Apr 11
emmaz commented on The War on Cabs.
Consumer culture has made you all monsters (with a few exceptions. Unbrainwashed: marry me.) Seriously, have you all been taught that you have a right to cheap and plentiful servicing by an underclass whose humanity you ignore? Are we all so indoctrinated that we are consumers first and humans second? I have taken a cab about 25 times this past year when I had to get to work quick (I don't have a car) and I have had only wonderful experiences. Because I'm not an entitled asshole. I've had cabbies heroically get me to the airport on time, I've had a cabbie offer comforting words when I was crying. I've had countless conversations that were real and affecting and in some way beautiful.
So many racist comments on this post. So much evidence of internalized privilege. So much ignorance of what's going on for so many people in the world. Jesus Christ Seattle do you really suck this hard?
So many racist comments on this post. So much evidence of internalized privilege. So much ignorance of what's going on for so many people in the world. Jesus Christ Seattle do you really suck this hard?
Nov 15, 2012
emmaz commented on 216 Nipples Later.
Excellent article Jen Graves, you are a civic treasure. Thanks for digging deep into the complexity of this and for leading the public conversation.
I'm also overjoyed to live in a city where a female art critic can publicly say "fuck you" when when she hears anti-woman hate speech. (Actually, that's not a tribute to this city as much as it's a tribute to the courage of said art critic.)
If we want to preserve a "protected" space for art while also recognizing that art can't claim both to have a meaningful impact on the world and also be free of any portion of responsibility/accountability for those impacts, we need a nuanced range of responses to art and its impacts. Saying, "In my work place? Not so much..." is another response, a fair and good and just one, and is different than censorship. That women have enough personal and social power now that they can be successful in those kind of actions is deeply encouraging to me.
@59, @44 Yes. Thank you.
@60 There doesn't have to be "intent" for it to have been harassment.
Another note:
The thought experiment "what if it were men's names and pictures of penises" fails, because the socio-historic relationship between a man and his sexual parts is VERY DIFFERENT from the relationship between a woman and her sexual parts. Not quite inverse, but nearly. A man's male body is not the location of and historic justification for and symbolic repository of everything used to oppress, control, silence and diminish him. He is not vulnerable in nearly the same way.
More...
I'm also overjoyed to live in a city where a female art critic can publicly say "fuck you" when when she hears anti-woman hate speech. (Actually, that's not a tribute to this city as much as it's a tribute to the courage of said art critic.)
If we want to preserve a "protected" space for art while also recognizing that art can't claim both to have a meaningful impact on the world and also be free of any portion of responsibility/accountability for those impacts, we need a nuanced range of responses to art and its impacts. Saying, "In my work place? Not so much..." is another response, a fair and good and just one, and is different than censorship. That women have enough personal and social power now that they can be successful in those kind of actions is deeply encouraging to me.
@59, @44 Yes. Thank you.
@60 There doesn't have to be "intent" for it to have been harassment.
Another note:
The thought experiment "what if it were men's names and pictures of penises" fails, because the socio-historic relationship between a man and his sexual parts is VERY DIFFERENT from the relationship between a woman and her sexual parts. Not quite inverse, but nearly. A man's male body is not the location of and historic justification for and symbolic repository of everything used to oppress, control, silence and diminish him. He is not vulnerable in nearly the same way.
Sep 22, 2011
emmaz commented on Don't Tell the Authorities.
@7, @10, @13:
You all are missing the point. Jen is clearly not arguing for hot dog vendors traipsing up and down the aisles, anymore than she'd propose that people visit museums naked with a 40-ouncer in hand.
But anyone with any kind of intellectual sophistication--and the "whip smart" among your numbers ought to be part of this group-- understands that works of art are not separable from their social contexts. With out even getting into the issues of class, it's safe to say that the social context that currently surrounds symphonic orchestras frames the classical repertoire as a kind of museum of music. This in turn erects a wall of reverence that, while understandable, can rob these works of their vitality and of potential audiences. With orchestras all over being perpetually challenged to stay financially afloat, questions of presentation and audience-ship are very much of the essence.
Part of the exciting promise of Morlot's leadership is his desire to expand audiences and reach younger people. Everyone 18 and under is free? Awesome. Open rehearsals? Awesome. These are real concrete choices that help to break down that wall.
