Tuesday, May 31, 2016

Books

Yellowbill Cafe and Bakery, 1425 14th St, Sacramento, displays two books:

First, a paperback book, from 2007, titled, "7th Letters First", detailing mural artwork by The Seventh Letter collective. From the LA Weekly:
"The seventh letter is, of course, G, which in this case stands for “Gods of Graffiti” and represents what may be the most ambitious, racially diverse and prolific crew ever assembled. With more than 100 members operating under the Seventh Letter banner, names like Revok, Retna, Saber, Push, Rime and Zes are just a few to watch as they fast become L.A.’s modern muralists."
http://www.laweekly.com/arts/the-rise-of-the-seventh-letter-2149613
The book seems out of print, now, and may have represented a promotional tool for a film

More:
http://knowngallery.com/
http://store.theseventhletter.com/
https://www.royalelastics.com/
http://theseventhletter.com/blog/tsl-films/
http://gallery.theseventhletter.com/

Second, a book about coffee, "Hiroshi's Latte Art and Barista Style" (2012)
ISBN-13: 978-4862561091

Capitalism in the Web of Life

Heard this author on 94.1 KPFA FM, out of Berkeley, California:
http://www.jasonwmoore.com/Weboflife.html
Finance. Climate. Food. Work. How are the crises of the 21st century connected? In Capitalism in the Web of Life, Jason W. Moore argues that today’s global turbulence has a common source: capitalism as a way of organizing nature, including human nature. Drawing on environmentalist, feminist, and Marxist thought, Moore offers a groundbreaking new synthesis: capitalism as a “world-ecology” of wealth, power, and nature. Capitalism’s greatest strength – and the source of its crisis today – has been its capacity to create Cheap Natures: labor, food, energy, and raw materials. That capacity is now in question. Rethinking capitalism through the pulsing and renewing dialectic of humanity-in-nature, Moore takes readers on a journey from the rise of capitalism to the crisis today.  The limits to capitalism are real enough. But they cannot be reduced to “natural limits” or “economic crisis.”  They are both – and they are more than their social and environmental dimensions. Capitalism in the Web of Life shows how the critique of capitalism-in-nature – rather than capitalism and nature – is key to understanding the crisis today, and to pursuing the politics of liberation in the century ahead. 
Noting only for reference, later.

Radio Songs

Heard on 94.1 KPFA FM, out of Berkeley, California:

Oakland, California-based Los Rakas' "Abrazame", featuring Faviola (link?), produced by Uproot Andy, a 2011 single. Lyrics. Video; Making of the video. [Note: This seems to represent a cover of Jamaican-native Gyptian's "Hold You", from his 2010 album "Hold You", on the VP and Columbia labels. Video.]

Sacramento <> Ocean City, Maryland Highway Signs

Motorists traveling on 50 East in Sacramento may be familiar with this perfectly normal-looking mileage sign — on first glance, it’s like every other mileage sign along California highways listing the cities you’ll be passing with the number of miles to go.

But on second glance, this sign gives pause — Placerville is about an hour away, and South Lake Tahoe double that, depending on traffic. But why does far-off Ocean City, Maryland merit a mention?

The simple fact is that US 50 paves 3,000-plus miles from Ocean City, Maryland to Sacramento, California, but there’s more to the story.

In the 1980s John R. Cropper, Jr. worked as the head of statewide highway maintenance for Caltrans. Cropper, now 92, was the man who instigated the sign listing Ocean City, MD as 3073 down the road.

“Years ago, I was back in Ocean City, and they had a sign that said, ‘Sacramento California so many thousand miles’ so I thought, ‘well, that’s a pretty good idea, we should reciprocate,’ so we did," Cropper says.

And that was that. Cropper says he didn’t have to get approval from anyone; he had the clout to make it happen, but he was met with some resistance.

