Scott Timberg on Andrea Zittel

FROM LOS ANGELES TIMES:

All alone, creating a world

In the desert, Andrea Zittel lives her art: isolated existence as voyeuristic experience.

By Scott Timberg, Times Staff Writer

Andrea Zittel is a shy, private person whose art invites, even demands, an almost voyeuristic attention
to her life. As a young artist in New York in the early ’90s, she was surrounded by eccentrics with daring lifestyles, but the art they produced was often ordinary.


    “I just realized, over and over, that I was more interested in people’s lives than I was in their work,” says the tall, rail-thin Zittel, 37, naming several now-forgotten artists whose lives still compel her attention. “It’s all of those weird human idiosyncrasies.”

    Zittel has taken her own idiosyncrasies, and her angst over isolation and community, individualism and escape, and built a lively career in contemporary art. She lives her art to a nearly literal degree.

    Her latest chapter is outside Joshua Tree — a homesteader’s cabin from the 1930s remade into a kind of high-desert Case Study House, the post-World War II homes built for middle-class futuristic living. She’s surrounded it with metal plates, mounted on posts and filled with reconstituted paper she has pulped and dried in the sun. The refried paper, improbably, resembles travertine marble. Spilling in eerie geometric intervals down the desert floor outside the house, the drying racks look as if they were left by
a benign alien visitor. And she’s just completed the latest phase of her Uniforms project, in which she makes her own clothing from felt and, in an exaggerated back-to-the-land gesture, wears a single “uniform” for six months at a time.


    Zittel calls the whole setup a High Desert Test Site. There’s a lot of terminology to Zittel: The Joshua Tree house, which is down the street from one of the town’s many bail bonds shops, is called A-Z West, to distinguish it from her Brooklyn apartment-studio known as A-Z East. Even the initials have a hidden meaning: She broke up with a serious boyfriend, she says, because she couldn’t “A to Z,” or organize, this big, messy guy. In the late ’90s, she made everything she lived in, from her kitchen to her couch;
she called the project “Raugh,” which is pronounced “raw.” The 25 scorched acres Zittel lives on, and her clothes and desk and conflicted feelings, are her artwork. A new show at Regen Projects — which includes felt dresses and metal panels of pulped paper — illuminates some of it, as do the weekend
open houses she’s holding in the desert in lieu of an art opening.


    Although most desert art is about the beauty of nature, Zittel’s work is about the strangeness, and the possibilities, of culture. A utopian from the suburbs — Le Corbusier with a Valley Girl accent — she’s creating what the Swiss architect called a “machine for living” on the high desert. She’s like the lonely, dreamy kid who makes up an imaginary world. But this world is real.

Fear of growth

When Zittel was a child, the daughter of schoolteachers, her chaparral-lined street in Escondido
was empty except for one other house. By high school, she was surrounded
by tract housing, a supermarket and bulldozers. “Pretty weird,” she says,
looking back. “Growing up in a community that’s growing so rapidly really
instilled a fear of growth. You have no control over it at all. I think
I wanted a place small enough that I could have some control over the way
the entire community developed.”


    Even early on, she was fascinated by isolation, and some of her best childhood
memories involve being left alone, with food in the freezer, when her family
went away for weeks at a time on a 31-foot houseboat. She describes her
childhood as alienated, a situation made no better by four aimless, intellectually
barren years at San Diego State — one long frat party, she calls it, which
she had no interest in attending.


    Then one day a college field trip took her to MOCA’s Temporary Contemporary,
for a show by Al Ruppersberg. “He had these photographs of people sitting
on couches,” she says, her eyes widening as she remembers realizing that
something so commonplace could be art. Bitten by the art bug, she headed
after graduation to the prestigious Rhode Island School of Design, where
she majored in sculpture.


    Though it expanded her sense of possibility, art school also left her, upon graduation
in 1990, completely dazed. “I went to New York not knowing what art was,”
she says. Whatever it was, she wanted to stretch its boundaries.


    Her first major project was breeding animals. “I was trying to design my own breed
of chickens, after discovering that domestic breeds were invented over
the last 100 years; I just wanted to show what constructions they were,”
she says with a laugh. “I jokingly referred to it as the designer pet of
the ’90s — like pot-bellied pigs in the ’80s or miniature horses in the
’70s.”


    Her bantam
chickens, a less spectacular batch than she’d hoped because of recessive
genes, never caught on. But one of the breeding units she made, to give
the animals some privacy in a Manhattan gallery, ended up in the collection
of MOCA. “I gave another one to the bodega next door,” she says, “and they
used it as a microwave stand.”

    Her interest
in living things, and the way their lives can be shaped — through Darwinian
or utopian principals — fed into her later work with human environments.
The breeding units became living units.


    In the
mid-’90s, she used a grant from the Danish government to construct and
live on a 54-ton cement island in a Scandinavian sea. “It was like a prototype
for a way somebody could live in the future,” she says. “Your land, your
dwelling and your vehicle all in one unit.”


    During
the two years of construction, she looked forward to the isolation of island
living. “And then what happened was that every Danish guy who has access
to a boat bought a six-pack and circled the island — drank their beer
and waved. I felt like a circus freak.” Finally, the structure sprang a
leak that acted like a blowhole, spurting cold water high into the air.


    Zittel
also spent two yearlong stints on fellowship in Berlin, where she was fired
by the ideas of European Modernists such as Walter Gropius and Le Corbusier,
and the way they worked themselves out in suburban California culture.


    “Like
Price Club and tract housing,” Zittel says. “Bauhaus was about quality
goods available for all at an affordable price. Well, Price Club’s kind
of like that.” She began to build travel trailers as a statement about
the suburbanization of the Bauhaus vision, and then two years ago, she
rented out her Brooklyn apartment and moved to the desert edge of her suburban
past, a place, she says, where she could get away from it all.

Furniture as art

When Zittel walks through
A-Z West, she’s one part affectless homeowner — complete with a dog named
Poppy — and one part dead-serious art theorist. She’s proud of her place,
but each time she points out a desk, the kitchen, it launches her into
another whimsical idea. Much of her furniture “cycles through,” as she
puts it, starting as a concept, becoming a piece she lives with, and ending
up in a gallery or museum; this pays her bills and lets her make more work.
Walking outside through the kitchen, she pets Poppy and meanders through
a collision of boulders, yucca plants, creosote bushes and hard desert
floor parched by an 18-month drought.


