Archive for category Travel
London, Berlin, Dresden, Prague, Bratislava, Budapest, Corfu, Meteora, Katerini
March 29 – April 18th
This series spans opposite sides of the summer: when it began, I was in London, getting ready to return to America for my masters’ fieldwork, describing a central European trip I took with a friend from Iowa. As I finish that story, I’m back in a London, dissertation complete, planning what to do next. The time immediately after completing a degree (or any major project) can seem too much like a vacation: after long hours of hard work, structure suddenly disappears, leaving a more abstract sense of pressure with the next challenges. But just as in a job search, the harder parts of a vacation involve knowing where to look – and what to look for – in an environment that is by its nature unfamiliar.
Being in a distant city creates something of a paradox, and the city is (by nature) a creature of density and familiarity. In Flesh and Stone (1994), Richard Sennet describes bodies moving “passively, desensitized in space” (p.18) across the contemporary urban landscape, conquering ever-greater stretches of land experiencing it less vividly. “Space has thus become a means to the end of pure motion…the driver wants to go through the space, not to be aroused by it” (p.17-18). Despite his doom and gloom on the desensitization wrought by travel, Sennet’s larger point about the Western city is that its ideals were once marked by bodily contact and mutual awareness, whereas today it is a place where people can be together, separate. “Once a mass of bodies packed tightly together in the centers of cities, the crowd today has dispersed” (21), geographically, globally, idealistically. One of the ironies of travel is that even if the journey is ignored, destinations come with the obligation to observe. You can travel a distance by train or car through one countryside, without looking out the window, to take a tour bus through another.
Sennet opens with a quotation from Aristotle’s Poetics: “A city is composed of different kinds of men: similar people cannot bring a city into existence.” As a leisure traveler, one becomes ‘different people’ in perhaps the most literal sense – the one who has come because the place is different and renowned, without necessarily ingraining oneself in the community life of the area.
My family got lucky on the days we picked to visit my sister in Minnesota; we heard that the leaves hit their peak that weekend, which we got to see along the open fields that turn to tree-lined corridors on the drive from Iowa northward. There are valleys, trees, bends and lakes everywhere around Duluth, the city’s hillsides sloping toward Lake Superior. My sister drives past them every day on her way to work, lingering just a little less (all things considered) than the tourists in booked-up hotels who flock there on the weekends this time of year.
Duluth’s downtown is distinctly solid stone and brick, built in an industrial boom of the late 19th and early 20th centuries and still quite wealthy. The view over Lake Superior from its hillsides are expansive waters, a bridge to Wisconsin, industrial plateaus and residential peninsulas. Vistas like this are amazing but no less plentiful throughout the world: a lookout from on high recalls – haven’t we been here before? Water is water, right? It all flows together eventually. Such is another pardox of travel: you go to a place because its different, and find yourself only able to compare it to things that have come before. It should also go without saying that if one wants to preserve these views, they are easy to photograph casually but hard to capture in their immensity.
Here, somewhat haphazardly, the story connects back with Europe, and a bend in the Danube at the ruins of Devin Castle, on the outskirts of Bratislava, easily accessible by the local bus lines. The remaining walls of the castle look solid, even if the absence of other walls clearly states the challenges of age, while along the road that runs along the Danube below the castle one immediately runs into an abandoned hotel. The valley and the river beyond are remarkable in how undisturbed they look, all things considered. Water, then trees on a plateau to the horizon.
When Duluth was rising, Bratislava was called Pressburg and part of the Austro-Hungarian Empire. The fallout from WorldWar I created Czechslovakia (which encompassed Prague) and sent the majority Germans and Hungarians (split at just over 40% of the population each by the 1910 census) on a permanent vacation. Czechoslovakia peacefully split in 1992, leaving Bratislava – by then mostly Slovak – the capital of Slovakia and Prague the capital of the Czech Republic. While Bratislava is noticeably more subdued than Prague – owing, no doubt to the rain and its less tourism-centric economy – the squares of both cities were marked by Easter Markets in the season (see also, Part Two).
The Sedlac ossuary (which we visited a few days before Bratislava) can be viewed as a parody of Sennet’s ideals about the ancient city. Located at Kutna Hora (close to Prague, and like Duluth, also, a city whose wealth was tied to its mineral deposits), the church is most vividly marked by the 1870 flourishes of local craftsman František Rint: the conspicuous arrangement of the bones of 40,000 to 70,000 people, from the 13th century to the 19th , into a chandelier, stacks, coats-of-arms, and other displays. In its immediacy, contemporary thoughts can place it terms of devotion, perversion, or simple practicality; one could find parallels, for example, in the hearts-made-of-skulls in the Paris catacombs, Ed Gein’s furniture, or (really) any number of global funerary practices. Especially around Easter it is a direct, macabre vision of the promise of the Christian resurrection. If one believes literally, this is the valley of dry bones, compacted into a single room for easy perusal. Or, as a counterpoint from one of the atheists I’ve spent time with during my fieldwork, a former undertaker – “once you’ve seen a three-day bloat, you realize no one’s coming back from that.”
Owing to the Orthodox Church having its Easter a week later than most other denominations’ and my travel schedule, my Easter season lasted a week longer than usual; I celebrated the holiday a second time on Corfu, a sizable Greek island off the country’s west coast. I stayed with a friend at her sister’s flat; their mom had sent a mass of food across the country (from their home in Katerini, on the east coast, and whom I would meet later in the week) with other family friends, who also shared the apartment space for the holidays.
Corfu is a holiday destination for Easter, appropriate to the mix of family, friends, and tourists that we, collectively, represented. What struck me most about the holiday was the extent to which the ritual is unified across several levels: expansively, via Christianity; nationally, via mass media; culturally, via the shared ritual; and locally, via the swelling of the city with the other friends and strangers who meet there.
