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Pop for the People: Roy Lichtenstein in L.A.

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The art season this fall is practically bursting at the seams with first-rate museum and gallery exhibitions all over town. I'm doing my best to see as many of them as possible, but with the format of my program -- one report per week -- I have to choose wisely which exhibition to review.
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Knowing that weekends are a relatively easy time to drive along the 405, I chose on Sunday to go to the Skirball Cultural Center. A new exhibition had opened there just a day before, and its headline, POP for the PEOPLE, just jumps off the page and grabs your attention. The exhibition is devoted to one of the most prolific American artists, Roy Lichtenstein (1923-1997), with a focus on his artworks made in Los Angeles.

For several decades, Lichtenstein collaborated with Gemini G.E.L., one of the best-known artists' printing houses in the country. Stanley Grinstein and Sidney Felsen, cofounders of Gemini G.E.L., collaborated with practically all major American artists. But Lichtenstein obviously was their favorite. And this exhibition gives you a clear understanding of why this was the case.

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At the time when the nonfigurative style of Abstract Expressionism dominated the American art scene, Roy Lichtenstein found inspiration in comics and children's books, in advertisements and everyday objects. Using his trademark dots, lines, and a few bright primary colors, the artist created hundreds of prints with subjects varying from the seemingly mundane to what I would describe as startling in their edginess.

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From the gigantic print depicting a 1960s living room to the men's shirt and ladies' dress with designs that each of us would kill to have in our wardrobes, this exhibition demonstrates the artist's desire to connect with as wide of an audience as possible. Until I saw this exhibition, I thought that I was quite familiar with Lichtenstein's art, but there were a few surprises. Shocking surprises.

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There are two issues of Time Magazine on display, both from 1968, for which Roy Lichtenstein was commissioned to do the front cover. The first cover -- from the May 24th issue -- has a portrait of Robert F. Kennedy, showing him in the midst of his Presidential campaign. Three weeks later, on June 14, 1968, Robert F. Kennedy was assassinated in Los Angeles. Next to the Kennedy cover, there is another issue of Time Magazine with the headline "the Gun in America" and a heartbreaking image of a man's hand holding a gun aimed directly at you. Even fifty years later, these prints startle with the shocking power and relevance of their message.

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Okay my friends, now it's time to lighten up and have a little bit of fun. Sophisticated fun. Let's look at the six prints by Lichtenstein (Bull Profile Series, 1973) inspired by Picasso's famous series of the Bull prints from 1945. Picasso starts with an almost realistic depiction of the bull and then progresses to an increasingly abstract and minimalistic image of the animal. And the same goes for Lichtenstein's bulls. Look at the progression of his images, and try to decide which of them you would choose for your collection. As for myself, I'm still fantasizing about which one I would put over my couch.

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The Skirball exhibitions are known for "speaking" to the audience not in highfaluting academic terms, but in a friendly, conversational way and this exhibition is a good example of it. Towards the end of the exhibition, you're invited to literally step into a life-sized recreation of Lichtenstein's painting Bedroom in Arles (1992), inspired by Van Gogh's painting of the same title (1888). There is plenty of tension hovering in this interior due to the drama of the relationship between Van Gogh and Gaugin, who stayed together in Arles for a few weeks. But here at the Skirball, you have the choice of asking your kids to sit on the bed, smile, and -- drama be damned -- snap a happy picture.

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To learn about Edward's Fine Art of Art Collecting Classes, please visit his website. You can also read The New York Times article about his classes here, or an Artillery Magazine article about Edward and his classes here.

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Edward Goldman is an art critic and the host of Art Talk, a program on art and culture for NPR affiliate KCRW 89.9 FM. To listen to the complete show and hear Edward's charming Russian accent, click here.

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Symbiosis Gathering Says Hello to Autumn And Goodbye to The Woodward Reservoir

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As the autumnal equinox made its way to the western hemisphere, Symbiosis Gathering kicked off on the weekend of September 22nd to the 25th, celebrating our Earth's 45° degree tilt into a new season. While many people in the world began pulling out their scarves and dusting off their rakes, the festival community was packing up their favorite costumes and swimsuits, some still with a fine layer of playa dust upon them, and heading to the Woodward Reservoir in Northern California to converge for a four day aquatic adventure.

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Spending its third year at this location, Symbiosis Gathering threw their last hoorah at Woodward Reservoir, and what a hoorah it was. Known for its expansive setup, the event was extremely spread out over miles of lumpy terrain. The vastness allowed for elaborate stages, smaller low-key stages, a Kidzbiosis area, epic art installations, as well as several movement and workshop structures. Symbiosis is by far the most grandiose gathering of California's festival season offering Burning Man-level installations and art boats alongside a high grade music festival lineup.

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Definitely its hugest year to date hosting over 15,000 attendees, one does not simply walk into Symbiosis Gathering. This being my third year, never had I experienced a 10 hour wait to enter the premises. The staff did the best they could to rearrange traffic and keep the flow going, but it did little. Rearranging a school of mackerel doesn't make much of a difference when they all have to swim down the same narrow passageway regardless of how they get there. The biggest priority was getting people off of the paved road so that local residents didn't end up stuck in the traffic. In that respect, the rearranging did help. Either way, those waiting in line seemed to accept their fate, happily playing frisbee, busting into their beer rations, and making new friends.

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Logistically, any festival that promises the epic proportions that Symbiosis does will face certain challenges despite how well it is organized: long entry lines, deplorable port-o-potties, miles of walking, and sound ordinances. These were all large obstacles that the Symbiosis team faced, however, they are also obstacles that the seasoned festival-goer accepts without question. Most of us know what we are getting ourselves into when we make the decision to attend a music festival. If you want clean bathrooms, minimal walking, and instant gratification, then I'm assuming you are not the festival type.

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Challenges aside, Symbiosis Gathering is an indisputably beautiful event. The blue waters of the lake provided an ideal atmosphere to spend the hot, dry days. Floaties of all shapes, sizes, colors and species surrounded the Swimbiosis stage while art boats cruised from shore to shore. The DeLorean fan-boat made an appearance after having captivated the hearts of attendees at Symbiosis 2015 as well as several new art boats, like one that was themed after a carousel.

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There was so much to see and do that it was nearly impossible to see and do it all. With the stages being so far apart, it was easy to get sucked into one and remain there for hours at a time. It was also easy to get distracted by something magical whilst on your way to another stage. There were various art installations that were so small you'd most likely only see them once whilst others that were so big you could see them from afar. Symbiosis was a veritable buffet of the senses with so much stimulus that my plate was constantly overflowing and I couldn't help but go back for seconds, thirds and even fourths.

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I approached Symbiosis a little differently this year than the last two. Instead of chasing music and attempting to follow a schedule which often leads to disappointment, I decided that aimless wandering would be more fruitful. Though there were a few artists I was so excited to see and missed (Warpaint, Nicola Cruz, Hedflux), what I did see made up for what I didn't. As aimless as my wandering might have been, there were various destinations that I made it to, despite being a part of a large group that changed every night. However, when everyone is down to just cruise with no expectations, you discover more, rush less, and stop to smell the Palo Santo.

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With such a diverse lineup, Dirtwire, Santigold, Dimond Saints and Sun:Monx stand out the most in my mind's eye (and ear) in addition to the several other sets I stumbled in and out of, only catching a few minutes. Sierra Carrère sang a beautiful birthday sunrise set on the Front Porch art car as onlookers sipped champagne while skinny dipping and chunky dunking along the shores. The Atoll, which was likened to its namesake, was complete with a DJ lineup and waterslide that blasted participants into the water like a shotgun.

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The pinnacle of what makes Symbiosis Gathering a transformational event is its offerings of educational workshops, lectures, and movement classes. One could learn about urban permaculture or psychedelic data science, participate in a money burning ceremony or Anasazi-style Yucca sandal making, take an acro-yoga class or improv workshop and even get some laughs in with JP Sears' satirical speakshop on "becoming ultra spiritual." These and the many other workshop contributors are what makes these events so powerful. While partying, playing, and seeing live music are what sells tickets, it is the idea of bettering oneself through learning where the magic of transformational music festivals truly lies.

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Though this was its last year at the Woodward Reservoir in Oakdale, California, this is definitely not the end of Symbiosis Gathering. One of its most unique traits is that it changes locations, keeping the event in a perpetual state of evolution which preserves its intimacy while sharing it with other communities. It is also known for being organized around a celestial event and next year the festival will be celebrating a full solar eclipse which will take place in August of 2017 in Oregon. After growing so big that it was nearly bursting at the seams, Symbiosis bids California adieu (for now) and heads to a new landscape, continuing to use the cosmos as its guide.




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What is Sin?

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More sinned against then sinner, " goes the old expression, but what is sin and what the relationship of the sinner to the sinned? In some ways it sounds a little like the phenomenological notion of intention. The subjective individual can have intention to the object, but inanimate objects have no intention and express no volition. "An immoral act considered to be a transgression against divine law, " is how sin is defined by the on-line dictionary, but you don't sin against the self-same table or chair and a table or a chair certainly can't be guilty of any sins. You don't sin against objects and objects cannot sin against you. You sin against people who possess their own intentions and in so doing are sinning against God, if you happen to believe in one. Thus my intention is to live, but when you decide to kill me, you eradicate my ability to fulfill my goal. The same is true of the biblical injunction about coveting they neighbor's wife. The neighbor wants to be married and enjoy the company of his wife, but you get in the way of that when you covet and then have the wherewithal to actually commit adultery. "More sinned against than sinner" thus conveys the nuance of two bodies in motion, two individuals who have equal and opposite intentions, one of which is sinful and the other of which may contain sinful elements, but is in the end less sinful. The married man may be guilty of the sin of lust, yet the neighbor who commits adultery with that man's wife may be deemed even more sinful to the extent that he moves from an idea to an action. Still there's something ambiguous about all of this. After their fall from grace, Adam and Eve, by definition, lived in a state of sin, since they had lost their innocence. Adam and Eve represent mankind as we know it, filled with sin and hiding their nakedness because of their sense of shame. But to quote Orwell in Animal Farm "all animals are equal, but some animals are more equal than others." Individual men may seek to prove the notion that they have found grace a la the Protestant ethic that Max Weber talks about. Yet there are no absolutes. It depends from what point of view you are looking and with what intention, when you set out to reach a verdict. Sin is more consonant with relativity theory than Newtonian physics considering its more rigid view of space and time. Jurors are perpetually faced with these kinds of situations. A crime or sin may have been committed, but the person against whom the action took place may have been sinning themselves, as in the case of the wife who in a moment of rage kills her abusive husband. In cases like this jurors must adjudicate who is the sinner and who the one sinned against when the facts are open to differing interpretations.









