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About the Flaneur
I walk through my blindness the way I wander down streets in Paris: unfettered and alive, alert to the raw material of the senses. I am a flaneur. Come along with me. Just don’t try to take my arm, unless I ask. What’s a flaneur? Read the first post, Return of the Flaneur to Galerie Vivienne. After that, try Foot Rage and the Blind Flaneur. Then stay tuned.
Letting Go of Sight
I’ve canoed on Lake Superior for almost as many years as I’ve been losing eyesight. I return year after year like a migrating loon to learn the other side of a slow, uncertain process that we could call “going blind.” After 35 years with the lake as my teacher, I know what lies on the other side. I call it letting go of sight. Read Big Water. See more about the Great Lakes.
Not This PigIf there is an emerging genetic underclass, I could run for class president or class clown. Read more in Not This Pig (2003).
Media in Transition @ MiT
Disabled Americans today have to negotiate for the kinds of accommodations made for FDR, and the caveat “reasonable accommodation” is built into the law. President Franklin Roosevelt did not have to negotiate. He could summon vast resources of the federal government – money as well as brains – to accomplish the work of disability. And it was accomplished with such thoroughness and efficiency that its scale could be called the Accessibility-Industrial Complex had it been directed toward public accommodations and not solely the needs of a single man. Read FDR and the Hidden Work of Disability [MiT8 2013]
Shepard Fairey claimed that his posterization of a copyrighted AP news photo of Barack Obama was a transformative work protected by the fair use doctrine. In other words, it was a shape-shifter. I claim fair use, too, when I reproduce and transform copyrighted works into media formats that are accessible to me as a blind reader. Read Shape-Shifters in the Fair Use Lab [MiT6 2009]
The social engineers who created a system for licensing beggars in New York never imagined that a blind woman had culture or could make culture. She herself may not have imagined it, either. In the moment when Paul Strand photographed her surreptitiously on the street in 1916, he could not have expected that one day blind photographers would reverse the camera’s gaze. Read Curiosity & The Blind Photographer. [MiT5 2007]
Tag Archives: birds
I’ve been watching this bald eagle for several days via Ustream webcam. Her nest is perched atop a tree at a fish hatchery in Decorah, Iowa. Over the past day one egg has pipped and hatched, and another is imminent. See a 24-hour video collage. Continue reading
Cicero envisioned paradise as a library in a garden. This week his vision could be amended to include a hawk in the library. A Cooper’s hawk (above) somehow found its way into the Library of Congress in Washington, D.C. It perches near the top of the library’s magnificent dome, and from time to time it circles over the main reading room. The bird is a juvenile female, and its only repast in six days was a frozen quail. Falconers will try to net the bird today so it can be released outdoors. (Below) The hawk is seen circling beneath a Edwin Blashfield mural restored recently in the dome of the Library of Congress. [Photos by Abby Brack/Library of Congress/NPR]
The modest little heath hen drawn for a bank note made me think of John James Audubon’s grander bird portraits of the American Flamingo and Snowy Heron (Snowy egret). Both images come from individual plates from Birds of America in the collection of the National Gallery of Art in Washington, D.C. The NGA identifies the artists as “Robert Havell after John James Audubon” and the media as “hand-colored etching and aquatint on Whatman paper plate.” The engravings were made in 1838 and 1835, respectively.
In 1824, John James Audubon wrote in his journal that he had drawn a heath hen for a Philadelphia engraver. The drawing was intended as incidental art for private bank notes – there was no national paper money at the time. Audubon’s drawing would be considered clip art today. It’s believed to be his first commercial illustration, although a printed example was found only recently by Audubon scholar Robert Peck, a curator at Philadelphia’s Academy of Natural Sciences, and numismatic historian Eric Newman.