Rachel Blau Duplessis

Over the 2008-2009 academic year, I got to work with Rachel Blau DuPlessis. Rachel is a feminist poet, literary critic, and editor of some great collections of modern poetry. A prolific writer and deeply interested in the avant garde movement and the influence of (early 20th century) modernism on poetry at an international level, Rachel was fun work with. At different times throughout the year, she brought me projects that could be tackled with digital tools, including producing high-quality scans of a collection of poems titled Draft 94: Mail Art for the Australian journal of poetry Jacket*, so we developed a great working relationship. And when she was asked to participate in two events out of reach for mid-year travel, we produced a couple of videos so that she might attend virtually.

In this first video, Rachel reads from from her invited contribution to the Tapa notebook collection, housed in the University of Auckland’s (New Zealand) special collections library. She also reads a poem, Draft 95: Erg.

In the second, Rachel reads her remarks prepared for a conference celebrating the poetry of Ron Silliman. She was not able to attend the conference in person, so I worked with her to film her reading, which the conference organizers used to let a handful of commenters participate virtually. Her reading focuses on Silliman’s The Alphabet.

And finally, Rachel was invited by David Need to participate in a local (Durham, NC) reading series called “Arcade Taberna”. Since the other two video projects had gone so well, she asked if I would like to film this one as well. A bit longer than the other readings, I enjoy this video best as it gets into some of her more playful poetry.

You can hear more of Rachel’s readings, going back to 1982, at her PennSound page.

* John Trantner’s journal Jacket has been given the institutional resources it deserves and is now a project of the Kelly Writers House, affiliated with the University of Pennsylvania. See jacket2.org for more.

 

The Cyclotrope

The Cyclotrope from tim Wheatley on Vimeo.

 

Video Cartography Durham

So instead of a small number of really impressive “monuments” such as those that survive from the disdained historical past, our century will leave, across the planet, a sprinkling of almost identical structures. It is, in a way, one vast global conceptual monument, whose parts and pieces are spread across the world’s cities and suburbs. One city, in many locations.

— David Byrne Bicycle Diaries

Video Cartography Durham is a video-based project that digitizes and preserves vintage film relating to the history of Durham, North Carolina, USA, and presents the archival footage alongside contemporary video. By organizing footage geographically and layering footage chronologically, this project makes it possible for viewers to quickly gain a sense of the history and change of Durham’s urban landscape.

Durham has a culturally rich history, beginning with its role as an early hub of the post-Civil War tobacco industry. There later developed an adjacent (eventually annexed) locale that, according to W.E.B. Du Bois, was a pertinent example of a separate and thriving residential and business community led entirely by African-Americans — the Hayti community.  Hayti’s fame and financial success led its entrepreneurs to establish some of the first national African-American-owned insurance and banking institutions. As a result, Parrish Street in downtown Durham was known for a time as Black Wall Street, prompting Booker T. Washington in 1910 to dub Durham the “City of Negro Enterprises.”

Much of this history has been lost to Urban Renewal, arson, and subsequent neglect of historic properties. Video Cartography Durham, a video-based multi-media project combining the features of an online archive and a documentary film, comprises 6 minutes and 20 seconds of point-of-view and aerial film and video of downtown Durham, North Carolina. The video is composed of scenes from 1942, 1947, 2007, and 2008. Through the repeated capturing (on film and in byte) of locations through time, we are able to navigate a changing landscape in urban Durham.

An earlier version of the film was exhibited at the Golden Belt Artist Studios for the months of September and October 2008 as part of the Triangle Cartography Convergence.  Based on the success of its exhibition, Video Cartography Durham also screened for Duke University’s History Department in March 2009.

Footage used in the video was sourced from Chapel Hill, North Carolina resident Ronald Bryant (1947 footage from 16mm film), the North Carolina State Archives (1942 aerial footage by H. Lee Waters [MPF86]), Google Maps, and Google Earth. Contemporary video footage was shot with a Sony DCR-HC28 purchased with funding provided by a grant from the Triangle Community Foundation. All video was compiled and edited in Final Cut Pro.

Genuine vital integrity does not consist in satisfaction, in attainment, in arrival. As Cervantes said long since, “The road is always better than the inn.” The very name is a disturbing one; this time calls itself “modern,” that is to say, final, definitive, in whose presence all the rest is mere preterite, humble preparation and aspiration towards this present. That faith in modern culture was a gloomy one. It meant that to-morrow was to be in all essentials similar to to-day, that progress consisted merely in advancing, for all time to be, along a road identical to the one already under our feet. Such a road is rather a kind of elastic prison which stretches on without ever setting us free.

