Tuesday, 31 July 2007

An interesting new forgetting from Croatian writer Dubravka Ugrei

who believes: 'the entire eastern European culture of the communist era' has been forgotten according to NZZ online

"The best part of this vibrant culture resulted from the rejection of communism, from critical thinking, from subversion. ... Sadly, all that has disappeared, because it is mercilessly stamped as 'communist' culture. This forgetting can be blamed to a great extent on the global market. Global culture is first and foremost the global market. And it's the survival of the fittest, in both global and other markets. Add to that a reflex hidden within each of us ? fear of being excluded. That pro-consumption reflex keeps the market going. ? And even if I rebel against it, the market will use my protest-orientation to its own benefit. ... We live in the Age of Information and the Global Market, but at the same time in the Age of New Ignorance and Barbarity."
"

Full article in German, from Zurich

L' avventura

Michelangelo Antonini died today aged 94. He was one of the greats of European cinema. I think his best work sat betwixt cinema and art. This is a short extract from one of his greatest: I hope it works a little on youtube

Too much

It is hard, this travel and thinking; uprooted means new experience, but new experience often leads to a realization of how little one knows, or can know – or discover without a library or a university, a circle of people who know a few of the answers. Then the question becomes, is this journalism or autobiography? History or a kind of contemporary mania?

There is certainly much that isn’t yet written about the nature of our new world, and the new Europe – connected to every other part of the world not just by historic trade links, or intellectual trends, wars, colonies and nomadism of whatever type. But how to reduce it, this continent of wi-fi and terror laws; this place which is borderless to Europeans, where national identity is still such an issue? The simple idea was to follow Tom and receive experience; then to concentrate on ideas and things that “changed” the nature of Europe, and so – in some way – the rest of the world. Now it is both, and to try and define the modern “betwixt”.



And the modern “betwixt” is – of course – the hardest thing. It is generational and professional, it is citizen and nomad; art and commerce; philosophy and sex. It is so many things. But “Betwixt” it must be from now on: that is where we are, and so my journey evolves I think into an exploration of this alone.

Returning home for a few weeks to read more, to study in a great library, only heightens the paradoxes, buffets the early prejudices, and adds to the confusion. Contemporary life isn’t an easy generalization, and few try. Devils make their names in the details now; rhetoric is almost always undercut in a few choice replies on a newspaper blog. This is an example of how the balance of the betwixt can alter. If some have lost faith in "truth" while others ground themselves in remaking, or ancient religious texts, there is no way around the idea that we've moved into an age of "exception". Laws, morals, aesthetics, history, politics: all have a formal "canon", and then there are exceptions...

The challenge of the Renaissance, and now, in thought or art, or business that is to make the confusing simple: but we know so much more now than 1608, or at least have access to it, even if most of it we choose to ignore. I wonder if this is a time when history can't help us very much? When the "Betwixt" requires new ideas, not reworkings of older ones?

Rousseau cannot be seen alone, as some radical one-off; neither can his faults be ignored. And if we do ignore in the cause of his genius, then where to stop? With Byron? With Wagner? With Hitler? Rousseau talks and yearns for an honesty, yet is self-evidently a remaker of fact, a moaner; probably paranoid for a good part of his life - some say an egomaniac. But the work, the influence even now, lives on.

Question: do we simply misread all art and history, incapable of grapsing out of our own time?


Two great Europeans died today: Bergman and Antonioni. I wonder what that means?

It is time soon, I suppose, for mirrors.

To see what’s reflecting back from an island in Venice.

Thursday, 26 July 2007

Anais - Mon Coeur, Mon Amour

I like this too. Rousseau once said even French dogs bark out of tune…which proves he wasn't always right. More JJR is Venice, where he was an ambssador's secretary, rather surprisingly

Samba Saravah - the film version

They don't make films like this any more

Baden Powell and Pierre Barouh - 1960's

My favourite song, French samba...normal service resumed soon. In the meantime check out my facebook

Tuesday, 24 July 2007

Out: Verona. In : Hawaii. Shakespeare to work on next series of "Heroes"



"I shall say good night till it be morrow."

"Romeo Montague dies for Juliet and awakens in this age on a volcano in Hawaii, where he meets a wise Zen Master. So is the premise of James Edwards' new time-travel romance novel: "Romeo and Juliet: A Modern Day Sequel." In the story, Shakespeare's Juliet has reincarnated as a famous actress who falls in love with Romeo in an Internet chatroom. The story draws on themes from Zen Buddhism, Hollywood narcissism and new-age philosophy as the two star-crossed lovers recall their past lives in Egypt and Atlantis and overcome many obstacles to meet again."


The new west side story?

Chapter One free on the website.

Saturday, 21 July 2007

The new ignorance?

From the IHT

"In proposing a tax-cut law last week, Finance Minister Christine Lagarde bluntly advised the French people to abandon their “old national habit.”

“France is a country that thinks,” she told the National Assembly. “There is hardly an ideology that we haven’t turned into a theory. We have in our libraries enough to talk about for centuries to come. This is why I would like to tell you: Enough thinking, already. Roll up your sleeves.”



Citing Alexis de Tocqueville’s “Democracy in America,” she said the French should work harder, earn more and be rewarded with lower taxes if they get rich."


It goes well with this from London a few weeks ago
"For almost the first time in two centuries, there is no eminent British poet, playwright or novelist prepared to question the foundations of the western way of life. One might make an honourable exception of Harold Pinter, who has wisely decided that being a champagne socialist is better than being no socialist at all; but his most explicitly political work is also his most artistically dreary."


