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.

The Uninvited

2012? If Doomsday Does Come,
2040 May Be a Much Better Year

The supposed end of the Maya Calendar, said by some to be a sure bet that the world will end Dec. 21 of this year, has predictably attracted the wide array of messianic nuts and opportunistic religious leaders with but one thing in their minds: to pick your pockets.
They shouldn’t bother trying to find signs, in some flawed translation of a pre-written language era, of what they clearly revel in declaring that it’s all your fault. That’s because science has already plenty of possible (useless) explanations for the causes of our eventual doomsday.
Chief among them are asteroids, those high-speed rocks that periodically seem to get our address in space right, and grant us with a catastrophic visit. Doom, thy name is 2011 AG5, which, if astronomers’ are right, has some pretty good odds of hitting us mid-sentence.
But if it seems that they’ve been more frequent lately, that’s just an illusion. For even though our ability to detect and tract the big bad ones is still unreliable and spotted at best, we are catching more and more of them in the act of conspiring against our civilization.
Still, we have been very lucky indeed: those that have managed to trick our watch and get close, so far, have all missed us, thank goodness. Continue reading