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butterfly in herbs

butterfly in herbs

I don’t trust the incoming President of the United States, nor the people he is likely to appoint to his cabinet, nor the Republicans already in Congress who supported him, nor those Republicans who didn’t support him but were re-elected anyway, not the person he will try to appoint to the Supreme Court, and possibly not even the person he will hire to walk his dog assuming he decides to have one in the White House — I don’t trust any of these people to look out for my best interests as a human being let alone as a citizen of the United States and of the world. So what am I supposed to do as a human being, as a citizen of the United States and of the world?

It is rather despicable to see the likes of Mitch McConnel and Paul Ryan on stage stating that as soon as Trump is officially President they will work to repeal the Affordable Care Act (why not work to fix its problems and expand what works?), cut taxes (for whom or what?), confirm conservative judges (why not find the best judges?), shrink government programs (which ones and why?) and roll back regulations (for whom and why?). They speak only to removing and wiping away President Obama’s legacy — they speak not a word about how they will unite a clearly divided country, provide support to people of all races and socio-economic backgrounds whether at the federal level or by supporting state governments to do work at the ground level.  There is no acknowledgement, nor will there ever be I suspect, of how the Republicans chose to purposefully roadblock Obama every chance they could, and that roadblocking had absolutely nothing to do with the best interests of the American people. It was to prove a point, to hammer it home, at the expense of the American people.

I will not pull out the race card, immigration, fear of “the other.” Van Jones did that eloquently enough.

To some degree the issues that divide this nation are the issues that have been present since the founding of this nation – race, class, gender, fear, hope, desire and so on. There especially seems to be a universal anxiety about the future. If there are those who are not anxious then I wonder what bubble they live in.  Somehow or other, we have been able over time, and sometimes bloodily so, to overcome if not outright address these issues. But these issues, a part of our human nature, do not ever fade away.

I will continue to mull over what I will do positively to move forward as a human being and citizen of the United States and of the world. I personally do not feel a desire to wrap myself inside a cocoon until a better day arrives. Today is all we have. I will continue to celebrate what has made this country great all along, to seek out its beauty with my camera, to share the stories of its people, past and present, and those who strive to become part of its future, and I will make a greater effort to be an active citizen. I’m never going into politics, but I am reinvigorated to go knocking at the door of those who serve the people at the local level and to ask them, what are you going to do?

One day I went wandering by the river because I felt a little lost. I thought I might find focus on the leaves fallen in the water but the sun was at such an angle that I could not get the right shot.  I kept wandering by the river, in hope, still focusing my camera on the leaves.

A leaf or two I did find but they were not exactly what I sought and so I continued my journey by the river, in hope, seeking something, though I knew not exactly what.

I grew cold and frustrated. There I stood on the banks of the Charles River knowing I had to give up.  As I paused, undecided of my direction, my eyes rested on the waters — you see, the sun was so low it was hard for me to look up.

Waters lapped upon the shore, cascaded over the rocks and swirled small broken branches about. A lovely sight especially when I realized in the water the blinding light was subdued. It was a delight.

No doubt there was beauty behind me and there would be beauty before me but on this particular journey I found the beauty right in front of me. And that’s what I chose to photograph.

When a certain physicist I know tells me excitedly that he picked up something really cool for me to photograph from the farmer’s market, I know that it will undoubtedly be an edible object that in some way visualizes some fundamental principle about how the world works. In this case it was a head of romanesco broccoli with its beautiful repeating pattern that is a “natural representation of the Fibonacci … a logarithmic spiral where every quarter turn is farther from the origin by a factor of phi, the golden ratio.” (source)

Indeed! Well, I did have fun photographing it. When I thought I was done, I put away my camera and picked up a knife. It was time for dinner, you see. But then at the look on the physicist’s face, I put the knife down and said, “Uhm, would you like the honors?” And so he gently broke it apart revealing and reveling in the ever smaller yet repeated pattern of the larger broccoli.

In the end he sauteed the little bits in garlic and olive oil and topped it with a bit of cheese. Quite good. And there remained just enough of the veggie to place in a little ramekin. “Like a little Christmas tree,” he said. “We could decorate it with baby capers!” I don’t think so but it looks like I will have the opportunity to photograph this tasty mathematical subject a while longer.

an enduring beauty

Della Robbia: Sculpting with Color in Renaissance Florence is a current exhibit at the Museum of Fine Arts, Boston. It is a beautifully curated show featuring glazed terracotta that, as one visitor stated, if you did not know the sculptures were made over 500 years ago, you would think that they were made just yesterday.

The colors are still that vivid thanks to a unique glazing recipe developed by Luca della Robbia (1399/1400–1482). The sculptures produced by his family, based in Florence, Italy, are dramatic in design and expression and rather luminous.

detail from The Visitation, 1455, on loan from the church of San Giovanni Fuorcivitas in Pistoia, Italy

Della Robbia’s signature colors of white and cerulean blue radiate with a brilliance that would become the family hallmark. There is a deep richness to the others colors as well.

For the exhibit the MFA pulled together nearly 50 objects from U.S. collections and from Italy. On view in the museum’s Lois B. and Michael K. Torf Gallery, the freestanding sculptures and other decorative pieces are organized around three themes – hope, love, and faith. Exhibit curator Marietta CAmbareri describes these as the virtues of the Renaissance, guiding peoples’ lives at the time.

The exhibit, a visual treat, runs through December 4th. More details available here: http://www.mfa.org/exhibitions/della-robbia

 

fractal food

An excellent find at the farmer’s market. Romanesco broccoli. Expect more photos before the subject is eaten. 🙂

sun series

I slowly move away from the computer. I find my camera and then begin to meander about the house looking for … looking for anything to photograph. Yesterday I settled on a large blue goblet picked up at an antique store for $3.

