LOCKDOWN CASTELLDEFELS - DAY 11

I am, as I never tire of telling people, a Labrador person: yellow, bitch to be precise.  It therefore comes as something of a personal insult that people (even flat dwellers with limited space) can contemplate providing living area for the various species of rat dogs (goggle-eyed, spindly-legged, yappily-voiced) that abound in this area.  One such grotesquery lives near us, and its emasculated barks cut through the air with the irritation of a domesticated buzz saw.  It is the sort of sound that is intolerable at its first utterance; continuation is torture.

     When I started my solitary walk this morning on the first of many circuits of our communal pool, I was accompanied by the cringe-making sound of the damned dog-insult-creature.  And then I saw why it was making the sound.  Sitting in the lane that runs behind the creature’s house was an entirely unconcerned cat, studiously ignoring the high-pitched hysteria of the so-called dog.

     I am no lover of cats.  While I can admire the liquid beauty of the larger beasts of the category, I find the domestic variety repellent.  I think it’s the tiny teeth and the lazy contempt that I find so uncongenial.  To say the least.  
      I am not entirely negative: some cats are sleek and refined, but that is the sort of thing that you can admire in pictures, not in reality.  Anyway, this cat was obviously glorying in the commotion that it was causing and by unconcernedly licking itself and showing its undying contempt (which I share) for the noisy scrap of canine vulgarity.  However, that same attitude was extended to me when the cat noticed that I was walking about.  I changed my direction at once and made towards it.  Lazily, with that elegant lassitude that only cats can show, it moved away to its ‘home’ and the dog-scrap immediately shut up.  Mission accomplished!

     That was the only point of interest, as I wandered around and around with only the sound of BBC Radio 4’s In Our Time programme on George and Robert Stephenson and the birth of the railways filling my ears.  As usual one comes away from programmes like that with snippets of knowledge to keep one sane: did I really know that it was Robert who did the work designing The Rocket and not George? 

     I also picked up on the panel’s championing of the Stephensons as opposed to the showier grandstanding of Isambard Kingdom Brunel (surely one of the few engineers who most people know by his full name) with some withering comments on Brunel’s engineering skills being somewhat partial as opposed to the comprehensive nature of the Stephensons’ skills taking in both the civil and mechanical aspects. 

     Radio 4 and The Guardian are the mainstays of my sanity in a time of confinement. 

     God bless them both!

We have been informed that this week that the number of cases of Covid-19 may peak.  The numbers certainly give no cause for complacency as Spain has now surged past China in the number of people with the virus.   
     One town in Catalonia has been put on total lockdown with people banned from coming in and out of the place.  This is because of a spike in the numbers infected.  Catalonia seems to be taking things extremely seriously and there appears to be growing animosity between Madrid and Barcelona, as Madrid appears to be much more lax than Barcelona – with a consequent surge in numbers of infected.

     We are also hearing of incidents of absolute stupidity.  The police stopped one car with five people in it (including one person in the boot!) who were going to visit a family!  Another couple of guys were found in a bar having a drink, claiming that it was a business meeting: that did not impress the police who promptly arrested them!

     The renovations in the house next door have ramped up again.  There are now two vans on the road outside and a variety of people working inside.  The people seem to be taking no precautions at all: no masks, no separation – and nothing happens.

     Toni is very cynical about what is going on and says that the stories that we actually get to hear of people not taking the virus seriously are just the tip of the iceberg and that things are going to get much worse as our period of lockdown continues for the next couple of months.

     As I have not been outside the front gate for ten days now, it is difficult for me to gain any real perspective from a first hand point of view; everything is via the television and the Internet.

     People are becoming lazy in assuming that the only fatalities are going to be the old or those with underlying conditions, but the death of a 21 year-old with no underlying conditions should be a wake up call to those who think that they are not vulnerable.

     We are all at risk, and I am more than prepared to put up with these restrictions if it is a matter of life and death – and it is a matter of life and death!

Last night I was ‘doing’ part of my new course on paintings and watched a series of videoed lectures on Van Eyck and Van de Weyden and, as I watched I could not help feeling a certain sense of dislocation between what was happening in the wider world and my attempting to rationalise my position of normality by studying Art History: when in doubt look at a painting! 

     That hardly seems to be practical advice – but that isn’t the point is it?  At times of instability and upheaval you find whatever ‘still point’ works for you to give the equilibrium you need, and if that is found in daubs of oil on canvas, then so be it.

