https://www.nytimes.com/2015/12/06/magazine/white-debt.html
Quotes from âWhite Debtâ a 2015 NY Times piece by Eula BissÂ

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https://www.nytimes.com/2015/12/06/magazine/white-debt.html
Quotes from âWhite Debtâ a 2015 NY Times piece by Eula BissÂ
James Cahillâs translation of Hsieh Hoâs 6 Laws of PaintingÂ
p. 380
- Heidegger, The Origin of the Work of Art, p. 21
In the morning cold of a Colorado June nine years ago, you were the first up, already seated at the camp stove, getting the water ready and hot for oatmeal for the rest of us. I can see you in the morning a dot on the snow between tarps, a figure by a stove at the edge of the big mountain, big sky. That day we were perched on a flat of land like a stage in reverse, where the audience was great pool of shifting terrain, of rivers winding along the floor of rock and tree like a song that emptied out to mountains in the mist. Some days we slept on snow, some days weâd have to trek across steep cliffs under wind and rain. But I would come to love the smell of badger balm sunscreen and unwashed underarmour.
You were quiet, mostly because the other boys were loud. âPlayfulâ is what I wrote in my journal at the airport, but I meant that in the sense that professional outdoorsmen are, or gymnasts - their precision and levity in spite of the circumstances something to marvel at. Sport sunglasses guarding an elfish rosy face; your ears perked, listening. You would be at the front the group of us, or at the very back, talking with that tall, brown-haired friend whose name I canât remember. Carrying an extra water bottle in case someone else ran out. I liked everyone on that trip, including myself, but I could see you were the kindest of any of us; the best at living with almost-strangers out of a backpack in the wild; the best at caring for people and the best at being alone.
I was counting down the days until my seventeenth birthday. I liked how much of a bad-ass this made me, to be hiking three weeks straight across the remote Colorado wilderness. I liked the taste of complete self-sufficiency, the sweet exhaustion, how simple pleasures magnified. These highs owed to ruthless physical exertion, however, where in the moment the 1-2-1-2 beat of my aching legs still walking left no space for the mind to romanticize. There were also plenty of opportunities to be terrified: of the coyote howls outside the tent or that the crampon nails beneath my boots werenât enough to prevent a thousand-foot fall. And while the starkness of the landscape often lent me a cosmic awe (4 am pee break - moonless sky - deep stars down to the horizon), other times the total lack of human civilization lent me the sense of an indifferent universe. A nightmarish emptiness. It made me glad for the couple of nights when the group of us had layed our sleeping bags in plain air when the weather was dry, talking about our lives into the cosmos until we fell asleep.
There was a day you waited behind to hike with me. I was lagging again, canât remember why: Â maybe it was a beeâs nest, maybe homesickness. It might have begun with crying, or rain. We had been camping near a small forest beside a green, below a towering, remote cliff of rock that felt singularly indifferent to my home and family. As we walked, the terrain changed quickly from forest to hills of white, as stark as the moon, distance distorted by the sheer lack of anything between us and the jagged horizon. You, me, and that red-haired guide. You talking, you listening intently, and snow melting into water melting into rock.
It must have been less than a week later when we arrived at base camp in Marble, Colorado. You were already standing there when I crossed the finish line to hoots and claps, there with your clipboard and bandanna, imitating the guides. Under a great big house was laid out a feast sandwiches and chips, amid a clearing of grass, surrounded by an aspen forest. Â
I took my first shower in weeks. We set up our tarps in an enclave a short walk from the fire pit, not far from the house. A campfire was built and games were played. You set traps to catch chipmunks before disappearing into the woods with a Swiss army knife and scrap cardboard to fashion something, I couldnât guess what.
When I saw you again, the fire had quelled to hot coals and you had drawings up and down your arms, a sharpie marker in your hand. I asked if you would give me one. And so then we were sitting by the waning fire, talking, as you stroked a mountain into my right foot. The evening grew darker as we talked about how weâd evolved, which felt so definitive back then. I said that I was braver and dirtier and less prissy this time than I had been in times before. I canât remember what you said, but you must have been listening, the way you dragged that sharpie against my skin.
I avoided washing it in the weeks that followed. I wanted to keep this visible, bodily trace of where I had been, of what had happened there. I was proud of the dirt behind my ears, proud of my swollen knees. When I arrived at a pre-college program days later, the stuffy 16-year-old would-be lawyers who hadnât just traversed the wilderness for three weeks straight would ask if it was a tattoo, and I would say no, although I liked the illusion that it was. Â
But of course the mountain did fade, as did the swelling. The past nine years have seen its memory compress like sediment beneath the weight of everything else that has happened since, making you a mere grain in what was a thin sliver of my life, a bright flash of mica. After the trip I made a Facebook group for all of us, and there was a minimal amount of posting and messaging. But in time we would all de-friend each other, a sour modern ritual to say that there was no point of seeing each otherâs prom photos if we would never see each other again in real life. A few days ago, I Googled your name on a whim. The obituary was third down the list. Â
We canât afford to be so extravagant with memories of the living, I know. But if past is all thatâs left of you, I want to echo you back to you, or back out to the proverbial big wild space of river valleys and remote, towering peaks that meant more to me because you were there.
