Monthly Archives: September 2014

Be Content With Silence

Posted on by Bill Chance

“When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.”
― Ansel Adams

Silence Antoine-Augustin Préault Dallas Museum of Art

Silence
Antoine-Augustin Préault
Dallas Museum of Art

Dallas Museum of Art
Dallas, Texas

(label text)

Antoine-Augustin Préault
French, 1809-1879

Silence
c. 1842
Patinated plaster
Anonymous gift and General Acquisition Fund, 2014.10

French sculptor Antoine-Augustin Préault created eerie contrasts of shadow and light in this composition featuring merely a face and a hand. Linear drapery enshrouds the androgynous figure’s face, drawing attention to its gaunt features, half-closed eyes, and skeletal hand. A finger lifted to the lips is a gesture commonly found in ancient funerary sculptures that glorified the dead. Portraiture or reliefs bearing images of the deceased performing this gesture were intended to conjure pleasant memories, but Silence, with its brutal evocation of frailty and death, breaks from the well-established canon.

Préault designed Silence for Jacob Roblès’ tomb at Père Lachaise Cemetery in Paris, which is the city’s largest and most famous burial ground. The medallion’s compositional elements combine to convey a somber nature perfect for the purpose of a tomb. Its superb round, dark hardwood frame with a deep ogee, or S-shaped molding, enhances the sculpture’s dimensionality and melancholy theme.

“Does not everything depend on our interpretation of the silence around us?”
― Lawrence Durrell, Justine

When the Pretty Women Walk Over My Grave

Posted on by Bill Chance

“It’s not what I’d want for at my funeral. When I die, I just want them to plant me somewhere warm. And then when the pretty women walk over my grave I would grab their ankles, like in that movie.”
― Neil Gaiman, American Gods

Funerary Figure (tau-tau) Dallas Museum of Art Dallas, Texas

Funerary Figure (tau-tau)
Dallas Museum of Art
Dallas, Texas

Dallas Museum of Art
Dallas, Texas

(label text)
Funerary figure (tau-tau)
Indonesia: South Sluawesi, Sa’dan Toraja People
19th century or earlier
Wood
The Eugene and Margaret McDermott Art Fund, Inc. 1980.2 McD

The Toraja carve tau-tau, smaller than life-size funerary figures, to commemorate the deceased when a high-ranking funeral is held. Only members of the highest-ranking aristocracy are permitted to have permanent tau-tau. This unusually small funerary figure appears to be archaic in style and probably predates even the oldest effigies seen beside Toraja tombs today.

The bun or hair knot at the back of the head of this tau-tau indicates that it represents a female. Her mouth is open and may remind one of The Scream, a modern painting by Edvard Munch. The expression is not precisely understood, but it may have been meant to capture bearing of an authoritative aristocratic woman accustomed during her lifetime to public speaking and giving orders, as this tau-tau appears to be doing

All The Rest Is Other

Posted on by Bill Chance

“Civilized Man says: I am Self, I am Master, all the rest is other–outside, below, underneath, subservient. I own, I use, I explore, I exploit, I control. What I do is what matters. What I want is what matter is for. I am that I am, and the rest is women & wilderness, to be used as I see fit.”
― Ursula K. Le Guin

The Trinity River bottoms are an odd place – a juxtaposition of wildest land – apparently untouched by man kept wild by the periodic surge of water. This is the flood plain, full of weeds – both human and otherwise.

But beyond this strip of muddy water and watery mud rise the crystal buildings of man, lawyer, and developer. It is a crazy jumble. From the wilderness you can’t help but look up at the architecture – a line of ziggurat superstructures that seem to exist in a fog of magic and mystery.

But from inside the buildings themselves – a hundred thousand souls wander in the artificial atmosphere unaware of the tracts of undeveloped earth right outside their sealed and curtained windows.

