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Posts Tagged ‘time’

The Subjective Flow of Time, and Other News

October 17, 2014 | by

CamilleGravis

Detail from Camille Grávis, Captive balloon with clock face and bell, floating above the Eiffel Tower, Paris, France, ca. 1880.

  • Richard Flanagan’s The Narrow Road to the Deep North, which just won the Booker Prize, tells the harrowing, oft forgotten story of Australia’s role in building the Thai-Burma Railway: “Although there were nine thousand Australian P.O.W.s who worked on the railroad, a third of whom died while imprisoned, the episode never took hold of the national imagination. Flanagan himself has said that ‘it’s a strange story that isn’t readily absorbed into any nation’s dreams.’”
  • Flanagan’s name is also set to appear on a special British postmark congratulating him on the Booker. “We’re really pleased to share his success in winning this renowned literary award with a postmark that will be delivered to addresses nationwide.”
  • “One way researchers have tried to measure the subjective flow of time is by asking people of different ages to estimate when a certain amount of time has gone by. People in their early twenties tend to be quite accurate in judging when three minutes had elapsed, typically being off by no more than three seconds. Those in their sixties, by contrast, overshot the mark by forty seconds; in other words, what was actually three minutes and forty seconds seemed like only three minutes to them. Seniors are internally slow tickers, so for them actual clocks seem to tick too fast.” (That’s from Lapham’s Quarterly’s elegant new Web site, by the way—note it.)
  • Pittsburgh’s City of Asylum, which provides sanctuary to exiled writers from around the world, celebrates its tenth anniversary this weekend with an event featuring their five current residents, Huang Xiang, Horacio Castellanos Moya, Khet Mar, Israel Centeno, and Yaghoub Yadali.
  • Why did Sartre refuse the Nobel Prize in 1964? “Sartre’s rejection of the Nobel Prize was not personal. It was metaphysical. Every act I take as a writer, Sartre was saying, affects the existence of my readers. Accepting the Nobel Prize would have been, for Sartre, to compromise the freedom of his readers. Indeed, it would have compromised the freedom of all mankind.”

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The Open Book Book, and Other News

August 8, 2014 | by

Screen shot 2014-08-08 at 8.54.36 AM

Doug Beube’s contribution to the Open Book Project “reimagines the book as a reconstructible sculpture of maps and zippers.” Image: the Open Book Project, via the Atlantic

  • James Wolcott on the scourge of nineties nostalgia: “Mostly a white people’s pastime, nostalgia used to be a pining for an idealized yesteryear, for a prelapsarian world tinted in sepia … the Internet and cable TV have colonized the hive mind and set up carnival pavilions. Now every delight is obtainable and on display at an arcade that never closes … This anxious, ravenous speedup of nostalgia—getting wistful over goodies that never went away—is more than a reflection of the overall acceleration of digital culture, a pathetic sign of our determination to dote on every last shiny souvenir of our prolonged adolescence, and an indictment of our gutless refusal to face the rotten future like Stoic philosophers.”
  • With the Open Book project, two professors held “experimental book workshops … to help define what the classic book—and the new book—could be.” Now there’s the Open Book book, “an amalgam of essays on and artwork made from books. ‘Not all of these books are made from and with paper-based books … We purposely sought book-like work for the Open Book exhibition that transcended paper media.’”
  • What does a minute feel like? Sixty seconds. What does sixty seconds feel like? A minute. “I was a lab rat in a performance-art piece on the High Line. The artist, an Argentinian named David Lamelas, arranged forty-odd people—friends, tourists, commuters, passersby—shoulder to shoulder, like an extra-long police lineup. ‘The time is now six-thirty-five,’ he announced, looking at his phone. Starting at one end of the queue, we were each supposed to wait for what we estimated to be one minute and then call out the time.”
  • In the UK, a new edition of Charlie and the Chocolate Factory has a remarkably creepy cover. “It features a cover photograph of a young girl in make-up and marabou feathers, perched on her mother’s knee with the blank-eyed expression of a doll.”
  • Eighteen months ago, Steven Soderbergh retired from filmmaking. Now he’s made The Knick, a grisly TV drama series about a hospital in the earliest days of the twentieth century: It’s “a gritty glimpse of Gilded Age New York … The first ten minutes of the premiere are among the most gruesome I’ve seen this year, as [the doctors] attempt an emergency C-section on a woman with placenta previa, an operation they have already failed at twelve times before.”

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Phantom Limb

June 9, 2014 | by

Charles Ray American, born 1953 Hinoki, 2007

Charles Ray’s Hinoki (2007) at the Art Institute of Chicago. Photo: Ed Bierman, via Flickr

Some six hundred years ago, a cypress tree fell—perhaps soundlessly—in central California. When the artist Charles Ray fell for it, circa 1996, he didn’t carve his initials into its bark; he made sure his love would endure.

