Spider

“There are spiders living comfortably in my house while the wind howls outside. They aren’t bothering anybody. If I were a fly, I’d have second thoughts, but I’m not, so I don’t.”
― Richard Brautigan, The Tokyo-Montana Express

Louise Bourgeois, Spider

The Sydney and Walda Besthoff Sculpture Garden, New Orleans Museum of Art

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(Click for full size version on Flickr)

“Spider venom comes in many forms. It can often take a long while to discover the full effects of the bite. Naturalists have pondered this for years: there are spiders whose bite can cause the place bitten to rot and to die, sometimes more than a year after it was bitten. As to why spiders do this, the answer is simple. It’s because spiders think this is funny, and they don’t want you ever to forget them.”
― Neil Gaiman, Anansi Boys

“There was less than I’d expected in the rainy-day fund that Mom had kept in the bottom of an underwear drawer in a panty hose egg labeled ‘DEAD SPIDERS.’ As if I hadn’t always known it was there. As if I wouldn’t want to look at dead spiders.”
― Adam Rex

A Well Muscled Aztec Warrior

I remember, once upon a time, a long time ago, in a galaxy far, far away, having a conversation with a cow-orker about art. We were in a bullpen-style office, during a break, and talking about buying artworks, where to find affordable paintings, if affordable, original art was worth the cost for poor workin’ stiffs like us or if we were better off with prints or reproductions… that sort of thing.

All of a sudden, a voice broke in. It was from another worker, one that we never thought would be interested in the subject. He was a good guy, bright enough, but not from the city. You can take the boy out of the backwoods, but you can’t take the backwoods out of the boy. His voice was slightly garbled from the giant chaw of tobacco he had stuck in his lower lip.

He said, “Oh, I just bought an original painting, myself.”

We were a little stunned at this admission. After a few seconds, I regained my composure and asked, “Oh, what did you buy?”

He said, “A painting of a well muscled Aztec warrior on black velvet.”

Not that I have anything against black velvet paintings, but at that time I didn’t really consider them art.

In the intervening decades between who I was then and who I am now… I have changed my mind.

Graffiti in Deep Ellum. This warrior is nothing if not well-muscled... plus he is carrying off his prize of war.

Graffiti in Deep Ellum. This warrior is nothing if not well-muscled… plus he is carrying off his prize of war.

Una Battaglia – Friday Snippet

Una Battaglia (A Battle) – Arnaldo Pomodoro

The Sydney and Walda Besthoff Sculpture Garden – New Orleans Museum of Art

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city

R’leigh and Sansom started their climb in the pitch black pre-dawn darkness. The lights mounted on their helmets cast yellow ovals that would dim after every few minutes. Then they had to pull them off and crank the little handles in the dark for a new charge. R’leigh would shiver as she felt the cool air off the vastness beyond the cliff blowing her hair and the tension in the unseen ropes holding her to the metal pins Sansom hammered into cracks in the rock while she worked at the generator built into her helmet light.

It seemed like forever, but they had moved about a third of the way on their way to the top when the sky began to glow salmon through the thick clouds. The rising sun itself was hidden but the faint glow of dawn was replaced by the slate-gray light of every day under the globe-girdling smoke cloud that had choked the earth from times before R’leigh was born. At least they could climb without the headlights and R’leigh rested against the rough granite while Sansom pulled their heavy equipment up from the base of the cliff far below. He then reeled in all the extra rope – now that they could be seen, they could not be reached.

The day settled in to a long, exhausting routine of Sansom pounding in pins above, then the two of them moving up in turns, each belaying the other in case one fell, then Sansom pulling up the equipment over the height they had gained.

While R’leigh braced herself safe and still and watched Sansom work she thought of a time three years ago, not long after they had started planning and training for this day. The two of them were on a school outing to a rare grove of trees preserved in a museum on the 598 level. The museum had done its best to duplicate at least a piece of a real forest, distributing the trees in a thick, random pattern over a rolling hill – artificial light streamed down from a ceiling painted an unreal blue.

The teachers had let the students wander around in the trees and told them to try and imagine a time when forests like this covered a large part of the earth – they went on for thousands of miles. R’leigh found that hard to believe and didn’t really understand what the big deal was – but Sansom pulled her into the center of the cluster of trees and then down a little gully away from the crest of the hill. There the grove was at its thickest.

