mills

My name is Mills Baker; I write about love, culture, art, religion, mental illness, philosophy, memory, politics and the rather random.

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Homes in flooded, post-Katrina New Orleans.
A case in point of Will’s exceptional memory: more than a year ago, on March 6th, 2008, I posted a photograph and wondered at the photographer; at the time, I wasn’t able to determine the source, which frustrated me as I considered it one of the finest examples of beauty in disaster to emerge from Katrina.
Last night, Will emailed me -from across the room- to let me know that he’d stumbled across the photographer’s site. It is by Benjamin Krain, whose work is just wonderful.

Homes in flooded, post-Katrina New Orleans.

A case in point of Will’s exceptional memory: more than a year ago, on March 6th, 2008, I posted a photograph and wondered at the photographer; at the time, I wasn’t able to determine the source, which frustrated me as I considered it one of the finest examples of beauty in disaster to emerge from Katrina.

Last night, Will emailed me -from across the room- to let me know that he’d stumbled across the photographer’s site. It is by Benjamin Krain, whose work is just wonderful.

“His mind was too active to be an accurate receiver. What he thought he had heard was never exactly what you had said.”

C.S. Lewis on his father, who I want to make clear was in this respect not at all like my own. This description, Abby would be glad to tell you, applies more to my egregious imbalance between restless mental activity and inattention.

But I think it’s a very good point: there is a connection between activity and reception in the mind. I never remember anything but am always thinking, generally quite uselessly but sometimes profitably; my memory, on the other hand, is the worst of anyone I know, and has actually grown faultier as I’ve grown more distracted in keeping with the times. I can feel my memory improving whenever I am away from civilization for a spell, away from the web in particular.

As a contrast, I never hear Will babbling or pondering the sort of imbecilic minutiae which make up my internal monologue, and he remembers everything.

Photographic hero Propellers for Umbrellas has a second site, where she posts the photos that, for various reasons, didn’t make it to her main site; she calls it “a shelf of knicknacks or a drawer full of old letters and waiting-room doodles.” They’re really wonderful. It’s called and then after.

Photographic hero Propellers for Umbrellas has a second site, where she posts the photos that, for various reasons, didn’t make it to her main site; she calls it “a shelf of knicknacks or a drawer full of old letters and waiting-room doodles.” They’re really wonderful. It’s called and then after.

Tags: photography

Birthdays and Joy

Today is my wonderful father’s birthday; it is also Paul’s; it is also the anniversary of Kristallnacht and of the fall of the Berlin Wall. Does anyone know how precisely –if at all- the Earth is in the same position relative to the sun in successive years on a given date?

My father has given me a great deal, and I’ve taken even more from him, particularly materially. One of my favorite gifts from him was C.S. Lewis’ marvelous autobiography of youth, Surprised by Joy, which explores a sensation the pursuit of which was to guide Lewis’ life.

By Joy, Lewis means a precise phenomenon which is by its nature indescribable directly; I often think of it as a kind of profoundly asymptotic experience, profound because all reality, all contact, all intellection is in some senses asymptotic; the asymptote is a metaphor I think of often. Lewis says Joy is “an unsatisfied desire which itself is more desirable than any other satisfaction.” He continues:

“Joy…is here a technical term and must be distinguished from both happiness and pleasure. Joy has indeed one characteristic, and one only, in common with them; the fact that anyone who has experienced it will want it again. Apart from that…it might almost equally well be called a particular kind of unhappiness or grief. But then it is a kind we want. I doubt whether anyone who has tasted it would ever…exchange it for all the pleasures in the world. But then Joy is never in our power and pleasure often is.”

Joy is, for Lewis, most often brought about in contemplation of certain worlds, particularly in childhood, and I think it is most universally understood in that way: think of those worlds, those spaces you adored or considered magical in your youth. Perhaps it was a shed in which you played with a friend in which the sun though a small window illuminated the suspension of dust and made it appear that there was a wall of light. Perhaps it was the universe of a favorite children’s book, the illustrated rooms of which seemed rich in depth, every detail en enormity.

Perhaps it was even more vague; Lewis recalls the stirring of Joy when reading a poem:“I desired, with almost sickening intensity something never to be described (except that it is cold, spacious, severe, pale, and remote,” and later relates the development of his interest in Norse mythology to this resonance.

