Saturday Evening at the Metropolitan

My favorite place in the Metropolitan Museum is the Leon Levy and Shelby White Court in the Hellenistic and Roman Gallery. On March 5th, Saturday evening, the light shining down on the statues was simply divine.  

This display of statues has a fascinating layout. Sitting on the bench in front of a trickling fountain, you can see two versions of Hercules: one as a youth, the other as a grown man. Both show his physical strength, protruding thighs, proud chest, and the symbol of his first Labor - slaying the Nemean lion.  The youth has a symmetrically toned six pack torso, his cheeks and chin are smooth, his eyes gaze out into the future, his pose holds a slight arrogance. The older Hercules is bearded, accomplished, wise and leading. 

Surrounding the two Hercules are female forms of beauty.  Soft, subtle shadows angle across the curves of the breasts and round thighs of the Three Graces. Statues of Aphrodite convey the caress, the desire, the greatest passion.

In the middle of this grand ballroom of antiquities, the master of the symphony, is Dionysus - god of ecstasy, wine and celebration.

Time doesn't exist in real fashion here. The boy Hercules is in the same time frame as the man Hercules. After two thousand years of his creation by humans, he exists in a mythical state beyond the limitations of time. In a similar way, when time stretches out into the next thousands of years, the distance between our own childhoods and our adult lives will be reduced, relative speaking, to no more than the twelve small paces from one side of this room to the other. 

Feelings of sensuality and shame, softness and sanguinity, desire and strength, overtake us as we look at these idealized nude figures. They conjure and excite us just as they have been conjuring and exciting humans for thousands of years. What remains, in a Platonic play of forms, is a transcendent form of mankind.

I left this Gallery wanting to live in a manner that contributes to mankind's timeless beauty and venerated attributes. Yet, I also wanted to enjoy more the superstructure that created these statues: the mysteries, contradictions and struggles of being not impeccable gods, but flawed humans.

Re-reading Don Juan, While pondering Ocean Treasures and Newly Discovered Shipwrecks

In 2015 22 ancient Shipwrecks were discovered off the coast of Fourni, Greece

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Athens - Benaki Museum - Portrait of Lord Byron. Engraving after the painting by R Westall 1814 (postcard)

Athens - Benaki Museum - Portrait of Lord Byron. Engraving after the painting by R Westall 1814 (postcard)

From Don Juan: Canto the Second,  by Lord Byron

"It was such a pleasure to behold him, such

Enlargement of existence to partake

Nature with him, to thrill beneath his touch,

To watch him slumbering, and to see him wake:

To live with him forever were too much;

But then the thought of parting made her quake:

He was her own, her ocean-treasure, cast

Like a rich wreck  her first love, and her last."

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Links:

http://news.nationalgeographic.com/2015/11/151103-greek-shipwreck-find-trading-route

http://www.cnn.com/videos/world/2015/10/29/22-ancient-shipwrecks-found-in-fourni-greece-orig.cnn

A Poem in Ancient Greek Flash Cards

I....blessed with good genius, fortunate, happy, prosperous...dash over (of the sea) to wash, rinse, purge...fly, be on the wing, flutter...globe, earth....awaken, rouse, be aware...flesh, body..welcome kindly, greet, embrace...orgies, secret rituals, worship...love, treat kindly, want...neighbor...anoint with oil...lover...mix wine with water, blend...depth of the sea.

Ice Skating in Moscow

Pedestrian area in the center of Moscow, near the Kremlin.

Pedestrian area in the center of Moscow, near the Kremlin.

February (2015)

Two silver blades, sharpened. A subway map. Ski pants and faux-fur boots. I had a travel mission: to skate on the ice rinks of Moscow. The mission would take me across Red Square, Gorky Park, the 'ВДНХ', old falcon hunting grounds of Sokolniki Park, and I'd glide across Patriarch’s Ponds.

     A neighborhood church

     A neighborhood church

Winter is a wonderful time to visit Moscow. Purple skies and silent snowfalls illuminate the city's dark facades. Pensive strollers wander along the city's wide boulevards. Neoclassical buildings evoke a beauty akin to that of Russia’s ballerinas. Everything is real, but seemingly more unreal.  

My base was the Grand Marriot Hotel on Tverskaya Street, across from a flat that I rented back in 2011. I remember there was an old phone back in that flat with a hammer and sickle in the center of the dial. It used to ring at odd hours. I’d pick up and hear no one on the line. But since it had a dialing mechanism, I knew it wasn't a 'vertushka' (the Soviet one-way phones that called people from the Kremlin).