The Anatole Hotel, the Renaissance Dallas, and the new Parkland Hospital, from the Trinity river floodplain, Dallas, Texas

The Anatole Hotel, the Renaissance Dallas, and the new Parkland Hospital, from the Trinity river floodplain,
Dallas, Texas

“The general public has long been divided into two parts; those who think that science can do anything and those who are afraid it will.”
― Thomas Pynchon, Mason and Dixon</blockquote>

The Sky Explodes

Posted on by Bill Chance

“A screaming comes across the sky. It has happened before, but there is nothing to compare it to now.”
—-Thomas Pynchon, Gravity’s Rainbow

I had signed up (paid ahead of time online) for a bike ride at six this evening, starting and ending at the Four Corners Brewery in West Dallas. It was a guided ride with two beer tickets for well-earned refreshment at the end. My original idea was to ride to the DART station, take the train downtown, and then ride across the Continental Bridge Park to the brewery. But as I prepared to leave I noticed a sudden violence in the sky – a gathering of thunderstorms as the daily Texas humid head collided with some early cooler air floating down from up north.

I didn’t want to get caught in a sudden deluge without my car as refuge, so I folded my Xootr Swift and plopped it into the trunk – then drove down to the brewery.

Because of this, I arrived a bit early and was able to hop over to the bridge park and get some photographs of the evening clouds building behind the Margaret Hunt Hill Bridge and the downtown Dallas skyline.

Downtown Dallas and the Margaret Hunt Hill Bridge from the Continental Bridge Park (click to enlarge)

Downtown Dallas and the Margaret Hunt Hill Bridge from the Continental Bridge Park
(click to enlarge)

A good group gathered for the ride. I didn’t know anybody – which was cool, there rides are always a fun way to find new folks. Everybody talked about the gathering storm – dark clouds were building to the West and to the North. We all agreed to risk the rain and took off. We rode across the Continental Bridge into downtown, through the infamous Triple Underpass and then back across the river on the Jefferson Viaduct Bridge.

At that point the group continued on to Bishop Arts, but I was a bit out of breath and the clouds were really threatening so I decided to turn off on my own. I rode back north and then hopped the levee down into the Trinity River Bottom trails. I stopped to drink some iced water from my bag, eat an orange, and catch my breath.

At that point the sky exploded. I sped off, took shelter under the Interstate 30 Bridge, and ate another orange. When the deluge cleared a bit I rode on to the Margaret Hunt Hill bridge (yes, the one in the photo above) and again took shelter from the storm. The relatively dry area under the bridge was populated with some families and a group of fishermen that had been caught by the rain.

As we waited, I heard a loud roar and suddenly a full-blown Airboat came careening up the
Trinity, going fast through the falling water – pilot and passenger hunched forward against the stinging rain. It was an odd sight – the first powered craft I’ve ever seen on that stretch of the river.

After a bit, I gave up waiting for the rain to end (once you are soaked, you can’t get any wetter) and headed out. The hardest part was getting through the Trinity Groves parking lot – the water was a foot deep there.

As luck would have it, I arrived back at the exact time as the rest of the riders that I had split away from a few miles to the south. The folks that had decided to stay behind and wait – through either a lack of courage or an excess of good sense (or both) – cheered everyone as they rode up, soaked to the skin.

The beer was very good, by the way, and well earned.

Emancipate Yourselves From Mental Slavery

Posted on by Bill Chance

Emancipate yourselves from mental slavery;
None but ourselves can free our mind.
Wo! Have no fear for atomic energy,
‘Cause none of them-a can-a stop-a the time.
—-Bob Marley, Redemption Song

I always have a tickle in the back of my head for jerked chicken – the Jamaican dish.

The best jerk I had was in Key West – I remember it like it was yesterday. At least I remember the chicken – I have no idea what the name of the restaurant was. We were walking down Duval, back to our hotel, and it was late, very late… late even for Key West. But Candy and the kids were hungry so we ducked into the first restaurant we saw and sat down. The prices were a bit high for a late-night snack, but this was Key West and nothing comes cheap when it has to be hauled out to that island.