The frequency with which I’ve felt Joy has varied greatly; I anxiously worry that my medicines stifle it, but I have come to feel that it is actually ineluctable if one has any life of imagination at all. I feel that it is, in fact, a kind of barometer of my internal world. But it is rare, rarer than anything else I experience.

Lewis writes that “All Joy reminds. It is never a possession, always a desire for something longer ago or further away or still ‘about to be.’” In his life, the catalyst for Joy changed greatly over time and eventually became religious; indeed, there is much in the perpetually anticipatory, asymptotic, ungraspable, unspeakable quality of Joy that reminds one of various mysticisms, particularly of the East. But it is universal, I think; it is what sets us wandering in childhood, searching for beauty less of a formal than an emotional sort.

I’d never known that anyone else felt it before I read Surprised by Joy, and I can thank my dad for bringing awareness of it to me; he has done so with so many things I treasure over the course of my life that I could never repay him. Neither could I repay him all the money I’ve taken, but I think the former debt is the more significant.

[Flash 9 is required to listen to audio.]

Rebirth Brass Band - When the Saints Go Marching In

I’m starting to get used to very nearly not winning and then winning. Not really: every time I’m certain we’ll lose. Previously.

Tags: music saints
My parents just returned from Spain, and my father wrote to me about the magic square on Josep Subirachs’ Passion Facade of the Sagrada Familia, the amazing Cathedral by Antonio Gaudí still under construction in Barcelona. I was there more than ten years ago, but I don’t recall noticing the square.
Magic squares are mathematical puzzles; all rows and all columns add up to the same sum, in this case 33, the age of Jesus at his death. This is not a true magic square, as some numbers are duplicated.
Readers of Steve Martin’s wonderful novel The Pleasure of My Company might recall that magic squares have an interesting history, and were evidently enjoyed by Albrecht Dürer, among others. The presence of one on the Passion Facade is perhaps interesting, or is perhaps reflective of the sort of aesthetic and philosophical ideas that made Subirachs’ additions so controversial; my father, for example, detests them. I don’t like that he ignored Gaudí’s vision and I suspect his work will not endure: its style seems to me preoccupied with its own revolt against tradition; it is indifferent to its audience.
Here is the Nativity Facade (photo by Brian Colson; more photos of this facade are here):

Although radical, its quality is primarily organic; it seems to me as though it is carved on the inside of a cave. What is remarkable is that it remains extravagantly ornate, but is not ostentatious in its ornateness; that is an achievement. Here is the Passion Facade, made many years later by Subirachs, shot by the same photographer (more here):

Details are particularly revealing of the differences, the former as lush as stone can be, alive, corporeal, the latter austere, severe, modernist, angular. See details here and here, for a good encapsulation of the differences.
Cathedrals once, and evidently still, take centuries to build, and styles changed as they were constructed, although with less speed than is presently the case. The incorporation of many styles and subsequent additions generally delights us now, and perhaps this will as well someday. But, to be very simple about it, I find Subirachs’ work ugly and dispiriting.

My parents just returned from Spain, and my father wrote to me about the magic square on Josep Subirachs’ Passion Facade of the Sagrada Familia, the amazing Cathedral by Antonio Gaudí still under construction in Barcelona. I was there more than ten years ago, but I don’t recall noticing the square.

Magic squares are mathematical puzzles; all rows and all columns add up to the same sum, in this case 33, the age of Jesus at his death. This is not a true magic square, as some numbers are duplicated.

Readers of Steve Martin’s wonderful novel The Pleasure of My Company might recall that magic squares have an interesting history, and were evidently enjoyed by Albrecht Dürer, among others. The presence of one on the Passion Facade is perhaps interesting, or is perhaps reflective of the sort of aesthetic and philosophical ideas that made Subirachs’ additions so controversial; my father, for example, detests them. I don’t like that he ignored Gaudí’s vision and I suspect his work will not endure: its style seems to me preoccupied with its own revolt against tradition; it is indifferent to its audience.

Here is the Nativity Facade (photo by Brian Colson; more photos of this facade are here):

Although radical, its quality is primarily organic; it seems to me as though it is carved on the inside of a cave. What is remarkable is that it remains extravagantly ornate, but is not ostentatious in its ornateness; that is an achievement. Here is the Passion Facade, made many years later by Subirachs, shot by the same photographer (more here):

Details are particularly revealing of the differences, the former as lush as stone can be, alive, corporeal, the latter austere, severe, modernist, angular. See details here and here, for a good encapsulation of the differences.

