Unsolicited Bloggy Thoughts from an American to a Canadian (Part 3)

It's Come to this (thoughts on the Ivemectin and Russiagate - Sept 3, 2021)

Alex Good: At a time when only just over half of all Americans have been vaccinated against COVID-19 there has been a sudden interest in use of the drug ivermectin, a horse dewormer, as an antidote. This madness hasn’t stopped at the border, with a run on supplies of the livestock drug in Alberta and Amazon Canada including warnings on search results for the drug on its site (even though Amazon doesn’t sell it).

In the U.S. the Federal Drugs Administration posted the following on their Twitter account: “You are not a horse. You are not a cow. Seriously, y’all. Stop it.” Nevertheless, celebrity podcaster Joe Rogan recently admitted that he was taking the drug after having come down with COVID.

This is stupid on the level of the Tide Pod Challenge, where people would eat packages of laundry detergent. The Tide Pod thing was performative jackassery that I assumed was being done just to get clicks and views on social media and it didn’t involve more than a couple of dozen cases, at least as far as I can tell. Is the use of ivermectin any different? Are people just doing this to get attention? Or as a way of publicly declaring their pathological distrust of all authority and expertise? It can’t be just because they’re stupid, because I don’t think they all are. At least I don’t think they’re all this stupid.

Tom Moody: As someone with Red State connections (but not inclinations, at least mostly) I can say, anecdotally, that it started as a kind of folk remedy. People used what was ready to hand and seemed to be working. As far as I know the late Rush Limbaugh wasn’t telling them to do this. Also, these are people deeply distrustful of US elite culture. The “y’all stupid hicks” smackdown from US government/media was so vehement and comprehensive it almost confirms this. A lot of the same people voted Trump because they despise Hillary (not without justification) and wanted to stick their thumbs in the system’s eye, damn the consequences, and the use of Ivermectin has some of the same spirit.
Sometimes folk wisdom is actually wisdom. I’m not ready to say this anti-parasitic can’t be repurposed into an antiviral (Wikipedia says it’s still under study, despite all the denouncements) and I thought it was kind of interesting that “hicks” thought it could.
As for Russiagate, Aaron Maté has been doing great work on this, and has been gradually vindicated by the Mueller nothing and the recent indictments of operatives tied to the Clintons for ginning up evidence (including but not limited to the Steele Dossier). My position has been since 2016 that Trump was a buffoon and amateur and could be soundly critiqued without elevating him into an international man of intrigue. But the Clintons couldn’t face that they lost to a buffoon (and were widely hated in America) so they ginned up this Russian conspiracy and the US media worked it for four years. Clinton immediately blaming her loss on “Russian Wikileaks” makes me cringe to this day. There was also a bit of militaristic Washington culture *wanting* to stir things up with Russia, and (as I said elsewhere) I’ve already lived that Cold War movie once, thanks.

blog excerpts "taken from the internet"; all text subject to permission/revision by the authors

Unsolicited Bloggy Thoughts from an American to a Canadian (Part 2)

Civil Servants and Brownshirts

More selected comments on Alex Good's Tyranny of Merit post:

Tom Moody: One thought on why the US succeeded postwar and began failing after Reagan’s election. It was actually due in part to a system the US Republicans would say was the *opposite* of merit: the US Civil Service.
In order to execute the New Deal programs you needed a dedicated, mostly not corrupt caste of worker bees. These people weren’t paid super-well but had good pensions and benefits.
The US Republicans spread the propaganda meme of “lazy government workers” in order to justify dismantling and privatization of Civil Service positions, carnage that is still ongoing. As government gets noticeably less competent, this justifies further cuts.

