Passed the exam this evening. Some quotes of the night:
VE1: He is doing this the hard way, he keeps getting deployed so he doesn't get his ticket punched (take the exams)
VE1: Do you want to try the Extra exam? You already paid the fee and you are already here.
later
VE2: He is taking this just for giggles.
VE2: You know what this means, know you know what you have to study.
Me: Yes, everything.
VE2: Is this a guy thing to look at each other's knives? (the other volunteer examiners had taken out their pocket knives and were looking at them on the table)
Thursday, February 28, 2008
Monday, February 18, 2008
Coco's Cupcakes
The first time I went to Coco's Cupcakes was not long after it opened last winter.
A cute little place on Ellsworth, sparse, friendly, and inviting. Oh, they have good cupcakes.
Anyway, not very long ago was Valentine's Day. And, well, my fiancee and I have not ever done anything on Valentine's day. Which is not something either of us is in a particular hurry to change. Neither of us is particular focused on particular days of the calendar, whether it comes pre-printed or of our own doing. Which does occasionally result in some comment, like when my fiancee's department secretary asks her on February 14 what plans she has (none) and does seem to be slightly disappointed.
So, Saturday, February 16, I come up to her office with a box.
And a bunch of her co-workers were there (a bit of a project that weekend). And I believe they were looking on approvingly. So today, Monday my fiancee gets asked
'Did the roses help?' (she was complaining about being worn out from the weekend)
Umm, roses? Now why would I give my fiancee roses?
And yes, the answer was in the affirmative, the cupcakes helped.
A cute little place on Ellsworth, sparse, friendly, and inviting. Oh, they have good cupcakes.
Anyway, not very long ago was Valentine's Day. And, well, my fiancee and I have not ever done anything on Valentine's day. Which is not something either of us is in a particular hurry to change. Neither of us is particular focused on particular days of the calendar, whether it comes pre-printed or of our own doing. Which does occasionally result in some comment, like when my fiancee's department secretary asks her on February 14 what plans she has (none) and does seem to be slightly disappointed.
So, Saturday, February 16, I come up to her office with a box.
And a bunch of her co-workers were there (a bit of a project that weekend). And I believe they were looking on approvingly. So today, Monday my fiancee gets asked
'Did the roses help?' (she was complaining about being worn out from the weekend)
Umm, roses? Now why would I give my fiancee roses?
And yes, the answer was in the affirmative, the cupcakes helped.
Sunday, February 17, 2008
Movie review: Brokeback Mountain
Brokeback mountain follows two men, who worked on a job in the Wyoming mountains together, fall in love, go their separate ways, and the complications in their lives. And, it is a story of an affair, that causes trouble.
Most of the movie follows Ellis Del Mar, who is engaged to his sweatheart Alma at the beginning of the movie. After Ellis and Jack Twist finish their summer job herding sheep on Brokeback Mountain, he gets married. And the movie skips through the next four years, as Ellis has two daughters, and Jack goes back to rodeoing in Texas. But, with two daughters, and not much money, Ellis' life and marriage become hard, and he never quite gets the hang of having a life that goes beyond being a ranch hand. And when Jack Twist comes by for a visit after four years, Ellis remembers that time on Brokeback mountain, and takes leave of his wife and kids for a few days. They end up doing this on and off for the next 15+ years. And along the way, Alma divorces Ellis, Jack's marriage becomes more distant and angry, and eventually, Jack is killed, and we are led to believe it was a hate crime.
Brokeback Mountain is a story of an affair. Ellis sees in Jack a relationship that is all happiness, in contrast to his marriage to Alma with all its responsibilities and troubles. And I think he realizes to a certain extant the mess he has gotten himself into. He repeatedly refuses Jack's entreaties to take the easy way out an run off with Jack, but the stress of dealing with Jack also seems to lead to him cutting of Alma and his kids emotionally. And the result is he with neither and both relationships are filled with conflict because he neither fully opens up to either, but defends each (Alma and Jack) against the other. Both Alma and Jack desire Ellis, but each only sees Ellis being loyal to the other. And Ellis either is angry, or completely passive, unable to resolve his conflict. And in the end, Ellis has nothing, all lost because he would not choose. Jack is dead, presumably killed when his homosexual side was seen by the wrong people. Alma has remarried, to someone what it seems that neither her or the daughters seem to have much respect for. Cassie (girlfriend) has left, and is confused and hurt because she has no idea why Ellis is so withdrawn despite her efforts. And all Ellis has is an unending series of small time ranch jobs, and no future ahead, or any desire for such.
What this does well is to show the costs of an affair. While Ellis is loyal in a way to the marriage, refusing to go run away with Jack even after the divorce, the affair resulted in Jack never being really there when he was with those who cared for him (wife, daughters, girlfriend). And his distractions with trying to manage them all don't work. And he knows his life is messed up.
Does the homosexual aspect of the story line matter? Actually, it works out well here. It creates another level of tension in a story about an affair, where there is that much more resistance to following your feelings and running away from responsibility. More reason for Ellis to stay in town with wife and daughters, that even the 'follow your heart' types can recognize. Having the other principle, Jack, who embodies the more 'act on your feelings' answer get violently killed was almost a distraction.
How is this as a movie? It somewhat suffers since its main character (Ellis) has as a personality quality the unwillingness to communicate (whether just his personality or also because he is hiding from everyone). Very intentionally, you do not know what he is thinking, only how everyone else responds to it and is affected by it. It requires the audience to fill in the holes (I believe the author of the short story this was based on did this intentionally) as I have. So it does turn into a 'it is whatever you make of it' movie. Compared to the Oscar winner of its year, Crash, it suffers from its unwillingness to say anything. Crash had lots to say, and much of it people dealing with contradictory messages about race. Brokeback Mountain is a story of an affair. A well done one. But not one that strikes me as one to remember down the ages.
Most of the movie follows Ellis Del Mar, who is engaged to his sweatheart Alma at the beginning of the movie. After Ellis and Jack Twist finish their summer job herding sheep on Brokeback Mountain, he gets married. And the movie skips through the next four years, as Ellis has two daughters, and Jack goes back to rodeoing in Texas. But, with two daughters, and not much money, Ellis' life and marriage become hard, and he never quite gets the hang of having a life that goes beyond being a ranch hand. And when Jack Twist comes by for a visit after four years, Ellis remembers that time on Brokeback mountain, and takes leave of his wife and kids for a few days. They end up doing this on and off for the next 15+ years. And along the way, Alma divorces Ellis, Jack's marriage becomes more distant and angry, and eventually, Jack is killed, and we are led to believe it was a hate crime.
Brokeback Mountain is a story of an affair. Ellis sees in Jack a relationship that is all happiness, in contrast to his marriage to Alma with all its responsibilities and troubles. And I think he realizes to a certain extant the mess he has gotten himself into. He repeatedly refuses Jack's entreaties to take the easy way out an run off with Jack, but the stress of dealing with Jack also seems to lead to him cutting of Alma and his kids emotionally. And the result is he with neither and both relationships are filled with conflict because he neither fully opens up to either, but defends each (Alma and Jack) against the other. Both Alma and Jack desire Ellis, but each only sees Ellis being loyal to the other. And Ellis either is angry, or completely passive, unable to resolve his conflict. And in the end, Ellis has nothing, all lost because he would not choose. Jack is dead, presumably killed when his homosexual side was seen by the wrong people. Alma has remarried, to someone what it seems that neither her or the daughters seem to have much respect for. Cassie (girlfriend) has left, and is confused and hurt because she has no idea why Ellis is so withdrawn despite her efforts. And all Ellis has is an unending series of small time ranch jobs, and no future ahead, or any desire for such.
What this does well is to show the costs of an affair. While Ellis is loyal in a way to the marriage, refusing to go run away with Jack even after the divorce, the affair resulted in Jack never being really there when he was with those who cared for him (wife, daughters, girlfriend). And his distractions with trying to manage them all don't work. And he knows his life is messed up.
Does the homosexual aspect of the story line matter? Actually, it works out well here. It creates another level of tension in a story about an affair, where there is that much more resistance to following your feelings and running away from responsibility. More reason for Ellis to stay in town with wife and daughters, that even the 'follow your heart' types can recognize. Having the other principle, Jack, who embodies the more 'act on your feelings' answer get violently killed was almost a distraction.
How is this as a movie? It somewhat suffers since its main character (Ellis) has as a personality quality the unwillingness to communicate (whether just his personality or also because he is hiding from everyone). Very intentionally, you do not know what he is thinking, only how everyone else responds to it and is affected by it. It requires the audience to fill in the holes (I believe the author of the short story this was based on did this intentionally) as I have. So it does turn into a 'it is whatever you make of it' movie. Compared to the Oscar winner of its year, Crash, it suffers from its unwillingness to say anything. Crash had lots to say, and much of it people dealing with contradictory messages about race. Brokeback Mountain is a story of an affair. A well done one. But not one that strikes me as one to remember down the ages.
Sunday, February 03, 2008
Wilderness First Aid: Arlington County, VA Feb 2-3, 2008
I took a Wilderness First Aid class over the weekend. Why? Well, it has been a long time since I did outdoors activities with people who knew more than I did, and I like to make a practice of learning from others. And there were times in Afghanistan where I was designated medic, because I was the most highly trained and I was judged as having the attitude that the convoy commander figured I would act appropriately if needed. My 10-year expired EMT certificate and Red Cross first-aid really were not the things I would have thought as being quite the right set of qualifications. But these are folks who are quite serious when the judge people, and are generally good at it.
