Sunday, April 19, 2020

The Atheists Saving Western Civilization


John Derbyshire, with his son Danny in Beijing, 2001 ("visiting relatives and sightseeing"), in time for July 4th
We left New York July 1st, arrived in Pei-p'ing Peking Beijing July 2nd. This is the following day, July 3rd — Danny's 6th birthday. As usual, he'd prefer to be elsewhere.
Derbyshire's Confessions:
I take the minimal definition of a Christian to be a person who is sure that Jesus of Nazareth was divine, or part-divine, and that the Resurrection was a real event. I don't believe either of those things.
John Debryshire, columnist at VDare.
I wrote a short article on Derbyshire here, commenting on his condescending article on an "Ethiop."

Western Civilization will be saved one atheist at a time.

Saturday, April 18, 2020

Daffodil


Daffodil Bud
Photo By: KPA

Steven Heinemann and Scorched Earth


Steven Heinemann
Ceramics
Terra Ruba, 2004
Boijmans Museum, Rotterdam
69cmX42X34


For a potter working with pots, Steven Heinemann seems obsessed with closing them off. No flower will adorn his creations, nor will water pour from his jugs. Heinemann is not interested in function, but
prioritizes process, material, and the non-functionalobject to create autonomous sculpture
writes Rachel Gotlieb in Steven Heinemann: Culture and Nature, an exhibition he held in 2017 at the Gardiner Museum of Ceramic Art in Toronto. And a footnote to this phrase, Gotlieb directs us:
For discussions on the autonomy of the art object within the realm of craft see Theodor Adorno, Aesthetic Theory, trans. and ed. Robert Hullot-Kentor (London: Athlone Press, 1997); Glenn Adamson, Thinking Through Craft (Oxford: Berg, 2007); and Bruce Metcalf, “Replacing the Myth of Modernism,” First published in American Craft, February/
March 1993, 53, no. 1, accessed March 1, 2017, http://lib.znate.ru/docs/ index-53911.html.
I discuss Adolf Loos, the anti-ornament modernist here in Throwing Out Ornament, asking (rhetorically) if
architecture hadn't regressed. "Think about the medieval cathedrals, or the renaissance palaces. All we do now is glass boxes. Lego for grown ups. We're back to simple squares and circle, just a little above the line in the sand drawn with a piece of stick."
I could add for pottery: simple curved shapes.

And simple curved shapes is what Heinemann produces, however asymmetrical, and therefore (falsely) complex shapes they may be. Although asymmetry is a more natural, inartistic, tendency, and a circle far harder to reproduce. Heinemann thus desires to work with asymmetry, imperfection, and ultimately, the non-aesthetic.

And this leads to my final point. Heinemann's vessels. An article on Heinemann at the Canadian Encyclopedia describes one of Heinemann's techniques as:
"controlled crazing" (fine cracks on the surface of a glaze layer) during firing as his primary method to investigate issues of containment, volume and decoration.
Thermal stress weathering, in nature,
...results from the expansion and contraction of rock, caused by temperature changes. For example, heating of rocks by sunlight or fires can cause expansion of their constituent minerals. As some minerals expand more than others, temperature changes set up differential stresses that eventually cause the rock to crack apart.
This is the impression I got when viewing his ceramic objects, with their cracked interiors, and which clearly will not be vessels for water. The first word that came to mind was "scorched." And indeed they are scorched, resembling the barren, empty, and lifeless desert regions which bear this description.

For an art form which has functionality as its primary goal, these objects close themselves off to any form of human use, and instead become aesthetic objects. And they don't succeed even in that goal, their aesthetics having been compromised by Heinemann's relentless pursuit of the anti-aesthetic.

Heinemann's intent all along is to give us a dystopian scorched earth, where we will live in the extremes of "Climate Change" as we are destined to according to our postmodern spiritual guides - our scientists, activists, and artists - as we struggle with pots that wont even carry the droplets of water we may find.

