Culture Making is now archived. Enjoy five years of reflections on culture worth celebrating.
For more about the book and Andy Crouch, please visit andy-crouch.com.

Nate:

Altruism and charity are distinct if not in the acts themselves at least in the surrounding atmosphere: altruism reaches across with a sense of solidarity and empathy; charity hands down from above. The latter always runs the risk of belittling, patronizing, or otherwise diminishing its recipients in underscoring the difference between those who have and those who need. It takes away a sense of self while giving material aid. Giving and receiving can have strange reciprocities. ... Giving itself is a gift, and there can be a deep mutuality between giver and recipient in the horizontality of altruism rather than the verticality of charity. More complex exchanges take place in the arts: is it the writer or singer who is giving the work, or the reader or listener who brings the gift of attention, or are they knit together in a mutuality whose give-and-take is complicated? Seen in a larger context, continual exchanges knit together a society, form the conversation of which it is made.

Bart: Dad, you were great!
Lisa: And you contributed to our culture!
Homer: [worried] Well, I didn’t mean to.

—The Simpsons, season 19, episode 2

photo
"Dollar 009," fiberglass and coated enamel, 6.3 by 2.6 meters, by lolay, photo by Tim Mills, IAM Bangkok
Christy:
Nate:
from "The truth about grit," by Jonah Lehrer, The Boston Globe, 2 August 2009 :: via 3quarksdaily

Lewis Terman, the inventor of the Stanford-Binet IQ test, came to a similar conclusion. He spent decades following a large sample of “gifted” students, searching for evidence that his measurement of intelligence was linked to real world success. While the most accomplished men did have slightly higher scores, Terman also found that other traits, such as “perseverance,” were much more pertinent. Terman concluded that one of the most fundamental tasks of modern psychology was to figure out why intelligence is not a more important part of achievement: “Why this is so, and what circumstances affect the fruition of human talent, are questions of such transcendent importance that they should be investigated by every method that promises the slightest reduction of our present ignorance.”

Unfortunately, in the decades following Terman’s declaration, little progress was made on the subject. Because intelligence was so easy to measure - the IQ test could be given to schoolchildren, and often took less than an hour - it continued to dominate research on individual achievement.

The end result, says James J. Heckman, a Nobel Prize-winning economist at the University of Chicago, is that “there was a generation of social scientists who focused almost exclusively on trying to raise IQ and academic test scores. The assumption was that intelligence is what mattered and what could be measured, and so everything else, all these non-cognitive traits like grit and self-control, shouldn’t be bothered with.”

"Sana'a: View from a rooftop at sunset panorama in Yemen," panoramic photo by Stefan Geens, 360 Cities, 2 May 2009 :: via GOOD Blog
Nate:
Nate:

When I ask people about the disasters they have lived through, I find on many faces that retrospective basking as they recount tales of Canadian ice storms, midwestern snow days, New York City blackouts, oppressive heat in southern India, fire in New Mexico, the great earthquake in Mexico City, earlier hurricanes in Louisiana, the economic collapse in Argentina, earthquakes in California and Mexico, and a strange pleasure overall. It was the joy on their faces that surprised me. And with those whom I read rather than spoke to, it was the joy in their words that surprised me. It should not be so, is not so, in the familiar version of what disaster brings, and yet it is there, arising from rubble, from ice, from fire, from storms and floods. The joy matters as a measure of otherwise neglected desires, desires for public life and civil society, for inclusion, purpose, and power.

Disasters are, most basically, terrible, tragic, grievous, and no matter what positive side effects and possibilities they produce, they are not to be desired. But by the same measure, those side effects should not be ignored because they arise amid devastation. The desires and possibilities awakened are so powerful they shine even from the wreckage, carnage, and ashes. What happens here is relevant elsewhere. And the point is not to welcome disasters. They do not create these gifts, but they are one avenue through which the gifts arrive. Disasters provide an extraordinary window into social desire and possibility, and what manifests there matters elsewhere, in ordinary times and in other extraordinary times.

photo
"Rag Rug," by Betsy Timmer, at Signs of Life Gallery, Lawrence, KS, through 14 January 2010
Christy:
Nate:
from "Sweet and Sour Soils," by Nicola, Edible Geography, 9 December 2009

“It used to be,” writes William Bryant Logan in Dirt, “that a good farmer could tell a lot about his soil by rolling a lump of it around in his mouth.” Today, apparently, it is harder to find someone who literally eats dirt:

Not in Texas, nor Vermont, nor Kentucky, nor California, nor western New York. Everybody knew somebody who once did it, but nobody could quite remember the name of the fellow.

Finally, Logan came across Bill Wolf, an organic pioneer who started his environmental research under Buckminster Fuller and who used to eat soil, until his doctor forbade him.