    She chose Joshua Tree, not far from the home of longtime desert assemblage artist Noah Purifoy, in part because “I’m sort of inspired by his whole project,” she says of his open-air studio-cum-gallery nearby. “He said no museum would collect his work, so he made his own museum.”

    Here, in her frontyard, the rectangles of paper stare sunward. “No one would understand how much, like, drama went into making these,” she says with a laugh as she describes the combinations of cement, water and wheat paste she had to go through to make the panels look right.

    Surveying the rows, she riffs on her vision of farming for art: “Mulching my garbage every day, packing it in these huge trays; it would take about six weeks to dry and then I could just read lots of books and harvest it afterward.”

    “I think of Andrea as the quintessential Californian,” says New York artist Allan McCollum, who was born in L.A. “Andrea isn’t trying to deconstruct Hollywood or Disneyland, she’s actually capturing some of the truly wonderful things about California — the honest, historical optimism, the utopianism and the progressiveness of the state. Andrea embraces this California spirit so arduously, even as she laughs at it and caricatures its excesses.”

    Now she’s putting the ideas of the European avant-garde through their paces at her desert retreat, inviting the world to peek in. She’s becoming famous, oddly, for being private. But her open houses, the last of which is this weekend, are pretty conventional. “Just everybody comes in,” she laughs, “and hangs
out, and we drink beer.”

OH THE FURY…

YNGWIE MALMSTEEN [above, pregnant, with beer and spandex] threatened to kill a fellow passenger on a flight to Tokyo, Japan after the woman poured a glassful of water on the guitarist.

    The passenger, who had no prior contact with Yngwie, allegedly overheard Malmsteen making derogatory comments about homosexuals and decided to show her disapproval by emptying the contents of her glass on the hefty axeman.

    A member of Yngwie’s touring entourage, who was traveling with Malmsteen at the time, had a tape recorder running and managed to catch Yngwie’s reaction on tape immediately after the guitarist was “assaulted” by the offended passenger.

    To download an MP3 file containing Yngwie’s response to the “water attack”, including his now-legendary phrase “You’ve unleashed the fucking fury,” click here (file size: 1.7 MB).

http://www.blabbermouth.net/yngwie_tokyo_flight.mp3

THROUGH A CAT’S EYES.

from October 11, 1999 BBC ONLINE:


By BBC News Online Science
Editor Dr David Whitehouse

These are the first pictures from an extraordinary experiment which has probed what it is like to look
through the eyes of another creature. As reported on BBC News Online last week, a team of US scientists have wired a computer to a cat’s brain and created videos of what the animal was seeing.


    By recording the electrical activity of nerve cells in the thalamus, a region of the brain that receives signals from the eyes, researchers from the University of California at Berkeley were able to view these shapes.

    The team used what they describe as a “linear decoding technique” to convert the signals from the stimulated cells into visual images.

    Dr Yang Dan, Assistant Professor of Neurobiology at UC Berkeley, Fei Li and Garrett Stanley, now Assistant Professor of Biomedical Engineering at Harvard University conducted 11 experiments.

    They recorded the output from 177 brain cells that responded to light and dark in the cat’s field of view.

    In total, the 177 cells were sensitive to a field of view of 6.4 by 6.4 degrees. As the brain cells were stimulated, an image of what the cat saw was reconstructed.

    The first example is a face. Although the reconstructed image is rather fuzzy, it is clearly recognisable as a version of the original scene. It is possible that a clearer image could be obtained by sampling the electrical output of more cells.

    In the cat’s brain, as in ours, the signals from the thalamus cells undergo considerable signal processing in the higher regions of the brain that improve the quality of the image that is perceived.

    Taking an image from a region of the brain before this image enhancement has taken place will result in a poorer image than the cat is able to see.

    The other two examples show two woodland scenes, with tree trunks being the most prominent objects.

    By being able to tap directly into the brain and extract a visual image the researchers have produced a “brain interface” that may one day allow the control of artificial organs and indeed machines by thought alone.

It is also conceivable that, given time, it will be possible to record what one person sees and “play it back” to someone else either as it is happening or at a later date.

A clearer image could be obtained by sampling more cells

COURTESY OF ORI K.!

Jodorowsky:”Failure doesn’t exist.” (The Guardian)

http://film.guardian.co.uk/interview/interviewpages/0,6737,844764,00.html

‘I am not normal’

Alejandro Jodorowsky has made three cult films, writes esoteric sci-fi and claims he will live to
150. Steve
Rose met him

Friday November 22, 2002

The Guardian

Many film-makers have profited from the wild and vivid imagination of Alejandro Jodorowsky, but Jodorowsky himself is not one of them. He has made three classic cult movies – El Topo, The Holy
Mountain
and Santa Sangre – and he has had a significant influence on popular culture over the past 35 years, from Mexican cinema to the making of Alien, the imagery of Marilyn Manson and even the development of mime.

But he hasn’t made a penny out of it.

A Chilean-born Jewish Russian, Jodorowsky has described his films as the equivalent of psychedelic drugs. They mix surrealism, mysticism and warped violence, and have invariably been too esoteric, too pretentious or too graphic for popular consumption. They are, however, filled with unforgettable images: the conquest of Latin America re-enacted by costumed frogs; a circus elephant’s funeral, complete with giant coffin; a master duellist whose weapon is a butterfly net.

    His film-making techniques were similarly unorthodox. He regularly used non-actors he found
on location,
and there are tales of him putting them, and himself, through gruelling experiences for the camera. Rumour has it he would make them drink one another’s blood, film real violence rather than staged and dangle himself off rickety rope bridges in the desert. Allegedly, he even killed 300 rabbits with his bare hands for
one scene.

    Separating truth from fiction, or even the past from the present, has always been a problem with a figure like Jodorowsky. Today – silver-haired, smartly dressed and surrounded by cats in his book-lined
Paris
apartment – he looks every bit the senior artist. However, his contempt for linear thought is undiminished.

    “Listen,” he says. “I can make this interview like a normal person. I am not a normal person. I am living in a normal body, but my mind is not normal. When you speak about my past, I have no past. You see the
person I am now – I am 74. My wife is 37 years younger than me. I don’t feel the difference. My
consciousness is without limits more than when I was 40 or 50. I don’t regret any past. I am not there. I
am not sorry not to make pictures, because I know one day I will do it. I intend to live 150 years.
I am only
in the middle of my life. So when you say what do you think about the past? Nothing! It’s done!”

