WORKING FOR THE RECLINER INDUSTRY

In a few months I'll be moving to a small town in the farm belt. I'll have to see what kind of work I can rustle up there. Small towns don't have much need for art. I hate to think about it, but there's half a chance that I'll end up as a salesman in a La-Z-Boy store. 

Yeah...La-Z-Boy. You probably didn't know it but La-Z-Boy's a big employer in rural America. If you don't live in a small town you probably don't realize how widespread it is. It's not just a few pushpins on an empty map....

....it's a whole doggone map full of pushpins!!!!! In case you haven't heard...La-Z-Boy is an empire! It's huge! That company owns this country!

Sure, if you live in a big city you don't need La-Z-Boy. You can buy designer furniture, and it'll be sophisticated and artistic and perfectly satisfying.

 But that's because you live in a big city. 

You can't get that stuff in the rest of America.

Yesssir....step just one inch beyond the city limit sign and you're in La-Z-boy Land!!!!!  The whole swathe of real estate between the megacities is united in the opinion that furniture design peaked in the 1960s. Fuzzy recliners still rule and any attempt to improve on them is regarded as an attack on Western Civilization.

If I get the job this (above) is what I'll be selling. These are the Coca Cola of chairs, the Mount Everests, the Plus Ultras, the Sultans of Seats. They come mainly in three fuzzy colors: Murky Rose, Ash and Dirty Powder Blue. I'm not sure but the company might also make the rounded Thrift Store-type end tables and coffee tables that always accompany the recliners.

I know what you're thinking...that Lazy Boys are prol furniture and upscale people wouldn't be caught dead with them. I don't blame you for thinking that, but you're wrong. The rural rich like La-Z-Boys every bit as much as the poor. They're just better at hiding them.

Trust me, tucked away behind the glitzy curb appeal of the country mansion is a living room packed to the gills with the workhorses of the La-Z-Boy fleet, including the magisterial train-length La-Z-Boy Sofas.

La-Z-Boys are the sentimental glue that binds Americans together and makes us an essentially classless country. All rural Americans, rich and poor, educated and uneducated, love the stuff.

Okay, I'm not being fair to the recliner people. Actually, the different recliner companies have research labs and are constantly investigating ways to update. Here's (above) a gaming recliner.

And here's (above)...what is that thing?....I'm guessing a physical fitness recliner, so you can doze off while exercising.

I'm not sure what this (above) is, either. Maybe it's a drum set for cutting edge garage bands who want to rebel and sock it to The Man while playing in sybaritic comfort. I'd better find out since I might be selling this stuff soon.

Drop by the store and identify yourself as an Uncle Eddies Theory Corner reader. Maybe I can get you a discount.

HOCKNEY LANDSCAPES

I'm not a fan of Hockney's minimalist paintings of naked guys in swimming pools, but I like the landscapes he did later in life.

I think this (above) is from Yorkshire in England. It's an example of intellect and style successfully imposed on nature. It's the way an artist organizes what he sees, and makes it pleasing.

Of course real life (above) is more chaotic and gritty. Plants fight for sunlight, grey overcast skies attempt to snuff out everything underneath...well, not really, but it can feel that way.
 

Here (above) Hockney imposes less order on what he sees. It's beautiful but kind of scary, too.

Above, one more variant. I get the feeling that Hockney has tired of this view and is looking forward to trying something else.

Here (above) we're confronted with the mystery of ordinary life. Massive predatory clouds wonder over fields of dense, complex living things. It's extraordinary and commonplace at the same time.

For comparison, here's (above) a Kandinsky showing riders galloping down a hill. I'm not surprised that so many great abstract artists had a background in landscape painting. It's the ideal subject for abstraction. Nature is full of shapes and colors that contradict and reinforce each other at the same time. It always confronts the viewer with a problem and a challenge.

ROADSIDE RUINS [EXPANDED]

Another Theory Corner architecture post: I'm always amazed when I catch a glimpse of roadside ruins (above). It's sad to think that families lived and worked in those places and were forced to abandon their homes, sometimes quickly. 

The best roadside ruins are from the 19th and early 20th centuries. I don't think most buildings more modern than that will provoke any regret when they decay.

It's pretty clear that the 19th Century was an architectural Golden Age (except for factories, which were never designed for aesthetics). People built in a more confident and congenial style then, and there was no redistributive income tax to inhibit building. 

  

All over you could find the influence of German and English Gothic. Geez, I love that style. A lot of Frank Lloyd Wright is based on it (well, that mixed with a Japanese influence).

Of course those old buildings are gone now, or if they're still standing they're candidates for the wrecking ball. It's too bad because, even in decay, they're still fascinating to look at. I'd love to spend an hour walking through the rotting hotel above, wouldn't you? I'd even pay for the experience. 

Isn't there some way to rescue these old structures? Like that crumbling hotel above; isn't there a way to make it pay for itself?  Maybe some notable historical event or crime happened there that would interest the public.  I imagine that almost every surviving building of the gaslight era was the scene of some interesting event. 

Lots of people would like to see those old buildings restored, but it's not likely to happen. It would be too expensive. They're too far gone. But, think about it...we don't have to restore them. Let them stay in the sorry state they're in.  All we have to do is provide paths of safe modern scaffolding so the visitors don't have to walk in the rubble. 

That's the way tourists are able to access otherwise dangerous caves with fragile stalagmites.

Beautiful old crumbling buildings are undeniably interesting, even when not restored. The smell of decay and the mess are part of the atmosphere. They evoke thoughts about the ephemeral nature of life, about how a true understanding of the past is almost impossible. We all live like the protagonist in the movie "Memento," unaware of what came before our time and unable to project an understanding of ourselves into the future. It's a sad thought, but an interesting one. 