The weekend is awash with the performance of traditions, including the midnight feast on Saturday following the dietary restrictions of Lent. As I mentioned, in the case of our meals, the food had been brought, literally, from the other side of the country. After this – and throughout the weekend, at houses and in the streets – people play games of cracking hard-boiled eggs (dyed red for Jesus’ blood) together to see whose can last the longest. The same night – with candles lit from a flame flown from Jerusalem – hundreds gathered near at the beach. We sang carols; the priest chanted beneath a gazebo, and fireworks went off, all while we tried our best to shield our flames from the salty sea breeze . These traditions – which in their immediacy, create an immense emotional, liminal effect – are reinforced as a part of things larger through the casual background noise of mass media, the televised images of celebrities, everyday people and priests throughout the country performing the same actions.
At the same time, the experience of the holidays Corfu is intensely local. The city’s bands march through the narrow, Venetian-influenced streets, performing sadder music Friday that builds to triumph on Saturday and Sunday. On Saturday morning, vases of all sizes – with messages written by local organizations – are thrown out the window of a downtown building. There are two stories I heard of the origin of the custom. One to scare off Satan in time for Jesus’ arrival; two that it was a Venetian spring cleaning custom. Whatever we’re supposed to feel about the event or the economy, the rituals throughout the weekend spill onto the sidewalks as people eat or drink, some and others not observing the prohibitions of Lent.
There are so many things no one has bothered to write about in any systematic fashion. In anthropology, few people had written about play. Johan Huizinga’s Homo Ludens (1938) stood as one of the most extensive treatments, parts of which I’ve been thoroughly engaged with throughout the summer. Huizinga is, rightfully taken to task on the issue of boundaries, his portrayal of play as an activity existing in a ‘magic circle’, unbounded from ordinary existence; it is (of course) categorically not, as most famously demonstrated by Clifford Geertz’ piece on the Balinese cockfight, which described the linkages between the game and life outside, the prestige gained from one’s bird winning and the fact that people bet on their own kin group (for examples). Critiquing that same notion in modern ideas – that anything can be categorized to the point of separation – has been a recurrent theme of post-modernity; so much of modernity is the systematic putting of things into categories (“psychology” over here and “physics” over there), while post-modernity has served as an extended mediation on difficult this is in practice (see: deconstruction, Bruno Latour’s We Never Been Modern, etc etc).
If we view Huizinga as a myth-extrapolater rather than an analyst, we can allow him some indulgences, as at least the myth of play as separate from ordinary life has remained much the same across the last century: play is often considered part of leisure, video games are considered unproductive even by those who find them fun, etc ad nausem. The points Huizinga steers his larger circle toward, further, also bear consideration: a) that play exists before other forms of communication and b) the ritual process (to him, a serious matter) shares many similarities with play: the willful assumption of other roles; suspension of ordinary norms; the entrance to a different (if not entirely separate) world; in a way, a sense of ‘pretend.’
Throughout the streets of Corfu, ritual and tourism and friends and prayer all converge and overlap. In Prague and Bratislava, tension – without a local guide to connect us to the festivities – held as my travel partner and I drifted through Easter, with the markets and their ornate, hollow delicate eggs for sale sale alongside the sex dice. Reaching Bratislava for Good Friday, we drifted through the small chapels, stopping to observe and sometimes to pray. Are we tourists, worshippers, or something in between – or are all these things not playful in Huizinga’s ? No one speaks in the chapels. If you feel a lack of belonging there, they can become an echo chamber for a (very modern Western) self-doubt in one’s own authenticity, as if anyone else’s internal thoughts could be known but to God.
Sennet rather pessimistically (or at least modestly) concludes: “In a diverse world, each person cannot explain what he or she is feeling, who he or she is, to the other….[the body’s] pain comes from God’s demand to live together as exiles” (376). Yet I would argue that in enacting the tourism pilgrimage is to play at these things, too, to experience them as inexact visions in alternate, temporary lives.
Back on Corfu, my friend’s sister asked, “So you study people, right?”
We were waiting for a bus to take me to the outskirts of the city, to Pontikonisi, “Mouse Island,” a popular tourist destination and the only building on which is a small monastery.
I am not sure who goes to the island anymore; battered by high winds and tall waves, it seems most meant to be observed from the land.
“Aren’t people…complicated?” she asked, as the bus rolled in and the thought had to end.
See here for more pictures and detailed descriptions of:
London, Berlin, Dresden, Prague, Bratislava, Budapest, Corfu, Katerini
March 29 – April 18th
How long do you have to spend in a place to know it, or (at least) to make some worthwhile pronouncement about it and/or your experience with it? Anthropology says about a year and a half – that’s the standard length of time for doctoral fieldwork. Journalism often gets around the challenges of observation and authority by keeping a great many statements as quotes and attributions. Term papers go by the rule that if someone else said it, it carries weight. Yet limited personal experience with the new, exciting and different is something people is one people often feel compelled to share: IE, travel, something (especially on this blog) I’ve spent a great deal of my time writing about.
A friend of mine, a fellow Midwesterner who visited Europe last year, said that London “feels like it’s the center of something,” a statement with which I concur after having lived there for a year: the city is comfortable with its gravity and has a notable magnetic field. The thing that still strikes me as most endemically (if not uniquely) London as I experienced it is the incredible international diversity of the inner city, the emigrants, expats, natives, tourists, and travelers and the various shades of how one considers him or herself to be any of the above. London is a place that, comfortably embodied as itself, thrives on thoughts of elsewheres. The university scene in London is exemplary of that: I am in a program(me) with very few British students, and even fewer second or third-generation British. At one seminar, I looked across a room of 60 students and counted 40 different countries represented; the remarkable thing here is not the variety, but how commonplace it is. A port town and the former seat of Empire, a place that have always been enmeshed in international exchange, London today feels like a place where the world settles down for a time and then moves on.
“But that’s every city,” said an academic, visiting from Scandinavia, who I met at a conference. “Tell me something unique.”
London is, of course, getting ready to show itself to the rest of the world for the Olympics, at a cost currently estimated at £24 billion ($38 billion USD), up from an original bid of £2.4 billion – changes which operate on “selective logics of inclusion” for both internationals and locals (for a study on potential socio-economic and environmental impact, see here). This international welcome further comes as changes in policy are making it more difficult for foreigners like me to stay and work in the country. The current bonus one gets for paying overseas tuition and graduating from a UK university: until your student visa runs out to find a job (for me, January), or go into the general Tier 2 pool, in which case you must not only be the best person for the job but the only person, as employers are legally required to take a minimally qualified EU candidate over candidates from anywhere else. I don’t think this will change the character of England’s capital much, taken as a whole, but it will create frustrations for a lot of folks looking for a good life and a good living.