    This much we do know. Having directed theatre in Chile and studied mime in Paris with Marcel Marceau (for whom he claims to have invented the famous “I’m trapped inside a glass box” routine), Jodorowsky filmed his no-budget 1967 debut, Fando y Lis, from a half-remembered play by his surrealist associate Fernando Arrabal. The film generated censure and death threats in Mexico. But Jodorowsky didn’t come to international attention until two years later when he released El Topo, in which he plays a black-clad gunslinger in search of enlightenment.

    The film was seen by John Lennon, who advised Apple manager Allen Klein to buy the rights to it, and introduced the first screening of it in New York. El Topo became a permanent fixture of late-night hippie
cinema for the rest of the decade and a favourite of the emerging New Hollywood generation, particularly
the likes of Dennis Hopper and Jack Nicholson. Hopper’s ill-fated follow-up to Easy Rider, The Last
Movie,
was inspired by Jodorowsky’s spontaneous, free-ranging methods, as well as his mystical and anthropological concerns.

At one stage, Hopper invited Jodorowsky to his studio in Taos, New Mexico to help him finish the movie.

    “When I see the rushes – not very clear, but some beautiful scenes,” Jodorowsky remembers. “He had a lot of material and six editing machines, but he could not do it. In one or two days I cut it myself, but
I think
Dennis didn’t want another guy making his movie, so he rejected it and made his own. It was not so good. Later I asked him to be in Santa Sangre, and he said no, just like that.”

    Meanwhile, Lennon had persuaded Klein to put up $1m to help Jodorowsky make another film, The Holy Mountain. Like El Topo, it was a spiritual quest, this time following a Christ-like figure (Jodorowsky,
again)
seeking immortality. “El Topo was normal, The Holy Mountain was abnormal. My ambition was enormous. I wanted to make a picture like you would make a holy book, like the Bhagavad Gita or the Tao Te Ching. I went very far.”
    Jodorowsky hired a fashionable guru to prepare him, performing mystical exercises and experimenting with LSD and magic mushrooms (the only time he has taken drugs, he says). He put his cast through a
similar
process, keeping them in a house together for two months and allowing them only four hours’ sleep a night. The result was even more extravagant than El Topo, and although it was never shown in the US, it became an underground hit in Europe.

    Jodorowsky’s
next project was even more ambitious. Over-ambitious, as it turned out:
a $20m


French-financed adaptation
of Frank Herbert’s Dune. An impressive team was assembled. Orson Welles


agreed to take a role, as
did Salvador Dali, who recommended to Jodorowsky a Swiss painter called
HR


Giger for concept designs.
Also on the team were Pink Floyd, French graphic artist Moebius and writer
Dan


O’Bannon. After a year of
preparation, the project fell through. According to Jodorowsky, the Hollywood


producers realised they
could make a similar picture without a wild card like himself at the helm,
and pulled


the plug. Jodorowsky’s disregard
for the sanctity of Herbert’s novel could also have been a factor.


    A few
years later, Hollywood was working on its own version of Dune, with David
Lynch directing.

Meanwhile, Ridley Scott
made Alien with half the crew Jodorowsky had assembled, including Giger
as


creature designer and O’Bannon
as writer. Jodorowsky was left behind. His one triumphant return was


Santa Sangre, made in 1990:
a customarily freakish but more accessible circus horror with echoes of
Tod


Browning and Hitchcock’s
Psycho. There were two more failed projects: an Indian elephant film, Tusk,
and


an unreleased film, The
Rainbow Thief, starring Peter O’Toole (“I hated him; he was the worst person
I ever


met in my life”). [The Rainbow
Thief was in fact released. – Magpie Editor]


    “When
you don’t do something, you shouldn’t think of it as a failure,” says Jodorowsky.
“Failure doesn’t


exist. It’s only a change
of direction.” Now he has turned to the medium of comic books, where his

imagination can run riot
without budgetary constraints. He has several titles on the go, including
an epic


sci-fi series, Incal, with
Moebius, and its offshoot, Metabarons, a sort of delirious, space-age Greek
tragedy.


    There
are plans for a $15m sequel to El Topo, in which Jodorowsky’s friend and
fan, Marilyn Manson, is


expected to star. But raising
capital is difficult for Jodorowsky, and he has no expectations.


    Nor does
he have any bitterness, he says, towards those who have made money from
his ideas. “It’s not


important. What’s important
is to give your ideas to the world if you love the world. My pictures are
a gift. I


am an honest artist.

    “For
me, the goal of art is to heal. I see avant-garde art now – it is all destructive.
But I think to be

avant-garde, you need to
be a saint. That’s why I push my art into therapy. I help people. In the
last six


months, three young people
who were going to commit suicide have told me I saved their lives. That
is


better than making films.”

COURTESY: JOHN C.!

The Antipodes of the Mind – Charting the Phenomenology of the Ayahuasca Experience

from Oxford University Press website:


by Benny Shanon

Professor, Department of
Psychology of the Hebrew University of Jerusalem and holder of the Mandel
Chair in Cognition


Publisher: Oxford University
Press; ISBN: 0199252939; (December 2002)


488 pages, 7 tables and
4 halftones, 234mm x 156mm


order from Amazon.com

A pioneering study of the
phenomenology of the special state of mind induced by Ayahuasca, a plant-based
Amazonian psychotropic brew. The author’s research is based both on extensive
firsthand experiences with Ayahuasca, and on interviews conducted with
a large number of informants coming from different places and backgrounds.

Readership: Anthropologists,
psychologists, students of consciousness, neuropsychologists, psychiatrists
and other clinicians, philosophers and students of religion and of culture,
botanists and ethnobotanists, pharmacologists, physiologists, medical practitioners.

