Mendocino County, 2019

I just came back from a visit to Mendocino County, California, and here are 20 of my pictures from that trip. I’ve chosen to present these photos at a “large” size (not “full”) and “high” resolution (not “maximum). I hope you enjoy them.

We stayed in this house, designed to collect solar heat with its high row of windows facing south, and its full length solarium. The large vegetable and fruit garden is being prepared once again for the coming spring.

 

A meditative spot by the house is the Koi Pond.

 

Daffodils have started to carpet the green fields of the old cemetery for the town of Manchester.

 

Navarro Beach, where the Navarro River meets the Pacific Ocean, south of the hamlets of Albion and Little River.

 

I can never take too many pictures of the beach and surf.

 

The “isness” of nature is so beautiful, it takes you out of yourself and into the universal and primordial.

 

Grace Carpenter Hudson (1865-1937) was an American fine arts painter. She made this self portrait in oil, in 1881, when she was a 16 year old art student in San Francisco. This photo is only of a portion of the full painting.

 

Grace Hudson spent most of her life in the small city of Ukiah (inland Mendocino County), where today many of her art works are displayed at the Grace Hudson Museum.

 

Grace Hudson focused her artistry on the portraiture of the Pomo Indians, who live (still) in the Ukiah and Potter valleys (of inland Mendocino County). She painted real people in the natural settings of the region. This particular painting is about “the birth of song.”

 

A young Pomo girl with her pet fox.

 

A young Pomo girl with an orange, and attitude.

 

Grace Hudson made many paintings of Pomo children and babies. This is a detail of one of her best known “baby pictures.”

 

Grace Hudson sketched this amazingly subtle and detailed portrait of an expert Pomo basket weaver, and friend, with bitumen (which I think of as a coal/tar crayon).

 

Nit’s Cafe is a small, wonderful Thai-themed restaurant in Fort Bragg.

 

This view shows over 90% of the dining area of Nit’s Cafe. Note the potted orchids and colored lights. The food is phenomenal; the seafood is exquisite.

 

Menus at Nit’s Cafe.

 

Here is the chef of this one-woman enterprise, Nit herself: an accomplished gourmet chef who combines refined French culinary technique with Thai sensibility, and a passion for fine cooking. A lively and lovely person. Nit’s is at 322 CA Hwy 1 (the main street through Fort Bragg, in the center of town).

 

Point Navarro, north of Navarro Beach and south of Albion and Little River; looking west toward the setting sun, from near the edge of the high cliff (rocky surf below, and a very windy day).

 

The ceaseless surf at Navarro Point.

 

Looking north from the same cliff-edge spot at Navarro Point.

 

I Learn About F. Scott Fitzgerald

Scott and Zelda Fitzgerald, with daughter Scottie

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I Learn About F. Scott Fitzgerald

After decades of resisting the writings of F. Scott Fitzgerald (1896-1940), thinking him and them as inconsequential and passé, I finally fell under their spell. He was a literary genius, a great romantic and perceptive and fundamentally tragic writer. His novel, The Great Gatsby, is shimmering, transcendental (beyond the powers of cinema to capture), and – from the perspective of our limited human lifetimes – eternal. A collection of his short stories compiled in 1960, Babylon Revisited, is fascinating, showing how inventive he was at devising characters and plots detailing the intertwining of the psychologies of those characters. And he would present it all with fluidly lyrical prose of amazing compactness. What has drawn me to his stories is his implicitly deep understanding of the human heart, which he conveys from behind the casual facade of both manic and faded Jazz Age settings. What I see from his own personal story is that every true artist must constantly struggle to be able to do the work that expresses their art and gives their life meaning, despite the enervating drag of the many demands heaped on one by the needs of economic survival, exhibiting sufficient conformity for social acceptance, and the emotional needs – and illusions – of close family. I think that is the great heroic epic of each artist’s personal life: somehow producing the work held deep in the heart and soul and mind, despite both the intentional and indifferent impediments placed before that artistic drive by life’s banalities. Some succeed better than others, and some are broken and fail in that they themselves are lost to life and their unknown art stillborn. With all that F. Scott Fitzgerald wrote, I think that we are only seeing fragments of his potential, even given that he was one of America’s supreme literary artists. I appreciate his decades of struggle to produce those gems. It can be very hard to be an ordinary, imperfect human being gifted to be an instinctive channel to a primordial artistic insight and creative drive. His gift to us is the wider awareness we may gain by reading his stories, and immersing ourselves in his enthralling lyricism. I’ve now embarked on Tender Is The Night, which he called “a confession of faith.” In the last year of his life, F. Scott Fitzgerald earned $13.13 in royalties. Since his death in 1940, more than 10 million copies of his books have been sold throughout the world.