18th century parchment by Jekuthiel Sofer








{This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture}

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Leonard Cohen With New Album: But First He Took Berlin

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Leonard Cohen is back in the news, thank god, with a heralded new album, at the age of eighty-two, titled You Want It Darker, and as the subject of a lengthy David Remnick profile in this week's New Yorker. I've been a fan since the late-1960s, and not long ago caught a couple of his almost Springsteen-length shows at Radio City in New York. But in the past couple of years when I've thought of Leonard, which I do often, it is often in the context not of his usual subjects (from naked women to the highest spirituality), but rather....Berlin.

Cohen, one of our greatest poets and songwriters, once wrote and sang, "Give me back the Berlin Wall." He didn't really mean that. It was in the guise of the unreliable narrator in his classic, and scary, song "The Future." Other lyrics in that little ditty, written just after the 1989 fall of the Wall, call for the return of Stalin, more people to torture, and another Hiroshima, among other horrors. "I have seen the future," Cohen croaks, in warning, "it is murder."

As it happens, I have spent the past two or three years deeply embedded in the Wall story, which indeed did often involve murder, for my new book, The Tunnels (which were dug under it to help East Germans escape). And that's not the only Berlin and/or Wall lyric from the "grocer of despair."

Another famous song from the same period, "First We Take Manhattan," promises "then we take Berlin." Cohen over the years has offered various explanations for the song, some tied to the city's divided and troubled history, some not; some claiming it is about terrorism, others that it reflects an artist's wish to break out. One time he claimed, "It's just the voice of enlightened bitterness. [it] is a demented, menacing, geopolitical manifesto in which I really do offer to take over the world with any like spirits who want to go on this adventure with me." (Of course, David Bowie had his own Wall and Berlin obsession.)

Then there's one of his most famous lines and images (which I had hoped to use as an epigraph for my book but the asking price was too high) not necessarily about the Wall but evoking it, from "Anthem"--and it profoundly captures the designs of the escape tunneler: "There is a crack in everything / that's how the light gets in."

Finally, there's "Democracy," from the same era. While that, he hopes, is "coming to the USA," he clearly has global ambitions for it, and he explicitly mentions a "crack in the wall,' or is it Wall? In any case, some Germans made use of it in this video (below) showing the night the Wall fell.

Greg Mitchell's latest book is The Tunnels: Escapes Under the Berlin Wall and the Historic Films the JFK White House Tried to Kill (Crown).


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6 Ways to be More Creative Every Day

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Humans are programmed with the want to create. Whether we think we are creative or not, the truth is that finding a creative outlet is something we are all seeking out. If you want to harness your inner creativity and start living a life based around more art and expression, here are a few tips.


Arts & Crafts

This option is perfect for those of you who don't believe that you have any artistic skills. While painting a picture may seem too extreme, following directions to make a craft may be much more manageable. From Youtube and books to classes and magazines, you can find instructions for creating all kinds of crafts. Make decorations, color by number or create your own beaded jewelry; choose whatever interests you the most.


Cook

Cooking is another way to get creative in your daily life. Just the act of making something out of ingredients can make you feel accomplished each day. Gather up a bunch of random ingredients from your refrigerator and see what you can come up with OR, browse through a couple of recipe books and see if you can create something that sounds delicious. You will get to use your hands, mind and taste buds for this activity.


Video Tape

Life can be a work of art just in itself and if you can capture some of your best moments, you can remember them forever. Vacations, adventures, performances or just daily living can make interesting content for you to turn into mini videos and share with friends and family. There is so much technology out there these days that you don't have to be a pro either. Grab a Go Pro, a drone or just use your cell phone camera to capture each and every moment.


Your Clothes


Getting dressed each morning can be an act of creativity too! If you look at your closet and accessories, chances are that you have hundreds of combinations that could be made into new outfits. Experiment with colors and patterns, cuts and styles until you have come up with a sense of fashion that is truly your own. Take it a step further by curating your hair and makeup to be just as much of a creative expression too!


Your Living Space


People pay interior designers big bucks for what they do, and for good reason. Your living space is one of the ultimate displays of your creativity so don't let anyone do it for you. Use the furniture and decorations that you already have and re-work or furbish them to fit a new style that you may want to experiment with. If you want to change it up completely, head to the store and start using your inner creative to design something that will make you feel newly inspired.


Make Things

Making things is the ultimate display of creativity and is what may make you feel the most fulfilled. Knit a sweater, paint a picture, take a photo or write a poem; all of these things can be used as an outlet. Make music, choreograph a dance or design an event, whatever it is, if it wasn't there before, you have the chance to create it and make it yours.

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See 'hidden NYC' through Open House New York Weekend -- October 15-16

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By Don Adkins, ZEALnyc Managing Editor, October 12, 2016

Have you ever marveled at some architectural wonder here in New York and thought 'I wish I could see the inside of that building'? Well, for two days each October, the annual Open House New York Weekend unlocks the doors of New York's most important buildings, offering an extraordinary opportunity to experience the city and meet the people who design, build, and preserve New York.

From historical to contemporary, residential to industrial, hundreds of sites across the five boroughs are open to visit, with tours, talks, performances, and other special events taking place over the course of OHNY Weekend. Through the unparalleled access that it enables, OHNY Weekend deepens our understanding of the importance of architecture and urban design to foster a more vibrant civic life, and helps catalyze a citywide conversation about how to build a better New York.

To see a list of the 275+ participating sites for the 2016 OHNY Weekend, click here.

To download a copy of the 2016 OHNY Weekend Event Guide and Advance Reservations Guide, click here.

Some of the locations require an advance reservation and fill up quickly, but there are still many great locations of which to take advantage with "open access" (no reservation required), so start planning your weekend's itinerary now.

Don Adkins, ZEALnyc's Managing Editor writes on arts, cultural and lifestyle events.

More from ZEALnyc below:

Fall for Dance Festival at City Center Hits Another Home Run This Year

Mahler, Rattle and Philadelphia Together as Carnegie Season Opens to Drama

For all the news on New York City arts and culture, visit ZEALnyc Front Page.

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How Mid-Market Galleries are Shaking Up the Art World

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Many have taken advantage of the fact that art has performed historically well across market sectors, even in times of economic turmoil. After the 2008 and 2010 market crashes, some gallery doors closed, while other doors opened to serve the global collector base that were still interested in investing in art. A recent article on Artnet focused on a mid-market gallery founded by Cristin Tierney, and how she harnessed her knowledge of the public and private market to attract high-profile clientele and represent unique artists.

Art and financial expertise in both the primary and secondary markets are imperative to making smart investment decisions. According to the article, both markets "together comprise the twin halves of the art economy" and investments that adhere to both aspects of the market ensure that an investor is not only buying the right work, but selling the investment at the right time to yield a return. Dealers, like Cristin Tierney, use financial and art world expertise to protect the artists they represent, while informing and educating collectors who may not have experience acquiring artwork. This strategic knowledge supports the market by ensuring that artist's work has long term staying power and that the work has investability for collectors. The work done by dealers is important to the investment value of work, and a significant aspect of why the industry has performed historically well across market sectors.

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Art investment funds harness the art and financial expertise of art experts, like dealers, to ensure art as the best alternative asset to diversify investment portfolios through a large capital base and exceptional advisors. Investors purchase shares in a fund and art experts invest in works that reflect positive trends in the market. This ensures that you don't risk purchasing works that won't provide a return. Unlike dealers who hold onto artworks for short periods of time for quick turnarounds, the "buy & hold" strategy allows for work to appreciate in value so that the fund can utilize its market knowledge to place the work in the market at the right time. Through art funds like Arthena, investors can diversify their portfolio without the worry that their investment will fail to yield a return, and partake in investing in a booming asset class.

Become an Arthena user today to gain access to our funds, exciting art world news, and invitations to some of the most exclusive events happening in today's art scene. Click here to request membership or email info@arthena.com

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Wanderlust on the High Line

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Image courtesy High Line Art



Last night we had the pleasure of touring the High Line with Cecilia Alemani, the Director and Chief Curator of High Line Art. A public art program inaugurated in 2009, High Line Art exhibits a variety of contemporary works, including sculptures, murals, videos and live performances. According to Alemani, the organization is "committed to expanding the role of contemporary art in the life of public spaces, in the belief that the dialogue it produces when museum-quality art is brought to the public free of charge is an essential element to a thriving city."

For the 2016-2017 season, High Line Art is presenting a group exhibition titled Wanderlust, which explores the themes of walking, journeys, and pilgrimages. The show is inspired by artists who explored life in an urban context as well as in an ambivalent confrontation with nature.


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Image courtesy High Line Art



Underneath Gansevoort Plaza, right beside the Whitney, is Marie Lorenz's project, Tide and Current Taxi. Using the tide to navigate the waterways of NYC, Lorenz takes adventure-seekers on these boats, which are installed underneath the park, to explore the shorelines of the city. Further up is Matt Johnson's sculpture, which is inspired by his doodles and bent from original rail tracks from the High Line. The work pays homage to the history of the High Line as a means of transportation.