Alex Good: Agree completely. What the Republicans stand for more than anything today is hatred of the government. The more old-school “conservatives” will describe this as “limited government” but what it really amounts to is what Sarah Kendzior refers to as stripping the state down and selling it off as spare parts/scrap. Michael Lewis’s The Fifth Risk is a popular take on this, but it’s really everywhere. Big Government is now so evil that it can’t even be trusted to handle things like rolling out a vaccine. Meanwhile, the rhetoric of tearing down the government has always been there (Grover Nyquist’s line about shrinking government to the point where it can be drowned in the bathtub), but it’s been taken to a new level, and new seriousness with the program of people like Bannon, who talk explicitly and enthusiastically about destroying the state.

My own theory here is that the Republicans are basically looking at what happened to post-Soviet Russia as a model to be followed. Single-party rule, one state-owned media outlet, and control of the economy by a group of oligarchs who represent a government-business partnership. It’s not far removed from China either. It’s something that a lot of the old Cold Warriors seem to be missing. These guys aren’t the commies any longer, with a godless, evil system that’s a rival of or threat to capitalism. They have a *better* system of capitalism that America’s oligarchs want to emulate.

Tom Moody: Post-Soviet Russia had a lot of interference from Milton Friedman types in the US. That stopped under Putin and Russia seems to be evolving its own hybrid system. China has a better safety net than the US and actively funds its rural areas under Xi. Both countries are autocratic but seem to be run by a government as opposed to a handful of private corporations and CEOs.
I mentioned the US Civil Service in response to Michael Sandel’s statement “Over the past four decades, meritocratic elites have not governed very well. The elites who governed the United States from 1940 to 1980 were far more successful.” The 1940-1980 elites created the social programs but left them for non-elites to run. I haven’t read Sandel’s book so I don’t know if he makes that distinction.

Alex Good: The private sector in Russia and China is very much subordinate to the government. But I think that’s actually the system that the right wants in the U.S. because it’s not a communist or socialist government but one where a bunch of rich families and oligarchs own everything, whether they’re members of the (only) party or friends of people who are. Putin is reportedly the richest man in the world for being czar of what is not a wealthy country. What politician wouldn’t want a slice of that? Think of how much money can be made from dismantling the American state.

I think the endgame the Republicans, or Western elites more generally, seem to be aiming for is something very similar to these formerly communist countries: control the media, get rid of democracy and replace it with one-party rule by a class of oligarchs who control the government, and then work together with the private sector to enrich themselves.

Tom Moody: Trump and Bannon (I know we don’t agree on this) are bugbears for the real villains: the “liberals” that internalized Chicago School talking points about budget-balancing and the free market. There is almost no space between Bill Clinton and Paul Ryan on the issue of so-called entitlements. They think social spending threatens to drain the country and they don’t care at all about the cost of military spending. (There is actually a video somewhere of Clinton and Ryan having a tete-a-tete backstage at some event, where Clinton is assuring Ryan that on the “next vote” — whatever that was — they would have support for the cuts Ryan wanted.) Of course the right believes in “markets” but the Dems have actually been able to turn this ideology into policy. I would say on the “need” to cut Social Security and Medicare, Clinton, Obama, and the hated Trump are in near-complete agreement. Biden currently has an appointee inside Medicare (Elizabeth Fowler) who is working to privatize the system as much as possible.

Alex Good:. I’d agree with that, but what I think the Trump phenomenon revealed to the Republicans (and elites more generally) was that they could go a step further. For example, as bad as Clinton and the neoliberal Dems were (and are) I don’t think they believe in getting rid of democracy entirely and turning the U.S. into an authoritarian state run by the Party, with all other parties being ruled illegitimate. After Trump I think the Republicans saw that this was possible and it’s what they’re working toward. As for Trump himself, I don’t think he has any political ideology at all, or goals beyond using the office to get attention, make money, and stay out of jail. But he’s been useful for pushing things along in this direction faster and further than anyone thought possible. Or at least that I thought possible.

