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The other day I was walking past the Emerson Umbrella and saw some new sculptures  on the lawn. I thought one, the graceful bent metal below, looked like two people dancing.

Geoff Edgers of the Boston Globe came to town to watch the installation and interview the sculptor, David Stromeyer.

“Stromeyer, a Marblehead native who splits his time between Vermont and Texas, has had his work shown at, among others, the deCordova Sculpture Park and Museum in Lincoln, National Building Museum in Washington, D.C., and the University of Vermont’s Robert Hull Fleming Museum, in Burlington. Stromeyer also has a connection to Concord. His sister-in-law, Mimsey Stromeyer, is a painter and mixed-media artist who is one of 54 artists renting space at Emerson Umbrella. …

“On the first day of installation, in the rain, Stromeyer and crew unloaded the steel pieces. The first challenge was lifting the heavy steel pieces over a series of wires on the site. On the second day, with the sun out, the artist worked on moving those pieces into place and mounting them properly. …

“He takes pride in the fact that he creates his art, from the twisting of the metal to the sandblasting and painting.

“ ‘It sounds really simple, but you don’t grab one end and turn it in the way you intuitively might think,’ he said. “[Each piece has] to be built incrementally, every inch, bending it in multiple directions at once. I spent two months building jigs for the hydraulic press to create those forms. And each twist is different.” More.

I’ve known Mimsey West (her professional name) for 30 years. One of her sons was in school with John. I love her art, especially some slightly abstract watercolors she did years ago of sheep in Wales.

A couple times a year the Umbrella artists hold open studios, and it really is a treat to go — lots of art available for one-of-a-kind holiday gifts.

waltz-of-the-sculptures

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Margarida Santos Lopes has a hopeful story at the Christian Science Monitor about an Israeli rabbi and a Palestinain who are friends.

“Shaul David Judelman is an Israeli rabbi who moved from Seattle to Bat Ayin, a religious community in the occupied West Bank.

“Ziad Abed Sabateen is a Palestinian farmer who endured imprisonment during the first intifada against the Israelis more than 20 years ago and whose family was dispossessed of most of its land to accommodate Jewish settlers.

“The two men are good neighbors, friends, and business partners – not enemies.

“Mr. Judelman and Mr. Sabateen are committed to ‘peaceful coexistence’ between Israelis and Palestinians, whether they live together in one state or two separate states.

“The majority of those in both their camps may find it hard to understand the two men’s close relationship. But neither side repudiates them as traitors or collaborators. …

“On a mountaintop with a view of the Mediterranean Sea … Judelman and Sabateen plan to create the Heavens Field Farm, which will put ’emphasis on belonging to the land, not ownership of it,’ according to their joint manifesto.

“Their idea is to run an organic farm that will sell vegetables in local markets, support families in need, and attract volunteers and tourists. Among their partners are a joint Israeli Palestinian journal, called Maktub, and other nonpolitical groups such as Eretz Shalom (Land of Peace).”

Read more to understand how each came to their worldview through different paths.

Photo: Udi Goren
Shaul David Judelman (l.) and Ziad Abed Sabateen, in Bethlehem. They want to create an organic farm in the West Bank as a project for peace.

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A day that Canadian short story writer Alice Munro wins the Nobel Prize for Literature might be a good day to talk about the power of fiction.

The NY Times took up the subject only last week. I think that reporter Pam Belluck must have been a little psychic. She wrote: “Say you are getting ready for a blind date or a job interview. What should you do? Besides shower and shave, of course, it turns out you should read — but not just anything. Something by Chekhov or Alice Munro will help you navigate new social territory better than a potboiler by Danielle Steel.

“That is the conclusion of a study published [October 3] in the journal Science. It found that after reading literary fiction, as opposed to popular fiction or serious nonfiction, people performed better on tests measuring empathy, social perception and emotional intelligence — skills that come in especially handy when you are trying to read someone’s body language or gauge what they might be thinking.”

Emanuele Castano and David Comer Kidd, researchers in the New School for Social Research’s psychology department. say “the reason is that literary fiction often leaves more to the imagination, encouraging readers to make inferences about characters and be sensitive to emotional nuance and complexity. …

“ ‘It’s a really important result,’ said Nicholas Humphrey, an evolutionary psychologist who has written extensively about human intelligence, and who was not involved in the research. ‘That they would have subjects read for three to five minutes and that they would get these results is astonishing.’ ” More.

My own use of literary fiction is mainly for pleasure, not job interviews. But when things are bleak, Dickens can be the best medicine.

Photo of Charles Dickens from Biography.com

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Someone tweeted this today, and I thought you would like it.

Chinese artist Ai Weiwei has created a nighttime art installation made of bicycles all lit up.