I was at that opening too. It was phenomenal. Morlot's artistic choices reflected his awareness of social context. He started the fragile opening of Bolero while there was still murmuring and chattering in the audience...a move of almost Cage-ean disruption of that fourth wall. As Jen mentioned, he abandoned the podium for a good 5 minutes mid-piece. This is an artist who is as concerned with the frame as he is with the painting.
The fact that Jen focused her article on these kinds of concerns is entirely appropriate, given the opportunity for rebirth that this new conductor represents for the Seattle symphony and its relationship with its audience.
Oh, and especially for you, @13: you are treading in a world of multiple perspectives. Jen is writing for a very wide audience, not just you and your cronies. Maybe you ought to go back to the narrowness of your usual milieu.
More...
You all are missing the point. Jen is clearly not arguing for hot dog vendors traipsing up and down the aisles, anymore than she'd propose that people visit museums naked with a 40-ouncer in hand.
But anyone with any kind of intellectual sophistication--and the "whip smart" among your numbers ought to be part of this group-- understands that works of art are not separable from their social contexts. With out even getting into the issues of class, it's safe to say that the social context that currently surrounds symphonic orchestras frames the classical repertoire as a kind of museum of music. This in turn erects a wall of reverence that, while understandable, can rob these works of their vitality and of potential audiences. With orchestras all over being perpetually challenged to stay financially afloat, questions of presentation and audience-ship are very much of the essence.
Part of the exciting promise of Morlot's leadership is his desire to expand audiences and reach younger people. Everyone 18 and under is free? Awesome. Open rehearsals? Awesome. These are real concrete choices that help to break down that wall.
I was at that opening too. It was phenomenal. Morlot's artistic choices reflected his awareness of social context. He started the fragile opening of Bolero while there was still murmuring and chattering in the audience...a move of almost Cage-ean disruption of that fourth wall. As Jen mentioned, he abandoned the podium for a good 5 minutes mid-piece. This is an artist who is as concerned with the frame as he is with the painting.
The fact that Jen focused her article on these kinds of concerns is entirely appropriate, given the opportunity for rebirth that this new conductor represents for the Seattle symphony and its relationship with its audience.
Oh, and especially for you, @13: you are treading in a world of multiple perspectives. Jen is writing for a very wide audience, not just you and your cronies. Maybe you ought to go back to the narrowness of your usual milieu.
Sep 22, 2011
emmaz commented on Don't Tell the Authorities.
@7, @10, @13:
You all are missing the point. Jen is clearly not arguing for hot dog vendors traipsing up and down the aisles, anymore than she'd propose that people visit museums naked with a 40-ouncer in hand.
But anyone with any kind of intellectual sophistication---and the "whip smart" among your numbers ought to be part of this group--- understands that works of art are not separable from their social contexts. With out even getting into the issues of class, it's safe to say that the social context that currently surrounds symphonic orchestras frames the classical repertoire as a kind of museum of music. This in turn erects a wall of reverence that, while understandable, can rob these works of their vitality and of potential audiences. With orchestras all over being perpetually challenged to stay financially afloat, questions of presentation and audience-ship are very much of the essence.
Part of the exciting promise of Morlot's leadership is his desire to expand audiences and reach younger people. Everyone 18 and under is free? Awesome. Open rehearsals? Awesome. These are real concrete choices that help to break down that wall.
I was at that opening too. It was phenomenal. Morlot's artistic choices reflected his awareness of social context. He started the fragile opening of Bolero while there was still murmuring and chattering in the audience...a move of almost Cage-ean disruption of that fourth wall. As Jen mentioned, he abandoned the podium for a good 5 minutes mid-piece. This is an artist who is as concerned with the frame as he is with the painting.
The fact that Jen focused her article on these kinds of concerns is entirely appropriate, given the opportunity for rebirth that this new conductor represents for the Seattle symphony and its relationship with its audience.
Oh, and especially for you, @13: you are treading in a world of multiple perspectives. Jen is writing for a very wide audience, not just you and your cronies. Maybe you ought to go back to the narrowness of your usual milieu.
More...
You all are missing the point. Jen is clearly not arguing for hot dog vendors traipsing up and down the aisles, anymore than she'd propose that people visit museums naked with a 40-ouncer in hand.