Winter Dreams: F Scott Fitzgerald’s Life Remembered (PBS, 2001)
https://youtu.be/XnEO8yT_ApM

Sincerely, F. Scott Fitzgerald (BBC, 2013)
https://youtu.be/cCfUsaX5F10

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Cinema Art From 1968 For Today

For me, 1968 was the most consequential year in American history since the end of World War Two. It was a year filled with uplifting superlatives like: the explosion of fierce creativity and variety in popular music and the arts generally, including the premier of that revolutionary television program for as yet unconditioned humans, Mister Rogers’ Neighborhood; and it was a year filled with disastrous superlatives like: the meat-grinder crescendo of the Tet Offensive in the Vietnam War, the assassinations of Martin Luther King, Jr., and Robert F. Kennedy, and the urban riots sparked by anger over King’s murder and America’s stubbornly embedded racism.

I think that in the fifty years since, the U.S. has regressed socially, culturally and intellectually (except in a few important areas regarding the treatment of women and LGTB people) while simultaneously advancing technologically. But, so much of that technological advancement has been skewed and debased with wasteful profit-seeking and idiotic consumerism. We are a country of lowered imagination, aspirations, expectations, hopes and economic opportunities, awash in highly advanced electronic technologies diffusing stupidity and disinformation for continuous mass distraction and disempowerment.

So, I found it bracing and reinvigorating to recently see three movies — playing in theaters this summer of 2018 — that are each masterpieces of or about that time half a century ago, and remain fresh and compelling today.

WON’T YOU BE MY NEIGHBOR?, a superb and touching documentary about Fred Rogers and his long-running and revolutionary children’s television program, Mister Rogers’ Neighborhood, is actually a film of 2018. Its very existence begs the question: why is such television programming no longer being broadcast daily as a government-funded public service? (I know, commercialism über alles). Among the many amazing stories in this film is that of the overt and explicit anti-war message of Fred Rogers’ TV show in its first week of broadcast, in February 1968, which was during the height of the Tet Offensive of the Vietnam War and also the month of the highest rate of fatalities of US soldiers in that war (it was far worse for the Vietnamese, Laotians and Cambodians all the time).

Remember, Fred Rogers aimed his messages against war, against bigotry, about facing death, about dealing with your parents’ divorce, and about many other real world experiences both big and small, to children in the toddler, pre-school, kindergarten and very early grammar school years; amazing!

In being free of the macho insecurities so closely guarded and secreted by so many of America’s outwardly manly men, and with his strength of character and absolute commitment to love and to the respect of children, he remains for me “the strongest man in America.”

“Love is at the root of everything, all learning, all relationships, love or the lack of it.”
https://www.youtube.com/watch?v=FhwktRDG_aQ

2001: A SPACE ODYSSEY premiered 50 years ago. Now, it has been gloriously reprinted as a 70mm six channel soundtrack Cinerama spectacular, and is once again being shown in selected theaters this summer. We saw it today (17 August 2018). Not only is this a movie masterpiece, it is one of the great works of art of the 20th century, and it remains an advanced work of conceptual, philosophical and cinema art today, and is likely to remain as such for quite some time to come.

This film conveys a visceral experience of encountering utterly alien intelligence in the unbounded expanse of unworldly space-time, by use of expansive and profound visual imagery combined with lush, majestic and enveloping music — classical music! — and by the use of deep silences and grandly unhurried pacing, which is so alien to our cacophonous myopic zero attention span hamster wheel earthly circus.

This movie rewards whatever exercising of your intellect you engage in as a result, by resonating with your own pondering and speculations on ultimate questions. It was grand immersing myself in this masterpiece again, on the big screen with the big sound, my eyes filled with wonder, my mind abuzz with transcendence.

