the appeal of its best works to young artists.

    Now is the time to put this period of postwar tumult into global
    perspective. The show here is a useful step in that direction.

    Meanwhile, in Philadelphia,
    other art events:

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    (Click on logo for details.)

    The reader may determine whether the Philadelphia nothing is the sort of nothing deemed, by some, sacred in my note of March 9, 2000.

    I personally have a very low opinion of
    Kimmelman and his "ethos of countercultural disruption."  The sort
    of light sculpture his words evoke is not that of the Pantheon (illustrated
    in an entry for St. Peter's Day)
    but that of the current Philadelphia "Big Nothing" show, which in turn
    reminds me of that classic 1973 Hollywood art exhibit, The Exorcist:

    The image “http://www.log24.com/log/pix04A/040702-Exorcist.jpg†cannot be displayed, because it contains errors.

  • Every Picture
    Tells a Story

    (ART WARS for
    St. Peter's Day
    ,
    continued)

    The image “http://www.log24.com/log/pix04A/040701-Pantheon.jpg†cannot be displayed, because it contains errors.

    The image “http://www.log24.com/log/pix04A/040701-Museum.jpg†cannot be displayed, because it contains errors.

    The image “http://www.log24.com/log/pix04A/040701-Rocky.jpg†cannot be displayed, because it contains errors.

    Pictured above:

    The Pantheon, Rome
    (courtesy of the Philadelphia
    Museum of Art)

    The Philadelphia Museum of Art

    Rocky Balboa

    For some philosophical
    perspective, see

    Peter: The Original Rocky.