Right off the bat, I was a bit puzzled to see "Sam's Choice" soda and cookies which come from Walmart or Sam's Club. I wondered if I was a the right event — our Improvement Society always meets at a locally-owned business, so I kept looking at the cookie boxes to see which local bakery they came from, only to find they didn't. Well, okay …
Then it came around to art in the community. It's obvious that nobody in the room knew what art was. Here we were ostensibly creating 6×6 works as a fundraiser for RoCo, and the goal was to bang something out in an hour with arts-and-crafts tools (e.g. non-toxic markers, glue, magazines for collages). I just did a little abstract piece which really was very lousy, but I felt guilty just throwing it out so I submitted it.
I just kind of listened.
Elaine Spaull spoke a bit on the topic at hand. She mentioned the bus garage and how it was controversial, but failed to see why: that it does not improve bus service, that it will be (as a friend pointed out) essentially a quonset hut that will be loud as hell and reek of diesel exhaust, and that it should be built as an intermodal station supporting train service. Instead she kind of shrugged it off and touted that it will have art in it.
She then talked about improving neighborhoods with art. She made a point of mentioning that the goal was to remove graffiti and to install art in its place. Now, graffiti comes in two forms: tagging and street-art, both on their own spectrum of quality. Tagging is a call for attention, filling a need to have a voice and a place in a community. Street-art is a desperate outlet for creativity: lacking a legal outlet for their voice, the street-artist turns to graffiti. Removing graffiti and installing art from somewhere else is just a big "fuck you" to the local community, reinforcing isolation.
I gathered that what she meant by "art" is "pretty things", specifically to differentiate from "practical things" like factories and office buildings. But factories and buildings can look good and be integrated into the urban landscape, fulfilling the need for "pretty things". Art is more about communicating a message: the story arc of creating, presenting, observing, and interpreting. Especially interpreting: that's really important in art.
The young democrats hungrily consumed her words. If they disagreed at all, I couldn't sense it. All these bright young faces, excited to be part of making a better tomorrow, and all absolutely clueless. It was incredibly disheartening.
And then I understood what it was that bugged me about the outsourced refreshments: it was an incredibly shallow understanding of community. The family who runs Genesee Bakery (1677 Mount Hope Ave.) are my neighbors. By visiting them, I'm visiting my neighbors. And by spending my money there, I keep it in the community — and that's important because it's the transfer of money that is an economy, so sending it away stalls the economy.
So the money they saved with the cheaper snacks was really a burden they placed on their community, their neighbors, their family, and ultimately themselves.
But they could only see the numbers on the receipt.
Today was the third year of TEDx Rochester, held at Geva (75 Woodbury Blvd.) TED is a lecture series that originally focused on "technology, entertainment, and design" (providing the words for the acronym) but shifted to simply, "ideas worth spreading". "TEDx" lectures are independently produced, but attempt to mimic that theme. This year, TEDx Rochester featured sixteen live discussions, two video presentations, and a proper video lecture from TED itself.
Adam Walker kicked things off talking about a project he's involved with: The Kosovo Wind Gardens. The idea is to create small electricity-producing windmills all around countries without infrastructure for a reliable electric grid. Kosovo is one example, as it has very few power plants (their largest is a 1950-designed coal-burner with disastrous emissions) and simple things like dairy milk production are hampered by unreliable power. The windmills are designed with "appropriate technology" in mind: not just something from an industrialized nation, but a design that relies on simple materials and manual labor (rather than efficiency of mass-production) to better suit local self-sustainability. I was impressed with Walker's presentation and the keen sense of appropriateness and a focus on the people being assisted.
Next was Andrew Perry who discussed Visual Literacy and Graphic Narratives. His thesis was an attempt to show that the means of storytelling and communication are changing — whereas the poem was central to literature prior to the 16th century the novel became the dominant form starting around then, and now we are seeing a new form that integrates text with images and diagrams (in a creative, literary way, not solely for factual reference). There is a new manner of storytelling that goes with it and, while I'm not sure it will become a dominant form, it has definitely come into its own as a rich and complex literary form.
Ashley Aberg then spoke about the difficulties of changing medical thinking when it comes to gender. She centered her talk on what medicine calls "intersex" — neither dominantly male nor female. It is because the male/female binary-gender system influenced the medical community that the medical community considers it worthy of "correction" that typically involves surgically modifying the appearance of a child's genitals. Aberg's point is that there is nothing life-threatening or unnatural about intersex, and as such, it is society that should adapt to it. In some ways a radical concept, but in others, it is solely habit that keeps society's view of gender from matching what nature produces.
