This afternoon just after 4:30, we heard a low rumble and felt everything sway and tremble for about 15-20 seconds. It was strong enough to make you stabilize yourself, but not so powerful that people realized it right away.
We were at Open Campus Day at ISAS/JAXA, the Japanese Aerospace Agency’s mission control center for Jean’s X-ray telescope satellite, Suzaku. We were in the lobby of the building; the sheet glass handrails along the central staircase all wavered back and forth throughout the quake.
In the mean time, a bunch of train lines across the Tokyo region were shut down, which backed up human traffic, even to Machida, on the west side of Tokyo. [Of course, watching the news, it turns out that Yokohama, on our side of Tokyo Bay, and opposite the epicenter, registered at least a 5 on the Richter scale.]
Anyway, the only real effect we’ve had is having to heft the stroller up five flights of stairs at the hotel because the elevators aren’t working anywhere.
Author: greg
To: The Prada Hataz Crew
A report from the Herzog & deMeuron-designed Prada store in Tokyo’s Minami Aoyama neighborhood. I have some good news and some bad news.
First the bad news. It was reported earlier that the store smelled like feet cat urine. It appears this is no longer the case. The white carpets seemed freshly–and repeatedly–shampooed, which may explain the lack of odor.
Also, I saw no evidence to support reports that the windows were cracking and popping out, and that the clothes were fading at an excessive rate.
Worst of all, it’s actually quite nice, much nicer than the Rem Koolhaas fiasco, anyway.
Now the good news: we were the only customers in the store during the entire time we were there. Also, the kid’s all-terrain stroller left calligraphic trails in the untrodden carpet.
Prada Tokyo images at Dezain.net
previously: “damn, but that company pisses me off.”
The Withdrawing Center?
Well, that’s one way to keep the memory of September 11th alive. Remember how people had these stories about how they were supposed to be at the World Trade Center, but then for whatever reason, they didn’t go? And how lucky they felt?
Well, now you can add The Drawing Center–and possibly the Joyce and Signature Theaters to that list. The Drawing Center is putting its move and development plans on hold until it gets assurance that its curatorial program won’t be subjected to LMDC or any other governmentally mandated censorship.
In related news, the Freedom* Center, which is to share space with the Drawing Center, “in response to a request by Gov. George Pataki, has assured the LMDC that its content wouldn’t be un-American.”
* offer not valid if it displeases anyone named George.
Drawing Center may quit WTC [crain’s, via curbed]
2005-07-25, This Week In The New Yorker
Issue of 2005-07-25
Posted 2005-07-18
THE TALK OF THE TOWN
COMMENT/ NOT SCARED/ Adam Gopnik on the mood in London on the day of the bombings.
MIRROR, MIRROR/ FACE-OFF/ Ben McGrath on what we might see in a candidate’s countenance.
DEPT. OF TRYOUTS/ LOW NOTES/ Ryan D’Agostino on the search for a new bass player at the Met.
SPINOFF DEPT./ REPORTER GUY/ David Remnick on Stephen Colbert’s new fake-news show.
THE FINANCIAL PAGE/ A FAREWELL TO ALMS?/ James Surowiecki on how foreign aid is administered.
VATICAN NOTEBOOK/ Anthony Grafton/ Reading Ratzinger/ What the Pope’s theological writings reveal.*
SHOUTS & MURMURS/ Noah Baumbach/ My Dog Is Tom Cruise
ANNALS OF NATIONAL SECURITY/ Seymour M. Hersh/ Get Out the Vote/ Did Washington campaign in Iraq’s election?
A REPORTER AT LARGE/ William Finnegan/ The Terrorism Beat/ Inside the city’s defense command centers.*
ANNALS OF MEDICINE/ John Colapinto/ Bloodsuckers/ Leeches are good for you after all.*
FICTION/ Tobias Wolff/ “Awaiting Orders”
THE CRITICS
BOOKS/ James Wood/ Red Planet/ The sanguinary sublime of Cormac McCarthy.
BOOKS/ Joan Acocella/ Devil’s Work/ Hilary Mantel’s ghosts.
DANCING/ Joan Acocella/ Recovered Treasure/ Frederick Ashton’s “Sylvia” and George Balanchine’s “Don Quixote.”
THE CURRENT CINEMA/ Anthony Lane/ Making Mischief/ “Charlie and the Chocolate Factory,” “Wedding Crashers.”
* Not currently online.