The Olympics will obviously be a thoroughly massive and momentous event, but it should also be noted that a common local sentiment regarding them is a fear of logistics: its going to be peak hour on the Tube all day, every day, and twice and packed. We who spend a lot of time here (native born, immigrant, expat, etc) love this city and most of us are totally stoked with the rest of the world visiting if you’d kindly form an orderly queue and not do it all the hell at once. Much like the experience of watching the Queen’s Diamond Jubilee flotilla along the riverside, struggling to see over the heads of the rows in front of you, its a thing that will likely be at its most accessible as televised spectacle, perhaps from somewhere else in Europe, funded by a sublet flat. My current plan: work on my thesis from the relative isolation of Iowa, where I am at present.
The Olympics, however – amidst all its televised glory, logistical complications, and legal clampdowns – highlight part of what makes the questions of my first paragraph so pronounced: ours is an age of mutual awareness and casual exposure.
As I mentioned in my previous post, part of the reason why this blog hasn’t been updated in so long is the migration of personal-storytelling-as-mass-broadcast to Facebook, and from the written blog post to the topical photo album. Among the bits of research I’ve become aware of as a student of Digital Anthropology, David Frohlich divides photography into three eras: in the first – roughly until 1920 – photos were used for documentation. Then, with the introduction of the personal camera, there was a shift toward ‘capturing memories,’ the “Kodak moments” of our families’ lives. Now, with the Internet, the photo is used as a means of outright communication as we regularly post pictures to discuss our lives, to tell jokes, to make political statements, to share the significant with the mundane. This shift is part of the social dynamic that underlies this excellent article disparaging a site I still happen to make frequent use of: “How Yahoo Killed Flickr and Lost the Internet.” Simply put, Flickr is for sharing pictures with people you don’t know, and one of the more pervasive myths of the Internet is that everybody knows everybody.
Vacation pictures were once stereotyped as dreaded albums and slide trays, ritual abuses inflicted by overactive hosts to their captive dinner guests. You’ve seen the Eiffel Tower, you’ve seen your neighbor, and while the pictures of them together may hold an important memory and proof of experience for him/her, the interest you have in seeing the two together may vary. The Internet – however – changed how one shares images, what one shares, and the concept of a ‘vacation’ and how you bring your friends with you – or the world to your friends. Pictures now appear limitless, but their quantity (and the times we take them) spread unevenly in time and space. I think of the preponderance of pictures I take when I’m on the road, along routes with which I have only tenuous, mass-mediated connections. versus the fewer, focused shots of places in which I’ve stayed for extended periods of time. This is vividly illustrated by Eric Fischer – who, using geotagged information – put together these maps of where temporary versus extended residents have taken pictures. As far as the Internet is concerned, the global image of Prague has barely been photographed by any locals (other cities relevant to this series: Berlin and Budapest).
Modern tourism is an act of possession, about seeing things – sometimes wondrous things – and appropriating them as part of our lives, as images and experiences that often converge around recognizable landmarks. In Prague, that is the Old Town Square, the heart of the tourist section, where you do as everyone does: stop and look at the Orloj, the astronomical clock. Built in 1410, it is the oldest timepiece of its kind still working, a rotating and revolving display of hours, minutes, the Zodiac, phases of moon, and the sun, with a procession of medieval vanities and saints rung by Death Itself. As any guidebook will tell you (apocryphally?) the clock was so beautiful that the local leaders blinded its creator lest he surpass it with a subsequent display in some other town. So the clock goes, and – as it has for over four hundred years –the cosmic procession continues, and all the tourists stop and look – as I did seven years ago, and I did this April, as if we can freeze time into something we can take with us.
The Old Town Square is a center for memento commerce, a nexus that one wanders into (purposefully and randomly) on the way to see any number of other sites. On my trip the Easter markets were set up, surrounding the statue of church reformer Jan Hus, who was burned at the stake in 1415 for challenging the Church (many reforms he suggested were later pressed by Martin Luther) and whose death sparked nearly two decades of war. This is the heart, too, of a visual performance of place, stacked with things seasonal and mundane, hundreds of varieties of hand-painted hollow eggs and things labeled “Prague,” among which are: wooden dragon puppets, refrigerator magnets, Prague condoms, Prague sex dice, witches, crystal, the same “Born to Be Wild” shirts as were emblazoned with my summer camp’s logo over a decade ago and other quick-press themes (“Good girls go to heaven, bad girls go to “[place]”), plush toys of Zdeněk Miler’s “Mole” character, Mole books. Like the stacks of Royal Wedding kitsch in London that are now being supplanted with soon-to-be-discounted Queen’s Jubilee and London Olympics 2012, these are the marks of a particular image of place, their authenticity drawn from memories and associations of having been procured of a specific location.
The more we walk past that clock, however, the more we ignore it, blend in with it, and ingrain ourselves in a city on its own terms (even if largely as a part of its tourist ecology). Much as in Bourdieu’s idea of the habitus – that the environment contains cues that compel our behavior – we absorb things that surround us, and in growing comfortable with them ignore, turning attention to logistics and life and the background.The notion of difference – and exposure thereto – has been part of what has driven anthropology, too, in tension with the value placed on understanding through length of contact; the tendency to be unaware of so many of the norms of our environments, because of how ingrained they are, to be ‘homeblind.’ Or, to return – a similar sentiment expressed in an oft-quoted line by T.S. Elliot (a Midwesterner who moved to London), that we may “arrive where we started and know the place for the first time.”
For my own region, I remembered the space but forgot about the humidity. You can’t photograph the air, even though it feels like wet fabric in the summer. I flew from London to Minnesota and from there drove. It just gets hotter and more humid the further south you go – through Iowa, to Kansas, to Oklahoma, all the way through a continent of seasonal green parted by the blacktop, spending hours in a moving box of air conditioning. Back in the U.S. (at least for the summer), the visuals seem fixed, and so much right where I left it in Iowa, just a little older, even as the air reminds me less of my own memories than the tropical nightmare of a flooded London in Ballard’s The Drowned World, the city where, in reality, I had left changing sky and unchanging buildings.