The ringing phone

The ringing phone

To ease back into the city this time, I strolled down Tverskaya Street (Moscow's 5th Avenue ). How is Russia handling the crisis? I stopped in a grocery store to check what was being shelved. To counter the sanctions, Putin banned most EU food imports. No more salmon from Norway, risotto from Italy or cheese from France. The store was stocked, but with local products. Meats regressed to Soviet-style bologna. The fish were salted paddles a grandma could use to give a good beating.

But some of my old Russian favorites, like buns filled with wild mushrooms, stirred my appetite. Russians know how to adapt to changing times. They make tasty soups out of an onion, a few other ingredients and the frozen fish paddles. Their blini and sweets are also made from a simple list of ingredients.  

Along Tverskaya, Russian women did not flaunt the kinds of stiletto-style boots and exquisite furs they are stereotyped for. The general atmosphere was more modest and utilitarian. In the famous food luxury story, Yeliseev’s Gastronom, some foreign products were actually available. I think a loophole in the new laws were allowing for some goods to sneak in through Belarus.

Further down Tverskaya, kiosks loomed in corridors, flashing exchange rates. The ruble was down half its value against the dollar, hitting its worst exchange rate in over a decade. Retail stores looked empty. I exchanged a hundred bucks with an old plump woman who wrote me a handwritten receipt. I placed the wad of rubles and receipt in my pocket and continued though a subdued atmosphere to Red Square.  

<<click here to read part 2 of "ICe Skating in Moscow">>

[All photographs by Charlene Caprio, except for the image of the Russian painting. Parts of this essay are still being finalized.]

 

What a Cup of Tea Might Mean

“Experience is, for me, the highest authority. The touchstone of validity is my own experience.” – Carl R. Rogers, On Becoming a Person

I have been searching for experiences that not only provide off-the-beaten path adventure, but that will open up the way I perceive the world. Experiences that take me beyond a fixed image of myself as a ‘Selfie’ in a foreign location. Experiences that help enrich my own systems of meaning and truth going forward.

I was thinking about this, while watching a Werner Herzog documentary called Happy People: A Year in the Taiga. It has a great Soviet setup: man dumped in the Siberian taiga to survive as a trapper. When winter sets in, the government’s promised provisions never come, leaving the man to learn to endure the harsh conditions. He developed skills from the land (carving canoes  out of the trees, etc.). Though he linked up with a village, the winters remained long hunting journeys across the frozen taiga, alone but for his dog.

He explains his life neither from self-pity nor pride; rather, from a calm voice that conveys an established system of skills, meaning and overall sense of being that (we realize as viewers) can only come from his own life experience.

In the middle of the documentary, Herzog rolls out the theme:

Accompanied only by their dogs, they live off the land. They’re completely self reliant…Truly free. No rules. No taxes. No government. No law. No bureaucracy. No phones. No radio. Equipped with their own individual values and standards of conduct.

Herzog calls such Siberian trappers Happy People because of this. Is it true? The Siberian man seems at peace, enjoying a simple cup of tea on the edge of a frozen river as a high pleasure – evoking a kind of monastic wisdom. Does this H.D. Thoreau realized dream tap into a sense of higher self actualized meaning?

Regardless, we each develop systems of meaning and truth from the experiences in our lives. The meaning of everything (our jobs, our relationships, etc.) is not stagnant. We have the continuous ability to shape meaning, through experience, even though we don’t know beforehand what meaning each experience will generate within us.

But most important, since experiences do create meaning inside of us, shouldn’t we be choosing our experiences, as much as we can, with this in mind? 

How about solitary experiences close to nature?

Is there something enriching to our meaning and truth systems that happens during back to nature experiences? Does a self-imposed modern Odyssey offer lasting benefits to enrich ourselves going forward? What in the wild, or simply unplugged, can bring us closer or deeper to who we believe we are and who we want to express ourselves as?  And are we searching for experiences that can help us ponder what our own happiness means?

Perhaps being thrown into a wild (extremely different from our daily lives) adventure is a way to create processes that refresh the cognitive base upon which we perceive ourselves, understand ourselves, and attach meaning around us. Intuitively we understand these processes at work. It is a theme now in many books and films. The upcoming film, Wild, seems to be of this kind. Into the Wild was the extreme version of a solitary adventure gone awry.