Cathedrals once, and evidently still, take centuries to build, and styles changed as they were constructed, although with less speed than is presently the case. The incorporation of many styles and subsequent additions generally delights us now, and perhaps this will as well someday. But, to be very simple about it, I find Subirachs’ work ugly and dispiriting.

“First, we will set up a single goal to represent educational success, which will take four years to achieve no matter what is being taught. We will attach a large economic reward to it that usually has nothing to do with what has been learned. We will urge large numbers of people who do not possess adequate ability to try to achieve the goal, wait until they have spent a lot of time and money, and then deny it to them. We will stigmatize everyone who doesn’t meet the goal. We will call the goal a “B.A.”
Charles Murray in an arresting piece on America’s absurd, outmoded, socioeconomically cruel university system (thanks dad!). While at Bard I’d not have understood his points; my time at LSU illustrated his thesis: for many students, the B.A. is an artificial goal, often unattainable and usually unrelated to their subsequent careers; it is, in most cases, a token reward for waiting and surviving in the back of the classroom for a few years while sinking deep into debt. Perhaps its primary function is to communicate that one was able to afford not to work for some years: a class badge.
Tags: education
The amazing Sarah Belfort started another blog called Song and Stamp; it features songs and stamps, which themselves feature, in this case, space dogs.

The amazing Sarah Belfort started another blog called Song and Stamp; it features songs and stamps, which themselves feature, in this case, space dogs.

Tags: dogs
“The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged — the same house, the same people — and then realized that he did not exist there at all and that nobody mourned his absence. He caught a glimpse of his mother waving from an upstairs window, and that unfamiliar gesture disturbed him, as if it were some mysterious farewell. But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated.”

Vladimir Nabokov, a favorite of Abby’s, quoted by the always-wonderful Simen; he asks: “Do we view “the prenatal abyss” with such calm simply because it’s past, or is it more existentially troubling to have existed and then disappear than it is to have never existed in the first place? In other words, is our fear of our own nonexistence, or of death?”

I am not troubled by prenatal non-existence for the same reason that pain experienced in the past is less troubling than pain yet to be experienced: my mind moves forward, so to speak, through time. Although perhaps only entropy necessitates the progression of time in a single direction from the perspective of physics, for the conscious creature time’s unidirectionality is not abstract. Whatever happened, I -the observing and reflecting “I”- remain and persist; but when I die in the future, I will not.

One might ask: would it be frightening to die if we knew we would somehow return one hundred years later -just a century spent “blacked out”? No: it is the permanent cessation of all existing that terrifies, with its black, imperceiving, unreflecting nullity. For that reason, prenatal non-existence isn’t upsetting; it has, so to speak, a happy ending: our beginning. Actual death, we fear, will not.

Searchlights and anti-aircraft fire over Los Angeles.
Late on February 24 and in the early hours of February 25, 1942, anti-aircraft guns in Los Angeles fired 1,400 shells at unidentified objects spotted in a sky illuminated by searchlights. Subsequently described as a false-alarm due to “war nerves,” the incident followed the shelling on February 23 of an oil-field near Santa Barbara by a Japanese submarine.
Three civilians were killed by the anti-aircraft fire in the so-called Battle of Los Angeles. A contemporary radio broadcast can be heard here. I learned all this researching the movie they’re shooting a block from my house which, it appears, will be quite bad.

Searchlights and anti-aircraft fire over Los Angeles.

Late on February 24 and in the early hours of February 25, 1942, anti-aircraft guns in Los Angeles fired 1,400 shells at unidentified objects spotted in a sky illuminated by searchlights. Subsequently described as a false-alarm due to “war nerves,” the incident followed the shelling on February 23 of an oil-field near Santa Barbara by a Japanese submarine.

Three civilians were killed by the anti-aircraft fire in the so-called Battle of Los Angeles. A contemporary radio broadcast can be heard here. I learned all this researching the movie they’re shooting a block from my house which, it appears, will be quite bad.

Epitaph of Joy Davidman, by C.S. Lewis

Here the whole world (stars, water, air,
And field, and forest, as they were
Reflected in a single mind)
Like cast off clothes was left behind
In ashes, yet with hopes that she,
Re-born from holy poverty,
In lenten lands, hereafter may
Resume them on her Easter Day.

This is the epitaph C.S. Lewis dedicated to his wife. This quality of the “single mind,” that it contains, reflects, and affects “the whole world”: it is in this sense that every death is the obliteration of an infinity, the end of a reality. In this light, calculations about life and death are absurd. What can justify the destruction of the stars, water, air, field, forest, and everything else one has within oneself?