Heinemaan, who lives in this current world, and who needs to pay his bills (ask Van Gogh how living for "art" alone worked out for him), sells his pieces ranging from $7,000 to the $11,000. And people are ready to buy dystopia and hang it in their living rooms. Wealthy art collectors, that is. And his works are available in museum collections across the globe, who purchase his scorched clay, and as no acts of charity.

Art and dytopia generate money!

Heinemann is the husband of textile designer, Chung-Im Kim, about whom I wrote here:
Here are her fungal-like growths which she designs with felt, and which she sells for over $6,000 each. She categorizes them on her website as: Living Geometry.
Crawling fungi might be the only vegetation that grows on scorched earth.

Friday, April 17, 2020

Magnolia Buds


Magnolia Buds
[Photo By: KPA]

Wednesday, April 15, 2020

E. Frank Leavers: Duty for the Ontario Community

Here is a memorial bench at the Ben Machree Drive, in Port Credt, near Mississauga (I've written about Port Credit here).


Bench donated by Frank E. Leavers
[Photo: By KPA]


There is only brief information on Frank E. Leavers. His obituary says that he was:
Retired Justice of the Peace for the Province of Ontario, last Reeve of Port Credit, past President of the Mississauga Real Estate Board.
What is a reeve?
What was a Reeve?...Toronto Township was the name of everything from Lake Ontario to Steeles Avenue, bounded by Winston Churchill Blvd. on the west to the Etobicoke River on the east (minus the Incorporated villages of Streetsville and Port Credit). It was mostly agricultural land.

Port Credit, Streetsville, and Toronto Township each had Reeves to represent them on the County of Peel's council. Their equivalent today would be Regional councillors.

View of Lake Ontario
[Photo: By KPA]



Photograph of members from the 1977-1978 Mississauga City Council

Standing from left to right back row: Councillor Harold E. Kennedy, Councillor Frank Leavers, Councillor Frank J. McKechnie, Councillor Frank H. S. Hooper, Councillor Frank Bean, Councillor Terence W. Butt, Councillor Larry Taylor;

Standing from left to right front row: Councillor Mary Helen Spence, Mayor Ron Searle and Councillor Hazel McCallion

---------------------------

Ceremonial Inaugural Meeting of the 1977-78 Council of the City of Mississauga took place on January 4, 1977.

Photograph taken at the ceremonial inaugural meeting of the 1977-1978 Council of Mississauga on January 4th, 1977

This was the first term as Mayor for Ronald Searle. During this short time council approved an official plan to create a downtown core for Mississauga and make it separate from Toronto. Council was also looking into reports on how much money it would save if the City quit itself from Peel Region. [Source]

Tuesday, April 14, 2020

Blue Flowers


Scilla
By Lake Ontario,
Ben Machree Park

"The beautiful blue flowers of Scilla are welcome in any lawn or field after a long winter"

[Photo By: KPA]

Chung-Im Kim and Her Textile Designs' Korean Ancestral Loyalties

Here are the most current designs from Chung-Im Kim, textile designer, and associate professor at the Ontario College of Art and Design.

I believe that Kim has nothing to emulate, nothing to draw inspiration from, in the Canadian landscape, but rather looks back thousands of miles, and cultures, away to her Korean background.

As I wrote in my August 2018 article:
Kim's designs are a combination of..."deconstructed-reconstructed" works of postmodern art and works that reference her Korean/Asian background.
Kim writes about her textiles and her inspirations:
...the familiar Korean textile never fail to encourage my search --- perhaps it is a consolation that I look for unconsciously living so far away from Korea.