I photograph without purpose until purpose finds me. In this case I began to focus on the beautiful irregularities in the glass. Did doing so solve the writer’s block?

Not sure. Time will tell. But it was a good moment, to lose myself in the blue.

 

a somerville sunset

fun with paint and colors

standing in the rain

standing in the rain

My cousin Tim is an artist extraordinaire who creates elaborate urban settings with detailed maps. As a child I watched him do this with pencil to blank paper. He must have quite a collection of notebooks. But at some point he began working with MS Paint. He recently shared with me his latest creation and when I have his permission I hope to share his work and the stories behind his world. Meanwhile, I had to update my hardware and I “discovered” that I had Paint on my machine. I told Tim, “You create maps. I can’t even make a straight line.” He told me about holding down the shift key to solve that problem. He promised to continue sharing his maps with me and I mostly promised to share my adventures with 21st century technology that most people have known about for ages. Between tutorials from young cousins and Youtube videos, I may continue to delve into this digital art world. Meanwhile, here’s my fun for the day. Be well. 🙂

 

 

 

 

 

 

James Weldon Johnson and Aaron Douglas

James Weldon Johnson (1871-1938) and Aaron Douglas (1899-1979)

Originally published in 1927, James Weldon Johnson’s book, God’s Trombones, is a slim volume composed of a prayer and seven poems: Listen, Lord–A Prayer, The Creation, The Prodigal Son, Go Down Death, Noah Built the Ark, The Crucifixion, Let My People Go, and The Judgement Day. The verses were inspired by his experiences attending black churches throughout the American south. The preachers’ oratory inspired Johnson to write these poems and, in the book’s preface, to reflect upon the nature of oration and folk traditions. His poems, I assume, inspired his artistic collaborators, Aaron Douglas and Charles B. Falls. The signature styles of two very different artists were brought together to complement Johnson’s words.

lettering by Charles Buckley Falls

Lettering by Charles Buckley Falls (1874-1960)

A publication was produced that is really quite distinctive with regard to words, images and overall concept. Johnson as scholar as well as poet produced a tome that captured in a unique way the power and importance of religion in the African American experience. He makes real even for those not having attended black churches how the preachers – God’s trombones – used word, rhyme and rhythm to give voice to the stories in the bible even when no bible was present.

Illustration

It would be easy to pick up this book, to skip the preface and go straight to the poems. But don’t. Johnson’s preface is critical, for his brief and cohesive insights into religion and the American experience, and for his guidance in how to truly appreciate what he was attempting to do with this book.

“I claim no more for these poems than that I have written them after the manner of the primitive sermons. In the writing of them I have, naturally, felt the influence of the Spirituals. There is, of course, no way of recreating the atmosphere — the fervor of the congregation, the amens and hallelujahs, the undertone of singing which was often a soft accompaniment to parts of the sermon; nor the personality of the preacher — his physical magnetism, his gestures and gesticulations, his changes of tempo, his pauses for effect, and, more than all, his tones of voice. These poems would better be intoned than read; especially does this apply to “Listen, Lord,” “The Crucifixion,” and “The Judgment Day.” But the intoning practiced by the old-time preacher is a thing next to impossible to describe; it must be heard, and it is extremely difficult to imitate even when heard. …”

“… The tempos of the preacher I have endeavored to indicate by the line arrangement of the poems, and a certain sort of pause that is marked by a quick intaking and an audible expulsion of the breath I have indicated by dashes. There is a decided syncopation of speech — the crowding in of many syllables or the lengthening out of a few to fill one metrical foot, the sensing of which must be left to the reader’s ear. The rhythmical stress of this syncopation is partly obtained by a marked silent fraction of a beat; frequently this silent fraction is filled in by a hand clap. …”

The ensuing poems do read like song and the power of the words are echoed and strengthened by the complementary visusals.

Illustrations by Douglas for the poems, The Creation, The Prodigal Son, and Go Down Death.

Illustrations by Douglas for the poems, The Creation, The Prodigal Son, and Go Down Death.

Noah Built the Ark

Illustration and complementary chapter head for Noah Built the Ark

Illustration for The Crucifixion

Illustration for The Crucifixion

Illustration for Let My People Go

Illustration for Let My People Go

     

Both Johnson and Aaron Douglas are considered key figures of the Harlem Renaissance. Charles B. Falls was a noted illustrator and designer especially remembered for the posters he created during World War I and II as part of the Victory Books Campaign.

Over time the book has been reprinted numerous times including an edition by Penguin Classics, edited by Henry Louis Gates and with an introduction by Maya Angelou. As Johnson wrote in his preface the poems are really meant to be performed and over the years many individuals and institutions have done just that. Recordings can be found online.  You can also find the book fully digitized and viewable online thanks to the Documenting the American South project at University of North Carolina at Chapel Hill, my primary source for this post. I hope you have the opportunity to view the book in-hand or online: http://docsouth.unc.edu/southlit/johnson/johnson.html

 

Sources & Additional Readings

God’s Trombones (digitized) – http://docsouth.unc.edu/southlit/johnson/johnson.html

James Weldon Johnson – https://en.wikipedia.org/wiki/James_Weldon_Johnson

Aaron Douglas – https://en.wikipedia.org/wiki/Aaron_Douglas

Charles Buckles Falls – https://en.wikipedia.org/wiki/Charles_Buckles_Falls

The New Negro Renaissance – http://exhibitions.nypl.org/africanaage/essay-renaissance.html

More about the Victory Books Campaign – http://arcweb.sos.state.or.us/pages/exhibits/ww2/services/books.htm