Life Becomes Art: Modeling for Joel-Peter Witkin

by Ann Millett-Gallant

Joel-Peter Witkin, “Retablo (New Mexico)” (2007).

In 2010, I published my first book, The Disabled Body in Contemporary Art.  In it, I analyze the artworks of contemporary disabled artists, many of which are self-portraits and performance, in comparison with images of disabled bodies by non-disabled, contemporary artists.  I also place such contemporary work in comparison with images from the history of body displays in art and visual culture, such as fine art painting, medical photographs, freakshow displays, documentary photographs, and popular culture.  I was very proud when the book was called the first to cross the disciplines of art history with disability studies and am happy that it has been adopted as required reading for courses on a variety of subjects related to visual culture, disability studies, and cultural studies.

Joel-Peter Witkin, “First Casting for Milo” (2005), as used for the cover of Ann Millett-Gallant’s book, The Disabled Body in Contemporary Art.

The book overlaps with subjects of many of my online courses at UNCG.  In it, I discuss the work of Frida Kahlo, which, although it precedes the time period on which the book focuses, set much precedence for the self-portrait and performative work of contemporary disabled, as well as many non-disabled, women artists.  We discuss such work in my online Art 100 course in a unit about feminist art and notions of arts and crafts.  Much of the artwork I analyze in my book is photography, which relates directly to my BLS course: Photography: Contexts and Illusions.  I also discuss performance, which is a major subject of my BLS course: Representing Women, as well as The Art of Life.  The Art of Life course focuses on the intersections between art and everyday life in a variety of ways, which is also a theme of this book.  In all three of these BLS classes, we debate the implications of self-display on the part of artists.  I delivered a talk about my book for the art department of UNCG in Fall of 2010 and again at the Multicultural Resource Center in Fall of 2012.  At both meetings I received a lot of interested feedback and compelling questions, as well as generous praise.  I am interested in teaching an online course centered on the subjects of my book in the future.

Frida Kahlo in 1931, six years after the bus accident that left her in lifelong pain.

The subject matter of this book has proved to be personal to me in more ways than one, and in some ways unexpected.  I have been physically disabled since birth, involved in studying and making art since childhood, and interested in bridging these subjects in my teaching and writing as an academic professional.  And there is more.  While researching the beginnings of this book in New York City in the Fall of 2004, I visited the Ricco Maresca Gallery for a Joel-Peter Witkin exhibit (examples of Witkin’s work may be viewed at the Catherine Edelman Gallery and the Etherton Gallery).

I viewed the gallery and met the photography curator, Sarah Hasted, who was as enthusiastic about Witkin’s controversial work as I was and was also a personal friend of his.  She thought that because of my interest in his work, knowledge of art history, experiences (personal and scholarly) with disability, and, above all, because of my body, Joel and I should meet and collaborate on a photograph.  I was eager to serve as his model.  I felt that while arguing that self-display for disabled people, as well as other individuals, can be a liberating personal and political act, I felt that I should have the experience, or in other words, I should put my body where my mouth was.  After much correspondence and many sketches later, in the Spring of 2007, I traveled to Albuquerque, NM to meet him and to become a performing agent in one of his tableaux.

Witkin self portrait (1995).

I wrote about my many experiences in my journal and later in my book.  The long weekend is now a blur, but I recall specific details: visiting with Witkin’s horses and dogs earlier on the day of the shoot; befriending his wife, Barbara; taking off my prosthesis and my clothes, yet feeling no embarrassment; being painted white to replicate the color of marble sculpture; and posing beside another nude model for different shots.  Covered in body paint, I almost felt costumed, and as time passed and I posed with other models and in front of photography professionals, I felt less self-conscious.  Being posed as an eye catching detail in the photograph, I felt picturesque.  I remember how Witkin would become animated: “That’s it!” he’d exclaim, with almost orgasmic excitement.  Yet it was all business for him.  He was creating his work, which was the source of his fiery pleasure, and we were actors playing roles.

The resulting photograph is titled Retablo (New Mexico) (2007), referencing Latin American, Catholic folk art traditions (and, for me, many self-portraits by Frida Kahlo).  The image was conceived when Witkin saw a retablo image featuring two lesbians embracing, wearing only thongs, and posing above the following retablo prayer:

San Sebastian, I offer you this retablo because Veronica agreed to come live with me. We are thankful to you for granting us this happiness without having to hide from society to have our relationship. Sylvia M. (translation)

Ann Millett-Gallant at her computer.

