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THE LOG: July 20, 2019 Too Much Culture, Too Little Time!

THE LOG: July 20, 2019 Too Much Culture, Too Little Time!

by Shenzhan/申展

It might not be a very good idea to see two exhibitions on one visit to the MET, but it does save time. So, here I am, one day after, still quite overwhelmed. Even worse, now I feel I have to write something about the exhibitions before they fade in the memory of the hottest weekend in the summer of 2019. 

Two special exhibitions at the MET this summer are of my particular interest. 

CAMP: notes on fashion is almost entirely based on Susan Sontag’s 1964 essay “Notes on ‘Camp'” ,which kicked off her career as a literary critic in the U.S. by getting in mainstream the word “Camp”, originated from the reign of the French King Louis XIV in 17th century (btw: his reign is over 72 years, the longest in European history! He certainly dwarfs Kang Xi, whose reign lasted 61 years, the longest in China’s imperial history). In her own words, the essence of Camp is “its love of the unnatural: of artifice and exaggeration.” Over time, there are variations of the definition, but the artificial, exaggerated, flamboyant fashion is surely on exhibit at the MET.

“Cauliflower” Headpiece, by Deirdre Hawken, 2013

“Cauliflower” Headpiece, by Deirdre Hawken, 2013

The other exhibition, Play It Loud, presents 130 instruments from legendary musicians of Rock and Roll. While it appears to be completely different from CAMP, I find, in fact the essence is quite similar. The 60s not only got Camp in the mainstream, but also witnessed the golden time of Rock and Roll. Some of its biggest stars style, like Prince, is undoubtedly campish (if that is a word…). For those who love music, especially Rock and Roll, it would be thrilling to see up close their favorite singers instruments, each specially designed, storied, and often worn out by the musician personally. For me, it’s the Beatles drum set, and guitars played by Jimmy Page, the lead singer of Led Zeppelin.

Downbeat four-piece kit in black-oyster-pearl finish with crymbals, Ludwig Drum Co., Chicago; Avedis Zildjian Co., Norwell, Mass.; Boosey and Hawkes, Edgeware, Longdon 1963

Downbeat four-piece kit in black-oyster-pearl finish with crymbals, Ludwig Drum Co., Chicago; Avedis Zildjian Co., Norwell, Mass.; Boosey and Hawkes, Edgeware, Longdon 1963

Jimmy Page’s Rig

Jimmy Page’s Rig

Of course, an exhibition of instrument can’t be without the music itself. And it’s definitely a good education on Rock and Roll. Below are the songs on the gallery list:

“While My Guitar Gently Weeps”, the Beatles

“Shapes of Things”, the Yardbirds

“Layla”, Eric Clapton and Jim Gordon

“Fire on the Mountain”, the Grateful Dead

“Woodstock”, Crosby, Stills, Nash, and Young

“Gimme Shelter”, The Rolling Stones

“All Along the Watchtower” Jimi Hendrix

“Pride (In the Name of Love)”, U2

“Rattlesnake”, St. Vincent

“Seven Nation Army”, The White Stripes

And the MET curator Jayson Kerr Dobney has a 71-song playlist on spotify!

I guess I’ve got plenty of music for Sunday. 

And did I mention I had my first Qin class at China Institute on the same day?

Astoria, New York

July 21, 2019


THE LOG: May 20, 2018: Strawberry Field

Shenzhan

It sounds strange but while I was writing for a Wechat column about Central Park (说道西东:亲爱的孩子,我想带你看世界), I rediscovered the Beatles.

The rediscovery process starts with a research on the Strawberry Field. Built in 1985 after John Lennon was murdered in the nearby Dakota Apartment building just across from the Central Park West Avenue, where he resided with Yoko Ono at the time, the memorial field is built with mosaics from Naples, with “IMAGINE” written in the middle, inviting people to stand, sit, or play music around, while showing respect to the most famous singer in the world.

In front the quiet and peaceful Strawberry Field today, it’s hard to imagine the bloody night of December 8, 1980, when John Lennon was shot 4 times with fatal wounds, right in front of the entrance of the Dakota building. Today the castle-like building quietly watches people passing at its foot to and from Central Park. Flowers and candles often are displayed at the Strawberry Field to express people's respect, seemingly so uneventful now.