London, Berlin, Dresden, Prague, Bratislava, Budapest, Corfu, Katerini
March 29 – April 18th
In January, I left the city for the first time since the week I arrived. When you haven’t seen the countryside for a while, any patch of grass or snowy field, sped by on a train, can remind you of everywhere. Places that I have never been look like places I have not seen for a long time. I missed parking lots, the horror of great big Wal-Mart parking lots. One of the common criticisms of driving through the Midwestern countryside where I grew up is that it all looks the same, and that it goes on forever – yet there is always there, I’ve found, a reminder through space that the world is very big.
“The city is more beautiful than the country because it is rich in human history,” writes London native Peter Ackryod in chapter 46 of London: The Biography, an 801-page parade of historical fragments that portray London as “every city that ever was and ever will be,” (a quote Ackroyd borrows from Stephen Graham’s London Nights ). Ackroyd claims all sentiments for London – for example, Mary Firth, aka Moll Cutpurse, is not just one of the city’s many celebrated historical criminals, but (like every damn thing) “symbolic of London itself,” her disguised femininity above all “a token of urban identity” (619). London is a “a city perpetually doomed” (p192) by the plague and fires, a place that has “always been characterized by the noise that is an aspect of its noisomeness” (66), and attempts to map it represent “an attempt to understand the chaos and thereby to migrate to it; it is an attempt to know the unknowable.” (104). Ackroyd’s London contains multitudes to the point of parody. To get a sense of the vibe of mythic London, I’d recommend looking through some Hogarth pictures; they’re much more thematically organized, evocative, funnier, and quicker to browse.
In well-known cities, there are always marked contrasts between the vibrancy of culture and the physical realities of people living in close proximity, in buildings that last centuries (or pretend like they can), that will break down, change hands, shift from business to tenement and back again. Ackroyd is right about how the city can feel all-encompassing: the world seems to have been drawn to this place in its totality, beginning with the Romans who built the first permanent settlement in the first century CE. International and intercultural coexistence is a conspicuous norm in most neighborhoods – like Golders Green, which I visited last week, and its streets of Orthodox-kosher Korean, Japanese and Chinese restaurants. It’s somewhat unnerving to visit Oxford (an hour away by train) and hear a uniform accent across the people you meet in the streets. Yet it would be a mistake to think that just because people have come together to make something new, in a place with a particular history, that their lives in the city are their only lives. That the things in the city are not contained by it is one of London’s great joys. It is partially for this reason that the posts on my blog tend to be weirdly formal and regrettably infrequent; the everyday stuff of pubs and museums and annoyances and fun has largely migrated to Facebook, where it sits with some 600 friends from around the world, mingling with their domestic lives.
Likewise, the cosmopolitan nature of the city disguises how small it really is; that London seems like it could envelope the whole world is a sentiment better struggled against than accepted. To view London as ‘every city’ is to lose the specificity of what it and every other city can be. It’s the danger when you stay anywhere for too long: you can forget there are other places, and the specifics of your own street mask their similarities to other streets. And then, all windswept vistas look alike.
Now in June – on the verge of returning to the American countryside (at least for the summer) for fieldwork –I’m scrambling to become a tourist in what has become my own city. It’s the leaving of London, though, for other cities that prompted this series of posts. Two months ago, I took a three-week trip through Europe with a friend from Iowa. It’s the ‘overseas short-term resident’ trip: go out and see “Europe,” because it’s all ‘right there.’ I left London to begin in Berlin, staying in the same place I did seven years ago: a hostel themed after the Hitchhiker’s Guide to the Galaxy, which provided not only continuity with my previous trip (documented in these three posts), but unexpectedly a bookend for the trip itself with the mural on the wall, depicting a whale being called into being and a pot of flowers falling out a window and thinking to itself, “oh no, not again.” The story concludes on the Greek island of Corfu with hundreds of pots being thrown from windows, but we’ll get there soon enough.
Leaving a mild winter in London into March in Berlin was a trip to a different archetypal set of aesthetics of urban life, beginning with the rain. The image of London fog, drizzle and umbrellas hasn’t held for most of my nine months here; even throughout winter, days remained sunny, in part due to a two-year drought. That month, public service announcements finally responded reminding us to conserve water, just in time for a few rainy days to make them look out of place. Now the bus and train station signs read “Rain or Shine…” Berlin’s weather was closer to that of a London of legend, overcast greys and drizzle, but the streets themselves are entirely Berlin, reflective dynamics of cool materials that the city makes its own, rising above the layers of history that crack open and are exposed.
London, by contrast, is – in a literal, physical sense – remarkably flat, and the grime of centuries past is (depending on the neighborhood) swept away or built overtop, “that great pile upon which the city rests” (Ackryod: 111). Neighborhoods become trendy or posh or fall into collapse, gentrify or become derelict, and the city rises, decays and ultimately builds something else on its own ruins. Berlin embraces the myth of the modern; postwar, the Eastern and Western sides of the city worked to reinvent themselves in visions of alternate futures. London’s more visible aesthetic divides appear, often, to have happened practically. The industrial docklands in the East of the city – where the Olympics will happen – were built into the glass-and-skyscraper business district, while around Bloomsbury (where I’ve spent much of my year), the townhouses of eras passed were rebuilt with whatever resources could be found. Now, these two-to-three story earth-toned mishmashes are being primped and restored in time for the Olympics, sending a message that the place’s styles have always been, will always be, up to date, despite the general transience of London’s population.
Seven years and there’s more continuity than I expected in Berlin, at least between a few days in May in 2005 and 2012. Lounge act Gayle Tufts still has a show going. The punks at the Alex have migrated to the open field where the Palace of the Republic once was, while around the corner from the Topography of Terror – the exposed torture cells from the Nazi secret police, beneath one of the last remaining sections of the Berlin Wall – the Trabi Safari lets you take a drive through the city in East German style. I picked up a few historic sights I hadn’t seen in 2005, but I was more there for the flight, as a launching point, and for nostalgia. When I went to China in 2007, I felt like I was leaving America for a different life, and that the two places marked a divide and I would have to be in either one or the other. With a friend from Iowa (who is living in Italy) in Berlin – a place I had been before with different people – I felt like life was continuous.