Witkin’s photograph also contains this prayer and, of course, fabulist imagery.  It is based on this and other similar retablos, printed in France, of homosexuals giving thanks to God and to saints for graces received in their lives. In Witkin’s version, Duccio’s Christ resists Lucifer’s temptations after viewing the future of the world, which includes the tragedy of 9/11.  Witkin’s composition features a triumphant female nude figure as Vernocia, displaying her corporeal glory and gazing down at her lover, Sylvia, a seated nude figure (me), beside her.  We are staged on a pedestal covered in flowing drapery and in front of an elaborate backdrop, which includes a photograph of the same model in a characteristic St Sebastian pose and a painted, shadowed, and winged form confronting a hand of salvation.  An iconographic reminder of death and a warning symbol of righteousness, a skeleton, lounges comically on the left side of the scene.  I cannot logically explain the photograph, as it defies a central narrative.  It is far more sensory than sensible.  I have my back to the camera and am seated on my two shorted legs (one congenitally amputated above the knee and one below), as I extend my “deformed,” or here fabulist/fabulous arms.  The female figures are opposing in the positions – one flaunting the front of her nude body, the other much smaller and flaunting her back.  The two bodies complement one another and complete a disfigured, heavenly narrative. Witkin said he especially, aesthetically admired my back, which inspired the pose.  This seated figure that is me is magical and all-powerful; as viewers stare at my back, I stare back.  Like the other models in my book, I perform for my readers/viewers.  Life becomes art.  The photograph epitomizes the Art of Life for me.

Today, a print of the photograph hangs in my living room, while another image of Witkin’s graces the cover of my book, I refer to the photographer as Joel, and Paul, my companion on the trip who served as Joel’s assistant, is now my husband.

Making Magic on Broadway

By Marc Williams

The Tony Awards are Broadway theatre’s version of an Oscar, recognizing the highest levels of achievement in commercial theatre. This year’s nominees include a revival of Pippin, a musical that premiered on Broadway in 1972 and hasn’t been seen on Broadway since that original production.

Pippin was conceived by composer and lyricist Stephen Schwartz, who is best known Godspell and, more recently, the Broadway mega-hit Wicked. Schwartz began working on Pippin as an undergraduate at Carnegie Mellon University and after achieving a seemingly overnight success with Godspell in 1971, the 23-year old Schwartz and his collaborator, Roger O. Hirson, were able to find a producer willing to put Pippin on Broadway.

Like Schwartz’ earlier hit Godspell, Pippin had great popular appeal. The scores to these musicals contain pop/rock songs that became crossover hits on top-40 radio. The original Off-Broadway cast recording of Godspell’s “Day By Day” climbed to the #13 position on the Billboard Top Singles chart, while songs from Pippin were recorded by the Jackson 5, Michael Jackson (solo), the Supremes, and Petula Clark and Dusty Springfield. On stage, Pippin was a bona fide Broadway hit, running over 1900 performances–one of the longest runs in Broadway history. An interesting side note to Pippin’s successful run was its very effective marketing campaign; Pippin was the first Broadway musical to use clips from the production on a television advertisement. The famous “Manson Trio” dance number was featured in this minute-long television commercial that is credited for generating much of the musical’s early ticket sales (pardon the water mark):

Ben Vereen as the Leading Player in Bob Fosse’s 1972 production of Pippin.

While Pippin enjoyed popular success, the script and score were not embraced by the influential New York critics. In his New York Times review, Clive Barnes called Pippin a “trite and uninteresting story with aspirations to a seriousness it never for one moment fulfills.” He similarly wrote of Schwartz’s score, “It is a commonplace set to rock music, and I must say I found most of music somewhat characterless.” However, Barnes praised the production as a whole, noting its inventive staging and choreography, the work of the stage designers, and the triumphant performance by Ben Vereen as the Leading Player.

Bob Fosse.

Barnes and other critics took notice of Bob Fosse’s work in particular, which deemphasized the script’s naïve and passive title character and focused on the dark, dangerous agenda of the musical’s ringmaster, Vereen’s Leading Player.

Stephen Schwartz.

Rather than Schwartz’ story of a young man’s search for fulfillment, Fosse viewed Pippin’s plot as the story of a young man being seduced into self-destruction. In an effort to support the theme of seduction, the production visually evoked burlesque and carnival performance, highlighting themes of sexual exploration and discovery. The 24-year old Schwartz, whose musical influences were more James Taylor and less Jimi Hendrix, perhaps had not imagined his musical with such a seedy underbelly and as a result, the rehearsals for Pippin were famously contentious, with Fosse, Schwartz, and Hirson battling for control of the production’s tone. Eventually, Fosse banned Schwartz and Hirson from attending rehearsals!

