Last summer I visited this museum and received its lovely magazine. Sticking with me in particular are the ceramics of Roberto Lugo and John Singer Sargent’s watercolor The Alhambra Vase. In the store, a bronze reproduction of a Chinese owl figurine, eight inches high.
How to get high evaluations? Old and new suggestions include never changing the syllabus, not allowing student input or collaboration on course structure, just telling them how things are going to be and sticking to it, not allowing screens in class, saying the evaluations are for tenure and promotion, pointing out evidence of race/gender bias in the evaluation process, and having students write a metacognitive essay before evaluating the course.
Filed under Arts, Working
Here is the poster for my cousin Alexei Aizenman’s centenary exhibit at the Pushkin House-Museum on Arbat, in Moscow. You should really go if you are in town.
In other news Gukira is a good blogger with an interesting post on Freire; I am told he is also the author of the best piece on Avital Ronell. A good writer and courageous.
Here is the exact meal. Later you make gizzard soup with vinegar, carrots and leeks, and sometimes extra apples and prunes.
Here is the beginning of one of my stories that never gets published. Others may not, but I like my own style.
How many roads lead to Heaven? If you trip on the bridge, do you fall? Had some event marked Una, did a single moment fix her to her chair? Or was it an accretion of forces, a slow accumulation; a maze of impasses that calcified her bones to the rock? It may be either or both, as damage comes at every speed and the effect is the same.
Ought she to find someone to cultivate, and not simply care for her? Had this been Frank’s desire before he was cast in her mold? Love loves and does not coerce, but would he love her without her wounds? Then there was the farm, the mere duty of it that drained her, although she wanted it. Suffering and balm were the coin of her realm.
We had been expensive and must make the debt good. Our value varied with the markets, which careened. We received love; our debt increased with undeserved kindnesses. Still we dreamed of loving an object that would not set itself below us, or above. A diamond or a comet, we thought, a fiery gem that would hit us right in the chest.
At the end of the summer break I will get to Houston, and I will be there in time to see what is apparently a truly important exhibit on Mexican modernism.
This of course engages my topics: avant-garde discourse (revolution, modernity), and representations of race (nation), interests I must articulate in a more precise way than I am doing at this moment.
I should hone in on all art exhibits in this way.
From Austerlitz, I learned about this Resnais short obliquely based on Borges, Toute la mémore du monde. This article, about architecture in the Bibliothèque Nationale of France, complements the film and the novel very well. And here is a set of 13 films of works by Borges and Bioy Casares.
How do you see film “à la Alain Resnais”? There is a moment in Hiroshima mon amour where Emmanuelle Riva says “Bien regarder, je crois que ça s’apprend.” The entire film is about vision, and it is about war, so it is related to Austerlitz.
Related to both Borges and Resnais: Mon amour, reading films; another list of films on Bioy, in a book; another discussion of Bioy, Resnais, and film.