And is a contrast to this:
"...Besides Clinton and McCain, Gov. Bill Richardson (D) of New Mexico, former senator John Edwards (D-N.C.), Rep. Ron Paul (R-Tex.) and New York Mayor Michael R. Bloomberg, a possible independent candidate, have come to Mountain View to take a closer look at a corporate culture that is the epitome of Silicon Valley self-confidence and innovation.

Eric Schmidt, Google's chief executive, called the question-and-answer sessions "a job interview with the American people."

"And you're also sort of interviewing with Google," Schmidt told McCain at a packed town hall meeting. "It's hard to get a job at Google."..."


And:
"Google has become a symbolic firm, as GM might have been in the 1930s and 1940s and IBM in the 1950s and '60s. . . . They're about sharing. Being open. Transparency. How that will transform politics as we know it, we'll have to see," said Fred Turner, author of "From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network and the Rise of Digital Utopianism" and an assistant professor at Stanford University.

"A visit to Google, in a way, is like stopping by the Internet of today. When you visit Google, you're respecting that sensibility and showing your alliance with it."

A Communal Event, for Everyone

Two weeks ago the Italian press wrote that a hacker had entered the publisher's computer. It named the victims of J.K Rowling's pen. Nothing was written in English to confirm or deny that my Google Alerts found. A global discretion...and a nice moment.

"Leaks appeared in a number of other countries Friday, with papers in France, Italy, Austria and the Czech Republic revealing the fate of key characters by printing a summary of the epilogue -- some of them upside-down so that unwary readers could avoid the spoiler.

The six Potter books so far released have sold 325 million copies internationally and have been translated into 64 languages, though the final tome is set to out-sell each of its predecessors."


"Hordes of would-be warlocks, sorcerers and ordinary, non-magical "Muggles" lined up outside Swiss bookstores for the English version of the new novel, which officially went on sale across Switzerland at 1am on Saturday.

Midnight parties were held at bookshops in Zurich, Basel, Interlaken, Lucerne and Lenzburg. Elsewhere many stores opened their doors early on Saturday to meet the rush of readers, both young and old.

"There's been a bigger hype than for previous books; you feel it's special. People know it's the last one and want to know what is going to happen – whether he will die," Fabienne Schaller from Basel's Bergli bookshop told swissinfo.

"Lots of Swiss people read in English and most don't want to wait until October when it comes out in German," she explained, adding that the city also has a big English-speaking expatriate community."

"BEIJING, -- Thousands of Harry Potter fans in China swarmed into book stores in Beijing on Saturday to get the seventh and final volume of the boy wizard's adventures after standing in line for several hours from the mid-night.

Chinese book stores opened their doors for sales of "Harry Potter and the Deathly Hallows" at 7:01 a.m., Beijing time, together with the world.

More than 200 books have been sold in Wangfujing Book Store within 40 minutes. The Beijing Book Building has sold 2,301 books till 6:00 p.m. Saturday, statistics show, 700 books more than the first-day sales of the sixth version.

"The previous versions did very well here, and we expect the seventh book to create a new selling record among the Harry Potter series," said Yang Xinyuan, manager of the original version books department of the Beijing Book Building."

Wednesday, 18 July 2007

Why Venice and the art thing might seem a little less Europe; a little more "global"

From Hello magazine online; was the Mantua Times like this in 1608? It probably was:

"A West End stage debut can be a daunting prospect even for an actor whose star burns bright in Hollywood. So Orlando Bloom made sure he had some heavy duty support on the opening night of his play In Celebration at the Duke Of York theatre, having invited fellow creative mind Tracy Emin.

In the drama Kent-born Orlando, 30, portrays a son returning home for what will be a fraught party to mark his parents' ruby wedding anniversary.

And Tracy, fresh from her own triumph at the Venice Biennale, made it clear just what she thought of her friend's first stage outing during a get-together after the show. The 44-year-old artist threw her arms around the Pirates Of The Caribbean actor in an enthusiastic embrace, before having an animated chat with his mother Sonia.



The former wild child of British art was returning a compliment, as Orlando bought one of her famous neon light artworks last year. The piece had been donated by Tracy to the Raisa Gorbachev foundation, which funds children's healthcare projects in memory of Mikhail Gorbachev's wife. The sale earned her dinner with the former Russian leader."

America & Europe

These things vanish into the paid-for archive, so just a taster of this year's transatlantic position:

"HEIDELBERG, Germany — A day after Michael Kingsley arrived in this romantic university town, he was in no mood to savor the cobblestone streets, the half-timbered houses, or the flower-bedecked windows — to say nothing of the camera-ready castle on the hill.

Mr. Kingsley had left his camera battery and charger in a hotel room in London, and he knew that as an American tourist, buying replacements here was going to sting. The damage: $143. Back home in Falls Church, Va., he said, the same purchase would have set him back no more than $100.

For Americans visiting Europe this summer, the steep decline of the dollar against the euro and the British pound has made eye-popping prices a lamentable part of the traveler’s tale. (The Kingsley family’s hotel room in London was $500 a night; five bite-sized chocolates at Harrods cost $10.)"




I suppose my question is what does Europe mean: is it the football? Is it Dante? It is very pleasing that it is - despite several years of overt anti-Americanism here in Europe - thriving. It can't just be the coach tours, my curse of Cremona. So, as Venice looms, I need to ask some Americans, what is it about Europe?