“Open the pod bay doors, HAL.”
https://www.youtube.com/watch?v=oR_e9y-bka0

YELLOW SUBMARINE premiered 50 years ago. Now, it has been gloriously restored and is once again being shown in selected theaters this summer. We saw it last month, a wonderful experience. See it if you can, on the big screen with the big sound: Beatles music with imaginatively unrivaled animated imagery.

Now more than ever we need the spirit of Yellow Submarine to permeate the populace, because the Blue Meanies are out there in force devastating our world with their dour dumbfounding deadly doofusness. Revolution is first and foremost a matter of heart — many revolutionary good, strong and happy hearts — and this movie has a lot of heart. It also remains an advanced work of art, given the sad reality of our decayed, stagnant and backward culture.

“All you need is love.”
https://www.youtube.com/watch?v=uOlwwoZLoKE

I don’t want to come across as an old fogy disparaging today’s youth by complaining that “things were better when I was a kid than they are today.” What I do wish to encourage is that people look back with appreciation to the real gems of the not-that-distant past, to both learn from and be heartened by them, and to help today’s vibrant (young!) people to infuse their now-time with heart, love and revolution, and thus help create both artistic and material advances of real human value to our shared national and world societies.

Enjoy!

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Societal Death or Transfiguration?, Cinema Visions of Humanity Facing Extinction

How should world society respond to the approach of human extinction compelled by implacable external forces, such as: radioactive fallout after a global nuclear war (as in Nevil Shute’s novel On the Beach), or an alien invasion by a species of technologically superior beings from outer space, or an impending collision between Earth and a massive planetoid, or (as seems most likely today) by runaway and irreversible Climate Change?

The general question has long been the seed for spinning out entertaining speculations in fantasy novels and science-fiction movies, but now it has become a serious matter of immediate concern for an increasing number of geo- and social- scientists and social planners. Mayer Hillman, an 86-year-old social scientist, urban planner and senior fellow emeritus of the Policy Studies Institute in England, says (in an article published by The Guardian on 26 April 2018, https://amp.theguardian.com/environment/2018/apr/26/were-doomed-mayer-hillman-on-the-climate-reality-no-one-else-will-dare-mention):

“We’re doomed. — The outcome is death, and it’s the end of most life on the planet because we’re so dependent on the burning of fossil fuels. There are no means of reversing the process which is melting the polar ice caps. And very few appear to be prepared to say so. — I’m not going to write anymore [about the projected consequences of runaway Climate Change] because there’s nothing more that can be said. — With doom ahead, making a case for cycling as the primary mode of transport [instead of automobiles] is almost irrelevant. — We’ve got to stop burning fossil fuels. So many aspects of life depend on fossil fuels, except for music and love and education and happiness. These things, which hardly use fossil fuels, are what we must focus on. [Hillman is amazed that our thinking rarely stretches beyond 2100 when discussing scientific predictions on the increase of average global temperature.] This is what I find so extraordinary when scientists warn that the temperature could rise to 5C or 8C. What?, and stop there? What legacies are we leaving for future generations? In the early 21st century, we did as good as nothing in response to Climate Change. Our children and grandchildren are going to be extraordinarily critical. — Even if the world went zero-carbon today that would not save us because we’ve gone past the point of no return. [Action by individuals to limit their ‘carbon footprint’ – their direct and indirect production of greenhouse gases is] as good as futile. [National action by the UK along the same lines is also irrelevant] because Britain’s contribution is minute. Even if the government were to go to zero-carbon it would make almost no difference. — [The world as a whole would have to go zero-carbon, but can that be done without the collapse of civilization?] I don’t think so. Can you see everyone in a democracy volunteering to give up flying? Can you see the majority of the population becoming vegan? Can you see the majority agreeing to restrict the size of their families? — Wealthy people will be better able to adapt but the world’s population will head to regions of the planet such as northern Europe which will be temporarily spared the extreme effects of climate change. How are these regions going to respond? We see it now. Migrants will be prevented from arriving. We will let them drown. — [Few scientific, political; and religious leaders have been honest with the public on all this, in order to protect their own positions] I don’t think they can [be forthright] because society isn’t organised to enable them to do so. Political parties’ focus is on jobs and GDP, depending on the burning of fossil fuels. — [Can the now obvious signs of advancing Climate Change spark an epiphany in humanity’s collective mind, and cause it to relinquish its ultimately self-destructive fossil fueled binge?] It depends on what we are prepared to do. Standing in the way is capitalism. Can you imagine the global airline industry being dismantled when hundreds of new runways are being built right now all over the world? It’s almost as if we’re deliberately attempting to defy nature. We’re doing the reverse of what we should be doing, with everybody’s silent acquiescence, and nobody’s batting an eyelid.”

