Memorial Elements: Paths, Portraits, Destinations

Plaza Paths, image: greg.org
Plaza Paths, image: greg.org

The Memorial will reconstitute the space made sacred, the actual and accurate paths taken by the 3,016 individuals killed on September 11, 2001 and February 26,1993. In Concept, it comprises three major elements: Paths, Portraits, and Destinations.
The Memorial’s Form will be determined by mapping each individual’s information–compiled from authoritative data sources, gleaned from family and survivor recollection–onto the plan and elevation schema of the original World Trade Center site. This Form will be transposed and integrated into all current and future uses of the site.
Portraits of the individuals killed at the Pentagon and in Pennsylvania will be integrated into the Memorial.

Continue reading “Memorial Elements: Paths, Portraits, Destinations”

Is that a Smart Mob in your Sforzian Background, or are you just pissed to see me?

It’s a question Bush might ask, were he the inquisitive type.
According to the BBC Online (which often reads to me like USA UK Today) British protestors (redundant, I know) are putting down their papier mache puppets and picking up their moblogging tools, using SMS to chase Bush along his itinerary and disrupt the carefully crafted backgrounds of Bush’s stage-managed photos.
“”We have been described as a second generation smart mob,” says co-organiser [sic] Richard Wilder. But he doesn’t let that get him down. “We are trying to spoil the PR, so we are not doing anything directly, but encouraging people to turn their backs in press photos so they can’t be used.”
Wilder sweetly believes that the extras in the White House’s Sforzian Backgrounds were not handpicked and hand-placed. What island has he been living on for the last three years? The URL for these protestors, who have bush-league written all over them: Interwebnet.org. [thanks, BoingBoing]
[Update: At the gym this afternoon, I caught a few minutes of FoxNews, and they were eviscerating some crumpet-nibbling, protesting Brit (not Hume). My prediction: UK protests may be entertaining, but hopelessly outmatched into irrelevance. Yet again, the rest of the world relies on the resolve of the American people to save its ass from the imperialist hegemonic threat.]

Oooooo-kla-ho, man! Is that Hugh Jackman??

Salon ad for PBS's Oklahoma! starring Hugh Jackman

I may have a new tagline for my As-Yet-Unannounced Animated Musical: it’s not Terminator meets West Side Story; it’s Swordfish meets Oklahoma!
But I’m already too late. Starting Saturday, PBS will broadcast the Royal National Theater’s 2002 revival of Oklahoma! starring hacker, mutant, and musical theater whore, Hugh Jackman.
Related Links:
Salon. For once, I didn’t make it past the ad
Oklahoma! on PBS, starring Hugh Jackman
Hugh Jackman starring as Peter Allen, Liza Minnelli’s gay husband (is there any other kind?) in The Boy from Oz (I’m leaving a whole HBO joke on the table there, you know.)
It turns out the National Theater revival was already the occasion for a post, but from an anthro/cult stud perspective.

A Variety of Weblogs, or Nick Denton rubs up against Hugh Hefner

It looks like Nick’s not the only one building a portfolio of weblogs.
Variety has launched bowed three entertainment-related weblogs so far, and is looking to launch more. [I swear, writing my videocam felony post in feeble Variety style was not intended as an audition. Golly, Mr. Bart, just give me another chance; I know I can sing.]
The roster so far [Fimoculous featured the first one]:

  • Outside the Box by Jim Hames is the Gizmodo of movie swag, rating the promotional flotsam that washes up on Variety’s shores.
  • Bags and Boards, written by Tom McLean and Jevon Phillips, follows the comic book business.
  • Wicked Little Town by Rob Kendt, in an ice-to-eskimos move, posts news of acting in Los Angeles.
    Where Nick’s weblogs aim for the g-spots of online subject matter, Variety’s weblogs are like some new playmates in the mansion. Either way, it makes for a great party. Meanwhile, my own little knot of weblogs are more a way to clean up my desk. Maybe I should steal some of the ideas Choire came up with as he was emptying his master’s litter box.

  • M Street, or DC Eye for the NY Guy

    EXT. SATURDAY NIGHT – WASHINGTON, DC

    A WEEKENDING NEW YORKER approaches the entrance to Agua Ardiente, an “upscale,” “hip tapas restaurant” on the “DC Latin circuit.” He is wearing a vintage suede jacket, black cashmere turtleneck, black Prada Sport loafers with that silly little red stripe that he neverthless insists be cleaned with glycerine every time he gets them shined, and, embarassingly, the slightly weathered pair of Banana Republic khakis with the little black label carefully picked off the back that he’d been househunting in all day.
    Two skinny DOORMEN, dressed all in black, brace themselves in advance of a confrontation.

    DOORMAN 1
    Good Evening.
    NEW YORKER
    Hi.
    DOORMAN 2
    Sir, I’m afraid we can’t let you in with sneakers.
    NEW YORKER
    No, it’s OK. These are loafers.
    DOORMAN 2
    I’m sorry, sir, the policy is no sneakers.
    NEW YORKER
    But they’re not– they’re loafers. Prada Loafers.
    I got them at Harvey Nichols.