That is not to say there are no other ways of thinking.

“Neither a pathology nor an index of moral default, stupidity is nonetheless linked to the most dangerous failures of human endeavor.”

Avital Ronell. Is she right? Remember: both knowledgeability and intelligence have willed and unwilled components (including: genetics, class, development, luck). If intelligence has a moral quality because of its impact on the participatory polity, then stupidity is a moral lapse due to its effects.

This means that whether stupidity is “willed” or not, whether it is the result of developmental aberrations or a lack of access to education or a lazy preference for partying or a poverty of inspiration or a resentful incuriosity, its negative impact on the public good makes it immoral. Whom shall we blame, morally, for stupidity?

Ronell includes in that paragraph, from her book Stupidity, a mention of Hannah Arendt’s frustrated effort to determine how stupid Adolf Eichmann was and what the effect of that stupidity really was on his deeds. The effort to assess how error affects “the most dangerous failures of human endeavor” reminds me of my favorite Errol Morris quote: “Error is the central feature of human existence.”

Errol Morris asserts, and I believe, that intelligence offers only very flimsy protection from error; I see much historical and contemporary evidence that it is nearly as likely -in some of its contortions, likelier- than stupidity to produce disaster.

Ills Manor, Est. 2008 (larger)
I got many nice presents for surviving -in the face of no obstacles whatever- another year, from the gifts from the Locomotive Sisters to the kind note from Andy (happy birthday!) to Abby’s presence here in Louisiana to well-wishes from many to gifts from family, friends, and coworkers. It was all much more than I deserve, not solely because I’m a reprobate but also because -and I here channel my inner-athlete in the post-game homily of empty phrases- I just came out and tried to execute on metabolizing and not getting killed.
So I don’t want to slight anyone when I say that as far as presents go, Lacey’s absolutely incredible gift is hard to beat: a sturdy and beautifully-made wooden sign for application to the front of the ostentatious compound I share with Will and which is known far and wide as Ills Manor.
None fighting through the surrounding swamps to attend one of our lavish cocktail parties will ever again wonder, Which mansion do those guys live in? It’s the one that says Ills Manor, chum. Now get inside and grab yourself a Clearly Canadian.
Thank you, thank you, thank you, Lacey! What an awesome present!

Ills Manor, Est. 2008 (larger)

I got many nice presents for surviving -in the face of no obstacles whatever- another year, from the gifts from the Locomotive Sisters to the kind note from Andy (happy birthday!) to Abby’s presence here in Louisiana to well-wishes from many to gifts from family, friends, and coworkers. It was all much more than I deserve, not solely because I’m a reprobate but also because -and I here channel my inner-athlete in the post-game homily of empty phrases- I just came out and tried to execute on metabolizing and not getting killed.

So I don’t want to slight anyone when I say that as far as presents go, Lacey’s absolutely incredible gift is hard to beat: a sturdy and beautifully-made wooden sign for application to the front of the ostentatious compound I share with Will and which is known far and wide as Ills Manor.

None fighting through the surrounding swamps to attend one of our lavish cocktail parties will ever again wonder, Which mansion do those guys live in? It’s the one that says Ills Manor, chum. Now get inside and grab yourself a Clearly Canadian.

Thank you, thank you, thank you, Lacey! What an awesome present!

“If the rule you followed brought you to this, of what use was the rule?”

Anton Chigurh in No Country for Old Men. Is a rule’s value to be found in its praxis? And since no rule can keep hardship, tragedy, or death away, is any rule “of use”? And what sort of rule might Chigurh mean? Can some rules accomplish a delivery, by transcendence rather than avoidance, from the sorrow and violence of ordinary life? Are those rules “of use”? What is the difference between transcendence and flight?

Does everyone’s life unfold according to implicit rules? Does it matter whether one understands the rules -or single unifying rule- according to which one lives?

[Flash 9 is required to listen to audio.]

Sidney Bechet - When the Saints Go Marching In

Last week I made explicit my wish that Saints games not be so heart-stopping as the victory over Miami was; once again, the universe has demonstrated that at best it is indifferent to my desires. Last night, Abs even got into the game, experiencing roughly the same palpitations during the final quarter that I did.

As happy as I am for the Saints to be 7-0, I’m happier to share some Bechet.