One of the things that has really struck me this year, especially in reference to postmodern art, is the ability to express the cultural climate surrounding it, and sometimes be an advocate to make it better. I found this especially evident in some of the architecture we have studied. For example, modernist architecture began as an effort to build democratic, unassuming structures that placed all within them on a supposedly equal level. It was begun by socialist architects and designers in Europe, and was called the International Style. The plain, geometric nature of this style is effective at wiping away signals of class or wealth that are evident in much of the architecture that preceded it. One of the American offshoots to this style was conceived by Buckminster Fuller. His design for geodesic domes was touted as an energy-efficient and very democratic. Fuller had hoped that his building designs would usher in a new age of progress and equality. Unfortunately, the prospective benefits of this and other modernist styles eventually ended up becoming the face of capitalism in America.
The Postmodern reaction to Modernist architecture does not advertise itself as world changing or progress. Rather it can be seen as a reflection of the ideals and mindsets that permeate society at any given point. Postmodern architecture tries to incorporate elements from surrounding cultural or natural sources, which makes it very much a conduit representing the world around it. This makes the architecture very appealing, aesthetically and thematically, to people who view it. Michael Graves is one of the more noted postmodern architects, and his works are noted for their radical eclectic style that excellently incorporate the surrounding culture. An example is his "Denver Central" which shows direct connections to the surrounding mountainous region, as well as the prominent mining community in the area. This style has ironically become more democratic because it doesn't try to make all people everywhere equal, but in a unique move gives each region the chance to have its own identity expressed through architecture.
When we started the discussion in class about abstract art, I was sure that I could never understand or appreciate it. There are still some forms of abstract art that I don't appreciate, and probably never will. However, I have come to an appreciation of a view artists and their unique styles. I especially like Jackson Pollock and Mark Rothko. Their styles are completely different, but both of them have an almost organic feel to them which is very appealing to me. Also, neither is trying to make a statement with their art, but both rather leave it open for the viewer to interpret, which is a very democratic and fair way to present art.
Pollock's style is impressive to me because of the amazing balance he is able to achieve in his paintings. When I first encountered his style, I was not impressed, because it seemed to me that even a small child could drip paint on a canvas and call it art. Upon further investigation, though, I found that the different colors and patterns of paint are extremely well balanced in all of his paintings. To achieve that kind of balance must take some measure of calculation, despite the intended randomness of the style. His style is also appealing because of its fluid nature. The paint almost seems to have a lifelike movement to it, which is very inviting to the viewer as well. In short, I have learned to appreciate the depth and complexity of Pollock's work.
Rothko is another that at first I didn't find very impressive. It seemed like his plain blocks of color were useless both aesthetically and thematically. As I started to learn more about them, however, I came to a similar conclusion as I had with Pollocks paintings. I had the opportunity to try making a parody of a color field painting using charcoal. I found that the edges of Rothko's color fields were difficult to duplicate. Like Pollock's, his edges have an almost organic feel to them, making the color blocks seem almost like simplified landscapes. Having experienced to a small degree the creative process to this form of art, I now find his paintings peaceful and comfortable. They are natural in a way that is very relaxing to me. I have enjoyed getting to know more about abstract art, and going through the process of opening my mind a little to art forms that I don't understand very well. In the future, this experience will help me not to judge things before I come to understand them.
This song has always been one of my favorites. It has a very whimsical sound that draws you in as soon as you hear the first notes on the radio. The music has a certain quality that evokes strong emotions in the listener. When I listen to the music, it's almost like sitting under a moonlit sky with someone special. The music is moving because it is so dynamic. This is not a cookie cutter romantic hit. Rather it changes keys several times, swooping up and down along the scale, almost symbolic of the ups and downs that come with being in love and sustaining a relationship.