Like fields but unlike in inner London, the interiors and exteriors breathe with space. Having coffee in a shop and looking out on the streets near Friedrichstrasse Station and thinking: there are not enough people walking by to achieve the critical mass of the London street, where crossing lights lack authority, and after the first few people step into traffic, the pedestrians claim the intersection. And you cross, with so many people you will never meet again.
Six years ago in late August I arrived in Yunnan – China’s most ethnically and geographically diverse province – to find a massive techno-cultural transition going on. Five years prior, in 2001, John Bryan Starr had published on page 249 of his book Understanding China that “with the important exception of The Sound of Music – which seems to have been seen at least once by every living person in mainland China – most available foreign films are cheap B-grade movies.” By 2005, the B-movies were still there (see above), but the availability had changed massively. As I wrote then of Yunnan’s capital, Kunming, in rather lengthy bit of research I never found a venue in which to publish:
Scattered amongst the hair salons and mini-marts and clothing stores and the Internet cafes are the disc shops. Their outside walls are cluttered with posters advertising the latest films and albums. Inside and outside are tables, stands, and shelves filled with D5s (single-layer DVDs, holding about 4.5 gigabytes of information) in thin cardboard sleeves. The sleeves are in their own plastic sheathes, which can be unsealed at the bottom… At any given store, a selection of more than 1,000 titles would be considered small. At the shop across the street from Yunnan Normal, I estimate there are over 2,500 different titles for sale. Copies of the same title are rubber banded together, and to see what movies are for sale it’s usually necessary to thumb through the baskets or shelves. Though Chinese and foreign movies are kept distinct and there is some organization by genre, for the most part the shelves seem to be sold with the sheer joy of variety overload.
This is a long way from a few years ago in Beijing, where [my instructor] said that vendors were hiding their movies beneath manhole covers.
I counted 20 such shops within a ten-minute’s walking radius, the opening of which had begun to accelerate in earnest around 2003. While I haven’t back to Kunming since 2005 (and China since 2008), I have noted that Kunming (truly a place I love, lest you view all this by its negative connotations) has been in the news for stores that copy the entire retail experiences of Ikea and the Apple Store. What I didn’t realize quite as much then was all this was only one aspect of globalization of media, something I had been living in small-town Iowa, and that was going to grow beyond physical media into clouds and streams, and beyond the largely one-way art of conventional distribution channels to a social-artistic experience.
All this brings me to why I find myself to the flat of an acquaintance (who I got to know through Facebook) in Camden right now, listening to numerous accents of the sidewalk traffic and the echo of train stop announcements, preparing to spend the year studying Digital Anthropology at University College London (UCL). It is the third year the programme is being offered, and (arguably) the programme is the first of its kind in the world.
While the title ‘Digital Anthropology’ may seem a little unconventional, research into “the social and cultural dimensions of information technologies and digital media” (as described on the programme’s web page) is important, something I first realized you could study back during my undergrad semester in Yunnan. Look at the Internet and think how much time you spend on it – and how its changed the way you make new friends, stay in touch with old ones, find information, conduct business, and (special to Facebook) build imaginary farms. Or the role of cell phone and social networks in the organization, suppression and prosecution of the recent riots in the city I’ll be calling home; as I write this, police are sifting through tens of thousands of hours of footage matching the clothing on masked rioters with footage of them unmasked. Look over this post and think about how comprehensible it might have been a decade or two ago.
Communication has changed dramatically – how its changing is important to try to understand and has implications of art, humanitarianism, business, and policy, and trying to understand some aspects of this is going to implicitly affect all our lives and perhaps explicitly be the focus of a good deal of my primary career.
While there are many academic programs worldwide studying these things under different names (“media studies,” etc), I chose Digital Anthropology in part because I liked the idea of rooting a methodological approach in social and cultural aspects, as well as UCL’s egalitarian ethos. The anthropology program here is known for its emphasis on research in material and visual culture – i.e., stuff, and stuff we can see – and their connection to social relationships. Objects. Keepsakes. Knick-knacks. “Of bleeding skulls and the postcolonial uncanny: bones and the presence of Nonosabasut and Demasduit”; “‘The hallmark of a doctor’: the stethoscope and the making of medical identity”; and “Your Trash Is Someone’s Treasure: The Politics of Value at a Michigan Landfill” to name three relatively recent article titles in the affiliated Journal of Material Culture. The program is co-led by Daniel Miller, whose book The Comfort of Things – concerning how residents of a London neighborhood relate to the objects in their homes, and build/maintain relationships with people with them – I found immensely enjoyable and insightful when I read it last year. As long as humans still think digital watches are a pretty neat idea, there will be stuff, and with it stuff to talk about.
This sort of grounding seems the ideal springboard from which go into new and social media, which at times can seem quite intangible and in other ways is very concrete – as in the record kept by an online message board, or the physical object of a pirate DVD. From several of my classmates who I’ve communicated with via Facebook (again, Facebook!), it seems as if at least a few come with some video/film in their backgrounds, something I fit right in with. For professional considerations, the program also enables me to build on my copywriting experience in BVU’s Marketing & Communications Department, as well as the understanding of the business environment and how websites are run, maintained, and monitored.
I’m not finished writing about Storm Lake yet – before I left earlier this month, I outlined a few entries I hope to write on the city, its people, places, and my time there. I’m not finished with piracy yet, either – building on what I looked at in Kunming in some sense may form part of my masters’ thesis. And, of course, I’ll be chronicling my life and studies in London through some of the same technology I’ll be studying. We’re all doing it – the studying and chronicling, I mean. I just found a place that gave it a name I liked.
Most towns 20,000-some bicyclists pass through on RAGBRAI (The Register’s Annual Great Bike Ride Across Iowa) are known for something. It’s a strongly (though not exclusively) American impulse: to find that one thing in one’s burg, no matter how small, that connects with the national consciousness, no matter how tenuously.