Chung-Im Kim
Bow
2005
8" x 9.5"
Ramie, Hemp, Natural Dyes, Silkscreen Printing, Machine & Hand Stitching

[Source]

About her felt work, she writes:
Searching for a personal vocabulary of images that can speak as a universal language was my core concern when I resumed my art career in Canada after a long break since arrival. This often took the form of a repetition of a few basic essential shapes, adding interest through the use of relief, appliqué, inherent dyed colour and many related techniques. At the same time, I continued to be inspired by traditional Korean textiles --- in both a technical and spiritual sense.
Here are her fungal-like growths which she designs with felt, and which she sells for over $6,000 each. She categorizes them on her website as: Living Geometry


Chung-Im Kim
Mutation III
From the Living Geometry series: No. 5
2015
23.5" x 12" x 3"
Industrial felt, thread, dyed with (Natural Dye) lac, hand stitched
David Kaye Gallery


Post-modern, abstract textile design is a lucrative business, along with associate professorship in leading universities.

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Below is my post, from August 2018 on Kim, her designs, and her loyalties:

At the end of the article, I write;
Their ethnic references are too far away, and they are too alienated from their current country, and all that is left is the "structure" of the image: its shape, its empty outline.
I should add to that:
...its empty outline, ready to fill up with foreign, alien forces.
After all, Kim's fungal protrusions are titled" Mutations."

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I've always, since my Ontario College of Art Design days, tried to master textile art and design. My instructor was a Korean woman. It was then that I intuitively realized that "Asians" had an inherent dislike of whites. I went to "night school" and took only one course for four consecutive sessions. This course was open to the public and not just OCAD students. It became an issue for her after the second course, but I was paying the $200/course fee. If she had any sympathy for me and my ideas, I would have told her that I was there to use the equipment.

By the third session I had developed many of my ideas. I had briefly started doing the geometric border patterns found in Ethiopian dress, but my models for my work were the historical textiles of the Western World up to the early 20th century. Anything beyond that took on the modernists' "destruction of the image" ideology.

The textile instructor, Chung-Im Kim, who I believe didn't have the rigorous "image-making" background required of textile design - including drawing and painting - vociferously pushed me to "design something Ethiopian." Eventually I came to the course randomly and spent my time - evenings and weekends - in the textile workroom, mixing paints, cutting cloth and printing. I did the blueprints at home on a makeshift IKEA work table.

I wondered later why she never introduced us to the endless list of "white" designers. All artists, however limited their education, at some point come across some textiles which are too breathtaking to ignore. I don't think she was intellectually limited. Nor can she use the "excuse" that she is an immigrant. She had lived in Canada by then too many years to not even have casually wandered across some of these works.

I believe it was (is) this inherent dislike of whites. Perhaps not individual whites, and certainly not the leftist whites which now make up Canada and America who hate "whites" or white civilization themselves, but the white people as a collective, the white civilization, the white mind.

Kim's designs are a combination of these "deconstructed-reconstructed" works of postmodern art and works that reference her Korean/Asian background.

ALL non-whites at some point begin to refer to their ancestral lands for inspiration, artistic or otherwise. And the constant, daily reminder that art created by whites has always been SUPERIOR to their art, from their specific non-European or North American region or country (Asia, South America, Africa, the Caribbeans) must ignite their fury.

I believe, though, that I am the exception.

As I write in an unpublished article:
My family and I left Ethiopia in 1973, a year before the “Ethiopian Revolution” which occurred in 1974, when Emperor Haile Selassie was deposed and a communist regime ran the country for almost two decades. I was ten years old. My father secured a post in UNESCO in Paris. My brothers and I initially attended school in Paris, but our parents sent us to England to boarding school a year later.

That dramatic, but fortuitous exit sent me across the globe from France to England and America to Canada. Our first landing point in Paris separated us from the usual flow of Ethiopian emigrants and refugees who set sail for America (and fewer to Canada). We were alone in our havens. My eleven years in France and as a student in boarding schools in England gave me the unique vantage point of discovering the West without the biases and interpretations of other Ethiopians and Africans. I was able to discover them on my own terms. I learned to love the West through the beautiful city of Paris and the paradisaical countryside of southern Kent.

My informal education had taken a Western orientation, but...I eventually obtained Bachelor and Masters degrees in the Biological and Health sciences in the United States. While pursuing my PhD, I lived in Mexico for two years working on my research work in clinical nutrition. The results of my PhD research eventually produced a unique testing method which was published in various academic science and medical journals.