Wilderness First Aid is very different than standard first aid taught around the country. The big difference is the level of self-reliance. The expectation in most of suburban and urban United States is professional emergency response is available within 10 minutes, and hospital transport is within 15 minutes (or so). In wilderness, these times are measured in hours, so the medical protocol reflects that. So this is something that is more on par with first responder training then first aid training. Many organizations that work in the backcountry require this as a safety measure, because their activities can be hours away from outside help. Some organizations use this as a proxy for trained personnel that is lower then EMT, but higher then first aid, because they need personnel of a certain competence. And some organizations that operate in the third world like it, because they also are hours away from medical assistance.
It is a different attitude than most people in the U.S. The focus here is on leadership that can watches the people around them, and teaches them to avoid disaster. I've been in organizations that resist people watching after each others safety (or anything else). The students here were mostly people who would go on to lead Boy Scouts outings, or camp counselors in outdoor settings, teaching self-reliance and the ability to watch for each other and survive to others. Which a contrast to people who have told me that we don't do anything, just trust authority. (which is not very fun if authority is far away and someone would be dead before authority could do anything.)
Things we learn (1) do not create a second victim (2) always think, "what will kill the patient first. Lots of thinking about priorities. And especially, leadership in prevention of problem situations. How to look at a group, identify the signs of problems build, and take precautions before there is a problem. How to demonstrate leadership, in many different forms and switch as needed. Medical folks will appreciate this one: how to ignore a patient. Realizing that you did not get this great training so the patient can self-diagnose a problem. That is your job. And how to communicate, to communicate problems in a way that many hours later, someone can hear the message, and respond in a way that helps in a place where resources and carrying capacity is limited.
It is an honest class. A couple of other students and I were joking that we hoped all the real outdoors people in the class did not mind us amateurs taking up space. We talked about the issues we faced in the places we worked and volunteered in. And the challenges of working with the populations that we do this with. And we talked in a straightforward way, what can kill a person. And how to overcome the psychological and social barriers that would prevent us from giving care that makes the difference between someone living and dying that day.
The goal is to live. And live well. It was a great group of people, and I would put my life in any of their hands. I have known people that probably would not want anything to do any of us out of principle. That is their loss.
What is this for? Yes, some of it is because if I am expected to be the group medic, it helps if I have competent and recent training. But also, I have a philosophy that I should be involved with things that I am not good at. And with people who are good. This was one of those places.
Wilderness First Aid is very different than standard first aid taught around the country. The big difference is the level of self-reliance. The expectation in most of suburban and urban United States is professional emergency response is available within 10 minutes, and hospital transport is within 15 minutes (or so). In wilderness, these times are measured in hours, so the medical protocol reflects that. So this is something that is more on par with first responder training then first aid training. Many organizations that work in the backcountry require this as a safety measure, because their activities can be hours away from outside help. Some organizations use this as a proxy for trained personnel that is lower then EMT, but higher then first aid, because they need personnel of a certain competence. And some organizations that operate in the third world like it, because they also are hours away from medical assistance.
It is a different attitude than most people in the U.S. The focus here is on leadership that can watches the people around them, and teaches them to avoid disaster. I've been in organizations that resist people watching after each others safety (or anything else). The students here were mostly people who would go on to lead Boy Scouts outings, or camp counselors in outdoor settings, teaching self-reliance and the ability to watch for each other and survive to others. Which a contrast to people who have told me that we don't do anything, just trust authority. (which is not very fun if authority is far away and someone would be dead before authority could do anything.)
Things we learn (1) do not create a second victim (2) always think, "what will kill the patient first. Lots of thinking about priorities. And especially, leadership in prevention of problem situations. How to look at a group, identify the signs of problems build, and take precautions before there is a problem. How to demonstrate leadership, in many different forms and switch as needed. Medical folks will appreciate this one: how to ignore a patient. Realizing that you did not get this great training so the patient can self-diagnose a problem. That is your job. And how to communicate, to communicate problems in a way that many hours later, someone can hear the message, and respond in a way that helps in a place where resources and carrying capacity is limited.
It is an honest class. A couple of other students and I were joking that we hoped all the real outdoors people in the class did not mind us amateurs taking up space. We talked about the issues we faced in the places we worked and volunteered in. And the challenges of working with the populations that we do this with. And we talked in a straightforward way, what can kill a person. And how to overcome the psychological and social barriers that would prevent us from giving care that makes the difference between someone living and dying that day.
The goal is to live. And live well. It was a great group of people, and I would put my life in any of their hands. I have known people that probably would not want anything to do any of us out of principle. That is their loss.
What is this for? Yes, some of it is because if I am expected to be the group medic, it helps if I have competent and recent training. But also, I have a philosophy that I should be involved with things that I am not good at. And with people who are good. This was one of those places.
Tuesday, January 29, 2008
Restaurant Review: NAAAP-Pittsburgh goes to Cambod-ican
January Dinner Club, The Cambod-ican Kitchen,
1701 E. Carson St., South Side. 412-381-6199
The January dinner club adds yet another restaurant this month, this time going to The Cambod-ican Kitchen on Carson St. Join us for this taste of street food that moved up in the world and became a restaurant with walls and a roof.
We went to Cambod-ican on Carson St (on the Southside) last week for the monthly dinner club, continuing a two year string of monthly dinner clubs without having to revisit a restaurant. Cambod-ican is a bit different then the normal. While there are some asian restaurants, and many restaurants that try (sort of) to be some variety of asian, Cambod-ican's tie with asian food is purely random, the wife (of the husband-wife team) is Cambodian. But the food is definitely Pittsburgh, with a Cambodian flavor (not the other way around). And it is Pittsburgh street food that stands out.
Cambod-ican Kitchen used to be a street stall on Carson St, before being kicked out to make way for Nakama (which is across the street). And so after looking for a place, they ended up moving indoors. Interacting with them was fun. When I called, I think a daughter answered the phone, and had to take a message. Then when we got there, we had to hang out for a bit waiting for everyone to show up. The husband came out and chatted with us (as well as everyone else) and generally gave suggestions and teased the ladies. Lots of fun. And he explained how to pronounce Cambod-ican (portmanteau of Cambodian and American, no he did not use the word 'portmanteau') And the chant that goes with it among some of the regulars (I can, you can, Cambod-ican)
Food, like everything else that is Pittsburgh street food, is lots of fried stuff, and some other stuff. We had a fried wonton, which is really fried perogies
And the steamed spring rolls for appetizer
Even the dishes, not exactly gourmet (this is grown up street food) but fun for what it is. The setting is not much, but the staff was friendly, and we enjoyed ourselves. Which is the point.
1701 E. Carson St., South Side. 412-381-6199
The January dinner club adds yet another restaurant this month, this time going to The Cambod-ican Kitchen on Carson St. Join us for this taste of street food that moved up in the world and became a restaurant with walls and a roof.
We went to Cambod-ican on Carson St (on the Southside) last week for the monthly dinner club, continuing a two year string of monthly dinner clubs without having to revisit a restaurant. Cambod-ican is a bit different then the normal. While there are some asian restaurants, and many restaurants that try (sort of) to be some variety of asian, Cambod-ican's tie with asian food is purely random, the wife (of the husband-wife team) is Cambodian. But the food is definitely Pittsburgh, with a Cambodian flavor (not the other way around). And it is Pittsburgh street food that stands out.
Cambod-ican Kitchen used to be a street stall on Carson St, before being kicked out to make way for Nakama (which is across the street). And so after looking for a place, they ended up moving indoors. Interacting with them was fun. When I called, I think a daughter answered the phone, and had to take a message. Then when we got there, we had to hang out for a bit waiting for everyone to show up. The husband came out and chatted with us (as well as everyone else) and generally gave suggestions and teased the ladies. Lots of fun. And he explained how to pronounce Cambod-ican (portmanteau of Cambodian and American, no he did not use the word 'portmanteau') And the chant that goes with it among some of the regulars (I can, you can, Cambod-ican)
Food, like everything else that is Pittsburgh street food, is lots of fried stuff, and some other stuff. We had a fried wonton, which is really fried perogies
And the steamed spring rolls for appetizer
Even the dishes, not exactly gourmet (this is grown up street food) but fun for what it is. The setting is not much, but the staff was friendly, and we enjoyed ourselves. Which is the point.
Sunday, January 27, 2008
Eclipse and 'TODO'
I can be so easily impressed sometimes. I was working on a model, and basically looking over some stuff I had put together in a couple of days to incorporate some feedback before a presentation. So it is a bit rough. And it is a bit late, so what I'm really doing is putting in a bunch of comments about what some of the code actually does and some things that I should do after I get some more sleep into me. And as I go along, I suddenly noticed that my screen was changing, other then just the fact that I was typing in code.
There was this little box to the left of the code.
There was this little box to the left of the code.
So I was trying to figure out what was going on, because then I noticed I had a couple of these along with my debugging breakpoints. Then I figured it out. Among my many notes-to-self, I had put in some comments # TODO. And Eclipse was catching this and automatically building a task list for me.
Just a random note on the day. :-)
Thursday, January 24, 2008
In memoriam: Andrew Olmsted
I saw this some time ago over at The Sandbox (AKA the Doonesbury military blog) Maj Olmsted was killed January 3 in Iraq. And these are his words . . .
Final Post
"I am leaving this message for you because it appears I must leave sooner than I intended. I would have preferred to say this in person, but since I cannot, let me say it here."
G'Kar, Babylon 5
"Only the dead have seen the end of war."