My hometown of Clarion (RAGBRAI overnight stop 1993, meet-up town 2007), for example, is the birthplace of the 4-H emblem – each of the four leaves of a clover representing one of the H’s of the agricultural youth organization’s pledge. I never joined 4-H, what with being a solid small town urbanite who grew up a full block from the corn fields. The local point-of-pride that interested me more was Glen Buxton, Alice Cooper’s lead guitarist, who retired to semi-obscurity in Clarion and whose death in 1997 sparked a brief media blitz. Once – while I was volunteering some service at the cemetery with a local youth group I was a part of – my quest to find Mr. Buxton’s gravesite was detoured by an adult leader who steered me toward the grave of a high school girlfriend of his who had died young, him lamenting (during the steering) that there were plenty of other people who had lived and died around here too. Anyway (whiskey is coming, I promise) at several local events during my own high school years, I portrayed O.H. Benson, the local school superintendent who, in 1906, decided to attach the clover symbol to the Wright County Agricultural and Homemaking Clubs, inspired by a gift of seven of the good luck charms from children at the one-room schoolhouse that now sits in the Clarion’s Gazebo Park. In 1911, Benson went to Washington D.C. to help develop such groups nationally and brought the symbol with him. Five minutes ago, you had probably never heard this story, but every child who goes through the Clarion-Goldfield public school system knows a simplified version of it by some combination of heart, hands, head and/or health.
Several miles up the road from Clarion is Woolstock, birth place of TV’s original Superman, George Reeves. Further in Southwestern Iowa, the McDonald’s in Denison has a wall display dedicated to native daughter actress Donna Reed. Towns without a vaguely-recognizable figure who was born or died there tend to adorn their welcome signs with gentle hyperbole like “Crossroads of the Nation” (Early, pop. c. 600) and/or hyperbolic puns like “A Gem of a Town in a Friendly Setting” (Jewell, pop c. 1,200) or hyperbole and gently-obscene-but-not-really puns like “The Friendliest Town by a Dam Site!” (Quasqueton, pop. c. 500). While RAGBRAI didn’t pass through any of the above towns in 2011, one of the great joys of the ride is seeing how local pride manifests itself in the friendly people at each stop who are trying to sell you pie. A highlight this year for me: Oxford, in which photographer and resident Peter Feldstein took pictures of all but three of town’s 800-some residents in 1984 and 2005-6 and published a book about it. Usually, however, a town’s fame does not precede it – nobody knows Elkhorn & Kimballton (2011 Day Two stops) have the greatest rural concentration of Danes outside of Denmark until they see a giant windmill and are confronted with a long line for ethnic pastries and – interest perked – later check Wikipedia.
An exception to this relative obscurity is Templeton (population c. 300, a 2011 Day Two stop) or “Little Chicago,” according to a serviceman in the Philippines as recounted by Templeton Rye company co-founder Keith Kerkhoff. During Prohibition, informal distillers around Templeton (Kerkhoff’s grandfather Alphons among them) made a rye whiskey known for it’s quality that was allegedly favored by Al Capone. Today, the legal variation of Templeton Rye has been selling out wherever it’s allocated in Iowa and going for $18 a shot in (Big) Chicago. Shortages caused by the four-year distilling process and Iowa’s alcohol distribution laws have turned finding the stuff into a cross-state treasure hunt. Templeton Rye jerseys were everywhere on RAGBRAI (look above and to the right) and personally, it’s been a factor in my switch from gin martinis to Manhattans. I won’t embarrass myself by attempting to describe the flavor with adjectives other than “tasty” and “drinkable,” though those are words I’ve never before used to describe whiskey.
Keith used to play football for Buena Vista University (whose marketing department for which I work) and after graduating came within a few picks of making it to the pros. I was lucky enough to get to profile him – and the story of Templeton Rye – for the July issue of our magazine, BV Today. If you’re curious about how illicit Depression-era stills begat what’s fast becoming 21st-century Iowa’s best-known high-end beverage, 70s college football, the minutia of liquor distribution and three generations of the Kerkhoff family story, pour a shot and fire up the ol’ PDF viewer. I said one shot! You’ll want to keep a level head while reading.
Every time I see the land from the air, I’m surprised: at how far the horizon stretches, at how it can change each season, at how abstract and surreal the place where I lived most of my life can look. North-central Iowa is perhaps one of the regimented-looking places on earth – a grid of farmland on an endless plain that stretches in all directions – and the changes that come with the seasons and weather flow through it on a massive scale.
It is sometimes called ‘flyover country’, a term whose often pejorative connotations are somewhat sad and ironic given that the airplane was a thoroughly Midwestern invention. Transportation is a necessity here, and because of it there’s a tendency to think that the landscape stretches on forever. When I was middle school if I wanted, say, the newest video game release, it was up to me to beg my parents to haul me and whoever else wanted to come along to the nearest town with a Wal-mart. From Clarion (population 3,000, my hometown, the seat of Wright County), it’s one hour to Ames. Forty-five minutes to Fort Dodge. One and a half to Des Moines. Three to the Twin Cities. One forty-five to Storm Lake, where I live. One fifteen the other way on Highway 3 to Waverly, where I went to college. Even today, visiting friends means traveling five hours along these roads. So if you live here, you drive a lot, in straight lines, for hours at a time.
The mythology of the land (of course) is probably that of the farmer, though the reality is that, while there are still many people involved in agriculture – the last several generations have consolidated their landholdings and many have been bought out by corporate interests, and thus there are fewer ‘farmers’ about. My grandparents, who were farmers, could look out over their land and see their neighbors, identify who farmed what throughout Butler county, but today, we mostly drive the grid without knowing who owns what. This is not to say the land area is cold or isolating – far from it. I think of the atmosphere of my hometown, I think of it as a warm and welcoming place, and the drives from spot to spot as peaceful and – a few recent unfortunate and uncharacteristic crashes aside – quiet. But living here, one does absorb an amazing sense of place and the vastness of it all, because of how often you must practically deal with the vastness of it all. This is also, perhaps why most of the pictures I’ve taken (or at least, uploaded online) of the area have been from the air, and even the ones on the ground have emphasized those lines and that scope.
