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REST AREA: a collaborative installation

16 Sep

As part of the LA ROAD CONCERTS – Catalysis Projects’ Core Artist Kim Ye and collaborator Christine Wang give CP a sneak peak of their REST AREA project proposal. The project itself will be performed SUNDAY, 9/18/11 from 11am-2pm @ the intersection of Portia & Sunset in Los Angeles.

Abstract
In Los Angeles, where cars are a near necessity and filters many a person’s perception of the world around them, drivers and pedestrians often experience the city completely differently. Often more than just a mode-of-transportation-choice, this split may trace real differences in the social/economic/geographic position between individuals. How can we navigate this difference in a way that can generate a sort of shared experience?

In this experimental installation, we would like to explore options for a public space that unites the comfort and shelter of the car, with the public social space of sidewalks, parks, and bus stops. Through the creation of a temporary shared oasis at the boundary between sidewalk and street, we hope to propose an alternative function for the automobile, while simultaneously modifying the bodily experience of the pedestrian. Through this act we hope to explore how the unit of the automobile may create new relational possibilities for the interaction between human bodies.


Christine Wang & Kim Ye, REST AREA (test), 2011

Installation
Two identical Toyota Sienna minivans are parked directly across the street from each other at either ends of a pedestrian crosswalk. Both side doors are open on the vans, and a ramp runs through the middle of each van; this creates a tunnel that pedestrians must pass through in order to cross the street. As pedestrians pass through the inside of the vans, there will be music, air-conditioning, and refreshments offered to them. They can rest in the back of the van for any amount of time they wish, before proceeding on to their destinations.

Location
This installation was originally conceptualized for the crosswalk at Sunset and Portia in Echo Park, but can work anywhere with significant foot traffic and a crosswalk that can be parked in without obstructing traffic.

Blocking the Exits: The Slowpocalypse is Here

11 Aug

Notes from the Studio: Catalysis Project’s Resident Artist Isaac Schankler talks about his recent collaboration with video artist Christopher O’Leary, Blocking the Exits (currently on display at Los Angeles Contemporary Exhibitions).

What is the nature of our culture’s fascination with the apocalypse? This dystopian thread connects so much of our literature, our films, our popular consciousness. There’s something riveting about the spectacle of it all, something that seems to mask a hidden desire, or at least conflicting impulses. What does it mean when you take something horrifying and render it beautiful? What are the aesthetics of the apocalypse?


These are some of the pointed questions implied by video artist Christopher O’Leary’s Blocking the Exits. In his words, the project “depicts an apocalyptic world where four characters have the final experience of crumbling pillars of civilization: water, food, energy and communication.” When Chris asked me to supply a soundtrack to this quasi-narrative video, I jumped at the chance (since I too am not immune to the fascination of the apocalyptic).

The visual aspect of Blocking the Exits consists of still photos that are then animated through morphing algorithms. Chris’s images are extremely stylized; there’s no attempt to disguise or apologize for the influence of comic book art. For a composer like me this is wonderfully inspiring; his images are so evocative that when he first showed them to me I had almost immediate sonic “images” come to mind.

There’s also a mesmerizing slowness to the morphing animations, and this led me down some musical paths that are a bit unusual for me. I composed four electronic musical vignettes, one for each “character” in Chris’s video. Each vignette follows a very simple process from one sonic place to another (e.g. low to high, sparse to dense, and so on). Each process is drawn out so that the development is almost imperceptibly slow, and the video also dynamically cuts between characters, making the processes even harder to track from beginning to end.

Usually when I’m working out a composition I feel compelled to subtly shade these processes, to round off the edges and hide the seams — or if I’m feeling more antagonistic, to disrupt and complicate these processes with even more processes! But in this case it seemed to fit the project to doggedly pursue something to its bitter end. Here the end of the world doesn’t happen with a bang but as a dull, persistent roar. It happens while we’re not looking or listening: an ongoing, inevitable, eternal moment.