Having some background knowledge about how this song was “reborn” so to say, helps me understand a little about the emotion that Mama Cass gives to the music, and why her version is seen as the most popular version. Knowing that the group decided to do the song when they heard about the death of one of the writers shows the that the emotional connection that an artist has to the work can come through in the music. The added fact that Cass Elliot herself died young, just two days after performing this song, gave the piece some added meaning. The connection that the commentators made between the song and the deaths of people surrounding it brought up images of death and dreaming that gives extra layers to the song. Now when I listen to the song, I think of the writer and the singer who are themselves “dreaming a little dream.”
The analysis of the song by the commentators draws upon those events for most of their commentary, with only minimal attention to the music itself or the cultural significance of the work. While it is true that America is a nation of individuals, I would have liked to hear a little more about what makes this work significant to American culture, rather than the extensive individual history that they presented. The failure of the commentators to do so seemed to take away some of the importance of the song as a significant American work.
Fire and Rain: James Taylor
Fire and Rain is a sad song that always seems to resonate with me. It is a powerful commentary on the importance of living with purpose, rather than procrastinating things that are really important. As humans we always expect that there will be another day, another opportunity to see our friends and right our wrongs, but often those opportunities never come. This song poignantly points out this sad truth, but still there is a feeling of hope and brightness about it that contradicts the meaning of the words. You come away from listening to it with a good feeling, like you've reached closure with some of your problems.
Before I listened to the NPR presentation of this song, I was unaware of the background of the three verses. Now that I understand partly the feelings James Taylor was experiencing at the time, I can see why this song is so powerful to him as an individual and to so many others. I thought it was interesting when Taylor talked about how the experience changes for him based on the audience's involvement in the song. The audience has to receive the song and be connected with it for him to maintain the emotional connection that he had when he wrote it. I think that says a lot about why this song is significant, because it really brings out some powerful connections to the American audience.
Overall, I liked how this song was presented. It really highlighted the artists' involvement and care in creating a song that could move the American public. In the interview with Taylor, he mentioned several times that making a song is a communal effort, and that his songs are shaped by the emotional and political aspects of the surrounding culture. For this reason I think that Fire and Rain is a significant American song because it reflects the communal gathering of emotions, cultures, and circumstances. It is an important observation as well that not only do the people of the country help define the music, but the music in a lot of ways defines and shapes the people who listen to it.
Sittin' on the Dock of the Bay: Otis Redding
When I first listened to “Sittin' on the Dock of the Bay,” I didn't really listen to the words very closely. I liked the sound of the music, but I didn't see much merit to the words. It seemed almost like some lazy guy complaining and wasting time away, instead of living an active and engaging life. I listened to a few other Otis Redding songs, and they seemed to be similarly morose and somewhat depressing, but always with an upbeat sound. The contrast between sad words and upbeat music is an interesting expression of optimism, but it is effective in its purpose.
Listening to the circumstances that surrounded the making of the song enforced the point that this song was meant to be optimistic in spite of lonely or depressing situations. I thought that Otis' good spirit and frequent jokes highlighted this point. He may not be able to change his circumstances, or fulfill every order that comes his way, but he will stay strong and firm in his own determination. In a way this is an anthem to all the people who think that they are stuck in a rut and that life is beating them down. For those people, this song says that your circumstances don't have to define you, but you can roll with the punches and keep going with life.
The presentation of “Sittin' on the Dock of the Bay” was effective in bringing out the points that I have mentioned. I would have liked, however, to see a little more of the historical background of the time period, and how Otis' songs both reflected his life and the circumstances of the times. The 1960's were filled with protests and struggles for many minority groups in the U.S., and it may have seemed to many like there efforts weren't doing much good, and this song may have been a catalyst that helped people to persevere and stick to their purpose.
Stage Door was a well-produced depiction of 1930's life. The production was artfully designed to give the appearance and feel of a 1930's black and white film. The story is a poignant one that highlights some key points about the nature of the American Dream, including some that contradict each other. These points include: the American Dream is not applicable to all people, wealth and fame may not be as desirable as they seem to be, and there is merit to hard work and persistence.