I'm even interested in more recent ruins (above), but they wouldn't appeal to tourists. 

What I said about buildings goes for outdoor structures, too. The crumbling bridge above is unsafe for visitors but the addition of a narrow and sturdy walkway a couple of feet above the rotting surface might convert it into a tourist attraction. 

All over the country lots of old railroad tracks still exist in the underbrush.  Lets stop ripping them up. They're a goldmine of tourism for the community that contains them.

 Yes, remnants of old railroad trestles still exist! For Pete's sake, leave them standing!

I love the rotting wood and the moss and the rust. It would be great if a working small gauge trolley could ride through the misty forest on reinforced old rails, but that would be a big expense.

It used to be a common practice for trolley routes to end at a scenic restaurant in the forest or on a hill. A lot of those old structures still exist, decayed and covered with jungle. Let's figure out a use for them. No need to renovate...allow them to be beautiful tourist friendly ruins. Build a new restaurant nearby if one is needed.

THE SECRET HISTORY OF FARMING

I'm a city boy and I have no idea what real farming is like. I only know it can't be the paradise that you see in jigsaw puzzle art and sentimental posters. My guess is that it's hard...so hard that ordinary people do everything they can to escape from it, and they always have.

I seem to remember reading that farming began in the Middle East about 11,000 years ago.  My own guess is that it's at least 2 or 3 times older than that. I imagine that a few people practiced it on a very small scale, and only in the most fertile places, for thousands of years. What made a difference 11,000 years ago was...I'm guessing...

...the discovery of liquor! Only getting blasted all day long could make grueling work like that tolerable.

Think about it. Imagine hoeing endless rows of cabbage on a bleak and empty field under the hot sun. The only thing that would make it tolerable is the expectation that eventually you'd reach a jug of liquor that's hidden in a bush at the end of the row.

I'm guessing that once liquor made small scale farming feasible, then slavery was invented to grow little farms into big ones. Slavery probably always existed on a small scale, but liquor-induced farming kicked it up a notch...a big notch!

Did slave owners give their slaves liquor? My guess is that they did. After all, it probably increased productivity. My further guess is that slave owners eventually stopped doing this because liquor addiction was spreading from the slaves to them, the slave owners. 'Just a guess.

Okay, almost everything I've said is conjecture. I've read very little on the subject. You have to admit, though, that it sounds plausible.

MORE ASTRONOMY PICS 8/2015

This is Puppis A, a supernova remnant seen through a gap in a large foreground nebula, the Vela Super Nova Remnant. If you're a longtime reader of the astronomy posts here then you probably realize that this is not the way nova remnants are supposed to look.

Look how fragmented the red clouds are, as if they were torn to pieces by an angry giant. Not only that but the blue pieces of the cloud are long and fibrous, and the pieces are parallel...not the shape you'd expect in a conventional explosion. One of the red clouds on the right has a corkscrew shape. So what gives here? I don't know. 

Do you suppose there was one big explosion then ejected fragments blew up in secondary explosions the way some fireworks do? I'm probably wrong. 

For context, here's a much wider shot of the foreground cloud we were peeking through in the topmost photo. Look at the number of stars in the background. This is somewhere in the star-dense middle region of the galaxy. Stars are born and die quickly there.

It's a violent place with (I'm guessing) cumulative solar winds of an intensity that's hard to imagine. Maybe we should be surprised when any remnants have a normal shape in a rough neighborhood like this one.

Back in our neighborhood, here's (above) the familiar Crab Nebula, looking better than you've ever seen it before. The star that created it went nova in 1054 AD. When I was a kid a local science museum sold black and white glossies of this object and I bought one. It looked like a simple doughnut with slightly fuzzy edges and a star in the middle. Now,   with aid of the Hubble, it looks like an explosion in a cat fur warehouse.

The rapidly enlarging cloud is now 10 light years across.

Above, a color enhanced Pluto as seen by the New Horizons spacecraft in July. The probe is now headed for an asteroid in the Keiper Belt. It's a billion miles more remote than Pluto.

RAMBLING THOUGHTS ABOUT BACKGROUND ARTISTS

I know nothing about the fashion business but I know a little about one of the big designers because there's so many books about him. I'm talking about Christian Lacroix (above). He's evidently in love with color and the walls of his studio are covered with gouache sketches, art books and exotic fabric samples.

It's easy to see that Lacroix isn't just the owner of his studio, he's its chief morale officer.  The ubiquity of his work says to workers and visitors alike that this is a studio dominated by artists. If you're not an artist yourself you'll feel intimidated and out of place there, like you have two left feet. It's a scary environment for nonartists and that's the way it should be.

An artist's environment should make an outsider feel he's in a gypsy camp, full of exotic sights and sounds. It should be a world apart.

I wish art schools were like that. You'd think that art schools would set the tone for cool, artsy work environments, but they seldom do. An art school that can afford it will generally opt for the austere "angular minimalist" look (above). It's an architect's environment, not an artist's.

Schools probably have to do this...it makes parents and regulators feel good and you can't disregard people like that. Some schools solve the problem by keeping the minimalist lobby...

...but nurturing a rats nest of filthy, cozy artist environments on other floors.

The horrible truth is that creative artists sometimes prefer crummy, isolated environments. Maybe that allows them to tune out distractions and focus entirely on their work.

If you're a digital artist there's half a chance that you work in one of those trendy bullpen environments (above), but my guess is that artists don't do their best work in places like that. It doesn't satisfy the need of all artists to rise above the crowd and establish their own identity.

Background painters' work should be present all over the studio. It's good for the morale of the other artists to see it. It's a constant reminder that creativity is expected, that its an artist's job to entertain, surprise and to stimulate the audience's imagination.