By the end of my doctoral studies [we] obtained residency...in Canada [where] I was finally stable and able to make decisions about my activities without affecting my residency status. In Toronto, I obtained various certificates and qualifications in film and photography. I also studied textile design, and painting and drawing. I was determined to become an artist.

My constant displacement, my rigorous science education, and my artistic training allows me to ask: What is art? What is beauty? And why is Western beauty and art so singular? I have tried to answer these questions over the years.
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Trillium and Queen Anne's Lace
Textile Design
Kidist Paulos Asrat

Mississauga: A Blue-collar to White-collar Canadian Suburb

I have posted below an email correspondence along with an introduction, from December 2016, originally posted here: The Great No-Longer-So-White North.
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Below (with an introduction) is an email letter I received from a blog correspondent which I left as a draft when I first thought of publishing it in June 2015.

Now it is more relevant than ever. Note the reader's contempt for the "Trudeau Liberals" by which he meant Trudeau Sr., not the Justin cavorting around as a politician now.

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The Great no-longer-so-White North

This letter below is from a correspondent, who describes the Toronto of the 1970s (and into the early 80s).

The history of the Loyalists shows how different Canada and the United States are, which is how it should be despite all this Free Trade lingo, which puts us together with Third World Mexico! The anti-Americanism which the Canadian media (aka CBC), the stooge of the liberals and the Liberal Party, loves to spout is taken on in a healthy way by the ordinary Canadians, who love their flag, their foods (however few there are that are different from the Americans'), their holidays (next week is Canada Day, yes a reaction to Fourth of July, but still celebrated with gusto), and so on.

But, there is a unity with the US when it comes to the European heritage. And I strongly believe that this multicultural fetish is a "white guilt" thing.

He [the correspondent] very astutely observes that this "hate" or rather this identification of difference is projected into Quebec, and the endless wrangles we have with that Province. And I am actually a proponent of "freeing" Quebec. Let them deal with NAFTA, terrorism, the vacillating currency, maintaining a First World way of life, WITHOUT dipping into the Canadian coffers. Let them do it alone. Cut off ALL the strings. VIVE LE QUEBEC LIBRE!

One more thing.

Question: Who are the HABS?!! (Confession: Sin of all Canadian Sins. I don't watch hockey!!)

Answer: Habs is an abbreviation of "les habitants," the informal name given to the original settlers of New France, dating back to the 17th Century. So it's a natural fit for the The Montreal Canadiens, established in 1909 and marketed as a French-Canadian hockey team.

Yep, even in hockey, there is the Quebec Narrative. So, my correspondent is insightful to view these hockey games as war-like rivalry to release those ancestral tensions.

Here is the email/letter:

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Dear Kidist,

Good luck with the Hildebrand project [link]. This is some text!You're doing good work, even (especially) if the thought-police don't approve!

Mississauga really has changed. My father spent the last 10+ years of his career in Toronto (living in the City of Toronto itself from 1972 to 1983), and -- as a landed immigrant, not an illegal alien --- I worked a lot of temp jobs in Toronto during school and university days. I got to know greater Toronto pretty well.

At the time Mississauga was a blue-collar to white-collar Canadian suburb, which is [to] say the inhabitants were Canadians. Friends of ours who lived there had been in Ontario from its beginnings: United Empire Loyalists who went north from New York after the American Revolution made New York an uncomfortable place for loyalists to live. We haven't been in touch with them for many years, but I suspect they have long since white-flown Mississauga for somewhere much farther out.

Toronto proper at that time had immigrant pockets, some (European; I remember particularly a Portuguese enclave) of fairly long standing, but was still preeminently a Canadian city, united by belief in the Leafs and hatred of the Habs. There was, however, a growing West Indian area which, perhaps coincidentally, was considered the most sketchy part of town.