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A Note On This Historic Occasion
A man can go his whole life waiting in vain for a week such as this one, where he has occasion to thank both Hulk Hogan and Pauly Shore for their [advertising] largesse.
From now on, I’ll just have to learn to live with the knowledge that it’s all downhill from here.
Going To Japan. Stay Tuned
I’m heading to Japan for a month with the family. Tokyo this time, so there’s a lot to do and see. I’ve got a couple of projects I’m working on in and around Tokyo, and I’m going to shoot another installment of “The Souvenir Series,” my 12-part short film series about different aspects of memory.
I’ll post more details later, but the idea is one I’ve had since freshman English in college. My teacher at BYU, a woman named Elouise Bell, talked about how the world she knew, knew firsthand, that is, was actually quite a narrow place: Utah, parts of Los Angeles, some small towns in France where she’d lived as a young woman… Ever since that class, I’ve seen the idea of “my world” as something ressembling a cell phone coverage map, but for a very crappy service provider: thin ribbons of well-traveled routes connecting small-to-largish zones of familiarity, but surrounded by unknown, uncovered territory.
It’s like saying you konw New Jersey because you take the Turnpike. Trust me, get about 30 seconds off the Turnpike, and you’ll be in a foreign country, my friend.
In the film, I’m going to retrace some of the paths I laid down in rural Japan almost twenty years ago, when I lived there as a bike-riding, 19-year-old Mormon missionary. The core idea is retracing, to document some attempts to retrace the routes I used to take every day, all the time. It may be like riding a bike, or it may not. We’ll see.
Video Artist Guy Ben-Ner on WPS1
Guy Ben-Ner’s in the zone these days; his ingenious video, “Elia – a story of an ostrich chick,” made like one of those anthropomorphizing Disney nature documentaries from the 50’s, is included in PS1’s Greater NY show. Now, he’s representing Israel in the Venice Biennale.
At Venice, Ben-Ner talks with PS1 curator Bob Nickas about his work and how he uses adaptive techniques for shooting under directorial duress. He references silent film, in which the camera couldn’t move, and nature documentaries, where you can’t direct animals. Ben-Ner uses his kids in his videos, which requires a certain creativity to get anything down on tape.
Ben-Ner’s segment lasts about 15 minutes, and then Nickas and his too-smart sidekicks spiral out of control, gushing over Vezzoli’s Caligula trailer–in exactly the critically unaware way that bugs so bad. While Ben-Ner sits silently by for the next 30-40 minutes, the curator/writer conversation encapsulates exactly the kind of hermetic, bitchy Venetian oneupsmanship that shouldn’t be recorded, much less broadcast. Don’t miss it.
WPS1 Venice Conversation – The Bob Nickas Roundtable [wps1.org, updated link to clocktower.org, July 2018]
Are You There, God? It’s Me, Janet.
Sarah Boxer is disappointed in–can I say it? too late–Janet Cardiff’s online piece, Eyes of Laura. Cardiff created a journal (don’t tell the bloggers, but she actually calls it a blog) for a bored security guard in the Vancouver art gallery which commissioned the piece.
Boxer seems to feel the work depends on a suspension of disbelief that is actually IS a work of art, particularly one by Cardiff: “Maybe the illusion of the Web site collapses because it is, paradoxically, too complete, too fleshed out.” I can’t imagine this is the case.
While the site doesn’t have opening credits or anything, Cardiff’s association with it is not as secret as Boxer seems to think. First there’s the site’s distribution. I’m sure it’s promoted/shown at the gallery itself, as any artwork would be. And as Zeke pointed out, the project launch was advertised on e-flux, the giant art world mailing list. Articles like Boxer’s mention it in the context of Cardiff. Googling either Cardiff or “Eyes of Laura” completes the circuit, too. The number of site visitors without a Cardiff clue must be miniscule/irrelevant.
As for the site experience itself, Boxer’s right, it’s too slick. What security guard’s blog asks you to check your media player preferences and tells you to get Flash before entering? From the get-go, it’s an intentional construct, an Online Experience. It’s true the red-on-red text (hidden in my browser) on the splash page gives only the fictional author’s explanation of her site, but Cardiff is mentioned multiple times in the source code. And of course, the domain name itself belongs to her.
On those terms, then, Eyes of Laura is The Idea (a fictional journal) plus the ideas and observations within it, which are thoughtfully, earnestly cryptic and fragmented, but self-consciously so (no “I’m scratching my butt, I’m so bored.” entries, but then maybe Laura just would never write that. Oh wait, I’m wrong: “June 28…Have you ever seen a ‘Spock Five’?”)