Firstly, the most emotionally charged scene in the play is Kay's final scene. The hopelessness in her circumstances provides a moving backdrop that accentuates the fact that the majority of the girls in the home spent the whole story almost entirely without work or economic progress. This is indicative of the social circumstances that existed during the 1930's. It was an age of general economic prosperity in the same strain as The Great Gatsby. There were some people who were able to achieve wealth and prosperity through a lucky break, but in the crunch of competition and the beginnings of economic strain, many people were stuck in the dregs of poor society. Kay's role also reveals something about the emotional state of many Americans. For those faced with debilitating debt and no hope to recover, there is often no help, but instead social-climbing landlords that throw them out on the street. It shows the selfish, money-centered mindset that many people had, and the disregard they had for the less fortunate.
Another important theme that came out in the play is the degrading influence of wealth and fame. Mr. Burgess' transformation after moving to Hollywood is an example of this influence. Before his big break, he was a man for the underprivileged, the overworked, and the discriminated. He wanted to change the world through his talent for theater, be the voice for those who couldn't speak for themselves. When he finally got the means that could make a difference, however, he became absorbed with himself, and abandoned the ideals that had guided his life earlier in his career.
The corruption that wealth seems to have had on his life is reflected to a lesser degree in Gene's story. She was given the opportunity to make it big in the movie business, and because of her looks she was successful. That is a commentary on the materialistic and superficial values of America culture. It is an unfortunate occurrence when a person is rewarded more on the basis of looks than on talent, character, and hard work. This may be a commentary on social trends in America that glorifies certain people while leaving the hard-working poor people in the dust.
The final message is one that runs contrary to the other themes I have discussed. The end of the play shows the lead girl finally getting an opportunity to showcase her talents and love of theater. She is one of the more likeable characters in the story, caring and conscientious of other people, and she works day in and day out to reach her dream, no matter how dark and dismal the road. Her story demonstrates that anyone can eventually reach their dream if they only persevere and maintain hope for the future. This is a bright ending that gives the audience a hope that things will work out in the end. It gives them hope that there is an American Dream, if they don't get discouraged or distracted from their goal.
As the heat of a blistering sun reflects off the glassy southwestern sand, a lone woman stands in silhouette, accompanied only by her donkey. Behind her humble home stands the majestic purple backdrop of the southwestern plateau. The regionalistic style of this painting by Don Louis Perceval highlights and glorifies the simple, natural lifestyle of the American Southwest. With such a statement, Perceval challenges the modernist tendency to glorify the man-made wonders of urban life, while giving honor to the Native American union with nature.
Perceval's life experiences led him to a great appreciation of the beauties of Native American life in the Southwest, while also engendering a dislike of modern urban society. He was born in Woodfor, Essex, England in 1908, but was raised in Los Angeles, California (donperceval.com). In between art studies at Chouinard Art Institute in California and at the Royal Academy in London, Perceval served in the Royal Navy, using his art skills to create manuals for training cadets in gunnery. During the Second World War, he also served on a patrol boat in the Thames Estuary, and spent time visiting European cultural centers in England, France, and Spain (donperceval.com).
Soon after the end of the war, Perceval returned to California, where he taught art and traveled among the native peoples of the Southwest. Perceval was enchanted by the lifestyle of the Hopi and Navajo peoples. He spent much of the 1950's living among them, painting and learning from them (donperceval.com). He clearly preferred their lifestyle to the fast paced, metal-plated world of urban society. This comes out in “Navajo Hogan” through the sheer scarcity of the landscape, and the simplicity of the woman's hogan.
