The Bog:
sphagnum moss, dark water, and politics
Saturday, November 18, 2006
The Best _______ Ever, Atheist Edition.

Best quote: Amanda Marcotte, responding to a claim that "The atheist must also deny the validity of historical proof":
Atheists completely turned our noses up to the fact that they found Jesus fossils right in the ground! Now they have a completely rebuilt Jesus at the Smithsonian just as scientists imagined he would look in the day, hunching slightly with his claws extended, ready to grab his prey.

Oh wait. I might be thinking of something else. Anyway, yeah, atheists totally ignore the evidence.
Best comic strip: via PZ Myers - right over here. Beautiful!

posted by Dan S. on 7:34 PM | | link

Unnecessary, undesirable, impractical, or impossible.

So, lately I've been scanning in and doing assorted work with large numbers of donor-advised fund agreements (how's that for an eye-catching and attention-grabbing first sentence, huh?). They're mostly standard boilerplate* legal language - the original form has blanks for the donor to fill in - which every now and then leads to some very odd results.

For example, the one stating that the fund is to be used to promote progressive social change, but in the event that it was "unnecessary, undesirable, impractical, or impossible" to do so . . .

Oh dear.

*Although if you've ever wondered where the term "boilerplate" - referring to generic, multiple-use text - came from, Wikipedia has a plausible explanation. Correct, I dunno . . .

posted by Dan S. on 6:04 PM | | link

The Gross Clinic in the Age of Mechanical Reproduction.

Bit o' background: For everyone who doesn't follow Philly and/or art-world news, The Gross Clinic is a 19th century masterpiece by native son Thomas Eakins that's hung for countless years in Thomas Jefferson Medical College (at Thomas Jefferson University). Most appropriately, it depicts Dr. Samuel Gross teaching a group of Jeff students during an operation, and was happily sold to a group of Jefferson alumni for $200 after shocked 1876 Centennial Exhibition judges rejected it. Last week TJU suddenly announced it had - following secret negotiations - decided to sell the painting to the National Gallery and the Walmart-heir-funded under-construction Crystal Bridges Museum in Arkansas for a cool $68 million, to help fund expansion.

However, it also gave Philly whole 45 days to try to raise that sum and keep it in the city. (Despite reports to the contrary, the words "in small unmarked bills" and "if you ever want to see it again" apparently weren't involved, nor was the offer spelled out in cut-and-pasted magazine letters or over the phone using a creepy phase-shifted voice. I think). So there's been an firestorm of criticism, and breast-beating, and lamentations, , and also frantic fundraising efforts . . . (But no reassuring Law&Order detectives, although this being Philly we'd have to either settle for a canceled crime-solving ex-cop cab-driver or possibly a small boy who sees dead people, which might not be the most useful talent in this case, though one never knows . . .)

So, Wednesday, WHYY local public-radio show Radio Times ("with Marty Moss-Coane," and how awesome is it to have "Moss" as a last name?) had various folks on discussing it, and "Jay from Center City" called in with the following (as fitfully transcribed by yours truly):
. . . It's wonderful to have great - high regard for art. I'm an artist myself. I regret that the painting may leave. However, we live in an age when a good reproduction can be obtained . . . we don't actually have to have the original . . .
Marty interrupted to ask why, as an artist, he thought a reproduction would be as good as the original, and the rest of the exchange focused on technical aspects, but what immediately came to mind was Walter Benjamin's famous uber-essay, The Work of Art in the Age of Mechanical Reproduction (full text here).

Benjamin argued that, historically, the changing conditions of production - the rise of capitalist production and techniques of mechanical reproduction - has led to the withering of the aura of the work of art, the - ah, bugger this, I'm just going to quote from Wikipedia:
Benjamin used the word "aura" to refer to the sense of awe and reverence one presumably experienced in the presence of unique works of art. According to Benjamin, this aura inheres not in the object itself but rather in external attributes such as its known line of ownership, its restricted exhibition, its publicized authenticity, or its cultural value. Aura is thus indicative of art's traditional association with primitive, feudal, or bourgeois structures of power and its further association with magic and (religious or secular) ritual. With the advent of art's mechanical reproducibility, and the development of forms of art (such as film) in which there is no actual original, the experience of art could be freed from place and ritual and instead brought under the gaze and control of a mass audience, leading to a shattering of the aura.
And Benjamin noted
At the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.
One could go all manner of places with this - the importance of the painting within its - indeed, quasi-ritualistic, and certainly tradition-based - setting, ideas about city status and importance which in Philly, I think, is sometimes tied up in very odd ways with ideas of the past and authenticity, various musings on cultural vs. financial capital, and the absolute perfection of it being bought in part by a scion of that corporation dedicated to bringing enormous quantities of mass-produced items ever closer to "the masses," via deceptively smilely-faced low prices and increasingly regressive and carnivorous capitalism . . .