But a solitary adventure, wherever it is, does not need to be alone. The solitary adventure can be found in any experience that taps into that solitary (and hidden) part of the inner self that can never be exposed in a Selfie, because it exists internally as a process. 

By experiencing new things, continually, throughout life, we become, in a new way, connected. We are connected to that solitary process within ourselves that is not as a fixed point (or fixed image of the 'Self'ie), but a process of meaning and truth moving forward.

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Man in Russian Forest, 2012 (Photo by Charlene Caprio)

Man in Russian Forest, 2012 (Photo by Charlene Caprio)

{View trailer for Happy People: A Year in the Taiga}

{Wikipedia page about the American psychoanalyst, Carl Rogers}


Ikaria (and Syrinx)

Can you feel the wind?  It’s different on Ikaria  –  he licked the salt on my neck.

It’s feral and fierce, twirling its own dervish dance –  I grasped for the twisting air.

All the stars come out on Ikaria  –  he pulled my hair from behind.

Yes, I see Artemis drawing her bow  –  I smelled the sweat of a deer.

The moon is also different on Ikaria  –  his fingers opened my mouth.

It’s bright and orange, and rises like the sun  –  I gasped and pulled at his beard.

Because the night is the day for us, on Ikaria  –  he groaned and tugged at my hips.

That cave in the cliff, it is your home  – I scratched at his sylvan legs.

The water in our rivers tastes better too  – he arched me over a rock.

Yes, each spring you drink with their nymphs  – I saw Pan’s eyes in the woods.

Do you hear the sea? It’s brewing the pyre – he poured hot sand in my ear.

Yes, it’s the myth. He’s ready to fall! – I moaned and started to melt.

Finally you are here, here on Ikaria – he carried me to the reeds.


[“In classical mythology,  Syrinx (Greek Σύριγξ) was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous Greek god Pan, she ran to a river's edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. Pan cut the reeds to fashion the first set of pan pipes, which were thenceforth known as syrinx. The word syringe was derived from this word.” Wikipedia. http://en.wikipedia.org/wiki/Syrinx

“Icarus ignored instructions not to fly too close to the sun, and the melting wax caused him to fall into the sea where he drowned.” Wikipedia. http://en.wikipedia.org/wiki/Icarus ]


How to discover what we didn’t even know we were searching for…

A couple of years ago, by a whimsical adventure with a farmer, a piece of rope, axe and a chainsaw, I learned that I could stop searching for just what I already knew… and leap forward to discover that, which I didn’t even know I could search for. That is, I broke open my own personal ‘box’.

Our minds inevitably become programmed with its own individualized patterns, vocabulary, and knowledge base starting from childhood and continuing on with what we absorb, in school, jobs, relationships. We have to form a linear way of thinking because we see ourselves as a unified ‘whole’. Our searches thus become string searches triggered from our own (limited) coded language.

But how to solve Meno’s Paradox? Socrates, in Plato’s Meno said:

"You argue that a man cannot enquire either about that which he knows, or about that which he does not know; for if he knows, he has no need to enquire; and if not, he cannot; for he does not know the very subject about which he is to enquire."  - Socrates, Plato's Meno*

This paradox, and a solution to it, hit me when I was living on Ikaria Island. The electricity went down for a couple of days, and it was a cold winter day in the mountains. I wanted to build a fire and naively thought I could buy wood at a store.

The small shops and cafes in the center of the village, though dark and quiet, were open. Villagers huddled around a stove fire in one cafe. But no one sold wood. So I walked into a cafe and inquired about wood. An old farmer, with eyes as wide as an owl's and thick eyebrows to match, turned to me and grumbled, “I can get you wood. I’m going now. Come on.” I was hesitant to respond: stranger means danger. I fumbled up an excuse that I needed to get home.

But he didn’t let me off the hook. “For what?” He yelled. “There’s no electricity. You have no heat. What can you do at home?”

It was true. I desperately needed firewood.

Before I knew it, I was sitting in an old pick up truck. The farmer commanded me, “Hold this.” It was the chainsaw. At my feet lay a long rope and an axe. He rumbled the gears as we drove high up the switchback road into the mountains. We exchanged just a few broken sentences of English, while I feared I had made a bad mistake.