While the rugged landscape and beautiful grandeur of the background illuminate his regionalistic style, they also tend to make men seem small and insignificant, almost helpless against the power of nature, which brings forth a sense of naturalism and realism akin to Homer. The image has a hazy feel to it, which is in line with the haze generated by the desert sun. It also has very little detail, which gives the feeling that this is not meant to portray one individual's circumstances, but that this is a common Navajo home site. This makes Perceval's style slightly modernist in its own right, because it forces the viewer to dig beneath the surface of the painting and find greater meaning in the subject matter. By making the figures in the painting unspecific, the artist allows them to become symbols for the entire culture, open for interpretation and dialogue.
The intended implications of this painting are not exactly forthright, but knowing a little about Perceval's background, as stated above, gives us a small insight into his intentions. His high regard of the Hopi and Navajo peoples tells us that his painting is meant to honor their lifestyle and highlight the benefits of living in direct connection with nature. Firstly the small, humble hogan stands as a symbol of Navajo life, free from the complexities and social pressures of contemporary society. It is covered in shadows, without which it would probably blend in almost indistinguishably with the sand around it. It is not a powerful demonstration of engineering or industrialization, consisting instead of mud and sticks, a manifestation of interdependence with nature. There are no indications of material possessions or social standing, but it is practical and serves its purpose.
The sharp contrast of the shadows against the sand almost brings a lonely feeling to the piece, highlighting the difficulty of life for this woman. The harsh scarcity of life in the wilderness, though, can be seen as a positive thing, because it forces the people to cultivate diligence, patience, thrift, and character. The Navajo people value their communion with nature and the spiritual aspects of life that come from living in harmony with the land and with each other. This scene stands in harsh contrast to the industrial factories and class separations that are prominent in contemporary society.
This aspect of the painting was especially compelling for me as a viewer. At first, I was attracted by the aesthetic composition of the painting. Having some personal experience in the southwestern region, this painting brought forth feelings of nostalgia for the beauty of the desert landscape. The contrast of the dark shadows against the bright sand was also aesthetically pleasing for me as well, as it highlighted the lonesome, nostalgic feeling of the scene. I was impressed further, however, by the deeper sense of connection between the woman in the painting and the beautiful desert landscape. I have an adopted uncle who is full-blooded Navajo. He speaks sometimes of the importance of being in tune with the spirit of nature, and of the negative aspects of urban, industrialized life. As I began looking at the picture in the context of his words, as well as the discussions we have had of the social implications of art, the aesthetic qualities that I admired took a backseat to the cultural elements that I saw in the painting. It did not change my appreciation for the painting, but it deepened my respect for the artist and his representation of Navajo life.
Another aspect of the painting that stands out is the towering plateau in the background. It stands almost like a regal guardian, watching over the woman and her hogan. It implies once again that the people are subject to their surroundings, and dependent on nature for their survival. Their dependence causes them to cultivate an understanding of and respect for nature and all its elements. They are intimately connected with nature and with their community, which helps to eliminate some of the social problems that arise in more urban centers. The woman in the painting is poor by the standards of the modern world, but she has what she needs to live comfortably in her home. This is a commentary on the benefits of living simply, without striving for wealth, power, or class standing. The urban plagues of poverty, discrimination, materialism, violence, drugs, etc., are due in part to the materialistic nature of the American Dream, and this painting is rejecting the benefits of that dream.
For some, on the other hand, “Navajo Hogan” might not be seen as a social statement at all. Certain people might think that this painting is a purely aesthetic work, in the same line as the art photography produced by Steiglitz and Steichen. It could be argued that Perceval was enthralled by the rudimentary, aboriginal quality of Native American life, and recorded his observations from afar. The image by Steiglitz entitled “The Rag Picker” comes to mind as an example of social art produced for its aesthetic value instead of its potential for social reform. In such a case, the portrayal of a Navajo woman could be seen as an aesthetic observation that gives no regard to the woman as an individual, or the difficult circumstances in which she lives. Rather it is simply a pitiable circumstance that in general makes the scene interesting, but does not provoke any kind of action or response from the viewer. Those who belong to the school of thought that values “art for art’s sake” might look only at the color, lighting, and composition and find value in the quaint representation of Southwestern life. They would look no further into the meaning of the painting, and would find it unnecessary to do so.