Tom Moody: The Republicans (Trumpist and otherwise) and Democrats all benefit from the appearance of a working two party system, as cover for the orgy of looting by the oligarchs (tech, Wall Street, Pharma, etc) who back both parties. Trump’s flaw was “he gave the game away” with his flaky outspokenness (Iraq was a mistake, we’re in Syria for the oil, CNN is fake news — the latter of which is certainly true, as evident from their “Russian aggression” narratives concerning Ukraine). All those truth bombs meant Trump had to go — hence the Russiagate propaganda blitz and weak cases for impeachment.
Hitler/Trump comparisons never persuaded me — Hitler was a fanatic and control freak; Trump likes his golf and luxury. The MAGA hat rallies apparently scare people outside the US. These are conservative people who fear change and Modernity (not without reason) — there may be brownshirts at the rallies but it’s mostly about solidarity among the working class and rural population.

Alex Good: Yes, Trump is no Hitler. As one historian pointed out a couple of years back (I can’t remember his name), Trump is what the German conservatives wanted Hitler to be: a demagogue buffoon who would get people to vote for him but who would have no interest in actually governing. Instead he (Hitler) turned out to be something more dangerous. Trump, on the other hand, really is a moron just trotted out to play to the rubes, with no political platform at all. The tax cuts and stacking the judiciary were things he didn’t understand or care about, though he’d brag about them all the same. That was all Ryan and McConnell.

I agree that fear of change is a big part of his appeal, especially among older voters. I think we have a difference of opinion on Russia. As far as I can tell Trump’s only real business for the last twenty years or so has been money laundering for Russians. I actually thought he did enough to get impeached the first time, and the second time should have been a slam dunk. The Ukraine phone call really was a hundred times worse than Watergate.

Tom Moody: I don’t think Trump was trotted out — I think he trotted himself out in a wild card year of working class rebellions. We started 2016 with the depressing news that the media had decided the election was going to be Jeb vs Hillary — two utterly mediocre dynasties — and ended 2016 with the certainty that both those fools were gone from the world stage. I found this uplifting but by that point most of friends were far gone into Trump Derangement Syndrome and couldn’t share my joy.
Then, Hillary and the US spooks started aggressively poking the Russian bear, which seemed needlessly stupid. I felt we did need to improve, not upset, relations with that country.
The things you believe about Putin (I’ve never heard he’s that rich — source? — and don’t really care), Putin controlling Trump, troop movements at the Ukraine border being offensive rather than defensive, Trump’s “calls” to Ukraine being illegitimate (not similar calls made by Biden or his junkie son) are all standard talking points of the NYT, CNN, and MSNBC and I don’t particulary trust those sources because they blatantly pass along spook propaganda.
I’ve been reading Grayzone, Aaron Mate, The Saker (Andrei Raevsky), Pepe Escobar, “Bernard” at Moon of Alabama, Naked Capitalism, Glenn Greenwald, Matt Taibbi, and other left skeptics for some balance on geopolitical writing. I don’t swallow it all whole but it does help to at least see a non CNN-view.
The news outside the CNN bubble is the world is realigning to a tri-polar situation after 30 years of US control. If de-dollarization continues the US will have to act less like The Hegemon bully to other countries and will have to get its own house in order. Riots, covid, woke destruction of standards, offshoring, etc.
Our aggressive moves into Ukraine are ginning up a major international distraction from where our focus needs to be.

Alex Good: I agree with you actually that Trump wasn’t initially trotted out. He was seen as a party crasher. I think Republicans hated him from the start, and from all the reporting I’ve read they still do. Even the ones who kiss his ass the most.

But despite that hate they find him a useful idiot for the reasons I mentioned: he fires up the base and has no interest whatsoever in actually governing, giving the party establishment a free hand to do pretty much whatever they want. Some may grumble about trade wars and the rest, but when push comes to shove — and that was the tax cut bill — they drew a hard line in the sand. The donors were insisting on that. And after tax cuts and stacking the judiciary there really wasn’t much else on the agenda. The Republicans are a party without a platform. Building a wall, infrastructure, a big beautiful new healthcare bill . . . these were things they didn’t even attempt. It got to the point where they finally didn’t even bother publishing a platform for Trump’s second nomination. I don’t think so much because they were just deferring to “whatever Trump says” as that they didn’t have much they really wanted.