“I can remember I got a lot of static from Caltrans people because I had been conducting a campaign to get rid of unnecessary signs — and this really was an unnecessary sign,” says Cropper with a wink. “It didn’t mean anything to anybody except people who had some connection — anyway, it’s still there as far as I know.”

The original sign Caltrans put up indicating the terminus of Highway 50. Wikimedia / Creative Commons
Cropper knew that sign maintenance was expensive. This sign ended up costing the state quite a bit of money because it kept getting stolen.

According to a 2002 article in the Sacramento Bee, the sign was stolen twice, once in 1999 and then again two years later. Caltrans redesigned the sign to include the distances to Placerville and South Lake Tahoe, making it bigger and harder to throw in the back of a truck. But when the new sign went up there was a problem with the mileage. Instead of 3,073 miles to Ocean City, the sign incorrectly read 3,037. Caltrans noticed the error and placed a cover over the last two numbers correcting the mistake.

The Bee article reported that it would have taken two to three months and more than $1,000 to replace the whole sign; the patch solution cost $10.

But let’s go back to Cropper’s original motivation for sign on US 50. Where did the “Sacramento, California” sign in Ocean City, Maryland come from?

On the other side of the continent, we found David Buck, a spokesperson for the Maryland State Highway Administration. Buck’s father, Ed Buck, was a Maryland highway engineer in the late ‘70s and early ‘80s. It was his idea to mark the eastern end of Highway 50 in Ocean City.

The terminus of Highway 50 in Ocean City Maryland. Wikimedia / Creative Commons
“Highway signs obviously are very regulated, in terms of what you can put up there. So when you put something up that’s a little different, or a little unusual like this, people take notice,” says the younger Buck.

One of the people who took notice turned out to be the right person who could approve a reciprocal sign in Sacramento. David says Maryland officials did reach out to Sacramento about doing a sign of their own, but it never went anywhere — until Cropper saw the Sacramento sign himself.

“I think it’s neat that my father was part of something that lasted that long," Buck says. "It’s interesting and unique — it’s not standard.”

Link:
http://www.capradio.org/articles/2016/05/06/two-coasts,-two-cities,-two-signs-the-story-behind-the-ocean-city-md-3073-sign/

Rainy Saturday

Balcony, rain, cats, post-coffee Saturday; if I crane my neck I can see the Pacific Ocean. This is all right.

Banner-towing fixed-wing airplane sign:
HUGE SALE AT ARROW SURF SHOP NOW ! !
http://www.arrowsurfshop.com/

We passed this surf shop earlier, as we went to Jamba Juice, to buy a small Pomegranate Paradise, to soothe Dawn's throat.


Tuesday, May 03, 2016

Grateful Dead - Notes of a first-time listener of the live shows

Listening to Grateful Dead, live, for the first time, really, via the amazing Archive.org resource.

Today, 1989 concerts, from Rich Stadium and Greek Amphitheater.

Live at Rich Stadium on 1989-07-04
https://archive.org/details/gd89-07-04.aud.wiley.9045.sbeok.shnf
"No our love will not fade away" -- a chant to bring the band back, for an encore.

1989-08-19: Greek Theatre, U. Of California
https://archive.org/details/gd89-08-19.sbd.5213.sbeok.shnf

Can't say I'm a big fan, but am finding the rambling live music infectious. Will try to record thoughts as they seem noteworthy.

Sunday, May 01, 2016

Sundown

Second floor, University of California, Santa Cruz McHenry Library, watching the sun set, streaming through redwood tree branches and through multi-story library windows, listening to Grateful Dead, Live at Winterland Arena, on 1977-06-09.

65 F, 29.91 in pressure, clear sky, dew point 49 F, humidity 55%, wind from NNW at 4.2mph, sunset at 7:57 p.m. PDT.

Shoe Shopping, Sockshop and Shoe Company, Santa Cruz:

Shoes seen, at the Sockshop and Shoe Company, Santa Cruz:

Bernie Birdie

A friend placed this Bernie Birdie sticker, in their window.

