“the drive to eliminate paradoxes at any cost, especially when it requires the creation of highly artificial formalisms, puts too much stress on bland consistency, and too little on the quirky and bizarre, which make life and mathematics interesting. It is of course important to try to maintain consistency, but when this effort forces you into a stupendously ugly theory, you know something is wrong.” – Douglas Hofstadter, Gödel, Escher, Bach
ugly theory
December 31st, 2011Why is the Yes on D campaign lying about signs?
September 26th, 2009Measure D, which appears on this November’s ballot in San Francisco, would allow new large general advertising signs (aka billboards) along Market Street between 5th and 7th streets.
The measure’s author and chief proponent is building owner David Addington, who owns several buildings on the north side of Market Street in the proposed billboard district. The measure is destructive in a number of ways, which I won’t go into here; needless to say I am hoping that San Franciscans maintain their historic aversion to billboards and ballot-box planning and defeat the measure this November. While Mid-Market won’t be helped by Measure D, Mid-Market does need help, which I also won’t try to describe here, as it is the worthy subject of one or more essays. The purpose of this essay is to correct misinformation the Yes on D campaign has repeatedly put out about the history of signage along Market Street, and what current city laws governing signs allow and disallow.
According to the account Mr. Addington and other Measure D supporters have given to groups across the city, a 1967 law called the Market Street Beautification Act required the removal of all the neon business signs, historic theater marquees, and billboards along Market Street, including the historic marquee and blade signs for the Warfield Theatre, which Mr. Addington now owns. As the story goes, this ill-conceived act sent Mid-Market into a tailspin, making the street dark, dangerous, and derelict. Measure D, they claim, is necessary to bring back these historic marquees, and will restore down-at-heels Mid Market to a thriving bright lights district that will rival the Fisherman’s Wharf as a tourist attraction.
Several elements of this story seemed shady to me.
Gary Snyder on stewardship
February 14th, 2009“Stewardship means, for most of us, find your place on the planet, dig in, and take responsibility from there – the tiresome but tangible work of school boards, county supervisors, local foresters, local politics, even while holding in mind the largest scale of potential change. Get a sense of workable territory, learn about it, and start acting point by point. On all levels, from national to local, the need to move toward steady state economy – equilibrium, dynamic balance, inner growth stressed – must be taught.”
– Gary Snyder, “Four Changes” (1969)
Good Times at Sunday Streets
September 20th, 2008The amazing team at Streetfilms created this video of San Francisco’s Sunday Streets. Livable City served as fiscal sponsor for the event.
It was great to see so many parents and kids out enjoying the streets:
Rebecca West on making a cake
September 13th, 2008“But we knew that when one goes into a shop and buys a cake one gets nothing but a cake, which may be very good, but is only a cake; whereas if one goes into the kitchen and makes a cake because some people one respects and probably likes are coming to eat at one’s table, one is striking a low note on a scale that is struck higher up by Beethoven and Mozart.”
Rebecca West, Black Lamb Grey Falcon
Rebecca West’s Black Lamb Grey Falcon is an amazing book – part travel diary, part history, part political manifesto, part exploration of the human condition. West was a novelist, and essayist, and feminist, and the book is a record of her travels through Kingdom of Yugoslavia in the late 1930′s, describing the young country’s mosaic of cultures and its troubled history.
All of West’s works explore aesthetics, and she wrote a book of essays, The Strange Necessity, on the subject. What I like about the quote above is her notion that great works of art are fundamentally works of love, and that the everyday works of love, unrecognized as art, are nonetheless related.