Soil contains bad bugs as well as good ones, and the physician did not want to have to sort them out in Wolf’s guts. But back in the days when he chawed, Bill could tell acid from alkaline by the fizz of the soil in his mouth.

A very acid soil would crackle like those sour candies that kids eat, and it had the sharp taste of a citrus drink. A neutral soil didn’t fizz and it had the odour and flavour of the soil’s humus, caused by little creatures called “actinomycetes.” An alkaline soil tasted chalky and coated the tongue.

Having conducted this simple taste test, Logan explains, farmers could apply calcium carbonate to the Sprite-flavoured fizzy soil and gypsum to the Milk of Magnesia tongue-coating soil, which would then “react with the hydrogen of acid clays and the sodium of salt-clays, respectively,” in order to re-balance the soil’s pH and improve its structure.

by Andy Crouch for Culture Making

This week we’ve been posting about some of our favorite cultural artifacts of the year—books, movies and music not necessarily made in 2009, but consumed, pondered, enjoyed and treasured by each of us along the way. Earlier this week we heard from Nate Barksdale and Christy Tennant; today Andy Crouch finishes up the series.

There were a handful of cultural artifacts that took my breath away in 2009. Here they are, in roughly the order I encountered them:

Of course, I had heard of Over the Rhine before 2009. But I had never heard them in person. In 2009, I finally did, twice. Their sly, stylish, hook-laden yet depths-sounding music is a wonder.

Also in the “better late than never” category, I got around to listening to Pierce Pettis’s 2001 album State of Grace, a meditation on the South that connected me to my own Southern roots and the beautiful, broken stories of my Scotch-Irish ancestors.

At a distance, I’ve been thrilled to see the success of Fringe Atlanta, the most unlikely chamber music program in the nation: serious, stirring performances of the classical repertoire mixed up with the spinning sounds of one of Atlanta’s hottest DJs, Little Jen. What other classical music program is selling out tickets to an under-35 crowd and has them clapping and whooping after a viola solo in the middle of a string quartet?

The 5-part documentary Brick City, which aired on the Sundance Channel in September, is a tour de force, not least because of the walking tour de force who is one of its principal subjects: Cory Booker, the energetic young mayor of Newark, New Jersey. If you care about cities, leadership, gangs, violence and peacemaking, or redemption—or almost any other aspect of culture making—this series will provoke, disturb, and encourage you.

I read some marvelous books this year, and two that I read just this month are likely to stick with me for a long time. Both are memoirs (the genre of the new millennium, it seems). Kent Annan’s Following Jesus through the Eye of the Needle is an unsparingly honest story of relocation to Haiti that captures the complexities of crossing differences of power, wealth, and culture in hopes of being part of God’s work of transformation, without and within. It’s funny, gritty, and strangely hopeful—just what a Christian memoir should be.

The same words could apply to the biggest surprise of my reading in 2009, a self-published memoir by Amy Julia Becker, Penelope Ayers. This book might seem to have everything against it. “Self-published” is usually another way of saying “self-indulgent.” The subject, the death of the author’s mother-in-law from cancer, is so common that, as I have written in the past, every editor has a pile of unusable manuscripts from people trying to capture the experience of accompanying a loved one through illness unto death. Usually they fall into unintentional clichés, sentimentality, and too much detail.

But Penelope Ayers is written with an unerring voice, a keen eye for hard and beautiful truth, and almost no false notes. Especially significant is the way that Amy Julia (whom I met this fall through a mutual friend) manages to weave honest reflections about faith into the story without in any way giving in to Christianese or insider platitudes. This is one book a Christian could give to a non-believing friend and say, “This is what it’s like to believe, from the inside.” We’ll be hearing more from Amy Julia Becker—perhaps, with any luck, in 2010.

by Christy Tennant for Culture Making

This is the second of three posts from this site’s current contributors, about our favorite books, music, and movies of 2009—not necessarily made in 2009, but consumed, pondered, enjoyed and treasured by each of us during the past year. Yesterday we heard from Nate Barksdale; tomorrow we’ll close the series with Andy Crouch’s recommendations.

Two of the movies that moved me most in 2009 deal with human suffering and hope in the midst of despair: Courtney Hunt’s Frozen River, a haunting story of survival and the sometimes blurry lines between right and wrong, and Scott Blanding/Brad LaBriola/Greg Heller’s documentary, Women in War Zones, which tells the story of two survivors of sexual violence in the Congo. I was also surprisingly touched by Kenny Ortega’s This is It, a film documenting the last few months of Michael Jackson’s life, rehumanizing The Gloved One and presenting him as the phenomenally talented, humble and generous, albeit broken, entertainer he was.