Some criticism of Schwartz and Hirson’s work is warranted. The story is fragmented and the central action unclear. The musical’s original ending is among the most jarring and dissatisfying endings one is likely to find in a musical. Structurally, Pippin is incomplete and any production of Pippin seems to require additional directorial focus in order to hold the entire script and score together into a cohesive evening of theatre. Fosse seemingly knew this, and his work earned him a Tony Award in 1973 for Best Director of a Musical; Fosse also won a Tony Award for his iconic Pippin choreography.

Diane Paulus

Forty years after Fosse’s original production, a new production opened on Broadway April 25, 2013. Directed by Diane Paulus, the new production has been called a “natural extension” of Fosse’s, a Pippin for a 21st century audience. If Fosse’s production was suggestive, Paulus’ production seems to opt for excess. Fosse’s dancing ensemble, for instance, was conceived as a group of traveling burlesque clowns. Paulus’ vision for these traveling players is less burlesque, more Cirque du Soleil. In fact, Paulus’ production employs a troupe of Canadian acrobats that creates a sense of grand spectacle throughout the show. If Fosse’s production is a story of seduction, Paulus’ production seems a story of astonishment. Here is a glimpse of Paulus’ new production:

Much has changed on Broadway since Fosse’s Pippin opened in 1972. The 1980’s was an era of musical spectacles, lavish musicals like Cats, The Phantom of the Opera, Les Miserables, and Miss Saigon that boasted some of the most eye-popping visual effects ever seen on stage. More recent musicals like Wicked and

Spider-Man: Turn Off the Dark on Broadway.

Spider-Man: Turn Off the Dark have continued that tradition into the 21st century. In my BLS course, Eye Appeal: Spectacle on Stage and in Life, we discuss musical spectacles and how 21st century audiences have come to expect a certain degree of “eye appeal” at a Broadway musical. With many of these musical spectacles, the stage designs are frankly more impressive than the scripts the designs are attempting to support. Some of these productions could be called “style without substance,” in spite of their commercial success. In the case of Paulus’ Pippin, it seems the director is using the fad of musical spectacles not to distract from the script’s flaws but rather to enhance the script’s central action and deliver a story about amazement to an audience that demands to be amazed. Given the positive reviews and ten Tony Award nominations Paulus’ production received, one wonders if Pippin is poised to be a Broadway hit yet again.

###

An interesting “Making of…” feature published on the New York Times’ website, demonstrating how Paulus and her collaborators conceptualized Pippin’s famous opening number, “Magic to Do.”

Claude R. Tate, Jr.

Claude Tate, an indispensable teacher in the BLS Program since its inaugural semester, passed away suddenly this past Thursday, April 25. He was in Hendersonville, where he and his wife of 35 years, Suzanne, have a mountain getaway.

Claude came to the BLS Program by way of his enrollment in the Master of Arts in Liberal Studies (his second master’s degree), during which he studied under Dr. Stephen Ruzicka, who has been involved in the BLS Program since its conception. Claude’s love of learning and teaching, his humanitarian spirit, and his interests in widely varied topics of learning made him a perfect fit for the BLS Program from the beginning.

Originally a native of Ossipee, NC, Claude began his college career at Rockingham Community College just out of high school. He finished his Bachelor of Arts in history at Appalachian State, before coming to UNCG for his first Master of Arts, also in history, and education coursework toward his Advanced Competencies certification. He taught history at Southwestern Randolph High School for twenty-eight years before retiring in 2008. Meanwhile, he had completed his second Master of Arts, in liberal studies, and begun teaching online for the BLS Program. A lifelong learner and teacher, Claude enjoyed the opportunity to teach students at a higher level and in more esoteric subjects. After his retirement from SRHS, he also enjoyed the fact that teaching online allowed him the mobility to teach from his home in Asheboro, his mountain getaway in Hendersonville, or wherever else his family or interests took him.

Claude had a knack for engaging students in difficult subjects and for bringing struggling students to the joy of learning. He was a consummate teacher, even in retirement from a career as a teacher.

Dr. Ruzicka, who taught Claude in the MALS Program and introduced him to the nascent BLS Program in 2004, remembers that Claude “was always simultaneously a learner and teacher,” and that he “pursued advanced degrees both for his own sake and for what he could add to his teaching.” He observes that Claude would take on developing and teaching new courses in order to broaden his own understanding of the world. As Dr. Ruzicka puts it, Claude was “a wonderful big thinker and relentless interpreter, who always sought and found links and interconnections among seemingly disparate ideas and events. His own intellectual vitality made long dead people, unseen places, and forgotten events come alive as part of a timeless web of meaning.  He gave himself over selflessly to students for nearly 40 years.”