"It is also reflected in the tourism statistics in France, Germany, Spain and other countries, which show that the number of Americans visiting Europe has increased this year, even as the value of the dollar has eroded. Travel experts say this speaks both to the resilience and rising affluence of American tourists, as well as to the perennial appeal of Europe as a destination.

“Americans who visit Europe tend to be more educated, with higher incomes, so they are less affected by the exchange rate,” said Joachim Scholz, a researcher at the German National Tourist Board. “Even backpackers have more money than they used to, if you look at the price of hostels.”

Americans purchased $3.8 billion worth of travel-related services from European countries in the first quarter of this year, a 5.5 percent increase from the same quarter last year, according to the Bureau of Economic Analysis. They bought $22.8 billion of travel services in 2006, nearly 10 percent more than in 2002, when the dollar was close to parity with the euro."


The whole story, whilst it is live.

Monday, 16 July 2007

It is all happening down the road in Padua, and back in Milan

This all from today's Daily Telegraph.

"An Italian council estate ringed with a steel wall to keep its residents inside will be closed today and its African immigrant residents dispersed despite fears that a planned amnesty for thousands of new arrivals will have consequences for countries across Europe.

The Serenissima - or Very Tranquil - estate, Italy's last ghetto, became a symbol of the way Italy mismanaged its immigrants after the local council in Padua built the wall and set up a checkpoint at the exit last year."


And everyone has their angle: ""A move to suddenly make 550,000 immigrants legal is very worrying," said one British diplomat," reports the newspaper. Though it leads with a juicier newsbite:

"Although the estate was constantly policed, gangs loitered on the streets outside. Earlier this summer, Princess Virginia von Furstenberg, an heiress of the Agnelli family, was arrested and cautioned after she stopped her Mercedes in the area to pick up three grams of cocaine."


Meanwhile, back in Milan at La Scala a ballet for a sad anniversary, the Miami murder of Gianni Versace in 1997:

"Thanks Gianni, With Love was put together by French choreographer Maurice Bejart, for whom Versace designed many stage costumes.

About 1,500 guests, including Versace's favourite models, attended the show at the La Scala opera house."

Saturday, 14 July 2007

Not forgetting...



Sing along here

Or come to London next year for new songs from an old, old story - now updated to Nazi-occupied Paris.

Europe, with hope



"Our intellectual potential needs its own spaces, for Europe's sense of purpose and for Europe's good. Culture must simply be given the room it needs, without specifying in advance what this room should be. Europe must be prepared to take this risk, and it must have the courage to give scope to its pictures and its sounds, its stories and its poetic inventions, and to its sciences as well, even if that involves effort and expense that do not immediately pay off. Europe should not necessarily be guided by its culture, but it must allow its culture to accompany it. That is where our innermost strength lies. America is too materialistic in its thinking to consider taking such a step. In Asia, and that includes the "new tigers" China and India, culture does not enjoy this status; there is not such high regard for "the individual" and "what is one's own", nor is there such a highly developed sense of neighbourliness and community."


German film maker, Wim Wenders

Read it all here

"Millions to dreams" - here's one to dream about



"The culture-rich country lacks a major museum for contemporary work, but in Venice, businessman-art collector François Pinault sets out to correct that."


From today's LA Times. Venice suddenly seems less daunting. A bit.

News Alert: The Italian War on Terror

When asked the secret of his success the world’s greatest comedian interrupts the question to shout: “timing”. I feel a little like the world’s worst reporter today as I read that in Padua, forty kilometres away, terrorist arrests have been made. And I am pondering Leon Alberti and the Postmodern “malaise”.

Everything is “timing”.

Quite what this means I am not sure. Here are the facts as they can be found online:

“Italian police said Friday they have arrested two men in northern Italy accused of being members of a radical leftist terror group similar to the Red Brigades. The two were arrested late Thursday in the northeastern city of Padua, said anti-terror police official Eugenio Spina.”

Here is an earlier story, from February.

"Police conducted raids across northern Italy, breaking up a Red Brigades-style terror group that was planning kidnappings or kneecappings of victims, Milan prosecutors said.

Police said they arrested 15 suspects in Milan, Turin, Padua and other northern Italian cities Monday. "We prevented dangerous persons who considered themselves in war with this state from carrying out violent actions," Prosecutor Ilda Boccassini told a news conference in Milan."


Recently an Italian told me: “It’s all very well England being open and free and liberal but it isn’t tough enough with the bad people.” But how do you decide who is bad? “Look, if they have a website and on it they state their intentions – you know, to kills Jews, destroy Israel. Then surely that is enough?”

I wonder what the Italians have on the two – or four suspects (for a while today there was an article online about “four Algerians”, it’s gone now). Perhaps by the time I reach Venice I’ll know.

Friday, 13 July 2007

* The moment a man begins to talk about technique that’s proof that he is fresh out of ideas

* The quote is from one of my gods: the American-"anglo" crime writer, Raymond Chandler



“…the art of urban civilizations tends to be static, solid, and symmetrical. It is disciplined by the representation of the human body and by the mathematical skills attendant upon monumental architecture. To a greater or lesser extent nomadic art tends to be portable, asymmetrical, discordant, restless, incorporeal, and intuitive…”


Bruce Chatwin, essay in The Animal Style, 1970

The most successful contemporary nomads follow the money, not their cattle. Their art is portable, asymmetrical, discordant, restless, incorporeal and intuitive because it follows the winds and tsunamis of the markets, not the skies. They are known as investment bankers. When pressed, and I have pressed some of the most successful, they will admit that it is not the money they seek (there is already plenty of that) it is the thrill, the being better, the self-definition. One says recently: “To be honest, Robin, we don’t really know how to spend the money, but we need the challenge of the next.”