But why is it named "the Strawberry Field"?

the Strawberry Fields Forever” was a song released by the Beatles in 1967. If you listen to it or try to sing along with it, you would find it’s not the most harmonic music in the world. But it’s still beautiful and powerful, especially with Lennon’s voice, pure, innocent, and young.

In fact, the song was inspired by Lennon’s childhood memory: as a child in Liverpool, England, Lennon and his friends often hung out at an old Victorian house called Strawberry Field, converted for Salvation Army orphans. They always had a good time there. Lennon told Anthology years before his death.

Perhaps there isn’t too much to read into. However, it’s just comforting to know how the field commemorating Lennon’s death is connected to his childhood - as if it could bring Lennon back to the beginning of his life.

Astoria, New York

May 20, 2018

 

 

THE LOG: March 18, 2018

Shenzhan 申展

THE LOG is a periodical series about daily encounters giving inspirations for thinking and writing. 

“THE LOG” 的中文版本为近处

Untitled, Oskar Fischinger, 1942

Untitled, Oskar Fischinger, 1942

Reading the New York Times Obituary for Stephen Hawking

In “Stephen Hawking Dies at 76; His Minds Roamed the Cosmos”, the New York Times obituary by Dennis Overbye, first published on March 14, 2018, I found one part talking about the quantum principals, one of Hawking’s greatest discoveries, very inspirational philosophically:

“According to quantum principles, the space near a black hole would be teeming with “virtual” particles that would flash into existence in matched particle-and-antiparticle pairs --like electrons and their evil twin opposites, positrons - out of energy borrowed from the hole’s intense gravitational field.

They would then meet and annihilate each other in a flash of energy, repaying the debt for their brief existence. But if one of the pairs fell into the black hole, the other one would be free to wander away and become real. It would appear to be coming from the black hole and taking energy away from it.”

It is generally accepted now that black holes exist and strange things happen near and in them. Hawking, in his Ph.D. thesis, further proves our universe begins with a black hole. So in this logic, if I’m not awfully off track, the reason everything in the universe, including us human beings, that can ultimately be broken down into the smallest quantum particles, exists in the way as we know and experience, is because “the other” falls into the black hole. The energy we feel originally comes from the particles wandering and fleeting the black hole, which the other half of their pairs fall back into.

So in a sense, death is a real return, not only in the philosophical or religious sense ( Hawking himself doesn’t believe in God), but in the sense of physics and cosmology, that the particles reunite with their other half, and in the process annihilate each other, resulting in nothingness.

Perhaps this can help to explain, as the being to think and feel, we humans feel the never-ending quest for “balance”, or “reunion” - as we come from the original cosmos loss.

And I have a feeling that Stephen Hawking would really like Daoism.

Astoria, New York

 

THE LOG: October 9, 2017

THE LOG is a periodical series about daily encounters giving inspirations for thinking and writing. 

“THE LOG” 的中文版本为近处

Joan Didion. Goodbye to All That.

Joan Didion with her Corvette, 1971. Julian Wasser New York Times

Joan Didion with her Corvette, 1971. Julian Wasser New York Times

It all started with one sentence I read this morning from “Letter from the Editor” on Vogue, October 2017.

“…strength of character is everything, and age irrelevant.”

Anna Wintour, Vogue’s Editor in Chief, opens the letter talking about Hillary Clinton’s “gracious and eloquent concession speech” after November 9, 2016, and her recent memoir, What Happened, published on September 12, 2017. Then the letter goes on about other women with strong character, including Joan Didion.

It’s hard not to know about Hillary Clinton, whether or not living in New York. But I don’t know who Joan Didion is, except for what’s stated in the letter that at 82, the acclaimed writer, journalist, and former Vogue employee still has a sharp and sensitive gaze, “attuned to the local particulars and the broader implications.”

Convinced that Joan Didion was a name never coming across me before, I naturally turned to her Wikipedia page. She is a prolific writer moved to LA after living in NYC for some years…wait, why does this sound so familiar?