After years of reading mostly non-fiction, I read several novels in 2009 that had a tremendous impact on me. One was My Name is Asher Lev, by Chaim Potok. Its insight into the mind of a visual artist was very helpful to me as someone who is trying to understand how visual artists see the world. I also appreciated the author’s profound insight into Christ’s crucifixion from the perspective of a Hasidic Jew. Marilynne Robinson’s Gilead was very moving to me on several levels, not the least of which was the way the main character was awakened by tender eros in his twilight years. But the book I read in 2009 that I was most stirred by was actually an unpublished manuscript by a very promising author practicing law near the University of Virginia. Corban Addison’s A Walk Across the Sun deals with the issue of human trafficking in both the US and India. It was the first time in a while I have had serious trouble putting a book down; I was riveted from page one.

My non-fiction treasures of 2009 include Michael Card’s A Sacred Sorrow: Reaching Out to God in the Lost Language of Lament, Nicholas Wolterstorff’s Art in Action, Dan Siedell’s God in the Gallery, Eugene Peterson’s A Long Obedience in the Same Direction (a pastorally-guided exploration up the Psalms of Ascents), and Lewis Hyde’s The Gift, required reading at International Arts Movement as we seek to approach the arts not in terms of commodity, but rather in terms of gift.

by Nate Barksdale for Culture Making

This is the first of a series of posts from all three of this site’s current contributors, about our favorite books, music, and movies of 2009—not necessarily made in 2009, but consumed, pondered, enjoyed and treasured by each of us during the past year. Tomorrow we’ll hear from Christy Tennant, with Andy Crouch rounding out the series on Wednesday.

Movies (well, DVDs): Terrence Malick’s Days of Heaven; Fatih Akin’s The Edge of Heaven, Chang-dong Lee’s Oasis, and Akira Kurosawa’s Red Beard. 3/4 of the top tier have heaven-ish titles; all are about refuge in one way or another.

Honorable mention to Bette Davis in The Letter, the beautiful Apollo mission footage of For All Mankind, the sublime Flamenco of Carlos Saura’s Bodas de Sangre, and the quasi-New England cookiness of The Devil and Daniel Webster. I’ve also been trying to increase my Bollywood literacy, enjoying some 70s classics like Deewaar as well as, most recently, the hyperactive neon camp of Kutch Kutch Hota Hai, which is a bit like watching a revival of Grease in a gumdrop factory.

In my reading, the stand-out was Dave Eggers’ autobiography of a Sudanese ‘lost boy’, What Is the What. I also dug Barry Unsworth’s Sacred Hunger on the levels of both story and history, as well as Haruki Murakami’s The Wind-up Bird Chronicle and the first half of John Barth’s The Sot-Weed Factor.

Rachel Cohen’s A Chance Meeting: Intertwined Lives of American Writers and Artists, 1854–1967 was sublime and led me along all sorts of 19th-century-American-literary trails. Ted Gioia’s history, Delta Blues, got me thinking about music and filling out my playlists with Charley Patton and Skip James.

For a long time I’d been meaning to read Mungo Park’s 18th century Travels in the Interior of Africa, and now I have, and it was good. Ditto, except for the being-good part, for Mark Twain’s Life on the Mississippi. The hypothetical version I’d carried around in my head was so much better.

I could read nothing but Lawrence Weschler and be quite content. Somehow I didn’t get around to Vermeer in Bosnia till a few months ago. Well worth the wait, if that’s what it was.

Finally, a few of my favorite tracks that found their way into my music library in 2009. Coming up with the list, I was struck by how much more personal all the associations were for songs as compared to music or books that captured, in terms of focussed minutes, far less of my attention than most books or movies. The blessing and the curse of songs is that they’re generally what’s playing while other things and thoughts are happening. We invite them into our world; more often, books and movies invite us into theirs.

Andy:

Oddly enough, the composer of the tune we associate with “Hark! The Herald Angels Sing” did not intend it for such a sacred use. In fact, he specifically noted that this song should not be used for anything having to do with God.

In 1840, Felix Mendelssohn wrote a song for the Gutenberg Festival in Leipzig, Germany. His “Festgesang” celebrated the invention of movable type and printing some 400 years earlier. Mendelssohn recognized the potential popularity of his tune, and advised his publisher concerning its potential use. According to Mendelssohn, in a letter to Mr. E. Buxton, if the right words were written for his song,

I am sure that piece will be liked very much by the singers and the hearers, but it will never do to sacred words. There must be a national and merry subject found out, something to which the soldier-like and buxom motion of the motion of the piece has some relation, and the words must express something gay and popular, as the music tries to do. (The Musical Times, Vol 38).