Because my dad has a pilot’s license and flies regularly for fun, I’ve been lucky enough to grow up seeing the land from a small aircraft. You miss a lot of the detail when flying above the clouds. That medium distance is really ideal from which to understand where you’re driving when you’re down there on those roads. It also gives one time to contemplate how surreal it all looks – the expanse, the grid. Up there, it’s not just a distance, but an aesthetic object and an oddly abstract one at that. Look out far and it can go on for ever, in fall or spring (like those brown ones posted here, taken this Easter) it looks like a desert despite the fertility the dirt hides. Look closer in the right light, and contours prominently appear. Depending on the seasons, the rains and snow melt, there may be some improvised and agriculturally unfortunate rivers and lakes. It is simultaneously one of the most consistent yet constantly changing, repeatedly rejuvenating landscapes one can see.
The Gigantomachy, battle royale of the gods. Detail: Nike v. Alkyoneus, Pergamon Altar
On the eve of what was to be its most eventful century, the leaders of Berlin worried it was a city without a history. Before Germany’s unification under Bismarck, the city had largely taken its cultural cues from elsewhere, but suddenly – as the capital of a newly-unified nation – there was building to do. While the city’s renown would come from a culture of steel, mass-production, destruction and all things modern, the impulse from the top down was to still look backward for inspiration – and deliver Old World style in excess to the point of parody.
It wasn’t unusual that Berlin collected other nations’ antiquities – the practice went hand in hand with empire – but few other cities imported entire gateways to place inside larger buildings. The Pergamon Altar, Babylon’s Ishtar Gate, the Market Gate of Miletus – these are not models – they are structures unto themselves, great outdoor entrances to temples and cities, each around 100 feet wide and 50 tall, excavated and today on display indoor in the Pergamon Museum.
Arguably the second-most famous antiquity in town – a bit smaller but memorable nonetheless – belongs to Berlin’s Egyptian Museum, which, in 2005, was on display at the Kulturforum while its old Berlin apartment was under renovation. The highlight – currently in the Neues Museum – is the bust of Nefertiti, remarkable for how its sense of beauty seems to transcend time and place. Yet, the aesthetics of the bust are not, as one might be tempted to guess, universal – or at least, I was put in my place when I suggested the idea to a classroom full of Chinese students, who found her head blocky and her face unattractively masculine.
The ancient world not being terribly feminist, Nefertiti’s great claim to fame beyond her looks is her husband, Ankhenaten, who upended the entire social order of 18th-dynasty Egypt when he decreed that polytheism was out and only Aten the sun god was deserving of worship. Though it is largely unknown how these changes were received in the royal couple’s lifetime, in the years that followed Ankhenaten’s death the reforms he implemented were undone, his temples desecrated, and his capital of Amarna abandoned. Whether he was ahead of his time or just a nut has been debated and romanticized in our own contemporary times – for example, elsewhere in the Berlin collection is a figure of Sinuhe the physician, protagonist of Finnish author Mika Walari’s historical fiction novel The Egyptian, which portrayed Ankhnaten as somewhere between a proto-Christian and proto-Marxist reformer, his deity-reduction platform an effort to flatten Egypt’s social hierarchies, a politically-naive idealist martyred by the schemes of the entrenched bureaucracy and the malleability of the masses. Following the more romantic line, Ankhnaten might have felt at home in Berlin with his outsized vision and noble struggle for progress. Following the negative one, he could have been a dictator, shaping the aesthetics and functions of his nation, capital and architecture to unfortunate and ill-advised ends out of ignorance, as with Kaiser Wilhelm II, or a human malevolence arguably beyond understanding.
This conclusion deals with deliberate culture – objects and buildings where aesthetics were of primary, rather than incidental, concern in their creation. Like so many other places in Berlin, these things show how life does its best to complicate creators’ intentions. This is even true in the allegedly controlled space of an art museum, as with the first object one sees upon entering the Hamburger Bahnhof (which, like Paris’ Musee d’Orsay, was originally a train station): a sculpture and painting by Gerhard Merz proclaiming “I am an architect, also,” a pun on an architect who also claimed to be an artist that could have served as a motto for the city complete with all Merz’ implied challenge. Like much modern art, the work is intended to buck tradition, and – all things considered – probably inherently doesn’t offer as much to contemplate as a good da Vinci or Michelangelo. The real thing of interest here is a quirk of presentation I’m fairly certain was unintended: the necessitatation of a full-time guard to clarify to the Bahnhof’s visitors that the sculpture portion of the installation is, in fact, not a bench. The art in Berlin, much as the city itself, refuses to be enshrined, to be set beyond boundaries, left untouched.
Part III: The Exhibition
A palace is not a building to which a citizen in a twenty-first century democracy readily relates. Appreciates, yes – what else can one do when regarding a structure opulent, regal, elaborate? Schloss Charlottenburg is easy to call pretty, and I’d imagine most people who see it do. And yet, my own sense is that the building would not feel all that comfortable in any time or place.
The Palace certainly doesn’t seem of Berlin: its too old for the city the 20th century built. It seems barely of Germany – or at least, its style is imitative, not homegrown. Heavily indebted to the Palace of Versailles, the palace’s construction began in 1669 on the orders of Sophie Charlotte at a time when her husband – Friedrich I – was looking abroad, northward for inspiration. “In the seventeenth century Berlin lived on art conceived and produced elsewhere, above all in the Netherlands,” writes Ronald Taylor in Berlin and Its Culture.
Scholoss Charlottenburg was to be the Western terminus of Unter den Linden, which ran through the Tiergarten and ended in the east at the other local Hohenzollern palace, the Stadtschloss. Today, most of the street goes by names of fleeting subsequent empires. At Charlottenburg, it is the Otto-Suhr-Alle, named for a mayor of West Berlin during the divided era. Otto-Suhr-Alle connects to a roundabout which extends back westward as Bismarkstrasse; as it continues east through the Tiergarten, it turns into Strasse des 17 Juni, named by the West in 1953 in commemoration of a violently-quelled uprising in East Berlin earlier in the year. On the eastern side of the Tiergarten, the ideology of the street changes as it enters the former East Germany and – after traveling past another memorial to the Soviet soldiers who conquered the city – finally becomes Unter den Linden at the Brandenburg Gate. The street goes by that name through the ruins of Museum Island – the old Hohenzollern Stadtschloss and the East German Palast der Republik – before becoming Karl Liebnecht Strasse as it enters the Alexanderplatz in the East.