A few years ago I bought Goodbye to All That: Writers on Loving and Leaving New York, from Strand Bookstore at the corner of Broadway and 12th Street as I was walking downtown to the Village on a warm spring day. It’s an easy-read book of 28 writers’ personal stories coming to New York, trying to stay in New York, and eventually choosing to leave New York. The book sat on the nightstand next to my bed for a while. Every night I found myself amused by a few pages before going to bed.

For some reason, I started looking for the book in my recently rearranged apartment. Luckily, it’s not too hard to retrieve it from my bookshelf. Sure enough, I found Joan Didion there. In fact, the entire book is inspired by Didion’s 1967 essay, Goodbye to All That. On the front page of the book, there is a quote from her essay,

“All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young anymore.”                 

I easily downloaded a pdf version of the short nine-page essay and read through it for the first time, sitting in front my new giant desk in Astoria, New York, my cat Xiaomi quietly accompanying this morning reading.

It’s Columbus Day. A rain early in the morning brought a real sense of autumn after two-week unusual warm temperature. Pumpkins and leaves are turning colorful, the air cooling down accompanied by a touch of the heavy fall sentiment. I had just obtained a new desk and was thrilled to be able to sit upright and concentrate on reading and writing. Xiaomi apparently loves the desk too – she made herself very comfortable in a chair next to mine, just sleeping and purring the entire time, with occasional patrols among my notebooks, computers, iPad & iPhone, teacups, pens and books on the desk. With David Bowie’s Five Years (1969 – 1973) in the background, working on THE LOG about Joan Didion seemed to be the best version of my New York story. Like Didion and all the 28 writers, I tend to look back at my years in NY from time to time, and often question (more often these days than before) whether I should stay or leave.

I found a few more quotes from Didion’s essay that speak to my heart this particular morning:

“ …I enter a revolving door at twenty and come out a good deal older, and on a different street.”

“It is often said that New York is a city for only the very rich and the very poor. It is less often said that New York is also, at least for those of us who came here from somewhere else, a city for only the very young.”

"…I was in love with the city the way you love the first person who ever touches you and never loves anyone quite that way again."

 “ You see I was in a curious situation in New York: it never occurred to me that I was living a real life there.”

“…New York was no mere city. It was instead an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself.”

Didion makes it very clear that New York is for young people. It perhaps is the best city for many to spend their youth, me included, though I came here already halfway through my twenties (and I didn’t really start living in the city until my 30s). Everyone has the time when you have nothing but youth and dreams. New York is all about that. Whether the dream is about freedom, money, power, love, or fame, it’s all about being young and wondering in the Big Apple feeling all you dream are within the touch.

Didion moved away from New York after married in late 1960s. Speaking of “strength of character”, I also learned that Anna Wintour refers to Didion very specifically. Didion lost her husband to an unexpected massive heart failure at their dinner table one night after living together inseparably for over 40 years. Shortly after she lost her adopted daughter too. With her role of being a wife and mother ceased to exist, Didion struggled to regain her sense of identity, all reflected in her book, The Year of Magical Thinking, an example of “fictional journalism” she is widely known and acclaimed for.

In a picture published in the New York Times in 1971, Didion reminds me of 三毛,the Taiwanese writer most famous for her witty essays about youth and travel, her heavenly happy marriage (as depicted in her books) ended tragically with her Portuguese husband died in a work-related accident, and her suicide in the bathroom of her own home. They both have long dark hair, piercing eyes, and intelligent look with melancholy, except that at 82, with white hair and wrinkles all over her face, Didion still carries her sharp and sensitive gaze. And now she has many years to pierce back too, if she wants.  

In 2005, Wiki says, Didion moved back to NY and has been living here since. 

Somehow it’s a comfort for me to know. 

Astoria,New York

THE LOG: April 14 ~ 23, 2017

THE LOG is a periodical series about daily encounters giving inspirations for thinking and writing. 

“THE LOG” 的中文版本为 近处 . 

Tibetan Green Tara, China's Dynasties & The End of History?