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Image courtesy High Line Art


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Image courtesy High Line Art



In addition to Wanderlust, High Line Art has commissioned temporary, site-specific artwork by notable contemporary artists. One of our favorite pieces, and a must-see in NYC, is Barbara Kruger's Untitled (Blind Idealism Is...). Adapted from a quote from Afro-Caribbean philosopher and revolutionary thinker Frantz Fanon, Kruger continues her bold and unapologetic criticism of culture, power and today's political climate. According to Kruger, the mural is meant to reflect "how we are to on another" within "the days and nights that construct us." Another highlight is Nari Ward's Smart Tree, which was inspired by Ward's childhood memories. Ward transforms a Smart car by covering it in tire tread, propping it up on cinder blocks, and growing an apple tree out of the sunroof.

Since its inception, High Line Art has shown works by over 200 artists from around the world. Wanderlust and the commissions are on view until March 2017.


To learn more about noteworthy exhibitions and events, sign up for an Arthena membership.

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Icelandic Murals, Northern Lights, 'Wall Poetry 2016' In Reykjavik

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The concept album was born in the Stoned Age when TV was black and white, back when disaffected teens had to trudge for blocks and blocks outside on the sidewalk to the record store and carry their rock and roll home on large heavy vinyl platters called albums, sometimes double albums.

In the snow. Barefoot.

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Heather Mclean collaborated on her wall with Minor Victories and the song "A Hundred Ropes". Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


Rewarded for their hard work and sacrifice, these pioneering music fans opened those two record concept albums and used the big flat surface to pick the seeds out from their marijuana stash and roll a reefer.

Then they dropped the needle, turned up the dial, and lied on their back on their single beds surrounded by the two speaker stereophonic sound that gently vibrated their black-light posters on the wall, reading the song lyrics and metaphorically taking a wild and magical trip inside the cover art of the album.

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Heather Mclean. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


"We paint the music you love to hear," says Yasha Young in Reykavik, Iceland, as she imagines the thousands of music fans who will inundate this city in a few weeks for "Iceland Airwaves".

For the second year Urban Nation, the Berlin-based arts organization working primarily within the Urban Contemporary Art scene, brings the musicians a powerful visual partner called "Wall Poetry".

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Heather Mclean. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


By pairing one musician/group with one visual artist/group, Young, the director of UN, wants to re-create the concept album where the eyes have a newly created entryway into the music. Of course its only one interpretation but countless stories can be evoked from this intercultural exchange.

It's the second year for the program, and we are very lucky to have these exclusive shots from Nikka Kramer of some of the first walls going up in advance of the festival, which this year features over 200 bands. Check out the stunning atmospheric images featuring northern lights; a poetry of their own.

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Heather Mclean. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Strøk collaborated on his wall with MAMMÚT and the song "I Pray For Air In The Water". Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)

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Strøk. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Phlegm collaborated on his wall with MÚM The Band. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Phlegm. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Phlegm. Detail. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Lora Zombie. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Lora Zombie was inspired by the songs of L.A. based band War Paint for her wall. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Lora Zombie. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Lora Zombie. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Herakut collaborated on their wall with Kronos Quartet. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Herakut. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Herakut. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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INO. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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INO. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Don John. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Don John collaborated on his wall with Swedish musician Silvana Imam's "Naturkraft". Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Don John. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Wes21 and Onur. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Wes21 and Onur. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Wes21 and Onur collaborated on their wall with the Icelandic band Of Monsters and Men. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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DotDotDot publicly collaborated on his wall with all the volunteers, locals, strangers and passers by using the word "perfection" as officially described on Google/dictionary. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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DotDotDot. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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DotDotDot. Wall Poetry/Iceland Airwaves 2016. Reykjavik, Iceland. (photo © Nika Kramer)


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Wall Poetry/Iceland Airwaves 2016 artists in no particular order: Don John, Onur, Wes21, Ino, Heather Mclean, Herakut, Lora Zombie,Phlegm and Strok. Reykjavik, Iceland. (photo © Nika Kramer)


Wall Poetry/Iceland Airwaves is presented in partnership between Urban Nation Museum For Urban Contemporary Art (UN Berlin) and Iceland Airwaves. For for about Wall Poetry read here.

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Singer Explores the Sad, Celebratory Heart of Samba

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Sometimes you find a perfect pairing of singer and songwriter. Teresa Cristina, who has been singing in Brazil for years, now seems at a breakout moment with her international Nonesuch release surveying the legacy of the country's beloved samba songwriter Angenor de Oliveira, known as Cartola.

Teresa Cristina Canta Cartola (Teresa Cristina sings Cartola) is a CD/DVD set of a November 2015 live performance in Rio de Janeiro. On it, Cristina turns down the usual exuberance of samba, singing with only the superb seven-string-guitar player Carlinhos Sete Cordas on a bare stage.

The result is a quiet, beautiful distillation of samba, not unlike bossa nova, propelled by the always lovely and sometimes playful swing of Sete Cordas (which means "seven strings").

"When people ask me if I would just do a show with one person playing the guitar," Cristina said. "I answer to them that they shouldn't use the word 'just,' since it is Carlinhos we are referring to."

"The way that I sing samba, with many instruments, doesn't provide the same feeling as if I only sing it with one guitar. Sometimes, the instruments are so loud, that you don't pay attention to the lyrics and just dance to the music."

In stripping down samba, Cristina brings to the fore the sadness at its celebratory heart. Brazilians call it "saudade," a bittersweetness - as if feeling deep sadness is still a celebration of humanness, of how emotions add richness to life: If life gives you lemons, savor them.

"The samba is always referring to sad [stories]," she said. "If we don't have sadness, we don't have samba."

In "O Sol Nascera," Cartola wrote: "Smiling/I live my life/Because crying I've lost my youth...When the storm ends/The sun will rise/and I won't miss you anymore." Or in As Rosas Nao Falam (Roses Don't Talk)": I go back to the garden/Certain that I have to cry/Because I know well that you don't want to come back/I whine to the roses, but that's nonsense/Roses don't talk."

Cartola, born in 1908, was living in one of Rio's poor favelas when he helped found a street band in 1928 that would become the beloved "escola de samba" named Manguiera. The samba schools are the neighborhood organizations that compete each year in Rio's carnival celebration. Cartola wrote popular sambas, known for their emotional complexity, in the 1930s then left the public eye, resurfacing again in the 1960s as owner of a restaurant that became a hot musical scene. In the 1970s, he had renewed success when his songs were recorded by Brazilian stars and, in 1973, he even recorded his first album at the age of 65.

Cristina said the project began when she was asked to perform a new show; she admits that though she had been an admirer, selecting Cartola was a bit random. While she is a devotee of a competing venerable samba school, Portela, she still thought it would be an opportunity to explore his songbook. "I don't know why I chose Cartola, I think it was my guardian angel who gave me this advice."

"I already admired a lot these songs and always had a big wish to sing them," she said, "but never had the opportunity. I tried to not listen to other musicians singing these songs, I just listened to Cartola to check the melody and the lyrics. I tried to get away from other interpreters because I didn't want to be influenced by them. I just want show my perspective of Cartola's work."

In her show, Cristina wraps her rich, earthy voice around the complexities of the lyrics, pulling at and floating above the underlying rhythms as an expert sambista does.

"I give 300% of myself in all my work, always," she said. "The audience gives me back all the energy that I spend when I perform. The reaction of the audience is very good. People understand Cartola's music, and this makes me very happy."

Cristina is now on tour in the U.S. with her Cartola show, performing as the warm-up for Brazilian superstar and Nonesuch labelmate, Caetano Veloso.

"I always thought Cartola needed more attention than he actually gets," Cristina said. "Not from the samba lovers, because they know exactly his value, but from the general public. In radio, it's rare to listen to Cartola's songs. Even on TV, it's only possible on holidays or specific dates. He's very important and people need to talk more about him in Brazil. I hope my album helps [fosters] that, and I'll be very happy if it works. I think it is already happening."


Evite Meu Amor (Avoid My Love)


Tive Sim (Yes, I've Had)

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This Philosopher Has Reimagined Identity and Morality for a Secular Age

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berggruen


One of the world’s most respected philosophers has just won the $1 million Berggruen Prize. Is this news you can use?


Yes, as a matter of fact, it is. The prize has been given to Charles Taylor, an exceptional thinker whose work can be of value both personally and in public life. In his native Canada, Taylor was a founder of the New Democratic Party, shaped debates and policy on immigration and ethnic politics, and played an important role in keeping Quebec part of Canada but with special status recognizing its distinctive culture. Taylor is of global influence as a Catholic thinker, a leader on the social democratic left and a spokesperson for combining rather than opposing liberalism and defense of community. His publications will reward readers with very different interests from personal identity to the challenges of modern democracy to religion in a secular age.


This guide is far from comprehensive. It points to some good places to start engaging with one of our era’s greatest thinkers. Perhaps most notably, in connection to the Berggruen Prize, Taylor has helped reshape debates on what it is to be human and how culture and politics matter in human existence.


The Self


A lot of criticisms are leveled at modern Western individualism. Taylor acknowledges that it can seem narrow, shallow and too focused on instrumental self-interest. Still, he refuses simple negativity. The modern idea of self brought new richness and freedoms to human life. It not only built on foundations like St. Augustine’s articulation of a sense of interior space and the importance of memory. It also added distinctive dimensions that opened it to embrace equality in ways ancient thought had not. That we struggle for meaning and purpose in our lives is an indication of the potential opened for us.


Taylor’s “Sources of the Self traces the development of this modern understanding of what it means to be a person and explores its positive contributions and possibilities as well as its limits and potential weaknesses. The story proceeds in several phases. The era of the Protestant Reformation (and the Catholic response, which was never simply resistance) played an important role. So did Enlightenment celebration of reason, applied to self-knowledge and linked to the idea of self-mastery.