The next day was June 30. I was seventeen. The group of us had de-installed the tarp the night before so we could fall asleep in the open air, cradled on three sides by narrow trees and thick foliage. In the dark, we had talked about the constellations, freaked out about rustlings in the bushes, laughed playing truth or dare.
When I awoke at 5 am the air was crisp, the stars bright across the sunless sky. We packed our sleeping bags into their containers, the tarp and its sticks into its long bag, our belongings on our backs, our extra gear into the big house. We bid the clearing goodbye and headed down the hill.
It was morning by the time we arrived at the bus. Someone had set out a cake and the group sang happy birthday. We loaded our bags into the lower compartment. You handed me a cardboard card that you had everyone sign (âCongrats on another rotation around the sun!â wrote the red-haired guide). And then, a cardboard crown. In sharpie marker, extravagant letters spelled âQueen of the Peakâ stuffed beneath the outline of a mountain ridge.
I had been happy before and I have been happy since, but in the archives of my mind no other moment stands out such as this one does as an emblem of pure, unselfconscious, unequivocal joy. So happy was I, indeed, that when you wrote âsee ya again someday,â in earnest I believed that I would.
The city of Obenia cannot be known, only seen. Several times have I wandered through it en route to New Pavia or St. Chopin, knowing the weight of my thinking will be lifted by its senseless fragrance, its garish, playful architecture and the persuasion of its inhabitantsâ flirting.
No books in the the shops are meant to be read in Obenia, only savored with the eyes and brushed through with the fingers. Pages only contain the beginnings of paragraphs, enough to just taste before moving on to yet another well-designed cover, the last forgotten. Beautiful facades with doors engraved with cherubs and lions open to empty concrete lots. Smells arise independently, without any reference to something which could be consumed. Stores are empty of produce save for in the windows, wherein cheeses, meats and pears are replaced and disposed weekly to the dogs who have been known to disfigure each other for just a bite, being that they are not fed anything else.
It is a wonder how anyone is born in Obenia because no one has sex there except with their eyes. And since the people of Obenia are constantly in motion, stopping only to sleep, arousals and orgasms will occur as they are passing each other on the street to and from the cityâs various gardens, historic Piazzas and display cases filled with glass miniatures of local architecture. It is not uncommon for shrieks of pleasure to sound from practically anywhere; thus these are usually ignored. I have heard of a woman who, having climaxed by the 3-second glance of a man standing by the produce window, collapsed sobbing and then fell asleep, only to wake up confused as to where she was, and the appearance of he who provoked her.
There is another village across the water from Obenia for which there is no name, as it is believed to be a mirage. To this day no one has bothered to go there.
Listening is fundamental to teaching, to learning,â he says. âListen to the text, listen to the discussion. Youâre not imposing yourself on the experience, and the act of painting parallels that. Itâs learning how to open yourself to nature; it goes back to Socrates. Youâre a midwife, youâre not there to impose.
John Gasparach
I didnât go to St. Johnâs, but this profile of John Gasparach, an alum of the school and one of my professors at Marchutz, encapsulates its ethos of teaching and learning that Iâve come to recognize as singular, rare. I envy his generosity of spirit.Â
two from the sketchbook.Â
1. a night in aix - always those serpentine streets, their destinations masked, the windows with a knowing gaze
2. an afternoon in dijon, passing time before my train. A man caught me drawing this and asked if I would I sketch his portrait - I obliged. les yeux sont un peut bizarres, I disclaimed about the drawing, but he only sang my praises, told me to never change, ne change rien, clutching the paper in his hand as he walked away. At that moment sitting in this clean, sunny, ancient city where I didnât know a soul I took it as the highest compliment, but as I neared my old home of aix I hoped that no one dare say that I hadnâtÂ
leaving aix, I was reminded of this quote from Zen Mind, Beginnerâs Mind by Shunryu SuzukiÂ
from âPlanetariumâ by Adriene RichÂ
getting there...Â
What this exercise shows students is that just because you have looked at something doesnât mean that you have seen it. Just because something is available instantly to vision does not mean that it is available instantly to consciousness. Or, in slightly more general terms: access is not synonymous with learning. What turns access into learning is time and strategic patience. The art historian David Joselit has described paintings as deep reservoirs of temporal experienceââtime batteriesâââexorbitant stockpilesâ of experience and information. I would suggest that the same holds true for anything a student might want to study...a star, a sonnet, a chromosome. There are infinite depths of information at any point in the studentsâ education. They just need to take the time to unlock that wealth. And thatâs why, for me, this lesson about art, vision, and time goes far beyond art history. It serves as a master lesson in the value of critical attention, patient investigation, and skepticism about immediate surface appearances. I can think of few skills that are more important in academic or civic life in the twenty-first century.