    (An empty lie. But he’d rather get turned away for lying about Harvey Nick’s carrying Prada than for not abiding with some obtuse provincial dress code. Besides, the man figures, it already can’t get any worse than announcing your brands at the door.)


    DOORMAN 2
    I’m sorry, sir.
    DOORMAN 1
    You’re welcome to come back without rubber-soled shoes.
    NEW YORKER
    So the definition of “sneakers” is rubber-soled shoes?
    DOORMAN 1
    Yes, sir.
    NEW YORKER
    What about the khakis? Should I change those, too?
    DOORMAN 2
    The khakis are fine, sir.

    The man walks back to his car, contemplates the parties he’s missing in New York, and heads home to rewatch Gerry, now available for rent or purchase on DVD.

    On Singing for My Supper

    First, singing for my lunch: I had a great time with Paul Myoda’s media/technology/art seminar Wednesday at City College. A bunch of very cool folks. Paul, of course, is one of the designers of the Tribute in Light, and quite a bit more, as you can see at his NY gallery, Friedrich Petzel.)
    Then, singing for my supper: I was just checking my Amazon Associates reports, and I found some eye-popping results:

  • The Lost in Translation soundtracks are practically flying off the page. It’s nice that people are digging it, but I didn’t expect my Sofia Coppola material would be such a shopping catalyst.
    I can see how mentioning something more obscure, like A Notebook on Cities and Clothes (Wim Wenders’ Yohji Yamamoto documentary), might tempt people to shop (or at least window shop). But the soundtrack seems like an intentional purchase; you’d just go to Amazon directly. No complaints, just many thanks.
    The real surprise, though, was seeing the impact of variations in commissions for a soundtrack or DVD (usually 2.5-3.0% now) vs a classic book (up to 15%). You’re buying 20 soundtracks for every catalog of Matthew Barney’s The Cremaster Cycle or every book/DVD of David Byrne: E.E.E.I. (Envisioning Emotional Epistemological Information) about PowerPoint art, but those books easily rack up 10 times the commission.
    It almost makes me want to become the Gizmodo of art tomes.

  • The World’s 40 Best Directors

    The Guardian tallies up the 40 best directors in the world today, complete with ratings in Zagat-style (or beauty pageant-style) categories: Substance/Look/Craft/Originality/Intelligence.
    Setting aside the unavoidable grade inflation–seven critics rated them from 1-20 for each category, but the totals fall in a narrow range, from 89 (David Lynch at #1) to 73 (the Gus Van Sant “who didn’t make Good Will Hunting” at #40)– it’s a pretty safe, festival-y list. But it does have it’s share of Eurotrashing quirks (David Lynch is #1??? Michael Moore is on it at all????? ditto Samira Makhmalbaf, one of only two women).
    All in all, though, I’m glad to see so many of my boys made the list Missing, though: Agnes Varda, Hirokazu Kore-eda (a stretch, maybe, but more deserving than Makhmalbaf), the Amy Heckerling who did Fast Times and Clueless, Marc Forster, oh, I don’t know.

    Don’t Shoot!

    Jon Routson, from Bootlegs, his April 2003 show at Team Gallery, image: teamgallery.com
    From Bootlegs by Jon Routson, image: teamgallery.com

    If camcorders are illegal, only criminals will have camcorders.
    Yesterday, Sen. Diane Feinstein (D for Disney) and John Cornyn (R-Tex, an anagram for T-Rex) held a press screening for their newest starrer, which they said is set for an early 2004 release. It’s a pirate fiction fantasy directed by MPAA prexy Jack Valenti. Here’s the one-line synopsis:
    They are sponsoring legislation that will make it a felony “to use or attempt to use” a video recording device to copy a film in a movie theater.
    The first offense would carry up to a five-year jail sentence, with up to ten years imprisonment for the sequel. If your state has a three strikes law–like California–recording a trilogy could get you life.
    As if you needed another reason to avoid Matrix Revolutions
    Related:
    Baltimore-based artist Jon Routson, who uses camcordered copies of movies as his artistic medium
    my Times article about video art bootlegging

    outline for Wed. Seminar

    Ignore me. I’m making notes for a seminar at CCNY that Paul Myoda invited me to speak at and screen some of the films. I should probably make a Venn Diagram for this…
    Production diary of my own films
    Ideas behind my own films (including development of some scripts, why the hell I’m doing a musical)
    Influences and inspiration, whether filmmakers, artists, writers
    Subject matter, themes, background and continuing dialogue/unfolding events (death, grief, 9/11, memorials, architecture)
    Art & architecture I like, because it impacts me and my worldview
    Other peoples’ filmmaking news, experiences
    Filmmaking trends I find relevant (DV, Machinima, Animation, DVD, documentary-style, video game-film dialogue)
    Topics that develop a life of their own (shipping container architecture, powerpoint, Liza Minnelli for a frightening minute there-blame Gawker– Sforzian backgrounds and the entertainment techniques of politics, putting this war in context, religiosity, WTC Memorial Competition)
    Insights and interviews with filmmakers I think are worth paying attention to/learning something from
    Self-admittedly brilliant ideas I’m confident everyone in the world will benefit from reading (note: heavy overlap with other categories)