Claude’s wide variety of interests is reflected in the posts he wrote after being conscripted as a contributor to the BLS Program blog. He immediately jumped on the rapidly rising cost of higher education, and wrote a few other posts on such political topics as (in no particular order) the resurgence of the American Right, the problem of explosive population growth, and the insidious power of congressional redistricting. But not all his posts were about political issues. He also wrote about excellent movies, gloriously bad movies, a rare little lightnin’ bug, and perhaps most telling of the wild diversity of his interests, a post in which he outs himself as an “old space nerd” and gives us the news from the final frontier. This is neither a complete nor a chronological list, but there are some links if you want to go back and read some of his posts.

Claude is survived by his wife of 35 years, Suzanne, by his adult son Matt and daughter-in-law Ashley, and by their children Mason and Adeline. He also has a surviving half-brother, a sister-in-law, a niece and nephews, great-nieces and a great-nephew.

There will be a Celebration of Life gathering this evening from 6:00 to 8:00 p.m. at The Exchange in Asheboro. In lieu of flowers, the family has requested memorials be made to Friends of DuPont State Forest, PO Box 2107, Brevard, NC 28712, or to a charity of the donor’s choice.

What Should We Learn in College? (Part II)

by Wade Maki

In my last post I discussed comments made by our Governor on what sorts of things we should, and shouldn’t, be learning in college. This is a conversation going on across higher education. Of course we should learn everything in college, but this goal is not practical as our time and funds are limited. We are left then to prioritize what things to require of our students, what things will be electives, and what things not to offer at all.

One area we do this prioritization in is “general education” (GE), which is the largest issue in determining what we learn in college. Some institutions have a very broad model for GE that covers classic literature, history, philosophy, and the “things an educated person should know.” Exactly what appears on this list will vary by institution with some being more focused on the arts, some on the humanities, and others on social sciences. The point being that the institution decides a very small core for GE.

The drawback to a conscribed model for GE is that it doesn’t allow for as much student choice. The desire for more choice led to another very common GE system often referred to as “the cafeteria model” whereby many courses are offered as satisfying GE requirements and each student picks preferences for a category. This system is good for student choice of what to learn, but it isn’t good if you want a connected “core” of courses.

In recent years there has been a move to have a “common core” in which all universities within a state would have the same GE requirements. This makes transfers easier since all schools have the same core. However, it also tends to limit the amount of choice by reducing the options to only those courses offered at every school. In addition, it eliminates the local character of an institution’s GE (by making them all the same), which also reduces improvements from having competing systems (when everyone does it their own way, good ideas tend to be replicated). If we don’t try different GE systems on campuses then innovation slows.

No matter which direction we move GE, we still have to address the central question of “what should we learn?” For example, should students learn a foreign language? Of course they should in an ideal world, but consider that foreign language requirements are two years.  We must compare the opportunity costs of that four course requirement (what else could we have learned from four other courses in say economics, psychology, science, or communications?). This is just one example of how complicated GE decisions can be. Every course we require is a limitation on choice and makes it less likely that other (non-required) subjects will be learned.

As many states look at a “common core” model there is an additional consideration which is often overlooked.  Suppose we move to a common core of general education in which most students learn the same sorts of things.  Now imagine your business or work environment where most of your coworkers learned the same types of things but other areas of knowledge were not learned by any of them. Is this preferable to an organization where its already employed educated members learned very little in common but have more diverse educational backgrounds? I suspect an organization with more diverse education employees will be more adaptable than one where there are a few things everyone knows and a lot of things no one knows.

This is my worry about the way we are looking to answer the question of what we should learn in college. In the search for an efficient, easy to transfer, common core we may end up:

1. Having graduates with more similar educations and the same gaps in their educations.
2. Losing the unique educational cultures of our institutions.
3. Missing out on the long term advantage of experimentation across our institutions by imposing one model for everyone.

Not having a common core doesn’t solve the all of the problems, but promoting experiments through diverse and unique educational requirements is worth keeping. There is another problem with GE that I can’t resolve, which is how most of us in college answer the question this way: “Everyone should learn what I did or what I’m teaching.” But that is a problem to be addressed in another posting. So, what should we learn in college?

It’s So Bad it’s Good.

By Claude Tate

I devoted one of my blog entries last fall to a movie, Raise the Red Lantern,  which I felt was not only an excellent movie in and of itself, but a movie of educational value in that it provided a window onto traditional Confucian society in early 20^th century China.  In fact, I liked it so much I’ve used it a number of times in classes and recommended it on numerous occasions to my BLS students.