The farmer parked, and led me a kilometer up the island mountain, into the forest where lightening and storms had hit – shattering trees and bushes into felled wood for picking. I ran toward the largest dead trees. There was enough wood for the whole winter! But he pointed further away, toward small, twisty branches. “We want this. More heat. Better smell.”

For hours we axed and chainsawed branches into piles. I learned that there is a good dense wood (genus Arbutus) that has a beautiful raisin-colored vein inside it, and when burned it drips sizzling water like drops of blood into a fire. Its fruit is used for making jam and the strong alcoholic drink, tsipouro. The wood is also used to make flutes, and its bark sheds its skin, changing from dark crimson to green.

But how to get our wood down the mountain? I was completely perplexed, staring at our piles. The one long piece of rope was our last tool left.

Had I been left alone I would have tied a lasso and tried to drag it down the uneven mountain pocked with boulders, stone walls, jutting stumps and branches; I’d get it all tangled up like a fishing line, snap it and go home cold.

This farmer, however, knew what to do. With strong short legs and hefty shoulders, he tied the rope around a pile of branches that we stacked on an old stone wall, and then sat down himself and pulled the rope around his torso and shoulders in such a way that it created a backpack, carrying the branches inside it. Using the axe as a walking stick, he hoisted himself up, found his balance, and carried the pile of gnarly wood down the mountain better than a mule. Although I learned he was much older than I had thought, he repeated this four or five times until all our piles were loaded up onto his truck.

And so I learned, from this leap into what was not part of my own problem solving skills, not just how to find a packet of wood but how to heat my home for the whole winter. From this I made fires that I could cook meat and vegetables over…and I talked more with the farmer who became one of my close friends on the island. I also learned what BTU rates were, and how to be very picky about my wood. 

So how can we search for that which we do not know?

I believe it takes a leap, a trust, a jump sometimes.

A conversation that you think you have no time for.

A hand reaching out to be led, rather than leading all the time.

A break in the patterns that we should realize have formed in us.

And sometimes reason needs to be left behind, our overworked engine turned off, so that a new wind can catch hold of our sail.

I’m not advocating encounters with strangers and chainsaws, axes and ropes, but indeed there are ways to discover what we didn’t even know how to search for.

There are ways to break out of our own personal box ... to defeat Meno’s Paradox!

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* Excerpt of Plato's Meno is from The Project Gutenberg EBook of Meno, by Plato, available here: http://www.gutenberg.org/files/1643/1643-h/1643-h.htm.

DSC_3454_smallFire.jpg

A Gift

A gift. It can be a curious thing. Exciting. Comforting. Befuddling. For about a year now, I have been receiving gifts at my door. Wrapped up in plastic bags, tied to the doorknob with a handwritten note, signed with a certain apartment number.

My personal gift giver lives in my building. I know his identity: an old, Italian book seller who has lived most of his life on this corner of Manhattan. He leaves the building every morning in a three-piece suit and fedora. He never knocks on my door when he leaves the gifts; I discover them on my way out.

His gifts are of a unique variety: kitchenware from the dollar store; a single bottle of Guinness; a wind up timer. Once, I found a bag of salt with a note attached instructing me to sprinkle it in the corners of my apartment on Friday the 13th . Another time, he underlined an article about coffee and dieting and attached a tape measure for me to measure my waist.

I am still perplexed on the best way to respond. I don’t think I’ve gotten it right. Although Manhattan is an island, it’s not the small island, where farmers left olive oil and figs at my door and I reciprocated with an ear for their stories. Nor am I submerged in an anthropological setting of Marcel Mauss’s, The Gift.  This is Manhattan. The Mana is beeping horns.

But I've felt obliged (morally? ethically? personally?) to reciprocate. A book about NYC…in a bag tied to his door. A small tapenade wrapped up in a ribbon for him. Baked muffins. But in consequence, his gifts have escalated. Chianti is his favorite.

So am I doing something right or wrong with my reciprocal gift giving?
 

But I confess that a gift, even a simple spoon for stirring tea, can make a rough day feel special. And if I don’t receive a gift for weeks, I get very worried now.
I stand in the hallway before his door, silently, and listen. 
Italian opera music is playing. Good. Something is shifting. Phew…he is okay.

We do run into each other, occasionally, in the lobby.
But we never talk about the gifts.

“You’re looking good,” is how he usually starts the conversation, his fedora shadowing his eyes. And then it continues with peculiar threads of advice: “But your hair looks dry…you should polish it up. And make sure to look good when you go out. If you live with a man, never take out your teeth in front of him….”

