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The 9 to 5 Life of an International Playboy
And now a word from your sponsors.
This message was brought to you by Lightroom, Perl, Aquamacs Emacs, and Cyberduck.
I love farm toys. My grandfather used to build the real tractors in Waterloo for John Deere, and he would give us 1/16 scale toys when we were kids. After he retired, he decided to rebuild an old Oliver, just to keep busy.
While we were in Billings, we stopped into Action Toys, the best little farm toy store in the world. Here are the fruits of my most recent trip. (Yes, I have a spending limit when I go in.)
So what do we have here?
The tractor pulling the planter is a John Deere 9420T with 425HP engine. I didn’t buy it this trip, but there’s no way the Agco’s 200ish horsepower engine is going to get the field planted, especially when it’s been raining.
Today we went to the Buffalo Bill Historical Center in Cody, Wyoming. It’s a lot of fun, with a little something for everyone.
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Longs Peak - Rocky Mountain NP (Click for larger)
The early part of our travels led us to the northwestern-most point of the first federally funded expedition to the west which included professionally trained scientists and artists. Unlike the Lewis and Clark expedition of 1804-1806, the infamous Zebulon Pike trip to Colorado and the myriad Army Topographic Corps expeditions of the mid-to-late nineteenth century, the western journeys of Major Stephen Harriman Long doesn’t seem to have stuck in the American imagination.
If he’s remembered at all, he’s usually referenced as “that guy who called the Great Plains the ‘Great American Desert’ on his map” or “that guy who climbed Longs Peak.” It’s unfortunate because he blazed a trail for later expeditions that, like his, mixed scientific inquiry and artistic depiction in equal measure. Of course, they also brought their early 19th century prejudices about agriculture, science and scenery with him, thus leading Long not to recognize one of the most biologically diverse and rich ecosystems in the world while he trod over the short-grass prairies.
If you’re interested in learning more about Major Long’s 1819-1820 expedition, you might consider reading “Sandy Wastes:” Exploring and Experiencing the Great Desert, a paper I wrote for an environmental history class about six years ago and then submitted with my graduate school applications. Here’s a short excerpt from the concluding remarks:
[Major Long] inadvertently interfered in the emerging manifest destiny of Americans to overrun the continent. The effective western border he seemed to propose reached barely half-way across the possible extent of the nation. While it is possible that he did slow expansion to the Plains, within three decades a torrent of migrants would make their way through the region and draw their own conclusions. Indeed . . . the idea of the West as a garden held more currency among Long’s contemporaries than the idea of a desert West.
The early appraisals of the West given by Long and other naturalists are complex and require careful consideration, especially when viewed in conjunction with their own scientific evidence which seemed to contradict their conclusions. The volumes of textual, visual, and physical data generated by the explorers ultimately yielded a fairly balanced view of the Plains: a region that is at once hot and dry and yet well-adapted to life, just not necessarily human life. In this respect Long’s conclusions about the habitability of the region prefigured John Wesley Powell’s conclusions about the need for irrigation to aid development in his 1876 Arid Lands report. Moreover, Long blazed the trail for a new type of federally-sponsored western expedition that included scientists, artists, and (later) photographers as an integral part of balanced exploration. Though these explorers were often serving the utilitarian and imperial interests of the state, like Long they strove to help an expanding nation understand and create itself by looking at the land. The conclusions of Long’s party indicate the role of ideological orientation and expectation in the creation of place at the same time that they caution against trusting our initial reactions to alien environments.
First off, to all my Canadian brethren and sistren, happy Canada Day. I’m still not 100% sure what you’re celebrating, but I’m glad that our Civil War scared you into confederation. Sorry if you thought we were gunning for you after that whole “54º40′ or fight” business.
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Denver Convention Center - Click for larger
Anyway . . . We’re only two days into our trip and already having a great time. We just returned from an evening of baseball at Coors Field.
It’s been a while since I saw a really good game. Lisa and I prefer well-pitched games with good defense and a bit of drama. So we were very happy when the Rockies’ Aaron Cook pitched a beautiful, complete-game shutout with just 79 pitches in a shade less than two hours. It’s not like the Padres played poorly either. They had some great defensive plays. The losing pitcher just had a bad fifth inning: four runs on three hits, a fielder’s choice, an errant throw by the shortstop and three stolen bases.
The Colorado Rockies’ park is very nice, and Lisa found us great seats. The weather this evening accommodated us, too. It’s too bad there wasn’t a bigger crowd in the house.