Compared to her audio walks, the online piece may feel over-produced, but it’s within Cardiff’s range: she’s done video tours, too, after all, and her Venice pavilion/theater was like a ride at an art world Epcot Center. As one who’s lost the trail on a Cardiff walk before (St Louis), and had her stage-whispered narrative play out over visuals I selected myself, the website’s degree of user control is welcome. I’d argue for even more–an actual blog format–even at the expense of some slickness.
Ultimately, though, Boxer and I agree on one point, if for different reasons. The character of Laura doesn’t quite work. Cardiff’s pieces are always mannered, and I’ve always taken them as extensions or iterations of the artist herself. A lot of art works that way; even when the artist doesn’t intend it to, it gets read that way. So when I read “Laura” explaining “her” site, like this:
“But remember this is all illicit and voyeuristic and illegal. Remember, I am putting my job on the line so you can see this stuff.”
I don’t hear a 25-year-old guard; I hear an artist in her late 30’s trying real hard to sound transgressive, to sound cool, to sound 25.
Eyes of Laura, an online project by Janet Cardiff [d’oh!]
When Seeing Is Not Always Believing [nyt]
I wrote about graffiti-style advertisements for the NYT
http://www.nytimes.com/2005/07/10/arts/design/10alle.html“>And Now, a Word From the Streets. Thanks to Noah at Critical Massive and Edmar at Lumpen for their help, and a special thanks to Marc at Wooster Collective, for both his help and his insights; it always amazes me how quickly and thoroughly he and Sara have grown that site into one of the most important crossroads of street art on the planet. Day-um.
If Only The Week DID Have Eight Days
So someone wrote to the Observer suggesting–in the nicest, possible way, really. really–that maybe it’s your “yucky” outfit. Maybe the expensively groomed people you’re covering aren’t recoiling at your little tape recorders, dear Observers, but at your obvious lack of style. Why not dress like the people you report on? It can only help loosen their finely lined lips. “Or, you know, you could bring back Candace B. :)”
Whoever wrote that, I hope you meet George Gurley after too many mojitos. Because in Choire’s now-Daily Transom, not only have they brought back Candace B., but this time, she can actually write.
On The Debilitating Effects Of [Diet Coke] Welfare
So maybe you’ve noticed the “1 in 12 wins!” promotion campaign on the lids of most Coke products the last few months. As a pathetically, alarmingly addicted, inveterate loyal Diet Coke drinker, I know I have. The lids are on 20-oz and even 2-liter bottles, but the prize is a free 1-liter bottle of product. While I have to admire the company’s insidiously effective strategy of getting America to change its idea of a serving of Coke [over the years, we’ve gone from 8-oz glass bottles, to 12-oz cans, to 20-oz bottles, and now to 1-liter, or, in NYC’s case, 1.5-l bottles which are, that word again, insidiously easy enough to drink out of], I have to say, from where I sit, the campaign is an utter and complete failure; it has turned my Diet Coke buying and consuming experience into an annoying, shame-filled, welfare hell.
It’s not that I never win; that’s not a problem. It’s that many retailers refuse to redeem the little caps, even if they sell product with the contest-bearing lids, and even if they carry 1-liter bottles (which turn out to be in far fewer distribution channels/retailer types than you might expect, especially in DC and NYC where we live). And it’s not like I can tell you which kind of retailers reject them; I’ve had it happen at grocery stores, 7-11’s, gas stations, Korean delis, newsstands, bodegas, on the NJ Turnpike (where I’ve won at one rest stop and was unable to redeem at another), chain drug stores–there’s no way to know if you’ll fail without trying.
It doesn’t take many failed attempts to redeem a winning cap, which have involved confounding–and even angry–explanations from store managers about how Coke won’t credit them for the freebies, or how they don’t use a Coke distributor so they’re not participating in the campaign, etc.–to make one weary of the fight for one’s right to free soda. Except that it’s not a right, it’s an entitlement. Welfare.
You’re reduced, essentially, to begging for a dollar (or $1.50-1.75, usually) from a diffident cashier or a put-upon manager, when it’s obvious that you can afford it, you cheap bastard, trying to get something for nothing. Meanwhile, the line builds up behind you, and now you’re the jerk who’s holding everyone up for what, a dollar? I’ll give you a dollar to get out of the way and let me buy these Pampers, ya junkie!