But anyone with any kind of intellectual sophistication---and the "whip smart" among your numbers ought to be part of this group--- understands that works of art are not separable from their social contexts. With out even getting into the issues of class, it's safe to say that the social context that currently surrounds symphonic orchestras frames the classical repertoire as a kind of museum of music. This in turn erects a wall of reverence that, while understandable, can rob these works of their vitality and of potential audiences. With orchestras all over being perpetually challenged to stay financially afloat, questions of presentation and audience-ship are very much of the essence.
Part of the exciting promise of Morlot's leadership is his desire to expand audiences and reach younger people. Everyone 18 and under is free? Awesome. Open rehearsals? Awesome. These are real concrete choices that help to break down that wall.
I was at that opening too. It was phenomenal. Morlot's artistic choices reflected his awareness of social context. He started the fragile opening of Bolero while there was still murmuring and chattering in the audience...a move of almost Cage-ean disruption of that fourth wall. As Jen mentioned, he abandoned the podium for a good 5 minutes mid-piece. This is an artist who is as concerned with the frame as he is with the painting.
The fact that Jen focused her article on these kinds of concerns is entirely appropriate, given the opportunity for rebirth that this new conductor represents for the Seattle symphony and its relationship with its audience.
Oh, and especially for you, @13: you are treading in a world of multiple perspectives. Jen is writing for a very wide audience, not just you and your cronies. Maybe you ought to go back to the narrowness of your usual milieu.
Mar 28, 2011
emmaz commented on In Art News.
@1: You are perhaps the most profoundly stupid person ever to troll under this particular bridge. Know that if you mess with our lady (who makes art in Seattle more interesting just by laying her fine mind over it) a million bright angels of death will wrestle you back into the gynophobic mud from whence you came.
Jun 4, 2009
emmaz commented on Obama's Speech in Cairo.
Gee, Fnarf, you make some really good points here. And you articulate them pretty well, I think I see what you are getting at. And it's impacted my view of the speech, so thanks.
But why do you have to be such a huge asshole about it? Jeez.
One of the reasons I read Slog is to hear others' points of view, and get feedback on my own take on things. All hopefully towards the goal of learning something, understanding more fully.
People with different reactions than yours should be welcomed if they are speaking in a respectful and hate-free way. In fact, I think most thoughtful people have multiple and conflicting reactions to complex events, and the best way to tease them all apart and figure out where you stand is to join a conversation.
But when you are hostile to non-hostile people with different interpretations than you, you alienate the very people who have the most to learn from you, the ones who will force you to the best articulations of your own ideas. Or maybe even complicate your own understanding of things. By your hostility I mean saying fuck you and telling people to leave the conversation.
I loved the speech and it made me cry and pace the room and gave me whole body chills just like when he won the election, when he made his inaugural address, hell, since the 2004 Democratic convention. I fucking love the man. I am not your enemy.
(Bracing for sarcastic response)
More...
But why do you have to be such a huge asshole about it? Jeez.
One of the reasons I read Slog is to hear others' points of view, and get feedback on my own take on things. All hopefully towards the goal of learning something, understanding more fully.
People with different reactions than yours should be welcomed if they are speaking in a respectful and hate-free way. In fact, I think most thoughtful people have multiple and conflicting reactions to complex events, and the best way to tease them all apart and figure out where you stand is to join a conversation.
But when you are hostile to non-hostile people with different interpretations than you, you alienate the very people who have the most to learn from you, the ones who will force you to the best articulations of your own ideas. Or maybe even complicate your own understanding of things. By your hostility I mean saying fuck you and telling people to leave the conversation.
I loved the speech and it made me cry and pace the room and gave me whole body chills just like when he won the election, when he made his inaugural address, hell, since the 2004 Democratic convention. I fucking love the man. I am not your enemy.
(Bracing for sarcastic response)
Jun 4, 2009
emmaz commented on Obama's Speech in Cairo.
No, Fnarf, our friend Cascadian is trying to start exactly the right conversation here, precisely because this speech is not for you or I, but for the Muslim world. And which among them could hear Obama speak against the killing of innocents without thinking of the death tolls of Iraqi civilians, Afghanistani civilians, etc?
We, you and I, understand that though he is politically unable to denounce the war in Iraq, he gestured in that direction as much as he could. This is awesome. We understand that he is now at the helm of a US war machine of nearly unstoppable enormousness, whose hulking mass is at this point interwoven with so many aspects of our security/stability (or what passes for it) that he can't turn it around overnight even if that is his goal, which I believe it is. But who in the Muslim world can hear this speech and not think, about nuclear weapons, why you and not us? Or about his urging Palestinians to use non-violent protest as the only means for change, how exactly are drone warships non-violent?