I hope the Canadians wake up in time to salvage some Canadian Canada. But when I look at what Americans are accepting, and remember it was a Canadian government (Trudeau's Liberals from 1968 through the early '80s; not that Mulroney's Tories did anything to undo Liberal sabotage when they got in) that introduced the world to official multiculturalism and mandated racial and sexual diversity, it's hard to be too hopeful. So far, from what I see, Canadians have swallowed almost all of it without a peep, and tell themselves it's all a Good Thing. The only outlet English Canadians allow themselves is to be annoyed at the Quebecois - to go any further would be racist...

Please keep up your good work in the Great no-longer-so-White North!

Best regards.

Monday, April 13, 2020

Swan on the Lake (Ontario)


Swan on the Lake (Ontario)
Photo By: KPA


I took this yesterday during a drive into the lovely town of Port Credit, which is by Lake Ontario.

Have a Happy Keeping Clean

Here is how the Art Gallery of Ontario wishes its readers (now that there there is a COVID-Shutdown) a Happy Easter:
As we all come together as a community, doing our part to #flattenthecurve, it's nice to look back and remember other things that have brought us together - like art! #AGOfromHome

https://ago.ca/agoinsider/retroago-crowdfunded-masterpiece-0

Jacopo Tintoretto. Christ Washing His Disciples' Feet, c. 1545-1555. Oil on canvas, 154.9 × 407.7 cm. Gift by general subscription, 1959. © Art Gallery of Ontario 58/51
Image may contain: one or more people and people sitting

I guess you have to read between the lines to find the Easter wishes, but in reality, there is none.

Simply a painting that depicts a religious scene, which is not related to the Easter Day itself, but of a previous event.

Have a Happy Keeping Clean, Everyone!

Have a Wiggle

Here is how the Mississauga Central Library wishes its readers (now that there there is a COVID-Shutdown) a Happy Easter: with a wiggle.

And, as usual, my instincts were prescient.

Have a Happy Wiggle, everyone!

Have a Nothing

Here is how the Art Gallery of Mississauga wishes its readers (now that there is a COVID-Shutdown) a Happy Easter: with nothing.

Here is my proposal for Picturing My Landscape, the title of the project, which I sent to the AGM several months ago. I withdrew my proposal project, after I realized that: 1). They were going to stall, and eventually decline my proposal, and 2). Do I really want to be associated with such an organization anyway?

And, as usual, my instincts were prescient.

Have a Nothing, everyone!

Have a Sweet



Here is a post at the Ryerson Image Centre Facebook page. I recently sent a proposal to have my works exhibited at the RIC, and which I withdrew after I realized that: 1). They were going to stall, and eventually decline my proposal, and 2). Do I really want to be associated with such an organization anyway?

Here is my proposal, including images.

And, as usual, my instincts were prescient. Above is how the RIC sends out wishes for Easter on their Facebook page.

Have a Sweet, everyone!

Sunday, April 12, 2020

Palm Sunday


Title: Palmesel
Date: 15th century
Geography: Made in Franconia, Germany
Medium: Limewood with paint
Dimensions:O verall (w/ base): 61 1/2 x 23 3/4 x 54 1/2 in., 182lb.
Classification:Sculpture-Wood
Location: The Cloisters Collection, New York

[Photo By: KPA]

Letter to VDare


Detail of a 17th century painting of St. Mercurius,
from a church in Lalibela, northern Ethiopia,
now in the Addis Ababa National Museum


Below is a letter I wrote to VDare regarding a post by one of their authors, John Derbyshire, who wrote about WHO's COVID mastermind, Tedros Ghebreyesus, in his April 4 article: Globalization Meant Sinification—Until China Virus Intervened.

VDare is:
[A] non-profit journalistic enterprise, the main project of the VDARE Foundation. We publish data, analysis, and editorial commentary in a variety of formats. We inform the fight to keep America American.
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Dear Mr. Fulford,

VDare recently published a post which discusses Tedros Ghebreyesus, the Director-General of the WHO, by John Derbyshire.