Tomorrow we’re heading to Rocky Mountain National Park. Despite living in Wyoming for several years, I’ve never been there. It looks very pretty from the pictures I’ve seen. We’ll need a little respite after the eventful day we’ve had.
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Colorado Capitol Building, Denver - Click for larger
Yes, it was a very busy, hectic day. Let’s see. On account of a small bit of jet lag we got up a bit earlier than expected and had to stand in line with the young urban hipsters at Starbucks on their way to work. (No one here really understands how to pair shoes with an outfit.) Instead of going to the office we toured the Colorado Capitol. It’s kind of quaint. Government was not in session, so the building had the feel of a ghost town. I think we saw a tumbleweed blow through the rotunda. Everything is gilded, but they don’t have a bronze cod hanging from in the assembly chamber; so chalk another one up for the Mass State House.
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Pioneer Mother, Denver - Click for larger
Just outside, we saw the “Closing of an Era” statue. If you believe the symbolism in the statuary, you might think that Native Americans killed the last bison and thus hastened their own doom. Compare and contrast that with the heroic pioneer woman holding a rifle and raising a child. (Your 2000 word essay is due by the end of the week.)
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Closing of an Era, Denver - Click for larger
We continued our Western art historical adventure a few blocks away at the Denver Art Museum, which has a nice collection of Western American art. The rest of the collection befits a city of its size, but it feels a bit hodgepodge in places. Of course, we’re spoiled by the Boston arts environment, which is significant but very little compared to New York.
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Western Art, Denver - Click for larger
I have mixed feelings about Western American art. Much of it is backward-looking, sentimental and overly romanticized; yet there are strains within “traditional” Western art that provide wonderful insight into how we experience and imagine the West. Plus there’s a lot of technical and artistic virtuosity in the genre as well. And I really love the landscape art of the West, especially the pieces by artists who show the West as it actually was in their time. I like the re-castings, re-imaginings, and re-examinations of the mythic place. After all, I do believe in the West and the Plains as places distinct from the much of the rest of the country. There’s something in the soil, the rocks and the sky and in the way we came about taking possession of it and struggle to hold onto it . . . or even know it.
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Black American West Museum, Denver - Click for larger
Those who know us probably won’t be surprised that after some lunch we took a walk north from downtown, past an invisible red line, to take in the Black American West Museum. I had read a little bit about the “Exodusters” in Nell Irvin Painter’s fantastic Standing and Armageddon, but I really didn’t understand just how much the experience of African Americans in the West mirrored the experiences of almost every other non-indigenous group that emigrated in the 19th and 20th centuries. Doctors, miners, farmers, cowpokes, rodeo cowboys, soldiers, homesteaders, inventors, business owners — not to mention the obvious: fathers, mothers, children, laborers, strugglers — this museum presented a wealth of photographs, documents, and artifacts that showed African Americans chasing and creating the same American Dream that shows up in whitewashed histories and entertainment. It also played down overt racism and suggested that the West was much more egalitarian that those same mainstream sources suggest.
So if you’re in Denver for the Democratic convention or just passing through like us, take a walk up California Street or a short trolly ride to the museum. It’s worth it.
It’s time for me to own up to something: I possess a much larger than average collection of books and notes about the Indian Removal Act, the Early National Period, and the Nullification Crisis. Like Louis P. Masur, I think 1831 was one of the most interesting years in American history. Through a variety of contemporaneous events, we can start to see a nation moving beyond its revolutionary zeal, becoming something like the America we know today while also sowing the seeds (in the Nullification Crisis) of extralegal struggles over state rights and eventually war.
(And I guess it’s time for me to admit that when I sat on a Bahamian beach soaking up the warm winter sun in December 1999, I was reading a 1924 copy of Benjamin H. Hibbard’s A History of the Public Land Policies. Yep, it was a strange time for me.)
One of the things I love about studying American history is seeing the evolution of the “American Character” — which I believe actually exists, for better or worse (mostly for the better) — or at least the expression of various recurring aspects of an ever-changing character. It’s something I can’t satisfactorily explain even to myself as I stare dimly across the unbridgeable void to the past; but at times I feel like it wouldn’t be much harder to relate to a Midwesterner of the early 19th century than one from today.
Yet, despite being a Westerner who knew militia folks and who thought for a while that federal laws made by D.C. bureaucrats and Northeastern elites were at best advisory when applied to a wild place like Wyoming, I still have trouble grasping the fire and passion in the mid-18th century over states’ rights conflicts, abolition, and Indian Removal. I can understand but not feel the ardor of the Second Great Awakening, which helped inspire the latter two. (For that matter, I can barely understand 1968 and am pretty sure I would have been a conservative square.)