Plato*
This is an entry I would have preferred not to have published, but there are limits to what we can control in life, and apparently I have passed one of those limits. And so, like G'Kar, I must say here what I would much prefer to say in person. I want to thank hilzoy for putting it up for me. It's not easy asking anyone to do something for you in the event of your death, and it is a testament to her quality that she didn't hesitate to accept the charge. As with many bloggers, I have a disgustingly large ego, and so I just couldn't bear the thought of not being able to have the last word if the need arose. Perhaps I take that further than most, I don't know. I hope so. It's frightening to think there are many people as neurotic as I am in the world. In any case, since I won't get another chance to say what I think, I wanted to take advantage of this opportunity. Such as it is.
. . .
The rest is here.
Final Post
"I am leaving this message for you because it appears I must leave sooner than I intended. I would have preferred to say this in person, but since I cannot, let me say it here."
G'Kar, Babylon 5
"Only the dead have seen the end of war."
Plato*
This is an entry I would have preferred not to have published, but there are limits to what we can control in life, and apparently I have passed one of those limits. And so, like G'Kar, I must say here what I would much prefer to say in person. I want to thank hilzoy for putting it up for me. It's not easy asking anyone to do something for you in the event of your death, and it is a testament to her quality that she didn't hesitate to accept the charge. As with many bloggers, I have a disgustingly large ego, and so I just couldn't bear the thought of not being able to have the last word if the need arose. Perhaps I take that further than most, I don't know. I hope so. It's frightening to think there are many people as neurotic as I am in the world. In any case, since I won't get another chance to say what I think, I wanted to take advantage of this opportunity. Such as it is.
. . .
The rest is here.
Friday, January 18, 2008
Jawbreaker by Gary Bernsten
Jawbreaker: the Attack on Bin Laden and Al Qaeda: a Personal Account By the Cia's Key Field Commander
When you think about the CIA and special forces going off to war, a number of movies come to mind. This is real life. And it is different, but better and more interesting.
Gary Berntsen is a CIA officer who was sent to Afghanistan as part of the U.S. response to the World Trade Center attack of September 11, 2001 in New York City. After the attack we see him put together a team (there is already a team in place that is laying the groundwork) to go in. It is a story of people who are realistic and practical, even as they are patriotic. And they run into many obstacles. Berntsen has to deal with prejudice amongst Americans as some of his desired team are Iranian or Arab. Bureaucratic rules cause trouble for him as well as some team members who are not released by their bosses. And finally they make it into Afghanistan.
In Afghanistan they are the small team of CIA agents and special forces personnel who build the alliances with the Northern Alliance to fight the Taliban. They deal with the personalities, the shifting loyalties, the oneupmanship and dealing both sides against the middle that is part of war in the Hindu Kush.
It is realistic in the sense that the job of these highly trained men is to coordinate, join with the local forces, and be the eyes and ears of the U.S. commanders, not to fight. And the protagonists of the book are usually away from the main fighting, even through they are in danger because of the unknowns they deal with. They are aggressive, daring, practical, and wise to the ways of people, as they have to deal with the many motivations among the various military commanders they dealt with.
The other special aspect of this book is how Bernsten deals with his own thoughts about life. At times during the narrative he suddenly starts thinking about his bosses back home or his family for a few sentences, then go back into the narrative. And this is very humanizing, and very familiar (as I did the same thing during my deployment). The scenes in the opening chapters where his wife and grown children have to deal with his going into harms way are refreshingly honest and ring true, and the distractions of having to help them through the U.S. government bureaucracy when they are dealing with unhelpful superiors is also shown.
Definitely recommend the book. To both those who are going to war, to give a feel of what it is like to work with a population whose motives are hard to understand, and their families, to let them know that their worries for those going into harms way are normal.
When you think about the CIA and special forces going off to war, a number of movies come to mind. This is real life. And it is different, but better and more interesting.
Gary Berntsen is a CIA officer who was sent to Afghanistan as part of the U.S. response to the World Trade Center attack of September 11, 2001 in New York City. After the attack we see him put together a team (there is already a team in place that is laying the groundwork) to go in. It is a story of people who are realistic and practical, even as they are patriotic. And they run into many obstacles. Berntsen has to deal with prejudice amongst Americans as some of his desired team are Iranian or Arab. Bureaucratic rules cause trouble for him as well as some team members who are not released by their bosses. And finally they make it into Afghanistan.
In Afghanistan they are the small team of CIA agents and special forces personnel who build the alliances with the Northern Alliance to fight the Taliban. They deal with the personalities, the shifting loyalties, the oneupmanship and dealing both sides against the middle that is part of war in the Hindu Kush.
It is realistic in the sense that the job of these highly trained men is to coordinate, join with the local forces, and be the eyes and ears of the U.S. commanders, not to fight. And the protagonists of the book are usually away from the main fighting, even through they are in danger because of the unknowns they deal with. They are aggressive, daring, practical, and wise to the ways of people, as they have to deal with the many motivations among the various military commanders they dealt with.
The other special aspect of this book is how Bernsten deals with his own thoughts about life. At times during the narrative he suddenly starts thinking about his bosses back home or his family for a few sentences, then go back into the narrative. And this is very humanizing, and very familiar (as I did the same thing during my deployment). The scenes in the opening chapters where his wife and grown children have to deal with his going into harms way are refreshingly honest and ring true, and the distractions of having to help them through the U.S. government bureaucracy when they are dealing with unhelpful superiors is also shown.
Definitely recommend the book. To both those who are going to war, to give a feel of what it is like to work with a population whose motives are hard to understand, and their families, to let them know that their worries for those going into harms way are normal.
Saturday, January 12, 2008
Pittsburgh Symphony: a composer, a violinist and a Red Violin
I remember a year ago, my then girlfriend asking about going to a specific concert, by some violinist named Joshua Bell. And not going because we would be out of town in the weekend in question. Fast forward to the summer, while reading the Washington Post reading about an experiment, where one of the most talented and sought after violinists of our generation would bring skills and talent, and play in front of a Washington DC Metro (train) station. Whose name was Joshua Bell. And my thought then was "Brilliant". And so when this year's schedule came out, I was looking forward to this concert.
The hall was packed! I was so impressed. We knew something was up when some of the garages were marked as full, and the poster up front bore the notice "Standing room only." And going to the pre-talk with (PSO assistant conductor) Lawrence Koh and (composer) John Corigliano it was a larger and more varied crowd then we are used to seeing at these.
The excitement was palpable in the audience. Before the start of the Red Violin Concerto, Leonard Slatkin came on stage with . . . John Corigliano and felt the need to apologize and promise that Joshua Bell was coming. It showed after the first movement, when there was quite a bit of applause (I know that it is not 'proper' and I don't myself, but I always view it as a good sign when it happens as it means there are new people in the audience, and it is honest applause. It also reminded me of the Washington Post article. Most people at the Washington DC Metro station ignored Joshua Bell's playing, but everytime a child came by, the mother had to tear them away because they were so attracted by it.) The whole piece was a treat.
One aspect making the evening different was the incredible interaction between the composer and the audience. Corigliano came out with Koh for the pre-talk to discuss the work. Both Bell and Corigliano worked the autograph line after the first half (which was one of the largest autograph lines I've seen at Heinz Hall). And they both came for the post-concert talk (which was also much larger then the norm).
I've been exposed to the debate on whether music should be able to stand on its own. And my feeling has always been no, it is part of a context (well, sometimes it is not, but sometimes I walk away from a performance wondering what it was all about.) I have the same attitude towards art (painting and sculpture, literature, and other media. And for something like this, does it really matter that why Corigliano was never a musician (which is a story that my fiancee and I found so honest and realistic about life), or the fear he has when a new piece is first played and how this comes from the days of listening to his father perform? Or that Joshua Bell's violin was also once upon a time stolen and played in cafes, much like the referenced Red Violin of the movie. Maybe not, although it does make it more human. But understanding that the alternative to The Red Violin Concerto was pieces by period composers such as Bach, Vivaldi and Paganini, the desire to have a theme cross through musical styles, the fact (and techniques) that the violin was sometimes played in ways that changed the quality of the sound to achieve effects, and identifying some of the themes did enhance my listening. While the music is able to stand by itself (I have enjoyed my CD, and I'm listening to it as I write), knowing the choices made in its creation, the composing, and its performance has greatly enhanced my enjoyment of it. And the richness of sound as played live by Bell and the PSO in Heinz Hall only added to it.
The hall was packed! I was so impressed. We knew something was up when some of the garages were marked as full, and the poster up front bore the notice "Standing room only." And going to the pre-talk with (PSO assistant conductor) Lawrence Koh and (composer) John Corigliano it was a larger and more varied crowd then we are used to seeing at these.
The excitement was palpable in the audience. Before the start of the Red Violin Concerto, Leonard Slatkin came on stage with . . . John Corigliano and felt the need to apologize and promise that Joshua Bell was coming. It showed after the first movement, when there was quite a bit of applause (I know that it is not 'proper' and I don't myself, but I always view it as a good sign when it happens as it means there are new people in the audience, and it is honest applause. It also reminded me of the Washington Post article. Most people at the Washington DC Metro station ignored Joshua Bell's playing, but everytime a child came by, the mother had to tear them away because they were so attracted by it.) The whole piece was a treat.
One aspect making the evening different was the incredible interaction between the composer and the audience. Corigliano came out with Koh for the pre-talk to discuss the work. Both Bell and Corigliano worked the autograph line after the first half (which was one of the largest autograph lines I've seen at Heinz Hall). And they both came for the post-concert talk (which was also much larger then the norm).