Green Tara, by Karsang Lama, Tibet House, New York, 2017

Green Tara, by Karsang Lama, Tibet House, New York, 2017

Out of the sheer fear that one day I will lose memory of the great places I visited, the great people I met, and the great readings inspired my thinking in the past 10 days, I’m keeping this LOG: it starts from April 14, the Good Friday when I had the chance to visit the Tibet House for a Tibetan Tangka exhibition by Karsang Lama, a Nepali Tangka master who I met in person at China Institute in March, and ends on April 22, when I was inspired by reading Francis Fukuyama’s 1989 monograph, “The End of History?”, while sipping a glass of red wine in my apartment in Astoria, Queens. These two seemingly drastically unrelated activities, in the end, are also very closely connected, as I will explain in this LOG.

The Tibet House is located very nicely on 15th Street between 5th and 6th Avenue in Manhattan, only a few blocks from the magnificent Rubin Museum of Art. However, its entrance is not hard to miss. I first walked in the hotel sharing the same address and was told the real entrance was next door.  Nevertheless, the Tibetan Tangka exhibition was fantastic. Tangka, a Tibetan Buddhism art form with a mesmerizing meticulous style, paints on silk or canvas of Buddhist deities, scene, or mandala (Xue, 2016) in natural mineral pigment of bright colors. My favorite one is the Green Tara (Syamatara in Sanskrit), undoubtedly because of the astonishing artistic representation of this graceful, elegant goddess, and partially because I took the time to learn about Green Tara as “the mother of all Buddha and savior of all sentient beings from worldly miseries” (quote from the exhibit handbook). It was the first time I ever walked into the Tibet House, which might indicate my sub-consciousness of the fact that Dalai Lama is the top patron of this cultural-political organization. Nevertheless, I was extremely happy when browsing through the amazing Tangka masterworks. Admission free, I was for a while the only viewer there. A couple of staff talked loudly while adjusting a computer for an event later in the exhibition room, where in the middle a number of chairs were set, surrounded by beautiful Buddhas, Tara, Deities, the Wheel of Life, etc.

the Wheel of Life, by Karsang Lama, Tibet House, New York 2017

the Wheel of Life, by Karsang Lama, Tibet House, New York 2017

Since I didn’t have to look for decorated Easter Eggs this weekend, I decided to make this weekend even more culturally enriched by spending the next day visiting the Ages of Empires, a new exhibition at the MET opened in early April. Ages of Empires is about the Qin and Han Dynasties, allegedly the “classical period” of China, extremely important in shaping the “Chinese identity” during a time roughly equivalent to the Greco-Roman period in western civilization. The exhibition of 160 objects included a few Terracotta soldiers of the first Emperor of China, Qin Shihuangdi (259 – 210 B.C.), and a well-preserved jade suite of Dou Wan, the wife of Prince Liu Sheng in Han Dynasty (206 B.C. – A.D. 9). This MET blockbuster exhibition captures apparently not only the imagination of the non-Chinese, but also many Chinese who happen to be in NYC (including me!). In fact, on this Saturday afternoon, I would say about two-thirds viewers in the packed gallery were Chinese.  For someone working at China Institute, which brings to NYC another jade suite in a couple of months, I found it’s highly impressive that the MET managed to bring these 160 objects from over 20 museums in China. Imagine the bureaucracy of such operation to assemble the pieces together as they are now in the MET gallery on 5th Avenue: each piece, probably the most valuable treasure by the individual Chinese museum (otherwise what’s the point of showing at the MET?) , requires careful and quite often time-consuming negotiations in order to be moved from its home in China and placed in its exact final representation here at the MET. As I’m hosting a professional development workshop on the Han Dynasty for a group of K-12 Chinese language teachers in a week, a visit to Ages of Empires seemed a must-to-do homework – the Chinese national treasures normally thousands of miles away and all over the country were now in one place and only a few subway stops away.