Now, let us consider the 2017 American movie Downsizing, given this context.

Downsizing is an intelligent and, by American standards, subtle cinematic science-fiction social satire about the individual’s problem of securing sufficient wealth to comfortably sustain their lives in a secure cosmopolitan community for the duration of their lifespan. This movie was conceived by Alexander Payne and his writing partner Jim Taylor, and directed by Payne who has numerous successful movies to his credit: Election (1999), About Schmidt (2002), Sideways (2004), The Descendants (2011) and Nebraska (2013). Downsizing was not well-received by the majority of the viewing public because it is a film about ideas, thus requiring thinking for its enjoyment, as opposed to being a cinematic delivery vehicle for emotive sensations and jolting stimuli to provide passive unthinking viewers with 135 minutes of thrilling distraction.

The central pit in Downsizing, around which the screenplay and the screenwriters’ implied social commentaries have been grown like the flesh of a stone-fruit, is that science has discovered a process for harmlessly shrinking living cells and organisms, enabling humans to be reduced to Lilliputian size so that their existing savings and equity in the “big world” can economically sustain them in lifetimes of luxury in the “small world,” because their “ecological footprints” – both for consumption and waste production – have been miniaturized. The attraction for “getting small” is basically a get-rich-quick scheme leading to an endlessly sustainable high-life coupled with the pleasurable sense of eliminating one’s big-world guilt over contributing to Climate Change and the environmental degradation of the planet, which is caused by its “overpopulation” with “big” capitalist-minded, wasteful and exploitative people. In brief: having it all.

The problem with making an expensive ($68M) artful cinematic work whose purpose is to stimulate thoughtful societal awareness – if you want to recoup your investment – is that you have to market it successfully to the masses of cinema-viewing yahoos. Downsizing was released on 22 December 2017, and as of 1 February 2018 (its theatrical closing) had only grossed $55M. It just didn’t hit the yahoo g-spot, and they hated it for boring them.

The “lesson” in the screenplay of Downsizing, which was delivered in a clear sedately-paced and understated way (which I like), is that the solution for achieving fulfilling individual lives in peaceful and comforting societies is for the people of such would-be societies to take care of one another: popular humanitarian socialism. Regardless of whether a society enjoys being situated in a natural or artificial paradise and is economically secure, or whether it is environmentally and economically stressed and doomed to extinction, the best that it can ever be for all of its inhabitants during its duration is entirely the result of its peoples’ commitment to construct mutually fulfilling lives of cooperation and compassion, instead of seeking to escape – from the masses of the less fortunate – into exclusive refuges and redoubts of enclosed privilege to continue with lives of egotistical self-centeredness and selfish indifference.

This message is ancient. It was part of the Buddha’s “Triple Jewel” teaching to his disciples and fellow monks and nuns (the Sangha), to ‘take care of one another’:

I will go to the Buddha for refuge.
I will go to the Dharma [the teachings of Buddha; the Buddhist way of life] for refuge.
I will go to the Sangha [harmonious community] for refuge.

The Buddhist sense of ‘taking refuge’ expressed here is not a running away from the rest of the world, but a commitment for living a truer life within it, based on Buddhist precepts.

There have been many book and movie stories centered on the idea of: individual fulfillment found through mutual help for securing group survival if possible, versus seeking individual escape from group peril, and from guilt over abandoning responsibility. Three such stories that came to my mind while pondering the movie Downsizing were the films: Lost Horizon (1937), The Day the Earth Stood Still (1951), and Zardoz (1974).