I understand the concerns that Mr. Derbyshire expresses, but I wish to correct him on one point (well another, too).

Firstly, Derbyshire makes reference to Ghebreyesus' background as Ethiopian, well, "Ethiop," to use his wording. More precisely, Ghebreyesus is Eritrean-born. His loyalties are for Eritrea. That is a fine line perhaps, like saying the Scottish and English are British, and both have their loyalties. But Ghebreyesus' loyalties to Eritrea go beyond ethnic association, and are also political.

As I write here:
He worked for the Ethiopian government during the Derg Marxist era of the 1908s in the Ministry of Health
And here:
His PhD dissertation was on malaria transmission in the Tigray region, a province in northern Ethiopia, which further distance him from the "Ethiopia" label, since the Tigray people have fiercely contested the historical leaders of Ethiopia, the Amhara, and often would not recognize the historical Ethiopia in defiance of the Amhara tradition and history as rulers of Ethiopia.
Most non-Amhara would wish to identify with the Amhara, as evidenced by their large numbers inter-marrying with the Amhara group, while openly associating with their various ethnic groups. I see this regularly within my own family circle (I am an Amhara).

And most Amhara will identify themselves as Ethiopians first.

The current politics in Ethiopia is a much larger and complex story. Yes, the Chinese have gained a foot-hold in Ethiopia for about a decade now, but the astute leader, Abiy Ahmed, a southern Muslim married to an Amhara woman, went to those who could help him in his time of "nation building" when America was too busy with wars in the Middle East, and unable (or unwilling?) to become the ally he needed.

Abiy, now, has enlarged his scope of allies, with Canada, Europe, and hopefully America, slowly replacing the Chinese and their many limitations. COVID-19 is now most likely the deal breaker.

Ghebreyesus' Chinese link in Ethiopia's politics may have been a reality at some point, but it is a weak one now.

The other point I would like to make is Derbyshire's condescending use of "Ethiop" to describe Ghebreyesus' (contested) origins.

Perhaps Derbyshire is using Shakespeare's "A rich jewel in an Ethiop's ear," although even Shakespeare got it wrong, since in his time (late 16th - early 17th century), those wearing such rich jewels, and often crosses, would be the lighter skinned Ethiopians, who consolidated themselves centuries earlier, through their various kings and emperors, as the Christian Amhara. They were leading that distant country then, as evidenced by paintings, mostly religious and Christian. Shakespeare perhaps associated this far off Christian civilization with the dark African (slaves?) whom he might have witnessed arriving within England's shores.

I have attached a detail of a 17th century painting of St. Mercurius, from a church in Lalibela, northern Ethiopia, now in the Addis Ababa National Museum, to give an idea of the Ethiopians prominent in that century.

Note, though, that Ghebreyesus has the Orthodox Christian background of his native Eritrea, which is of course the traditional religion of Ethiopia, which the Amhara developed and intertwined intricately with their culture, society, language, and their leadership (as kings, emperors and governors).

His first name Tedros comes from the Greek Theodore, later Christianized, with St. Theodore as an important namesake. It is also the name of two Ethiopian Emperors named Twedoros, one of the 15th century and another the 19th century. Perhaps Ghebreyesus intentionally changed his name's spelling from the traditional Twedoros (and which is phonetically more correct) to Tedros in order to weaken this association.

Ghebreyesus means servant of Jesus, with Ghebre being a common prefix for other "servants," such as Ghebremariam, Gherbreselassie (servant of the Trinity), etc. But Ghebreyesus' years as a Marxist would have annihilated his Christian spiritual references.

Ghebreyesus, through his WHO post (as Director-General), surely has close links with Canada's Chief Public Health Officer, the Hong Kong born, British educated Theresa Tam, who is the mastermind behind the COVID-Lockdown here in Canada. I have written on her and her links with the WHO. My article is published on the website of the Council of European Canadians.

Sincerely,

Kidist Paulos Asrat
Reclaiming Beauty