Contents/contributors

Prologue

Preliminaries:General background;
Theoretical foundations; Methodology and general structure


The Phenomenology of the
Ayahuasca Experience;Atmosphere and general effects; Open eye visualizations;
A structural typology of Ayahuasca visualizations; Interaction and narration;
The contents of visions; The themes of visions; Ideas, insights, and reflections;
Non-visual perceptions; Consciousness I; Transformations; Time; Meaning
and semantics; Consciousness II; Light


Theoretical issues:Stages
and order; Contextual considerations; Cognitive parameters; Dynamics; A
general theoretical perspective; Concluding philosophical reflections


Epilogue

Appendix (Quantitative Data)

Bibliography

“LA is a warmup for the apocalypse”

FROM http://www.seanbaby.com/e32001/index.htm:

Above: Beautiful Los Angeles. Inset: A closer look. Not pictured: Tina Turner

LA is a warmup for the apocalypse. There’s not enough water, it’s covered in a dome of toxic smoke, electricity doesn’t work, and a full tank of gas is worth enough to kill a man over.

Gas in LA costs about $98.45 a gallon. Their gas stations don’t even give receipts anymore. When you fill up, an electronic voice laughs at you and prints out a picture of a baby, indicating that you owe them one live human baby. This is different from the system in Brazil where you have to take home one of the attendants’ extra babies every time you fill your tank.

Slowly coming to a stop costs several thousand dollars in gas, so we had the idea to start jumping out of still-moving cabs. Erik broke his head, pelvis, and vagina, but we each saved enough money to get the new LA status symbol — a gas filled tooth.

The LA airport is where all the horrors of LA go after they’ve trained to be the best. But besides the general Mad Max dangers of it, they’ve started insulting people over the loudspeaker. Every four seconds a voice booms, “YOU ARE NOT REQUIRED TO GIVE MONEY TO SOLICITORS. THEIR ACTIONS ARE NOT SPONSORED BY THE AIRPORT.” Who is that announcement for? I know what a fucking solicitor is, airport. Your speaker might as well say, “SOLICITORS ARE NOT ICE CREAM. OR CHOO CHOO TRAINS.” And if somehow there really was someone that stupid in the airport, let the guy doing the announcement leave the microphone and drive behind them in a little cart so he can personally give them advice while they crawl around on their retarded mutant flippers. And while I’m on the subject of taking personal offense at public announcements, why do U2 songs keep telling me not to kill people because of their color? I don’t even do that, you stupid dicks. Sometimes when they come on I scream back at the radio, “Hey Bono, why don’t you stop lighting hitchhikers on fire?” and then change the station to someone who gives less insulting advice like, “You’ve got to Move it! Move it!”

The one thing that sets LA apart from other versions of the apocalypse is that none of their panhandlers
can form words.
Maybe I’m lucky to come from a city where government rats don’t eat the tongues out of sleeping hobos, but I couldn’t understand a thing those mole people were saying. One hari krishna came up to me and said word-for-word, “Smibble moofn moof.”

I pretended to look in a nonsense-to-English dictionary which was actually a novel based on the Super Mario Brothers, and then took a crap in his bucket, normally an eight dollar value. And if you’re reading this from LA, that means I “powdered my nose” in his bucket, pussy. I could tell from the mean look he gave his bucket that I’d broken some sort of airport taboo, or at least misunderstood what “Smibble moofn moof” meant. I’d still rather take shit on an angry hari krishna than in an evil robotic airport toilet, even if that hari krishna was a barrel of alligators….

SEEING EVIDENCE OF A MOTHER CULTURE…


News on Olmec comics from THE NEW YORK TIMES:

(Drawing by Ayax Moreno)
Researchers say symbols from an Olmec Indian site in Mexico, above, date back to 650 B. C., and are the Americas’ earliest forms of writing.

New Evidence of Early Form
of Writing in Mexico


By JOHN NOBLE WILFORD

Centuries before the famously literate Maya, even before the Zapotecs, the Olmecs of ancient Mexico were carving symbols on stone and ceramics 2,600 years ago in what a team of archaeologists thinks is the earliest form of writing ever found in the New World.

    In a report being published today, archaeologists led by Dr. Mary E. D. Pohl of Florida State University in Tallahassee say they discovered writing symbols, or glyphs, on a cylinder seal used to make imprints and on fragments of a greenstone plaque.

    The artifacts,
dated at about 650 B. C., were excavated near the prominent Olmec site
of La Venta, close to the Gulf of Mexico in Tabasco State, in southeastern
Mexico. The researchers said this was strong evidence that pre-Columbian
writing originated on the coastal plain there.


    Scholars
had previously traced the earliest American writing to about 300 B. C.
and to the Zapotec culture centered at Monte Albán, in Oaxaca State.
Mayan writing developed some 500 years later and farther south in Mexico
and Central America.


    The new
discovery has focused attention on the Olmec civilization, which flourished
from 1,300 to 300 B. C., as innovative and a wellspring of most subsequent
Mexican cultures. The Olmecs were best known until now only as the bold,
mysterious sculptors of colossal stone heads carved with huge lips.


    Writing
in the journal Science, Dr. Pohl’s group said the new artifacts “reveal
that the key aspects of the Mesoamerican scripts were present in Olmec
writing.” The Olmec writing has not been deciphered, but several glyphs,
the researchers said, shared several similarities with much later Mayan
words.

    The archaeologists
also said the excavations produced compelling evidence of a connection
between Olmec writing, the sacred 260-day calendar and kingship, all hallmarks
of later Mesoamerican cultures.


    “We’re seeing evidence of a mother culture,” Dr. Pohl said in a telephone interview.

    Such a role for the Olmecs made sense, she said, because they may have been the “first known peoples in Mesoamerica to have a state-level political structure, and writing is a way to communicate power and influence.”

    Other scholars reacted to the new findings with fascination and caution.

    As expected, several scholars raised questions about characterizing the glyphs as elements
of true writing ˜ whether they were simply pictures of objects or people,
or represented spoken language. A few said they suspected the dates for
the artifacts should be more recent.


    “It’s an interesting find, but we need to wait and see what it means,” said Dr.
Joyce Marcus, a University of Michigan archaeologist who is an authority
on the Zapotecs.

    Dr. Michael D. Coe of Yale, an authority on Mayan culture, said that until much more evidence of Olmec writing was uncovered, Dr. Pohl’s interpretation would remain speculative and the Olmec role in early writing would be an open question.

    “It’s controversial, but that’s all right,” Dr. Coe said of the report. “It’s worth publishing.”

    By a loose definition, Dr. Coe said, the glyphs on the artifacts are “certainly
writing.” In particular, he noted the drawing of a bird with symbols
coming out. “This bird is talking ˜ he’s saying something,” Dr. Coe explained.