Lost Horizon is Frank Capra’s film of the James Hilton fantasy novel about Shangri-La: a fabulous and peaceful Buddhist-style refuge from modern society and its torments, situated in a life-extending green valley that is hidden within the otherwise frigid and snowy expanse of the high Himalayas. But, can Shangri-La truly be an escape?

The Day the Earth Stood Still is Robert Wise’s movie of Edmund H. North’s screenplay of Harry Bates’s story of an alien ambassador, Klaatu, and his all-powerful robot, Gort (with a heat-ray beam-weapon dematerializer), who arrive in a Flying Saucer to deliver a message to humanity from an alien Federation of Planets: live peacefully on Earth and join our Federation as an independent planet, but do not militarize space with your rockets and nuclear bombs, because we would take that as a mortal threat and then our space-patrolling robot police, like Gort, would “reduce your Earth to a burned-out cinder.” Humanity’s escape to the good life, which is offered in this movie fantasy, would be achieved by forsaking war-making in all its forms to instead gain the advanced knowledge and technology of Klaatu’s interplanetary civilization, and that technology would vastly enhance the quality-of-life of the popular humanistic socialism that humanity would have to adopt as its new social paradigm.

Zardoz is John Boorman’s film about a far future post-apocalyptic immiscibly stratified static society that is suddenly ruptured by violence against its tiny elite, which results in a complete blending of humanity and a rebirth of human evolution. The Eternals are non-aging humans who live in a paradisal community, the Vortex, bubbled from the external misery by invisible force fields, and containing advanced endlessly-fueled hidden technology that automatically maintains the Eternals’ unending and idyllic existences. All the fruits of humanity’s previous achievements are now maintained in the Vortex, but the Eternals are all bored with their immortal lives of effortless omniscience and leisure. The vast expanse of the Outlands beyond the Vortex is a wasteland inhabited by the Brutals, people reduced to being isolated dumb animals without any civilization or social cohesion, scrounging through the wreckage of the previous world for each individual’s survival. Among the Brutals is a horse-riding semi-organized militia of enforcers, the Exterminators, who receive guns from Zardoz, a god in the form of a huge flying stone head that orders the Exterminators to enslave defenseless Brutals into chain-gangs to perform rudimentary agricultural labor, or other such work as mining, as might be required to supply the Vortex with what its denizens desire. The Exterminators punish any infraction and every failure by a Brutal – however trivial – with instant death by gunfire. The Exterminators, all men, also exult in their power and preference by their god, Zardoz, by freely raping and pillaging among the Brutals. Zardoz tells them: “The gun is good.” It is the hobby and amusement of Arthur Frayn, one of the Eternals, to carry on the charade of being Zardoz (piloting the stone head, and supplying the Exterminators with commands and cascades of firearms). It happens that through an instance of Arthur Frayn’s carelessness one of the Exterminators, Zed, manages to get into the Vortex and once there evolves despite an oppressive captivity, from Brutal ignorance to Eternal knowledge, and this leads to the complete and violent death of Vortex society, and transfiguration of humanity. The movie Zardoz is a dark – black – analog to the much gentler if still subtly sharp Downsizing.

The essential lesson of responding to the approach of a destructive inevitability beyond your society’s power is to engage in compassionate cooperation to make your society as good as it can be for as long as you and it can be made to last, and to find your life’s fulfillment in doing so.

This idea is captured visually so simply in the last moments of Downsizing that it remains invisible to the majority of the viewing public. And so our fractious collectivity cruises onward, untrammeled, towards its willfully unexpected collision with fate.

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Societal Death or Transfiguration?, Cinema Visions of Humanity Facing Extinction
30 April 2017
https://www.counterpunch.org/2018/04/30/societal-death-or-transfiguration-cinema-visions-of-humanity-facing-extinction/

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Of related interest:

The Righteous And The Heathens of Climate And Capitalism
12 March 2012
http://www.swans.com/library/art18/mgarci43.html

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Message #1 to a Young Artist

