Wednesday, June 25, 2014

Tourism copy as self-fulfilling prophesy?

They say the Bass Harbor Head Light (aka Bass Harbor Lighthouse) is reportedly the most photographed lighthouse in New England. So, once you hear that and you find yourself near or at the light, how can one not take a photo and - consequently - make it the most photographed lighthouse in New England? I dared a couple from Wisconsin to refrain. They could not. I, myself, climbed out into the rocky, algal, tide zone (so full of lively pools and slow snails) to snap a few shots in digital and analog. It's a damn beautiful light house and extremely photogenic to boot.

Tuesday, June 24, 2014

An anthropology of stones?

Anthropologists often talk about the relationship of the present to the past because we want to know about diversity and similarity across both space and time. Anthropological archaeologists working in the Andes often speak at great length on Inca stonework, especially the ways that natural outcrops and bedrock were aesthetically and structurally incorporated into Inca walls. Those walls were often built by part-time specialist laborers during extensive works projects that were part corvee labor, part tax duty paid in effort, and part conspicuous spectacle that asserted the paramount's power, the empire's reach, and humankind's intimate relationship to Pacha Mama, Mother Earth. Specifically, the coordinated juxtaposition of constructed wall, bedrock outcrop, and undulating topography indicates to anthropologists that the Incas were incredibly concerned with the interrelation of human to terrestrial worlds.

Are Western North Americans so different? In Acadia National Park on Mount Desert Island (pronounced locally as "dessert"), the stonework that supports modern roads intercalates beautifully with the granitic bedrock mountains born from ancient vulcanism and sea-floor uplift. In this case, a combination of cultural factors account for the masonry composed of stones alternately called "coping stones" or even "Rockefeller's teeth." 

The Rockefeller family bought, developed, and then donated much of Acadia in the early 20th century, including many of the roads. The National Park Service, WPA, and later Friends of Acadia National Park volunteer corps have all had a hand in road building, maintenance, and repair. So it's impossible for me to be sure who placed these stones and under what conditions they did so. What is clear is that the masonry in both Acadia National Park and at Inca sites is equally aesthetic, functional, and a testament to two very different cultures' relationship to stones, terraces, and the movement of people. And both societies, no doubt, intend(ed) for these works to be appreciated in all their dimensions by locals and visitors alike.

PS: Just like in Peru, they have apachitas in Acadia, too. Here the instructions inform visitors of the locally characteristic form of the apachitas, their functions, and advise visitors not to intervene in inappropriate ways that would screw it up for other visitors.





Friday, June 20, 2014

Timeless 'design?'

Q: Is this (left) a small prehistoric olla from the Peruvian North Coast or a broken domestic utensil from my mother-in-law's garden in Connecticut? 

A: It's a modern flower pot from New England. We think the expansion of trace amounts of water during the frozen winter shattered the pots.

But it looks so much like the ceramic vessels we find from the 11th-16th century Peruvian Coast. What explains the similarities... the incredible likeness - between prehistoric Andean and modern American material culture, in this case?

Is it function? Well, this pot is for planting and the Peruvian versions would likely be for storage and cooking. 

Is it aesthetics? Could be that this simple form has broad visual design appeal.

Is it a function of material limitations? Perhaps only certain forms are possible with this kind of terra cotta vessel.

Is it diffusion? Eh, I don't even want to go there. Though, in a modern, globalized context it's not unlikely that potters from very different parts of the world would have observed foreign and ancient vessels. However, this kind of plain ware is rarely on display in museums.

Most likely there's an interesting story here that, unfortunately, I won't be able to investigate. I'm only here briefly.

One thing is certain, though. Like many prehistoric ceramic fragments, this vessel is in 'provisional discard.' My mother-in-law is saving it until she finds the right glue to repair it.

Thursday, June 19, 2014

In the studio...

It's been over 6 years since I was last in a recording studio mixing an album. But here I am again! I forgot the joys of listening to single lines and passages over and over and over, tweaking the highs, lows, and mids. Then burning a rough mix, heading to the car to listen on a different stereo for an alternate listen, then heading back to retool. Is it possible to remain interested in your own music after so much damn repetition? This "fun" stuff really is work.

This record is pretty fast and bashy, but melodic. I think the next album will be an acoustic adventure. Anyone have a cajon, a resonator, and a 12-string guitar we could borrow?

Monday, June 16, 2014

Launching the blog!

It's not real until it's on the internet, right? Well, I'm launching my blog and embedding it in my website: www.DavidPacificoPhD.com.

Thanks and best,

Dave