     It is easy to rationalize turning to Art (capital A) in any of its forms to find placidity.  You are tapping in to a version of western culture, something that has lasted, stood the test of time, something that is generally regarded as important, something which seems to stand for the achievement of humanity that is larger than a single work or a single person, it links to into a continuum, into a story of progressive achievement that welcomes your passive contemplation and encourages your active participation.  Or something.

Toni has resurrected his electric guitar from the chaos that is the third floor and with notepad, Internet and a badly tuned instrument is attempting to drive me upstairs to get away from the more than slightly-off cacophony that learners engender.  This adds a new dimension of horror to our containment!

We have had a talk about how long we really think this form of confinement is going to last and we have come to the conclusion that things are not likely to get back to anything resembling normality until June or July.  God help the US if the man-child governing the country decides that “everyone back to work by Easter and with full churches” is the way forward.  I only hope that our political leaders have a tad more responsibility than that ignorant person (and that last word was my fifth choice!) when it comes to recognizing that a situation has returned to normal. 

     I am sure that there is someone somewhere who is calculating just how many people died to fit in with a political rather than a national methodology when it came to dealing with the virus. 

     CEOs and other executives of businesses can now be accused of Corporate Manslaughter if it can be shown that people have died because of the actions of individual firms. 

     It is not enough that our political leaders can be ‘voted out’ at the next general election; they should be held judicially culpable for the mortality of their political choices.  And I look towards the Civil Service to ensure that the paper proof of decisions by the politicians survive to be considered by the inevitable commission of enquiry that will take place when we are finally out of this crisis.

The weather has been cold and blustery with some periods of sunshine – not really the weather to laze out on the third floor terrace, but each day brings us nearer to the period of unrelenting sunshine that will make the time go more pleasantly.  Please.

Meanwhile, we try and not get too upset at the seemingly deliberate idiocy on the part of those charged with our safety.  Time after time, it seems that the only real safety is in our own hands and the intelligence and patience with which we approach the demands of this situation.

And I miss ice cream!  I really do!

Put it down to experience!

An underwhelming evening at the opera

I am constantly aware of how niche going to the opera is, especially sitting as I do in one of the more expensive seats in the Liceu, surrounded by the good and the great of the cultural scene in Barcelona.  I do my bit for egalitarianism by wearing sandals and jeans, but it doesn’t alter the fact that I am (generally speaking) surrounded by the white, the elderly and the middle class.  Count the number of balding men exiting a performance at the opera and you will begin to fear for the survival of this art form after another generation or two!

            It doesn’t have to be like this of course.  In some parts of the world going to the opera is a normal and relatively inexpensive experience.  But there is no way of producing good opera cheaply.  Think about it: there is an opera house, seats, a stage, sets, lighting, soloists, costumes, a chorus, technicians, an orchestra and so on and so on.  Opera is an expensive business and it is only ‘affordable’ with subsidy.  That subsidy is either via ticket prices or via public finance.  I am well aware that, expensive as my ticket might be, it would be a damn sight more expensive without government help!

            It all comes down to whether you think that opera as an art form is worth subsidising to make it more available to a greater range of punters.  As far as I am concerned, opera at its best successfully combines so many different art forms that the resultant melange is exhilarating.

            And sometimes it isn’t.

            And the performance of La Clemenza di Tito by Mozart in the Liceu last night was one of those underwhelming evenings that makes you question the expense.

            La Clemenza is an opera seria: a serious opera, historical and heavy with moral worth and interminable continuo.

            The legendary ‘mercy’ of the Emperor Titus was chosen as a subject matter to flatter Leopold II as part of the celebrations for his coronation as king of Bohemia.  Opera seria was the preserve of the nobility and played to their predilections, but it doesn’t necessarily play to ours.

            Even though the opera includes love, fidelity, betrayal, rebellion, arson, confusion and moral dilemma it is a fairly static piece with most of the real action being the inner turmoil of the individual characters expressed in recitative or decorated aria.

            At the end of the first act I understood why this opera had had a century and a half of obscurity before its modern rediscovery.

            The opening of the opera gave an opportunity for the Orquestra Simfònica conducted by Phillipe Auguin to show its ability in the playing of the overture and in this, as throughout the opera the playing was nuanced and authoritative.  While the orchestral playing was excellent the stage picture of the opening of the opera was less convincing.  The scenery was drab and literally clunky and the sombre, black uniformed figures of the praetorian guard formed a circle around a shrouded figure and did nothing else for minutes until, towards the end of the opening music they pushed the plinthed figure into an alcove up stage and allowed Roman architecture on wheels to form a frame for the opening numbers.