Next, Christopher Azzarra spoke about Improvisation: Musical Literacy Beyond the Page. As a music teacher, he observed that formal musical training does more to hamper individual music development than it helps. Since the measurement and analysis of music is so mathematical and sterile, it is hardly the place to start. Instead, he provided some examples of how natural it is for children and for professional improvisational performers to communicate with one another purely with music. Music touches us deeply because it is a fundamental part of our being.
Dr. Tim R. Mosmann, Ph. D. gave a presentation on the complexity of the immune system. He gave a depth-first tour of immune response and how astonishingly complex it is. At each of a half-dozen levels (from the body to the lymph nodes to the chemistry of the lymph nodes to the cellular interaction to sub-cellular and so on) a huge amount of information is known on how it all works. But then we can extrapolate the exponentially large amount of information, since each specific example was only a fraction of the interaction at that level. In essence, the amount of information is too large to aggregate, so we need new tools to handle it.
In another radical turn, next was Jim Maddison who gave a case for building the The Roc City Skate Park under the eastern terminus of the Freddy-Sue Bridge. Like the shift to accept graphic novels or intersex individuals, skateboarding is a perfectly acceptable leisure activity that offers a mix of exercise, creativity, and accomplishment. Maddison and his team have been working to break down the entrenched view of skateboarders as ne'er-do-wells and hoodlums.
Xanthe Matychak presented Make Better Stuff: the rise of social business and distributed manufacturing. She sees a major shift in manufacturing where it will be possible to build on-demand at nearly anywhere in the world, alleviating the need for the manufacture/transportation cycles we have now. I tend to agree that these new technologies are a game-changing development. But I don't think it will have as nearly a large impact as she thinks or hopes, unless we see a major change in how people view money and cost that would permit local artisans to overshadow the desire for cheap mass-production.
Emcee Howie Jacobson presented his own project: Vote Be Heard. The gist is to encourage primarily poor, primarily black, and primarily inner-city people to vote in major elections to make their world better. Although I think the effort was valiant, it did not strike me that much care was given to the voices in those communities. In other words, it seemed like some comparatively wealthy white people got together and made what they thought would be powerful messages for a group they largely do not interact with. As I see it, the inner-city poor (like the Occupy Wall Street movement) have little idea what they can do to improve their situation without the benevolence of the wealthy people who keep them there. Because of that, voting has comically little effect, and the oppressed are wise enough to know that.
Theresa B. Mazzullo followed that talking about a group she's involved with, $eedNY. They have financial resources to fund start-ups and other technology ventures. I spent her entire talk trying to give her the benefit of the doubt, but I was seething as I wondered why people with great ideas and people with the ability to produce things (and often some of both in one person) were not already rewarded with great wealth — and those who have great wealth have neither ideas nor means? Further, I seethed at the whole "venture capital" concept where a person with an idea presents it to those with money, and if they are given money to proceed, either they fail and the gambled capital is lost (and they probably have to pay off crippling debt regardless) or they succeed and the bulk of the profits go back to the investor, reinforcing the cycle.
In another topical twist, Jon Schull presented a history of transportation, paying particular attention to bicycling and human-powered vehicles. Although his talk was interesting and sometimes enlightening, it lacked a call-to-action punch. Rather, it seemed to advise going along for the ride and to be prepared for things to change in the future. Having lived a zero-automobile lifestyle for 4 months now, I feel deeply relieved that I need not worry about all the maintenance owning an automobile brings. I tend to work from broad goals — even in 1994 when I bought my Civic, I was already thinking about rising gas prices (which never hit until 10 years on), and since then, I tended to steer my life toward eliminating the need for a car. Having finally achieved that, I feel well positioned for the future. I advise people to do the same: it's much easier to plan to live close to work 10 years from now than it is to try and achieve next week, so start now thinking how to adapt to our world in 10 years.
Mark Noble presented some recent developments in stem-cell research. Again, an informative lecture, but pretty much just that. And again, part of me gets annoyed that (in America, at least) this lifesaving technology is reserved for the rich people who can afford it. It's kind of disheartening to know that I'm less valuable as a person than someone else.