“One of those symbols looks very much like one of the Maya calendar glyphs,
a day name.”


    Dr. Coe
was referring to a bird, perhaps representing a king dressed as a bird,
depicted on the excavated cylinder seal. Two glyphs emanate from the bird’s
beak, like words from modern-day cartoon figures. The image seems analogous
to speech scrolls that were common in later Mayan art.


    Dr. Pohl
interpreted the words as meaning “king” and “3 Ajaw.” The latter is the
name of a day in the sacred calendar that could have been used as a personal
name for a king.

    The cylinder,
the size of a human fist, was apparently used like a roller stamp. With
ink or paint applied, the roller was used to spread the imprint of a pictograph
or word symbol on cloth or over someone’s body.


    “Clothes
and jewelry were important items of display to show your rank and status,
so it would show you were part of the elite to be able to display your
connection to the ruler,” Dr. Pohl explained.


    In their
report, members of Dr. Pohl’s group said they identified other glyphs incised
on fragments of a greenstone plaque that was dug out of refuse deposits
at the site of San Andrés, three miles from La Venta.


    The evidence
for writing in a second medium, the archaeologists said, strengthened “the
argument that the writing system was indigenous” to that Olmec region.


    The authors
of the report, besides Dr. Pohl, were Dr. Kevin O. Pope of Geo Eco Arc
Research, a Maryland company that specializes in geological and archaeological
projects, and Dr. Christopher von Nagy of Tulane University, in New Orleans.


    “I know
this is very controversial,” Dr. Pohl said in the interview. “We feel we
have made a good case for writing in the Olmec culture, but we also recognize
that there’s more research to be done.”

REMEMBER THIS WHEN YOU SHOP FOR LOTHES.

December 1, 2002

From the LATimes Sunday Magazine:

The Cost of Apparel Has Declined for a Quarter Century, Helping Make Americans the Best-Clothed People in History. All Is Right in the World, Unless You Ask How It Happened.

By FRED DICKEY

Brenda Pope sits at the kitchen
table and stares sadly at her work-hardened hands. Inside one wrist is
the purple welt of a surgical scar that runs halfway to her elbow. Twenty
years at a sewing machine gave her the carpal tunnel injury. That scar
and $15,000 in severance is what she has to show for those years. Near
the edge of Blue Ridge, Ga., the Levi Strauss plant where she once worked
now sits empty, a glass-and-brick shell overlooking acres of empty parking
lot. Bored security guards stroll the grounds to protect what no one any
longer values. A factory dies an honorable death when it falls apart from
hard work and time. This one was cut down in full productivity.


    For a
half-century, this apparel sewing plant was a wellspring that pumped life
into the town. The workday was switched on by the gathering of 400 workers,
mainly women, chattering as they punched the clock. Hour after hour, they
created a cadence from clacking sewing machines, generating wealth for
their bosses and modest wages for themselves.


    The plant
was shut in June, one of six Levi plant closures that left the San Francisco
apparel giant with just a tiny U.S. manufacturing presence–a plant in
San Antonio, Texas, devoted to quick turn-around products that have deadlines
overseas plants can’t meet. At the end, the Blue Ridge workers stood in
small knots, tossed about by a maelstrom of emotions. Some were in shock.
Some muttered that they would never again wear Levi clothing. Most worried
about the future. Brenda Pope was one of those.

    Blue
Ridge is a town of nearly 2,000 in north Georgia, just south of the Tennessee
and North Carolina lines. Blue-green hills rise sharply a few miles south
of town and provide a gateway to the Appalachians, gaining loveliness as
they gain height. Residents are mostly Scots-Irish, descendants of the
hard-edged people who broke the Cherokees, and then broke the soil. Today,
many here, like Pope, are working poor.


    Measured
against what most of us feel we need, the 44-year-old single mother asked
little. She wanted to live among familiar pines and trustworthy people,
create value with her hands and raise her child in the old ways. She did
not think she needed a college degree to do these things. She was right,
until she made the mistake of pricing herself out of the labor market–a
feat accomplished by earning $14 per hour putting zippers in Levi’s famous
blue jeans.


    When
Levi moved Pope’s job out of the country, she became one of hundreds of
thousands of American workers who have lost jobs during the past six decades
as the garment industry seeks lower wages in underdeveloped countries.
In that context, the decision to close the Blue Ridge plant was hardly
unusual. Levi had clung to its last U.S. manufacturing plants long after
most of its competitors had fled.


    Yet when
a company like Levi, with a reputation for good management and strong relations
with employees, finally turns out the lights in the United States, it might
be an occasion to measure the human toll, here and abroad, of the flight
of garment industry jobs–and to remember that it’s happening so that American
consumers, who buy more clothing than any people in history, can get a
shirt for $20 instead of $25.

In 1950, 1.2 million Americans
were employed in apparel manufacturing. By 2001, that figure had fallen
to 566,000. In the same time span, the U.S. population almost doubled.
Jobs went out of the country, and finished products came in. In 1989, the
U.S. imported $24.5 billion in apparel; in 2001, $63.8 billion. In the
last quarter of 2001, 83% of all apparel sold in this country was imported.


    The migration
of these jobs is seen as the natural result of globalization, the economic
process that melds the technology and finance of the developed world with
the vast labor pool of the underdeveloped. This trend is especially attractive
to the apparel industry because, basically, all it needs are sewing machines
and low-paid workers.

    Globalization
has crept up so stealthily that it wasn’t generally recognized until full
grown. It accelerated around the end of World War II, when the industrialized
world was reshuffling, says Charles Derber of Boston College, author of
“Corporation Nation,” a book that views corporate power through a populist
filter. As American corporations witnessed the economic rise of Japan and
other foreign competition, they started looking for an edge, and they found
it in cheap labor abroad. “They realized that more money could be made
by using those billions of workers as producers as well as consumers,”
Derber says.


    Many
corporate executives view this sea of cheap labor as an attractive profit
center, or, if they find it predatory and distasteful, as a competitive
necessity. Economists say globalization will be the platform for Third
World countries to build their own free-market economies, and that low
wages are part of the growth process.