On October 5, says Alice at the website My Modern Met, “Chinese artist and activist Ai Weiwei presented a new version of his incredible Forever Bicycles installation. As the centerpiece of this year’s Scotiabank Nuit Blanche, the all-night contemporary art event that takes over city streets, 3,144 bicycles, the most Weiwei has used of this work to date, were stacked 100 feet in length and 30 feet in height and depth in Toronto’s Nathan Phillips Square. This was the first time the installation has been displayed in an open air, public space. Since this was a night-time festival, it was spectacularly lit up with pink and blue lights.”

Check My Modern Met for a stunning array of photos, here.

Photo: http://www.mymodernmet.com

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Here’s a lovely story by Bella English at the Boston Globe.

Like many other people who feel helpless after a tragedy, illustrators of children’s books wanted to do something useful last April 15 and were delighted to be asked to give their talents.

“After the Boston Marathon bombings,” writes English, “Joe and Susan McKendry of Brookline wanted to do something. …

“Joe, an artist who teaches at the Rhode Island School of Design, thought he could auction off a couple of paintings he did for his first book, ‘Beneath the Streets of Boston: Building America’s First Subway.’

“But then he realized he had something more valuable: connections to other artists. Why not make it a group project? We Art Boston was born, with dozens of artists contributing paintings or illustrations to the cause: the emergency and trauma fund at Boston Children’s Hospital.

“The fund helps children and families get the treatment they need ‘when faced with a tragedy,’ says Stacy Devine, an associate director with the Boston Children’s Hospital Trust. What began as a response to the Marathon bombings expanded to include all traumatic events. …

“The McKendrys also wanted to hold a community event for children to get more directly involved. On Oct. 20, We Art Boston is hosting a family day on the Rose Fitzgerald Kennedy Greenway, right across from the New England Aquarium.

“All of the donated artwork will be framed and on exhibit, and people can bid on them through volunteers who will place the bids online using iPads. Several of the illustrators will be there and will sign books or, for a donation to the cause, draw portraits of stuffed animals for children who bring their favorite one along.”

More.

Henry Cole’s “Penguin Pride” (l8-by-12 inches, framed) has a value of $550 and a suggested bid of $250.

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Here is an annual spectacle I’d love to see.

“Shepherds led a flock of 2,000 sheep through the streets of Spain’s capital and largest city on Sunday, in defense of ancient grazing, droving and migration rights that have been increasingly threatened by urban sprawl and modern agricultural practices.

“Those urban settings were once open fields and woodlands, crisscrossed by droving routes. Since at least the year 1273, the country’s shepherds have had the legal right to use about 78,000 miles of droving routes around the country to move livestock seasonally between summer pastures in the cool highlands and more protected lowland grazing areas in the winter.

“Every year, a handful of shepherds defend that right in Spain’s capital city.”

I guess it’s use it or lose it. Plus it’s good to make people think about where their food and wool come from, and whether things have changed for the better.

More from the Associated Press.

Photo: Andres Kudacki/Associated Press
Shepherds led a flock of 2,000 sheep through some of Madrid’s most sophisticated settings on Sunday.

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This was posted at an Arlington blog last May, but I just saw the sculpture it refers to.

“You are invited to watch the ladybugs for the Waldo Park Tree Sculpture being made right before your eyes … Work by artists has already begun to transform a tall tree stump on the hill in Waldo Park … into multimedia sculpture that features local birds, animals and insects. The Friends of Waldo Park are holding two community participation days as this work is created. …

“Watch the metal-smiths at work as they cast aluminum ladybugs to be bolted onto the tree sculpture. Stop by for however long you’d like to see how metal-casting is done!” More.

Note the metal ladybugs crawling up the trunk, the bunnies peeking out from inside, and the hawk on top.

carved-hawk-and-metal-bus

bug-close-up

rabbit-in-tree-waldo-park

hawk-carved-from-dead-tree

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My husband and I are big fans of Broadway music and also of Boston area singer Will McMillan, who gave a free concert in the Brighton library today.

The show was centered around the composer Harold Arlen, beloved for songs such as “Somewhere Over the Rainbow,” “It’s Only a Paper Moon,” “Blues in the Night,” “Let’s Fall in Love,” and “That Old Black Magic.” Interspersed with his songs, Will gave a delightful rundown on Arlen’s life, work, and main collaborators (Ted Koehler, Johnny Mercer, and Yip Harburg).

For my money, no one puts over a song with the emotional truth of Will McMillan. He becomes the story. In fact, he almost skipped a beat on the little-known intro to “Rainbow,” when the words seemed to carry special meaning for him. And I really liked how he tied the words of “If I Only Had a Heart” to an important goal in his life: “to be a friend to the sparrows and the boy with the arrows.” Or, to see all sides.

Joe Reid, a fine jazz improviser, accompanied Will on the piano and got “Happiness Is a Thing Called Joe” in his honor.