Triggering more irritation was Hasan Elahi's video lecture from TED titled Hasan Elahi: FBI, here I am!. In this case, I was annoyed with the totalitarian police state we live in, not in Elahi's lecture. He talked about how he was interrogated by airport security because of a name mix-up and how he now lives his life under constant government scrutiny. His solution was to publish the minutia of his life: he uses his smart-phone to periodically (and frequently) document his whereabouts along with other things like photos of his hotel rooms or the urinals he uses. In the end, it's a clever redirection of energy that is resulting in a surreal art project on surveillance.
Prove Your World was next: a group of people who are working on a science-based program for children that tries to be better than either dry lecturing or vacuous demonstration. By that, they mean that (like Christopher Azzarra said about music) exploring the theoretical side of something first turns people's interest away, yet by simply offering a flashy demonstration without explanation leads to no learning (or, for that matter, curiosity) whatsoever. Their technique is to start from a simple question (in their demonstration it was, "what's a supernova?") and use demonstration as a tool for learning. Of all the lectures, this was the one I want most to get involved with. Of course their pilot episode is about how airplanes fly, and I cringe that they will reinforce the "equal-transit-time myth" of the airfoil.
Jim Gresko and Dave Vogler paired up to talk about how design is similar to jazz improvisation. I thought it was an innovative approach to discuss the concepts and it worked well.
Next was a discussion of Empathy in Education by Timothy Cottrell. He runs a program called The Center for Mindfulness and Empathy Education which pairs high-school students with people in Hospice care. Students' own testimonials revealed a surprising maturity for people in young adulthood.
BELIEVE/Visual Intervention is a film by Ian Wilson and Philip Night that documents a street-art project bringing in international talent side-by-side with Rochester's own on projects on Troup Street and the Union Street railroad bridge near the Public Market.
Relatedly, closing the show was Joan Hildebrand — "the Voice of the Public Market". She had simple, straightforward observations on adapting to change, as she went from a mid-time TV personality to being nearly unknown in this small town, but rather than harp on what she lost, she found new vitality in her work with the Market.
Overall, I found this year's TEDx Rochester to be an even and varied distribution of good discussions. I found it a little heavy on money and products in that many lectures centered on either an existing or future product or project, or gave significant focus to money and profitability. Of course, that may be more my own bias as I tend to seek TED lectures that are more philosophical or human-centered, and tend to ignore those that highlight a new technology or product. I find it a little off-putting, though, that in their re-cap blog post, they note that they "partnered with RIT & U of R to help us recruit new talent for the stage" and add that in the coming year they are "looking to also partner with groups like The Entrepreneurs Network and High Tech Rochester to expand our net." To me this means even more focus on money, product, and project rather than ideas and exploration.
About this time last Thursday, I was arriving in Boston. As an actor in The Beast Pageant, I was tagging along with filmmaker Albert and costume designer Vanessa to The Boston Underground Film Festival (BUFF). The Beast Pageant's artistic dream-logic metaphor was just barely appropriate for the horror-and-gore territory covered by the festival.
The opening-night screening was Hobo With a Shotgun at The Kendall Square Cinema (1 Kendall Sq., Cambridge, MA) — where all the rest of the films would be screened. I found "Hobo" fantastic — a 1980's action-exploitation film with Rutger Hauer, no less, in the lead role as a hobo trying to make ends meet but cornered into violent action. The bad guys are played with comic-absurd gusto as all parties are supported by a tongue-in-cheek script.
Afterward, that night's part was at T.T. the Bear's Place (10 Brookline Pl., Cambridge, MA), right around the corner from Middle East Restaurant and Nightclub (472 Massachusetts Ave., Cambridge, MA). There were several bands and The Whore Church was performing live video mixing. Unfortunately it wasn't much of a place to chat (nor was there food) so we went to the Middle East for dinner which was pretty good. We weren't particularly impressed by T.T.'s as service was blasé and drinks were expensive ($2.50 for a soda, really? — but I guess that's Boston for you.) We got the last train on the Red Line to get home around 12:15 a.m.
On Friday we headed to The Gallery Diner (11 P St., South Boston, MA) which was fantastic. We made smalltalk with the friendly owners Paul and Colleen and the food was great. Exploring the Harvard Square area, we stopped at a few record and comic stores and I got an excellent fresh, locally-produced shake at the regional fast-food chain b.good (24 Dunster St., Cambridge, MA).