Nowadays we no longer know what is going to happen to-morrow in our world, and this causes us a secret joy; because that very impossibility of foresight, that horizon ever open to all contingencies, constitute authentic life, the true fullness of our existence.

— José Ortega y Gasset, The Revolt of the Masses

 

2264 miles in 2 minutes


Most of us travel during the holiday season. Maybe it’s the stillness of winter that urges us to move ourselves around, since there isn’t much going on around us in the natural world. My friend Eric Shanks, a talented videographer, made this beautiful meditation on motion based on his holiday travels.

Thanks Eric for sharing with all of us some of the beauty we might otherwise miss in all our hurrying from here to there.

 

My tow truck

It’s not quite towing a truck, like these guys (see below), but it’s handy to have a tow truck when you need one. Pictured here, my Xtracycle, which I usually refer to as my pick-up truck, doubles as a tow truck when I need to tow another bike to the shop.
Tow truck

Tow trucks towing a truck.

 

zipping around by bike, again

I noticed today that the only time I make a point of sharing a transportation experience via social media is when I drive a car. At least twice now I have posted updates on Twitter (I really can’t bring myself to say I “tweeted”) about using a Zipcar. And for good reason. Zipcar is a magical program where, with the wave of a card over a windshield, I unlock a car — and so far, a different car each time — find the keys inside, and drive off. To paraphrase their motto, I use a car when I want to. The autonomy that Zipcar reinforces is palpable whenever I pick up a car and use it to run errands that are otherwise unmanageable by bike. And the fact that I have to reserve the car ahead of time means that I use a car only when I want to, not just when it’s convenient to do so.

Which brings me to what I was noticing. It is that I post updates about using a car, which has become an increasingly rare experience for me. In other words, I don’t post updates about how I get to work every day, how I buy groceries, or how I go pick up dinner. And, well, maybe the way I do those things is more interesting, since I’m doing all of that by bike.

Long time readers of this blog may not see anything odd about this. But just a few months ago, things would have been the other way around. That is, if I am inclined to post updates about what is novel, then I would have posted updates about biking, since that would have been more novel at the time.

After a 2008 mountain bike accident, the full effects of which on my bicycling lifestyle I won’t go into here, left me unsure of myself on two wheels, I started taking the bus to work. But after months of daily walking more than an hour to get to and from the closest bus stop, I reached the point of frustration. While I did enjoy catching up on This American Life and PennSound podcasts, I was spending so much time getting to and from work that I joked that I might as well move in to my office. Later, I worked out a routine catching rides with a friend, which in turn made my daily walk-bus-walk to the office seem epic by comparison. So when my friend’s fellowship year at the Center ended, I started driving myself to work.

A year after the accident, I still was not comfortable riding. And while I rationalized driving as necessary at first, I soon felt indolent, especially compared to my past self. Driving, however, remained my routine through the end of August.

shopping by Xtracycle

Moving to Davis, California this summer has inverted my paradigm, restoring my sense of independence from the gas pedal. Moving here car-free has reinforced the pattern in my life that bike-reliance is itself cyclical. I’m delighted to be on the side of the cycle in which once again driving is the aberration.

Davis, by design, makes it so easy to bike, I’m not missing a car. The bike paths are plenty, the lanes are wide, and the drivers expect cyclists to be on the road. I’ve seen countless Xtracycles, tandems, recumbents, and other “odd” bikes that would turn heads in any other town. But here in Davis, where on Saturday they set a new bikes-in-a-line record for Guiness’ book, it takes something extraordinary to turn heads. Biking to work, carrying groceries in panniers — these are not extraordinary things. Which I guess is why I didn’t even notice.

 

HAIL


Hail. On the Equator. WTF?

 

Flight | Vuelo

 

documenting your (web) persona

MIT labs and Aaron Zinman created a digital installation that creates your online genome, a visual representation of how the web sees you. Part art installation, part critique, Personas | Metropath(ologies) exploits the fact that there are likely several people in the world, living or dead, who share your name. A simple search of websites, however, cannot distinguish between you and your name.

Personas is a component of the Metropath(ologies) exhibit, on display at the MIT Museum by the Sociable Media Group from the MIT Media Lab. It uses sophisticated natural language processing and the Internet to create a data portrait of one’s aggregated online identity.

Try your own at http://personas.media.mit.edu/personasWeb.html

 

decline of western Europe

A visualization of the decline of western European empires. Things get interesting around the 1960s.

Visualizing empires decline from Pedro M Cruz on Vimeo.