He spent some time looking carefully up and around, until he had satisfied himself that they were hidden from the handful of cameras set up to keep an eye on the precious trees. He had already begun his secret training and was quickly becoming an expert on avoiding the surveillance. Looking straight at R’leigh, he slipped a hand into his jacket and pulled out a small, silver object which unfolded in the center.

“A pocketknife,” he said quietly. “The cell, we all made these out of scraps of cooling duct.”

He turned and moved the knife quickly and surely across the surface of the tree, slicing the bark in confident, sharp lines. R’leigh saw liquid welling up in the cut lines. She didn’t know that trees would bleed. Instead of red blood, though, the sap oozed out in a series of little clear globs, strings of sparkling jewels like a living necklace along the lines that Sansom was carving. The air quickly filled with a sharp smell – the life of the tree leaking into the air. She was so intrigued by the crystal-like sap she didn’t even notice what he was cutting out.

Before she realized what he was doing, he stopped, then stood back and, with a self-satisfied smirk, gestured as his work. He had carved the simple outline of a heart with the initials, SS + RL inscribed within.

“Look quick, hard and close, I want you to remember this. But we need to go before they find us and see what I’ve done.”

R’leigh felt her pulse quicken and she let out a gasp. The risk he was taking; they would scrub the both of them if they were caught damaging anything as precious at that tree. She allowed herself five seconds to memorize the heart, the letters, and the gleaming jewels of sap until it was burned in her mind forever. In the three years since, she had been tempted to return to the museum and the grove of trees and see if the design was still there but neither of them dared – they might be watching to see who comes back.

Her reverie ended when Sansom jerked on the rope and it was time to continue moving upwards. She allowed herself a second to look out over the landscape that was opening up beneath and around them. They were high enough now, almost to the top of the spire, that they could see a vast panorama of dead twisted gray rock reaching up from endless beds of sterile gravel. This was the world that they lived in.

Within another hour they reached the flat top of the rock spire. It had taken half a day of climbing. Their years of training in every spare hour had paid off – her arms were tired but she had enough energy to feel excitement at their accomplishment. Sansom disappeared over the edge above her, and then his head reappeared as he reached down to help her up and over. Then the two of them worked together to pull and wrestle the equipment bags over the edge and spread them out away from the sheer cliff edge that they had just climbed.

Only when the equipment was safe did they walk the few steps to the opposite side of the rock cap and look out at the city. It had been hidden from them by the bulk of the spire while they climbed the opposite side, as the rock had hidden them from the watchers on the high walls. R’leigh had, of course, never seen the city from this vantage point and she gasped at its size and beauty.

The city was made up of two parts. Down below, was the huge and squat old city – burned, torn, and rendered from the war. Enormous hunks had been blasted away from the sloped sides of the square bunker shaped edifice. Great cracks wandered over what was left behind, though they could see the ugly patches that had been applied to keep the remains from crumbling apart.

Above this wreck rose the high shining rectangular tower of the new city. Built after the war on the remains of the old, this gleaming monolith reached upwards beyond the height of even the tallest rock spire which they had climbed, still being built as floors were added to the unseen top.

R’leigh and Sansom set to work quickly, unloading the equipment bags and assembling the heavy tripod first. They had practiced this many times and R’leigh found herself stealing looks at the immense and distant city as they worked; her arms and hands moving with familiarity over the tubing and fasteners almost without her conscious knowledge.

She realized she loved the city. It had been her home her entire life and she could count on one hand how many times she had been outside that gleaming tower before today. Inside, a person could not understand or comprehend its size and simple beauty. It took her breath away to see it like this – she found herself staring at it every second, even taking her eyes off Sansom as he worked alongside her, something she rarely ever did.

Soon, the tripod was complete and using the ropes they had climbed with and a pair of long, strong poles assembled from sections in the equipment bags the two of them lifted and levered the heavy tube onto the tripod and fastened it firmly in place.

R’leigh stepped back while Sansom tightened up all the bolts and began final adjustments of the apparatus. There, in front of her were both Sansom, sweating with effort and concentration while he worked, and in the distance beyond, the lustrous metallic surface of the city. R’leaih’s heart began to race, both at the excitement of what they were about to do and with the sheer beauty of the scene.