Gong Li in Raise the Red Lantern

This blog is also devoted to a movie, but a very different kind of movie. This movie is far removed from an excellent movie. It’s a bad movie. A very bad movie. The general consensus is that it is the worst movie ever made.  In fact, it is so bad that even some critics see it as good.  For example, Phil Hall on his film review site, Rotten Tomatoes, said the exceptionally poor quality of the movie made him laugh so much, he could not put it at the top of his ‘worst of’ list.  Another source, Videohound’s Complete Guide to Cult Flicks and Trash Pics, states that, “In fact, the film has become so famous for its own badness that it’s now beyond criticism.”

Also, this movie does not have the clear educational value that “Lantern” has. But if one defines educational value somewhat loosely—strike that, very loosely—it is not without some value.  In fact, I used it on several occasions in a face to face class I used to teach entitled “US History Since 1945″.  Since we had time in that class to go beyond the high points that one is limited to in the broad surveys, I tried to include things that would allow students to re-imagine what everyday life was like. Toward that end, when I covered the 1950s, among other things, I brought in clips of some of the old classic TV shows as well as some movies.  The atomic bomb and the possibility of nuclear annihilation became a part of our lives during the ’50s, so there were a number of movies made that were built around that theme. Some were good, while others were not so good. We also really became very much aware of space during this ’50s, so a number of movies were made devoted to that theme. Again, some were good, while others were bad. While I mainly used clips, when there was time, I would try to work in an entire movie using one or both of those themes. I tried a couple of the really good ones, but film-making has changed quite a bit since then, so students didn’t seem to appreciate the quality of what they were seeing. So I decided to look for stinkers.  Luckily, I not only found a stinker, the stench from this ‘masterpiece’ could encircle the earth several times over. Students generally really liked the movie, so I thought I would suggest it here.

Plan 9 From Outer Space original poster

It is (music please) Plan 9 From Outer Space (made in 1956, released in 1959). It is a horror movie that incorporated an invasion from outer space theme as aliens planned to conquer the earth by raising the dead against us. It was conceived, produced, written, and directed by the infamous Edward D. Wood, Jr.  After years of criticism, in 1980 Michael Medved and Harry Medved named it the “worst movie ever made” and awarded it their Golden Turkey Award.  That same year Ed Wood (who died in 1978) was also posthumously awarded the Golden Turkey Award as the worst director ever.  I don’t know whether any of the actors in the movie received any ‘worst’ awards for their performances, but a number of them should have. It also played at a Worst Films Festival in New Orleans, figured prominently in an episode of Seinfeld, and was the centerpiece of the movie, Ed Wood, (1994) which was directed and produced by Tim Burton and starred Johnny Depp.

Johnny Depp as Ed Wood

For those of you who haven’t seen the movie, I don’t want to spoil the beauty of it by saying too much about the number of ‘gems’ it contains. But a few hints will not hurt.  Bela Lugosi was going to make a comeback with this movie, but died after only a few test shots. Ed, ‘ingeniously’ included those few shots on a number of occasions in the movie. For other shots, his wife’s chiropractor, who looked nothing like Lugosi, was the stand in. That is why the DVD released through Image Entertainment, states “Almost Starring Bela Lugosi” on the cover.  The special effects are also a thing of beauty as the flying saucers are campy even for the ’50s.  And one just has to love how night turns to day and back to night in back to back scenes. But if you wish to know more, a plot summary can be found on “The Movie Club Annuals…” website.

I own the DVD. I just had to have a physical copy. But it is in the public domain, and can be accessed on YouTube here.   You should also be able to download it from other sources.

Ed Wood

By the way, Ed Wood made movies before and after this one.  I have not seen them so I cannot attest to their quality, but given his talent for movie making he showed in Plan 9 and the titles, I would assume they are bad also.  But movies evidently weren’t his only passion.  He wrote a large number of books, which I have not read nor intend to, but from the sampling of titles I’ve seen, he seems to have been just as good at writing books as making movies. Ed also led an interesting personal life which you get some hint of in the movie, Ed Wood.  If you want to find out more about Ed or his other “artistic” endeavors, you’re on your own.  I’m only recommending Plan 9 From Outer Space.