Anyway, let’s bring this rambling reminiscence to a halt and get to the point. In 2000 I wrote a paper that examined Andrew Jackson’s differing reactions to the Marshall Court’s 1832 ruling in Worcester v. Georgia (in which he nullified the Supreme Court’s decision to exert Federal supremacy over states’ right regarding so-called “Indian removal”) and the Nullification Crisis (when he was ready to send federal troops to South Carolina to enforce an act of Congress.)
I never got around to revising it when I applied to grad schools in 2002, opting instead to go with a paper I was writing at the time about the western journeys of Major Stephen H. Long. (Perhaps I would have had better results if I had.) But if you can stand a few rough edges, you might be interested in reading To Raise Up an Interesting Commonwealth: Jackson’s Reaction to Worcester and Nullification.
I was talking with someone the other day about photography and terrorism plots. I’ve written about this before. And now that I’m using a large format camera, it seems even more ridiculous that someone in plain-view with a camera should be worthy of suspicion.
Except that it’s nonsense. The 9/11 terrorists didn’t photograph anything. Nor did the London transport bombers, the Madrid subway bombers, or the liquid bombers arrested in 2006. Timothy McVeigh didn’t photograph the Oklahoma City Federal Building. The Unabomber didn’t photograph anything; neither did shoe-bomber Richard Reid. Photographs aren’t being found amongst the papers of Palestinian suicide bombers. The IRA wasn’t known for its photography. Even those manufactured terrorist plots that the US government likes to talk about — the Ft. Dix terrorists, the JFK airport bombers, the Miami 7, the Lackawanna 6 — no photography.”
If you’re in the U.S., I hope you enjoyed your Memorial Day.
Lisa and I went to the Old Burial Hill in Marblehead today, where Lisa took this picture:
In Memory of James Dennis Hammond
He was one of the Heroes of the Frigate Constitution and having been wounded in the capture of the Java he received a pension from his grateful Country untill his decease which happened Oct. 24, 1840 at the age of ?4 years 10 mos. & 14 days.
I’ve been reading a lot. That’s the benefit, I guess, of only having one class last semester. And I want to share with you some recommendations.
But before that, here’s a simple request. Currently I’m between books and having a hard time figuring out what to read next. Classes don’t start for another three weeks, and I have the ambition to read something on the longer side. So maybe I should read that book that Leslie suggested: Michael Chabon’s The Amazing Adventures of Kavalier & Clay. Then again, I still have The Plot Against America from the last time I went to the bookstore; and I’m trying to do better about reading what I buy.
What do you think? What should I read next?
Okay, here are my recommendations. Just be aware: I’m rubbish at giving short synopses that don’t totally suck the life out of whatever I’m recommending.
Apex Hides the Hurt by Colson Whitehead. An enjoyable novella about names, branding, growth, change, race, and (ultimately) ourselves. Tantalasia: “An emotional state, that muted area between desire and consummation.”
Willing by Scott Spencer. You might think I’d be apprehensive about recommending a novel about a down-on-his-luck author who goes undercover to take a high-priced sex tour, since it makes me sound a bit bawdy and the description will likely drive all sorts of unexpected traffic to my site. But I’m a sucker for a well-told, ambiguous morality tale that attempts to divine what our morals are in the Internet age. (p.s. - What’s up with not using quotation marks in fiction these days?)
Harry Potter and the Deathly Hallows by J.K. Rowling. I have to admit that I like Harry Potter. I came to the party late — mostly because Lisa wanted to talk to me about book #5 — but I was very anxious for its release last year. If I remember right, I read the whole thing in, like, 20 minutes.
The Worst Hard Time: The Untold Story of Those Who Survived the Great American Dust Bowl. Timothy Egan wrote an amazing book about the plow that literally broke the prairie and the folks on the southern Great Plains who toughed out the Dust Bowl. That period of American history is far, far worse than I had fathomed.
China Road: A Journey into the Future of a Rising Power. Rob Gifford is my everyday hero: smart, self-deprecating, ruggedly handsome. All of these fine attributes come through in the travelogue of his cross-China trip. Along the way he talks to politicians, dissidents, students, farmers, hermits, truckers, hookers, entrepreneurs, . . . everybody. And as NPR’s long-time China correspondent, he draws from a deep, deep well of knowledge and cultural sensitivity.