She loved what she was looking at, but she thirsted for destruction, and after years of careful planning and preparation, she was about to drink. Sansom had finished and he came back to where she was standing, holding a small metal box trailing a fine wire that spooled out of the apparatus.

He placed his arm around R’leigh’s shoulders and looked like he was trying to think of what to say.

“There’s nothing to say,” said R’leigh, “we’re ready now, it’s time for the completion of all our work.”

“My love, here, push the button,” Sansom said as he handed her the box. It had only a small red circle on one face.

“Are you sure?” she asked.

“Absolutely.”

And with that she pressed the red circle. Immediately the rocket ignited and with a flash and a roar loud enough to make them jump it moved out, surprisingly slowly at first, but gathering speed at a frightening pace. The small rocket soon disappeared in the distance but the mane of black smoke showed its progress as it arced up into the gray sky and unerringly flew into the city.

Within a few minutes it had jumped the long gap between their rock spire and the gleaming city and struck right where it was intended, about a third of the way up along the huge structure. Its initial strike was not much more than a pinprick but the missile was designed to penetrate the skin of the structure and explode within.

The small but efficiently powerful fusion device in the rockets nose cone exploded inside the city and the entire edifice began to shake. Huge cracks appeared in its carefully polished surface, glowing with orange fire as the reaction began wreaking its destruction. The city was now tearing itself apart from the inside, mortally injured by the power of the tiny missile which had started a chain reaction which doomed the gigantic edifice. It took several minutes for the sound to reach them, but the massive explosions would shake the very stone that they were standing on.

R’leigh and Sansom stood together, their arms wrapped around each other as they swayed slightly back and forth, watching the beauty of what they had done.

More Borders

Some more photographs I took of “Borders” – a sculptural exhibition by Steinunn Thorarinsdottir.

Some of the sculptures were looking at old posters advertising the arts stuck to the walls of the construction site.

Some of the sculptures were looking at old posters advertising the arts stuck to the walls of the construction site.

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The view from across the street, in front of the Meyerson Symphony Center.

The view from across the street, in front of the Meyerson Symphony Center.

Debutantes

You know I don’t understand
Why you don’t treat yourself better
Do the crazy things that you do
‘Cause all the debutantes in Houston baby
Couldn’t hold a candle to you.
—-The Long Run, by the Eagles, Don Henley, Glenn Fry, Bob Seger

I was riding my bicycle through downtown, past the sculpture installation “Borders” and then cruised across the street to the front of the I.M. Pei designed Meyerson Symphony Center, one of the massive buildings designed by various Pritzker Prize winners that line the Dallas Arts District.

There were a cluster of expensive shiny SUVs scuttling around the entrance and a flustered clutch of shiny parents shuttling stuff in and out. I peered in the open doors, curious about what was up, and saw the long double row of professional portraits of young ladies in fanciful gowns. It was time for the Dallas Symphony Debutante Ball.

As I pedaled past, looking like an old overfed homeless man on my “vintage” bike, I snapped a quick photograph, felt the warm, dry air of the opened doors wash past me and I headed on down to the park to get a beer.

Waiting for the Debutantes

Waiting for the Debutantes

One thing that has always fascinated me is how different people exist in such different worlds and how little these worlds intersect. We all breath the same air, walk the surface of the same planet, our atoms obey the same laws of physics, yet the reality of a Dallas Symphony Debutante is so far removed from… well, mine or anyone else’s reality. It is not only a different world – it is a different dimension, a strange reality completely.

Not judging… just sayin’.

These are not only debutantes… these are Texas debutantes. While their lineage and tradition will pale when compared with some of the Northeast families of old wealth they will make up for this with enthusiasm and a dose of the Texas spirit of unapologetic “going for it”.

For example, there is the Texas Dip.

From the New York Times’ blog post on the International Debutante Ball at the Waldorf-Astoria:

The New Yorkers curtsied demurely; the uncharitable might even say their bows were boring. But so were those by debutantes from England, Alabama and Arkansas, though the Arkansan’s bouquet of pink and red roses touched with silver leaves fluttered, hinting at a tremor of fear that the genuflection induced.
And then the Texans swished into the room, across the dance floor and onto the stage. Each handed her bouquet to her collegiate man, who stepped aside for the giant gown — everything, from the ball gowns to the bows, is bigger in Texas, of course — and watched his girl dip.