If you plan to watch Plan 9, I would suggest you watch Ed Wood first.  I think it will help you understand and appreciate both Ed and Plan 9 since it focuses on Ed’s early career and the making of this ‘masterpiece’.  By the way, Ed Wood is a very good movie. It won two Academy Award, one for Best Supporting Actor (Martin Landau), and one for Best Makeup (Rick Baker, Ve Neill, and Yonlanda Tousseing).  Unfortunately, this movie is not in the public domain so you will need to rent it.

Vampira (Maila Nurmi) in Plan 9 From Outer Space

I would also suggest you watch it with friends. It’s always more fun to see an awful flick with friends as they may see things to make fun of you may miss. So I guess it has value beyond just its dubious educational value. It’s a great excuse for friends to get together.

Observations on Norwegian Geography

by Carrie Levesque

Hilsen fra Norge! Greetings from Norway!

Bergen, Norway as seen from Mount Fløyen

I’m going to swallow my pride and admit that the first time I met someone studying for an advanced degree in Geography, my first thought was, “Seriously?  How much schoolin’ do you need to know the world capitals, or what a taiga is?”  They didn’t offer courses in ‘Geography’ at my small undergraduate college (and even today, Geography courses there are tucked away under “Environmental Science”).  I knew Geography as simply a Trivial Pursuit category, a Carolina-blue piece of the pie.

In truth, Geography is a broad field of study examining how humans shape their environments and how environments shape the people who live in them, to put it very simply.  These days, I find myself thinking a little Geography background would be very useful as I process my observations on the relationship between the culture and the unique terrain of my new home: Bergen, Norway.

Bergen lies near the southern end of Norway’s west coast.  It is Norway’s busiest port, “a city of seven mountains.”  If you’re up for the climb, or have a ticket on the funicular or cable cars, spectacular views are everywhere to be had.

Orographic Lift

Unless, of course, it is one of the 219 days a year it is raining.  Thanks to the warm Gulf Stream, Bergen has some of the mildest temperatures in Norway.  But the mountains create a meteorological effect called ‘orographic lift,’ where an air mass quickly moving from a low elevation (sea level) to a high elevation (up a mountain range) cools quickly and creates conditions for A LOT of precipitation (16 inches our first month here).

We had four sunny days the entire month of September.  On those days, even if we’d worn ourselves out with the previous day’s hike, I’ll tell you, the urge to get outside every minute that sun shone was overwhelming.  Which leads me to a couple of geography-related observations about Norwegians.  First, they are impressively accepting about how much it rains here, and second, they are a people who LOVE to be outside.

Norwegians have a saying, “There is no bad weather, only bad clothing.”  They take their outdoor gear very seriously.  You wouldn’t believe how many layers of specialized clothing you are expected to outfit your children in if you hope to avoid looks of pity and scorn from their teachers.  But this specialized clothing enables Norwegians to do what they love best in any weather: to be outdoors.

The Stoltzekleiven

Bergen provides an overwhelming variety of opportunities to recreate.  There are seven mountains to climb, and people climb them, daily.  Bergensers even run up the mountains; one of the city’s most popular races took place at the end of September — the Stoltzekleiven, where runners climb over 1000 feet up 800 wooden steps, the fastest of them in around 10 minutes.  Cycling is also huge here, along with skiing in the winter months, and on any given day as you look out your window on the light rail train, you’re quite likely to see someone hang gliding from Ulriken, the city’s highest peak.

Bergen’s terrain presents fantastic outdoor opportunities, but also unique challenges.  Bergen is a growing city — currently with a population comparable to Greensboro’s — with little place to grow.   Boxed in by mountains, Bergen struggles to use a fixed land area ever more efficiently.  Traffic is especially an issue, despite the government’s best efforts to make owning a car difficult (i.e., high tolls on roads into the city center and exorbitant taxes.  Norwegians pay 100% sales tax on vehicles.  A Toyota Corolla goes for about $40,000 here.  That’s some painful math, and a topic for another time).

Geography has always presented great transportation challenges to Norwegians, as building new roads over, around or through mountainous terrain is expensive.  Only as recently as 1990 was a modern highway built connecting Bergen to Voss, a major tourist center roughly 60 miles away.  For much of the history of this area, the gateway to the famous fjords, ferries were the main means of transportation.

A Norwegian Fjord

It was on a recent 10-hour road trip through Voss to the mountains beyond and back again that the last hazard of Norwegian geography I will discuss was brought to my attention: aesthetic overload.  On the drive home, I felt completely wiped out, though I’d only sat in a car all day.  It sounds crazy, but it literally hurt my eyes to look at the fjords we drove along (I know, waah waah).  But it made me think that perhaps the brain can only process so much beauty at one time, and I think this is why Norwegians are drawn to the outdoors with such urgency.  It takes a lifetime to take in so much gorgeousness.  As for me, I’ll do what I can with the 6 years I have here.

