Double Intuition

On Their Minds, 9-11
Happened Before 2001

After fifteen years, the tragic imagery of Sept. 11, 2001, has taken deep roots into the collective psyche of our era. It became a visual metaphor to every nightmare bred out of fear of terrorism, even as countless acts of extreme violence have followed that crispy, blue-sky Tuesday in America.
Even more intriguing are depictions of exploding planes and buildings that art and pop culture have produced before 911. Two works are particularly impressive: a sculpture by New York artist Michael Richards, killed that day, and a painting by British Willie Gardner.
Wisely ignoring conspiracy buffs, who like to dwell in a made-up reality with even more odds stacked against us, it’s still possible to appreciate the intuition that led these two black artists to conceive works of such haunting, and premonitory, quality, while sharing not much else in common.
To be sure, anticipation, and the ability to eerily foresee a world not quite here, are integral to creative expression, even when that’s not exactly the author’s intention. Also, it’s not unusual for life to emulate what art, and public sensibility had already made possible to conceive.
After all, we all breathe the same toxic, over-saturated environment, suffused through ages by human interference. And our brains are especially biased to see a connected world that does not exist outside our skulls; life happens independently of our will or whims.
The fact that the two works are not in the same level of artistic sophistication is irrelevant too. Richards was a rising talent, who perished when his studio was crushed by the destruction of the Twin Towers, while Gardner, who died in 2010 and only dabbled in art as an amateur, was thousands of miles away.
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Read Also:
* No Pics
* Flight, Interrupted
* Quantum Leaks

There’s no record that either one was imbued of any anticipatory penchant. Theirs was something out of a vision whose meaning they’ve taken with them. But that something inevitably tickles our minds, still eager to find significance, and sense, in that despicable tragedy.
Yes, there were many others for we are particularly good at inflicting progressively horrifying terrors onto each other. And we could be talking here about the victims, or the evildoers, or any number of the cliches that have piled up about that day. But we’re glad we have Richards and Gardner to memorialize instead.
Every year, we promise not to add anything to the meaningless cacophony of 911’s moaning and complaints. And every time we break our vows. It’s just as well. Art and reality are often unexplainable. We’re doomed to face terror over and over in our lifetimes. So at least, let’s try to do it with fresh eyes.

Double Intuition

On Their Minds, 9-11
Happened Before 2001

After fifteen years, the tragic imagery of Sept. 11, 2001, has taken deep roots into the collective psyche of our era. It became a visual metaphor to every nightmare bred out of fear of terrorism, even as countless acts of extreme violence have followed that crispy, blue-sky Tuesday in America.
Even more intriguing are depictions of exploding planes and buildings that art and pop culture have produced before 911. Two works are particularly impressive: a sculpture by New York artist Michael Richards, who was killed that day, and a painting by British Willie Gardner.
Wisely ignoring conspiracy buffs, who like to dwell in a made-up reality with even more odds staked against us, it’s still possible to appreciate the intuition that led these two black artists to conceive works of such haunting, and premonitory, quality, while sharing not much else in common.
To be sure, anticipation, and the ability to eerily foresee a world not quite here, are integral to creative expression, even when that’s not exactly the author’s intention. Also, it’s not unusual for life to emulate what art, and public sensibility, had already made possible to conceive.
After all, we breathe the same toxic, over-saturated environment, suffused through ages by human interference. And our brains are specially biased to see a connected world that does not exist outside our skulls; life happens independently of our will or whims.
The fact that the two works are not in the same level of artistic sophistication is irrelevant too. Richards was a rising talent, who perished when his studio was crushed by the destruction of the Twin Towers, while Gardner, who died in 2010 and only dabbled in art as an amateur, was thousands of miles away.
_______
Read Also:
* No Pics
* Flight, Interrupted
* Quantum Leaks

There’s no record that either one was imbued of any anticipatory penchant. They simply created something out of a vision whose meaning they’ve taken with them. But that something inevitably tickles our minds, still eager to find significance, and sense, in that despicable tragedy.
Yes, there were many others for we are particularly good at inflicting progressively horrifying terrors onto each other. And we could be talking here about the victims, or the evildoers, or any number of the cliches that have piled up about that day. But we’re glad we have Richards and Gardner to memorialize instead.
Every year, we promise not to add anything to the meaningless cacophony of 911’s moaning and complaints. And every time we break our vows. It’s just as well. Art and reality are often unexplainable. We’re doomed to face terror over and over in our lifetimes. So at least, let’s try to do it with fresh eyes.

Flight, Interrupted

When Glass Towers
Become Bird Killers

If you never liked modern architecture, and the shiny, glass buildings that have been popping up all over lately, we’re about to add a killer argument to your cause: they’re also killing birds. Not just a few of them; some 100 million to one billion a year, only in North America, according to estimates.
Now a global effort by architects, ornithologists, environmentalists and bird watchers is trying to find ways around it, before our own bird-dependent species begin to suffer another consequence of our expansive lifestyle. Like few other threats, this one can, indeed, cause our extinction.
If you live in a big city like New York, you’re probably facing at least one such tall skyscraper right at this moment. There are many reasons why they’ve become so ubiquitous, not the least of them, because they are weather-adaptable, allowing optimum light exposure and saving lots of energy consumption.
Due to marvels of contemporary construction, they can also be built relatively fast, and may serve to both housing and office space, often, combining the two. It’s a devilish irony then that, after finding lighter and more environmentally-friendly materials, builders ran into such a disheartening problem.
Going back to the Big Apple, construction of big glass towers has reached a feverish pitch, and one group of buildings stand above all others, for what they mean to the city: the ones that are rising at Ground Zero, some already receiving their first tenants, and the tallest of them all, World Trade Center 1, slated to be completed in a year.
Like the doomed Twin Towers they’re now, at least physically, replacing, Continue reading

Coexisting

A Liberty Street Message
for Peace at Ground Zero

An idea, brainstormed by Russell Simmons, Sean Bonner and Glen E. Friedman, turned Simmons’s home windows into a statement to tolerance and a call for peaceful coexistence among all New York faiths.
It should be obvious to all but we’re glad some would still take the time to come up with fresh ways to remind us. So if you walk on by it, take a picture and send it to your friends, to show that you care too.

Of Birds & Beams

Migratory Birds Get Lost
Within 9/11 Twin Beams

From a distance, it looked like silver confetti. Or shredded paper from a ticker tape parade. But it turned out to be 10,000 trapped birds that momentarily had lost their sense of direction. The “Tribute of Light,” those two beams of light that are lit every Continue reading

Two After 909

We Still Remember.
No Need to Talk About it.