Blocking the Exits is on display in the Speculative exhibit at LACE (Los Angeles Contemporary Exhibitions, 6522 Hollywood Blvd., Los Angeles, CA 90028) until August 28th.

The Life of Objects

9 Aug

NOTES FROM THE STUDIO – Catalysis Projects’ Core Artist Kim Ye gives a sneak peak of her proposed project THE LIFE OF OBJECTS for High Desert Test Sites

Background / Abstract

This project started as an exercise in processing the leftovers of family tradition. In January 2011, I cruised the streets of Los Angeles, picking up curbside Christmas trees in my minivan. Some pick-ups were planned, involving prior communication with the owners. Others were more spontaneous, where I pulled over upon spotting a tree trunk sticking out between a mass of pine needles, sometimes wrapped nefariously in an overgrown plastic bag. All in all, I collected 58 Christmas trees over the course of a month.

I am fascinated by the process by which the Christmas tree falls from preciousness to worthlessness. A symbol that takes its place at the center of family gatherings and acts as such a loaded, often sentimental, representation of religion and relationality is discarded in the same manner as common household waste, dust, and dirt. The trees I rounded-up were completely used up—abandoned unceremoniously by the very family units that had chosen them.

Why does the becoming of a Christmas tree involve such a degree of pomp and circumstance, while its ending is treated with the irreverence of a chore like taking out the trash? Does this say something about a larger tendency to avoid facing the material consequences of our culture’s socially meaningful—but economically and ecologically impactful—traditions? In an effort to confront these questions, I reorganized and modified the trees in stages, giving them a newly collective physical presence.  The first two configurations can be seen below. The third and final configuration is planned for the Wonder Valley desert in the vast stretch of land behind The Palms.

Kim Ye, The Life of Objects (Installation #1), 2011

Kim Ye, The Life of Objects (Installation #2), 2011

Installation / Location

For the desert installation, the trees are coated with strontium aluminate glow-in-the-dark pigment, and then fastened together in an organically chaotic arrangement. This configuration results in an object that is reminiscent of an overgrown radioactive tumbleweed—its size and luminosity confronting and activating the viewer’s body. The placement of the sculpture at The Palms puts it within the range of human contact—fitting since the sculpture’s conglomerated form mirrors the function of the restaurant, which acts as a rhizome that generates social activity and interaction.

As part of the Homestead Act, Wonder Valley has a history of being a site for new beginnings, redefinitions, and unavoidable endings.  Within this uncanny setting that is at once magical and unforgiving, hopeful and terrifying, is it possible for these glowing tree parts to embody the affective motivators that pattern human behavior? To realize the final stage of The Life of Objects in this landscape is to postulate a new function for the material byproducts of networked human relationships.  Perhaps these discarded symbols can act as a beacon that encapsulates the resonant activity inherent in all endings.


Noah Purifoy and the psychology of bricolage

11 Jul

NOTES FROM THE STUDIO – Catalysis Projects’ Core Artist Kim Ye makes a visit to the desert and muses on the psychology of found objects in art.

A couple weeks ago, I ventured out to the Mojave desert with friend/artist Thinh Nguyen for a visit to fellow CP’er Deborah Martin home/studio. While scouting possible locations for a project proposal for High Desert Test Sites we made a visit to the Noah Purifoy Outdoor Desert Art Museum of Assemblage Sculpture. Off a poorly marked dirty road, we pulled up to 2.5 acres of sculptures and installations suggestive of a post-apocalyptic amusement park. Giant monuments, stage sets, and elaborate scenarios fashioned from toilets, old clothing, scrap metal, foam, and other discarded, scavenged, and generally devalued materials haunt the arid landscape; wandering through, between, and into the structures, I had the eerie feeling of being alone in a crowd, as if my body were being displaced by the collective force of a culture’s material products.