News From the Final Frontier

by Claude Tate

This is not something I normally put out for public consumption, but maybe the time has come.  I’m a space nerd, and have been since I first became aware of rockets.

Neil Armstrong on the Moon

I can’t remember when I was first introduced to rockets, but I do remember seeing the launches of the first manned flights in the auditorium of my elementary school.  I remember our teacher taking us to the auditorium where a single TV was placed on a stand. It was a small country school with few resources, so while I don’t remember whether it was the only TV in the school or not, it may well have been. At least it was the only one I was aware of. Our class and a number of others would sit there staring at the rocket sitting there on the pad on that small, grainy, black and white television way down there on the stage. The early Mercury flights always had delays, so often it would take some time before the big moment happened. But it always happened.  The rocket would come alive and lift majestically for the heavens. It only lasted for ten seconds or so, but what a magnificent ten seconds. I was hooked. A fire was lit that still burns today.

Last year, politics dominated our news. John King is probably doing something to torture that touch screen election map he stood in front of every day, day in and day out, week in and week out, month in and month out. I hope he got extra pay for that.  I was listening to NPR one day and they had a story about a 5 year old being shown a picture of President Obama. When they asked him if they knew who that person was, he said “I’m Barack Obama and I sponsored this message”.

But while everyone seemed to be focused on every word that was uttered in the political arena, there were some significant things happening on the final frontier; some of which received attention, some did not. While the following does not comprise a comprehensive list of everything that happened, these four events stood out for me.  One was a milestone, two signified the passing of an era, and the other was a WOW! event for NASA.

The Voyager Interstellar Mission

First, a milestone was reached as the two Voyager spacecraft began leaving the solar system.

Voyager Spacecraft (Both Voyagers were identical)

Their mission can be broken down into two parts. The first part was to increase our knowledge of the solar system. Voyager 1, launched in September of 1977, did flybys of Jupiter and Saturn. Voyager 2 was launched in August of 1977, and in addition to flybys of Jupiter and Saturn, also flew by Uranus and Neptune. The second part, the Voyager Interstellar Mission or VIM began after Voyager 2 passed by Neptune.  The VIM consists of three phases, the termination shock phase, the heliosheath exploration, and the interstellar exploration phases.  Both are now in the heliosheath exploration phase. We do not know how thick this environment is, so we cannot determine exactly how long they will be in this phase, but it will probably be several years.  After that, it will be interstellar space.  They are still operating like champs and have enough power to last until around 2020. After that they will drift.  And providing neither are hit by anything, Voyager 1 will come within 1.6 light years of a star called AC+79 3888, and Voyager 2 will pass within 4.3 light years from Sirius. And then, who knows.

The Retirement of the Space Shuttle Fleet

A Typical Space Shuttle Launch

The next two events signaled the passing of an era.  First was the retirement of the Space Shuttles and their final trips to their respective exhibition sites.

The Space Shuttle flew 135 missions and was the face of the American space program for 30 years, from 1981 to 2011. The accomplishments of Columbia, Challenger, Discovery, Atlantis, and Endeavor are far too numerous to list here. But two things that really stand out to me were the contributions it made to the construction of the International Space Station, which would probably have been impossible without the Shuttle, and the placing into orbit of the Hubble Space Telescope.

Enterprise Being Flown Over New York To Her New Home

Enterprise was the first orbiter built, and while it never flew in space, was essential to refining the technology and design for the other Shuttles. It has been moved from the Smithsonian’s National Air and Space Museum to the Intrepid Sea, Air &Space Museum in New York City.

Endeavor at home in Los Angeles (shuttles are big)

In October Endeavour was moved to the California Science Center in Los Angeles.  Shuttle Atlantis has been moved to the Kennedy Space Center Visitor’s Complex in Florida and will be placed on display in 2013. Discovery replaces Enterprise at the Smithsonian. It was heart-warming to see so many people turn out to see the shuttles make their final voyages to their respective retirement destinations.

The Death of Neil Armstrong

Neil Armstrong

The other event that signified the passing of an era was the passing at of the first man on the moon, Neil Armstrong, at the age of 82 from complications following bypass surgery.

Armstrong, a Navy pilot during the Korean War, served as a civilian test pilot until being selected as part of the second ‘class’ of astronauts in September of 1962. He was one of two civilian astronauts (the preference was for military test pilots) and the first American civilian to go into space when he commanded Gemini 8 in March of 1966. He was selected as commander of the Apollo 11 crew in December of 1968. The other members of the crew were Michael Collins and Buzz Aldrin.