Ah, we do part ways on Russia. I am not in the NeoCon camp and think Russia had plenty of legitimate grievances with NATO expansion etc. Nor do I think Trump is a Manchurian candidate figure. I do, however, think Putin thinks of him as (again) a useful idiot to have in the White House (he publicly stated he wanted Trump to win), and I don’t think there’s any denying that Russia did intervene in the election to help Trump. I don’t know how big a part that played in the election (Clinton was probably the very worst candidate the Dems could have put forward), but it was an issue. I’m disturbed by writing off the connections that were made as a hoax or a fraud. The two sides were meeting. They were working together. They were trying to keep it secret. We don’t know how much of it they did keep secret.

I don’t agree that Biden was really making similar calls to Ukraine. I’m sure Hunter Biden was working his name and connections for profit, but it seems to have been just the usual soft corruption. The call we have a summary of, of Trump asking the Ukraine government to find/manufacture dirt on Biden in order to use against him in the election, and using American funds as a bribe for that material, was on another level.

I’ve liked some of Taibbi’s stuff. Greenwald I find hard to take.

blog excerpts "taken from the internet"; all text subject to permission/revision by the authors

Unsolicited Bloggy Thoughts from an American to a Canadian (Part 1)

Trump vs Merit

Alex Good reviews THE TYRANNY OF MERIT: WHAT’S BECOME OF THE COMMON GOOD? By Michael Sandel

Alex Good: Sandel and Brooks are right in seeing in the myth of meritocracy a mighty engine for the generation of mass resentment. Meritocratic hubris leads to smug self-congratulation among the fortunate and anger among the left behind. “There is reason to think,” Sandel opines, “that popular antipathy toward meritocratic elites played a part in Trump’s election, and in the surprising vote in Britain, earlier that year, to leave the European Union.” People were confused at Trump’s railing against elites when he was himself, at least by his own reporting, a billionaire. But Trump, unlike Hillary Clinton, didn’t talk about merit. He talked about winners and losers. And what Trump’s supporters recognized was that Trump was actually a giant loser: a serial bankrupt, serial divorced male, clinically obese, deeply ashamed of being bald, and acting out his various insecurities in giant rages on the most public of stages. His favourite word with which to tag anyone he hated was “loser.” This, like everything else about him, was pure projection. That loser rage, however, struck a mass chord. His anger – and he was anger incarnate – was a kind of therapy. His fear of being laughed at and humiliated was something everyone suffering from a loss of social esteem could relate to.

Tom Moody: This is an interesting take on Trump but omits his smart mouth that appealed to many Americans. Trump heckled loser Jeb about his sainted mother (who was actually a battle-ax and mediocre dynasty-builder, much kidded by Dems in the Bush years for talking about her "beautiful mind" that would not be cluttered with Iraq war details. While Jeb was waxing sentimental about her during the Republican debates Trump wisecracked that "she should be running" (as a candidate herself, annoying the clearly-not-ready-for-prime-time Jeb).

Calling Bush Jr.'s Iraq war a mistake based on lies, on the national debate state, is something the media would expect from a Jesse Ventura or Mike Gravel or Ron Paul but here it was being voiced by a juggernaut candidate on his way to the presidency (though no one knew that yet). The US public wasn't just thrilled to hear the Iraq truth spoken aloud because they identified with Trump as a "fellow loser," as Alex Good suggests, but rather because it was true and no establishment debater or media figure up to then had the courage to speak it. Later, as President, Trump wanted to know what could possibly justify the US's presence in Syria post-ISIS (fighting a dirty war on behalf of some sleazy U.S. "allies"? Or was it the instantly-manufactured defense of "the Kurds! the Kurds!"? it depended on the politics of who answered.) Eventually Trump's handlers reeled him back in and he made his laughable claim that the US there to "protect the oil" (that is, Syrian oil in the ground coveted by other countries).