Jennifer L Roberts, âThe Power of Patienceâ in Harvard University Mag
From âThe Night Sky: Writings on the Poetics of Experienceâ by poet Ann Lauterbach:Â
âBut this fundamental notion was instilled: Imagination makes form, and form is the exploration and cultivation of the limits of freedom; form is the fruition of choice as an expression of limit. The relation between the freedom to chose and the limits of choice was a relation of judgement, the basis of a morality anchored in ethics; it was, so we were taught, essential to democracyâ
â[Art] was the social element, the link that might allow individual insight to be exposed to the strangeness of the other, and then, through familiarity, to bring that strangeness into the communal.â
âArtists had a job to do: to intercede and subvert, on one hand, and to maintain and augment, on the other. The former aspect would be a vigilance against received notions of the Right, the Fair, the Good, especially when used for advancement (for power), political, social, economic or aesthetic; the latter had to do with respecting and caring for lines of legacy, to keep fresh earlier artistic expressions and their historical bearings. The context of an art object gives it cultural meaning; once it has been cut away (a flower in a vase), it quickly devolves into a commodity, lending itself to consumer ambitions, institutional as well as individual.âÂ
- p 127- 128
But if a shadow at a certain moment can suggest so much more than the actual gestures and words of men and women in a state of fear, it seems plain that the cinema has within its grasp innumerable symbols for emotions that have so far failed to find expression. Terror has besides its ordinary forms the shape of a tadpole; it burgeons, bulges, quivers, disappears. Anger is not merely rant and rhetoric, red faces and clenched fists. It is perhaps a black line wriggling upon a white sheet.
Virgina Woolf, The CinemaÂ
Thursday:
- Barred iron balconies dripping with light, melted snow, over the avenue in the afternoon. - Golden pink on the cathedral against a paling blue that I see looking up as Iâm walking inside to hear Slavoj Zizek talk about God. - And just before, after I crest the sidewalk from the underground: trees lining snow-kissed hills in the park across the boulevard, wildness beckoning â Animal heart, caught in the mind of flat asphalt, salivating at the chancest happening of sky amid grids of glass and steel.
It was only after months of passing by the painting, which was matted to a sheet of cardboard between the studio door and storage cabinets, that she would notice there was an Icarus at all. Two tiny flailing legs in the lower right corner behind a ship behind a shepherd looking up at the sky, behind a cliff lined with intricate foliage, behind a man pushing a cart horse down a hill, away from the tragedy, his bright red blouse singing with the salty pale green-blue of Bruegelâs sea. In another reproduction the image was cropped to just that - to the man in the red blouse against the salty pale green-blue, his round black head at the center and maybe an inch of the shepherd behind him. A color study. For what is painting really but volumes of colors in space? What else, but tonal values, line, forms, plasticities? Faced the uncropped view with paint brush in hand, those two tiny tragic flailing legs might be seen just as a point in the compositionâs perspectival network; a device in distinguishing the distance of land to sea, of sea to distant sky. Or a percentage of the compositionâs beige. Any painting student could neglect those two strokes and still find themselves with a veritable semblance of Bruegelâs whole.
But the more she encountered the painting she noticed in fact this tiny, flailing, inconspicuous Icarus was decisive in the composition, providing each averted glance, each shift in scale with its reason. The ballooning of the shipâs sails, for one. Call it the wind, but such a spherical seaward surge could be incited by nothing less than an actual kick, that diagonal shift of the legs, a burst of energy issued from a skyward palunk down to water. Additionally, how the shepherdâs aversion of his gaze, away from the tragedy (instead toward his sheep, and up to the sky) alerted us to its existence. And the man in the red blouse in the foreground, pushing his cart horse down the steps that snaked away from the ocean? The cropped version of the picture emphasized how his round black head united the ground and sky, steadying the compositionâs recessions in space onto the flat plane of the canvas. But his eyes, indeed any hint of a facial expression was suppressed under that head - what of that? What was the point of all this? The answer, whatever it was, was in the tiny, hidden legs of Icarus. Without them these moments were just devices of color in fictive space, no more.
She was painting a still life one hot afternoon when a palunk on one of the studio windows sounded her icarus legs, a wounded yellow starling.