I looked at the menu and my eyes fell on the Jerked Chicken. I was a bit stunned when it arrived. It was an entire chicken – the whole thing. It had been expertly knifed (I have seen chefs do this on TV since) so that it was still whole, though boneless. It was flattened, dredged in jerk spices and then grilled expertly. I didn’t think I could eat the whole thing – but it was so delicious I couldn’t help but soldier through. I’m pretty sure that I didn’t sleep at all that night, but it was worth it. You never remember the pain as much as the pleasure.

When we actually went to Jamaica I wanted to get some authentic jerk but never pulled it off. We were only there for a day on a cruise. My idea was to somehow get to a jerk stand out on a highway somewhere – a place where the locals ate. But on a cruise shore excursion the time is short and the forces are allayed against you doing what you want to do.

The kids went up in the mountains to do a zipline thing and they were served some jerk chicken. The said that it was from a shack and the chickens were all running around a pen behind the place. It must have been great – I was so jealous.

Nick and I did have a little time and a little cash to spare before the ship sailed so we hired a cab to drive us into Montego Bay for some exploring on our own. I had planned on having the driver take us to a place that he knew about where we could get some food, but we spent all our money and most of our time in the city and barely made the boat before departure time.

I need to go back.

But in the meantime I discovered by reading a local blog that there was a new Jamaican Restaurant, The Jamaica Cabana that opened up only couple miles or so north of where we live. The blog made the place look great – so I made a point of trying to get up there.

It took longer than I wanted – but Nick and I had an evening free so we drove to the place for dinner.

Jamaica Cabana Richardson Texas

Jamaica Cabana
Richardson Texas

The parking lot was packed with people eating at a crowded local Tex-Mex emporium, while The Jamaica Cabana was mostly empty. I simply can’t understand the desire to gobble down mild cheddar cheese enchiladas covered in Hormel Chili perched between a puddle of bland rice and a pile of lard larded mashed pintos. Try something new, folks. Free your mind.

The menu was full of great looking stuff – but I couldn’t resist ordering the Jerk Chicken.

The chicken came with vegetables and plantains – I love plantains. One the side were what the menu described as “rice with peas” – though it was actually rice and beans.

Jerk Chicken, plantains, and vegetables

Jerk Chicken, plantains, and vegetables

The food was fabulous and the owner very friendly. There were two bottles of very hot Jamaican sauce on the table – be careful, they are of the “delayed reaction” heat. Cool for me, if dinner doesn’t make the top of my head sweat, it isn’t spicy enough.

Now I have to go back and explore the rest of that menu….

Cortex of the Brain as a Mosaic of Tiny on/off Elements

Posted on by Bill Chance

“Like his master I. P. Pavlov before him, he imagines the cortex of the brain as a mosaic of tiny on/off elements. Some are always in bright excitation, others darkly inhibited. The contours, bright and dark, keep changing. But each point is allowed only the two states: waking or sleep. One or zero.”
― Thomas Pynchon, Gravity’s Rainbow

Irving Arts Center, Irving, Texas

Mosaic, Irving Arts Center, Irving, Texas

Mosaic, Irving Arts Center, Irving, Texas

In college, I took Art History – mostly in a hopeless, vain attempt to meet women. I really fell into it, though. I think I learned more useful knowledge in that course than in any other. The problem is, I came to the class, in a dark, quiet dungeon under a Fake Romanesque stone building – the darkness only pierced by the beam of the slide projector, the silence only broken by the instructor’s drone – after four hours of advanced organic chemistry laboratory. Sometimes I would forget to remove my goggles and would frighten the other students.

The difficulty was making that left-right brain switch during a quick hike across campus. I remember looking at some Byzantine Mosaics from Ravenna and trying to understand and appreciate the art… but all I could think was, “I wonder what dyes they used to get that blue?”