But Taylor places a special emphasis on Jean-Jacques Rousseau and the Romantics. These built on earlier traditions like romantic love and integrated emotions and aesthetics into their accounts of the human self and embraced nature in newly positive ways. Rousseau helped make living in accord with nature into an ideal (in place of mastering nature and escaping from “baser” instincts or fallen character). Johann Gottfried Herder argued that human nature is not a determining force but a range of possibilities and capacities demanding expression. So basic is the notion of self-expression that moderns can hardly think of the self without it. This transformed the Christian idea of vocation or calling and underpinned a new idea of equality based on recognition of difference.


Language was a crucial medium for this expression, along with art, religion, action and ethical relationships. Humanity expressed itself differently in different cultures and even person by person. This diversity was not determined by a fixed human nature; it was made available by the natural capacities of human beings. Working out its implications is a basic task for human beings, both at the level of cultural differences and in individual life. So is reconciling what might be called the Enlightenment and Romantic sides of the modern self: the pursuit of both self-knowledge and self-mastery and distinctive self-expression and authenticity.


“Sources” is an intellectual history, but with broader intent. All of Taylor’s major books embed arguments in histories because he wants to show human beings as a process of becoming, not simply determined by nature. We face new circumstances and also face recurrent dilemmas, enriched by a growing range of intellectual and moral resources. Through tracing how modern thinking about the self developed, Taylor demonstrates both how powerfully ideas can shape our lives and that there are always multiple possibilities for how they can be put to use.


For example, individualism and a focus on the self became associated with secularism. But it was advanced by 17th century religious thinkers as part of a more personal relationship with God, manifested in individual prayer and supported by autonomous interpretation of the Bible. Religious devotion both influenced the development of the modern self and was transformed by it.


Likewise, individualism is often linked with greed and self-interest. Homo economicus is a modern conception. Relatedly, a prominent line of development in the modern self cast it as “punctual” as though each of us is a finite and bounded unit and like the points of geometry, a member of various sets like nations or humanity as a whole. Taylor doesn’t deny this but shows that among the sources of the modern self was also a moral revolution in which “ordinary happiness” in this material world was given a positive value not simply opposed to otherworldly spiritualism. This was linked to recognizing lay professions as comparably important to the priesthood, valuing the family more and with it, recognizing and extending childhood as a stage of human development. Neither families nor professions are simply sets of altogether discrete individuals. So we have also resources for recovering more relational, socially embedded understandings of the self.


As part of telling this story, Taylor offers important lessons on how ideas change, emphasizing how seldom they simply move from right to wrong but rather tend to resolve certain weaknesses, as well as introduce other potential issues. This can result in overall movement from worse to better, but there are always different possible paths as the meaning of ideas evolves and escapes their originators’ intentions. We face choices. We can limit individualism to notions of self-interest and necessity, but we don’t have to. After all, it also shaped development of the notion of human rights. How we judge this or other ideas will reflect our “horizons of evaluation” including both what we think is possible and what we think is good. Our strongest commitments put other preferences into perspective.


Authenticity and Recognition


The theme of what it means to be a person, a human being, runs through Taylor’s life’s work. It is enormously important in an era of great transformations. Definitions of the human and the self are challenged today by technological innovations from artificial intelligence to gene editing. They are also important to figuring out what ethics and policies should guide those new technologies. And not least, we live in a world where projects of personal identity are as influential as economic self-interest or old ideologies in shaping politics. This is true in “progressive” forms like the transformation of gender and sexual identities and claims to equal rights. And it is true in “conservative” forms like the claims to national and communal identities defended today by populist movements.


Taylor has been one of the most influential shapers of our understanding of such “politics of identity.” These reflect, he argued, a human need for recognition. We don’t simply exist and have identities, each sufficient in ourselves. We develop identities in social contexts, and we seek recognition of the legitimacy of our identities from others. As Taylor wrote in 1994, “We define our identity always in dialogue with, sometimes in struggle against, the things our significant others want to see in us. Even after we outgrow some of these others ― our parents, for instance ―and they disappear from our lives, the conversation with them continues within us as long as we live.”


This makes questions of identity personally significant and refusals of acceptance and respect deeply challenging. This extends to identities that can also be politically mobilized like nationality, race, ethnicity, gender or sexuality. “Due recognition is not just a courtesy we owe people. It is a vital human need. To treat people with dignity and respect, we need to take full account of their varied social situations. This is especially important vis-a-vis those whose identities have been systematically degraded and whose rights to be treated as equals have been neglected.”


The politics of identity and recognition are reinforced by another central theme in modern culture: a value of “authenticity.” A strong horizon of evaluation for many moderns is to be “true to themselves.” This is linked to imaging ― we each have an inner essence, recasting the older idea of individual soul. People often think of this as their “nature,” and it can be problematic when it encourages people to regard relationships as disposable or to imagine that being true to themselves demands being inflexible. But for Taylor, these are debased versions of an idea with much positive ethical potential. Our deepest selves are constituted by our strongest values and commitments and are shaped by the most significant relationships of our lives. We can approach authenticity as an orienting ideal, aware both that we don’t always fully understand our own deepest commitments and that we often fail to live up to them. Moreover, recognizing that everyone has their own way of being human facilitates respect for individuals, but also for different cultures.


The effort to be an authentic person gives modern people a propensity to be “seekers.” The idea of trying to “find yourself” wouldn’t have made as much sense in many other eras. It is closely related to freedom from restrictions and the material availability of options, for example in the choice of occupations, politics or social movements. Taylor uses the term “seekers” to describe the large number of people who describe themselves as religious or spiritual but not committed to any one organized religion. This suggests something of an ambivalence with which he thinks moderns live, which can be troubling but is also ethically liberating and often creative. We often seek identification with existing communities and cultures, but we also, to an unprecedented degree, think of ourselves as choosing among them. And we change them. What happened to the “politics of identity” reflects this. Early usage often suggested that identities were malleable, and there was fluidity in how they were to be valued, inhabited, combined. But often, the politics of identity became a more rigid demand for respect for supposedly fixed and essential identities.


Quebec is never far from Taylor’s mind when he thinks of the politics of identity and recognition. He grew up with a Francophone mother and an Anglophone father. From early in life, he was committed to a multicultural vision for the province and for Canada, convinced that instead of being “two solitudes,” Canada’s major linguistic and cultural communities could enrich each other. When he was named to Oxford’s prestigious Chichele professorship in 1975, he decided he would only stay five years, at least partly because he wanted to return to Montreal and make sure his daughters had the chance to grow up bilingual. He helped to articulate the rationale for Quebec’s special status in Canada. But he also campaigned to keep Quebec part of Canada, arguing that with proper care and mutual respect, pluralist societies could be richer and stronger than those seeking an integriste conformity.


Taylor extends this point more generally. To be true to yourself need not mean either standing apart or trying to share a singular identity only with others just like you. It can and usually should mean recognizing diverse interests and commitments in yourself, being open to a sense of possibility and guided by strong (though corrigible) convictions. One of Taylor’s most important points is that we don’t just “have” selves ― we have the potential and usually the desire to be better selves. 


Language and the Human Sciences


Like almost every other path of engagement with Taylor’s work, the politics of recognition and the ethics of authenticity bring us back to what it means to be human. Language is core to that. Taylor isn’t interesting simply in distinguishing humans from other animals by the capacity for language (and of course we know, as 17th and 18th century thinkers didn’t, the extent to which other animals are capable of language). Taylor’s concerns, rather, are the extent to which language makes us who we are, the fact that we have language only by sharing it and that we use language expressively, not just instrumentally.


Language, for Taylor, is constitutive of human being; we are language animals. Taylor expands on the famous Sapir–Whorf hypothesis, showing how basic language and culture are to the ways in which we know other human beings and indeed the material world. This is one reason why cross-cultural understanding requires mutual learning, not just translation. It is also among the reasons why interpretation is basic to the human sciences.


Important currents in behavioral and social science have been driven by a desire to achieve “objectivity” by disengaging from interpretation. Of course, knowledge of humans includes many “objective” elements from physiology to demography. But it cannot be complete ― or wise ― on these bases alone. Humans are not altogether objective and transparent even to themselves. Take voting. One may objectively observe people raising hands or shouting “aye” and “nay” in a meeting, but one can’t make sense of this as voting without knowing more about a linguistically constituted practice and the background of a culture in which it is pervasive. Within that culture, researchers can take the background for granted, but the need for interpretation becomes evident as soon as they step outside that basis for consensus interpretations. Cultures vary and no analyst’s knowledge escapes culture. Like other human practices, moreover, voting often expresses meanings that go beyond manifest, instrumental decisions.


Language enables us to reflect and plan and engage in agency, not only reactive behavior. This was a key point in Taylor’s first major work, where he showed why deterministic explanations of behavior (like B.F. Skinner’s behaviorism) must be inadequate to human action. Speaking is an example. It draws on a background resource ― language ― available to us only because we are not completely discrete individuals. But speaking is an action or more precisely, a practice.


Taylor illustrates this point by building on Wittgenstein’s famous account of following a rule. To follow a rule depends not just on knowing the rule itself in some objective sense (as a matter of premises and propositions, to use the technical philosophical terms). It depends also on a tacit background of knowledge that is never rendered entirely explicit. To use Wittgenstein’s term, rules and the capacity to follow them are embedded in “forms of life” ― or, loosely, cultures. But here it is crucial to understand cultures as something more than themselves catalogs of rules or formal structures. Starting with language, they are webs of meaning that people do not merely decode but inhabit and enact. One does not speak French merely by mastering the rules of French grammar (and of course, few Frenchmen can state those rules in much detail). To speak French is a practice, and competency is achieved by habituation, internalization, making it part of oneself. Likewise, to follow a rule is a practice that both depends on culture and expresses it ― whether it is as seemingly simple as traffic rules or as complex as the injunction to treat other human beings as ends rather than means.