Apollo 11 left on its voyage on July 16, 1969.  His coolness under pressure was legendary; a trait that would serve him well in those last few seconds over the moon.  In the final seconds, as the lunar module, Eagle, descended to the surface of the moon, the landing computers became overloaded.  When Armstrong saw they were headed for an unsafe landing site, he took over and manually flew the Eagle to a safe touchdown some distance away. The folks at NASA were worried, but they should not have been. As it turned out, while estimates of the amount of fuel left has varied over the years, the number most often cited is that they had under 20 seconds of fuel left when they landed.

The Apollo 11 crew:
Neil Armstrong, Michael Collins, and Buzz Aldrin.

The landing took place on July 20, 1969.  I was among those millions around the world who were glued to the television and listened to the NASA audio and animations as the Eagle approached the moon; heard Armstrong describe the descent to Mission Control in Houston; and felt that feeling of pride as he said, “Houston, Tranquility Base here. The Eagle has landed.”  I was still there when after several hours of rest and preparation, Armstrong opened the hatch of the Eagle, attached a TV camera to its leg and descended the latter to the moon’s surface.  And I watched and listened on live TV as his first boot touched the moon and he uttered those famous words, “That’s one small step for (a) man, one giant leap for mankind.” In 1960 our rockets were blowing up on the pad and just nine years later, we were walking on the moon. Words simply cannot fully capture what America accomplished in July of 1969.  The closest I can come is to say it was beyond extraordinary.

After the moon landing, Armstrong could have cashed in and made untold millions of dollars.  Instead, he chose to return to Ohio and lead a quite life. He taught aerospace engineering at the University of Cincinnati from 1971 to 1979, worked on his farm, served on several commissions including the investigation of the Challenger explosion, accepted membership on several boards, and took a few jobs as a spokesman for companies he believed in. But until the end, he insisted he was no hero.  He was only doing his job and was one of many who were responsible for the moon landing. NBC had an excellent story of his death and also those first steps on another world.

His family released a statement after his death responding to the many who had asked what they could do to honor Neil.  It stated that in addition to honoring his service, accomplishment and modesty, when you look at the moon, think of Neil Armstrong and give him a wink.

The Curiosity Mission

The other event may not equal the moon landing, but I would still classify it as a WOW! event, the landing of Curiosity on Mars.

Curiosity, which was launched from Cape Canaveral on November 26, 2011, made a powered soft landing on Mars August 6, 2012.  The landing used a technique never before attempted and was nothing short of amazing. The following description is taken from the Mars Science Laboratory/Curiosity Fact Sheet.

Engineers designed the spacecraft to steer itself during descent through Mars’ atmosphere with a series of S-curve maneuvers similar to those used by astronauts piloting NASA space shuttles. During the three minutes before touchdown, the spacecraft slowed its descent with a parachute, then used retrorockets mounted around the rim of an upper stage. In the final seconds, the upper stage acted as a sky crane, lowering the upright rover on a tether to the surface.

And it all worked perfectly.  We have sent a number of unmanned missions to Mars; missions that have yielded a great deal of information about Mars.  But Curiosity is by far the most sophisticated unmanned probe we have ever launched, and has the potential for advancing our knowledge of Mars exponentially. For more information on this amazing mission, go to NASA’s homepage for the Mars Science Laboratory Mission.  A good place to start when you reach the page is the Fact Sheet I referenced above.  It is under Mission Resources located on the right side, and it provides an excellent overview of the mission.  The scope of Curiosity’s abilities is nothing short of amazing.

Self Portrait by Curiosity on Mars

We will not be sending men back to the moon anytime soon. And I was disappointed when our new moon program was cancelled.  And presently we have no vehicle to send astronauts to the International Space Station. But we are moving forward into that final frontier. Private U.S. companies are developing the vehicles that will soon be sending Americans back into in a few years.  SpaceX has already developed a rocket and capsule that has begun making supply runs to the space station, and will soon have the capability to send men into space. NASA, in addition to continuing to send men to the space station and someday to an asteroid and Mars, will be undertaking missions that will increase our knowledge of the earth and unlock the secrets of the solar system.  And hopefully in the near future, the James Webb Space Telescope will be ready for launch. The James Webb Space Telescope may not sound as exciting as some of the other missions, but it should extend our vision to the edge of the universe.  And of course, Hubble continues to make discoveries that prove the universe is far more magical and wonderful than we ever imagined.

Our future in the final frontier is bright. And for this old space nerd, it’s going to be exciting.