If Bush Jr were still president, the "left" would have applauded all these "outrageous" Trump statements. With the onset of Trump Derangement Syndrome in 2016 (a term borrowed from Bush Jr.), the antiwar faction immediately discounted Trump's few sensible/courageous statements simply because he was Orange Hitler. The MAGA crowd was paying attention, though, including many families of maimed veterans, and appreciated hearing those occasional, inconsistent truth bombs from the mouth of their chosen "loser." If you want to understand the election, understand that at least -- it wasn't all about bullying and "racism." It was straight talk people forgotten could be spoken.

blog excerpts "taken from the internet"; all text subject to permission/revision by the authors; some Tom Moody text has been revised since posting

Notes for "Orff Mix"

[Update: "Tom Moody - poMo Classical & Jazz Fission" aka "The Orff Mix" streams Thurs, Aug 19, at 9 pm Eastern on ffog's Myocyte show on tilderadio and anonradio.]

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I am working on a mix for (open source) internet radio streaming. Below are notes explaining my choices. The mix is tentatively scheduled for this Thursday. I'll post again when know more. My thinking here is closely tied in with music I am making in the studio at the moment.

This mix explores the power of the simple, primitive, incantatory riff in postmodern classical and "jazz fission" music (Kodwo Eshun's term for the brief period of poMo experimentation in the late '60s/early '70s, which eventually jelled into more codified -- and bankable -- "fusion" jazz). My touchstone composers here are Carl Orff and Eric Satie, and their music is interwoven in the mix with experimenters on the "rock" side (John Cale, Frank Zappa, Penguin Cafe Orchestra) and the "jazz" side (John McLaughlin, Ralph Towner, Eberhard Weber). My aim is a musical conversation where common themes, differences and "sidebars" are all considered.

The mix begins and ends with a version of "Something Spiritual," a piece attributed to Dave Herman, who may or may not have played with Glenn Miller (Discogs sometimes mixes up artists with similar names) and appears to have written only this one tune. It's a bifurcated composition, with a wistful, soulful beginning that breaks into a repeated 7 note riff (da da, da da, da da, da) that is very "rock and roll." The piece keeps switching back and forth between the soulful part and The Riff, trying to make up its mind. At the beginning of the mix, John McLaughlin plays it on acoustic guitar(s), showing off his speed and technical skill. At the end of the mix it's played by The Tony Williams Lifetime, a towering group of the fission era, with McLaughlin on electric guitar, Larry Young on Hammond organ, and Williams intricately flailing away on drums. Here The Riff takes over the song, and is played by McLaughlin and Young ad infinitum, with subtle variations in timbre and syncopation, allowing Williams to go off into outer space with metric variations and polyrhythms on a standard drum kit. The loud guitar and pulsating organ are rock, not jazz -- were it not for the drums, this could be Steppenwolf.

Going back to the beginning of the mix: McLaughlin's acoustic version is followed by Penguin Cafe Orchestra's "In the Back of a Taxi," which has a upbeat folk-like Riff played on bass, piano, and ukulele that you could listen to all day. But then a zany quasi-mariachi band comes in with trumpets and breaks the hypnotic groove. This happens twice in the song but the Riff remains constant throughout.

Next comes the first of several pieces by Carl Orff and Gunild Keetman from their "Schulwerk" series, a decades-long compilation of pedagogical music for children (or students of all ages). In "Diminution Schrei," an infectious stew of bubbling xylophone and wood block percussion suddenly erupts into shouts and Native American "hey-ya"s -- from a German boys choir, no less. It's fun and pretty wack. This short piece takes us to Eric Satie's score for Rene Clair's film Entr'acte, which ran during the intermission of the ballet Relâche in 1924. This is my favorite Satie piece, an example of his modular "furniture music" -- a concatenation of simple Riffs ranging from circus music to melancholy strings -- which could be repeated or shortened as needed, to keep the score in sync with the film cuts. This was way ahead of its time.