While this viewpoint could be justified by Perceval’s classical training and position as an appreciator and teacher of art, his strong respect for the Native peoples of the American Southwest and their way of life gives support towards the argument that his painting is not art for art’s sake. In contrast, his painting is a social commentary that highlights the grandeur of Native American life, and the benefits of living simply and harmoniously with the land. Perceval is a talented artist who captures the awesome feeling of the desert landscape and gives honor to the people who dwell thereon.
Most people in most countries have experienced some kind of discrimination or injustice against them, whether it be racially, ethnically, economically, or religiously based. For some, such discrimination is accepted as a fact of life and endured patiently and with hope that eventually things will turn out all right. Unfortunately, it is hard to maintain such an attitude for very long at all. It is a testament to the inherent equality of all humanity that we are born expecting to be treated on a relatively equal plane. I have been intrigued lately by the various methods by which oppression and discrimination are handled by the oppressed. Some react violently, demanding by force to be treated as a card-carrying member of the human race. Others seek to distance themselves from it by running or by turning traitor and becoming allies with the oppressing party. Most impressive in my mind are the people or groups of people that actively rebel without violence or real conflict.
An example of such rebellion can be found in traditional African American trickster tales. They portrayed weaker, less-powerful characters that were able to overcome their oppressors by using wit and subtle manipulation. These tales served a twofold purpose in fighting against oppression. Wise storytellers used tales such as Brer Rabbit to instill a rebellious, yet relatively harmless, mindset in the younger slave generation. They also played on white perceptions of blacks as child-like and simple to satirically battle the socio-political oppression of the time period. This battle was waged by luring white readers in with fantastical tales of magical conjuring and slave traditions which then exposed the harsh conditions and inhuman treatment of slaves and their families. Such rebellion against slave life was found not only in trickster tales, but in the art and music of the culture as well.
I am of the opinion that passive rebellion against oppression through the use of literature, art, and music, is a powerful and effective method of undermining oppression, because it influences the minds and opinions of the people who enjoy such art forms. Violence and aggression usually lead to retaliation and anger, so it follows that passive, active opposition can lead to active change and nonviolent measures of resistance. Utilizing the arts is also important because influencing peoples emotions can help to change their opinions and desires towards other races/ethnicities/religions. In short, it is important to oppose oppression, but it is highly effective to go about it using one's wits and talents to changes people's minds and hearts, which will hopefully change their actions as well.
It is the beginning of a beautiful autumn day. A mild and playful breeze meanders across the valley. The mountains stand majestically, keeping a watchful eye on the people below. Crimsom-tipped leaves glimmer at the first touch of the morning sun. Fathers, awakened by a radio talk show, get dressed while checking e-mail on their home laptops. They cook a quick, nutritious breakfast while watching the morning news and checking stocks on their cell phones. Every movement is purposeful and calculated to use time efficiently. Time, after all, is money, and these fathers are responsible, successful providers. They finish eating, and with a quick “I love you” to their wives, they jump in their new luxury car, turn on the satellite radio, and drive quickly to the office to get a head start on the days work.
Children prepare for school quickly, getting dressed and eating breakfast to the rythmic music emanating from their headphones, accompanied by the constant beat of clicking cell phone buttons. They are excited to see their friends at school, and to somehow impress that certain girl or guy. Faint chatter about the release of the newest videogame, or album, or itouch reverberates around kitchen walls. They may not always have the latest ipod or smart phone, but if they get good grades and behave themselves, Dad will get it for them soon. Life is comfortable, because they live in America, where anyone can have a happy, fulfilling life if they work hard enough. When they finish eating, they run to catch the bus, music blasting in their ears.
