Daily Mind-ful 26 May 2017 (Central Saint Martins Graduation Show)

I make it down to London to catch the graduation show at Central Saint Martins between housefuls of guests; in Saint Pancras, a surprisingly high end train station, I ask the information desk about the closest exit to the Central Saint Martins campus and the Eastern European attendant has never even heard of the university; this is exactly the kind of thing which provokes outrage among Brexiters — and for good reason; there’s a ton of construction going on around the CSM campus; I FINALLY make it to uber-trendy Indian restaurant, Dishoom, but because it’s before 12 noon, they’re not serving rice, only breakfast foods. That’s a HUGE disappointment — because I’m Asian! My friend, Silvy, who graduated from Central Saint Martins last year, tells me that the students are getting ripped off by the university because the maximum face time with their tutor is 30 minutes per term, meaning a grand total of 90 minutes per year. That’s terrible. But making things far worse, she recounts how her tutor was expressly prohibited by the school’s management from spending additional time with any single student because it would make all the other tutors look bad. Teachers are not permitted to do the equivalent of uncompensated over-time because it makes all the other teachers look bad. It means that well-intentioned tutors are expressly proscribed from making themselves available for additional office hours with students, even on a voluntary basis; that’s a terrible indictment of the school’s culture: the deans are clearly more concerned about keeping order and maximizing enrollment rather than looking out for students’ interests; the same inadequacy of resourcing applies to the studio space allocated to students; there’s not enough of it, so most students do their projects at home; Silvy describes her experience at CSM as “a huge rip-off”; #CSMcome is the worst social media hashtag ever! We’re among the first people to enter the exhibition space and the students are still getting ready; I commit myself to filming positive feedback only but it’s hard NOT to be critical of many of the projects; Silvy reminds me that these are students and that I shouldn’t lay into them too hard; there’s way too much gratuitous incorporation of technology; the projects by the following students impressed me, for different reasons: Jessica Oag-Cooper, Hannah Willcocks, Olwyn Carroll; Silvy shows me a typical room allocated for 45 students’ studio space: it’s obviously inadequate; Central Saint Martins doesn’t emphasize technical skills or craft and that’s obvious from the graduation show (unfortunately); we visit a room upstairs is signed with a content warning outside the door – that these exhibitions might shock. They’re pretty tame and only slightly thought-provoking, transposing the sound of porn to footage of food consumption and swapping virtual guns for three-dimensional, “real” ones in a video game; the video art is probably the strongest corpus of work among all the genres on show; 80% of the projects I saw were impenetrable and left me feeling puzzled; the others were disappointing because they lacked originality or impeccable execution; there were less than five projects I would have termed outstanding; to speak with total honesty, I was seriously underwhelmed by the entire thing and I’m not sure whether it was worth the huge schlep out to Saint Pancras from the country; I rush back home to welcome my friend Michael from Hong Kong; he had to lug an entire suitcase to England in order to bring me a handbag I ordered from D’Auchel, a new accessories company based in Hong Kong; the reversible tote bag has been made entirely by hand and is comprised of hand-stitched leather panels in three different colors; John models it to singular effect.
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Daily Mind-ful 24 May 2017

It’s a cooking day, something I haven’t done for decades, because two sets of friends are descending on me this week, beginning tomorrow. Tomorrow, we’re going for a walk with John’s two best friends; I emailed Yale a letter, with my vlog link, in support of June Chu, the dean censured for her remarks on Yelp; I have the WORST tennis lesson and want to cry, not because my coach beat me up but because I beat myself up. It’s definitely an Asian thing; uh oh…I just realized that I’m going to miss the graduation show at Central Saint Martins because I’m overscheduled; I check up on our spring and summer gardens to see how they’re progressing, something I do most days these days. Finally, I’m beginning to understand the rich rewards of gardening; I figure out a way to fit in a visit with Silvy Liu (@tsquiggnome) to the CSM graduation show; Silvy’s a new friend who graduated from Central Saint Martins last year, whose project, The Pedagogy of Unlearning, at the graduation show impressed me so much that I emailed her and invited her to lunch; Silvy’s project, by asking members of the public to write their name in an unconventional, physically contorted way, so that they simply could not perform the task, proves the point that traditional educational regimes are so deeply inculcated into us that they permeate our very bones and muscles, literally.
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Am I a bigot? (The case of June Chu and other examples of outrageous PC bullshit)