Read more at Will’s blog, here, where you can listen to his MP3s, too. Catch him and frequent collaborator Bobbi Carrey at Scullers November 14.

Cabaret singer Will McMillan with a fan after his show in Brighton today.

Will-McM-with-fan

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Hidden Faces of Courage, a “theater piece with music” created by Mary Driscoll in collaboration with formerly incarcerated women, is coming soon. I will write more after I have seen the production in November, but I need to alert you that if you want tickets, you might want to get them now as the performance space is rather small. Go to Fort Point Theatre Channel, here.

I met Mary in the playwriting class that I blogged about a few times. I didn’t continue with theater after the class, but Mary kept working at this play. She has a deep commitment to helping women who have been in prison, having worked with them for years at her nonprofit, OWLL (On With Living and Learning Inc.).

Mary writes: “The voices of previously incarcerated women are notably absent in the artistic world—a world that can engage a broader community in reform and foster greater understanding between the individual and diverse audiences. Sometimes in unexpected ways.”

Read more about her show at Broadway World, Boston, here.

Hidden Faces of Courage is directed by Tasia A. Jones, with music by Allyssa Jones, and runs November 8-10, 15-17,  at The Boiler Room, 50 Melcher Street, Fort Point, Boston.

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This story was a reminder to me that every country has kind-hearted people. Too much of the news about Sudan focuses on its leader, his treatment of minorities, and his troubles with the international court. But this story is about Sudanese youth reviving a tradition of service.

Isma’il Kushkush reported the story for the NY Times.

“Their temporary headquarters are a beehive of young volunteers buzzing in and out of rooms, up and down stairs, carrying bags of donated food, medicine and large packets of plastic sheets. …

“They are the members of Nafeer, a volunteer, youth-led initiative that responded swiftly to the humanitarian crisis caused by heavy rains and flash floods that struck Sudan [in August]. …

“The area around Khartoum, the capital, suffered the hardest blow. …

“ ‘We saw that the heavy rains and floods were going to impact the lives of many, and we felt we had a social responsibility to help people,’ said Muhammad Hamd, 28, a Nafeer spokesman. ‘The idea came out of a discussion on Facebook among friends.’

“A ‘nafeer’ is a Sudanese social tradition that comes from an Arabic word meaning ‘a call to mobilize.’ The group’s formation was all the more important because the Sudanese government was slow to respond, some critics say.

“ ‘It was a weak response,’ said Khalid Eltigani, the executive editor of Ilaf, a weekly newspaper. ‘The Nafeer youth broke the silence on the flood situation.’ ” More here.

I love that the latest manifestation of this Sudanese tradition got organized on Facebook.

Photo: Reuters
Men built a barrier to protect houses from rising water in Khartoum, Sudan, the last week of August. More than 300,000 people were directly affected by the flooding.

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Back in August, the Ideas section of the Sunday Globe had a short piece by Kevin Hartnett on a robot that creates art. Well, a robot that copies art. It’s a discomforting notion.

“When you watch an artist paint,” writes Hartnett, “individual brush strokes can seem random. It’s often not until close to the very end that the image the painter is after becomes clear. This is doubly true when you watch e-David, the robot painter, at work. e-David (the name stands for ‘Drawing Apparatus for Vivid Image Display’) was created by a team of engineers at the University of Konstanz in Germany. It’s a former welding robot that has been retrofitted to reproduce, brush stroke by brush stroke, existing works of art. The robotic arm has access to five different brushes and 25 colors of paint, and after each dab of paint, it takes a photograph of what it has painted so far. Computer software analyzes the photograph and tells e-David where to place the next brush stroke.

“The strangeness of the process is especially evident when e-David signs the art at the end, beginning by making the dot over the ‘i’ and then writing the rest of its name backwards.” More.

Having recently read an amusing novel about the Gardner heist, The Art Forger, I can’t help thinking that e-David could have quite a career — maybe not fooling any experts but at least making serviceable reproductions.

Photo: Oliver Deussen, University of Konstanz
Painting by e-David, a robot

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According to Christopher Joyce at National Public Radio, young whooping cranes learn from older ones, and when older cranes are unavailable, they can learn from ultralights.

“Being a wildlife biologist in the 21st century increasingly means rescuing rare animals from extinction. Among the success stories is the whooping crane. Seventy years ago there were only about 16 birds left on the planet. Now there are about 600.

“But breeding more birds isn’t enough. Scientists want to restore the crane’s way of life, too. And a team of ecologists at the University of Maryland have discovered something that suggests they are succeeding: Captive-bred are picking up tips from older birds about how to skillfully navigate south for the winter.

“It’s a sign that those whooping cranes are passing knowledge from one generation to the next and, in a sense, rebuilding their culture.”

So how do whoopers raised in captivity learn to follow and where to go when there are no older birds around?