Terra Nullius: A Journey Through No One’s Land by Sven Lindqvist. Perhaps there’s something that gets lost in the translation of this book; yet despite its imperfect execution, it is a very thought-provoking treatise on collective guilt, reparations, and the legal fictions Europeans used to justify taking other people’s land. I was amazed to learn that Australians are just like Americans, only more so.
Foto: Modernity in Central Europe, 1918-1945. It would have been hard for this thick catalogue from a really wonderful exhibit at the National Gallery of Art to disappoint. But strange things happen in the world of art catalogues. Sometimes the images from the exhibit aren’t in the books. Or there’s no text. Or the text that does appear is hopeless art speak. This book has none of those problems. It’s as fresh as the Central European photographs it covers.
If you can believe it, I once made a serious go at becoming a historian. I wanted to go to history grad school, but I hadn’t taken any coursework as an undergrad. Feeling extremely self-conscious and very far behind, I set out to get caught up. I took classes, first at U.Mass and then at Boston College. I went to AHA meetings and lectures at local universities. I read tons of book reviews. It was simultaneously enrapturing and terrifying.
But it was not to be. It’s hard to make up that much lost time, and I didn’t really have the mindset for researching in original sources, a skill that my “catch up” survey classes didn’t push. Now that I know better and have no serious desire to be a professional history, I would really love to do some original research (which probably explains why I’m so fascinated with tombstones these days).
And more than anything, I’m prone to scratch at an itch until I’m satisfied that I know enough about it to be able to define its key features, its edges, its historiography, and the why (not just the when and what). Since I finished my class early this month I’ve been reading voraciously about Afghanistan.
Afghanistan: the crossroads of the world, the graveyard of empires. Its recorded history extends thousands of years — Alexander of Macedonia lent his name to Kandahar, for goodness sake, and there’s another four to five thousand years in the archaeological record before he showed up. I’ve been reading a bit about that history recently, and I’d like to share it with you; but there’s way too much for one dispatch.
Its modern history intersects many of the 20th century’s historical themes: empire, globalization, the Cold War, and transnational terrorism. I think I was like most people who could only briefly describe Afghan history by giving a few keywords: Soviet invasion, mujahideen, Taliban, al-Qaeda. Not surprisingly, there’s a lot more to it than the plot of a Rambo movie. Since Sunday marked the round-number anniversary of the beginning of what might euphemistically be called the “Afghan’s troubles,” let’s take a closer look at the last thirty years of Afghanistan’s history.
Important note: Be sure to see the “Important Note on Sources” at the end of this dispatch.
The last thirty years in Afghan history trace an arc that began with instability and war and continued downward to disaster intermingled with stability through totalitarian theocracy before the reemergence of a fragile civil society in the midst of war. It’s fair to say that Afghans have endured one insurgency or another since 1978. Here are some of the key dates for future reference:
Picture it, Kabul 1978. King Zahir Shah had been living in exile for five years since a mostly bloodless coup led by President Mohammed Daoud Khan. Afghanistan was a poor developing country with powerful neighbors. Its western neighbor, Iran, was close to theocratic revolution in 1979. Pakistan, to the east and south, had seen General Muhammad Zia-ul-Haq seize power in a coup the year before. And the Soviet Union loomed large on its northern border. Though nominally unaligned, the Soviets poured billions of rubles of influence south over the preceding decades in the form of economic and military aid.
One of my colleagues frequently needs relationship advice. We do our best and give generously, but we’re a diverse lot so the quality varies. As for myself, most of what I’ve learned about “going steady” I learned from a short pamphlet from the 1950s that I found in the Kelly Walsh High School guidance counselors’ office when I worked there in the summer of 1994. I present a scanned version of Understanding the Other Sex by Lester A. Kirkendall and Ruth Farnham Osborne with the hope that it might be useful.
Click on any page for a larger image. . . .
The other day my boss needed a happy thought, so I told him about one of my favorite advertisements. Thanks to YouTube, I can now share it with the whole world.
If you enjoyed that, try the sequel.
And then there’s this gem, which I only saw once on TV. Apparently guinea pigs have a powerful lobby.
There’s a whole lot of good stuff out there on the Internet. Here’s just a bit that I discovered recently:
I’m full. Sated. Happy.
Fish tacos, my friends. That’s what has brought me to this wonderful place. Batter-fried fish on corn tortillas with salsa, finely cut cabbage, and some secret ingredient that Rubio’s puts in their “Pesky” tacos. With tortilla chips and refried beans on the side. Mmm. . .