Claire Crenshaw, 18, lowered herself with such subtlety, it was as if hydraulics were hidden underneath her voluminous skirt. Once on the floor, she doubled over and buried her face in her gown like a person inhaling fresh laundry. In short, she milked it.

But the best bow was by Olivia Flores, 20. Her dip was no different from any other scene-stealing Texan’s that night, with one exception: she did it all with a broken collarbone, her arm bound in a raw silk sling. It matched her dress perfectly.

http://vimeo.com/58659901

Of course, if all this is too civilized for your taste, there is an alternative Dallas Debutante Ball – women playing rugby in prom dresses. Yee Haaw!

Test Shots for a Morning Dallashenge

Last year I went into downtown Dallas at sunset for Dallashenge.

Dallashenge

Dallashenge

Dallashenge, for those that never read or can’t remember my entries from over a year ago, is the date when the sun sets directly down one of the vast glittering canyons formed by the reflecting glass-clad rows of skyscrapers lining the streets. It is derived (by me) from the more famous Manhattanhenge, from New York.

Dallas and New York are interesting because their central business district streets don’t run on a direct east-west grid. Those that do, such as Chicago, will have their ‘henge dates on the summer and winter solstices… plus their morning and evening ‘henges will be on the same day. For a city on the bias, you have to calculate the henge dates – luckily the website Suncalc makes all that very easy.

So, last year, I calculated the evening Dallashenge as February 15th, took some test shots, and then went down there at sunset and made some photos. I don’t know if the photos do justice, but it was a fun exercise in research, travel, and photography anyway. It was fun answering questions about why I was running out into a crosswalk with a camera on a tripod at sunset.

I have been thinking about a morning voyage to a Dallashenge. Other than the sheer laziness in avoiding getting up that early, I have put it off because I didn’t have a good spot. I was thinking about a parking garage at the city jail – but it wasn’t perfect and I wasn’t sure if photography would be welcome. Then, one day I was riding the DART line to the Convention Center and as the train crossed over the famous triple underpass I realized that there was a walkway along the rail lines. The sight line went straight down Main street and would be perfect for a morning Dallashenge.

During a downtown bike ride I decided to head over to that end of downtown and do some test shots. The spot turned out to be a perfect view down the street, plus it’s a well known spot – you enter the railroad overpass from the infamous “grassy knoll” and look out over the area where the Kennedy Assassination took place almost fifty years ago.

The morning Dallashenge date will be April 19, with the sun rising at six fifty-three in the morning. Now, I have to get up enough gumption to get up that early and head down to get some photos.

The view east down Main Street from the Triple Underpass. The sun will rise right down the middle of the street on April 19, morning Dallashenge.

The view east down Main Street from the Triple Underpass. The sun will rise right down the middle of the street on April 19, morning Dallashenge.

This is the walkway along the rail tracks over the underpass, with the Dallas Hyatt Regency and Reunion Tower in the background.

This is the walkway along the rail tracks over the underpass, with the Dallas Hyatt Regency and Reunion Tower in the background.

The view a little to the left of Main Street. That's the curve of Elm Street. The grassy knoll is on the left, the Texas Schoolbook Depository is the lighter brick building over the trees. The assassination site is right in front of the two cars coming down the road.

The view a little to the left of Main Street. That’s the curve of Elm Street. The grassy knoll is on the left, the Texas Schoolbook Depository is the lighter brick building over the trees. The assassination site is right in front of the two cars coming down the road.

Text on the Streets

As you move around, keep an eye out for the mysterious text that surrounds us. Here and there, in the odd corners and foggy backwaters of the city, there are messages. What do they mean? Who know? Who cares.

Stuck on a plywood-covered window. Deep Ellum, Dallas, Texas

Stuck on a plywood-covered window. Deep Ellum, Dallas, Texas

You are Now! Yes. Is this real? This moment, that you have chosen to co-create? I know not. What I do know is that everything in your life has led you to this exact moment in space and time. Yes your fantastic being of molecular vibrations slipping into the NOW. You, co-creating the awakening of your inner Shazam-Samurai! You, catapulting your nitro-burnin’, fuel-injected, Hootenany, Howlin’ Wolf, Love dance into the future of NOW! Yes! Yes! Yes!