Karl Liebnecht was co-founder of the Communist Party of Germany and later martyr to the cause. On the 9th of November, 1919, he declared a “Free Socialist Republic” from a balcony of the Stadtschloss in protest of the announcement of the Wiemar Republic from the roof of the Reichstag. In the aftermath of World War II, Germany’s actual communist republic would destroy the Stadtschloss’ bombed ruins. Schloss Charlottenburg – also heavily damaged – was, in contrast, meticulously restored by the Western Government. And so it became a museum piece, where tourists aren’t allowed to photograph inside and must wear disposable sterile surgery-blue slippers to protect the floor.
There are many exhibitions where you may not touch. The Schloss, however, tries to project the illusion that it is untouched. Schloss Charlottenburg doesn’t seem a place Berlin lives much with. Heck, it’s difficult to imagine it actually being lived in. The building and its presentation are designed to keep observers at a distance – you cannot touch the Palace lest you hurt it; you cannot photograph it, lest you control its image. And so, like one would admire a vicious poodle at a dog show, visitors are encouraged to awe at the opulence and ignore how the Palace’s aesthetics are wielded for the sake of power, something made most explicit in the three-dimensional sculpture that adorns the throne’s canopy. It takes the whole wall depicting the Prussian crown borne by cherubs from heaven, the authority of God and state perfectly entwined.
It’s easy to see how the opulence of the Palace could have been an attractive idealization, a rallying point during the post-war years, when times were lean, the national spirit shattered, and the Communists plotting who knows what across town. Yet it is tough by my own ideals to see that crown’s beauty through its perversion of God, Man, and Art. There are many places, many horrors, in Berlin that made me sad, made me shudder, but that room is the only place where I felt angry. To joke about the memory of the Holocaust seems transgressive, to disrespect the Cold War is par for the course, and to critique long-gone monarchies sounds confusing and quaint. Yet each regime, in its own time, wielded more-or-less incontestable power over the people, building its oppression into streets and walls – places where today, Berlin normally encourages you can look, see, touch, and contemplate. In Berlin, I came to believe that there are many things are not knowable on a visceral level. But art – I make the stuff, and I find in that something transcendent. And all the gilding in the world can’t make something like that crown feel right. Those aesthetics we call just beautiful can be the horrors from which we have enough distance to appreciate.
The monarchy ends at the Kaiser Wilhelm Memorial Church, perhaps the single most vivid representative of the city’s accumulating layers and dramatically-shifting ideas about aesthetics, war and what constitutes the ‘eternal.’ Like Kaiser Wilhelm II’s other building projects, the Church was ambitious and controversial, to say the least. According to David Clay Large – though neither Wilhelm nor Bismarck had much fondness for Berlin itself – they, continuing a long aristocratic Berliner tradition, wanted to make it “the most beautiful city in the world” to impress the other leaders of Europe who found the industrial metropolis lacking in Old World charm. Of the Memorial Church, Large writes
“A neo-Gothic monstrosity, the church was a mockery of its namesake’s frugality. To make its interior more sumptuous, the Kaiser pressed Berlin’s richest burghers to donate stained glass windows in exchange for medals and titles…Comparing it as it looks today with photographs from before the war, one can only conclude that this building was improved by the bombing.”
The Church was a monument to Man and all the hubris of hereditary titles and saber-rattling that led to World War I, the consequences of which are rendered with poetic justice in its utter destruction in World War II. Nonetheless, it is a house of Christian worship: in the section still standing, beneath cracked mosaics of the Hohenzollern family’s hereditary procession, is a photo of services being held in the ruined chapel. Next door in the ‘New Church’ – finished in 1963 – candles (emblazoned with the church’s logo) are lit in the octagonal sanctuary (above), surrounded by blue glass and a modern design. While the atheistic Soviets sought to absolve the Nazi’s war sins by incorporating their Germany into the Communist collective, the walls here – produced under the divided country’s Western government – are bedecked with monuments to the war‘s Protestant resistance. Among them is the Stalingrad Madonna, sketched Christmas 1943 by a German physician and minister. Such commemoration, as I understand, was common in the immediate Western post-war period, but has sense become difficult to express, to reconcile with the greater imperative to confess complicity in the nightmare. Regardless, the church complex officially gives itself over to the Western inclination toward capitalism in the bell tower (“the lipstick tube”), also of thick of blue glass, the bottom of which is a tourist trap bazaar. Commerce, God, Man: all find degrees of rebuke, solace and validation at the Kaiser Wilhelm Memorial Church.
In the Church and its layers are a vivid rejection of the notion of timelessness. In any combination within one can find an ideal and its counterpoint, and the poignancy it projects exists because it was humbled. It is so with Berlin, the city that finds beauty in complexity where there is rot in the substance.
It was during the Weimar Republic, between national defeats and in the shadow of Kaiser Wilhelm’s monuments that Berlin found its first great Renaissance, both as a center for modern art and an open air circus of vice. “What distinguished [the city’s vices] from their counterparts in America and in other European cities was their openness, their bizarreness,” writes David Clay Large in Berlin. “The accessibility of vice was perhaps the main reason behind Weimar Berlin’s reputation for singular decadence.” He goes on to describe entertainments including bare-fisted brawling, mud-wrestling, drugs galore, and a six-day non-stop bicycle race. On one hand, the city had 25,000 prostitutes. On the other, it had 25,000 prostitutes. The Bauhaus was touting how mass production need not sacrifice aesthetics, while Fritz Lang was building his Metropolis at Babelsburg east of Berlin, likening the factories a destructive god while using his own exacting, outsized vision to demand that the mediator between the head and the hands must be the heart. All around Weimar Republic Berlin were signs of the wonders of industry, productivity and progress – and the impossibility of maintaining control of such energies. In learning to live with the consequences of ambition beyond reason, the city had found its aesthetic. What an exciting hell it must have been.
Note: for a very different take on the Kaiser Wilhelm Memorial Church, see Julian Hoffman’s excellent post “In Memorium”