The Renaissance is a “challenged”, self-defining and nomadic era too: for its architects and creators the ultimate challenge of which is the “bettering” of the antique texts which, as they are rediscovered in thirteenth and fourteenth century, inform and shape a burgeoning “humanism”, “science” and “art of perception” - in the most portable, asymmetrical, discordant, restless, incorporeal and intuitive of ways.

What is most interesting about that for me is the art and building which evolves from these ideas is: static, solid, and symmetrical, using the body and “mathematical skills”; often monumental: it fits in with Chatwin’s distinction between the art of the walled-city and the nomadic, say, desert that begins this piece. Perhaps this is because the people who paid for the buildings, arts and texts were so keen, like my modern nomads, to self-define; to be “better” in their city palaces. The frescos of the Palazzo Te can stand in as representative here.

I don’t see motion in the cathedrals or the frescos: I see stolid stories and narratives, polished by the science of mathematics, or engineering, into forms whose simple emotional strengths are still visible – perhaps discernable is the better word – today, whilst the complex frameworks that enabled them have become all but invisible to the un-scholarly, like me. Ultimately they reek of permanence which, as Virgil demonstrates, is in fact a highly sophisticated construction, a fabrication, in “emotional antiquity.” The building of foundations, rather than traditions...

But my perspective is warped and haphazard: I lack wholly the rigour of a man whose Renaissance fame ensures that a piazza is named after him here in Mantua, though his connection to the town is far less than to Florence or Rome, or Venice. A man whose nomadic mind helped to underpin the solid and symmetrical arts that are funded by the ruler-patron men who ran Italy’s great towns and fought each other for top dog status in war and in “taste”. Thinking about this makes me return to the question that is posed by the Gonzagas here: what are the new dreams that the millions earned by the contemporary condotierri inspire? I suppose only history will show us the value of the new über-rich.

I watch Salome in the piazza Leon Alberti, who I know has designed a church here, and who I understand, vaguely, has written on art in a way which influenced Mantegna, but the name isn’t known to me. With the “memory stick” and the web a little becomes clearer: in fact Alberti is revealed as a magnificently betwixt character, one who deserves to be called a “Renaissance Man.” Wikipedia says he is a classic example of the Renaissance’s “Universal Man.”

Alberti’s achievements in architecture, criticism, theatre, theory, and the classics appear amazing; perhaps most of all his achievements as polymath intrigue. A blog entry is not the place to tell his story, but in reading parts of a life of Alberti by Anthony Grafton I’m struck with not just the breadth of achievement; and not just the ways in which his life and works have been re-evaulated and repositioned over time, but most of all by the man’s intellectual and social nomadism. I can’t help but feel that he did things because he needed the challenge of the “next”, and in his culture pretty much anything was possible if your skill matched your ambition, your adeptness at courtly politics was nuanced, and your circle of friends was the right one - consistently. These are not simple things.



Of Alberti’s lasting achievement Grafton writes:

“The humanistic scholars of the fourteenth and fifteenth centuries…showed their contemporaries how to see the ancient world from a fixed point in time – their own. They grasped, for the first time, the full chronological distance that stretched, the great social and political changes that had taken place, between the time of Cicero and Virgil and their own day. Alberti showed them how to see the visual world in a similar way: from a fixed viewpoint, and in logically coherent terms. The space of Renaissance painting – and indeed of Renaissance science – reflected the same cultural origins as the time of humanistic scholarship. It was Albertian space, subject to rigorous geometry, as historical time was subject to rigorous philology. Alberti stood revealed as one of the creators of the modern world.”


As someone interested in ideas this is fascinating: worthy of long years of study – as many have done. But delving now into his biography, in the best web tradition: eclectically and haphazardly, I find myself interested in the social dynamic of a man such as Alberti, just as I hope to understand something of Tom’s clearly complex relationship to his bitchy-English court.




Some time in the late 1420s or early 1430s Alberti wrote “On the Advantages and Disadvantages of Letters.” Grafton calls it a “savage little book.” This is the text said to have inspired Nietzsche’s view on history. Its concern speaks to today: the relation of scholarship and education to real life. Alberti does not hold back:

“…see how pale they are, how flaccid their bodies, and how weighed down they seem, as they emerge from their long confinement in the prison of their schools and libraries…”


Tom was a classics scholar; and forever hard up. Bill Gates quit Harvard without a degree…

Scholars are people, Alberti argues, who will never achieve either wealth or power. Most will not even be famous as academics. There were a few growing opportunities in the Italian states for the poor but educated: being a notary, teaching, theology, but the job market wasn’t booming, and was not at all well paid. A fourth area had more promise: was a dot.com boom in ideas. This was the study of Latin classics, and the production of new ones. Perhaps the Bill Gates of this arena was Petrarch, who was not only a scholar of the ancient but a producer of new media: Latin literature – but written in the fourteenth century. He's sometimes called the "father of humanism". The young Alberti was part of this new media scene.