It would be wrong to say that I came to California for fish tacos, but I was certainly looking forward to it for several months.
No, I’m in San Jose attending the 20th annual joint SPIE/IS&T Electronic Imaging symposium. Sunday I attended nine hours of short courses: “Color Processing and its Characterization for Digital Photography” and “Perceptual Metrics for Image Quality Evaluation.” Today — before the fish tacos — I sat in on a full day of paper presentations spread over the “Human Vision and Electronic Imaging XIII”, “Image Quality and System Performance V”, and “Digital Photography IV” conferences. (Tomorrow: “Color Imaging XIII: Processing, Hardcopy, and Applications” and “Rocky IV”.) I had hoped to see “Inferring illumination direction estimated from disparate sources in paintings: an investigation into Jan Vermeer’s ‘Girl with a Pearl Earring’”, but I was glad that I heard Daniel Tamburrino’s paper “Digital camera workflow for high-dynamic-range images using a model of retinal processing” instead.
(Supposing that I feel bored motivated, I will try to post some of my notes here in the coming days.)
I’ve only been here two and a half days, but I already feel like I’ve done so much. As I advocate in my book How to Get Rich through Petty Cash, I’m taking the opportunity to enjoy myself while on a business trip. If you travel around the country and only see the inside of your hotel room, you’re wasting your time on this earth. You’ve got to get out of the hotel, out of the high-priced bubble that surrounds any place where convention-goers congregate, and out of town if possible.
The trip from Boston on Saturday was one of the nicest cross-country flights I’ve ever had. It was my first time flying Jet Blue — I like the seats but don’t think I made the most of the seat-back amenities — and I was the only person in my row. Looking out my window I saw the white, snow-covered fields, ice-covered ponds and the sluggish rivers of New England give way to a deep shag of clouds over Minnesota and the corrugated origami of South Dakota and Wyoming. Rapid City, which I’ve never liked at ground-level, was a fine, delicate etched glass trophy on the edge of the blue Black Hills, the gateway to my old flame. Were those spiral holes in the ground and the furrows of overburden south of Gillette there last time? Surely those oil wells near Midwest still make the same unearthly bullfrog croaking I remember when we stopped the car to look at the bright smear of the milky way on a cold winter’s night more than a dozen years ago. And there’s the interstate leading to my city, my river, my mountain, my mother, my long-gone adolescent angst. I press my hand to the window. Clouds and snow fill in the depths of the Wind River Range, the last of the Rockies before the great folds in the earth when we enter Utah and then Terra Incognita and Terra Nullius in Nevada. Lake Tahoe, defiant, is not frozen but a deep black, unlike the muddy water covering fields in the Central Valley. And there’s glorious Point Reyes, unbelievably beautiful in the light of a western sun shining through broken clouds. Finally, the Golden Gate and its fabulous bridge.
After getting my rental car, I immediately headed to the SFMoMA, to see the Jeff Wall exhibit, which closed Sunday while I was in my classes. I like many of Jeff Wall’s photographs, but I’m deeply ambivalent about his work in general. First he has a reputation as the most cerebral living photographer, but I often I feel that the nonstop art historical references — less that a quarter of which I doubt I caught — get in the way of making a photograph that’s pleasing to look at. Should we really let folks like Wolfgang Tillmans, Jürgen Teller (NSFW), and Wall — or me for that matter — revel in elevating every ordinary scene and still claim a fig leaf of art historical pretension? Perhaps if I were more of an insider, I would be less ambivalent; but such is the way with me and all modern art. An-My Lê’s photographs from her Small Wars and 29 Palms series were perfect. And the black-and-white and color work of the Silicon Valley from Gabriele Basilico had me amazed and envious. Finally, I have to admit that despite liking monographs better than surveys, and themed exhibitions better than a hodge-podge of recent acquisitions, I liked Picturing Modernity, a hodge-podge survey of photographs from the museums collection, very loosely grouped around a two word title and including several pictures that (too conveniently) would have fit in recent exhibits at the National Gallery of Art (like this one and that one). Surely it was the luscious, large deadpan photos at the exhibit entrance that enticed me to give it a free pass.
Well that’s all that’s new from the other coast. I wish Lisa were here, and I miss having the cat lie upon my lap while I scratch under his chin. But these small prices must be paid by an international playboy with an expense account a conference to attend.
As seen at The Clutter Museum:
Bold the statements that are true.
12/34 — Now it’s your turn. Feel free to use the comments if you don’t have your own web log.