I've been exposed to the debate on whether music should be able to stand on its own. And my feeling has always been no, it is part of a context (well, sometimes it is not, but sometimes I walk away from a performance wondering what it was all about.) I have the same attitude towards art (painting and sculpture, literature, and other media. And for something like this, does it really matter that why Corigliano was never a musician (which is a story that my fiancee and I found so honest and realistic about life), or the fear he has when a new piece is first played and how this comes from the days of listening to his father perform? Or that Joshua Bell's violin was also once upon a time stolen and played in cafes, much like the referenced Red Violin of the movie. Maybe not, although it does make it more human. But understanding that the alternative to The Red Violin Concerto was pieces by period composers such as Bach, Vivaldi and Paganini, the desire to have a theme cross through musical styles, the fact (and techniques) that the violin was sometimes played in ways that changed the quality of the sound to achieve effects, and identifying some of the themes did enhance my listening. While the music is able to stand by itself (I have enjoyed my CD, and I'm listening to it as I write), knowing the choices made in its creation, the composing, and its performance has greatly enhanced my enjoyment of it. And the richness of sound as played live by Bell and the PSO in Heinz Hall only added to it.
Thursday, January 03, 2008
QOTD: I should have found a fiancee before I went
S: I heard you got engaged, is this something new?
Me: We were dating before I went (to Afghanistan). She was watching my things while I was away, We even wrote pen and paper letters to each other.
S: Wow, you must have some great momentos for the grandchildren about how you courted their grandmother while you were in a war zone. I should have found a fiancee before I went so I could do that.
Me: We were dating before I went (to Afghanistan). She was watching my things while I was away, We even wrote pen and paper letters to each other.
S: Wow, you must have some great momentos for the grandchildren about how you courted their grandmother while you were in a war zone. I should have found a fiancee before I went so I could do that.
Tuesday, January 01, 2008
Sunday, December 16, 2007
Raccoon Creek State Park in the snow
The weather forcast for western PA this weekend was for about a foot of snow, 50 mph winds, flooding and all sorts of other fun things. Of course, now that school is out, S was worried about getting bored. So she thought it would be a great idea to go backpacking. Preferably someplace far enough away to be interesting. Somehow, all of S's friends neglected to tell me how dangerous it was when S got bored. Furious negotiation over the following week reduced this to a mere hike, in a park that was in the county that S lived in. Much safer (for a saner L. Not that L has not done crazy things like this is the past, mind you).
So, this morning, we made our way to Raccoon Creek State Park, through the falling snow, rain, and forbidding clouds that were above during the drive there. We arrived at the parking lot off PA-18, the parking lot was empty. We picked up our packs. Checked our maps. Looked up at the gray sky, and headed up the Lake Trail (to Forest trail)
Raccoon Creek features some nice trails, up hills, through evergreen conifers. One of the early ominous signs we saw were the sign notifying us that we were in No Hunting zones, which brings to mind the question, why was that important?
The answer, of course, is obvious.
One other highlight of this hike were the creek crossings. I don't know how things are the rest of the year but on weekends of rainfall, the creeks are high enough so that they cover any rocks. So we went wading through the creeks. Fortunately, S had recently purchased a pair of Gore-tex (TM) lined REI Monarch boots, with the assistance of an expert consultant. So her feet were nice and dry after wading through streams twice. After going through mud and now being dunked in a flowing creek, her Monarchs seem very happy that they found a worthy home.
Around now it started snowing in earnest. And eventually we came to point in the trail that was blocked by fallen trees. So we turned around and head back.
But, we also stopped to eat. S was thinking that lunch would be energy bars or sandwiches. But L thought that Pad Thai was a better choice. KL can say if this counted as an L cooked meal or not.
The return hike was smooth (after all, we had been there before). It was different, as the trees now had a highlighting dusting of snow, making for a Currier and Ives type scene.
We returned to the parking lot, with dirty, snow covered, muddy, wet boots.
And happy.
So, this morning, we made our way to Raccoon Creek State Park, through the falling snow, rain, and forbidding clouds that were above during the drive there. We arrived at the parking lot off PA-18, the parking lot was empty. We picked up our packs. Checked our maps. Looked up at the gray sky, and headed up the Lake Trail (to Forest trail)
Raccoon Creek features some nice trails, up hills, through evergreen conifers. One of the early ominous signs we saw were the sign notifying us that we were in No Hunting zones, which brings to mind the question, why was that important?
The answer, of course, is obvious.
One other highlight of this hike were the creek crossings. I don't know how things are the rest of the year but on weekends of rainfall, the creeks are high enough so that they cover any rocks. So we went wading through the creeks. Fortunately, S had recently purchased a pair of Gore-tex (TM) lined REI Monarch boots, with the assistance of an expert consultant. So her feet were nice and dry after wading through streams twice. After going through mud and now being dunked in a flowing creek, her Monarchs seem very happy that they found a worthy home.
Around now it started snowing in earnest. And eventually we came to point in the trail that was blocked by fallen trees. So we turned around and head back.
But, we also stopped to eat. S was thinking that lunch would be energy bars or sandwiches. But L thought that Pad Thai was a better choice. KL can say if this counted as an L cooked meal or not.
The return hike was smooth (after all, we had been there before). It was different, as the trees now had a highlighting dusting of snow, making for a Currier and Ives type scene.
We returned to the parking lot, with dirty, snow covered, muddy, wet boots.
And happy.
Saturday, December 15, 2007
(New York) Philharmonic Agrees to Play in North Korea [New York Times]
New York Times Permalink
On Tuesday, December 11, the highest ranking North Korean diplomat in the United States went to Avery Fisher Hall, home of the New York Philharmonic. The purpose, to announce that the New York Phil will go to Pyongyang, North Korea, and play a concert. A concert that will be televised to a nationwide audience. And the New York Philarmonic will choose the program.
Now, some background. North Korea has the nickname of the 'hermit kingdom,' the most closed society on the planet. It has spared no effort to keep news of the outside world from its citizens, even the elite. Cell phones are officially banned. Its diplomats are required to leave family behind. News of even its neighbor South Korea is heavily regulated. And even the exchanges are heavily monitored (there is a presumption that the North Korean participants in the family contacts are well screened.) And in the midst of this, a world where culture and the arts are viewed as purely tools for promoting the political party, the New York Phil is going, and they will "play great music."
The commentary on the New York Times website is divided. Those that think that the New York Phil is pandering to a dictatorship by providing entertainment for the elite (one of the more interesting quarantines has been a quarantine of luxury items such as iPods, because it strikes at the elites instead of the general population.) There is precident. The Philadelphia Orchestra went to China in 1973, a country that was previously viewed as closed. And the Boston Symphony went to the Soviet Union in 1956, is the midst of some of the darkest days of the Cold War.
So, is this pandaring to a dictatorship? And if you have the view that the arts are pure entertainment that makes people feel good, this would be a good argument (see Orwell 1984 or Huxley Brave New World for another example). But there is another arguement that the arts also talk about what it is to be human. The tendency of closed societies such as the communists (when they really were communist) of the Soviet Union and PRC, the fascists of WWII era Germany, and numerous petty dictators over the years follows that belief. But to talk about what it means to be human goes beyond a political and economic identity.
Now, some biases. I am a product of western civilization and somehow I have built for myself a liberal education in its classic sense. I believe that the western classical arts have value and are used in communication of values and ideas (even if unaccompanied by words) (note: Pittsburgh people know me as a enthusiastic promoter of traditional asian performing arts, and I was a sometimes practitioner.) I believe in its underlying values, its strengths that are the product of centuries of learning from all cultures it comes in contact with and taking the values and ideas of those cultures and including them in the ongoing dialectic (thesis, anti-thesis, synthesis).
So, what do I believe happens when one of the shining stars of western fine arts, a product of centuries of experimentation, a globally based history, and tradition enters a closed society that has explicitly viewed the arts as a vehicle for political values. That society will see arts that tell a story, not of kings and armies and struggles, but of living a life of joy ("An American in Paris"), a people discovering a world (Dvorak No. 9 "From the New World"). And there is a belief that these are self evident, even without the words (although Mehta will present some exposition. With numerous Koreans on staff at the New York Phil, we can be assured that the translation will be accurate.) And, they will hear one of the greatest ensembles in the world play the North Korean national anthem. And by tradition, while the audience is still standing, the United States national anthem.
What is happening? The North Koreans are regularly reminded of American and Japanese atrocities in their education and museums. They are armed and drilled for what is understood to be an inevitable
invasion. One estimate is that 50% of the population of Pyongyang (the capital) have denounced someone a traitor (who then disappears). (these come from Guy Delisle, Pyongyang: A Journey in North Korea, written/drawn when Guy was a french animator working with a North Korean contractor).
And they will see a side of the outside world, that is not actively trying to conquer, rape and pillage. And this is something they have never seen. Will this be world changing? Who knows, there is noone who says that the visit of the Boston or Philadelphia symphonies to Moscow or Beijing in 1956 or 1973 changed the world immediately. But there is a strain of thought (that I subscribe to) that believes that when working with a closed society, all exposure is good. For that reason, exchanges with the old Soviet armed forces were always welcomed, Chinese Peoples Liberation Army - Navy ships are welcomed to Hawaii and Japan for port visits. And yes, the west was fully aware that these visits were occasion for espionage, but the glimpse of our world that those from closed societies got, and seeing a non-political part of the societies of the west (I'm obviously including Japan and North Korea in this) probably affected the old Soviets and Chinese more then any information they got. And there is a hope that the North Koreans will join the rest of the world some day, hopefully without self-destructing along the way. Every contact with the outside makes that easier.