    Michael
M. Weinstein, a New York economist who has studied the job-flight phenomenon,
says of the plight of Pope and others like her: “Any policy you give me
for saving that person’s job is going to threaten somebody else’s. I don’t
mean to sound callous, but there are plenty of low-end jobs [in the U.S.]
that need filling. If we bar low-cost goods from abroad, it would be the
poorest among us who depend on these products who would be punished most
harshly.”


    In other
words, it is the poor who would suffer most if, say, clothing at Wal-Mart
suddenly cost more. Weinstein adds, “We don’t need garment jobs to have
full employment for Americans. It’s a good thing when these jobs go to
the worst-off people in the world. I regard it as unconscionable to clamp
down on sweatshops that are making these people’s lives better than they
would otherwise be.”


    The search
for the worst-off people in the world means the garment industry is looking
for a target that’s always moving. As soon as wages rise in one country,
work can be moved to another. Charles Kernaghan, director of the National
Labor Committee in New York City, calls this long-distance shuffle a “race
to the bottom” of the wage scale. The committee has a list of hourly apparel
wages in Third World countries, including: Guatemala, 37 cents; China,
28 cents; Nicaragua, 23 cents; Bangladesh, 13 to 20 cents.


    In
addition to low wages, manufacturers in many countries benefit from child
labor and long workdays as well as the absence of health plans, environmental
protections, workplace safety standards and efforts to organize workers.
In fairness, some U.S. apparel makers, Levi among them, have taken steps
to police conditions in plants overseas, and to pay fairly. But those efforts
are far from universal.

    “American
companies make showcase visits to these offshore plants, but they always
get the VIP tour and are maneuvered to talk only to employees who have
been coached for such occasions,” says Kernaghan, an old-style, angry labor
activist who knows his enemy, doesn’t     trust him
and never gets too close.


    Levi
Strauss & Co. has taken on the role of dressing people to look sexy
and cool, but the company began in 1853 as a wholesale dry goods business.
Its first garments were work pants made of canvas-type material to serve
workers in dust-clogged mines and on docks. As the years passed, Levi grew,
its sales reaching $4.3 billion by fiscal 2001, and the company expanded
its manufacturing to other parts of the country. Levi became a paragon
of corporate beneficence. It provided benefits, fair wages and even helped
employees earn diplomas. It donated ball fields to the small towns where
it operated. Even unions liked the company.


    Ann Woody
was a management employee at the Blue Ridge factory. She remembered when
Bob Haas, a descendant of the founders and Levi’s president and CEO, visited
the plant about a decade ago. Workers planted a tree in his behalf to show
their affection. It was a touching moment of mutual fidelity.


    Company
fortunes faltered in the mid-’90s in the face of competition from goods
made overseas. When the time came for Levi to close Blue Ridge, Haas had
become chairman of the board, replaced as president and CEO by Philip A.
Marineau, who was recruited from Pepsi-Cola to “turn this thing around.”


    To reduce
labor costs, Marineau had to break the paternal mold that the Haas family
had formed over many years. Journalist Karl Schoenberger wrote in his 2001
book, “Levi’s Children,” that “Levi Strauss is one of the very few major
companies in the apparel industry that has not been indelibly branded a
scoundrel by human rights critics. . . . It has the distinction of trying
harder and far longer than any other multinational corporation to do the
right thing.”

    The new
boss was tough enough to say to the workers: Sorry, but this is about money.

Marineau doesn’t do fireside
chats. He’s all business. Asked why the company closed Blue Ridge and turned
out faithful workers, he says: “To be competitive in the marketplace required
us to lower our cost of goods. It required us to go offshore. Apparel prices
have gone down for the last 25 years, and it continues unabated, driven
by an aging population that wants to spend less on clothing.”


    In announcing
the six plant closures, Levi said it was becoming a “marketing company,”
and that future production in almost all cases would be by contract manufacturers.
That would take place in 50 countries, including Mexico, Bangladesh and
China.


    To author
Derber, that explanation is code language that actually says: We’re going
for the cheap labor, and we don’t want the dirty hands of ownership that
go with sweatshops. The goal is to have “plausible deniability” about labor
conditions. He said that foreign plant owners are rarely steeped in touchy-feely
management techniques and operate with the backing of powerful politicians
who can impede whatever government oversight might technically be on the
books.


    Asked
why Levi contracts out its manufacturing, Marineau gives several competitive
business reasons, then he pauses and acknowledges, “The apparel industry
is chasing low-cost labor.”


    For Levi,
the advantages became obvious this year. In the third quarter, which ended
Aug. 25, Levi’s sales were up 3.5%, its first increase since 1996. Five
weeks ago came an agreement to sell a new line of lower-priced jeans through
the vast Wal-Mart Stores chain. Marineau predicted that the new Levi Strauss
Signature brand would generate hundreds of millions of dollars in sales
each year–all from garments made abroad.

    To its
credit, Levi has been a pioneer overseas, creating a corporate code of
standards for every manufacturer with which it contracts. Levi also pays
inspectors to enforce the standards. Writer Schoenberger acknowledges Levi’s
effort, but says, “How well they have managed to enforce that code is probably
very debatable,” given the serpentine twists in Third World countries.


    In fact,
enforcing the codes of various private groups and international organizations
is not achievable, Weinstein says. Groups such as the World Trade Organization,
NAFTA and the International Labor Organization have no real leverage to
control American multinationals because the United States has such vast
economic clout. “Say the Philippines has a beef against American trade
practices,” he says. “What are they going to do, refuse to do business
with the U.S.?”


    That
segues into a main Kernaghan point. The labor activist says that the most
effective step against globalization abuses would be to pass legislation
in the United States prohibiting the entry of goods from countries whose
products fall short of acceptable standards. In other words, the U.S. would
be saying to multinationals operating offshore: We can’t stop you from
making clothing in sweatshops, but you can’t sell it here.


    “We have
the power to determine what comes into our country,” says Jay Mazur, retired
president of Unite, the union that traditionally represented most American
apparel workers. “We say cocaine can’t come into our country; so we can
say that goods produced in sweatshops can’t either.”


    Kernaghan
and his allies (human rights advocates and some labor unions, but thus
far not many politicians) believe that such legislation would eliminate
the common explanation companies give for abusing humane standards–we
do it because our competitors do. Opponents argue that the law would send
clothing prices higher in the U.S.