Next up is Moondog's wistful piano tune "Sea Horse," which could be a continuation of the Entr'acte score, followed by Ralph Towner's solo guitar piece "3x12 (2)." Towner riffs, too but his mind is so musically inventive the motifs never settle into grooves but, instead, serve as links in chains of free association. Then it's back to Moondog, with his most famous work, "Bird's Lament," for reed instruments, including a honking baritone to die for. For this mix I used a version without percussion, from The German Years 77-99, sped up to the same tempo as the better-known version from Moondog (1969) on Columbia. This seques pretty nicely to Carl Orff's "Dance (arr. Wilfried Hiller) for Violin and Cello" from the Schulwerk series, with short sections that could be a sequence of stately folk dances.

This is followed by a threesome of piano works from my blog playlist hatin' on Haigh -- -- which presumed to find some better examples of solo piano (more fun, more tuneful, more diverse, more emotional) than those offered by Simon Reynolds favorite Robert Haigh in The Wire a few years ago. Ravel's "Le Tombeau de Couperin (I. Prelude)" receives a lightning fast treatment from David Korevaar. I owned the orchestral version of this for years and only on hearing the piano version realized what Ravel is doing with a Baroque composition by Francis Couperin -- unstiffening it and making it more romantic, more obviously French. You can still hear the Baroque trills and mathematics but with syncopating pauses and lush sweeps of cabaret expressiveness: a truly amazing reinvention. Then Gertrude Orff's haunting kids' music piece "Kleiner Klavierstücke, Heft I, No. 2," suggesting another quiet court dance. Then Philip Glass' Spanish-flavored "Modern Love Waltz" (performed by Amy Briggs), a machine-like arpeggio workout. You can almost see punched rectangles on a player piano going by, even though it has a human player.

Back to Orff: "Tun Ma Gehn, Rösserl Bschlagn," a children's piece featuring claps and a spirited mezzosoprano voice, precedes Sandy Bull's version of Carmina Burana -- played on a banjo! I owned this years ago, on a vinyl compilation of Bull's music, and can't imagine why I forgot this was on there -- it's completely memorable. Carmina is so familiar from horror movie scores it almost sounds like hackwork today. The banjo strumming puts us back in touch with its roots in the Jungian meme pool that Orff was tapping into: elemental strummed notes that are part folk, part medieval, part "world," touching something deep and primordial. This is followed by another Orff-penned children's piece, "Dance 1 (Piano Exercise, No. 29) for Violin and Cello" (1933), which seduces with its counterpoint between bowed and plucked strings.

Another short, frenetic Ralph Towner solo, "3x12 (3)," leads into John Cale's "Days of Steam," from his mostly classical third LP, The Academy in Peril (1972). This rhythmic piece for piano, viola, and tambourine (with trumpet scales and recorder at the end) presciently resembles Simon Jeffes and his Penguin Cafe Orchestra, which appeared a few years later. It's followed in the mix by Penguin Cafe Orchestra's "Yodel 1" (1981), a strummed acoustic guitar riff with piano and bongo accents. The simplicity and transparency of the instrumentation puts it very much in the Orff "Musik Für Kinder" ballpark, even though it's a 4 minute jam rather than a short structured chamber work.

Next is "Aybe Sea," one of the Mothers of Invention's prettiest pieces, from the Burnt Weeny Sandwich LP. A trio for piano, harpsichord, and Zappa's pedal-inflected guitar, the piece conjures a kind of deranged Renaissance dance number, before settling into a long piano coda. Eberhard Weber's "Silent Feet" is notable for Rainer Brüninghaus' liquid, exploratory piano intro, reminiscent of Ralph Towner's music in its improvisational complexity, rippling through a series of twists, turns, and key changes in a completely Western tonal framework (there are a couple of flubbed notes about 2/3 of the way through, which he recovers from brilliantly). This type of playing would resurface as the Windham Hill "new age" sound a few years later, without Brüninghaus' edgy melodic poetry.