Who knows, the North Koreans may even be told that the New York Phil is visiting their happy cousins to the south afterwards. That, of course, is highly unlikely.
On Tuesday, December 11, the highest ranking North Korean diplomat in the United States went to Avery Fisher Hall, home of the New York Philharmonic. The purpose, to announce that the New York Phil will go to Pyongyang, North Korea, and play a concert. A concert that will be televised to a nationwide audience. And the New York Philarmonic will choose the program.
Now, some background. North Korea has the nickname of the 'hermit kingdom,' the most closed society on the planet. It has spared no effort to keep news of the outside world from its citizens, even the elite. Cell phones are officially banned. Its diplomats are required to leave family behind. News of even its neighbor South Korea is heavily regulated. And even the exchanges are heavily monitored (there is a presumption that the North Korean participants in the family contacts are well screened.) And in the midst of this, a world where culture and the arts are viewed as purely tools for promoting the political party, the New York Phil is going, and they will "play great music."
The commentary on the New York Times website is divided. Those that think that the New York Phil is pandering to a dictatorship by providing entertainment for the elite (one of the more interesting quarantines has been a quarantine of luxury items such as iPods, because it strikes at the elites instead of the general population.) There is precident. The Philadelphia Orchestra went to China in 1973, a country that was previously viewed as closed. And the Boston Symphony went to the Soviet Union in 1956, is the midst of some of the darkest days of the Cold War.
So, is this pandaring to a dictatorship? And if you have the view that the arts are pure entertainment that makes people feel good, this would be a good argument (see Orwell 1984 or Huxley Brave New World for another example). But there is another arguement that the arts also talk about what it is to be human. The tendency of closed societies such as the communists (when they really were communist) of the Soviet Union and PRC, the fascists of WWII era Germany, and numerous petty dictators over the years follows that belief. But to talk about what it means to be human goes beyond a political and economic identity.
Now, some biases. I am a product of western civilization and somehow I have built for myself a liberal education in its classic sense. I believe that the western classical arts have value and are used in communication of values and ideas (even if unaccompanied by words) (note: Pittsburgh people know me as a enthusiastic promoter of traditional asian performing arts, and I was a sometimes practitioner.) I believe in its underlying values, its strengths that are the product of centuries of learning from all cultures it comes in contact with and taking the values and ideas of those cultures and including them in the ongoing dialectic (thesis, anti-thesis, synthesis).
So, what do I believe happens when one of the shining stars of western fine arts, a product of centuries of experimentation, a globally based history, and tradition enters a closed society that has explicitly viewed the arts as a vehicle for political values. That society will see arts that tell a story, not of kings and armies and struggles, but of living a life of joy ("An American in Paris"), a people discovering a world (Dvorak No. 9 "From the New World"). And there is a belief that these are self evident, even without the words (although Mehta will present some exposition. With numerous Koreans on staff at the New York Phil, we can be assured that the translation will be accurate.) And, they will hear one of the greatest ensembles in the world play the North Korean national anthem. And by tradition, while the audience is still standing, the United States national anthem.
What is happening? The North Koreans are regularly reminded of American and Japanese atrocities in their education and museums. They are armed and drilled for what is understood to be an inevitable
invasion. One estimate is that 50% of the population of Pyongyang (the capital) have denounced someone a traitor (who then disappears). (these come from Guy Delisle, Pyongyang: A Journey in North Korea, written/drawn when Guy was a french animator working with a North Korean contractor).
And they will see a side of the outside world, that is not actively trying to conquer, rape and pillage. And this is something they have never seen. Will this be world changing? Who knows, there is noone who says that the visit of the Boston or Philadelphia symphonies to Moscow or Beijing in 1956 or 1973 changed the world immediately. But there is a strain of thought (that I subscribe to) that believes that when working with a closed society, all exposure is good. For that reason, exchanges with the old Soviet armed forces were always welcomed, Chinese Peoples Liberation Army - Navy ships are welcomed to Hawaii and Japan for port visits. And yes, the west was fully aware that these visits were occasion for espionage, but the glimpse of our world that those from closed societies got, and seeing a non-political part of the societies of the west (I'm obviously including Japan and North Korea in this) probably affected the old Soviets and Chinese more then any information they got. And there is a hope that the North Koreans will join the rest of the world some day, hopefully without self-destructing along the way. Every contact with the outside makes that easier.
Who knows, the North Koreans may even be told that the New York Phil is visiting their happy cousins to the south afterwards. That, of course, is highly unlikely.
Sunday, December 09, 2007
Shooting black & white
Last week was my sister's wedding reception in Asia. Hence my trip to Thailand, to go for the reception. And since I don't like trips where I spend very large portions of time transiting from place to place, I skipped on the Taiwan segments and went straight to Thailand.
It has been a long time since I went on a pure photoshoot, where the goal was to take good pictures. A lot of what I've taken recently has been record shots (I was ... with ...) pictures, only little artistic value. One principle in artistic development is forced constraints, place restrictions on the technical aspects and use creativity and skill to compensate. The last time I went to Thailand I took a manual SLR, three lenses and a single-focal length P&S (because I need some record pictures, this is a vacation). On this trip, I took along a compact digital zoom (again, I need some normal pictures), but for fun, I took the rangefinder, used one lens, and two rolls of B&W film.
Now, there is this massive list of things to do. So not really much time for simple shooting. But there were a few times where I could practice (I suppose I could have done the PJ thing as well when going around town, but I only brought two rolls of film, so I saved them for the wedding.)
I had a big break in the schedule one morning when my sister and fiancee were getting studio pictures done. So, I took his parents and brother to Lumphini Park. Which is so different then my usual view of Bangkok (lots of loud traffic, shopping malls of various flavors, Buddhist temples).
This picture is of a bridge in Lumphini park by where we had lunch. I should have taken a couple of shots of the food cart where we got our lunch as well. This shot is probably not framed all that well. I should have moved it either left (to get more of the bridge) or right) to put the focus on the pond) where it is (with the right edge of the bridge in the midpoint of the frame) makes this almost one picture trying to be two.
This is of Silom Center, taken from across a pond. It would have been better if I underexposed a stop, and made the buildings darker. I would have lost detail in the leaves, but the vegetation is only for framing anyway. Also, I should have taken this from a few feet to the left, as I could have avoided having a branch come down in the middle (if I really cared, this is easily removable in digital form).
For the wedding pictures, like all weddings nowadays, there are many people running around with digital cameras taking hundreds of pictures. Including two of my cousins and my brother-in-laws brother (who all had instructions to take lots of pictures.) So my ~50 shots are not too important as far as quantity is concerned. I think I'm the only one to get this, and having a rushed bride and a slightly worried mother (probably thinking of all the things that have to be done) I think works.
The odd thing is, this is not completely posed (not from want of trying by the couple and the other photographer). When they got the couple-on-the-bridge picture, B mentioned something about looking at a tree, so they could get a nice classic picture of the hopeful couple looking off into the future while standing at something. And I asked "which tree?" So he pointed out the tree.
This almost worked. There were several photographers taking pictures of them and this little building at the Wat. And I had found this little break in the shrubs to the side. My sister is stepping down from posing, and B just noticed I was there.
I liked this one. My grandmother (grandmother of the bride) is placing on the dots for a blessing on the groom. But my sister's eyes make the shot. It's nice using tools that get the picture exactly when you want it.
I thought that the people preparing the food should be photographed with their work. Just professional courtesy.
Standard repertoire for PJ style wedding photography. Couple taking a break talking to each other.
And they actually had time to eat (after distributing party favors. There, they take a basket around to the guests instead of having the party favors sitting at each seat)
My grandmother was so happy that week. Yes, she sees her great-grandson about weekly, but I think she is this happy every time.
Another of the standard repertoire, child at end of wedding completely exhausted.
This is not at the wedding, but I thought the jackfruit had a nice texture that the black and white would bring out. And the film is not quite as completely washed out in the bright sunlight as the digital version.
All pictures here taken with Voigtlander Bessa R with 35mm/2.5 compact lens and Kodak T400 CN Max film.
It has been a long time since I went on a pure photoshoot, where the goal was to take good pictures. A lot of what I've taken recently has been record shots (I was ... with ...) pictures, only little artistic value. One principle in artistic development is forced constraints, place restrictions on the technical aspects and use creativity and skill to compensate. The last time I went to Thailand I took a manual SLR, three lenses and a single-focal length P&S (because I need some record pictures, this is a vacation). On this trip, I took along a compact digital zoom (again, I need some normal pictures), but for fun, I took the rangefinder, used one lens, and two rolls of B&W film.
Now, there is this massive list of things to do. So not really much time for simple shooting. But there were a few times where I could practice (I suppose I could have done the PJ thing as well when going around town, but I only brought two rolls of film, so I saved them for the wedding.)
I had a big break in the schedule one morning when my sister and fiancee were getting studio pictures done. So, I took his parents and brother to Lumphini Park. Which is so different then my usual view of Bangkok (lots of loud traffic, shopping malls of various flavors, Buddhist temples).
This picture is of a bridge in Lumphini park by where we had lunch. I should have taken a couple of shots of the food cart where we got our lunch as well. This shot is probably not framed all that well. I should have moved it either left (to get more of the bridge) or right) to put the focus on the pond) where it is (with the right edge of the bridge in the midpoint of the frame) makes this almost one picture trying to be two.