Shazam!

Stencil (one of several) on the Santa Fe Bicycle Trail, Dallas, Texas

Stencil (one of several) on the Santa Fe Bicycle Trail, Dallas, Texas

Sign attached to bicycle, French Quarter, New Orleans, Louisiana

Sign attached to bicycle, French Quarter, New Orleans, Louisiana

Castin Call
Ride a Blind Camel
Ladies 18+ only
Call 229-9982
To play 4 Dominican Nuns
Boston Bank Job
(CIA Classified)
Libya Gold Assasins
Call Butch Cassidy Detective Agency

Cathedonia

Along the walls near the Deep Ellum Green Line DART station are some odd, wonderful, and striking portraits, all marked Cathedonia.

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These are the work of a local artist, Cathey Miller. She does a lot of varied work, including professional scene painting and such.

From her online bio:

Since 2001, the subject of my personal artwork has been the mythical planet of Cathedonia, a place I invented and populated with only my closest friends . My amateur studies in particle physics convinced me that I existed simultaneously in a parallel universe, flying around in a spaceship, drinking big gulps, and saving the earth from monsters.

My paintings are portrait based explorations into a symbol rich outer space environment. These images are painterly, colorful, and communicate Cathedonian ideals of truth, beauty, girl power, and heroism in the face of gigantic eagle headed flying intergalactic lobsters.

Stripped to Bare Steel

I want a new bicycle but I simply can’t afford one. So I’m making do.

I’ve been riding my old Technium and it’s doing well. It’s a road bike and a lot of fun. Still, one of my long-term goals is to integrate biking with my daily life and I want a commuting/shopping/bombing around the neighborhood bike. I want a bike that can go anywhere, anytime – and I don’t really care how long it takes to get there.

So I’m rebuilding my old Yokota Yosemite steel mountain bike. I’ve scrounged up a set of fenders, front and back racks, and a cheap lighting system. I found bargains on new shifters, brake levers, and more modern V-brakes to replace the squealing cantilevers.

Pack

My old bike. I bought it for sixty bucks at a pawn shop over fifteen years ago.

Looking at the bike, though, I realized the paint was really messed up. It was white, and showed every scratch and scrape… and twenty years of tough riding left a lot of scratches and scrapes.

I decided to paint the thing. If nothing else, this gave me an excuse to remove every little piece and part. One of the few good things about doing your own maintenance is that it teaches you about your bike and gives you a connection – the inanimate, mechanical object of metal, plastic, and rubber – becomes almost a living thing in your mind, and extension of your own body, so to speak.

The only problem is that stripping all the paint off the old steel frame was a ton of work. Paint stripper, flat bladed scrapers, and sandpaper… combined with helpings of time and elbow grease took the thing down to stripped bare steel. I don’t know what kind of paint they used, but it was tough.

I have become enamored of steel framed bikes. Nowadays, of course, it’s all aluminum and/or carbon fiber. Anything to shave off a few more ounces.

But now that I see the gleaming steel that was under that paint – I’ll take the toughness, versatility, and smooth ride of that steel even if I have to push around a couple more pounds.

I never noticed the Yosemite engraved on the seat tube until I removed the old pain.

I never noticed the Yosemite engraved on the seat tube until I removed the old paint.

A lot of tubes, a lot of paint to scrape off.

A lot of tubes, a lot of paint to scrape off.

The bare steel flash rusts almost immediately without any paint protecting it. I'll have to give it a final sanding right before I prime it.

The bare steel flash rusts almost immediately without any paint protecting it. I’ll have to give it a final sanding right before I prime it.

Now I’m ready. We have this little plastic outbuilding that I need to clean out and convert into a temporary paint booth. I’ll have to slot out the time and I’ll need a final sanding to clean the flash rust off the frame; then it’s primer-color-clear.

I thought about colors – I want something really simple that won’t show dirt. It looks like it’ll be Charleston Green. – which is almost black, but is supposed to show a green tint when the sun hits it right. That’s darker than I was thinking originally (I was looking for a dark British Racing Green) but the more I thought about it, and the more I read about the history of the color, Charleston Green it is.