In reading about Purifoy’s work, much of its conceptual underpinnings are traced back to Dadaist ideals of assemblage and the readymade, and the folk art aesthetic of using cheap, everyday materials to make works that are tied to the maker’s personal history. Accordingly, much of the discourse surrounding Purifoy contextualizes his work by emphasizing its relationship to natural processes of erosion and decay, its attempt to break free of modernist straight-line aesthetics, the artist’s political choice of using junked and scavenged materials, and his personal history as a African American artist and art educator in Los Angeles.  While all these factors may be relevant to a historical/contextual reading of the work, linking Purifoy’s formal choices to a commentary on inequality and urban blight seems like a neat and easy place to stop—conveniently collapsing the work onto the body of the artist. As an artist working with found and scavenged materials myself, I wonder if a more psychological reading of the bricolage process can be generative for thinking about works like these, allowing meaning to be made without having to rely on Dada or revert to romantic old hat like “art is all around us”.

According to an essay by Anna Dezeuze, the word bricolage was first theorized by anthropologist Claude Levi-Strauss in 1962. Referring to a DIY process of making objects out of odds and ends or with quick-n-dirty solutions, bricolage comes from the verb “to tinker” or “to fiddle”—and the figure of the bricoleur can be likened to that of the mad-scientist, amateur, or hobbyist. The term is also used in biology and information technology to talk about structures that are cobbled together or built from the bottom up, such as biological organisms and strategic information systems. Like Levi R. Bryan I believe that bricolage is a type of methodology, a model of engagement with the world, rather than a formal category within the visual arts. The idea of using pre-existing materials acquired through collecting and scavenging mirrors for me a kind of mental process which depends on, glens from, and recombines (both consciously and unconsciously) information disseminated via cultural memes and direct interpersonal contact. It is an acknowledgement of the real material constraints that shape our desires, and behaviors.

In an era of increasingly dematerialized art practices, it may seem regressive to use the discarded remnants of corporate, mass-produced materials. Perhaps such a material-based practice can be read as being complicit with the structures of advanced capitalism, producing beauty out of its products even as they no longer serve their original function. Or even more cynically, that the artist–through an act of diversion–is literally turning trash into gold, aligning him/herself with the position of the industrialist.

But something doesn’t feel right about this reading. Not only does it give no consideration to the experience or position of the scavenger, but it also denies the existence of any imprint that previous owners leave on the object in question after it leaves the factory. As in the case of many scavenged items, there is a long period of time after its original purchase that it slips out of the commodity state and becomes a physical component of a person or family’s life. It functions as a domestic object, fulfilling a need or desire for the home in which it resides, but at some point, it no longer fulfills the desires, or somehow fails to contain the needs or expectations placed upon it by its owner, and is cast off into the street, where someone like me picks it up.

It is this string of desire/non-desire, and the evolution from preciousness to worthlessness that I find most interesting about the role of found objects in my current practice.  In a sense, objects are abandoned when there is the sense that no one can project onto it, that it is so used up and broken that it is impossible for anyone to identify with it at that point. The item is not taken to a donation center or even a junkyard, it is simply left outside—as if an immediate split had occurred which quarantined it from the rest of the home. I find something deeply psychologically compelling about this exchange of abandonment and salvage—almost as if one person’s shame corresponded perfectly with another’s fetish. In this way, the process of re-appropriating found materials is not about chance, it is about the negotiation of individual fantasy within shared material landscapes.

    Kim Ye, Gold Digging, 2011

Kim Ye, Surrogacy, 2011

Exploring in Novels and Music

8 Jul
 NOTES FROM THE STUDIO:  Catalysis Projects’ Core Composer Veronika Krausas muses about the similarities of traveling and exploring in novels, on land, and in musical composition.