    On “Accountability and Shared Sacrifice,” or George W. Bush: Veteran

    George W. Bush, technically in the Texas Air National Guard, image: seanet.com/~johnco

    Slate points to an entire brigade of documentation of George W. Bush’s military career during the Vietnam War, including his request for early discharge in order to attend HBS.
    As Bush so eloquently read today, “From the moment you repeated the oath to the day of your honorable discharge, your time belonged to America; your country came before all else. [And that dedication enabled me to disappear for a year without telling anyone and then check out early.]”
    Related: AWOL Bush, and Chasing George W. Bush and the F-102

    Memorial to the Missing War

    Armistice Day ceremony at Arlington, 11/11/21, image: acusd.edu

    This morning I was in DC, so I thought I’d go to the WWI Memorial. [Veterans Day began in 1919 as Armistice Day. It was expanded two wars-to-end-all-wars later, in 1953.]
    Nice plan, except that there is no national WWI Memorial. On 11 November 1921, the Tomb of the Unknown Soldier was dedicated in a ceremony which was relayed by telephone to New York and San Francisco.
    [“In the open air the President’s voice swept over the crowd in Madison Square,” enthused The Times‘ man on the scene. “The Voice seemed to come from the chest of a giant…Carried by wire from Washington, [it] was heard more clearly that that of Colonel Theodore Roosevelt and Martin Littleton, whose voices were amplified as they spoke from the platform in the Garden.” God Bless America(n Telephone & Telegraph).]
    Presidents laying a wreath at the Tomb of the Unknowns became an Armistice Day tradition. But eventually, the soldier disinterred from Belleau Wood was joined by representatives from later wars, expanding he Tomb’s purview. As a result, specific remembrance of the horrors and sacrifices of WWI were conflated into the larger struggles of the century.
    The traffic at Arlington was a mess; after sitting in misdirected lines for nearly an hour, I left without even a glimpse of the parking lot, much less the Tomb. Many in the crowd were veterans, though, families in tow. I went on to my second destination, across the Memorial Bridge, to the south edge of the Mall.

    DC War Memorial, cropped from someone online, who I can’t remember….damn…

    The DC World War Memorial is located in a grove of trees midway between the new Korean War Memorial and the massive, so-new-it’s-not-done-yet WWII Memorial. President Hoover dedicated the little temple pavilion in 1931 to the memories of Washingtonians who died in The War. Technically, then, it’s a local memorial, created by the locals, who also happened to be the leaders of the country.
    I was the only visitor during the half hour I was there. Three Park Service rangers–two in WWI-era uniforms–were breaking WWI-era camp in the little temple. For three years now, they have taken it upon themselves to create a little interpretive history opportunity for any visitors. Last year, when detours for the WWII Memorial construction closed off many other pathways, the rangers had quite a turnout. This year was much quieter. The two rangers in period uniform participate in WWI re-enactments with the Great War Association. Unlike Civil War re-enactments, however, there is no audience; there are practically no spectators, only participants.

    Memorial to the Missing, image. bc.edu


    Britain created the Cenotaph as a Memorial to the Great War, and it has woven taught WWI into the national identity. They built The Memorial to the Missing–the subject of my first film, and an inspiration for Maya Lin’s Vietnam Memorial design just across the Reflecting Pond from the DC War Memorial–in France, an outpost for British memory. The names of just The Missing from just The Somme exceeded 75,000.
    DNA testing helped identify the Unknown Soldier from Vietnam, and his remains were reburied in 1998. Until September 11th, it was assumed there would be no more Unknowns or Missing, but that turns out not to be the case. The World Trade Center Memorial will hold the presently unidentifiable remains of those killed, in hopes that technology will someday match them up to the 1,271 individual names. The New Missing, on the other hand, are frequently those who have been wounded or killed in Iraq. Witness to the fresh horrors of war, it seems, must come from the unlikeliest of sources: Cher calling into C-SPAN with stories of brave 19 year-olds who’ve lost arms and legs, just a few of the 2,100+ GWII casualties who are shunned and obscured by the Administration.
    In Sunday’s Washington Post, the playwright Norman Allen–an old man, I take it–lamented the fading of Armistice Day:

    I first heard tales of the war’s devastation from my grandfather, who was 19 when he was wounded not far from Chateau Thierry, an hour’s drive from Paris. In middle age, he spoke in generic terms of his heroic comrades, Iowa boys like himself. In early senility, he spoke in detail of struggling across a field under heavy fire. Glancing to the left, he saw a friend’s head blown away. He told me, “Never go to war. No matter what.” My generation is the last to hear these things firsthand.

    Well, his generation–and Cher.