It's the end of an era:
My last MetroCard expired today!
New York City is moving to a new system called OMNY, which works directly from people's credit cards, smartphones and even watches - though there will still be a card version. There will still be weekly cards, but the monthlies I've been using to gallivant about the city all these years seem fated to be a thing of the past.
The "Practicing Curation" class has offered "A Bootleg Exhibition of the Orozco Room" in a naturally lit basement room. They hung textile reproductions of the original murals - inaccessible during a long process of restoration - around a seating area to try to recreate the way the murals were part of social life at The New School in its first decades, at least until the yellow curtain era, described in an explanatory pamphlet.
It's quite successful in its bootleg way. The reproduced murals are even more immersive than the originals, which sit a little higher on the walls and are ventilated by windows on either side of the "Table of Universal Brotherhood." I wonder if it was also intentionally that the murals to left and right were inverted. I know two students in the class, will ask!
The Metropolitan Museum of Art's great for crazy juxtapositions. Here I juxtapose two already juxtaposed things from recently opened exhibitions on subjects worlds and millennia apart, Divine Egypt and Man Ray: When Objects Dream. Above is an apparently unfinished but much-touched 3000-year-old statue (on loan from the Louvre) of four aspects of the goddess Hathor - a crowned cow surrounded by serpent-, lion- and human-headed manifestations. Entirely unrelated but somehow resonant in my image-saturated mind, Man Ray's 1916 collage-like painting "Legend," source of one of the brightly colored prints in his almost animated 1919 "Revolving Doors" (the exhibit's recreation of which someone kindly filmed). Have these less than nothing to do with each other? Precisely. For good or ill, a museum like the Met functions like a collage, a revolving door, maybe a many-faced goddess.
The liberal arts world is in a tizzy over a proposed reorganization of the College of Humanities and Social Sciences at Montclair State, which would rehome (or perhaps dissolve) nineteen departments in four new schools. Besides the two provisionally-named schools in the rather dark graphic from the Chronicle of Higher Education above (final names to be decided by the faculty involved), there would be
{Human Narratives and Creative Expressions}
English; Classics & General Humanities; Philosophy; World Languages & Cultures; Spanish & Latino Studies
{Interdisciplinary Programs and Writing Studies}
BA in Interdisciplinary Studies; Medical Humanities; Gender, Sexuality & Women's Studies; Writing Studies; Language; Business & Culture
The reorganization has been rejected by the Montclair State faculty, their Senate demanding that disciplinary chairs at least be retained. But the plan (led by a professor of Religious Studies, for what it's worth!) has been offered as a way of trying to save these areas of the curriculum which, at Montclair as nationwide, have seen steep declines in majors. Not only students but younger faculty, too, are already more interdisciplinary in orientation, the proposers argue, and might flourish in these new constellations, freed from the drag of departmental structures. But would this be new curricular freedom or just a new kind of constraint, now by administrators freed from faculty oversight?
The question isn't just academic. Similar things are happening elsewhere, including just 20 miles to the west, chez nous at The New School.
The university restructuring plan, details of which were officially announced in various larger and smaller meetings this week, will see the shuttering, at least as distinct undergraduate majors, of several small social science departments, with the implications of the consolidations of several humanities programs still up in the air. We're told a budget crisis makes already planned changes more urgent than ever, but nobody quite knows what's going on.
Our provost argues that the last nine years have seen an "unnatural stasis" in our "academic portfolio." "Change," he reminds us somewhat oxymoronically, is "in the DNA" of the school! Meanwhile the president argues that a bright new future lies in defining the "distinctive proposition" of a liberal arts college in a university primarily committed to art and design. I'm not averse to such a reorientation (which isn't to say there'd necessarily be a place for me in it) but the faculty as a whole is restive, and anxious for our future. Is the plan really to save the social science and humanities programs or to do them in?
This was the week for the first years in "DIY Religion" to present what they learned from interviewing fifteen of our alums. We have more work to do, drawing some more general conclusions from what were apparently warm and thoughtful conversations; that's work for next week. For this week we basked in the idiosyncratic accomplishments and inspiring ideas of our fabulous alums!
We got the world religions in there too, somehow - and then some! Our fifteen included folks who've found their DIY way to being a devotée of Guanyin, an Islamic feminist, the director of an avant garde theater company inspired by Jewish textual exegesis, an intimate of Ram Dass, three Christian priests (MCC, Episcopal and... it's complicated), a Radical Faerie, a rap-recording reviver of traditional Taíno language and spirituality and a young Zoroastrian. Wow...!