            Myrtò Papatanasiu as Vitellia had a good stage presence but I felt her voice sometimes lacked conviction.  She certainly rose to the occasion in her final aria, but I remained unconvinced.  Stéphanie d’Oustrac as Sesto moved around the stage well and had a dramatic presence, with a tendency to melodrama and a voice that was more than competent.  Annio, sung by Lidia Vinyes-Curtis, was always a lively presence and, although I found her voice a trifle too nasal for my liking, she played her part well.

            The eponymous role of Tito Vespasiano was taken by Paolo Fanale whose lightish tenor voice was pleasant within the middle range but became harsh at the top end of his register.  He lacked the commanding quality that would have made his presence on stage striking.

            For me, the stand-out voice of the evening was that of Anne-Catherine Gillet singing the role of Servilia, a voice that was thrillingly immediate.

            The chorus were their usual characterful selves, and it would have been good to have had more of their work enlivening this drawn-out entertainment.

            The end of the opera had a moment that I wished had informed more of the preceding couple of hours.  As the tediously magnanimous emperor walked upstage after forgiving everyone for everything, his praetorian guard suddenly turned on him and the last stage picture was of a suggestion of another rebellion.  This ‘false note’ runs counter to the thrust of the original intent of the piece but it did add a (tragically too late) indication of how the staging could have been more interesting.

            If this review seems unduly negative, then that’s how I feel.  There were good things in this piece, and some of the ensemble music was captivating – but recitative leaves me cold and I left the opera with a feeling of shaking the dust off my sandals and hoping that this is a production that will not see a revival over the next decade or so.

And I was ripped-off for the Indian meal that I had before the start of the performance.  But let it pass.  Let it pass.

The next opera is Lohengrin which I am ashamed to admit I have never seen in a full performance!

Art, Politics, Religion.

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Art, Politics, Religion.

What a potent mixture those three words in the title conjure up!

Imagine, if you will, a group of nuns in Aragón living in a ruinous Convent in the 1980s.  They decide to move to another Convent in Catalonia and they further decide to sell various religious artworks that they owned to the Generalitat of Catalonia.  Contacts are signed, the move is made and the religious art works find their way to a museum in Lleida.  All is well.  The nuns are settled in their new home and the museum has gained a substantial number of interesting artworks to put on display.

But no!  All is not well.  Aragón has decided that the nuns wrongly sold off part of their regional artistic heritage and they demand the return of the works.

http://www.rtve.es/noticias/20171211/44-obras-sijena-retornan-lleida-aragon/1645140.shtml

What country, you may well ask yourself, does not have one case (or in the British Museum’s case thousands) of someone somewhere asking for the return of something cultural that was bought/sold in what approximated for good faith when the transaction was done?  The most glaring example in the BMs case is probably that of The Elgin Marbles.

 http://www.britishmuseum.org/visiting/galleries/ancient_greece_and_rome/room_18_greece_parthenon.aspx

In recent decades Greece has become increasingly strident in its demand that the Marbles be returned.  Not to the monument itself, where if the marbles had been left in place they would be today, shapeless pieces of marble destroyed by the acidic smog and rain from the pollution of the city, but rather be placed in another museum at the foot of the Acropolis.  This museum has already been built and awaits the return of the lost treasures.

And all I have to say is that Greece will get those Marbles over my dead body! 

That almost happened (my death I mean) when, as a backpacking Greek island-hopper back in the day, in a roughish bar in an insalubrious part of Athens I maintained (drunkenly, loudly, but articulately) that the Elgin Marbles were works that I had grown up with, they were part of my heritage and I valued them as an essential part of what it meant to be British and that we would never, ever let them go!  As one Greek later confided to me in the bar, “The only reason we didn’t kill you was because you were obviously so passionate about them!”

In the same way, the Assyrian bas-reliefs of The Lion Hunt, and especially the poignant depiction of a dying lioness.

 

These are objects that I always visit first when I go to the BM.

 http://etc.ancient.eu/photos/assyrian-lion-hunting-british-museum/

Another part of MY history and MY culture, no matter where the artwork was originally made.  I would be very loath to give those back - even if it might be difficult to work out exactly who to give them back to, history being what it is and places and people changing so much over time!

But the ‘decent’ person inside the voracious art-lover persona knows exactly what the issues are and, while questions of ownership are difficult they are not impossible and the ‘right thing to do’ trumps smaller questions.

That being said, I still wouldn’t give them back!

So, what I am saying is that I do understand the passions that can be aroused by ownership and siting of works of art.  Which brings us back to what, this morning, was packed into a van in Catalonia and taken, through a police cordon and angry crowds, to Aragon.

There has been an acrimonious court case about the ‘ownership’ of these religious works of art and the latest twist was a judge saying that they should be ‘returned’ to Aragon.  In normal times, that judgement would be the prelude to further rounds of legal argument and a procession through various courts until, possibly it found its way to the highest court in Spain.