As if the weekend was not intellectually stimulating enough, in the following Thursday evening at China Institute, there was a screening of a Chinese documentary film about craftsmen restoring antiquities collected by emperors of Qing Dynasty (1644 - 1912), Masters in the Forbidden City, which surprisingly went viral in China since released in 2016. Prof. Lei Jianjun, producer of the film and a faculty at the renowned Tsinghua University in journalism and communication, would be there for Q&A. I decided to attend the event though was torn as Thursday was my PRECIOUS weekly badminton night at the nearby Stuyvesant Community Center. Mid-height with a solid build, Prof. Lei’s subdued yet eloquent style was well received by the audience. So was the Q&A moderator, Dr. Ming Xue from the Museum of Natural History. As it turned out, Prof. Lei and I both were alumni of Beijing Normal University and even shared common acquaintance(s), in addition to Prof. Yibing Huang (also well known as a contemporary poet with a pen name as 麦芒 Mai Mang), who introduced Prof. Lei and the film to China Institute. At one point, Prof. Lei pointed out the unusual popularity of the documentary in China while the majority of Chinese documentaries struggled to appeal to a large, young audience. At the very least, the simple and caring relationship between the craftsmen and the precious antiquities in the Forbidden City where Chinese emperors resided seems so authentic and rare in today’s China where ideological void has become an increasing concern, especially for the young generation all too familiar with the overwhelming consumerism. Such authenticity offers an opportunity to discover an alternative meaning between people and materials, to the point that it’s almost spiritual, if not religious. Not surprisingly, as the documentary catching fire in China, the Forbidden City Cultural Relic Restoration Department received overwhelming job applications the following year, a pleasant turning point to build the pipeline for a future generation of craftsmanship.

Finally on Friday evening of April 21, the workshop I was in charge for Chinese language teachers, Han Dynasty in China and World History, started and ended as planned.  Prof. Yu Renqiu, Senior Lecturer of China Institute and Professor of history at SUNY Purchase College, gave a brilliant lecture on Han Dynasty (and Qin) for about 1.5 hours. A well respected historian on China and U.S. with a charismatic scholarly appearance, Prof. Yu highlighted the importance of the unification in Qin Dynasty, and managed to cover such details in one and half hours of Han Dynasty including its rather complicated 400-year history, its advanced political system, the establishment of the state doctrine of Confucianism and the its great significance in shaping China’s 2,000 years of imperial history. As a historian, Prof. Yu's face was lit up when introducing the great historian Si Maqian (145 or 135 – 86 B.C.) , who technically was the very first great historian of China who produced the Grand Record of Historian. Apparently after thousands of years in New York, there was still a sense of instant connection shared among historians.

It is because of Prof. Yu’s lecture, quoting Francis Fukuyama to point out the brilliant political system of Han Dynasty virtually fulfilling Max Weber’s classic definition of modern bureaucracy, I found myself reading Fukuyama’s 1989 monograph, The End of History?, the night of Saturday. A renowned professor writing widely on democracy, development and international politics, Fukuyama’s 1992 book, The End of History and the Last Man, which has appeared in over 20 foreign editions, was an extension of this monograph, in which, Fukuyama claimed the “end of history”:

“The end of history will be a very sad time. The struggle for recognition, the willingness to risk one’s life for a purely abstract goal, the worldwide ideological struggle that called for the caring, courage, imagination and idealism, will be replaced by economic calculation, the endless solving of technical problems, environmental concerns, and the satisfaction of sophisticated consumer demands. In the post historical period there will be neither art nor philosophy, but the perpetual care taking of the museum of human history.”

Of course, human activities will continue along an irreversible moving timeline. And history books will always add new chapters as events unfolding, just like headlines (and much much more of them nowadays than ever!) appear on daily newspapers and social media outlets.  By claiming “the end of History”, Fukuyama essentially argues liberal democracy as the “final form of human government”, which as an ideal has nowhere to progress towards. In the world of 1989, it seemed western liberal democracy has secured as the ultimate ideological form for all human societies, with Fascism effectively destroyed after WWII, and Communism diminished to an unthreatening position in both Soviet Union and China. Yet, this ultimate triumph is unlikely leading to a forever-happy ending: While I am not entirely convinced that liberal democracy is the end of the History, I share the pessimism that the sense of meaningfulness produced by the very ideological struggle will cease to exist, ironically, as soon as the triumph is achieved.