"It's so cool how faculty advertise their courses here," one of my first years enthused.
Having done my fair share of flyering in recent weeks, I didn't have the heart to tell her that this is exceptional, a response to the provost's threat to cancel classes which don't get at least 75% enrollment.
Mood these days? Check out this image from this month's cover article in the progressive Christian magazine Sojourners, "The Big Steal: How Billionnaires are Upending our Lives and our Economy."
Not perhaps the best designed visuals for our Faculty Senate-run Governance Day, but it was good to see a significant turnout, and to remember together that higher education is practically unique in being a self-governed industry, at least in part. There is work to do!
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I was surprised this morning by the clear blue reflected in some of the buildings you can see looking down Sixth Avenue toward the financial district.
This reminder of open horizons in unexpected directions was welcome on an otherwise pretty grim day.
It wasn't just the November weather, and the daily litany of political lawlessness and economic distress. Some of the details of our university's urgent cost-saving measures became clear today, knock-on effects of enrollment shortfalls that will affect classes and programs and faculty appointments already this coming semester. And all this on top of the ongoing reorganization demanded by structural issues! Higher ed in America isn't well, and we aren't either.
And then I went to an India China Institute panel discussion on "News Media in an Authoritarian Age," where speakers on India, China and the US described what seemed a shared playbook used by authoritarian regimes across all three countries threatening the freedom of the press and the livelihoods - and lives - of journalists. The moderator observed, ruefully, that when ICI was started two decades ago, one would not have expected the three countries to be on a continuum like this.
The only reflected blue was the India speaker's confidence (based on the aftermath of the press repression of the Emergency) that the "hunger for truth and debate" cannot be extinguished, and only grows in times of propaganda and censorship. Once this authoritarian phase is over, that hunger will call into existence vigorous new forms of investigation and dialogue. May it be so, and soon!
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I suggested it would be good to agree on the kind of space to fill and someone suggested a circular hall, which I gave a single entrance.
Twenty minutes later we had three compelling and compellingly different exhibitions. One let viewers choose whether to start with "Practices" or "Death, Rebirth, Afterlife," or head straight toward "Divinity, Higher Powers," or intervening shows of texts and places of worship - each a medley of multiple traditions. In the middle of the room is an area for sitting and engaging the other senses, from scent to sound. Entirely optional pamphlets with analyses by scholars and theologians are available as viewers enter. The space has a dome-like ceiling across which various cosmic and celestial images play.
Another group imagined a constantly changing space, with semi-translucent screens hanging from the ceilings which viewers can move around at will. Each screen carries images of various elements of traditions and practices from around the world on both sides, photographs as well as artworks, some moving, which each viewer encounters in a different maze-like configuration. It is hoped that viewers feel free to rearrange images. Near the center of the space is a spiral staircase to a platform from which viewers can watch the constant dance of images and people below. The students also added new doors: the exhibit can be entered and exited from any side.
A final group went in the opposite direction. Visitors to "PATH" traverse a single tunnel-like trajectory, and see exactly the same things as every other visitor, in exactly the same sequence. On the way into this labyrinth, they see art works inspired by religious experiences, arrayed chronologically. No work is marked in terms of ethnicity, nationality or geography, but mixed among the works are descriptions of historic overlaps. At the labyrinth's center, viewers arrive at the present day, then wind their way out, this time encountering videos of contemporary phenomena. Images would again be hung from the ceiling, allowing viewers to see the feet of other visitors to the labyrinth.
Which would you like to visit - or curate?
There's a gorgeous arboreal cover on the newest New Yorker, Sergio Garcia Sánchez's Hiroshige-inspired "Sudden Shower."
I love how the tree keeps growing upward and out of the frame on the right, too venerable to be concerned with symmetry. It must have been drawn from life!
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For the Feast of All Saints, behold this glory, a new work of the queer Episcopalian illustrator Andrew Freshour, "Jesus Christ and the Saints."
In total, I painted fifty saints. It was quite the journey picking them all. I included saints from the Anglican/Episcopal Church, Lutheran Church, Roman Catholic Church, Eastern Orthodox Church, and various Protestant reformers. I also added important Christian civil rights activists and martyrs, like MLK Jr, Jonathan Daniels, and Matthew Shepard.
I think I've puzzled out another dozen. How many can you divine?