This is of Silom Center, taken from across a pond. It would have been better if I underexposed a stop, and made the buildings darker. I would have lost detail in the leaves, but the vegetation is only for framing anyway. Also, I should have taken this from a few feet to the left, as I could have avoided having a branch come down in the middle (if I really cared, this is easily removable in digital form).
For the wedding pictures, like all weddings nowadays, there are many people running around with digital cameras taking hundreds of pictures. Including two of my cousins and my brother-in-laws brother (who all had instructions to take lots of pictures.) So my ~50 shots are not too important as far as quantity is concerned. I think I'm the only one to get this, and having a rushed bride and a slightly worried mother (probably thinking of all the things that have to be done) I think works.
The odd thing is, this is not completely posed (not from want of trying by the couple and the other photographer). When they got the couple-on-the-bridge picture, B mentioned something about looking at a tree, so they could get a nice classic picture of the hopeful couple looking off into the future while standing at something. And I asked "which tree?" So he pointed out the tree.
This almost worked. There were several photographers taking pictures of them and this little building at the Wat. And I had found this little break in the shrubs to the side. My sister is stepping down from posing, and B just noticed I was there.
I liked this one. My grandmother (grandmother of the bride) is placing on the dots for a blessing on the groom. But my sister's eyes make the shot. It's nice using tools that get the picture exactly when you want it.
I thought that the people preparing the food should be photographed with their work. Just professional courtesy.
Standard repertoire for PJ style wedding photography. Couple taking a break talking to each other.
And they actually had time to eat (after distributing party favors. There, they take a basket around to the guests instead of having the party favors sitting at each seat)
My grandmother was so happy that week. Yes, she sees her great-grandson about weekly, but I think she is this happy every time.
Another of the standard repertoire, child at end of wedding completely exhausted.
This is not at the wedding, but I thought the jackfruit had a nice texture that the black and white would bring out. And the film is not quite as completely washed out in the bright sunlight as the digital version.
All pictures here taken with Voigtlander Bessa R with 35mm/2.5 compact lens and Kodak T400 CN Max film.
Saturday, December 08, 2007
Return to the Symphony
It has been many months since I've been to a Grand Classics concert. My fiancee (recent development) and I had dinner in the cultural district, the head to Heinz Hall. While looking on to a violin, flute, harp trio, we were greeted by a friend, the first of several for the evening. Of those who greeted us, some had not seen us since our engagement, and several had not seen me since my deployment to Afghanistan. The greetings were joyful and full of warmth. Even though I have not been in Pittsburgh that long, being greeted like that helps in calling this city my home.
It had been a long and tiring week for me, and I was not up to listening actively to the pieces like I usually do. Tonight was to let the sounds go by, and sense what I may. Corigliano came on stage before the concert to introduce his piece, discussing the style that was to come and all of the characters whose voices would be present. Normally I eat this up. Tonight, I was just too tired.
And as the orchestra made its way into "Phatasmagoria," I listened. I listened to ghosts speaking to one another across time. To voices remembering past glories, and dwelling on sadness. In the Elgar cello concerto I listened to a cellist and orchestra in dialog, sometimes supporting, sometimes sounding like questioning.
We head out after intermission (I really was tired) But on the way out we ran into dear friends who I had not seen since last spring. We talked of love and marriage, of going to war and return (interesting as a quick reading of the program tells me that the Elgar concerto was written with the backdrop of World War I). All the things of life, and strangely enough, a fit accompaniment to the program.
It had been a long and tiring week for me, and I was not up to listening actively to the pieces like I usually do. Tonight was to let the sounds go by, and sense what I may. Corigliano came on stage before the concert to introduce his piece, discussing the style that was to come and all of the characters whose voices would be present. Normally I eat this up. Tonight, I was just too tired.
And as the orchestra made its way into "Phatasmagoria," I listened. I listened to ghosts speaking to one another across time. To voices remembering past glories, and dwelling on sadness. In the Elgar cello concerto I listened to a cellist and orchestra in dialog, sometimes supporting, sometimes sounding like questioning.
We head out after intermission (I really was tired) But on the way out we ran into dear friends who I had not seen since last spring. We talked of love and marriage, of going to war and return (interesting as a quick reading of the program tells me that the Elgar concerto was written with the backdrop of World War I). All the things of life, and strangely enough, a fit accompaniment to the program.
Friday, December 07, 2007
Birding in Thailand - 2007
On this Thailand trip, I brought binoculars as well as a couple of field guides. Primarily I used Craig Robson's Birds of Thailand, Princeton University Press. This is based on another work, A Field Guide to the Birds of South-East Asia, which is a bit bulky for carrying around in the field. I went birding in in Cha-am, Bangkok, and along the Chao Phraya River.
Barn Swallow Hirundo rustica
Eurasian Tree Sparrow Passer montanus
Common Myna Acridotheres tristis
Rock Pidgeon Columba livia
White Stork Ciconia ciconia
Little Egret Egretta Garzetta
Oriental Magpie Robin Copsycus saularis
Coppersmith Barbet Megalaima haemacephala
White-vented Myna Acrdotheres grandis
Cattle Egret Bubulcus ibis
Slender-billed gull Larus genei
And some pictures
Coppersmith Barbet
White-vented Myna
Cattle Egret
Barn Swallow Hirundo rustica
Eurasian Tree Sparrow Passer montanus
Common Myna Acridotheres tristis
Rock Pidgeon Columba livia
White Stork Ciconia ciconia
Little Egret Egretta Garzetta
Oriental Magpie Robin Copsycus saularis
Coppersmith Barbet Megalaima haemacephala
White-vented Myna Acrdotheres grandis
Cattle Egret Bubulcus ibis
Slender-billed gull Larus genei
And some pictures
Coppersmith Barbet
White-vented Myna
Cattle Egret
Tuesday, December 04, 2007
Book Review: Fiasco - The American Military Adventure in Iraq by Thomas Ricks
[ISBN 0143038915]
Fiasco takes a look at the run up to the American invasion of Iraq and the first years of the American occupation attempting to follow the thought and decision making processes of senior American political and military leaders. In the same vein of Bob Woodward's Plan Of Attack, Ricks is trying to paint a picture of how the American political and military establishments works (or does not). His picture is an ugly one, of a political establishment that is disfunctional in its ability to process information and tolerate dissent. His picture of the military is mixed, it is of a military that has a range of those who were inflexible, and those who were trying to learn how to fight a different kind of war, in a political environment that was resistant to learning.
One area that Ricks differs greatly from Woodward is in providing context. Both report on the words and explanations the principle participants used at various times to understand what information was available and the state of mind they received this information in. Ricks goes one step further and gives contextual information. The result is a damning indictment of the political establishment c. 2001-2005 in its misrepresentation of the information available and its protestations that the events were not expected and could not be handled better. His treatment of military leaders was mixed. He describes and Army that was fighting with the political establishment about the nature of war with mixed results. He shows some whose styles were utterly unsuited for this war amongst the people with its ambiguities (like Sanchez or Franks), and other who got it from the beginning (like Patraus and company) and others who learned along the way (like Odierno).
While Woodward seemed very conscious of telling "the first draft of history" and avoiding interpretation, and Atkinson in "In the company of soldiers" was telling a story, Ricks is writing a history, not letting the principles tell the story, but surrounding their words and actions with the context those words and actions appeared in. It provides many lessons in how decisions are made, arguments are won or lost, and the hazards of a political system resistant to dissent.
Fiasco takes a look at the run up to the American invasion of Iraq and the first years of the American occupation attempting to follow the thought and decision making processes of senior American political and military leaders. In the same vein of Bob Woodward's Plan Of Attack, Ricks is trying to paint a picture of how the American political and military establishments works (or does not). His picture is an ugly one, of a political establishment that is disfunctional in its ability to process information and tolerate dissent. His picture of the military is mixed, it is of a military that has a range of those who were inflexible, and those who were trying to learn how to fight a different kind of war, in a political environment that was resistant to learning.
One area that Ricks differs greatly from Woodward is in providing context. Both report on the words and explanations the principle participants used at various times to understand what information was available and the state of mind they received this information in. Ricks goes one step further and gives contextual information. The result is a damning indictment of the political establishment c. 2001-2005 in its misrepresentation of the information available and its protestations that the events were not expected and could not be handled better. His treatment of military leaders was mixed. He describes and Army that was fighting with the political establishment about the nature of war with mixed results. He shows some whose styles were utterly unsuited for this war amongst the people with its ambiguities (like Sanchez or Franks), and other who got it from the beginning (like Patraus and company) and others who learned along the way (like Odierno).
While Woodward seemed very conscious of telling "the first draft of history" and avoiding interpretation, and Atkinson in "In the company of soldiers" was telling a story, Ricks is writing a history, not letting the principles tell the story, but surrounding their words and actions with the context those words and actions appeared in. It provides many lessons in how decisions are made, arguments are won or lost, and the hazards of a political system resistant to dissent.
Monday, December 03, 2007
Thailand Travel notes 2007 2/2
Day 5 was the actual wedding. We went to Wat Benjamabopit where the monk who supervised one of my cousins time ordained was. An aunt had gone the night before and set up preparations for the wedding. At that point we found out that the monk in question was very engaged with the preparations, and had made plans on showing us around to the best spots to take pretty pictures.
Quotes
J (brother of groom): Wow, he is really involved. I thought monks were supposed to renounce worldly things like marriage.
Me: Yes, but that is just for themselves. If religious people are not involved with important things like marriage, births and deaths, what society will support them? And weddings are much more fun then funerals. (there was a funeral on the grounds as well)
Cousin: Noone goes to the Wat (temple) for weddings anymore.