Mosaic, Irving Arts Center, Irving, Texas

Mosaic, Irving Arts Center, Irving, Texas

The mural at the Irving Arts Center pays tribute to some of the best-known icons of the city. You can see the TRE Train, The Las Colinas Mustangs, and the long-imploded Texas Stadium (now replaced with Jerry’s Death Star).

“She may know a little, may think of herself, face and body, as ‘pretty’…but he could never tell her all the rest, how many other living things, birds, nights smelling of grass and rain, sunlit moments of simple peace, also gather in what she is to him.”
― Thomas Pynchon, Gravity’s Rainbow

Birds, Eyeballs, and the Second Mouse

Posted on by Bill Chance

“The early bird gets the worm, but the second mouse gets the cheese.”
― Willie Nelson

Mural, Deep Ellum, Dallas, Texas

Mural, Deep Ellum, Dallas, Texas

It is late in the day – later than I thought – too late… though I have no idea what it is too late for. I am on my bicycle and worn out – long since dropped down into my emergency gear so I can get home alive. Everyone else has given up and I should be waiting on my train, but I am anxious and can’t help finding some murals and taking some pictures.

Close to our bows, strange forms in the water darted hither and thither before us; while thick in our rear flew the inscrutable sea-ravens. And every morning, perched on our stays, rows of these birds were seen; and spite of our hootings, for a long time obstinately clung to the hemp, as though they deemed our ship some drifting, uninhabited craft; a thing appointed to desolation, and therefore fit roosting-place for their homeless selves. And heaved and heaved, still unrestingly heaved the black sea, as if its vast tides were a conscience; and the great mundane soul were in anguish and remorse for the long sin and suffering it had bred.
—-Moby Dick

Detal, Mural, Deep Ellum, Dallas, Texas

Detal, Mural, Deep Ellum, Dallas, Texas

The reality is in this head. Mine. I’m the projector at the planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, and sometimes other orifices also.
–Thomas Pynchon, The Crying of Lot 49

Valuable Things Are Never Easy To Understand

Posted on by Bill Chance

“I am the twentieth century. I am the ragtime and the tango; sans-serif, clean geometry. I am the virgin’s-hair whip and the cunningly detailed shackles of decadent passion. I am every lonely railway station in every capital of Europe. I am the Street, the fanciless buildings of government. the cafe-dansant, the clockwork figure, the jazz saxophone, the tourist-lady’s hairpiece, the fairy’s rubber breasts, the travelling clock which always tells the wrong time and chimes in different keys. I am the dead palm tree, the Negro’s dancing pumps, the dried fountain after tourist season. I am all the appurtenances of night.”
― Thomas Pynchon, V.

I was waiting with my bicycle at the Galatyn Park DART train station for some friends to arrive when I noticed patterns, codes obviously, cut into the steel of the railing by the station artist, Jim Cinquemani.

Galatyn Park DART Station, Richardson, Texas

Galatyn Park DART Station, Richardson, Texas

The first one was easy. That’s Morse Code. I don’t know it by heart, but I know how it works. It spells out the name of the place, Galatyn Park.

Galatyn Station, DART, Richardson Texas

Galatyn Station, DART, Richardson Texas

So I confidently dove in to the puzzle of the second missive. It’s obviously some sort of Teletype Code. Since I already knew what it probably said, I thought it would be easy. A seven bit code (ASCII is usually seven bits) – but what is that one bit that is always on? And the message is twenty-six characters long… There are so many different codes, with strange encoding patterns and a lot of mysterious control codes.

I’m old enough to have worked with paper tape – back when kilobytes of information were all we had to work with. This looks like computer paper tape – but it might be an even older technology.

I never was able to figure it out. I’ll work on it awhile – and then maybe email the sculptor and see if he will tell me.

Finally, the last two codes:

Fence at Galatyn Park Sation.

Fence at Galatyn Park Sation.

Galatyn Park DART Station - with car passing behind.

Galatyn Park DART Station – with car passing behind.