Ray had the tree’s corpse removed, in pieces, to his studio in southern California. Silicone molds of it were taken, and a minutely articulate fiberglass model of the corpse was created. This fiberglass, in pieces, was sent to Osaka, Japan, to be used as a model by the master woodworker Yuboku Mukoyoshi and his apprentices, who would carve a replica of the replica from strong young cypress. The physical product of Ray’s love for that tree—titled Hinoki, a transliteration of the Japanese for cypress—was completed in 2007, and is on display at the Art Institute of Chicago, which is revving up for a retrospective of Ray’s work, to open in 2015.

Hinoki is a double of a double of a tree that was alive in ancient times. When we look at it, we look into the past. But conceptually, the work responds to what Ray found out about the likely future durability of a sturdy, young cypress: a healthy specimen should be very strong for about four hundred years, after which a “period of crisis” will go on for roughly two hundred years. (Hear, in your mind’s ear, how cracking and splitting punctuates great intervals of silence.) In a final extenuation, lasting approximately four hundred years, a tree like the one from which Hinoki is derived should lie in state, rotting toward the state of decomposition at which Ray discovered the original.

Hinoki will be around for a millennium. And a temperature-controlled gallery in the Art Institute of Chicago is no state of nature; in a rain-, snow-, lightning-, rodent-, disease- and worm-free environment, Hinoki could conceivably celebrate its one-hundred-thousandth birthday intact. Read More »

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Pleasure Domes with Parking

December 24, 2012 | by

The Court of Flowers, postcard.

We’re out this week, but we’re re-posting some of our favorite pieces from 2012 while we’re away. We hope you enjoy—and have a happy New Year!

Because my grandfather owned a men’s clothing store and my dad briefly worked for him, I spent a lot of my childhood in malls. Hanging around malls is already a tradition in Phoenix, Arizona, where I grew up. It’s as central to life as driving and eating Mexican food, a habit stemming from a mix of materialism, a reflexive tendency to “pass time,” and a very practical need for air conditioning. But it was also a habit born of an era when malls adorned themselves in gaudy architecture and country-and-western motifs, presented themselves as shopping experiences rather than just places to shop, and capitalized on Americans’ aspirations toward glitz and glamour. I can’t enter one of the predictable, interchangeable modern retail spaces without thinking of the heyday of the mall, a period when, to borrow the title of a Time magazine article, malls were “Pleasure-Domes with Parking.”

I saw none of these touches of class in person. I was born in 1975, and by then malls had changed. As I experienced it, my Grandpa Shapiro’s store, The Habber Dasher, was adjacent to the food court, an echoey hall enlivened by the greasy orange aroma of Pizza D’Amore and the sweet froth of Orange Julius, as well as Kay Bee Toys, the Red Baron video-game arcade, and the movie theater. My time at the mall was spent buying shockingly lifelike diecast metal cap guns at Kay Bee and then eating free samples of slow-cooked meat from the tiny gyro stall, staring in horror at the hard, sunken eyes of the whole smoked fish in Miracle Mile Deli’s cold case, or looking up at the tall escalator that led into UA Cinema. When I walked through the open, indoor plaza where Santa Claus sat in a huge Styrofoam Wonderland, surrounded by polymer wads of fake snow while the sun shone outside, I had no clue that malls could be anything but what they were then, that they had any history at all.

In fact, shopping arcades and centers existed in the Western World as early as the 1920s. The classic, fully enclosed form now known in America as “the mall” debuted in Edina, Minnesota, in 1956. An Austrian-American architect named Victor Gruen designed the so-called Southdale Center, and it became the de facto prototype for a wave of enclosed, temperature-controlled shopping complexes structured around big name “anchors” and interior garden spaces. Read More »

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Part 3: Time’s a Goon

December 27, 2011 | by

We’re out this week, but we’re re-posting some of our favorite pieces from 2011 while we’re away. We hope you enjoy—and have a happy New Year!

The final installment of a three-part saga. Martin is hitchhiking from Kansas City, Missouri, to New York City in order to catch the last day of Christian Marclay's The Clock at the Paula Cooper Gallery. Read Part 1 and Part 2 here.