But that didn’t happen.

Given the present situation in Catalonia, things are a little different.

After the threat of the Catalan government’s proclamation of independence, the minority right-wing Conservative (PP) national government in Spain declared article 155 of the Constitution and took away the elected government from Catalonia imposing their own rule from Madrid, arrested members of the government and issued an international arrest warrant for the President who is now in exile in Belgium.

PP managed to gain 9% of the popular vote in Catalonia in the last elections.  9%!  And now that party runs the country!  And they are showing exactly what their ‘running’ of the country means.

Iñigo Méndez de Vigo is the minority, right-wing, Conservative national Spanish government’s Minister of Culture and he has now intervened in the dispute.  As an Article 155 Minister imposed on a country that did not vote for him, he has ordered the treasures to be returned from Lleida to Aragón.  But not just to Aragón, but to the small town of Villanneva de Sigena - population 512.  From the museum in Lleida - population 140,000.  It just so happens that the party of government of the small town is PAR, a party closely associated with PP!  Well, there’s a surprise!  Funny how things work out when you are looking for a spiteful opportunity to denude Catalonia of its art!

Iñigo Méndez de Vigo has used the imposition of Article 155 to short circuit the legal procedures and give himself the power to take autocratic decisions against Catalonia.

Many people will not care much about old religious art, but the crowds of protesters outside the museum in Lleida did, just at the staff of the museum did when they came out of the building  en mass and applauded the support of the protesters.  This is not the end of the protest, even though the van carrying the disputed treasures has left for Aragón, and it should be a wake up call to those who think that they can trust any of the so-called ‘Constitutional’ parties in the forthcoming election to behave with anything approaching understanding following the events of the past months.

The taking of these art works is a clear indication of how the minority right-wing Conservative (PP) government is going to work.  It will use the power of Article 155 to manipulate and damage Catalonia in a way that it would never have been able to do if its measly 9% popular support was its mandate.

If it is prepared to do this with artworks, then imagine what is it likely to do with the actual structure of government and the finance of institutions in Catalonia!  PP is not to be trusted.  It is clearly the most corrupt party in Western Europe, with hundreds of its members in courts accused of or condemned for criminal activity.  And these are the people ‘governing’ Catalonia; preparing for the election on the 21^st and, most disturbingly, counting the votes.

Now, more than ever, Catalonia needs the eyes of the world, and especially those of the EU, to scrutinize the arrangements for, the supervision of, and the results from the local election in Catalonia on the 21^st of December.

All the Catalans ask for is fairness and honesty.  A big ‘ask’ from PP.

Watch what happens in Catalonia.  Ask questions.  Demand answers.  Support Democracy and Liberty!

Commercial & Cultural

You are never safe in a capitalist society!

Just when you think that you have got the safely-living-in-a-consumer-society thing sorted, Pebble asks for money. 

To those benighted Luddites that have no response to the word Pebble with a capital letter, other than thinking of important stones on the sea shore, I must inform you that the company of Pebble was originally a Kick-starter company which an early developer the workable concept of a reasonably priced smart watch.  I bought one.  No surprise there I suppose, but I did resist until the watch worked with Mac products and it was waterproof enough to go swimming in.  Oh, yes and it was made in metal because I didn’t like the early plastic versions that they had.

            The watch was worth the money I paid.  Not because it is the best watch that I have ever owned or the most elegant – or indeed is it the watch that I am wearing at the moment.  And that final comment is one of the major drawbacks of the whole enterprise.

The battery life of the Pebble Metal (which I think is the name of the model that I have) is about five days.  The watch I am wearing at the moment is powered by the sun and by the actual action of wearing it.  The watch I am wearing gives time, date, etc. it has digital and analogue and checks itself every day with some sort of atomic clock which sends out a radio wave.  In other words, it’s magic.

But.  And it’s a big ‘but’ – my smart watch has a large and informative watch face and it also informs me when I am called on my phone.  I virtually never turn the sound of my phone on so, as far as Toni is concerned, for this aspect alone, the watch is worth what I paid for it.  In my particular set of circumstances, given the way I use my phone, a smart watch works.

And there the expense could have rested.  I have my watch.  Other non-Pebble companies have produced their versions and I have carefully checked them out and they usually fail on battery life or compatibility with Mac or, more usually than not, on being waterproof.  It seemed that I was safe.