The coteries around the “classical” in the early Renaissance remind me intensely of small-scale web communites, particularly at the beginning of the web’s evolution. “…a tight if informal network of well-established scholars and teachers who informed one another as rapidly as possible of the discovery of new classical texts and put them to use as soon as they could in their own work.” Fifteen years ago I remember young geeks explaining Von Neumann or Alan Turing (and the Turing “test”) versed utterly in a history of computing that – until the arrival of the web – remained far from the discourse of social historians, let alone the educated us. (When Will Hutton, then editor of the Observer, wrote “The State We're In”, the top selling non-fiction work of 1996, an “anatomy” of Britain, he failed to mention computers – he does now, I’m told.)

My geeks exchanged ideas by e-mail, had friends everywhere, and knew long before the mainstream media the seismic shifts to come. They were building on computer ideas from their “history”, when we thought that the period they consumed had all been about “Nixon” or “Vietnam”, civil rights, strikes, anarchist terror it was really about Tetris, DARPA, and all those computer languages before DOS …One of these people coined the phrase: the geeks shall inherit the earth. I think even Bill Gates uses that one now.

My geeks came with a history we didn’t know. Ours still believed, just about, in mass media, in newspapers and television. If we had been told then that the founder of a search engine would be the most important person in media, we would have laughed. And we were the early-adopter almost-believers coming out of the analogue Dark Ages. (Many are still there).

The geeks became the modern Da Vincis and Brunelleschis; we became the betwixters, torn between two visions and – as I wrote yesterday – probably throwing out far too many ideas in our strivings to keep up than we should. Alberti, like most of the young humanists, and programmers today, built by piecing together from the existing materials, and new (or new-old) ones that were created or discovered. Alberti adapted the classical: his plays used lines from ancient drama, repositioned. “In his middle years [Alberti] used the art of the mosaic as a metaphor for his own art of writing,” Grafton writes.

The precursor of the Netscape browser?

“Mosaic.”

But the early writings didn’t make him money. “Tell me, please, o student,” he writes, “do you hope to become rich from the tiny fees you will collect when you teach a boy, when one of your little works appears, when you plead a case, when you cure a fever, or when you speak at some length on a question of law? Hardly….the learned don’t become rich, or if they do become rich from learned pursuits, the sources of their wealth are shameful.”

As Grafton says: “Scholar, as Alberti learned from bitter experience, does not rhyme with dollar.” It is here that perhaps one should note Machiavelli’s later life was not enriched by the profits, nor the position, brought by publishing his Prince: it didn’t sell, he remained an outsider politically after the arrival of a new Pope. No, he made money by writing bawdy plays – some of which influenced Shakespeare. Shameful indeed.

Reading of Alberti – his scope, drive, knowledge, learning via the classics, intelligence and capacity for synthesis, even his love of pithy epigram, his need to create art that paid as well as changed things, I think also of Wilde – in another world there must be a monograph to be written on that.

I suppose my question is this: on what do we build, and on what do we forget? What are the tiles of our new mosaic? And are they available via our new technologies, by looking back, or by synthesising the two? It is not so much: is Word 3.0 actually better for a writer than the most recent iteration? Than: if we are creating the foundation myths of the twenty-first century every day what should we build them on: the business strategies of the Fortune 500, or the long history of China? The foreign policies of the USA, or the EU; or the teachings of Ghandi? The Renaissance ideas of bettering the ancients, or the beta-to-3.0 world now? Does scholarship warrant more rewards now than then? Does it deserve them because it changes our perspective, usefully? Is my continuing interest in the ideas echoing around Mantua any more helpful to my quest than a good two-hour tour guide of the town, and then taking the coach onto Padua?



Alberti must return to Betwixt: this is an entry that does him no justice. But for that I need much more than the web can offer. But his technique, creating betwixt ancient, renaissance and the modern, is a paradigm I would love to see reflected somewhere today, be the results static, solid, and symmetrical, or portable, asymmetrical, discordant, restless, incorporeal, and intuitive…

Thursday, 12 July 2007

Forwards and back



“Tis all in peeces, all coherence gone;
All just supply, and all Relation”


Tom’s friend, John Donne & his poem “Anatomy of the World”.

“We sail out of the harbour, and the countries and cities recede”

Virgil, The Aeneid

The idea of “postmodernism” is betwixt: full of forward and backward looking, rootless because our present seems to breed such obvious discontents, clashes, and inequities, whilst painting a picture of warp-speed technological advance from beta to 3.0 – Karl Popper-esque building on building, until Darwinianly replaced - and displaying with obvious effect the rewards which come with riding on its narrowing comet-tails.

The result of the Postmodern malaise can be nostalgic in nature when considering our future: born-again Christianity and the aggressive branches within Islam are two constructions that prioritize the absolute value of ancient words and laws in imagining a future “end” sometime (are they a “product” of postmodernism?). And in polar opposition to this - the classical “post” modern position - the disappearance of many controlling ideas – the notion that the cosmos may have purpose, the phrase the “death of God” sums this up, or that governments can have genuinely equality as an aim – has taken away an encyclopaedia full of foundation myths, the very basis of much social solidity and support, and most essentially a “centre”. What’s left is mobility, the market, the shareholders, suburbs, and the greatest income inequality for 200 years.

“When the compasses, the set-square, and the ruler are askew, all the calculations made with them and all structures raised according to their measurements, are necessarily out of true and ready to collapse.”