“Okay,” I smile to all his advice, as we chat, exchanging the gift of NYC minutes. (He is busy too, always coming and going.)

I didn’t see him this morning.

But when I walked out, another plastic bag was tied to the doorknob.

 

An ancient gift of armor being received, as depicted on a Greek vase. 

An ancient gift of armor being received, as depicted on a Greek vase. 

On Site - Grand Central Terminal

I often wonder at what age do we form our own character. We develop a character, or rather, ideal image of ourselves like an old fashioned B/W photograph… a wonderful  image that crystallizes and sticks, perhaps for the rest of our days.  Lacan coined a child’s mirror stage (the first time a child recognizes her/himself in a mirror…and certain processes are triggered) but I am talking about the adult, internal mirror.

It is a good thing.

Whether or not we can always express it, our ideal image is a bookmark that we can set in and out of the pages of life. To reflect…reset…confront…comfort...question.  (I am not talking about an ephemeral FB image that we create.)

I think mine was around 18 years old. I was walking along ruins at Delphi with a notebook in my hand. I described what I saw: fragments of walls, a shimmering sea, marble columns, a road. I couldn’t express anything deeply, but I sensed that I felt deeply. And I liked this feeling. It continued to emerge while I was in the Peace Corps and shared adventures, secrets and histories in far removed places.

This  image - free, far away, adventurous, driven by chance but carried by trust - at a certain point engulfed me.  It is certainly not everyone’s ideal image character…as yours might be entirely different and even the reverse.

With it, though, I feel like a bit of a ghost sometimes, walking in New York City, trying to hold on to a piece of the crowd, while feeling a distant river rushing through my fingers. 

Don’t get me wrong. I am just like everyone else, here, actually. You wouldn’t notice a thing. No different…really. I am probably even looking at my IPhone when you pass by me on the street.

But often, I break and run into Grand Central Terminal to look up at the city’s painted stars. How to navigate the seas with the stars? I still really want to know this.

Standing in the center, next to the giant clock, I wait until the light show goes on. And I twirl around looking up, smiling, feeling euphoric here in Grand Central Terminal. Here, where we are all "alone - together" the stars are reversed.  All of them - except for the great hunter, Orion.


Grand Central Terminal ceiling. Photo taken October 2013.&nbsp;

Grand Central Terminal ceiling. Photo taken October 2013. 

When Women Put on Their Shoes

For thousands of years, we have depicted gods in our own idealized image ... and then we have tried to imitate these gods.

It is a humorous cycle. An impossible cycle. But one that I can smile at ... and partake in sometimes.

My favorite ancient relief statue is called, "Nike Adjusting her Sandal" and comes from the Temple of Athena Nike on the Acropolis in Athens. Whenever I have the chance to visit her, I feel like I am visiting a mentor, or rather, my timeless muse. 

She is beautiful, lithe, seductive and wise. Engaged in the common, tedious task  of adjusting her sandal she tempts us with the wet T-shirt effect. Yet, she also reminds me of the precious peak hour in the morning when thousands, no millions, of women at home are hurrying to put on their shoes to get ready and step out into the world.

There is hidden beauty in even this moment of the day.

Also remember that Athena and so many other gods were created from what we love most about ourselves ... what it means to be seductively human. 

(Thanks to Elise Jacob, for taking the photo below. See also my Video Clip, Athena and the Greek Seas.) 

 

Interpreting Fragments

"How can you gather together the thousand fragments of each person?" -- George Seferis

In archeology, most often only fragments are found. And from these fragments, pictures are formed from the imagination of the beholder.  The stories unfold...how was the ancient vase used? What did it look like? Who exactly was depicted in the mosaic? How did s/he...the whole population live, eat, breath, die? All is retold through shards and fragments.

But man is not a god. The images created are only good guesses, half truths, imaginary wanderings and our own, projected desires.

And isn't this also how we view and judge other people? Never do our eyes gaze upon more than just a handful of fragments of another person. Yet, our minds trick ourselves into thinking that we see a full image. Because we color in the missing pieces, connect lines in ways that our own limited minds have been trained to do so. We then judge the 'persons' we create, and weigh them on our own scales of good and bad, success and failure, emulation and repulsion.

We allow ourselves to be deceived...just like how our eyes (for thousands of years) have deceived us to believe that the moon is much larger when it's closer to the horizon.

fragments.jpg