I want to commend you (give you praise) for your resolve to study deeply, even if that means taking “hard classes” with “lots of work.” Any creative person who produces worthwhile work is a person who has studied deeply, whether formally at a school or independently and intuitively by conscientious practice (or both). Good and great work comes out of a prior build-up of deep study. On a simple and practical level it is best to get as much “learning” as you can out of a school you are paying to attend. But beyond that, it is artistically and intellectually most beneficial to gain as much information, insight and understanding as possible about your chosen craft, and about the history of the culture you come from and the society you are living in, so your knowledge has depth, which will be the well from which you will draw the elements of your future creative works. When you remain committed to this “career” of study, and focussed on your personal artistic (and intellectual) vision, you will be able to move through your schooling (and life) with greater ease even as friends and acquaintances drop in and drop out of your social circle: you will be able to navigate beyond others’ dramas with less distraction and damage to yourself, and you will find that there will always be new and delightful people who can come into your life without being clingy drags. Over time, the experiences (both good and bad) you gain from your self-motivated course of study and practice build up as a growing fund of wisdom, which improves your ability to continue navigating your voyage through life, and improves your ability to create finer art. I am writing you this because I do not want you to get discouraged by the loss of friends, and the fleeting nature of many seemingly close friendships. There is no blame, just the unknowable chaos of the flow of life. Be happy in being immersed in your learning and in doing well in your creating. Love.

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For Message #0 to a Young Artist, see:

Art versus Stomach
https://manuelgarciajr.com/2018/01/29/art-versus-stomach/

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Art versus Stomach


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Art versus Stomach

Whether an artist will have enough means to buy the next meal, and subsequent meals, depends on how much editing and limitation of his artistry he is willing to accept. If your aim is to produce the greatest and most refined art you are capable of, then you cannot expect to capture a sufficient audience to meet your ego’s hopes for approval and enriching rewards, nor your metabolism’s need for its necessary nourishment. This is the eternal conflict between art and commerce, between fulfillment and popularity. Committed genius is more likely to die of an empty stomach, than a reliable hack is to want for a full belly. A happy artistic life is one that strikes a balance between the extremes of: an isolating commitment to the compulsion for creating excellence, versus the popular mediocrity of a comfortable prosperity.

28 January 2018

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Old Songs of Youth’s Promise

Anthony Tarrant reminded me of Wooden Ships by Crosby, Stills, Nash & Young, from long ago, and it got me thinking of the past. I shared Anthony’s post (on Facebook) because it moved me, and commented on it. So, further below are two responses in kind: music of unadorned art and sincere feeling far, far beyond the simplistic garish bombast of corporate “music” today.

Wooden Ships – Crosby Stills Nash and Young
https://youtu.be/3Q3j-i7GLr0

Takes me back to a lost world, lost dreams, and a different kind of people, both men and women. There was still the same kind of superficiality, the same kind of selfishness and venality as today, but I remember a much greater sense of optimism and even brotherhood (prompted mainly by anti-war sentiment) than I see today. Back then, it seemed evident that society would continue to improve, perhaps too slowly but inexorably. For me, that dream died on election day, 1980 (and then December 8 of that year). That’s why I had such resurrected hope in 2016 with Bernie Sanders, and was so angered by the petty and ignorant criticisms of him by idiot right-wingers and effete self-important and disconnected boutique leftists. This, and songs like this were like the aroma and pleasurable smoke on the breezes wafting a lovely girl’s hair as we looked with dancing eyes and knowing smiles out a big open window onto the springtime of our Sentimental Education (Flaubert) not knowing of dark chapters and separating currents to come far later. And here I am, marooned on a island of memories none now knows the language for understanding.

Don McLean – Vincent ( Starry, Starry Night) With Lyrics
https://youtu.be/oxHnRfhDmrk

Soldier, We Love You (Rita Martinson)
https://youtu.be/7iMusPYq83g

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Anthony Tarrant
https://anthonytarrant.wordpress.com/

Anthony also maintains a presence on Facebook.

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ADDENDUM, 15 January 2018

I just took a trip back to 1969, here it is:

Crosby, Stills, & Nash, CSN (1969 Complete 1st L.P./Classic Vinyl)
https://youtu.be/fM8hpsrmUe0

I heard this album about 10,000 times back when. The first two songs in particular are icons, hits, and paint a sound picture of some of the living in those times. Actually all of the songs on this album blend into one complete work, like the movements of a symphony. Back then you could walk past a college dorm and hear this album pouring out of one open window after another. Quite a reality.

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