Montaigne “Apology for Raymond Sebond” 1580

The nostalgic component of the postmodern illness is easily sensed when travelling, seeing a “simpler” way; the slower diurnal rhythms and communal ways (and the rich palimpsest of histories I feel myself clutching at) of Italian towns are a beguiling example. The picture-book families at dinner, the wonder of Gonzaga palaces, are seductive social myths. But even here an amateur futurist, or a shrewd businessman, can see that fissures are growing. Western society is shifting towards cities, despite the New Myths of technology’s “mobility”; labour is increasingly centred on large conurbations that cannot always take the strain. The physical stuff has moved to China. Divorce rates are at 50 per cent in Italy.



So if the pull of a well-designed Renaissance Italian town is to its centre, the pull of ill-designed Europe (and America) is to its financial centres, not to remote working, or decentalized business, or politics; or community building around the town square. And the city’s “gated” god is the New, not the Established.

This is the foundation point of the other side of our dissatisfactions with the Postmodern: the refusal to entertain that previous ideas can help now; the idea that what is lost is lost – our world has changed too much for the lessons of history, or the previous structures of society, to provide solutions to a globalizing, monetarily-nomadic, culture and set of cultures moving rapidly into a physical/virtual hybrid whilst its very environment, the Earth, sinks not so slowly, and overheats all too quickly. The Death of History, a neo-con called it.

The optimism of Rousseau, and the Enlightenment seem distant myths today, as antique as Virgil, or Tom. The twentieth century did for most ideas of social revolution with one exception: science and technology, which increasingly (perhaps always, though the process now seems more extreme) appears part of that un-revolutionary concept, business.

Things were different in Tom’s time. Down the road in Padua, Galileo was studying, adding to the Copernican “revolution” and moving us further from the “centre” of things yet seemingly closer to the true nature of our real selves. Science, telescopes, microscopes, perspectives, controversies about the very nature of our existence in the world, were shocking – but seemed progressive, and were undoubtedly a transformation in human understanding, part of Thinking as well as Business. Now we know that progress comes at a heavy communal cost: we’re often stuck with ourselves, alone and (sometimes) centred, and waiting for the 4.0 update, or the latest Google “alert”.

[People] “showing a greater fondness for their own opinions than for the truth…sought to deny and disprove the new things, which, if they had cared to look for themselves, their own sense would have demonstrated.”


Galileo



I think this morning that my journey is a pleasant, and probably very conservative, exploration of the nostalgic postmodern betwixt because I don’t want to seek out all the new foundations we’re building (post-God, nihilistic and virtual) without also holding on to some of the past that is fast speeding away. Examples of this are everywhere, anyway. Instead I am clutching…at my age, perhaps.

“Everything we believe in has become hollow; everything is conditioned and relative; there is no ground, no absolute, no being in itself. Everything is questionable, nothing is true, everything is allowed.”


Karl Jaspers. Der Philosphicshe Glaube, trs Karsten Harries.

In Padua I will have to further confront Galileo, Alberti: science, perspective, the infinite universe, God. Today I am thinking about all this because of one pink objet trouvée. Someone has left yesterday’s “Financial Times” newspaper – from England, I think – on the next table. In one section, “Digital Business”, a special report, the front-page headline is “Where Do We go from Here?” In my case: Este. In technology’s case: Version 7.0.

“It is easy these days,” writes Alan Cane, “to be overtaken by the future.” He quotes Don Rippert, chief technology officer of the world’s largest consultancy, “Accenture”. The company name is meant to allude to its corporate vision and accentuate the future. Born out of Arthur Andersen (Enron’s accountants, recently) Accenture leads a life not dissimilar to Virgil’s Rome: its Empire is vast, its Caesars, rich, and its foundations mythic, lost to pre-history (or the first of January, 2001, for the more historical out there).

Rippert says: “Younger people see e-mail as something older people do. I thought it was novel, next generation technology, but to young people its: ‘you should post to my site on Myspace. You should text message me, you should instant message me, why would you want to e-mail me? I don’t even check my inbox any more.’” And thinking about this sentence, together with the following eight pages of the special report, has taken up the rest of my day.

“…new Philosophy calls all in doubt,
The Element of fire is quite put out;
The sun is lost, and th’earth, and no mans wit
Can well direct him where to looke for it.”


Donne, “Anatomy of the World”.

Because, of course, Rippert wants e-mail out: its death would signal so much consulting work in the next “new Media” for Accenture. E-mail is, maybe, twenty years old now. Forty if we start with DARPA basics. Printing is over 600 years old, and still going stong-ish…

I started eight weeks ago to explore Tom’s Europe, and today’s reality, using not just what I know, but also what I could find, in books, magazines, online, and through conversations, in person, by e-mail; via blogs, sometimes. Though the results are mixed, and the output eclectic, I am finding my way: I think I’m learning. I have my tools, and though they’re not perfect, they do.

But the reality of the wired world, for normal travellers like me rather than Blackberry wielding business folk whose fortress hotels come with free wi-fi, is almost as unknowing and random as Tom’s journey. Books and people still help more than my computer. Terror laws in Italy mean that wi-fi is illegal in an internet café; many don’t have individual hard-drives (preferring a central server) so using a memory stick is impossible. Wikipedia, as I have written, is “fallen”, much of its information corrupted; search, despite Google, is still haphazard: if I search for myself, this blog doesn’t appear for pages, for example. When I need to know something definite my best bet is often to phone home for an answer: just like Who Wants to be a Millionaire? with its “Phone a friend”.

