Essay People Naturally Resist Making Changes In Their Lives

I live five minutes away, and ever since I’ve lived in Oakland the garden has been my default place to go to get away from my computer, where I make much of my art and also do most of my work related to teaching.

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As Craig Owens puts it in Beyond Recognition: Representation, Power, and Culture: In representing these canonical images of the rural poor — the expropriated — Levine was calling attention to the original act of appropriation whereby Evans first took these photographs [FSA project], as if to illustrate Walter Benjamin’s observation, in ‘The Author as Producer,’ on the economic function of photography: ‘[Photography] has succeeded in making even abject poverty, by recording it in a fashionable perfected manner, into an object of enjoyment, i.e., a commodity.’³ One might wonder why I didn’t choose to talk about John Cage instead.

Indeed, Oliveros was a colleague of Cage’s as well as a performer of his music.

In the midst of everything that was going on, hearing this thunder gave me a feeling that is honestly impossible to verbalize — and so I won’t.

Instead, I will leave you with this recording of thunder by Gordon Hempton.https://open.spotify.com/album/5Tlr KFP8wm1ED6p Siudm16— — — — — — — — — — —Notes¹ An almost better example from the same era is Sherrie Levine’s Frequently misunderstood as a postmodernist stunt, Levine’s photographs of Walker Evans’ iconic works were not meant to be pictures, but rather pictures of pictures (or of picturing).

When I heard about Trump’s plan to defund the NEA, it felt like the barbed edge of a long-running failure to recognize the value of the arts through the economic lens of efficiency — a failure the Surrealist painter Giorgio de Chirico noticed as early as 1913: In the face of the increasingly materialist and pragmatic orientation of our age …

it would not be eccentric in future to contemplate a society in which those who live for the pleasures of the mind will no longer have the right to demand their place in the sun.As I remember it, I myself was characteristically stressed out, thinking about a million things that I needed to do, and in general just feeling very rigid and confined by own specific concerns.In the middle of the podcast, there’s a part where he plays a recording he’s made of thunder.David Elkind, Ph D, is the author of All Grown Up and No Place to Go, and is a professor of child development at Tufts University School of Medicine in Boston.Amy Bobrow, Ph D, is a clinical psychologist and professor in the Child Study Center at New York University School of Medicine in Manhattan.This wasn’t exactly a conscious decision; I needed to go — like a deer going to a salt lick or a goat going to the top of a hill. So, as a thank you gift for listening to everything I have to say about nothing, only to have me essentially tell you that I don’t know what I’m doing, I want to give you a little bit of nothing: Several years ago, before I had begun to think about any of this in any conscious way,⁷ I was riding Caltrain home from Stanford in the evening.Anyone who has taken Caltrain knows that a typical train car is filled with people doing work on their computers or tablets, since many of them are going to and coming from tech companies in the Peninsula.(When you enter an environment where there are birds, insects or animals, they are listening to you completely. Your presence may be the difference between life and death for the creatures of the environment. ⁶ Abram proposes that observing and communicating with animals temporarily invites us into their perspective – a “bird’s eye view” on my own environment being what I describe here.For me this brings to mind something Hannah Arendt wrote in , even though I suspect the two would have disagreed on many points (Abram disdains, while Arendt admires, an intellectual remove from things) — that contemplating something requires seeing it from the outside: …the word ‘theoretical’ until a few hundred years ago meant ‘contemplating,’ looking upon something from the outside, from a position implying a view that is hidden from those who take part in the spectacle and actualize it."They construct an ideal of what parents should be, based on their friends' parents, on media parents.When they compare their own parents to the ideal, they find them wanting.

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