“Workers drive around the enclosures in an ultralight, one-person aircraft … that moves along the ground. It’s the first step in teaching these birds to identify an as a mature whooper. Then when the birds are yearlings and it’s migration time, they’re shipped up north, to Wisconsin.

” ‘The ultralight in Wisconsin not only circles on the ground and teaches them to follow,’ [Greg Smith of the U.S. Geological Survey] says, ‘but it also ultimately lifts up into the air’ and accompanies the whooping cranes on their great migration, which lasts between 50 and 100 days.”

More.

Photo: Joe Duff/Operation Migration USA Inc.
This young whooping crane is on its first fall migration, guided by an Operation Migration ultralight aircraft. Each whooper in this population wears an identification band, and many carry tracking devices that record their movements in detail.

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At Smithsonian magazine, Tom Downey explains why urban planners could learn a thing or two from a Hindu religious festival that occurs every 12 years.

“I arrived by taxi at the Kumbh [in India] at sunset, expecting throngs of cars, cows and human beings blocking all access points. Instead I glided comfortably into my camp, which sat on a hilltop. I looked out over the fleeting city before me: makeshift shelters constructed on the floodplain of a river that was sure to overflow again in a few months. …

“I’d come to witness the spectacle for myself, but also to meet a group of Harvard researchers from the university’s Graduate School of Design. Led by Rahul Mehrotra, an architect from Mumbai before he went stateside to teach, they would closely analyze this unparalleled feat of spontaneous urban organization.

“ ‘We call this a pop-up megacity,’ said Mehrotra, a bearded 54-year-old. ‘It’s a real city, but it’s built in just a few weeks to instantly accommodate tens of millions of residents and visitors. It’s fascinating in its own right, of course. But our main interest is in what can we learn from this city that we can then apply to designing and building all kinds of other pop-up megacities like it. Can what we see here teach us something that will help the next time the world has to build refugee camps or emergency settlements?’ …

“The Kumbh Mela works in a way that most other Indian cities do not in part because everyone is on their best behavior: Civil servants know that their careers will be defined by these few weeks in the national spotlight; members of the public arrive with a sense of purpose and community.” More here.

I think it goes to show that when large numbers of people are basically on the same page about the importance of something, miracles happen. Loaves and fishes get shared. People pick up their litter. Everyone feels they’ve been part of something big.

Photo: Alfred Yaghobzadeh
Cooks at the Hindu festival worked to feed millions.

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Dear Followers!

Suzanne’s Mom apologizes for sending you ghost photographs with no text or context. I have never owned a smartphone before, and it may take me a couple more tries before I nail the WordPress app. I hope you don’t get fed up.

I have a natural history post today, courtesy of John and a site called Unbelievable-Facts.com.

Apoorv Nagpal posts this: “Cherrapunji, a town in North-East India, which is known to be the second wettest place on earth, is also known for its living bridges. Here the bridges aren’t built but grown. The living bridges are made from the roots of Ficus elastica tree whose secondary roots grow above the ground surface.

“Long ago, War-Khasis, a tribe of Meghalaya, used this tree to cross rivers. Using the same technique, villagers of Cherrapunji grow their own bridges whenever required. The villagers have created a root-guiding system that forces the tender roots of the rubber tree to grow straight. Such roots make a strong, living bridge in about 10-15 years.

“Unlike the conventional man-made bridges which grow weak over time, these living bridges gain strength over time. Some of these bridges are more than five hundred (500) years old and can support 50 people at a time. A unique bridge called Umshiang Double-Decker Root Bridge is believed to be only one of its kinds in the whole world. It is actually a combination of two bridges, one stacked on top of the other.” More here.

I love that there are people with enough patience to wait 10-15 years for their bridge — and that they are rewarded with a bridge that grows stronger over time. Sounds like a fairy tale.

Photo: TravelTheUnknown. Check it out here.

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The Blackstone Parks Conservancy sent out this invitation, and we went.

“We invite you to attend the family event: Build your own Fairy House! This event was originally part of the summer series of family programs given by the Blackstone Parks Conservancy. Due to its rousing success, we are offering it again as part of Playful Providence, a citywide event organized by the Partnership for Providence Parks and the Providence Parks Department. Join us at the Field on River Road, across from the Narragansett Boat Club.”

Cardboard forms that you could fold into houses were on hand. On top you could apply a layer of something like sand-colored Play-Doh, with actual sand in it. Next you could choose from a gorgeous array of seedpods, acorns, leaves, twigs, and other fruits of nature — and stick them into the “mortar” — the way a fairy would like them — before the clay dried.

Our middle grandchild was a little young for it, but he liked running around in the park and watching the rowing lessons on the Seekonk nearby.

I would like to try fairy houses again someday soon. Just collecting the pieces of nature to be used would be fun for a child.

Read about the conservancy and future events here.

blackstone-valley-fun

to-make-fairy-castles

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