And then Pebble started a new Kick-starter appeal with a new watch that does something or other and is waterproof.  And, out of a misplaced concept of commercial loyalty I have joined the countless thousands of people who have probably been Mac-trained and therefore have developed an instinctive gadget loyalty hardwired into their wallets – and bought a new watch.  Which hasn’t been made yet and for which I will have to wait months.

But it might be engraved on the back saying that I helped ‘Kick-start’ – so that’s all right then, isn’t it?  Oh and its plastic – and that means that I will have to buy the metal version when it is produced.  And.  And I don’t care.

Poems against arboreal outrage!

Priceless artefacts are being smashed by religious fanatics; corruption stalks the land; the situation in Ukraine worsens; nuclear proliferation threatens world peace and the Israeli Prime Minister is sinisterly terrifying – yet I get worked up about cut trees.

            The car park continues to be closed as the final remains of the twenty trees await their final destination.  Workmen are walking around, sometimes with bits of paper and looking at where the trees used to be with intense concentration.

            A lone workman is doing something with a pneumatic hammer and is possibly tracing out the course of a future drain.  Things have changed.

            And I sit inside the café (all the chairs outside have been taken away for some reason) forcing the hopelessly addicted smokers to stand around looking even more shifty than usual, while I sip and note, sip and note.

            I now have pages (admittedly small pages) of comments and notes about what I see, delightedly, as an outrage against the trees.

There is something determinedly small-minded about cutting down a single tree - cutting down twenty smacks of inhumanity.  Except of course, it’s not.  There are many more important crimes in the world, but this ‘crime’ is here and now and is a substantial part of my world.

Like one of the cultural and moral vultures that I denigrate, I am now using my feelings about the ‘slaughtered’ trees to provoke a poem.  I have written one (see yesterday’s post) and I fully intend to write at least one more.  In a reworking of a famous French phrase: ‘What I have I use!’  It can always be edited into oblivion, or at least a sort of oblivion, at a later date.

I am aware that anything that I post has a sort of illusory permanence.  Though my blog is a ‘hosted’ one which means that Google can stop or destroy it at any time they choose for any reason they choose.  Which is a sobering thought.  But I am not sure that I am prepared to pay a monthly fee to own my site. 

I need to take advice on this.  Not sure from whom though.  In the same way that I expect someone to come to the house, knock on the door and hand me a winning Lottery tickets that have been bought on my behalf, I also hope that advice about what to do in Blog terms will simply happen.  I should take note that, in spite of my patience in waiting, no one has actually offered me a ticket and therefore I need to be a little pro-active.  Writing about being pro-active is stage one.

You call that art?

Conceptual art does not usually bring out the best in people.  Especially when you try and defend it.

            The Open University course is creeping closer to the end of the twentieth century and trying to chart a way through all the excesses of Post Modernism – a difficult task when there is not really a settled definition of what the term means!

            Still, flicking through the final volume in our course material I can see that there is a fairly extensive concentration of Louise Bourgeois, an artist I like and admire.  I think that we will be concentrating on her more challenging pieces so that they can link with concepts of race, gender, identity and everything else that the OU finds important.

            As far as I can see, there is a lot of work in a limited amount of time.  I have therefore decided to be a little more anal in the way that I approach this assignment and study to the essay.  I think it is the only way.  Then my ‘release’ will be the work that I do on the mini-thesis that ends the course.

Getting my money’s worth

Walking in to the new British Library as a full ‘reader’ is something that I am looking forward to.

            According to a telephone call with the British Library, now in Kings Cross and not the Reading Room of the British Library, I will be able to renew my much lapsed Reader’s Card and pre-order books to be looked at when I am staying, coincidentally in Kings Cross, when I go to London for the Study Day. 

            In the British Library I always find that I am drawn to the fact that they have a copy of everything ever printed in Britain and a great deal more besides.  I therefore I have to resist the temptation to order things that have nothing to do with what I am supposed to be studying!

            My worst literary digression in the old Reading Room was ordering, on the most spurious of grounds, a first edition of ‘Noddy Goes to Toytown’.  I have rarely read a more sexist and racist book and I couldn’t remember it being quite so bad when I first read it.  Mind you there was a considerable number of years between my readings - and on my first reading I was the proud and passionate owner of a grandmother-made golliwog! 

Is one allowed to use such vocabulary these days, even in a memory!

Stay wet!

If the important research that I have done is correct then I should be within walking distance of a swimming pool when I am staying in the hotel in London.  I wonder if you have to wear flip-flops and a swimming hat in London pools?

            Perhaps I am thinking in the same way as British visitors to Spain think when they worry about forgetting the toothpaste, as if such things are not available here!

            It is second nature for me to think to myself that I could always buy what I do not have. 

When in doubt shop!