Me: That's why they are being so helpful, they are trying to associate coming to the temple with fun things like weddings and nice pictures, and maybe people will come more often.
We got there around 9, and the monk came and met us, and took us on a tour of the grounds to take, well, pretty pictures. There were some side building that were well decorated. Sides of temple buildings. A room with pictures of some historical leaders and statel wood fixtures.
The actual ceremony was next. 9 monks at the front. They had the chanting in Bali. The presentation of the triple gem as well as the five precepts. Then the feeding of the monks. Last, the blessing and the splashing of holy water. After the monks left, we had the water ceremony. One of the things that got noticed is J and I seemed not to have any duties as groomsmen. Although the two bridesmaids had their time to stand and look pretty (they prepare water for use by the many participants in the water ceremony, namely everyone present who was married. As there were only ~70 people present it was not too bad. At my other sister's wedding with 200+ people the girls were platooning this duty.) There were a few more pictures and lunch. And that was it. B (sister's now husband) was very happy. So was the bride (a good thing).
After getting back to the house, we changed, rested a bit, and B, my sister and J wanted to go shopping. But not the high end luxury shopping (which they saw in Taiwan), they wanted real "ghetto" shopping. I had brought them down a nearby Soi (side street) the night before that was still active. So I brought them to Mahboonkrong (MBK). MBK is an older mall, but nearby the really nice malls like Siam Paragon, Discovery Center and Siam Center. When you start at Siam Paragon and walk through, it is really obvious that each mall is aimed at a different audience. MBK is divided into zones. The first zone is like th other malls. As you go further, it becomes more old fashioned. And the last zone is like a bazaar, and we went at it. They enjoyed the haggling over everything. So did I. We got back on the BTS (train). Oh, first time B and my sister used the train system here.
Last day here we went to the floating market and the Samphram Elephant Grounds. Very touristy and not really remarkable in any way. But now on my way home.
Quotes
J (brother of groom): Wow, he is really involved. I thought monks were supposed to renounce worldly things like marriage.
Me: Yes, but that is just for themselves. If religious people are not involved with important things like marriage, births and deaths, what society will support them? And weddings are much more fun then funerals. (there was a funeral on the grounds as well)
Cousin: Noone goes to the Wat (temple) for weddings anymore.
Me: That's why they are being so helpful, they are trying to associate coming to the temple with fun things like weddings and nice pictures, and maybe people will come more often.
We got there around 9, and the monk came and met us, and took us on a tour of the grounds to take, well, pretty pictures. There were some side building that were well decorated. Sides of temple buildings. A room with pictures of some historical leaders and statel wood fixtures.
The actual ceremony was next. 9 monks at the front. They had the chanting in Bali. The presentation of the triple gem as well as the five precepts. Then the feeding of the monks. Last, the blessing and the splashing of holy water. After the monks left, we had the water ceremony. One of the things that got noticed is J and I seemed not to have any duties as groomsmen. Although the two bridesmaids had their time to stand and look pretty (they prepare water for use by the many participants in the water ceremony, namely everyone present who was married. As there were only ~70 people present it was not too bad. At my other sister's wedding with 200+ people the girls were platooning this duty.) There were a few more pictures and lunch. And that was it. B (sister's now husband) was very happy. So was the bride (a good thing).
After getting back to the house, we changed, rested a bit, and B, my sister and J wanted to go shopping. But not the high end luxury shopping (which they saw in Taiwan), they wanted real "ghetto" shopping. I had brought them down a nearby Soi (side street) the night before that was still active. So I brought them to Mahboonkrong (MBK). MBK is an older mall, but nearby the really nice malls like Siam Paragon, Discovery Center and Siam Center. When you start at Siam Paragon and walk through, it is really obvious that each mall is aimed at a different audience. MBK is divided into zones. The first zone is like th other malls. As you go further, it becomes more old fashioned. And the last zone is like a bazaar, and we went at it. They enjoyed the haggling over everything. So did I. We got back on the BTS (train). Oh, first time B and my sister used the train system here.
Last day here we went to the floating market and the Samphram Elephant Grounds. Very touristy and not really remarkable in any way. But now on my way home.
Friday, November 30, 2007
Thailand travel notes part 1
Random, discombobulated travel notes
Early morning flight from Pittsburgh to LaGuardia Airport. First major task, getting from LaGuardia to JFK (where internationa flights originate). This was actually real easy, because I was pointed to a door, outside of which was a dispatch agent for the buses, who sold me a ticket for the bus that just pulled up. The bus driver was pretty new (I think). But the real highlight, I had a whole coach bus drive me to JFK all to myself. Personnal door-to-door service.
At JFK, while waiting for check-in, there was a guy with two women in front of me. The guy had run past me on the way in the terminal. It turned out that he was a pastor who was helping a member of his congregation and her mother. Her mother was heading back home to Thailand. But she does not speak english. So he asked "she can ask you if she needs help, right." At this point people who are aware of my command of Thai are laughing. Let's see, getting through security was fun. But the real fun thing was the survey that the New York Airport Authority was conducting. So here I am, trying to walk her through an 8-page survey. Which goes well beyond my Thai vocabulary. We actually got through 2/3 of the survey. At this point, we get the attention of a student from Mahidol university who was visiting the states. Between the three of us, we got it.
It was a very long flight, direct from New York to Bangkok. Something that probably was not even possible not all that many years ago (prior to the Boeing 777 and Airbus 340). The flight was to Suvarnabhumi, the new airport. The place is huge. The basic form is like an open tent over hallways and rooms. Think the new Denver airport, but about four of them put together. High ceilings (which probably helps a lot with the temperature control.) with lots of soft light (from the white, slightly translucent ceilings.
I saw my new friends while getting our luggage.
"Who is waiting for you?"
"My mom"
"How long are you going to be here?"
"___days"
"I hope you meet a nice Thai girl."
"Thank you, but I already have a girlfriend."
Birds so far:
Barn Swallow
Eurasian Tree Sparrow
Common Myna
Rock Pidgeon
White Stork
Little Egret
Oriental Magpie Robin
Coppersmith Barbet
One of the pleasures of the trip was visiting college friends. I met with N and her son S at Emporium Mall by Phrom Phong station. And we used the easiest of landmarks, Starbucks. We went to a children's play area while N and I talked about all sorts of things of life. And we shared pictures. We met with her sister for lunch at the mall food court. At the time N and S went to the bathroom. So eventually this lady coming through just stops near the entrance (where I was) and starts looking around. After staring at each other for a few minutes we introduced ourselves. N was impressed that we figured out who each other was by ourselves. We had lunch (ba mii moo daeng). Afterwards I went to Siam Discovery/Center/Paragon/MBK to do some shopping and went home.
I met with my grad school classmate J Thursday lunch at Siam Paragon. We had dim sum at a plce that was to nice for dim sum. But it was good. In addition to the normal things, and some things that you hope for but are not always on the menu, there a durian pastry, that I had to get once I saw it. Very enjoyable catching up, talking about our socioligical observations of how Thailand has changed in the past six years, various aspects of marriage/divorce/relationships, lots of talking about advice we've gotten. And lists of things to do here. All the things that make us act as if we are human beings :-)
My sister and her fiancee + family came in that day. Today, while my sister went for photo studio pictures (it would take someone from Taiwan or Korea to properly appreciate what this means) I took J (his brother) and his parents to Lumpini Park. Bangkok in general is a loud and dirty place, but Lumpini Park is the city park, occupying the same relationship to the city as Central Park. So, in the middle of Bangkok, we went via BTS to a nice stroll in the park around a nice little lake. We also got lunch. So, not knowing where to get food we asked. In Thai. And the first person we asked was a foreigner who did not speak thai, and did not know anything about the area. At the same time, J struck a conversation with another expat couple out for a walk, and they also did not know anything about the area. Third time the charm, I spoke with a guy who ended up pointing us to a gate were there were hawkers (I think his daughter really wanted to jump into the conversation to practice her english) and so we went. There were a number of food stands. We used two of them. One was pretty easy, one of the people working the stand spoke english. The other was a little harder, especially since the one cook was busy. With two people working and a couple of young office ladies who were there helping us we figured out how to make an order. We brought the food to the park to have a nice lunch. Some of the people who we had asked for help walked by and we rejoiced in our success.
Early morning flight from Pittsburgh to LaGuardia Airport. First major task, getting from LaGuardia to JFK (where internationa flights originate). This was actually real easy, because I was pointed to a door, outside of which was a dispatch agent for the buses, who sold me a ticket for the bus that just pulled up. The bus driver was pretty new (I think). But the real highlight, I had a whole coach bus drive me to JFK all to myself. Personnal door-to-door service.
At JFK, while waiting for check-in, there was a guy with two women in front of me. The guy had run past me on the way in the terminal. It turned out that he was a pastor who was helping a member of his congregation and her mother. Her mother was heading back home to Thailand. But she does not speak english. So he asked "she can ask you if she needs help, right." At this point people who are aware of my command of Thai are laughing. Let's see, getting through security was fun. But the real fun thing was the survey that the New York Airport Authority was conducting. So here I am, trying to walk her through an 8-page survey. Which goes well beyond my Thai vocabulary. We actually got through 2/3 of the survey. At this point, we get the attention of a student from Mahidol university who was visiting the states. Between the three of us, we got it.
It was a very long flight, direct from New York to Bangkok. Something that probably was not even possible not all that many years ago (prior to the Boeing 777 and Airbus 340). The flight was to Suvarnabhumi, the new airport. The place is huge. The basic form is like an open tent over hallways and rooms. Think the new Denver airport, but about four of them put together. High ceilings (which probably helps a lot with the temperature control.) with lots of soft light (from the white, slightly translucent ceilings.