This argument is pitched against narrow Cartesianism, with its starting point of a solipsistic “I think therefore I am,” and the whole related project of epistemology as a matter of abstract reason. Taylor elaborates it now partly because advances in computational technology have encouraged the spread of new mechanistic, entirely instrumental explanations of human thought and action. These reflect what Taylor (following Heidegger) calls an “enframing” approach – treating language simply as a tool for communication and as external to the reality it names or describes. Such views encourage reductionism toward human beings as well as language.


Social Imaginaries and a Secular Age


An enframing perspective neglects not only the constitutive role of language but also the power of imagination in shaping human life. This enables us to reach beyond what is immediately evident to our senses. We are able, for example, to form and act on aspirations for the future. Imagination, like language, also gives shape to the world. Much of “reality” exists in the way it does partly because of how it is imagined. This is not just a free-for-all of individual creativity; wishing does not make things so. But there are socially organized ways of imagining the world. Taylor describes several such “imaginaries” that help produce and reproduce the modern world: the idea of a generalized market is one of the most powerful. So is the idea of “the people” critical to democracy and also to legitimacy in other political systems. Business corporations and nations exist partially through the ways they are imagined.


Imagining modernity as a secular age is equally fundamental. This commonly involves what Taylor terms a “subtraction story.” Religion used to be a bigger part of human life and culture, but in the modern era, there has been progressive disenchantment; fewer people declare themselves believers; religion loses most of its public role; science replaces religion as the basis for authoritative knowledge. Taylor acknowledges these changes, but insists they can’t be well understood simply as subtractions that don’t entail transformation of culture more generally. Religion’s role changes as people reimagine what the world, human life and knowledge are like. How moderns understand personhood, moral obligations or the place of material well-being in a good life are all changed; religion is not simply subtracted from them.


One of the most dramatic changes is the rise of what Taylor calls “the immanent frame.” This is the notion that everything in the world is part of a natural order understandable without reference to anything outside itself and simply as a matter of causal relationships. This isn’t simply a truth modern people discovered; neither is it false. It is part of a secular social imaginary. It is one way of understanding and giving form to the world and human life. Within the immanent frame, ideas about transcendence are either errors or simply unnecessary to achieving empirically verifiable knowledge. This understanding of the world has proved enormously productive in the rise of modern science. It has been limiting in spiritual life. It has also shaped an approach to the environment as simply a matter of cost, effect, resources and use ― at odds with a notion of more transcendent value.


Indeed, within this immanent frame, values themselves tend to be understood simply as more or less arbitrary subjective states of individuals. Nature doesn’t have a value ― we either value it, or we don’t. Similarly, we may value human life more or less, but as a matter of cause-and-effect relationships, human beings don’t have intrinsic value. We see quickly that the immanent frame thus shaped not only the successes of modern science but also some of its dangerous moments. These may have been deviations from a more moral scientific ethos that includes ideas like not doing harm but these moral ideas generally come from outside the immanent frame. Today, the immanent frame is also challenged by the notion that human beings are radically transforming what seemed to be an entirely natural order ― whether through climate change or gene editing.


These are among the reasons why the secular age wasn’t simply the end of history so far as religion and spiritual life were concerned. Many people feel a need for a more spiritual compass to organize their personal lives and navigate the great transformations of our era. Some turn to renewal of older religions. Others become seekers exploring new forms of spiritual and moral engagement. There are so many, headed in so many different directions, that Taylor describes a “supernova.”


Once again, Taylor narrates an intellectual history in which there are gains, losses and possibilities for recovering what at some points appeared as paths closed off. A secular perspective grew first among religious people, for most of whom it was part of a deepening and more explicit religious faith ― notably in the 16th and 17th centuries. As modern science and states offered more control over matters in the material world, religion was called on as a guide. But in time, more and more thinkers distinguished questions of value on which religion could offer guidance from questions of fact and explanation. Many had a sense that to face the great transformations of a new era, religious innovation was required. Those who made the innovations didn’t imagine that for others, they would become part of a path away from religion ― any more than creators of modern technologies imagined that living in a world that felt technologically overpowered would lead many to seek a renewed spirituality.


Religion, thus, isn’t simply a matter of holding different abstract intellectual commitments from others, believing in the factuality of different propositions. It is participating in a different way of imagining the world. This can include achievements of modernity and the cause-and-effect systems in which they are embedded but isn’t limited to that. Reaching beyond might be based on belief in a higher power like God. It might also be based on commitment to a good higher-than-mere-instrumental human flourishing, like love (especially in the sense of agape). We have moved “from a society where belief in God is unchallenged and indeed, unproblematic, to one in which it is understood to be one option among others and frequently not the easiest to embrace.” But even if religion becomes in some sense harder, it doesn’t vanish and religious experience may even gain new dimensions.


Taylor’s monumental “A Secular Age” is perhaps the single most influential work ever published on the phenomena of secularity (as well as the ideology of secularism). Ranging from the poetic to the social scientific to the deeply philosophical, it mobilized Taylor’s astonishing historical learning to advance understanding of what it means to live in a modern world. It has rightly transformed discussions in fields from sociology to history, anthropology and religious studies. 


Charles Taylor’s approach to philosophy is always shaped by deep ethical commitments and public concerns. He addresses technical intellectual problems, but he is never interested in them only as technical problems. He writes accessibly. He travels widely, not simply to speak to audiences about arguments he regards as conclusively settled but to engage in discussions that are always potential occasions for intellectual advancement ― and he listens patiently to the most naïve questions, treating each as though it might contain an important new idea. Taylor’s approach also brings philosophy into the full range of human sciences and brings the more empirical humanities and social science into philosophy. It must be so, he seems to suggest, if the study of philosophy is truly to pursue wisdom.


The founders of the Berggruen Prize describe it as “awarded annually to a thinker whose ideas are of broad significance for shaping human self-understanding and advancement.” It’s hard to imagine a more appropriate first recipient than Charles Taylor.


Editor’s note: The WorldPost is a partnership between the Berggruen Institute and The Huffington Post.

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Post Electoral PTSD

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2016-10-13-1476369182-9712017-240pxCheckers_speech_shot.png

Who will fill the gap when there is no more Donald Trump to kick around (remember Nixon's famous Checkers speech). Voters are likely to feel a mixture of postpartum depression and PTSD when there are no more revelations about taxes or groping and that goes for Hillary Clinton too. Will you be able to live without hearing about the 33,000 emails, the calling of Trump supporters "deplorables" and naturally her mistreatment of the women with whom her husband played around (by the way if you know any women who show their enjoyment of being cheated on by feting those who have stolen their husbands please dial our toll free number). But seriously numerous marriages and social situations have been spared by this election with its two unloved candidates. Now who or what will fill those embarrassing silences at dinner? People have gotten out of practice both with small talk and the more serious exchange of feelings between lovers and friends. When the primaries ended and the first debate began, Americans were turned into a country of excitement junkies and as with all addictions the only way to deal with the come down is seek a new fix--or go cold turkey. After election day whether they applaud Hillary's victory or not, most voters are going to suffer the DT's. Hurricane season will be over so there won't be any natural disasters to fan the fires. It'll be a long winter detoxing from the strong cocktail of defamation that they've been fed for the last four months.
















Nixon giving Checkers speech









{This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture}

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Two New Apple Stores for New York

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Designs for two new Apple stores in New York, designed by Bohlin Cywinski Jackson, couldn't be more dissimilar.

But their function remains the same.

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Apple Store, Williamsburg, Brooklyn, BCJ; Photo by Nic Lehoux


"The context is different for each, but the program is very similar," says Karl Backus, San Francisco-based partner in the firm. "They're architecturally different, but they're for the same client."

In Brooklyn's Williamsburg neighborhood, Apple's new digs look as old as their surroundings. They're in a building clad in brick, some of it salvaged from an older building on site, and some of it newer and matched to color and tone.

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Apple Store, Williamsburg, Brooklyn, BCJ; Photo by Nic Lehoux


"We started with some reclaimed brick and ran out, so most of it is new brick," he says. "We did a long search for those companies making brick in the old molding methodology."

The firm did its due diligence in researching what had previously been built, preserved or restored in the neighborhood - but Backus also looked at some of San Francisco's older inventory for arches, corbels and brick courses. In the end, though, it was typical straightforward BCJ architecture that ruled.

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Apple Store, Williamsburg, Brooklyn, BCJ; Photo by Nic Lehoux


"It's part of the firm's own interests - to tell the truth in terms of structure and exposing utilities," he says. "It's a pretty consistent thing - to be honest about how things go together."

BCJ applied the same theme to its new Apple store at the World Trade Center transportation hub designed by Santiago Calatrava. There, the store occupies multiple transparent storefronts - on two levels. And rather than insert something new into the concourse, the architects chose to work within existing context.

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Apple Store, World Trade Center, BCJ; Photo by Peter Aaron


"We developed a palette for a building that's becoming brighter and whiter," he says. "It's oriented to reflect the grain of the Calatrava building - with an inter-weaving with the ribs above the terminal building."

Inside each, the emphasis is on functionality. Both offer areas for product display, shopping and training - but more noticeable are open areas for teaching and interacting. "There are huge, square-block seating and screens for presentations," he says. "They're for communities of interaction with Apple staff and visitors - and in some cases, your neighbors."

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Apple Store, World Trade Center, BCJ; Photo by Peter Aaron


Like the firm's elegant glass cube on Fifth Avenue, these two Apple stores are closely aligned with their settings - and their customers.

J. Michael Welton writes about architecture, art and design for national and international publications, and edits Architects + Artisans, where portions of this post first appeared. He is architecture critic for the News & Observer in Raleigh, N.C., and the author of "Drawing from Practice: Architects and the Meaning of Freehand" (Routledge, 2015)

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'Fit For a Queen' Lifts a Female Pharaoh From Obscurity at The Classical Theatre of Harlem

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Cover: April Yvette Thompson as Hatshepsut and Sheria Irving as Senenmut in
'Fit for a Queen'; photo Lelund Durond Thompson.