It’s totally outrageous PC bullshit that June Chu, a dean at Yale University, has been put on leave because her Yelp reviews offended some hypersensitive liberals. Besides the fact that I identify very strongly with Chu, whose remarks, style and background, could have been my own, there are strong reasons why we need to nip overweening political correctness in the bud. First, political correctness which flies in the face of common sense reinforces the conservatives’ perception that the divide between right and left is absolutely unbridgeable, and that liberals have generally lost touch with reality – not to speak of the concerns of the ordinary, middle class American. Increased divisiveness and polarization are the last things we need in the United States (or indeed, Europe) right now. Next, ostracization and censure of university staff (or students) for failing to tiptoe around the shibboleths of political correctness is a politicization of the campus which, in theory, is no different than hiring professors or admitting students on the basis of their substantive political beliefs. Whereas ardent bible-thumpers or neo-Marxists might consider such tests (and missions) appropriate in an institution of higher learning, the overwhelming, vast majority of students and teachers in elite universities would place freedom of expression and debate over and above any specific body of belief or political persuasion. Finally, and this is probably my biggest axe to grind, because it’s personal, I take issue with the credentials of today’s righteous PC firebrands. Having attended both Columbia and the University of Pennsylvania, I know that many of these provocateurs are pampered white kids who’ve never experienced any form of racism, prejudice or discrimination – let alone harassment. It’s galling to me that they are taking on the mantle of minority oppression without the foggiest notion of what it actually feels like. Trust me, it’s something that the June Chus of this world and I know only too well. And THAT is why it’s utterly absurd to brand June Chu a hater or bigot, explaining the title of my vlog. You can find screencaps of Chu’s reviews here — and judge for yourself. As for the coverage of the incident itself, you can definitely Google that on your own. I have emailed my video to Chu and all her dean-colleagues. Their contact info is on this page.
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Daily Mind-ful 2 May 2017 (Museum of Childhood)

This Daily Mind-ful clip is mostly about my visit to V&A’s Museum of Childhood, so I’m going to dispense with the customary recapping of every Instagram story contained in the accompanying video and share my impressions about the Museum and why it’s a destination as entertaining and enriching for adults as it is children.
Although a parade of prams and baby buggies greets you at the entrance, the museum’s huge collection of toys, dolls, games, party favors, costumes and childhood whatnots archived since Victorian times is a treasure trove for the most exigent adult socioanthropologist studying the stuff of childhood over the generations. What’s missing, however, is exhibits dated after 2000, as if childhood ceased to evolve, when, in fact, the stark opposite is the case. Indeed, my main impression of the museum was a rueful sense that, in one or two generations, childhood and adulthood have converged – possibly to the point where there’s no longer anything to separately archive for the former. Considering that the material artifacts of childhood amassed over one hundred years could undoubtedly cover the surface area of a few small countries, the museum’s curators have chosen objects which are not only good exemplars of their age but idiosyncratic, eccentric, exquisite or weird in many cases. As a bonus, adult art, such as Sarah Raphael’s sculptural Childhood Cube and Rachel Whiteread’s large collection of dollhouses, “Place (Village)”, punctuates the exhibition halls as a sort of meta-commentary on childhood, its obsessions and playthings. In one of the captions, the museum states “all creativity has a value,” espousing a highly progressive vision of childhood education which dovetails perfectly with its embrace of multi-ethnic, multi-culturalism, a theme expressed with multi-lingual captioning in one of the exhibits. (I didn’t bother to scratch the surface of that exhibition and only noticed the unorthodox signage.) Last but not least, I was struck by “Searching for Ghosts,” the thought-provoking exhibition about Britain’s housing crisis in the front hall of the museum. It certainly wasn’t for children and featured photographic portraits by Tom Hunter of families living in one of London’s original council estates. While it wasn’t a suitable diversion for a child, the art made sense in the context of families, households and their inhabitants and asked viewers to engage with a pressing civic issue. The name “Museum of Childhood” doesn’t reflect the kaleidoscopic richness of this museum, not at all. Suffice it to say that I walked through it like a kid in a candy store.
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Contemporary Music 101: The Playlist from An Exposition Not An Exhibition (Ari Benjamin Meyers), Spring Workshop