Space… the Final Frontier. These are the voyages of the starship Enterprise. Its continuing mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before…

The reason I bring up Star Trek, not because I’m a trekkie, although I loved the new movie with the cameo by Leonard Nimoy (always a hero – logical and mathematical) and did watch the series as a kid (Kirk, Spock, Bones, Scottie and the gang always kicked ass, just like Batman and Robin except in space), it’s the quote from the beginning of the show/film etc. that pertains to my blog this month.  …to explore strange new worlds, to seek out new life and new civilizations…

Right now I’m in the middle of two things:  I’m reading Embassytown, the newest work by one of my favorite authors, China Miéville and I’m writing a new piece.  Interestingly they both have something  in common – the process of acclimatization.

Miéville’s novel is set in the future and humans have colonized a distant planet, home to the enigmatic Ariekei, sentient beings famed for a language unique in the universe, one that only a few altered human ambassadors can speak.

Diving into this novel is like arriving in a new city or starting a new piece.  There is little or no familiarity with things:  understanding the syntax of new words and ideas, the new streets and buildings, or the harmonic language of a new composition.  Your legs feel wobbly; your brain is in overtime to make connections and link concepts, ideas, notes, street names!

As the story progresses with these unknown words and concepts—that are slowly revealed or you have to work out for yourself—there’s a level of comfort reached when the comparisons turn to understanding. It’s like learning a new language – constantly translating words to English until they attain the status of becoming their own entity without being a comparison or needing a definition anymore.

I think about explorers first encountering a new culture and new language and new everything!   There was movie called the 13th Warrior a few years back and what I remember about this movie is one brilliant scene when the hero (I think Antonio Banderas) was thrown into a group of Vikings (or some bearded types) and didn’t speak their language.  It showed his progression of recognizing and understanding individual words and over time grouping them into sentences, and then into meaning.  I loved the way that the writers didn’t just assume everyone spoke English in Medieval Europe.  So it’s a process of acclimatization.

With writing novels (I’m assuming) or music (which I know) it’s the creation of a new universe and even in that creation there’s the period of acclimatization for your own internal understanding.  This is a tough period and often very elusive – nothing makes sense in your brain and very unrelated and strange things achieve great importance (such as the sudden need to clean behind the fridge).

Getting over that hump is a great relief and then links are made more easily and naturally (and who cares what’s behind the fridge … you can’t see it anyway!)

Narrow Lands Production: Deborah Martin Notes from the Studio

21 Jun

This NOTES FROM THE STUDIO column features CP Core Artist Deborah Martin,  a contemporary realist painter, fine art photographer and curator. Visit her work online here.

 

The Drawer 36 x 36″

Oil on Canvas

I am in a painting frenzy working on 10 paintings that will be shipped out to Cape Cod, MA in mid July. While I attended the Museum School of Fine Arts in Boston, I used to frequent Provincetown. Duirng one of my visits to Provincetown, I spent the night in the very house that several of the paintings and poems from this exhibit are based on. The house has since been abandoned. I actually had forgotten that I had slept in the house-with a gang of girls (strewn about on the floor.) The memory came back to me later while working on the selection of images for this series. I have made a complete circle.

NARROW LANDS is an ongoing multidisciplinary collaborative project between CP Core Artists Quintan Ana Wikswo and Deborah Martin. For any one living on the East Coast anywhere near Provincetown-I hope you will have a chance to see this exhibit.

Here’s a note from the press release:

Martin’s sea bleached and dusty-colored paintings exist in intimate conversation with Wikswo’s spare, sensual prose poems, yielding poignant and often enticing portraits of Provincetown buildings and the women who live and love within them.

Together, the works inhabit a uniquely Provincetown landscape, forming a powerful meditation on human erosion, transformation and renewal, and a powerful encounter with the Cape itself.

The fine art book NARROW LANDS: Paintings and Prose Poems has been published by CATALYSIS PROJECTS, and will be available in hardback and paperback.

Here is a preview of one of Quintan Ana Wikswo’s Poems that will be part of the upcoming exhibition and Narrow Lands Book.