. . . but I must help input kindergarten grades. Off to do that. And I can never keep this sort of talk up for too long, and there are too many bloggers with excellent theoretical and political backgrounds around to make it worth the effort . . .

However, concerns about wear and tear on the painting from transit between Washington and Arkansas? All too realistic. The following is a bit of an extreme case, but when I was interning at the [name withheld] Museum, we were taking down an exhibit, which included sending a beautiful, ornate, and rather massive 1880s Wooton Patent Desk back to its home museum out West. We had used the company before with no problems, but - well, as was eventually worked out many phone calls and emails later, apparently somewhere between Philadelphia and New Mexico the guys transporting it started worrying that the top part was shaking around a bit too much, so they . . . sawed . . . it . . . off.

Center City Jay's other point was about whether that was really the best use of 68 million dollars, given Philly's very human needs, which, well . . . they never really quite addressed, actually. (And yes, a lot of that money probably would go towards cultural causes anyway, but even so, you could fund a whole lot of art-in-the-schools programs with that . . .)

posted by Dan S. on 2:21 PM | | link


Sky, empty branches;
At dusk, fallen leaves return -
Oh! Sparrows, sparrows.

posted by Dan S. on 2:13 PM | | link

what is a bog?
Definitions, definitions
1. ". . . one of North America's most distinctive kinds of wetlands . . . characterized by spongy peat deposits, acidic waters, and a floor covered by a thick carpet of spagnum moss." *
2. A relentless, hard-driving mix of political commentary, recipes, idle ramblings, and so on.

More about bogs here.

why "the bog"?
Something about the blog format made me think of spagnum moss slowly growing, forming layer after layer of peat deposits many feet thick, sometimes preserving (in Europe) ancient bodies . . . Also, it rhymes.

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Songs currently stuck in my head
despite all my best efforts

"My Happy Ending," by {yech} Avril Lavigne:
"Let's talk this over,
It's not like we're dead . . "

and "Laiska" by Varttina:
Laiska luotu laulmann
oikosormi soittamaan
yskin oita viettelen
unetonna laulelen

Toppling off the bedside book-pile:
Classroom Management for Middle-Grades Teachers , C.M. Charles & Marilyn G. Charles
Teaching U.S. History as Mystery, David Gerwin & Jack Zevin
Crossroads of Continents: Cultures of Siberia and Alaska, William W. Fitzhugh & Aron Crowell
Arctic Crossing: A Journey Through the Northwest Passage and Inuit Culture, Jonathan Waterman
Northern Tales: Stories from the Native People of the Arctic and Subarctic Regions, Howard Norman (ed.)
Life in the Cold, Peter J. Marchand
Wandering Through Winter, Edwin Way Teale
The Winter Vegetarian, Darra Goldstein

Teas of the week:
Tea of Good Tidings: Winter Fruit Blend,
The Republic of Tea
Russian Caravan,
Jacksons of Piccailly

on the web:
Land of links:
The American Prospect
Common Dreams
FAIR: Fairness and Accuracy in Reporting
The Nation
The Progressive
Washington Monthly

Organic Consumers Association
Eat Wild (pasture-based farming)
NOFA: Northeast Organic Farming Association
Consumer Supported Agriculture
Edible Wild Kitchen


Blogging away:
Vassar blogs
And yes, we've been co-ed since '69...
E's Den
Useless! Worthless! Insipid!

Other blogs
Alas, A Blog
Atrios' Eschaton
Body and Soul
Daily Kos
Digby's Hullabaloo
Dispatches From the Culture Wars
Echidne of the Snakes
Feminist Blogs
Interesting Times
Late Night Thoughts asleep?
Long story; short pier
Making Light
Mouse Words
One Good Thing
The Panda's Thumb
Respectful of Otters
The Sideshow
Sisyphus Shrugged
Matthew Yglesias

old peat (archives):
December 22, 2002
December 29, 2002
January 12, 2003
January 19, 2003
February 2, 2003
February 16, 2003
February 23, 2003
March 2, 2003
March 9, 2003
March 16, 2003
March 23, 2003
March 30, 2003
April 6, 2003
June 8, 2003
October 5, 2003
January 16, 2005
October 22, 2006
November 5, 2006
November 12, 2006
November 19, 2006
November 26, 2006
September 16, 2012
December 23, 2012

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