Attended a presentation on trends and challenges in higher education today, from one of the sources of the materials which were keeping my Provost's Office colleague up at night. Nightmarish indeed was this slide on changes in work. My colleague had mentioned hearing the half-life of job skills keeps shortening part: most workers will need on the job retraining every five years. But the research indicates many workers will not be on the same job at all: Today's workers have not just 12-30 jobs over a lifetime, but multiple careers as well. Twelve to thirty?! Many sectors are included here, but still, wow.
I can't wrap my head around this. The implications for higher ed, the focus of the talk, are perhaps clearer: workers will be regularly needing retraining in and between jobs - a market for adult education, albeit focused on short shelf-life job skills. Us liberal arts types might be the only ones also to see an enhanced need for the "durable skills" of critical thinking, research, communication, ethical reflection, collaboration, etc., too. But what of the workers themselves?
Beyond the matter of commuting and health care, lodging and schools (no small matter any of them!), does this mean most workers will always be on the market, always looking for the next opportunity given the likelihood their current employment won't last? (Is this what young folks mean by learning to "brand yourself"?) How nerve-wracking, how exhausting, even for those who manage to stay ahead of the game, securing a satisfying next gig before the last one peters out.
But I wonder also what this means existentially, spiritually, since meaningful work is central to a full life. In Theorizing Religion a few weeks ago we reviewed Marx's claim that the forms of personal spirituality emerging already in his time were the sign of a thorough alienation of laborers from their labor.
What religious world would be the "reflex" here? (Reflex isn't a good thing: it's smoke showing there's a fire.) A restless accruing of ever more means to spiritual balance and control? An eclipsing of even a shred of meaning in one's human agency, seeking release instead in mystical, perhaps psychedelically mediated other worlds? The presentiment that this whole world is run by spiritual forces inimical to human values, who can be resisted only through a warfare of charismatic extremity? A quasi-religious exaltation of the apparently unchangeable realities of biological reproduction? A seeking of kinship in forms of life radically unlike the human, from the fungal to the digital to the, well, arboreal?
I think I might take advantage of the relationships with alums I've rekindled for "DIY Religion" to pick their brains about this...
We do a lot with a little!
Please invoke such powers as you know to ensure we get enough students to sign up for these great courses! In the current austerity, the threshold for cancellation is higher than it's been before, and non-major programs like ours need all the help we can get.
One of the most important ideas in Timothy Snyder's warnings about tyranny is "don't obey in advance."
Most of the power of authoritarianism is freely given. In times like these, individuals think ahead about what a more repressive government will want, and then offer themselves without being asked. A citizen who adapts in this way is teaching power what it can do.
I found a chilling example of this in today's Times. From this A Pile of Rubble headline you'd never guess that the president has trashed a wing of the people's house not only without permissions and precautions but without even admitting he was doing so. He said his vanity ballroom would leave the existing structure untouched. Oops.
The formulation Critics are enraged (as critics always are) while Others say it was time for a change is what anticipatory obedience looks like. It frames a crime against history and tradition as fodder for "X was right about everything."
But there's even more anticipatory caving to abuse of power in the ratification of his crime. Just a day ago his $300 million ballroom, for which no formal plans have been publicized, let alone reviewed or approved, was a "$250 million ballroom" and just last week it was a "$200 million ballroom." This Makeover will be a temple to bribery!
My series of alumnae/i-led classes in the "DIY Religion" first year seminar came full circle today!
Our speaker was an anthro-pologist who's just defended a fascinating dissertation on non-Turkish Muslim ummah in Istanbul. But fifteen years ago he was in a first year seminar here himself. It was called "Religion in Dialogue" - with yours truly!
The exhibition is up! (Pics soon.) We kicked it off at a celebration of Eugene Lang College's 40th anniversary, which was attended by current staff, faculty and students, alums - and a dozen descendants of our namesake benefactor. The team which put together the exhibition was represented by our stellar undergraduate research assistant, above!
Tomorrow's the celebration of the 40th anniversary of my school, Eugene Lang College of Liberal Arts!
The process of putting together a commem-orative exhibit at the same time the university as a whole contem-plates a restructuring has been, it must be said, a little surreal, though perhaps not that different from the New School's day-to-day! In any case, we're telling the big story of the liberal arts at The New School, which goes back twice as far and involves other programs and populations. We focus on the special freedom and responsibility of self-designed liberal arts education, the relationships formed both in seminars and in reaching across to other university communities... all of which allow us to imagine next chapters of many kinds!
I love this poster our director of communication designed after listening in on one of our conversations. She came up with the exhibition title "Unbound" too!
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