But it’s not like I sought this out; I didn’t scratch off anything, or Supersize to get two more chances to win. Coke put me in this situation where I feel like a wronged, government-cheese-stealing welfare queen, whose resentment builds with the fresh taunt of each unredeemable winning lid I find; they’re lining up on the kitchen window sill pissing me off at this very moment. Now every time I lose, I feel a small sense of relief, one less pang I’ll have to endure.
Before I decided to rant–I’ll show them, Don’t they realize I have a blog??–here, I actually called the Coca Cola company for redress, sure, but also to report that their marketing campaign was having the exact opposite effect on at least one loyal, concerned customer. A very sympathetic representative comforted me, asked who these offending retailers were (um, all of them? I got so ashamed, I stopped trying. choke back the pent-up tears.), and asked would I be willing to speak with someone from the marketing and promotion department within 7-10 days? Sure, of course, I just want what’s best for you, Diet Coke.
She took down my number, and then she offered to mail me eight coupons for free 2-liter bottles. No offensee, I said, but the one time I called to get my money back from a Coke machine, I got one of your corporate coupons, and I couldn’t find a retailer who’d take it.
[update: my wife reminds me of a recent development, where I was able to use a bottlecap at the on-campus “grocery” store at Georgetown, where we’d taken the kid to the pediatrician. I figured it was because these college students were Coke’s most important customers (and also their cheapest and most demanding, and with the most unalloyed sense of entitlement and self-absorption)… Oh, Diet Coke, you know me so well. I could never stay mad at you…]
Suzaku
Gotta give a big shoutout to the folks at NASA and JAXA, the Japan Space Agency, for the successful launch Sunday of Astro-E2, the next generation of X-ray telescope satellites.
Astro-E2 was the working name of the satellite on the ground; it was a rebuild of Astro-E, which blew up when its rocket went off course soon after launch in 2000. Since that mishap, there has been a gap in the X-ray spectrum that scientists could study. Two other X-ray telescopes (or spectrometers, actually) are in orbit right now: one is called Chandra, and there’s one called XMM-Newton, which is run by the European Space Agency. All three were designed to be complementary in their coverage of the X-ray spectrum and their resolution.
It’s traditional to wait and name a satellite only after it completes its second orbit, and after Astro-E2 made its second 90-minute pass over its Japanese launch site, it was announced that the name would be “Suzaku,” which translates variously as “red sparrow,” or “phoenix.” It derives from a creature guarding one of the four points of the compass on ancient Chinese astronomical charts, and it apparently has some regenerative characteristics like the phoenix in western mythology, something that obviously appealed to those scientists responsible for building and using this important satellite.
Those people include my wife, Jean, who is calibrating and characterizing the XRS, or X-Ray Spectrometer, and who will use it to continue her research on the composition and behavior of binary neutron stars. Congratulations and good luck. If I live to be 100, I’ll never figure out why someone so smart decided to marry me, but hey, I ain’t complaining.
Suzaku/Astro-E2 Homepage [nasa.gov]
How ’bout that, Suzaku is also the name of an anime demon character in Yu Yu Hakusho [absoluteanime.com]
You Decide, Indeed
“I mean, my first thought when I heard — just on a personal basis, when I heard there had been this attack and I saw the futures this morning, which were really in the tank, I thought, ‘Hmmm, time to buy.'”
– from an on-air transcript of Brit Hume, Washington Managing Editor, FoxNews, 7/7/2005.
Zsa Zsa Gabor Still Alive, Suffers Stroke
Credit where it’s due: one summer in the Hamptons, a housemate picked up Zsa Zsa’s autobiography at the Southampton library booksale–the one written in response to her Beverly Hills copslapping incident, not the other one–and it was hi-larious. Lots of stuff like, “I wear nothing in bed. Except for diamonds.”
Zsa Zsa Gabor In Critical Condition After Stroke [nbc4, via trent]
Buy Zsa Zsa Gabor’s One Lifetime Is Not Enough, from $0.49 at Amazon [amazon]
“Because acolytes are always the most penetrating chroniclers of greatness”
Architect and one-time actor Brad Pitt is making a documentary about Frank Gehry and the development of his billowing-skirt residential towers in Brighton, Eng-uh-land.
PITT TO MAKE UK DOCUMENTARY [contactmusic.com, via gutter, the source of that sweet quote above]
Brighton and Hove’s brave new world [bbc]
Previously: How To Tell Me and Brad Pitt Apart