By Megan Wrappe, ZEALnyc Contributing Writer, October 13, 2016

When you think of Ancient Egypt, it's hard to keep images of pyramids and tombs out of your head. The people who built these monuments are long gone, but we are still attracted to their unique way of life which is forever captured by their art. The Egyptians kept meticulous records, which is how we know so much about them, but one name that was supposed to be erased forever was the female pharaoh Hatshepsut. Her name was crossed out from public records and statues, as if to erase her name from people's memories. In a new play written by Betty Shamieah, directed by Tamilia Woodard, and produced by The Classical Theatre of Harlem, Fit For A Queen, reveals the life and reign of Hatshepsut in a way never before explored, and is making sure her name is no longer forgotten.

In most historical representations in which Hatshepsut is discussed, she is seen as just another pharaoh who climbed her way to the throne, with the added twist of being a woman. She is rarely humanized, and her family and personal life is almost always omitted. But in Fit For A Queen, she is portrayed as a real person ascending the throne of Egypt. For the first time, we see how Hatshepsut (April Yvette Thompson) interacts with her daughter Nefereru (Shereen Macklin), and how close she was to her trusted advisor Senenmut (Sheria Irving). Once that is shown, Hatshepsut becomes all the more relatable.

Through Thompson's very human portrayal, we see this mighty ruler's frustration with daily family drama, her concern over how she is viewed by her people, and her sincere confusion when she is potentially going to be passed over as pharaoh in favor of her daughter's husband Tutu (Eshan Bay), whose only qualifying feature is that he is a man, albeit on the less masculine side. While Tutu's suitability for the throne is suspect, luckily Senenmut has a solution, even if it is a diabolical one. It is with this touch of cunning, charisma and sass with which Ms. Irving lights up the stage whenever present, helping to propel the production and drawing in the audience even more.

There is a historical context for all of the characters mentioned in Fit For A Queen, but instead of staying completely historically accurate, this production is not afraid to change the details and add touches of charisma where possible. For example, genders are changed from history to add even more female power to the cast. With the insertion of music during a pause, or a modern dance move between set changes, suddenly the audience is no longer in Ancient Egypt, but on the streets of Harlem listening to the newest beat or dancing in their living rooms with friends. It shows how history may be interpreted in a variety of very unique ways, especially through the medium of theatre.

From a historical standpoint, this is not the Hatshepsut heretofore presented. But from a humanistic point of view, this version of the mighty female pharaoh transcends that. Now, she is flesh and blood, and simply a woman doing her job leading the people of Egypt. Just like everyone, she navigated numerous challenges during her life, but is still known as one of the great rulers of Egypt. Fit For A Queen further cements this image, thus ensuring Hatshepsut's name is not lost to the ages again.
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Fit for a Queen presented by the Classic Theatre of Harlem opened on October 4 and runs until October 30, 2016 at the 3LD Art & Technology Center, 80 Greenwich Street, Manhattan. Written by Betty Shamieh; directed by Tamilla Woodard; choreography by Joya Powell; costume design by Rachel Dozier-Ezell; lighting design Alan Edwards; set design by Christopher Swader and Justin Swader; sound design by Hillary Charnus; props master: William Farmer; stage manager, Chelsea Friday; production manager: Joshua Kohler; assistant director: Lelund Durond Thompson; assistant stage manager: Halle Morse. Cast: Eshan Bay (Tutu), Gilbert Cruz (Thutmose II), Kalon Hayward (Ensemble), Sheria Irving (Senenmut), Shereen Macklin (Nefereru), Sujotta Pace (Meritre), Nedra Snipes (Ensemble), John Clarence Stewart (Wanre), Portland Thomas (Ensemble), April Yvette Thompson (Hatshepsut).

Megan Wrappe, ZEALnyc Contributing Writer, writes on theater and other cultural events.

Read more ZEALnyc features below:

The 13th - a sobering history lesson on the state of the Union

Lincoln Center presents White Light Festival 2016 Dance -- Sounds of India

Arturo O'Farrill Leads His Afro Latin Jazz Orchestra With Sizzling Rhythms and Subversive Politics

For all the news on New York City arts and culture, visit ZEALnyc Front Page.

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The Compelling Dreaminess of "Falling Water"

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Finally, someone gets it right: a television show about dreams that feels genuinely dreamy. "Falling Water," a new series on the USA Network premiering October 12, centers on three characters (Tess, Burton, and Taka) who learn how to enter a dangerous, shadowy world of shared dreaming. I just watched the first episode (available online), and I'm very, very impressed! After years of complaining about lame, painfully unimaginative portrayals of dreaming in television and movies, I can now say there is a TV show that accurately, and entertainingly, conveys many of the sensory qualities and content themes that typify actual dreaming.

Foremost among those themes is, as the title suggests, falling water. I won't reveal any plot twists, nor will I describe in too much detail the many beautiful images of water in the first episode, but suffice it to say that the element of water is essentially another character in the show. It flows in many different directions, over various surfaces and bodies, and ultimately down into mysterious depths. As a quick search for "water" words in the SDDb reveals, this element is indeed a very prominent feature of people's dreams, and it has a long history of multi-dimensional symbolism. It will be fun watching future episodes to see how this theme develops over time.

Another prominent theme has to do with visual experience. Eyes, windows, mirrors, glasses, and other reflective surfaces abound in the first episode, creating a kaleidoscopic perceptual atmosphere for the characters and viewers alike. Visual sensations are also very prominent in actual dreaming, and in my recent Big Dreams book I talk about the roots of visual dreaming in terms of hard-wired neural activities in the sleeping brain. I refer to an "autonomous visionary capacity" that is innate in all humans and capable of generating powerful, creative, and highly realistic visual experiences in dreaming. The premise of "Falling Water" seems to be that people can potentially cultivate that inner capacity for powerful visionary dreaming and channel it in specific directions. It's an exciting and reality-based premise that opens up lots of narrative possibilities for future episodes.

The theme of trying to control one's dreams raises unsettling ethical issues that religious and spiritual traditions around the world have debated since ancient times. Are methods and tools of dream control a way of enhancing and amplifying the dreaming process, or do they ruin dreams by imposing the shallow desires of the waking ego on the wisdom of the unconscious psyche? Could more control of our dreaming promote greater self-knowledge, emotional health, and problem-solving abilities, or is it a harmful violation of our inner world and a potentially destructive way of exploiting people's deepest fears and vulnerabilities? Perhaps most worrisome of all, if we forcefully try to control our dreams, are we ready for the possibility our dreams will fight back? These questions are becoming even more urgent today, thanks to the emergence of a new generation of dream-stimulating technologies (exaggerated, but not by much, in the show).

The final scene of the first episode raised the specter of a "war" for control of our dreams, and I'm curious to see how that alarming notion plays out. This might sound like science fiction, and it is exactly that, science fiction at its best: a dramatized version of cutting-edge scientific findings, technological innovations, and cultural trends whose real-world consequences are just dawning on us. We are living in a world where various forces, some benign and others much less so, are competing for influence over our minds, in waking and in sleeping. "Falling Water" is poised to reflect that emerging reality back to us in a fictional medium that, paradoxically, will probably have a tangible impact on the real dreams of its viewers.

Having watched a lot of dream-related movies and television shows over the years, I can't help but notice several visual and thematic references in "Falling Water," all of which bode well for it future direction. Most viewers will immediately associate the show's premise with the 2010 film Inception and its portrayal of skilled agents entering into other people's dreams and trying to manipulate them. But "Falling Water" seems to be aiming for something bigger, more along the lines of the 1999 film The Matrix, with its mind-bending metaphysical combat and prophetic call for a new, more advanced kind of consciousness. More than either Inception or The Matrix, however, "Falling Water" goes deeper into the creepy depths of the collective unconscious, with an occult mystery theme that reminds me of the first excellent season of the 2014 TV show "True Detective." Some of the visuals and epistemological paradoxes in "Falling Water" are strikingly reminiscent of the 1990 film Jacob's Ladder, which used the Tibetan Book of the Dead as a template for describing a soldier's journey through a nightmare world located somewhere between life and death. And there are several parallels to the Nightmare on Elm Street series of films, starting in 1984, which used schlocky special effects to dig deeply into the dark, festering corners of the American psyche. A striped shirt appears on a key character in "Falling Water," which does make one wonder.

The touchstone for any show like this is always "Twin Peaks," the David Lynch television series from the early 1990's, which is set to reboot with new episodes soon (!!). "Twin Peaks" featured a dream-inspired FBI agent who tracked down an evil entity haunting people's minds and forcing them to violate the laws and morals of the waking world. In its incredible beauty, emotional rawness, and surrealistic whimsy, "Twin Peaks" portrayed aspects of genuine dreaming in a more compelling way than perhaps America was ready to handle at the time. The first episode of "Falling Water" does not have any of the levity and comical weirdness of "Twin Peaks," which may be a good thing at the start (no dwarves in red suits) but will hopefully appear in some form in later episodes. There's bound to be lots of falling in this show; will there also be flying?

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ROCKING REBOOT! The Charismatic JADE PETTYJOHN Makes The Grade On SCHOOL OF ROCK!

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When School Of Rock starring Jack Black hit theaters in 2003, a modern classic was born, spawning legions of fans, a Broadway musical, and skyrocketing the careers of young mega-stars who got their start in the hilarious romp, such as Miranda Cosgrove. Now, the fan-favorite film has generated another successful offspring- this time in the form of a hit television series on Nickelodeon, and similarly to the film, it is already doing the same for the young stars attached- particularly Jade Pettyjohn, who has stepped into the shoes Cosgrove has outgrown.


As Summer Hathaway, Pettyjohn never misses a beat to score the big laughs and always manages to use her charismatic charm to win over audiences. Not even legal age to vote yet, the young talent is already a bit of a seasoned pro, having acted alongside some of the most acclaimed talents in the business like Toni Colette and Brie Larson on The United States Of Tara, and Simon Baker on The Mentalist. It's no wonder she is part of a prestigious ensemble that is already getting rave reviews and have found their way to the Emmy's red carpet, celebrating their nomination for their praise-worthy show.