    Karen
Collis was the president of the Unite local in Blue Ridge. When Levi announced
the closure, there was little the union could do except negotiate severances.
Collis, 31, is luckier than most. She’s bright, young and ambitious. She
has a supportive husband and plans to use her $11,000 severance to pursue
an accounting degree. She may be one of the few for whom being laid off
will be a blessing.

    Collis,
though, knows her former co-workers do not need severance packages. They
need employment. She is upset–at the union she believes gave up on the
Blue Ridge plant, at Levi for turning its back on loyal workers, and even
at Mexico, which is where she and other workers heard their jobs are going.


    So in
the race to the bottom, is Mexico the next stop?

In the sand-blown Mexican
border town of Piedras Negras, two hours southwest of San Antonio, a mother
of five prays that Collis’ prediction comes true. It won’t. The woman,
who did not want her name used for fear of reprisal at work, lives in a
two-bedroom crumbly stucco house so narrow it seems you can’t open the
back door without closing the front. The tiny front room is filled with
rows of family photos, religious symbols and a snowy old TV that is always
on and seemingly never watched. Even the furniture coverings are threadbare.
At the moment, the room is festive and crowded as several relatives have
gathered for the momentous occasion of this interview. Her children are
almost awkwardly polite and listen as attentively as if this were pay-per-view.


    She says
she earns about $55 a week sewing cloth bags at the local factory. Two
years ago, she earned twice that much working on Levi jeans at a large
factory, but it closed and the jobs moved to Central America and the Far
East. The closure left her and her husband, whose own job is spotty, with
far more bills than money.


    Today,
she worries that she will fall behind on her sewing quota. She is not as
nimble as she once was. She holds her bladder until lunch or quitting time
to avoid slowing down. She knows that 100 people would line up for her
job, and would gladly take the latest starting wage of about $35 per week.
There is no job security and no one to appeal to because the union in her
plant is as answerable to the company as she is.


    This
year’s economic downturn in the U.S. has hurt the Mexican apparel industry,
but most jobs were lost because companies moved to countries with lower
wages, says Julia Quinonez, head of CFO (Border Committee of Women Workers)
in Piedras Negras. She says that 4,500 apparel jobs have disappeared from
that small city in the past three years and that wages have gone from $4
per hour 10 years ago to an average of 80 cents today. Quinonez says the
jobs are going abroad, or farther south in Mexico, where wages are about
60% of those along the border and labor protections are rarely enforced.

    Martha
Tovar, president of Solunet-InfoMex, an economic research company in El
Paso, Texas, says that 68 textile plants closed in Mexico last year, depressing
conditions in the border area, including the poor woman’s family in Piedras
Negras. Prices are so high, they cross the border to buy beans and rice,
and occasionally–very occasionally–some chicken or cheap beef. When told
that some housekeepers in L.A. earn her weekly income by lunchtime, the
mother’s eyes widen and she says, “How can that be?”


    Her ambition
is to gather her family and slip across the border, where she wishes to
find out if such stories can be true for her. Asked how she would do that,
she shrugs. “I’ll just use a guest pass to cross over, then not return.”


    She has
little curiosity about the companies responsible for her wages. She would,
however, like to ask them–whoever they are–“Why is it that you can’t
pay me enough so I can live decently? So that I can feed my family chicken
even once in a while?”


    She is
not an economist and she has never heard of globalization, but her instincts
tell her that the job that allows her barely to survive is soon going the
way of thousands of other jobs in her town. In the race to the bottom,
it turns out, Mexico is in the rearview mirror.


    Lisa
Rahman would consider that Mexican family blessed with riches, because
$1 an hour far exceeds any amount the 19-year-old garment factory worker
would dare dream of when asleep in her family’s shack. Her closer-to-earth
ambition is to double her income to about 30 cents per hour. That would
mean chicken in her rice maybe once a week.


    Rahman
lives with and is the main support for her parents and two young relatives
in the vast slums of Dhaka, Bangladesh. All she can afford is one room,
and during the rainy season, the family collects the bedding and moves
to the one dry corner so that they don’t get soaked. She has never gone
to school, ridden a bicycle or seen a movie. Her wages allow the eating
of chicken maybe once every two months. She describes the neighborhood:
“Ninety to 100 people in my neighborhood all use one water pump, one outhouse
and one stove with four burners.”

    Rahman
has worked in garment factories since she was 10, the last three years
at the Shah Makhdum factory. She says she often works from 8 a.m. until
10 p.m. seven days a week, with a day off maybe once a month. Her take-home
pay is the equivalent of 14 cents per hour. The factory is hot, and the
drinking water is dirty. If she gets sick and can’t work, she doesn’t get
paid. If she gets sick very often, she’ll be unpaid permanently.


    Rahman
is waif-like–about 5 feet and 110 pounds–and has round eyes that float
in her still-young brown skin. Everything about her begs for a protective
arm around her, but that draws her no slack on the job: “If we fail to
meet [production quota], the supervisors yell and curse at us. They curse
our parents and call them filthy [names]. Sometimes they slap us.”


    One product
that Rahman worked on most recently was for the Walt Disney Co. of Burbank,
a contract purchaser from the factory. It’s a Winnie the Pooh shirt that
retails for $17.99. Asked to guess the shirt’s retail price in the U.S.,
Rahman says, “About 50 or 100 taka,” which is 86 cents to $1.72.


    Rahman
had never heard of Disney, Disneyland or Mickey Mouse until a labor dispute
broke at the plant recently over working conditions. The Disney licensee
promptly suspended its work there–forcing Rahman and others to reverse
field. They are now trying to have the manufacturing resume.


    Rahman
says she hopes to work at the plant until she is old.


    And what’s
old?

    “Thirty.”

    A spokesman
for the Disney company, Gary Foster, says of Rahman’s allegations about
the Shah Makhdum plant: “We have visited that plant 12 separate times,
and everything she says about it is untrue.” Asked if Disney garments are
still being produced there, he says, “As far as we know, there is no Disney
licensee making products in that plant.” Asked why he isn’t certain, he
says, “That is the licensee’s decision.”


    Bangladesh
is a desperately poor nation of 134 million that needs a lot of Lisa Rahmans
to staff its 3,300 sewing factories. The country provides garments for
most major American apparel manufacturers, including Levi. In 2000, Bangladesh
companies made 924 million garments for U.S. companies with a wholesale
customs value of $2.2 billion.