If you’re genuinely interested in (classical) contemporary music, here’s a playlist which is tantamount to a crash course in “Contemporary Music 101,” so to speak. Besides the durational performances of this “piece,” An Exposition Not An Exhibition by Ari Benjamin Meyers, staged at Spring Workship during Spring 2017, this list from the “exposition” was one of the most invaluable take-aways from the listening/witnessing experience for contemporary music neophyte me. Contemporary music is inscrutable and difficult. At first hearing, it can even be unbearable. But it’s my own experience that listening to it can afford genuine insight into the intellectual underpinnings, meaning and definition of music. Thus, delving into this genre of music is an intellectual investigation rather than an unmediated, bacchanalian experience. Here are the first 25 works in Meyers’ list, retyped for convenient reference, in case you don’t feel like transcribing from the video:
Farewell Symphony, Franz Joseph Haydn
Vexations (1893), Erik Satie
Scherzo (1903/1914), Charles Ives
String Quartet No. 2 (1907-1908), IV, Arnold Schoenberg
Unanswered Question (1908), Charles Ives
Four Pieces, Opus 7 (1910), Anton Webern
Six Bagatelles (1913), Anton Webern
Concertino (1930), George Antheil
Density 21.5 (1936), Edgar Varese
Variations (1936), Anton Webern
Living Room Music (1940), John Cage
Quartet for the End of Time (1941), Oliver Messiaen
Duo (1942), Roger Sessions
Dream (1948), John Cage
In a Landscape (1948), John Cage
Sonata (1948-1953), Gyorgy Ligeti
Quartet in Four Parts (1950), John Cage
4’33” (1952), John Cage
Sonata (1955), George Crumb
Sequenza (1958), Luciana Berio
Variations I (1958), John Cage
Variations II (1961), John Cage
Variations III (1962), John Cage
Mei (1962), Kazuo Fukushima
Variations IV (1963), John Cage
Ko-Lho (1966), Giacinto Scelsi
Violin Phase (1967), Steve Reich
Manto I (1967), Giacinto Scelsi
Chambers (1968), Alvin Lucier
Triple Quartet (1968), Steve Reich
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Daily Mind-ful 9 April 2017

Daily vlog diary: Actually, I know a ton about SEO; But I’m very ambivalent about digital marketing because numbers have usurped the rightful role of senior managers — and their hard-won decades of experience and wisdom; numbers must not, should not dominate decisionmaking, especially when it comes to creativity and entrepreneurial risk-taking; even the luxury industry is being subverted by accountants and statisticians; young people especially tend to put too much stock in numbers; Henry Ford would never have invented the automobile, only a faster horse and carriage, had he been looking at historic sell-through reports only; numbers are the single greatest headwind for creativity today; technology sucks: we feel endlessly busy; kids are so ahead of parents these days, especially my own son (praise god!); SEO is not about technocratic knowledge: it’s about time commitment; today’s SEO tools are so well designed that a monkey can optimize a website (well, not exactly… but close — if you use WordPress); no one steals American passports any more; I feel physically uncomfortable when making “nice”, pretty, happy content; just as well, since the last thing the world needs is more posts of girls saying, “look at my pretty dress”.
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Daily Mind-ful 31 March 2017

Daily vlog diary: Skiving because of tennis; What I’m planning to do for a living after six months off; banking — Hong Kong style; Ivy League universities are undoubtedly in decline because of the increasing importance of tech and computer science; the humanities are under direct threat for the same reason; I just launched my website, www.culturevlog.com; last meal in Hong Kong with my son, Sam.
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