And next up on the actress' very full plate, she has the widely-applauded coming of age comedy Girl Flu, where she not only leads the film, she also gets to pair up with three more elite talents- Katee Sackoff, Jeremy Sisto and Heather Matarazzo! The film is already garnering major buzz around the festival circuit, and Pettyjohn is quickly adding "critical darling" to her resume as her star rises straight to the top.


With so much on the way for the young actress and School Of Rock only doubling its fan-base for the second season, Pettyjohn took some time to answer some questions about her hot Nickelodeon show, her new film, what else she would love to do and more! Read on!




"School Of Rock" is back for its second season and it's really giving Nickelodeon tons of critical acclaim. What can you tell fans a bit about the second season, particularly for your character, Summer?


The second season really explores new relationships and how they grow. The writers have brilliantly chosen topics that almost all pre-teens/teens go through. I think Summer learns a lot from the experiences the band goes through in the second season.


Since it was such a popular film, did you have reservations about how it might be received as a series- particularly filling the roles of characters that were so beloved by such big name actors? Did you ever speak to any of the original stars, or study from them, or did you really want to go into this part and make it fresh and your own?


The original project was such a success and had such brilliant actors in it so I think it’s important for the viewers to see the show as its own entity a little bit. We took inspiration from this amazing film, and put our own twist to it as opposed to being a carbon copy. I studied Miranda Cosgrove's portrayal of Summer and then added my own elements to her.


Obviously the rock element is a huge component here, and you are also a singer-song-writer. Can you talk a bit about how you started out musically, and if we might ever be able to expect an album from you?


I was drawn to music at a very young age. I grew up in a very music oriented family. My dad plays bass and guitar, while my mom sings and plays guitar. I just had a drive to create music in some fashion. I am currently in the songwriting phase and working with other artists at the moment. You can expect some music soon though.


How did it feel when "School Of Rock" got nominated for an Emmy for Outstanding Children's Program? Was this your first time going to any sort of award show? How did you prepare?


I was absolutely freaking out! I had never been to an award show like the Emmy's before, so it was a completely new experience for me. I didn't really do much to prepare other than the girly stuff like picking out a dress with the amazing stylist, Arturo Chavez.


You also just worked with an amazing genius, Jason Katims, on his new show, "Pure Genius." Can you talk a little bit about that experience and what we can expect from that show?


I am having so much fun working on Pure Genius! There's not much I can talk about in regards to the plot or my character yet, but I can say that I'm having a blast and everyone involved in this show has been so kind and welcoming. The episode will air sometime in December.


With your career so on the rise and having already worked with so many great names, what other kinds of roles are you looking to play and who would you love to work with?


I want to portray characters who challenge me as an actress and can somehow create an impact on people. You know that feeling when you walk out of the movie theater and think "Whoa, what a great movie," and you are somehow inspired or moved by the people on the screen? I want to do something like that. I would love to work with Wes Anderson, or Sofia Coppola, or maybe Meryl Streep. Actually, all of the above!


And of course, let's talk about "Girl Flu" - which you have been getting rave reviews for as it tours the festival circuit. What can you tell fans about that film and when do you think it might be released for the wider public?


Girl Flu is a coming of age film that shows all of the beauty, chaos and messiness of becoming a woman, and how my character Bird deals with that. I am so proud of this film and all of the people involved in making it. It is currently making its rounds at different film festivals. I will be at the screenings at the Mill Valley Film Festival in Northern California on the 10th and 11th of October and the screening at the LA Femme Fatal Festival on the 23rd. As far as broader distribution, I'm not really sure, but I will keep you posted!


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Just like Pettyjohn, Girl Flu sounds like one to watch out for. In the meantime, fans can continue to check out the talented actress and songstress every week on Nickelodeon's critically acclaimed smash success; School Of Rock!


School Of Rock continues Saturday nights at 9PM on Nickelodeon.


For more on Jade Pettyjohn, check out her social media channels!


Twitter: @JadePettyjohn


Instagram: @jadepettyjohn_official


YouTube Channel: Jade’s Jukebox


Official Website: JadePettyjohn.com

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First Nighter: "Inner Voices" Series Introduces Three Strong One-Act Solo Musicals

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Nancy Anderson is an important musical comedy leading lady who hasn't yet landed the role to establish her in the highest echelons. It's unlikely, however, that'll happen as a result of her stunning performance as Laura in The Pen, the second of the three one-person one-acts in the 2016 entry of the every-other-year Inner Voices series, at TBG Theatre.

In a wiser world, of course, catapulting Anderson where she's long deserved to be is just what would result. In the serious tuner with words by Dan Collins and music by Julianne Wick Davis, Laura, who's forty-ish, is just about to leave through her kitchen for her Milwaukee office work. As she reaches the door, she becomes uncertain that she's put keys in her commodious white leather bag. (Is the catchall something by Michael Kors that costume designer M. Meriwether Snipes found? From the looks of it, that could be.)

So Laura us suddenly searching frantically, while occasionally trying to remind herself to keep calm. She fails, because although she discovers the keys, she also finds a purple pen she's never seen before. Becoming even more raddled about an item that, for all she knows, could be carrying an infectious disease, she descends into an obsessive-compulsive fit that leads, among other things, to agitated concern about shutting off the oven.

In the course of her outbursts, she recalls that, when she was 4, her mother died, leaving her in the sole care of her beloved father. His death when she was older has left her permanently bereft. His loss seems to be her besetting problem.

As The Pen unfolds, the monolog demands heavy acting chops along with the demanding music that Davis has also orchestrated. Anderson, as anyone who has followed her career knows, is up to the challenge and beyond it. It may be that some audience members will start thinking of Patricia Neway singing the impassioned "To This We've Come" aria from Gian Carlo Menotti's The Consul or the Francis Poulenc-Jean Cocteau La Voix Humaine.

Is The Pen on those levels? Maybe yes, maybe no, but while, under Margot Bordelon crafty direction, Anderson is suffering Laura's barely contained, profound despair, the operatic opus gives the impression of being mighty weighty.

Third on the Inner Voices bill, The Booty Call is also a special piece. Michael Thurber provides the music as well as, with director Saheem Ali, the words. He also plays Gabe, a musician with an at-home recording studio featuring a synthesizer.

What truly distinguishes Thurber's achievement in a week when Donald Trump's incriminating sex chat has monopolized the airwaves is the musical''s outpouring of a late twenty something songwriter who's examining his behavior during an unexpected period of erectile dysfunction.

Improvising several new tunes, he muses over his reluctance to return a phone call from someone called Sam whom he's only recently met but does want to see again. He's fearful, though, that after two recent bedtime incidents with other women, he might not, this time with Sam, be able "to get it up."

Using voice, synthesizer capabilities, bass and electric guitar, he ruminates over that humiliating inability to perform. Eventually, he realizes why his recent failed conquests felt wrong enough for him to experience "flaccidity." The realization is so honest--and so at odds with standard macho posturing--that Thurber, far from relaxing in a T-shirt, shorts and socks, should win over just about every audience he faces with his compulsively honest confession.

The smiling T. Oliver Reid plays an orderly at what must be an old folks home in the Ellen Fitzhugh (words)-Ted Shen (music) Just One "Q" curtain-raiser. This one is a much lighter offering that appealingly serves its evening-opener purpose.

The orderly sings about his continual exposure to a Scrabble game between residents Bertha and Julynne. The game is regularly interrupted by their bickering over a man apparently called Cotton Green. The Just One "Q" title refers to the Scrabble tile one of the fighting ladies pockets because it represent the word "queen." She insists she holds that status in the amusing musical sketch that, under Brad Rouse's guidance, Reid makes even more charming.
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Is it a trend? Will it pass? What trend? It's a trend to do with stand-up comedy and what could be called the comedy behind the comedy. It might also be described as the impetus behind something many stand-up comics have in common when they venture in laugh-getting careers: depression.

That's right. It's no news that many comics have turned to telling jokes as a handy defense against deep-seated despair. Until recently Richard Lewis was the only jester who regularly gave vent to his dark side as he blasted one-liners.

Now more entertainers are coming forward. Only a few months ago, Neal Brennan told the sorry all in 3 Mics, at the Lynn Redgrave. This week Chris Gethard, also on the Lynn Redgrave stage, unburdens himself in Chris Gethard: Career Suicide.

Thin, just-this-side-of-nerdy Gethard is clever, if not consistently LOL funny, as he tells--with Kimberly Senior directing unobtrusively--his depression history. He's already been discussing it, he reports, for seven recent years with psychotherapist Barb. By the way, throughout Gethard's chat, designers Jen Schriever and Trevor Dewey underline the vouchsafed highs and woes with subtle lighting.

Among examples of Gethard's gloom, he mentions a near suicidal car accident as well as his reaction some years later to not being retained after a two-week Saturday Night Live writing try-out. His response to being given the heave-ho is a long drive he took that night to his nearby Clifton New, Jersey hometown and a subsequent stop at a Weehawken, New Jersey cliff. Contemplating a jump, he decided instead to stay seated on a bench and think his future through.

As partial proof of his longtime depression, Gethard repeatedly sings lyrics from Morrissey, whose monotone tunes about life's desolation apparently matched the comic's worst moods. As someone who has never been able to credit the onetime Smiths member's reiterated despondence, I nonetheless bought Gethard's 70-minute revelations and left admiring him for his emotionally credible insights.

On the other hand, if the own-up-to-depression trend continues, it could become, sooner rather than later, as cliché as comics kidding about airplane food and substance abuse.

