Category Archives: Models

Examples we can productively study

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Tight Spaces

[The Interpersonal dynamics of Communication are always interesting, and never more so than when we are pushed into close proximity with others. Cramped conditions can be ad-hoc laboratories: chances to see how individuals cope with another’s intrusion into their intimate space.This piece from 2014 is a ‘close reading’ of these kinds of encounters, with an important lesson that usually follows] 

Life has a way of randomly throwing us together with complete strangers in tight spaces.  Trains, elevators and planes typically violate the two- to four-foot zone that the study of proxemics says Americans want to preserve for themselves.  How do we cope?

We’ll skip sitting in steerage on an airliner, where the experience is something to be endured, and where travelers are thankful to still have free use of the pressurized air.  But consider the ubiquitous elevator, and the mix-and-match experience of sharing a meal in a railroad dining car.

As little closets expected to hold 10 or 12 people, elevators represent the triumph of necessity over comfort. Walking up twelve flights of stairs is a good workout. But no one wants to arrive at their business destination looking like they just finished the New York Marathon. So in the cramped space of the little vertical room eyes are averted to the ceiling, the poster advertising the restaurant in the lobby, or to a middle distance that is supposed to relieve others of the need to respond. It actually becomes harder to remain completely disengaged when only one or two are on an elevator. But there are safe tropes for a brief conversation that can help pass the time.  Comments on the weather are usually safe, as are observations on how slow this particular version of the vertical room is. In a hotel, perhaps a timid query about where a co-passenger is from will work. But even that can tread near the borders of the acceptable. Not surprisingly, our comfort in these settings seems to be in direct proportion to the frequency of the experience. Living in the center of Chicago or New York, a person learns how to be a compatible stranger.

As the elevator went up the mood of the passengers inevitably went down.

A few years ago I was at a convention at a large urban hotel where the management thought it would be a good idea to include a small built-in television just above the elevator’s control panel. Strangers who stepped in had to be ready for more than a vertical ride. They were immediately thrust into the world of CNN, where a good day means covering a national or world crisis with live and often disturbing images of mayhem. On this occasion I recall a report focusing on community outrage over a police shooting. The story featured a home video of police beating and subduing two African American men.  Gunshots followed and one of the men died.

Endlessly looping the footage of the attacks over audio discussions of excessive force had the effect of throwing many convention-goers out of their celebratory mood and into the much harder world of a socially polarized nation. As the elevator went up the mood of the passengers inevitably went down.

Here’s the interesting thing. The collection of individuals in the elevator became common witnesses to an ugly incident.  And yet no one wanted to react; no one wanted to reveal themselves to strangers by overtly reacting to the report. Opinions remained too intimate to risk with this transitional group.  Even so, our daily lives are not unlike this transitional moment. Like the tiny space that shuttles between floors, the pervasiveness of our media constantly deliver us to social situations which are not stable for very long.  Media relentlessly push us into vastly different crises that are part of the human drama: some comforting and most disturbing.

Eating in an Amtrak dining car is as close as most of us will get to making contact with a random group of ordinary Americans.

Long-distance rail travel is another interesting case. The day of the long-distance passenger train has mostly passed in the United States.  Even so, some travelers and a handful of trains remain. By custom, a single passenger eating in the dining car of a train will be asked to join others to make a table of four. Amtrak doesn’t accommodate the shy who want to eat alone. Perhaps no other social routine is so likely to throw a person into the intimacy of a shared meal with total strangers. And yet the experience can be surprisingly refreshing.

If most of us live in a bubble of like-minded friends, the dining car is easily going to pierce it. On a recent trip that included lunch and diner I met a clearly well-heeled woman from Virginia horse country returning home after a speech to a woman’s group.  We sat across from a trucker from Elkhart Indiana who delivers buses all over the U.S. (and had to tell us about his $60,000-a-year salary).  At other meals I met two retired professors from Berkeley on their way to see family members in Minnesota, a grizzled Florida retiree returning from a football game in Nebraska, and a perfectly dressed older woman off to see friends in the District of Columbia.