“You got a way of making a man get to talking, friend,” Sam told me. We had slowly worked our way into his life story, which involved him being adopted by Tennesseans who were somehow heirs or related to heirs of the Pepsi-Cola fortune, dropping out of Emory University, working part-time as an industrial air-conditioning chemical cleaning salesman, and then opening his own air-conditioning cleaning company, which in less than five years and with several hospital, university, and prison contracts across the Southeastern and now Midwestern states had turned him into an independent multimillionaire. But he was having “woman troubles”—I had gotten lucky with that lie—“because, to tell you the honest God’s truth, Clancy, and I ain’t proud to say it, I’ve got wives in four different states. Kids with two of them, and the third one’s pregnant. Even with my income it’s spreading it a bit thin. Thank the good Lord for my trust fund.” I knew if I kept Sam talking we’d sail right past Newark, and sure enough, when we got to his turn he was in the middle of the sad love story of Sam and Sally, and the fight they’d had in Bali last year when she realized all of the international calls he’d been making late at night “for business”—I shook my head with the great sympathy and genuine feeling of brotherly love one married man has for another in such situations—and as we approached the truck stop where he planned on leaving me (I was close enough now that I figured I would just call a cab, it couldn’t cost more than a hundred dollars), he said, “Where’d you say you’re headed again? Hell, we made it in half the time we figured.” Sam does not believe in letting the speedometer drop below “a C note.” Most of the way he was swooping between cars on the highway as though they were parked and we were a very low flying F-16. Time slows drunkenly at that speed, especially in an opulent, muscular truck, with a charismatic Korean chatting amiably beside you while you cling with sore fingers to the handle of the door, the soft tones of the iPod switching randomly from Gun Club to Elvis to Gyptian to Chopin’s Nocturnes.

 

“Far as we’ve come I guess I can take you right into Brooklyn.” The truck stop is already a mile behind us. “I sure as hell hope we don’t get snarled up in some Friday traffic. Course it’s not even rush hour yet, and we’re headed into the city, not the other way ’round. But I’m gonna be cursing your name when I’m driving back the other way. Hell, you look like you could use a favor. You’re in a bigger hurry than I am.” And back to Sally, who morphs seamlessly into Joanne, who I’m trying to keep straight from Christine, and wondering how many times Sam has said the wrong name in bed.

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A Week in Culture: Radhika Jones, Part 2

September 2, 2010 | by

This is the second installment of Jones' culture diary. Click here to read part 1.


DAY FOUR

Morning I put in some book requests, per last night's TLS: Tom McCarthy's new book C, which is out September 7, and his first novel, Remainder, which I meant to read after the great piece Zadie Smith wrote in the New York Review of Books a couple of years ago, "Two Paths for the Novel," about McCarthy and Joseph O'Neill. Meetings and a quick edit eat up much of the morning.

Lunch with a favorite literary agent—one of those agents who turns out to represent all the writers you're hearing great things about. We fill each other in on what we've been reading. I make a mental note to pack Rosecrans Baldwin's You Lost Me There in the vacation bag.

Afternoon Gilbert sends me a 5 P.M. pick-me-up, in the form of the YouTube video for Cee Lo's hilarious single "F--k You." I love the typography! Thanks, Gilbert. I start working on my book review, which is to say, I write a sentence that may or may not be the lede.

Trailer break! The Social Network. I am bizarrely excited to see this movie1, which stars Jesse Eisenberg and his hoodie. And now onward to the trailer for the fake Twitter movie, which looks even more awesome.

In the NYT, I read a piece on the Shakespeare Quarterly opening up its traditional peer review system to open review online. As a former (recovering?) academic, I like this idea.

Remainder arrives. I check out the Literary Saloon, which leads me to New York's twenty most anticipated books of the season, and to a piece about Barnes and Noble, also in New York, by Andrew Rice. Paris Review alert! One of NY Mag's most anticipated fiction books is Danielle Evans' Before You Suffocate Your Own Fool Self. We published Danielle's first short story, "Virgins" (issue 182), which went on to be selected for Best American Short Stories. And Andrew Rice had a great piece of nonfiction, "The Book of Wilson," from his travels in Uganda, in issue 177.

I also read "Dear Prudence" on Slate. This is the only advice column I ever read. I'm not exactly sure why—I'm not sure why I read it, and I'm not sure why it's the only one2 I read. And I don't have time to puzzle it out, so it'll be one of the many things in life I just chalk up to mystery appeal.

Evening Bhangra class. A few years ago (actually, about six years ago, yikes), my friend Sailaja and I started taking bhangra classes. We had no dance background, and I have the flexibility of a No. 2 pencil. But our teacher, Ambika3, is brilliant, and after a year or so we had become, as Sailaja put it, not great bhangra dancers but passable bhangra students. Which we thought was pretty impressive!

Home and slightly wired from exercise, so Max and I pop in the third episode of Foyle's War. Bedtime (re)reading: an essay on pain from Atul Gawande4's book Complications. Read More »

Annotations

  1. I wonder if Harvard will start showing it during first-year orientation instead of Love Story.
  2. Although my all-time favorite Slate column is from the nineties—the Shopping Avenger. He avenged consumer wrongs, until he got caught in a U-Haul spiral from which he never emerged, which anyone who has ever rented from U-Haul can understand. O Shopping Avenger. I miss you, and I try to make you proud.
  3. Last year Ambika took off for Nigeria to make films, but I knew that if I waited patiently and went on an exercise strike, she'd come back. And she has. And tonight is our first class.
  4. Have been on a Gawande rereading binge since his wonderful end-of-life care piece in The New Yorker a few weeks back.

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