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Broadway Stars perform at the 20th Anniversary 'Nothing Like A Dame' Benefit honoring Tony Award nominee Marin Mazzie

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Marin Mazzie; photo: Mike Sharkey


By Don Adkins, ZEALnyc Managing Editor, October 14, 2016

Using the song title from South Pacific as its mission and credo, the "Nothing Like a Dame" annual benefit which raises money for The Actors Fund's Phyllis Newman Women's Health Initiative will be held on Monday, October 24, 2016 at the Samuel J. Friedman Theatre, 261 West 47th Street. This year's hosting committee comprises luminaries Betty Buckley, Misty Copeland, Kelli O'Hara, Bernadette Peters, and Janice Reals Ellig. The evening will be directed by Bebe Neuwirth, and will honor Tony Award nominee Marin Mazzie with the first-ever Phyllis Newman Dame Award. Ms. Mazzie, most notable for her Broadway appearances, taking over the role of Miss Anna in the recent The King and I revival, as well as her appearances in Ragtime, Kiss Me Kate, and Next to Normal, has also been in the headlines for her real-life drama and battle with ovarian cancer.

The gala event will feature all singing, all dancing, and all women, with performances by Christine Ebersol, Melissa Errico, Julie Halston, Judy Kuhn, Tonya Pinkins, and Karen Ziemba, along with Ali Stroker and Erin Hill, and Ava Briglia, Willow McCarthy and Aviva Winick from the cast of Matilda, The Musical.

Tickets for "Nothing Like a Dame" are $75, $100, $150, and $250 and are now on sale online at www.actorsfund.org/Dame2016 or or by calling (212) 221-7300, ext. 133. Tickets that include a post-performance cast party are available for a donation of $500.

So get your tickets now and be a part of helping this extremely worthy organization, as well as seeing and hearing some wonderful performances by some of Broadway's brightest stars, all at the same time!

Don Adkins, ZEALnyc's Managing Editor writes about arts, cultural and lifestyle events.

Read more from ZEALnyc below:

Music in Museums? Concert series abound at many museums around New York

Joshua Bell in a one-night-only concert celebrates the 'Seasons of Cuba' at Rose Hall

The 13th - a sobering history lesson on the state of the Union

For all the news on New York City arts and culture, visit ZEALnyc Front Page.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

On the "A" w/Souleo: Visual Artists Celebrate For Colored Girls...

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40 years ago, before #BlackGirlMagic existed, Dr. Ntozake Shange exemplified the essence of that popular hashtag through her genre-bending, award-winning choreopoem/play, for colored girls who have considered suicide/when the rainbow is enuf. Debuting on Broadway in 1976, the work arrived during the second wave of feminism and was one of the few mainstream success stories depicting the experiences of women of color. In the process it garnered critical acclaim for its poetic fusion of language, music, and dance, resulting in a 1977 Tony Award nomination for Best Play and a 1977 Tony Award win for Best Performance by an Actress in a Featured Role in a Play (Trezana Beverley).

On Thursday, October 6 the African American Museum in Philadelphia--also celebrating its 40th anniversary--presents a two gallery art exhibit in homage to Dr. Shange's work titled, i found god in myself. On display are 20 commissioned artworks honoring the individual poems and additional noncommissioned art further expanding upon related themes of sexuality, race, sisterhood, violence and self-love depicted in and inspired by Dr. Shange's work. [Full disclosure: writer serves as curator of the exhibition].

Check out select works from the exhibition below with artist statements.

Amber Robles-Gordon

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Amber Robles-Gordon, My Rainbow is Enuf, 2014


I consider this sculpture as kin to for colored girls..., because as did my mother this play fed my spirit. My Rainbow, Is Enuf, metaphysically represents my (and the collective spirit of women) search for self, search for wholeness and oneness with the higher power.

At the end of the poem a layin on of hands, all of the women join together saying "i found god in myself/& i loved her/ i loved her fiercely." I have found God in myself, through loving, living, creating, and I love her fiercely.

Melissa Calderón

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Melissa Calderón, Te amo más que, 2014


Te amo más que is inspired by Dr. Shange's Lady in Blue poem titled, now i love somebody more than. My installation encompasses smells and natural imagery with the musical elements of this poem. There is a large blue morning glory horn surrounded by the Lady in Blue's gardenias. The horn represents an ear to the birth of newness, hope, and most of all, the rhythmic beginnings of music and dance.

Noelle Lorraine Williams w/Stafford Woods

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Noelle Lorraine Williams w/Stafford Woods, Isolation Refreshed 4, 2006-2007


Ever since I was younger, I've loved and wanted more from the streets. The woman in this photograph is my character Mala (Spanish translation bad or rotten) named that because she defies the notions of how her most intimate and larger community feels that she should be as a poor black woman. In this piece Mala awakens to see that all that she has known is now abandoned, left, and gone to ruin. The environment is indeed, mala. Journeying through dried poppies, abandoned streets, unable to stay awake she walks back to see the image that perhaps made her fall asleep. Isolation Refreshed is a neo-meditation on emotions, postindustrial, post-riot, post American Dream spaces.

Lauren Kelley

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Lauren Kelley, Pickin', 1999


Pickin' was produced when I was a graduate student at the School of the Art Institute of Chicago (SAIC) from 1997-1999. At SAIC I was exploring sculpture as wearable. Pickin' is part of a series of wigs fashioned from banal materials like rice, rubber, sugar, and poultry. The entire series was about the consumption of brown skin people in popular culture, the art world's focus on identity politics and the weight that such notions placed on my head as a Black person making art.

Dianne Smith

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Dianne Smith, STUFF, 2014


In Dr. Shange's text, Lady in Green begins her poem by witnessing: "somebody almost walked off wid alla my stuff/ not my poems or a dance i gave up in the street...."

For me, this work bears witness to a lived experience. It is a journey of unpacking and understanding the symbolic and metaphorical references in our own lives made by lady in green. The question that comes to mind almost immediately upon hearing, reading and visualizing her words is what does she mean by stuff? I realized that she is talking about stuff in the allegorical sense. It is about a gender and racially biased society robbing her, a black woman; stealing from her, taking the essence of her. Pillaging from her mind body, and soul, trying to steal all her joys and memories.

This theft isn't necessarily a conscious act by the aggressor, but it's a theft nonetheless. Thus, Lady in Green uses her voice, taking agency to demand alla her stuff back!

Kathleen Granados

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Kathleen Granados, no assistance, 2014


In visually interpreting Dr. Shange's poem, no assistance, I was interested in the lady in red's expression of strength, emotional endurance, and declaration of self-value. Her boldness and intimate revelation is embodied through the use of sewn materials, emphasizing the act of deconstructing/reconstructing aspects of herself. The act of weaving in the technique of crochet is a reflection of her journey, and the continual passage of time. The Lady in Red reveals to the audience her emotions--manifesting into the plant that she has been nourishing since the beginning of this relationship. Her vulnerability is displayed as a testimony to her palpable resilience.

André St. Clair and Tavet Gillson of AndréTavet

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André St. Clair and Tavet Gillson of AndréTavet, i usedta live in the world, 2016


In this work we interpreted Dr. Shange's poem, i usedta live in the world, which is about the universality of women's experience of being pinned under the weight of masculinity. The threat of sexual or physical violence by men is real for transgender and cisgender women who dare to live freely under the male gaze. Though they are born free, girls quickly learn that a woman's beauty can be a liability. To compensate for this cold, cynical reality, self-imposed and socially sanctioned protective measures limit a woman's mobility and ownership of self and space. The feminine body, an object of a penetrating and policing male gaze, is then ironically rendered hyper-visible. i usedta live in the world depicts a woman grappling with this reality.

****
The column, On the "A" w/Souleo, covers the intersection of the arts, culture entertainment and philanthropy in Harlem and beyond and is written by Souleo, founder and president of arts administration company, Souleo Enterprises.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Missing James Franco in Wedding

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"This is the time of the Hochzeit" -- Dr. Laurence A. Rickels


peace-3-0fin
The 16 October 2016 Super Full Moon brings us to the Time of the Hochzeit.


larry2
The Hegelian opposites integrated into the Golden Age of the Hochzeit as performed by the venerable Kulturindustrie theorist, Dr. Laurence A. Rickels...

The Universe physically placed you in...

wedding

...WEDDING as a liberation state of mind...

suicide-circus
...from Asbestos exposure in the artist's studio...

homeless
...after being homeless In Berlin.

With no medical marketing strategy to earn revenue from your proven spiritual health system.

venus-laden
Lucifer as Venus seeking the commerce of desire as a means of survival.

img_0852
Without Kin...

feuer-auto
...Car insurance...or even private transport...beyond your inner Feuer vehicle....


kundayoga
....Kundalini-fueled desire!

You had to suffer in order to realize that you had something far more important...

screenshot-2016-10-11-14-54-32
...by way of a physical engagement within a geography ceded to the French during the partition of Berlin.

...THE TREASURE YOU WERE SEEKING! Your ultimate singular (and single!) destination was the very symbol of the kundalini/DNA spiral morphing into the Mobius Strip...

lisayoga3-0
...integrating Outer & Inner with your embodiment of your deconstructionist/ reconstructionist text on the Nietzsche/Salomé 1882 Hochzeit...

dna
...spiraling into the complete unknown.

Bringing your 28-year journey to a close, you found inner PEACE...

peace-mime
...comes with BALANCE.

As the Mexican filmmaker, Julio Alcántara, reminded you...

deadbutalive

AFTER DEATH...

time-to-dance

...COMES THE RESURRECTION!

LET THE SUN SHINE IN...



lisayodcomfin
Align your DNA to the upward spiral of the Aquarius vibration...

...TO THE HOCHZEIT!


The Inner Journey is all that Matters!
--Dr. Lisa Paul Streitfeld


Lisa Paul Streitfeld is a Kulturindustrie theorist based in the world.

Missing James Franco 3.0 is a multimedia project seeking new means of creating revenue for art projects through collaboration with commerce.


The Missing James Franco project is sponsored by AMS Pictures.

JOIN THE SEARCH FOR THE TREASURE: #MISSING JAMES FRANCO on TWITTER


All images copyright LPS.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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