Mothers, having reviewed the important events of the day before blowing a kiss to the kids and rushing out the door, slide into their luxury mini-vans, cell phone between shoulder and ear. Having already done morning pilates, cooked breakfast, and tidied up the house, the day still contains school board meetings, corporate presentations, charity events, and blog updates. There is a lot to be done, but the help provided through hand-held electronic planners and portable, purse-sized laptops and tablets makes things manageable.
These are bright and successful American families, bursting with activity and purpose. They have worked hard to provide a good living for themselves. For them the world is full of opportunities, if only they are prepared to take advantage of them. After school, the children are car-pooled to band practice, voice lessons, and sports practices. Mom and Dad meet briefly to pick out a sofa for the entertainment room. When the kids get home, there is a mad race for the TV remote and the right to choose what to watch first. Homework is half-heartedly flipped through during commercials until Mom gets home. “No TV until after dinner.”
Dad comes home to find dinner ready. Everyone eats quickly, chattering about the day's happenings. Finally the hustle and bustle of the day has wound down. The children gather around the computer after dinner to see the latest viral YouTube video. They soon tire of YouTube and disperse to their own rooms, some to check their Facebook account, others to watch a movie on their laptop. The youngest girls play with their Webkins animals, dressing and feeding them in their online home. Mom sits in a comfy chair to read with her kindle, closing the drapes to block out the last golden rays of sunlight shining through the living room window.
Having finished his work, Dad plops down on the sofa to watch the end of the basketball game. He relaxes for a while, basking in the light from his big screen TV. Turning to his wife, he comments, “Now this is the life. Remember when we first started out, and we didn't have anything to our names? Now we have everything we ever wished for. That's what makes America great! Anyone can make it and be happy if they just persevere.”
Just at that moment, the phone rings. --- “Hey, this is your neighbor Jim. There's some kind of meeting been called over at the local chapel. You wanna go?” --- “Well, I suppose I can spare a few minutes. You know what it's about?” --- “Nah, I just heard about it. My wife saw some kind of flyer earlier today about an important meeting.” --- “Alright, I'll see you there in a few minutes.”
A handful of curious men and women slowly file into the ornately decorated chapel. An older, distinguished looking man in a dark suit sits comfortably on a chair next to the podium. He looks warmly in the direction of the entering people and nods his head. As he meets the gaze of individuals, they feel an almost invasive discomfort, as if he can see into their very souls. Another man stands up, introducing himself and thanking everyone for attending.
“This man has an important message to give us. Please listen to his counsel.”
The older man then rises and, with a deep, powerful voice, begins to address the congregation.
“My brothers and sisters. My message is short, but it is of greatest importance. I am a messenger sent from above, a spokesman for the Almighty. We live in a time, my dear brothers and sisters, when abundance and prosperity abound. Many of you have created comfortable and successful households that are filled with the necessities and luxuries of life. You have dedicated much of your lives to achieving financial stability and success, which has allowed you to acumulate the latest innovations in information and technology. With these innovations have come greater comforts and opportunities for enjoyment. You say in your hearts, “we are providing a comfortable and easy life for our children, giving them all the benefits that will help them to succeed in life, the benefits you didn't have. Children inevitably live in the same manner and form as their parents. They will live as you live. In the freedom of independent life they will grasp after wealth, fame, or popularity, thinking that these are the ends of their labors. They will rush about always measuring their success against the success of the people around them, leading to a perpetually expanding vision of prosperity and expectations.
There is an interesting phenomenom found in this infusion of technology and comfort. While it seems that your lives are blessed by the increased convenience and connectivity to the people around you, you slip farther and farther away from each other. Families who spend whole evenings under the same roof barely speak to each other. Children who have much to learn from parents' experience and wisdom spend hours gaining “knowledge” from the endless recesses of the internet. Rather than revel in the beauty of the world around them, they sit inside sending electronic messages back and forth, bragging about their adventures in the world of virtual existence/entertainment that they call videogames. Perhaps it is better that way, after all, to live in a virtual world where mistakes don't really count, and where morality and responsiblity hold no importance because they are not real. Perhaps in the end the children of the information age will find their salvation by avoiding life and its problems, feeding their temporal desires in proxy, limiting their exposure to the conflicts of human interaction. You desire these things for them, yet you desire for them growth and eternal happiness as well. You will find that you will attain only one of these desires, and it may surprise you in the end which result will bring you more dissappointment and sorrow.”