We, you and I, understand that though he is politically unable to denounce the war in Iraq, he gestured in that direction as much as he could. This is awesome. We understand that he is now at the helm of a US war machine of nearly unstoppable enormousness, whose hulking mass is at this point interwoven with so many aspects of our security/stability (or what passes for it) that he can't turn it around overnight even if that is his goal, which I believe it is. But who in the Muslim world can hear this speech and not think, about nuclear weapons, why you and not us? Or about his urging Palestinians to use non-violent protest as the only means for change, how exactly are drone warships non-violent?
May 28, 2009
emmaz commented on This Synaesthesia.
There is a workshop starting in June by the fantastic poet Melanie Noel on just this subject. I think there may be a few slots left.
From the press release:
"If I had some paints handy, I would mix burnt sienna and sepia for you as to match the color of a ‘ch’ sound . . . and you would appreciate my radiant ‘s’ if I could pour into your cupped hands some of those luminous sapphires . . . "
from The Gift by Vladimir Nabokov
This is a poetry workshop for artists interested in the medium of poetry. Though it is primarily a reading and writing class, it’s open to everyone – artistic or otherwise – seeking a way to reframe and investigate their imaginations. We’ll read and consider the five senses, as well as the elusive sixth, through the work of George Oppen, Claire Denis, essential oils, Arthur Rimbaud, Rebecca Solnit, Janet Cardiff, early silent films, Kazuo Ohno, Dylan Thomas, Samuel Beckett, Thelonious Monk, Ono No Komachi, and many others. We will find ways of listening with our eyes and seeing and tasting with our ears, with antennae for the ways our work might extend past a single dimension.
FELT: SYNESTHESIA & POETRY
A Five-Week Imagination Workshop
Tuesdays, June 2nd – June 30th, 2009
5-7 pm
Canoe Social Club at Theatre Off Jackson
Sliding Scale $150-175
*
Instructor Melanie Noel is a poet and currently completing her MFA in Poetry at the University of Iowa Writers’ Workshop. Her poems have appeared in Fine Madness, Filter and on the audio magazine Weird Deer. She has written poems for the installations Partsong and Collocation, and as a live score for What Remains Unseen, an experimental documentary by James Merle Thomas. She was a co-curator for the dance, music and poetry series APOSTROPHE with Gust Burns and Beth Graczyk. Felt, an intermedia sound installation with Gust Burns, will open in June at Seattle’s Jack Straw New Media Gallery.
More...
From the press release:
"If I had some paints handy, I would mix burnt sienna and sepia for you as to match the color of a ‘ch’ sound . . . and you would appreciate my radiant ‘s’ if I could pour into your cupped hands some of those luminous sapphires . . . "
from The Gift by Vladimir Nabokov
This is a poetry workshop for artists interested in the medium of poetry. Though it is primarily a reading and writing class, it’s open to everyone – artistic or otherwise – seeking a way to reframe and investigate their imaginations. We’ll read and consider the five senses, as well as the elusive sixth, through the work of George Oppen, Claire Denis, essential oils, Arthur Rimbaud, Rebecca Solnit, Janet Cardiff, early silent films, Kazuo Ohno, Dylan Thomas, Samuel Beckett, Thelonious Monk, Ono No Komachi, and many others. We will find ways of listening with our eyes and seeing and tasting with our ears, with antennae for the ways our work might extend past a single dimension.
FELT: SYNESTHESIA & POETRY
A Five-Week Imagination Workshop
Tuesdays, June 2nd – June 30th, 2009
5-7 pm
Canoe Social Club at Theatre Off Jackson
Sliding Scale $150-175
*
Instructor Melanie Noel is a poet and currently completing her MFA in Poetry at the University of Iowa Writers’ Workshop. Her poems have appeared in Fine Madness, Filter and on the audio magazine Weird Deer. She has written poems for the installations Partsong and Collocation, and as a live score for What Remains Unseen, an experimental documentary by James Merle Thomas. She was a co-curator for the dance, music and poetry series APOSTROPHE with Gust Burns and Beth Graczyk. Felt, an intermedia sound installation with Gust Burns, will open in June at Seattle’s Jack Straw New Media Gallery.
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As a black public intellectual, he's also a target for all the overt racists and defensive white folks out there.
Tough beat. We are lucky to have him. Brilliant piece.