Hermanitos / Solar Culture / 11/22/13
photos: Lisa Roden
Stations R Nine Radio broadcast 387 Presents Feel Free’s Cathedral
i think this is the first thing i blogged. thanks, dave.
It’s worth remembering that the U.S. government officially considered Nelson Mandela to be a “terrorist” for decades because of his role in the struggle against racial Apartheid in South Africa. His name was actually not lifted from the State Department’s terrorist watch list until 2008. (http://www.bbc.co.uk/news/world-africa-24709294)
“During the lifetime of great revolutionaries, the oppressing classes constantly hounded them, received their theories with the most savage malice, the most furious hatred and the most unscrupulous campaigns of lies and slander. After their death, attempts are made to convert them into harmless icons, to canonize them, so to say, and to hallow their names to a certain extent for the “consolation” of the oppressed classes and with the object of duping the latter, while at the same time robbing the revolutionary theory of its substance, blunting its revolutionary edge and vulgarizing it.” - Lenin, State and Revolution
===Mr. Mandela’s decades in prison and insistence on forgiveness over vengeance made him a potent symbol of the struggle to end his country’s system of racial domination.
Thursday. Keith Carradine and the music of ‘Nashville.’
Take em to church, George.
Roden Crater - Arizona
“It is a volcanic crater located in an area of exposed geology, the Painted Desert, an area where you feel geologic time. You have a strong feeling of standing on the surface of the planet.”
Roden Crater is a natural cinder volcano situated on the southwestern edge of the Painted Desert in Northern Arizona. Since 1972 James Turrell has been transforming the crater into a large-scale artwork that relates, through the medium of light, to the universe of the surrounding sky, land and culture.
Organized as a distinct set of changing experiences of light, Turrell’s intervention in the natural form of Roden Crater consists of a series of chambers, pathways, tunnels, and openings onto the sky from within and around the crater’s surface.
The artist’s subtle refinement of the natural shape of the crater bowl held 400 feet above the horizon alters the viewer’s perception of the sky. Certain chambers within the crater will allow us to see and measure the passage of time through the movement of the stars and planets. Other spaces reveal the more subjective nature of our human relationship to time, light and space — the pyrotechnics of sunrise or sunset or the sensation of light as a material substance. Roden Crater sees (rather than represents) the sky and time, and summons our own vision as strongly as that of the artist.
Monumental in scale and conception, Turrell’s Roden Crater is not a monument in any traditional sense. It does not commemorate historical facts or achievements nor is its exterior form even distinct from its natural surroundings. Rather, harnessing the drama of light, landscape and celestial events, disturbing and awakening our subjective understanding of the universe, Turrell’s crater is a monument to human perception itself — without which cultural history or achievement would not be possible.
— Michael Govan