A Messenger:
With a final, penetrating glance, the man turns and sits in his chair. Nobody moves for a few minutes. They are unsure what to think about such a strange speech. An unusual sensation washes over some, a slight tremble across their bodies, almost like the chills. Others experience a rising sense of indignation at the man's words, offended that he would propose to judge them. What does he know anyway? He is stuck in the traditions and values of the past. He doesn't understand our generation, and he doesn't know what is best for us!
Below is the original "War Prayer," by Mark Twain
It was a time of great and exalting excitement. The country was up in arms, the war was on, in every breast burned the holy fire of patriotism; the drums were beating, the bands playing, the toy pistols popping, the bunched firecrackers hissing and spluttering; on every hand and far down the receding and fading spread of roofs and balconies a fluttering wilderness of flags flashed in the sun; daily the young volunteers marched down the wide avenue gay and fine in their new uniforms, the proud fathers and mothers and sisters and sweethearts cheering them with voices choked with happy emotion as they swung by; nightly the packed mass meetings listened, panting, to patriot oratory which stirred the deepest deeps of their hearts, and which they interrupted at briefest intervals with cyclones of applause, the tears running down their cheeks the while; in the churches the pastors preached devotion to flag and country, and invoked the God of Battles beseeching His aid in our good cause in outpourings of fervid eloquence which moved every listener. It was indeed a glad and gracious time, and the half dozen rash spirits that ventured to disapprove of the war and cast a doubt upon its righteousness straightway got such a stern and angry warning that for their personal safety's sake they quickly shrank out of sight and offended no more in that way.
Sunday morning came -- next day the battalions would leave for the front; the church was filled; the volunteers were there, their young faces alight with martial dreams -- visions of the stern advance, the gathering momentum, the rushing charge, the flashing sabers, the flight of the foe, the tumult, the enveloping smoke, the fierce pursuit, the surrender! Then home from the war, bronzed heroes, welcomed, adored, submerged in golden seas of glory! With the volunteers sat their dear ones, proud, happy, and envied by the neighbors and friends who had no sons and brothers to send forth to the field of honor, there to win for the flag, or, failing, die the noblest of noble deaths. The service proceeded; a war chapter from the Old Testament was read; the first prayer was said; it was followed by an organ burst that shook the building, and with one impulse the house rose, with glowing eyes and beating hearts, and poured out that tremendous invocation
*God the all-terrible! Thou who ordainest! Thunder thy clarion and lightning thy sword!*
Then came the "long" prayer. None could remember the like of it for passionate pleading and moving and beautiful language. The burden of its supplication was, that an ever-merciful and benignant Father of us all would watch over our noble young soldiers, and aid, comfort, and encourage them in their patriotic work; bless them, shield them in the day of battle and the hour of peril, bear them in His mighty hand, make them strong and confident, invincible in the bloody onset; help them to crush the foe, grant to them and to their flag and country imperishable honor and glory --
An aged stranger entered and moved with slow and noiseless step up the main aisle, his eyes fixed upon the minister, his long body clothed in a robe that reached to his feet, his head bare, his white hair descending in a frothy cataract to his shoulders, his seamy face unnaturally pale, pale even to ghastliness. With all eyes following him and wondering, he made his silent way; without pausing, he ascended to the preacher's side and stood there waiting. With shut lids the preacher, unconscious of his presence, continued with his moving prayer, and at last finished it with the words, uttered in fervent appeal, "Bless our arms, grant us the victory, O Lord our God, Father and Protector of our land and flag!"