THE DRAWER

by Quitnan Ana Wikswo

The veins on the back of her hand a delta, veins swollen and exposed. Under the nails – dulled and chipped – oyster shells nibbled in hopes of reaching the meat.

On her wrist, split blood vessels hunched and sharp as sea nettles.

Her nose arches over her long neglected mouth, and a dangling brown braid locked tight against the salt and moisture of the coast.

She wishes she’d been born looking like this, some fierce seafaring Venus sprung from a whale, split asunder and screaming on the shore.

But instead she’s grown this way, and slowly.

Slow enough to notice.

Hamper 36 x 36″

Oil on Canvas

This is a painting I am working on titled Hamper. I  have yet to tackle this hamper which is still outlined here in Pencil.

All three of the images included in this blog post are based on the house in Provincetown I made reference to. I hear that the house is owned by Penny and Chuck who are residents of Provincetown. My dear friend Linnie relayed that she ran into Penny and Chuck and had told them about these paintings coming to Provincetown. I wonder if they will come to the opening. As I write this I am thinking how strange this all is and how somehow we are all connected…

The Narrow Lands exhibit opens August 5th -24th, 2011 (opening reception  Friday August 5,  6-9pm) at The Patty Deluca Gallery in Provincetown, MA (courtesy of The School House Gallery.)

The work will be on display at The School House Gallery opening Labor day weekend September 2-21st, 2011 (with an opening reception on Friday Sept 2 7-10pm.)

Hanger 36 x 36″

Oil on Canvas

Battering Down the Walls: Isaac Schankler’s Notes from the Studio

14 Mar

NOTES FROM THE STUDIO
This week your friends at Catalysis Projects introduce the sixth in our series of new columns – brief notes from the studios of our Core and Resident Artists. This week our Resident Artist composer Isaac Schankler posts the first in a series of entries looking at connections between speech and music.

I’ve always been fascinated by the relationship between speech and music, maybe partly because they employ the same medium (sound waves, with an approximate visual notation) yet carry such different kinds of information.  Speech is representational, while music is expressive — okay, but this delineation isn’t as clear-cut as it first seems.  Certainly speech is capable of being expressive in its rhythms, cadences, rhetorical flourishes.  And music can be used to represent cultural codes (e.g. what subculture(s) you belong to).

So where can the boundary be drawn?

When the two are combined, interesting things happen.  Both change shape to fit the other.  In opera, the distinction between recitative (parts where the needs of the text take precedence) and aria (parts where the needs of the music are paramount) is an old one.  Many composers seem to have been dissatisfied with this distinction and have tried and batter the walls down from one side or the other.

Leoš Janáček was a champion of “speech-song” theory, in which musical ideas were driven by the rhythms, pitch contours and inflections of normal Czech speech.  (But, a bit like Ornette Coleman’s harmelodics, it seems to be next to impossible to find out what “theory” actually was behind it, other than some vague principles.)

Janáček filled notebooks with musical transcriptions of everyday speech, and when his daughter fell ill, he even went so far as to transcribe her final, dying breaths.  This strikes me, somehow, as a uniquely composerly act: a bit obsessive, yes, clinical and detached and at the same time incredibly sentimental.

I think this gets to the core of my fascination with speech and music; when you put them together you are able to be at once abstract and personal.  They seem to be the same thing, even.  The world seems to be at peace, almost.

Congratulations Jennifer Egan: Quintan Ana Wikswo’s Notes from the Studio

12 Mar

NOTES FROM THE STUDIO
This week your friends at Catalysis Projects introduce the fifth in our series of new columns – brief notes from the studios of our Core and Resident Artists. This week our Core Artist Quintan Ana Wikswo points out just how clueless and distasteful the Los Angeles Times can be in reporting on women writers.  