And yet technology marches on, and without any self-doubt seemingly. Two years after Tom’s visit to Padua, one of its most glittering academics writes of the new discoveries enabled by the invention – in 1607 – of the telescope: four new planets emerge, and with them a techtonic shift in the way we see the world. “All these facts were discovered and observed by me not many days ago with the aid of a spyglass which I devised, after first being illuminated by divine grace,” Galileo writes in “The Starry Messenger” of 1610. [A book that was rushed back to King James in England by the Venice Ambassdor/spy , Sir Henry Wotton].

But sometimes we don’t want to see: just as Accenture’s CTO grimaces as he describes “the death of e-mail”, so Cesare Cremonini, head of Philosophy at Padua university, and Galileo’s friend, wrote to him saying he would not use the telescope, as it would “confuse him.” Another colleague, Giulio Libri” told Galileo such observations were impossible, leading the “father of science” to hope that, after Libri’s death, he would see a few of the new planets on his way to Heaven.

Technological progress, and shareholder imperative, renders us almost permanently betwixt at the moment and tells us that the latest telescope is undoubtedly the best. It is a betwixtness that renders a five year old computer almost redundant, suitable only for John and Connie to circuit bend, the outdated version 2.7. If only violins were the metaphor for now.



Instead mobility in technology and communications is at the centre of these progressions now, has been for over two decades, first with phones, now with data and information-retrieval, community-building, retail, and all the myriad other services which once were based on a fixed computer, located in a precise location. According to Andrew Hibbert of Microsoft’s Cambridge laboratories [England-branch] “computers will increasingly become a prothesis for civilisation’s overburdened memories.” Which is putting it optimistically, I suspect. But it is the vision I have as I try to imagine future travel, connected to place, culture and community through physical and virtual bonds. What I am sensing reading the FT today is not the “shock” of the new, but the profits available in constantly “changing” the new. Whether for the good or not. How nice to see that vinyl is making a come-back, though the record deck in a hi-fi store in Mantua’s centre costs two thousand euros.

Today it isn’t just the mobility in technology or the mass of knowable, digitized information that is endlessly chipping at foundation, our sense of belonging; it is also our rootlessness, and – for many – the fact of so many less myths or faiths to believe in: for many there’s now only our most personal one, The Self. As I’ve quoted before: “Europe has never existed, one has genuinely to create Europe,” said Jean Monnet, “father of Europe” and one of the main architects of the post-war European Union. Now we seem to be moving to a variation on Monnet’s theme: “we don’t exist, and we have genuinely – or plausibly – to create ourselves.”



And with what? Facebook? So much of the rhetoric of the web is about individual expression and community building; so little about what that actually means.

Here is one vision of “travel’s” future from John Gage, chief researcher at Sun Microsystems: “Couple Google’s plans to map the surface of the earth to an accuracy of 20cm with global positioning systems – which means the position of the 2bn-3bn existing mobile devices could be located to within a metre – with IPV6 [the latest internet protocol] and we have the makings of a police state as well as incredible logistical power.”

Of course you have to be looking for the police state, a fear Americans (who have never known such a thing, despite the conspiracy theories) seem most vexed about: another way of seeing the potential of this technology would be to imagine a traveller arriving tomorrow in Padua who could not only orientate herself of the city, learn of its churches, cafés and the communities that she might enjoy, but once there could – every 20cm – know exactly what she is looking at, its history, in varied interpretation; and find others around who share these interests to have coffee, conversation, jokes, sex or dinner with. These interests could be about Renaissance ideas on Perspective, or lo-fi Italian rock music; fashion or print-making; Formula One or hedge-funds. That is the foundation of the betwixt community, surely?

“From 10 to 20 years ahead, your only guidance is demographics,” says Andy Mulholland, CTO at Capgemini. “what people have grown up with and what they see as normal.”

“Normal” is one of those words: in “Blink: The Power of Thinking without Thinking” Malcolm Gladwell says we “thin slice” the world, use an unconscious ability to detect and process “key information” in our world to make “snap” judgements and decisions. This is “normality” within the business context. A context whose temporal imperatives often seem to have merged with life itself. If technology is about speeding process, shouldn’t postmodern life be about bringing a balance, a slowing, rather than a mere copying of a machine’s processing power?

Similarly, journalists continue to valorize “teenagers” as showing us the way forward with technology. What they do will be “normal” soon enough, is the new and uncontested thesis. “Never in history have youths had so many ways to isolate themselves from the adult way as now,” Ian Limbach writes in another FT article. He continues that, far from being a brain-dead, befuddled, community, “today’s teenagers really just value technology as a means to being more connected with friends. This is about gossip, flirting and the lastest music…just 20 per cent consider themselves technology lovers…what youths do care about is feeling part of a community, building an individual identity and being entertained.” All research from MTV/Nickelodeon/MSN Research, “Circuits of Cool/Digital Playground Survey.” Published later this month. Check those sponsors and ask of their shareholder needs…

Which all illustrates that what is getting lost with our perspective on technology – a field driven by economic necessity in future-planning terms by what is “normal” for the current teenage generation – is not just the idea of “reflection” rather than the “snap decision”, but also, in this current security-conscious era, the potential “wonder” of it, rather than technology’s Trojan horse role as ultimate Big Brother or hermetic ninth circle of games-playing hell. When Sun’s chief researcher begins to sound like Galileo’s friends, not wanting to look through the telescope, then the polarities of the postmodern – looking forward and back – have vanished. He’s saying ‘I don’t like what I see’, without saying that he – more than most – has the opportunity to build our connected future another way, to see the meeting of Google, GPS, data and “place” as the most wonderful chance to reconnect us with history and people.