The rules of the table were always clear: references to hometowns, the lateness of the train, and dispersed families are all fair game. Politics, religion and other “third rail” topics are not.  We also had the common experience of having hit a car just after midnight.  It had died and been hastily abandoned on the tracks.  So we compared notes on who had been able to sleep while fire crews pulled the impaled automobile off the front of the engine.

My experience is that Midwesterners sometimes go on for too long about the prospects of their city or college football teams. I usually return the favor by becoming loquacious about the surprising beauty of New Jersey. But there is a bigger lesson here. Spending time in these close quarters is usually reassuring.  If we allow it, even this chance encounter can remind us of our shared and simple decency.

 

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Subverted Experiences

     A fake Renoir owned by Donald Trump

Anyone can hang a version of da Vinci’s Mona Lisa in their home or view it online.  But seeing the original fulfills the desire for a pilgrimage. 

What does it mean for a painting or a musical piece to be endlessly replicated and copied? Is a good reproduction of the Mona Lisa still a Mona Lisa?  Is a march by John Phillips Sousa captured on old Victor acoustic recordings that he hated still a Sousa march? And what does it say about our sensibilities that a lot of people on the rim of the Grand Canyon seem to be preoccupied with a digital device rather than the glorious and unmediated view?

Budding critics and art scholars are usually required to take a look at Walter Benjamin’s seminal 1935 piece, The Work of Art in the Age of Mechanical Reproduction. He addresses the question of how we should treat a copy of an original at a point in time when copies of everything are mostly what we know.  Benjamin claims an original has an “aura” that a  reproduction cannot match.  And  yet, as the recent BBC/Netflix series Fake or Fortune makes clear, it may require the precision of an electron microscope to tell the difference between a Renoir and a good fake. We see millions of paintings done in the style of French master.  If we love the style, why not love them all, regardless of their pedigrees?

To say the least, our relationship with an original in its own place is peculiar and unstable.  Anyone trying to actually see the Mona Lisa in Paris or Vincent van Gogh’s iconic Starry Night in New York is likely to experience the same kind of crowding that happens on a subway platform. The mob scenes in the galleries often block a clear view of a painting, mostly because of a forest of cameras held high to catch the moment.  What brings these crowds out?  Is the real thing that much better than a good print?  Do the hordes expect some sort of transference-by-proximity?

It’s usually the case that a photo of a painting or a bootleg of a concert will be a degraded form of the original. But I suspect the expectation of seeing more in the original is usually not the point. A better explanation is fundamentally social: tied to being in the presence of a recognized icon, even when the actual experience is surely a long way from what the artist envisioned as an ideal viewing experience.  Indeed, the fact that there are so many copies of a cultural artifact surely increases the impetus to find the original.

 

Being in the space of the original is what functions as a kind of secular pilgrimage.

My theory: as individuals, we occasionally need just one degree of separation rather than six.  We need to be at the scene of what everyone else celebrates second hand.  And we need to take home some evidence that we were there. Anyone can hang a version of the Mona Lisa in their home or view it online. But being in the space of the original is what functions as a kind of secular pilgrimage. Somehow our status as an occupant of the planet is formally affirmed.  Our own Hajj can lay claim to the association factor that comes with being in the same place.

None of us are immune to this pull.  Ask anyone what they have put on their personal ‘bucket list,’ and you are bound to hear about places that are crowded with people on their own pilgrimages. These might include throngs of tourists in Times Square, the daily homages paid to any number of pieces of art sitting in a city’s premier museum, or even a tour of the Warner Brothers back lot. We seek the aura that Benjamin suggests, even though the circumstances of our attendance usually end up sabotaging what is or was so sublime about the original.

     Midwest Street, the Warner Brothers Back Lot

For example, in Burbank we can still visit outdoor sets used in the shows The Music Man, Gilmore Girls and La La Land.  But with film, the fakes are actually the sets, which are used along with a number of  photographic “cheats” to make them look authentic. With film, the real thing is what actually ends up on a screen out in Duluth or Denver.

Of course being ‘in the scene’ says little about understanding what makes a work a masterpiece. For that we need the practiced eye of a dedicated appreciator, and maybe a sense of the consciousness an artist originally experienced.  All may be more easily captured away from the crowds and planted in front of a good facsimile. But of course this deprives us of the social act of visiting our own version of Mecca.