The stranger touched his arm, motioned him to step aside -- which the startled minister did -- and took his place. During some moments he surveyed the spellbound audience with solemn eyes, in which burned an uncanny light; then in a deep voice he said:
"I come from the Throne -- bearing a message from Almighty God!" The words smote the house with a shock; if the stranger perceived it he gave no attention. "He has heard the prayer of His servant your shepherd, and will grant it if such shall be your desire after I, His messenger, shall have explained to you its import -- that is to say, its full import. For it is like unto many of the prayers of men, in that it asks for more than he who utters it is aware of -- except he pause and think.
"God's servant and yours has prayed his prayer. Has he paused and taken thought? Is it one prayer? No, it is two -- one uttered, the other not. Both have reached the ear of Him Who heareth all supplications, the spoken and the unspoken. Ponder this -- keep it in mind. If you would beseech a blessing upon yourself, beware! lest without intent you invoke a curse upon a neighbor at the same time. If you pray for the blessing of rain upon your crop which needs it, by that act you are possibly praying for a curse upon some neighbor's crop which may not need rain and can be injured by it.
"You have heard your servant's prayer -- the uttered part of it. I am commissioned of God to put into words the other part of it -- that part which the pastor -- and also you in your hearts -- fervently prayed silently. And ignorantly and unthinkingly? God grant that it was so! You heard these words: 'Grant us the victory, O Lord our God!' That is sufficient. the *whole* of the uttered prayer is compact into those pregnant words. Elaborations were not necessary. When you have prayed for victory you have prayed for many unmentioned results which follow victory--*must* follow it, cannot help but follow it. Upon the listening spirit of God fell also the unspoken part of the prayer. He commandeth me to put it into words. Listen!
"O Lord our Father, our young patriots, idols of our hearts, go forth to battle -- be Thou near them! With them -- in spirit -- we also go forth from the sweet peace of our beloved firesides to smite the foe. O Lord our God, help us to tear their soldiers to bloody shreds with our shells; help us to cover their smiling fields with the pale forms of their patriot dead; help us to drown the thunder of the guns with the shrieks of their wounded, writhing in pain; help us to lay waste their humble homes with a hurricane of fire; help us to wring the hearts of their unoffending widows with unavailing grief; help us to turn them out roofless with little children to wander unfriended the wastes of their desolated land in rags and hunger and thirst, sports of the sun flames of summer and the icy winds of winter, broken in spirit, worn with travail, imploring Thee for the refuge of the grave and denied it -- for our sakes who adore Thee, Lord, blast their hopes, blight their lives, protract their bitter pilgrimage, make heavy their steps, water their way with their tears, stain the white snow with the blood of their wounded feet! We ask it, in the spirit of love, of Him Who is the Source of Love, and Who is the ever-faithful refuge and friend of all that are sore beset and seek His aid with humble and contrite hearts. Amen.
(*After a pause.*) "Ye have prayed it; if ye still desire it, speak! The messenger of the Most High waits!"
It was believed afterward that the man was a lunatic, because there was no sense in what he said.
One of the things that has really struck me this year, especially in reference to postmodern art, is the ability to express the cultural climate surrounding it, and sometimes be an advocate to make it better. I found this especially evident in some of the architecture we have studied. For example, modernist architecture began as an effort to build democratic, unassuming structures that placed all within them on a supposedly equal level. It was begun by socialist architects and designers in Europe, and was called the International Style. The plain, geometric nature of this style is effective at wiping away signals of class or wealth that are evident in much of the architecture that preceded it. One of the American offshoots to this style was conceived by Buckminster Fuller. His design for geodesic domes was touted as an energy-efficient and very democratic. Fuller had hoped that his building designs would usher in a new age of progress and equality. Unfortunately, the prospective benefits of this and other modernist styles eventually ended up becoming the face of capitalism in America. 