The Ralph Towner acoustic guitar solo that opens Weather Report's "The Moors" is the stuff of legend, another freewheeling journey that resembles pure thought, turned into sprays of 12-string notes. The story goes that Joe Zawinul gave guest-instrumentalist Towner a chair to sit on in the recording studio and let Towner warm up before playing with the band. Unbeknownst to Towner, Zawinul had the tape recorder running and the warm-up session became the finished intro. "The Moors" then continues in Weather Report's early controlled free jazz style (coming off their years with Miles Davis) which had largely disappeared after their next LP, Sweetnighter. The mix then ends with the Tony Williams Lifetime version of "Something Spiritual," discussed above.

Tracy Harris at Graham Gallery, Houston, TX (unpublished 1991 review)

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Tracy Harris, Funnel Made of Wind or Water (detail), oil, wax, graphite on wood, 80 x 108 inches
link to artist's website

At the time I wrote the review below I was covering Texas for Artforum. I had every intention of submitting it to the magazine but didn't. Looking back the writing seems fine so I don't know what I was thinking. I remember an acquaintance (or perhaps another review) saying the work had a "da Vinci's notebooks" vibe and it sort of does but I saw the ideas as more contemporary. The images here come from Harris' website -- they are closest to what I remember of her work in the show.

Tracy Harris
Graham Gallery, Houston, TX
June 8 - July 9, 1991

Abstract painting lends itself to the exploration of ideas suggested by contemporary physics: the interrelatedness of things, the unraveling of cause and effect, the impact of the observer on the observed. Tracy Harris fuses concepts of 20th Century art and science in a quite literal way, by incorporating scientific imagery into the chaotic vocabulary of Abstract Expressionism. On wooden panels, heavily-textured fields of blue-green and beige serve as backgrounds for line drawings suggesting the cryptic notations of engineers, physicists, and industrial designers. Although the schematics hint at specific activities -- plotting black hole coordinates, designing a better teacup -- they seem just as concerned with the roles of choice and chance in the creation of works of art.

Harris pays equal attention to the rendering of figures (predominantly cones, spirals, funnels, and cylinders, varying in size and depth) and the negative spaces surrounding them -- voids of muted color that alternately swirl with gestural life or lapse into states of graceful decay. She restlessly draws, erases, and redraws the figures, leaving ghostly traces as if on palimpsests, and scrapes and scumbles the backgrounds until they attain a comparable degree of surface complexity. Occasionally figures and grounds unite synergistically, as in one untitled panel suggesting a series of mechanical arms spiraling down a cosmic drain, and another in which bowl-shapes progress through stages of Cubistic dismemberment.

It would be tempting to discuss Harris' work purely in formal terms; obviously line quality, balance, and texture are important to the artist, and the images record her struggles to bring these elements to a state of eccentric perfection. Some viewers may see the schematic drawings as abstract motifs or design elements and leave it at that. One writer has called them "iconic," disregarding the patterns of uncertainty and choice implied by the webs of half-erased lines surrounding or connecting objects. It would certainly be farfetched to interpret the panels as Dadaist jeremiads on the mechanization of sex or the dehumanizing effects of technology.

If the diagrammatic shapes were just motifs or static icons, the paintings wouldn't be as compelling as they are. Part of their fascination lies in the success of the artist's research -- her knack for finding utilitarian images that work well as components in imaginative hybrids. In this sense, the shapes become metaphors for the process of invention. Paradoxically, in the course of the artist's self-imposed struggles with the formal aspects of the work, something very unscientific occurs: she invests the shapes with emotional life, making it possible to see them as characters in peculiar contemporary dramas. Chaos theory and the riddles of quantum mechanics obviously figure in these productions; the extent to which they act as plot or scenery is a question bearing further study.

 

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Tracy Harris, Warp and Weft, oil and wax on wood, 34 x 56 inches
link to artist's website

[italicized introduction edited after posting]