Neither an historian nor a political science scholar, I may not have liberal democracy often in my vocabulary. However, the omniscient media reports of the recent political dramas in U.S., Europe and Asia forcefully make me think, or even feel, liberal democracy (like the evening of Nov. 9, 2016 when Trump won the U.S. Presidency) on a daily basis, not in a way that it has reached its final ideal form, but all the flaws it could carry in reality. On the other hand, it’s awfully accurate that without the imagination of certain idealism, societies as a whole could run like a headless chicken: issues on economy, technology, environment are all very important, however none could offer an ideological core for all to center around. Reading Fukuyama, I couldn’t help but to reflect on my own very trivial life activities in this past 10 days. While each seemed to be incredibly rich in content, at least in cultural sense, it is hard to connect those individual events in a narrative that would make sense in a bigger picture. Once the excitement at the moment fades, the void of a core is felt immediately. Ironically, speaking of “sophisticated consumerism”, I just booked a ticket to Vancouver in search for a yoga retreat…

It’s not new that human life, whether taken individually or collectively, is said to resemble an endless flow of meaningless events (e.g. Marcel Proust, In Search of Lost Time). Maybe such sense is inescapable for anyone and everyone. And yet life must go on, and as a sentient being we all need to endure such misery. Thus I’m seeking the comfort in the arts and culture conveniently available in NYC (special thanks to Green Tara) and the writing of them, during which I enjoyed the tranquility and satisfaction the craftsmen may feel in the Forbidden City. The only difference is, sadly, my comfort is only momentary.

Rhinoceros, Han-dynasty China (206 B.C. - A.D. 220), Metropolitan Museum of Art, New York 2017

Rhinoceros, Han-dynasty China (206 B.C. - A.D. 220), Metropolitan Museum of Art, New York 2017

April 24, 2017

Astoria, New York

_____________________

Ming Xue, "The Rise of the Individual through Tibetan Thangka Painting", CUNY Forum, 2016.

THE LOG: February, 27 ~ March 5, 2017

THE LOG is a periodical series about daily encounters giving inspirations for thinking and writing.

“THE LOG” 的中文版本为 近处

“There Will Be Pie In The Sky When I Die!”

I was amused reading this line on the W train to work in the morning. The train was packed as usual in peak hours, but I was lucky to get lost in readings as sitting through from the first stop until getting off at Rector Street near my office in downtown Manhattan. Thinking of how close this is to a Chinese saying “天上掉馅饼!”, I was smiling, or even laughing out loud at my iPhone, which of course, is completely normal on the subway in NY, or any cities on planet earth where subways and iPhones have “colonized”.

I was reading China Hands: The Adventures and Ordeals of the American Journalists Who Joined Forces with the Great Chinese Revolution, a book of stories on western journalists who were searching and reporting their own stories of China in the early twentieth century. I was immediately drawn to the book by the beautiful writing of Peter Rand, a professor at the Boston University. The first chapter of China Hands is about Rayna Phrome and her revolutionary journalist friends (including Mikhail Borodin)  in China, around the time when Chiang Kai-shek broke up with the revolution by killing workers and communists in 1925 Shanghai.  A young American woman with striking red hair and a passionate revolutionary dream to be sought after in China, and obviously very attractive, in both appearance and character, Rayna was one of the only two western women left in Wuhan when workers in Shanghai were massacred and the optimistic atmosphere of Chinese revolution went downhill. At the time, with her journalist friends, equally passionate about Chinese revolution, they were singing "There Will Be Pie in The Sky When I Die!" together.

In fact, the line came from "The Preacher and the Slave", a song written by Joe Hill in 1911 for the Industrial Workers of the World, a labor's union started in Chicago, U.S. There is a very good chance that the Chinese version indeed came from this line, as "Pie in the Sky" became so famous and often replaced the real title of this song. 

On a NY subway, reading Rayna and the Russians, Americans, and Chinese in the story, it truly feels globalization is not just a recent trend at all!

March, 2017

Astoria, New York