I saw my new friends while getting our luggage.
"Who is waiting for you?"
"My mom"
"How long are you going to be here?"
"___days"
"I hope you meet a nice Thai girl."
"Thank you, but I already have a girlfriend."
Birds so far:
Barn Swallow
Eurasian Tree Sparrow
Common Myna
Rock Pidgeon
White Stork
Little Egret
Oriental Magpie Robin
Coppersmith Barbet
One of the pleasures of the trip was visiting college friends. I met with N and her son S at Emporium Mall by Phrom Phong station. And we used the easiest of landmarks, Starbucks. We went to a children's play area while N and I talked about all sorts of things of life. And we shared pictures. We met with her sister for lunch at the mall food court. At the time N and S went to the bathroom. So eventually this lady coming through just stops near the entrance (where I was) and starts looking around. After staring at each other for a few minutes we introduced ourselves. N was impressed that we figured out who each other was by ourselves. We had lunch (ba mii moo daeng). Afterwards I went to Siam Discovery/Center/Paragon/MBK to do some shopping and went home.
I met with my grad school classmate J Thursday lunch at Siam Paragon. We had dim sum at a plce that was to nice for dim sum. But it was good. In addition to the normal things, and some things that you hope for but are not always on the menu, there a durian pastry, that I had to get once I saw it. Very enjoyable catching up, talking about our socioligical observations of how Thailand has changed in the past six years, various aspects of marriage/divorce/relationships, lots of talking about advice we've gotten. And lists of things to do here. All the things that make us act as if we are human beings :-)
My sister and her fiancee + family came in that day. Today, while my sister went for photo studio pictures (it would take someone from Taiwan or Korea to properly appreciate what this means) I took J (his brother) and his parents to Lumpini Park. Bangkok in general is a loud and dirty place, but Lumpini Park is the city park, occupying the same relationship to the city as Central Park. So, in the middle of Bangkok, we went via BTS to a nice stroll in the park around a nice little lake. We also got lunch. So, not knowing where to get food we asked. In Thai. And the first person we asked was a foreigner who did not speak thai, and did not know anything about the area. At the same time, J struck a conversation with another expat couple out for a walk, and they also did not know anything about the area. Third time the charm, I spoke with a guy who ended up pointing us to a gate were there were hawkers (I think his daughter really wanted to jump into the conversation to practice her english) and so we went. There were a number of food stands. We used two of them. One was pretty easy, one of the people working the stand spoke english. The other was a little harder, especially since the one cook was busy. With two people working and a couple of young office ladies who were there helping us we figured out how to make an order. We brought the food to the park to have a nice lunch. Some of the people who we had asked for help walked by and we rejoiced in our success.
Wednesday, November 28, 2007
Book Review: What to Listen for in Music by Aaron Copland
What to Listen for in Music by Aaron Copland [ISBN: 0451528670]
This is about the listening of concert music, also called classical music (not to be confused with the classical period of music). Aaron Copland is best known as a composer, but he also delivered a series of lections on What to Listen for in Music, which became the heart of this book. The 2002 Signet Classic edition includes Copland's 1957 update (originally written in 1939), a forward by Alan Rich (1999) and an introduction by William Schuman (1988).
The book almost has to start by answering the question, why a book on what to listen for in music. There is the obvious answer "listen to a lot of music." And that is a truth that the book does state as well. But this is, as we say in mathematics, a necessary but not sufficient condition for understanding. Listening to a lot of music gives a context, but not a language for discussing or thinking about it. Almost every field of understanding has a language that goes with the understanding of it. And knowing the language allows practicioners and others associated with the field to both communicate ideas for the growth of the field and the abilities of the individual.
By way of background, I tell everyone that as far as the fine art in general and music in particular, I know almost nothing. But somehow I got recruited to write on a regular basis for the local (Pittsburgh) Symphony Orchestra. As such, I am probably the epitome of appreciating and discussing music without any understanding of theory or history. (actually, many concertgoers without training probably have picked up much more history than I have.) So my writing, while focused more or less on the actual music, is restricted to what I hear and pay attention to.
Much of what I get from reading this is what can be expected, many things that I have picked up over time that are now expressed in words. I liked Copland's description of music as a collaboration between conductor, interpreter and listener. There are sections that discuss how to listen to melody as it gets passed from section to section. I especially liked the section on basso ostinato. It reminded me of a time listening to a friend preparing for a graduate recital, and pointing out a repeated bass line and giving suggestions about what can be done with it. And know I know what the words (basso ostinato) for what I could only describe before.
But a book is useless if all it does is repeat what is known. Starting with sections on four elements of music (rhythm, melody, harmony, tone color; and going on to fundamental forms (sectional, variational, fugal, sonata, free) and additional chapters on some specific forms of music, it draws a map that can guide a listener. Interspersed throughout are identified movements and selections that illustrate concepts, and where I have them in my collection, I found myself listening to the selection while reading the relavent passage, and listening again. Each time hearing more then the last, or any time before. And the book promises that I can do this many times (at least with high quality pieces).
So, who is this for? Copland makes the point that this is a book written by a composer for listeners. Composers are expected to know much of this to a much deeper level, because it makes their craft more expressive (as well as provides a structure they can work in. It is much harder to write something without structure because you have to confront the tendency to make meaningless drivel.) It is not aimed at interpreters (performers) to the extent they are not also listeners. The book explicitly assumes technical proficiency beyond necessity. While there is discussion of the tension between the creative aspects of both composing and performing, the interaction between the two is probably better discussed in many other places. Likewise, the music critic is not served, as technical ability and interpretation are not properly discussed, as a critic is expected to do. And it is not a catalogue with listings of recordings. While many works are mentioned (and conveniently listed) reading this book does assume access to a reasonable music library in being. There are other introduction to classical music titles that provide descriptions of pieces and a history of music. This work is intended to train the ear, not a reference to fill the mind with facts.
It is aimed at the listener, for whom listening to music is its own purpose. The ones who hear the many layers, and wants the ability to hear the layers individually and as a whole. To be able to listen to a piece in the large as well as in the small. And to listen in such a way as a piece and recording of sufficient quality can be listened to many times, each time observing something never before heard.
This is about the listening of concert music, also called classical music (not to be confused with the classical period of music). Aaron Copland is best known as a composer, but he also delivered a series of lections on What to Listen for in Music, which became the heart of this book. The 2002 Signet Classic edition includes Copland's 1957 update (originally written in 1939), a forward by Alan Rich (1999) and an introduction by William Schuman (1988).
The book almost has to start by answering the question, why a book on what to listen for in music. There is the obvious answer "listen to a lot of music." And that is a truth that the book does state as well. But this is, as we say in mathematics, a necessary but not sufficient condition for understanding. Listening to a lot of music gives a context, but not a language for discussing or thinking about it. Almost every field of understanding has a language that goes with the understanding of it. And knowing the language allows practicioners and others associated with the field to both communicate ideas for the growth of the field and the abilities of the individual.
By way of background, I tell everyone that as far as the fine art in general and music in particular, I know almost nothing. But somehow I got recruited to write on a regular basis for the local (Pittsburgh) Symphony Orchestra. As such, I am probably the epitome of appreciating and discussing music without any understanding of theory or history. (actually, many concertgoers without training probably have picked up much more history than I have.) So my writing, while focused more or less on the actual music, is restricted to what I hear and pay attention to.
Much of what I get from reading this is what can be expected, many things that I have picked up over time that are now expressed in words. I liked Copland's description of music as a collaboration between conductor, interpreter and listener. There are sections that discuss how to listen to melody as it gets passed from section to section. I especially liked the section on basso ostinato. It reminded me of a time listening to a friend preparing for a graduate recital, and pointing out a repeated bass line and giving suggestions about what can be done with it. And know I know what the words (basso ostinato) for what I could only describe before.
But a book is useless if all it does is repeat what is known. Starting with sections on four elements of music (rhythm, melody, harmony, tone color; and going on to fundamental forms (sectional, variational, fugal, sonata, free) and additional chapters on some specific forms of music, it draws a map that can guide a listener. Interspersed throughout are identified movements and selections that illustrate concepts, and where I have them in my collection, I found myself listening to the selection while reading the relavent passage, and listening again. Each time hearing more then the last, or any time before. And the book promises that I can do this many times (at least with high quality pieces).
So, who is this for? Copland makes the point that this is a book written by a composer for listeners. Composers are expected to know much of this to a much deeper level, because it makes their craft more expressive (as well as provides a structure they can work in. It is much harder to write something without structure because you have to confront the tendency to make meaningless drivel.) It is not aimed at interpreters (performers) to the extent they are not also listeners. The book explicitly assumes technical proficiency beyond necessity. While there is discussion of the tension between the creative aspects of both composing and performing, the interaction between the two is probably better discussed in many other places. Likewise, the music critic is not served, as technical ability and interpretation are not properly discussed, as a critic is expected to do. And it is not a catalogue with listings of recordings. While many works are mentioned (and conveniently listed) reading this book does assume access to a reasonable music library in being. There are other introduction to classical music titles that provide descriptions of pieces and a history of music. This work is intended to train the ear, not a reference to fill the mind with facts.
It is aimed at the listener, for whom listening to music is its own purpose. The ones who hear the many layers, and wants the ability to hear the layers individually and as a whole. To be able to listen to a piece in the large as well as in the small. And to listen in such a way as a piece and recording of sufficient quality can be listened to many times, each time observing something never before heard.
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