These are obviously analog output. Maybe voice recordings? No way to decode – but they do look cool.

“It’s been a prevalent notion. Fallen sparks. Fragments of vessels broken at the Creation. And someday, somehow, before the end, a gathering back to home. A messenger from the Kingdom, arriving at the last moment. But I tell you there is no such message, no such home — only the millions of last moments . . . nothing more. Our history is an aggregate of last moments.”
― Thomas Pynchon, Gravity’s Rainbow

She Watches Over Us As We Run For Our Train

Posted on by Bill Chance

Sculpture outside Plaza of the Americas
Dallas, Texas

Plaza of the Americas Pearl Street Dallas, Texas

Plaza of the Americas
Pearl Street
Dallas, Texas

“What is that feeling when you’re driving away from people and they recede on the plain till you see their specks dispersing? – it’s the too-huge world vaulting us, and it’s good-bye. But we lean forward to the next crazy venture beneath the skies.”
― Jack Kerouac, On the Road

Year of the Rooster

Posted on by Bill Chance
Year of the Rooster Dallas Theater Center Upstart Productions

Year of the Rooster
Dallas Theater Center
Upstart Productions

I’ve been a fan of the Dallas Theater Center’s Wyly Theater ever since it first opened. I’ve seen a double handful of plays there, and enjoyed every one.

I was excited when I heard about the Center’s new initiative, the Elevator Project. This gives six local theater groups: African American Repertory Theater, Cara Mia Theatre Co., Dallas Actor’s Lab, DGDG: The Danielle Georgiou Dance Group, Second Thought Theatre and Upstart Productions – an opportunity to stage one play each in the Wyly over the next year.

These plays won’t be in the large main auditorium, but in smaller spaces on the sixth and ninth floors of the giant Borg-Cube like building. And yes, you do ride an elevator from the below-grade lobby to reach the shows.

Dallas Theater Center Wyly Theater Dallas, Texas

Dallas Theater Center
Wyly Theater
Dallas, Texas

I had seen one show, Red, in the ninth floor space (completely redone – you had no idea where you were – it felt like a New York artists’ studio). While it was running on the ninth floor, King Lear was going on downstairs.

The first production in the Elevator Series is done by Upstart Productions and is a work called Year of the Rooster. It is presented in the sixth-floor black box theater area – where I had never been. I wanted to go on one of the first nights, but work has been kicking my ass and I wasn’t able to get there until today, for a Sunday Matinee performance. I thought about riding my bike down there, but it was too hot (and ungodly humid) so I settled for a train ride.

I made a particular effort to not read anything about the play beforehand – to leave an element of surprise. I only knew that it involved at least one chicken.

The play was crackerjack. It was a harrowing tale of a struggling McDonald’s clerk, trying to keep his elderly mother supplied with stolen honey mustard packets without getting fired – who has only one chance at success, escape, and redemption – his fighting cock, Odysseus Rex.

The protagonist chicken is played by Joey Folsom as a spring-steel tight PED drugged bundle of avian rage and hate flashing a folding knife like it is his only hope in the world. Steph Garrett plays dual roles as an over-ambitious McDonald’s manager and as Odysseus Rex’s love interest – an overweight, cage-raised, soon-to-be-fried hen.

It’s not always a pleasant tale – full of salty language and Oklahoma doom. The fight scenes are exciting and a bit frightening in the small space of the sixth floor black box. In the end it’s an unforgettable entertainment – you can’t make an omelet without breaking a couple of eggs.

There are a few performances left – so if you are in the North Texas area, get your tickets before they are sold out.

The odd thing about a matinee performance is that you emerge from the darkness of the play into the unexpected and almost forgotten fiery light and withering heat of the late afternoon. The world is still there – though somehow always changed by the entertainment you have sat through. And that’s the mark of a good play – because of what you have seen – what you have lived through – you now see the world a little differently. You know something you didn’t before.

http://youtu.be/fEqaCsyQUm4