“I recently got a Slingbox as a present…I travel a lot so I’m excited to think I’ll be able to watch movies I’ve got on my Tivo [at home] when I’m in my hotel room…When I worked for Clinton’s chief of staff, Erskine Bowles, he was always saying: ‘Great people know Great people’, and this has become the company mantra. I’m a big fan of Facebook, the photo and software sharing site…So I carried on doing this [blogging] when we were restructuring in September 2006. One day I blogged about what was on my IPod, only to face a media storm with comments like: ‘Why is this guy going on about what’s on his IPod when he’s laying off people?’..now I’m a bit more careful.”


Jason Goldberg, Chief Executive of Jobster, an online recruitment service, interviewed today in the FT.

If we are the stories we inhabit, then today our newspaper story is Orwell without Rabelais, Easyjet without Tom Coryat, Romeo without King Lear: the future without a past. And, in Jason Goldberg’s case, profit without “shame”. Clutching at the hauntings still tangible on Tom’s route seems a good idea right now. Just as affirming not just the architecture and art here, but also the books written and the lives lived through history, not just the home-videos uploaded to You Tube (which I do love). And, of course, the people to talk to at the next table.

And these clutchings would be even easier if technology’s scope was aimed at more than arranging the dating habits of mid-western teenagers, or enabling us to watch English Pop Idol in Padua, and accepted the idea that – as Paul Taylor, its “personal technology expert” writes in perhaps the only heartening sentence in the entire Financial Times “special report” – “if you have found something that works for you and delivers what you want, the best idea is to stick with it as often the ‘bells and whistles’ that are attached to new gizmos just get in the way.”



Books, conversation, thinking, reflection – and the best that technology can deliver in terms of information and bringing people together: that would work for me. I’ve got enough bells already, ringing from the many churches here, and the whistles I can do myself.

Though never as confidently as the young Italians, pausing from a mobile phone conversation, or a coffee.

Wednesday, 11 July 2007

Flimsy Perspectives

The origin of things is wholly the work of that which imagines, thinks, wills, feels.

Friedrich Nietzsche.

This morning over coffee a young English “classics” post-graduate who is probably going to start an education course in New York this autumn says to me: “Of course Virgil wanted ‘The Aeneid’ burnt after his death, it wasn’t as he wanted it, he wasn’t happy. It’s amazing how flimsy these things are. If they burnt it, we would never know.”

I feel the same about everything I discover. How easy it is to miss the story, or view it under strange lighting, through the wrong lens, a foreshortened perspective; I can’t even guess at what I have missed or distorted so far. Isn’t that the “Secret” of Umberto Eco’s “Name of the Rose”? a burnt classic: was it Aristotle’s poetics…?

Virgil’s statue was destroyed here in 1399, as an idol, because at that time poets were to be regarded as liars, I read. Why? When did they come back into fashion? Was it Dante? Does it matter? Who reads poetry now?

When the artist Andrea Mantegna began to work for the Gonzaga family here in the middle of the fifteen century “art” was still considered a craft, not part of the relatively new “humanist” curriculum, taught and exported from academic centres such as the famous university in nearby Padua. The Gonzagas might have been in command here, but their territories weren’t enough to pay for their lavish lifestyle and extravagant tastes: they hired themselves out as Condotierri, mercenary generals. Guns for hire. Those guns helped to pay for a few of the humanist gems of the Mantuan Renaissance.

The house Mantegna commissioned and designed for himself is a short walk from the Gonzaga’s Palazzo Te. He built it to show his worth in the town, it was and still is said. Mantegna was a sort of self-made man, after all. Now the house is a minor “modern” art gallery, with the most fantastic computer-based installations about the construction, Mantegna himself, and the academic resources available on the artist. In one of the mathematically perfect rooms a cinema screen is installed and a great film about the artist is on continual loop. New media and classical architecture in harmony on the subject of an artist, who for thirty years helped to define “Art”.



The curator is quick to explain there are no works by Mantegna here, just the audio-visual. There is no furniture either, nor glimpses, or hauntings: just the virtual house on screen – which, curiously, is enough for me. “And the space itself, and the circular courtyard,” I say. Which is airy and calm. “Yes,” he says. “And the film is very good.”

”The Painted Room” written in 1976 by the experimental Danish author and poet, Inger Christensen (just check out her Wikipedia entry, and ask yourself had I really heard of her?) constructs a tripartite view of the Gonzaga court at Mantegna’s time. Here, one of her narrators describes the artist’s ‘attitude’ and her first vision of the casa Mantegna:

“If I know him aright, he has delusions of grandeur as do so many of the vagrant brats the state has adopted. Not by installing them in society. The upper class is too timid and too canny to do that. No, by letting them install themselves as a separate, self-governing, association, like the church: so these two areas in which talent and a fervent fear of God are all that counts….[of the house] The ground plan alone, which he has drawn, says it all. Throughout the centuries perfection in geometry has been reserved for the upper classes. But naturally this is something that this upstart must also have! Even if the wife and children have to live under the stairs, or in the pantry and wine cellar…”


It is said that Christensen will win the Nobel prize for literature one year…

In Dawson W. Carr’s monograph on Mantengna’s Adoration of the Magi (for the Getty Museum “Studies on Art”) he writes that in later life Mantegna was “a great cynic.” And by 1500 his “vision” outmoded. “Atmospheric naturalism” was the rage.

Very soon I will be in Padua, home once of Livy the Historian. Perhaps he can help. Or Alberti, Leon Battista Alberti…