I checked out the "BUFF Family Values" short film program back at the festival and was pleased with all the films — some disturbing, some powerful, some funny, and some just strange. Later that night, we all saw Machete Maidens Unleashed which was a pretty decent documentary about the Philippine exploitation film industry in the 1970's and 1980's. I opted to see the 1973 film The Twilight People which was made in the Philippines during that era — a terrible film by nearly all counts. I recall listening to the dialog and thinking, "I wish they'd stop talking" and a scene later when they were walking through the jungle, "I wish there was more dialog". It was astounding to me that someone put this film together and decided they were done — continuity, plot, editing, and special effects came second to, well, cost, I guess.
Saturday started with an acceptable breakfast at Mul's Diner (75 W. Broadway, South Boston, MA). From there we went straight to the festival to catch "OMFG LMFAO!" and "Psychedelicinema" — a pair of shorts programs. The first offered a few chuckles but we didn't find it all that funny. The second was, in my opinion, a little better, but it was really abstract films and not psychedelic. We stayed for about half the program, skipping out partway through the 30-minute final film.
Between screenings I met Josh MacDonald, writer of The Corridor. I skipped the "Where the Music's At" music-videos short program, to see Josh's film. It was really excellent: evenly paced and gradually asking for suspended disbelief at the increasingly paranormal activity ensuing on screen. Despite its evenness, it delves into some extremely dark and gruesome territory — I found it highly successful.
We had a break and got to hang out (finally!) with other filmmakers at The Friendly Toast (1 Kendall Sq., Cambridge, MA) — and the only event to include free food. [I realize I'm knocking the festival for lackluster treatment of out-of-town guests, but I also know they're running on a shoestring budget and just didn't plan things out very well for us.] We finished the day with a pleasant at-home dinner with friends and family.
Sunday I met with my college friends at The Daily Catch (441 Harvard St., Brookline, MA). In 2002 I went to The Daily Catch (323 Hanover St., Boston, MA) and loved it, so I had to go back. The location in Brookline is bigger so Jan, Griffin, John, Michelle, Rob, Kevin, and myself could comfortably fit. Unfortunately they didn't open until 2 so we dawdled on the street, hanging out at the super cool Irving's Toy and Card Shop (371 Harvard St., Brookline, MA). At lunch I had the pistacio-encrusted swordfish which was fantastic. Everyone had a good meal for sure. We stayed and talked for a couple hours then Kevin and I headed back to the festival.
We got there a bit early and had plenty of time to get into the big event (for us): the screening of The Beast Pageant (and on IMDb). About 40 people showed up to watch it and, as best I can tell, really enjoyed it. It was fun to be part of the question-and-answer panel.
Afterward was the closing night party at Tommy Doyle's Irish Pub and Restaurant (1 Kendall Sq., Cambridge, MA). (The festival runs once during the weekend, and then nearly all the films are repeated during the week, making it possible to actually see every screening.) I had a celebratory shot of 18-year-old Glenlivet scotch — my first alcoholic drink since the beginning of December when I quit (I permit myself a rare taste of something extraordinary, or under truly extraordinary circumstances.) The Beast Pageant won a runner-up "Director's Choice" award for best feature.
On Monday things got amusing. We got up for breakfast and I headed out around 11:05 to get the train back home. We had been averaging 15 minutes to get to the South Station where I was to get the train, but today buses were running on a half-hour schedule rather than every 10 minutes. I called for a taxi around 11:30 and was promised one immediately; I passed on boarding a bus that arrived shortly after. Alas, the cab didn't show up in time. I took the next bus and got to the Amtrak station (Summer St. and Atlantic Ave., Boston, MA) about 20 minutes late — if only I'd have hopped on that 11:30 bus. Alas, I traded my unclaimed ticket for one tomorrow. At least I got to see "Future Imperfect" — the science fiction short film program. It was okay but not great. Kevin was kind enough to let me stay at his place.
I left when Kevin went to work, taking the T into the city packed with all the commuters. I found the Banksy graffiti art that Kevin mentioned off Essex Street then went to The South Street Diner (178 Kneeland St., Boston, MA) for breakfast. The staff was friendly and the breakfast burrito was quite good. I hung around and chatted for quite some time, arriving at the train station with plenty of time to spare.
I was happy to be on the train home. I arrived in Albany a little late but had about an hour before it left again, so my parents stopped by and we had a quick and decent Italian dinner at (if I remember right) Rudy's V & R Ristorante (483 Broadway, Rensselaer) across the tracks from the station. I was worried for a bit but got back in time to get back on the train home.