I am quite pleased that Jennifer Egan’s novel “A Visit From the Goon Squad” was awarded the prestigious fiction prize from the National Book Critics Circle last night. Go pick up a copy at Skylight Books. And while you’re at it, pick up a copy of the nonfiction winner, Isabel Wilkerson’s riveting book: The Warmth of Other Suns: the Epic Story of America’s Great Migration (sorry Skylight, but you say you don’t carry it).

But I couldn’t be more horrified that the LA Times article today made an atrocious series of choices in announcing Jonathan Franzen NOT winning the award, rather than a talented female writer WINNING the award.

First bad choice? The headline: “Egan beats Franzen in National Book Critics Circle’s Fiction Prize.” Isn’t it enough that she won, without naming the famous man whose work was NOT selected?

Second bad choice? The tagline: “The Jennifer Egan work bests Jonathan Franzen’s ‘Freedom.'” Um, you might want to name the winning book (“A Visit from the Good Squad”) rather than the name of the novel by the man who didn’t win.

Third bad choice? The photograph: of a typically fatuous looking loser Jonathan Franzen, instead of the female winner, Jennifer Egan. Here’s an actual author photograph:

Jennifer Egan

I like the damning article by Cynthia Newberry Martin in Contrary Magazine, who offers an alternative headline:

EGAN WINS NATIONAL BOOK CRITIC CIRCLE’S FICTION PRIZE.

Click here to respond to the LAt Times: http://www.latimes.com/news/opinion/editorials/la-op-email-form,0,3054191.customform

Artists and Escorts: Kim Ye’s Notes from the Studio

3 Mar

NOTES FROM THE STUDIO
This week your friends at Catalysis Projects introduce the second in our series of new columns – brief notes  from the “lost and found” desks of our Core and Resident Artists. In these posts, our artists offer a glimpse into one of their interdisciplinary, collaborative projects, including artifacts from the flotsam and jetsum that litter their creative spaces. This week our Core Artist Kim Ye’s asks whether ARTISTS and SEX-WORKERS hold parallel positions in our current economy?

Below is an excerpt from a discussion I’ve sent to Miwon Kwon as a project proposal. The writing that would result from this line of exploration would be for a seminar called Exchange Rate in which the changing economics of dematerialized art is addressed:

I’m interested in exploring parallels between the artist’s position as a service provider and an escort or sex worker’s position as a service provider. Specifically, I have Andrea Fraser’s Untitled and Art Out Artist Escort Service in mind. In both cases, the artist is taking part in the experience economy, but the experience is of the artist’s body and/or subjectivity. What is the nature of this exchange? What does the client/guest receive and what does the artist receive in this encounter both materially and symbolically?

I was thinking about the interview you did with Andrea wherein she states that while she does have moral dilemmas in regards to selling art work, she does not have any in regards to sex work. In addition, she mentioned that her intimate relationships have helped sustain her financially over the years. While Untitled subverts the client/escort relationship in certain ways, I am thinking about how analysis of artistic practices can be applied to the practices of high-end escorts and vice versa. My hope is that through this comparison, I can answer (or begin to answer) the question of  “What is the nature of–or what is behind–the economic value being added in the experience economy?”

I would start by stating the following:

Sex work in the United States is becoming increasingly professionalized and entered into as a voluntary career path. With this shift, highly-paid escorts start to embody members of Veblen’s cultured class; their clients expect to receive not only a physcial/sexual encounter, but also a “girlfriend experience”–the consumption therefore becomes that of the escort’s subjectivity, and not only of her body. I would argue that this shift from service to experience-production of the sex worker parallels the shifting position of the artist.

Artout (and other works like Andrea’s Untitled, Abramovich’s The Artist is Present, and others?) exchanges the client’s economic contribution and bodily involvement for the opportunity to “experience the artist” both physically in real time/space as a companion for an activity, and psychically/symbolically as a form of cultural capital which augments one’s social position.

What is it that the client is getting out of this type of “intimate” encounter that allows him to pay $250/hour for an artist’s companionship? Perhaps here is where we can draw additional vectors that connect the artist to the sex worker.