    Recently,
however, the Bangladesh minister of commerce complained that wages in other
countries, such as China, were undercutting laborers in his nation. That
is not surprising to labor activist Kernaghan. He says that fickle multinationals
have found new low-wage destinations, and China heads the list.


    Richard
H. Dekmejian, an international relations expert at USC, makes a judgment
on where globalization is leading us: “Third World countries have no
choice but to let these companies operate so their teeming populations
don’t die of hunger. People take what crumbs they’re able to catch. But
the overall impact of globalization is that the rich get richer and the
poor starve. That will eventually lead to an explosion. It’s inevitable.”


    Union
veteran Mazur is more sanguine. “The world sees us as the great economic
engine, and they just want it to work for them, too. By giving the world
fair wages for labor, we would create social stability, and make peace
more possible.”

    Sitting
at the table with Brenda Pope is her 11-year-old son, Brian. He’s a chubby,
pleasant boy, well-mannered in a “yes sir, no ma’am” way that sounds almost
quaint to a Southern California ear. Brian was found to have lupus a year
ago, and he has red splotches on his face and arms caused by the disease,
which can kill if it’s not carefully–and expensively–controlled. He can
do nothing about his face, but he reflexively tries to cover his sleeveless
arms. When I ask if he would mind playing outside for a while, he complies
without a murmur. When he’s gone, I ask his mother how he’s doing.


    “Lots
of kids give him a hard time. They call him pizza face and stuff like that.
It just breaks my heart. He once asked me, ‘Momma, are you ashamed of how
I look?’ When the doctor told him about the lupus, the only question he
had was, ‘Am I gonna die?’ “


    Pope
has been pushed around by life, but some of it was her own doing, and she
knows it; to wit: the two men she married, including Brian’s father, whom
she divorced 10 years ago. The look on her face as she discusses them tells
me I could write the familiar script. “I dropped out of school; figured
I could live on love. I was stupid, I reckon,” she says with a hollow laugh.


    When
Pope switches attention to her lost job, she says she anticipates drudging
trips to the welfare and unemployment offices, and endless job hunts that
promise little for her limited skills. She could flip burgers for about
$6 an hour–if they’d hire a middle-aged woman with a G.E.D. and an old-fashioned
work ethic–but that wouldn’t be enough to save her house and pay the costs
of treating her son’s sickness. “I’d dig ditches if the pay’s good,” she
says.


    Helen
M. Lewis, who also lives near Blue Ridge, is an author and authority on
the familiar Appalachian struggle to make a living. She doesn’t know Pope,
but she has known thousands in the same situation. “I’m sorry to say it,
but she’ll probably lose her house and move onto her parents’ property
with a trailer home. It’s an old pattern. There are millions of people
in this country like her who want to be productive workers and who are
content to live marginally middle-class lives; instead, they become dependent
on society because large corporations tromp on them chasing more profits
from sweatshop foreign workers.”


    No one
in Blue Ridge, currently, is looking for a woman who has sewn a couple
million zippers into pants. In fact, not many in Blue Ridge are looking
for anyone. The town is rapidly turning into a mountain resort of antique
shops, summer houses for rich Atlantans, and retirement and convalescent
homes. In job-availability shorthand, that comes down to bedsheets and
bedpans serving those low-paying industries.

    The state
of Georgia has set up a job agency for the former Levi workers. State employees
eagerly staff job banks, but for far too few positions. They encourage
people who can’t type to learn computer skills, and provide some funding
to go back to college or trade school. That’s of marginal value to middle-aged
people conditioned to manual work and who, in any event, can’t afford to
stop working while going to school.


    Brian
is invited back to the kitchen table. He listens to his mother vent at
her ex-employer. Levi was part of the Pope family. Her mother worked there
for 26 years before retiring, and three other members of her immediate
family were let go with Brenda. “Four of us are out of a job.” It’s as
though another husband took off.


    “They
said they was going to give us a commemorative denim bag.” She pauses for
the irony of that to settle. “Twenty years, and I get a denim bag made
out of the same damn scraps I threw in a basket?” She laughs. “I just can’t
wait to get that denim bag.” Brian chuckles, too, but isn’t sure why. Asked
about his mother’s situation, he responds with a child’s heart. He smiles
at her proudly and says he wants to give back his allowance to help out.
She hugs him tightly. As I walk down the driveway, I look back and see
Brenda and Brian Pope standing on the step holding hands.


    American
consumers are blessed in many ways. As the nation’s standard of living
has risen and the cost of clothing has dropped, homes have grown bigger,
as have closets. Shopping for clothes has become a pastime for millions
of people because they can afford to do it regularly. Thanks to this
Levi closure, we can buy, say, five shirts for $100 instead of four.


    The
cost of having that fifth shirt? Higher welfare, health-care and job retraining
costs for hard-working people like Brenda Pope, the shrinking lives of
people like Lisa Rahman and the family in Piedras Negras, and perhaps the
explosion forecast by Dekmejian.

It is part of the American
character to believe that things will always get better. However, many
poor countries are mired in the depression that says bad things never change.
Both are often right.


    On March
25, 1911, 275 young immigrant women who sewed garments for six bucks a
week were about to go home. It was quitting time in the cluttered Triangle
Shirtwaist Company factory in Manhattan. A fire broke out and spread quickly
through clutter on the floor. The rush to get out turned to panic as they
realized they were trapped on the upper floors, where the doors opened
inward. Many leapt onto pavement from eight stories up. At the end, 146
died. Photographs of their bodies laid in an orderly line on the sidewalk
shocked America. In response, laws were passed establishing workplace safety
standards. Wage laws eventually followed, decreeing that apparel workers
should not only not die, but their lives should be worth living.


    Ninety
years later, on Nov. 25, 2000, a fire broke out on the fourth floor at
the Chowdhury Knitwear factory in Narsingdi, Bangladesh. It darted across
the factory floor and enveloped tables piled with shirts. A can of solvent
exploded into a fireball. Someone grabbed an extinguisher. It was broken.
The 1,250 apparel workers panicked. Some dashed to the roof, where they
were cornered and jumped to their deaths. Some raced down the stairs to
the main exit, where they discovered the metal gate was locked. As their
pounding went unanswered, others piled up behind them. Fifty-two workers
died, mostly young women and children. The factory was soon back in production.
No new laws were passed and nothing much changed, except about 50 new faces
at the sewing machines.