Noh Masks, at California State University, Sacramento University Library Gallery

The California State University, Sacramento University Library Gallery currently features an exhibit, "Traditions Transfigured Noh Masks of Bidou Yamaguchi", February 11, 2016 - May 21, 2016.

http://www.al.csus.edu/sota/ulg/

"The human face and its expressive potential have inspired artists around the world for millennia. Arguably, Japan’s Noh theater provides an unparalleled domain for exploring emotion and representing the human countenance. Today, Noh continues to inspire a dynamic dialogue between artists from Asia and the west. Expanding on this rich vein, Traditions Transfigured features contemporary works by Bidou Yamaguchi (b. 1970, Fukuoka, Japan). These masks apply the forms, techniques, transformative spirit, and mysterious elegance of Noh masks to iconic female portraits from the European art historical canon, and to Kabuki actor prints by Sharaku, Japan’s enigmatic 18th century portrait master. 
Like a human face, the work of Bidou Yamaguchi opens itself to many angles of interpretation. The product of a Noh mask carver who also creates modern sculpture in the form of masks, Bidou’s art speaks to issues such as cultural identity, gender, portraiture, performance, representation, and appropriation, as well as the roles of beauty and craft in contemporary art. 
Our fundamental premise is that Bidou’s art is informed by the world of Noh, and, in turn, offers insight into this diversely creative realm of theater and image making. We stress the productive links between Bidou’s roles as a “traditional” artisan who works to reproduce old masks and a contemporary artist who makes new objects. We treat these fresh creations as “masks,” although they were not commissioned for use in Noh plays. In fact, the oblique orientation of the eyes in most of these portraits differentiates them from Noh masks. Despite these differences, our approach imagines these works as potential characters in future dramas. 
In the world of Noh, Bidou’s work challenges the conventions of Noh masks and, by extension, might stimulate new types of Noh plays. More expansively, Bidou’s art suggests ways of deploying the aesthetic strategies and ontological assumptions of Noh. This is not simply another strategy for “modernizing within tradition” in Japan, or a new manifestation of Japanese cultural uniqueness with universal application. Bidou’s work is not aimed at any totalizing theory about contemporary art practice, and certainly the artist has produced no manifesto to such an end. 
Instead, his art seems focused on a particular task. Bidou’s masks are a kind of intercession on behalf of half-human, half-artistic spirits. His works are transfigurations that bring about reincarnations into a transformed body (keshin) that is the true body (hontai) for figures like Lisa Gherardini who have become so well known as images (the Mona Lisa) that they all but cease to exist as humans. This act is analogous to the procedure of intercession or recuperation in the texts of Noh plays. However, unlike Noh plays, where this literary rebirth recuperates the socially unacceptable acts and desires of women and other marginalized figures, Bidou gives a new body—literally, a face with the potential of speaking—to persons who have been turned into “ghosts” by mechanical reproduction, popular appropriation, and, perhaps, a deeper unwillingness to comprehend the humanity of people removed from us in time and place. 
Bidou’s art constructs a three-dimensional face for these rhetorical ghosts, and thus brings about an altered understanding of these persons who have become so familiar as images they are almost invisible as the vestiges of souls. Although his art is rooted in a Buddhist worldview, it resonates with the Christian idea of transfiguration as a change in form or appearance that parallels a spiritual change, and it signals the exultant moment when the human meets the divine so that the temporal becomes the eternal. 
By transfiguring both European and Japanese artistic traditions, Bidou Yamaguchi’s work merges past and present. More importantly, it allows contemporary audiences to uncover deeper dimensions of their own humanity. By imagining ourselves wearing different faces, we can forge deeper spiritual connections with each other. 
Kendall H. Brown, PhD
Guest Curator

Donaldson Torit, at University of California, Santa Cruz

Saw a Donaldson Torit product, at University of California, Santa Cruz, near the E2 building, of the School of Engineering.

Looked like a collector, of some sort.