On the other hand, it might be interesting to ask what position within the experiential economy do artists occupy? Up to here, I’ve assumed that artists are the producers of the experience, and viewers/participants the consumers. But, in acts of condensation, aren’t artists also transforming the experiences they have consumed (art school, for one) or delineated for themselves (I’m thinking of Helen Molesworth’s mention of Process Art) into art objects? So, in this way, for certain artists, their capital is in their body experiences. Again I find myself thinking of Abramovich (especially in her performances with Ulay), where the strength and intensity of the work is located within the artist’s actual experience.

Perhaps this last section gets a little murky/tangential and perhaps there is a more contemporary practice I can reference there (Francis Alys’ melting ice block perhaps?), but I think there is potential in using sex work as a frame for analyzing contemporary experiential art practices.

Video still from Andrea Fraser's Untitled

For further reading:

Dirty Money on CNBC.com: http://www.cnbc.com/id/26869953

Andrea Fraser’s “What do I, as an artist, provide?”
http://www.kemperartmuseum.wustl.edu/exhibitions/2350

Confessions of a Client: http://today.msnbc.msn.com/id/27651436/ns/today-today_people/

Kitchen Time

20 Feb

NOTES FROM THE STUDIO
This week your friends at Catalysis Projects introduce the second in our series of new columns – brief notes  from the “lost and found” desks of our Core and Resident Artists. In these posts, our artists offer a glimpse into one of their interdisciplinary, collaborative projects, including artifacts from the flotsam and jetsum that litter their creative spaces. This week features our Core Artist composer Veronika Krausas’s musing about TIME.

Composers are constantly trying to evade the unstoppable regularity of time. We think about how to make time seem to slow or to go backwards or speed up, how to regroup time into different beats and meters or avoid those entirely. It’s interesting that on a personal level this has infiltrated my daily life.

No two clocks or time-keeping mechanisms that I own are ever set to the same time. My digital radio-alarm clock was purchased when I was a teenager – it’s brown and huge and has followed me from house to house over the years because, although it’s quite ugly, it always works. I set it 5 minutes faster so that I can accommodate the early morning snooze button ritual. The back-up, battery-powered little Radio Shack travel clock, that long ago lost its cover, is also not set at the precise time – usually 6 minutes faster so that the radio alarm clock can slowly let me wake up before the really annoying beeping starts.

My car clock I usually set about 5 minutes faster to make sure I’m on time for appointments. But it seems to slowly but progressively get one minute faster every few months. Maybe this is my car trying to help keep my brain agile so I have to continually calculate the proper time each time I’m driving. Venturing into the kitchen, on the wall is a 15-year-old-kitchen wall clock from Ikea. In the last few years it started to have its own mind. Towards the end of ‘its life’ it was mostly stopped, but sometimes it started clicking forward at a normal pace and once I even saw it click backwards. Basically, the time was never correct and the time on the clock became officially known as kitchen time. Venturing into the kitchen for many months, I always had the feeling I can only liken to jetlag. Unlike the car clock, where complicated mathematical calculations can be made based on the prior day to determine the actual time, such constants were never present in the kitchen. The kitchen clock had its own chaotic system. The last time I came back from Europe and was really physiologically jet-lagged, the added effect of kitchen time started to really screw with my mind and the perpetual time jet-lag that I was now continually experiencing was becoming a bit much.

So, I reset the car clock back to 5 minutes faster, the archaic radio-alarm clock is now set 3 minutes faster and the back-up travel, battery-powered travel alarm clock is 4 minutes faster (can’t give up my one minute snooze with the radio before the beeping), and I ordered a new kitchen clock on Amazon.com so now I don’t have that jet-lagged feeling when I go into the kitchen. The era of kitchen time has passed … for now.

PS:  Just noticed that since I’ve had the kitchen clock showing ‘kitchen time’ for so long, I still never quite trust the time I see on the new clock!