. . . . But in 1855, William H. Cummings, the organist at Waltham Abbey in England, who later became a leading English musician, adapted Mendelssohn’s “Festgesang” to the lyrics of “Hark! The Herald Angels Sing.” Previously, this piece had been sung to different tunes. Originally, it was sung to the tune EASTER HYMN, which we use for “Christ the Lord is Risen Today” (or “Jesus Christ is Risen Today”), another of Charles Wesley’s hymns. But when Cummings’ version was published, it quickly became the standard tune for the carol. Soon it was being sung with this tune, not only in England, but also in the United States as well.

So, by the late 18th century, the lyrics that the original writer, Charles Wesley, rejected were being sung to a tune that the composer said should never be used for sacred music. “Hark! The Herald Angels Sing” is, indeed, the carol that shouldn’t exist.

Christy:
from "For the Homeless, Music that Fills a Void," by Daniel J. Wakin, The New York Times, 18 December 1009

Just three blocks from Lincoln Center, they arrived at the concert on Thursday night by shelter bus, not taxi or limousine. They took their seats around scarred, round folding tables. The menu was chicken curry and rice served on paper plates.

These concertgoers were eight tired, homeless men who had been taken to the Holy Trinity Lutheran Church shelter for the night. They listened to the latest performance by Kelly Hall-Tompkins, a professional violinist who has been playing in shelters for five years under the banner of Music Kitchen.

Ms. Hall-Tompkins is not the only do-gooder in the classical music world. Orchestras nationwide took part in a food drive this fall, and Classical Action raises money for AIDS programs through concerts and other activities. Hospital Audiences brings musicians and other performers into wards. But most classical music institutions — orchestras, opera houses and conservatories — pour their philanthropic efforts into large-scale music education for children, supported by hefty fund-raising and marketing machines. They organize youth orchestras; play concerts in poor, urban schools; and provide lessons.

Music Kitchen has a catchy motto (“Food for the Soul”), T-shirts with a logo and a pool of donors. But the operation is essentially Ms. Hall-Tompkins, 38, an ambitious New York freelancer who plays in the New Jersey Symphony and has a midlevel solo and chamber music career.

“I like sharing music with people, and they have zero access to it,” Ms. Hall-Tompkins said of her homeless audiences. “It’s very moving to me that I can find people in a place perhaps when they have a greater need for, and a heightened sensitivity to, beauty.”

from "Always in the Season," by Pomplamoose, 2009 :: via Boing Boing
Nate:

Surely all art is the result of having been in danger, of having been through an experience all the way to the end, to where no one can go any further.

—Rainer Maria Rilke, quoted in The Gift of Asher Lev, by Chaim Potok

The quotations, images, and embedded media in this blog are the work of the credited authors, artists, and publications, and are employed in the spirit of fair use, commentary, and criticism. We always link to the original source of material we cite. If you think we’ve missed something, let us know. The inclusion of media on this site should not imply its owners’ endorsement (or for that matter awareness) of this book, blog, or the blog’s curators and commentators. Though we hope they’d like us.

[Culture Making] was smart, challenging, and most of all very humane. I couldn’t stop thinking about it and talking about it long after I finished reading.


?

Tara, educator living
in Cambridge, Mass.

horizons of the possible  cultural worlds  music  photography  art  technology and change  food and drink  europe  community  gardens and cities  cultivation and creation  books  asia  africa  language  children  literature  writing  painting  movies  video  cities  family  changing the world  power  gestures and postures  internet  business  medicine  technology  poverty  grace  consumption  government  education  color  reading  india  architecture  animals  poetry  maps  money  visual arts  performing arts  trends  disciplines  transport  agriculture  3 12 120  design  south america  travel  war  communication  tv  science  film  economics  transit  sculpture  psychology  churches  revelation  work  advertising  clothing  france  sport  infrastructure  england  home  unintended consequences  fashion  politics  street view  failure  generations  bible  copying  christmas  china  creativity  history  story  craft  women  humor  pop culture  water  california  museums  time  landscape  development  nature  dance  kevin kelly  suburbs  remixes  play  discipline  creation  new york  computers  parents  furniture  middle east  least of nations  charity  naming  primordial stories  japan  church  stories  stewardship  journalism  religion  russia  neighborhoods  germany  light  drawing  games  media  mission  mexico  words  law  australia  love  cell phones  islam  traces of god  italy  names  translation  heroes  libraries  david taylor  entertainment  creation and cultivation  new jerusalem  statistics  shopping  typography  twitter  redemption  space  graffiti  buildings  change the world  philanthropy  pentecost and beyond  wilderness  lists  signs  military  death  beauty  visual art  marriage  risk  data  tradition  safety  rob walker  cultivation  race  finance  cars  alphabets  engineering  sound  noise  memes  19th century  reconciliation  ideas  crime  prison  innovation  service  modernity  condemnation  critique  environmentalism  google  christianity  collage  television  south africa  taste  happiness  natural sciences  lamin sanneh  environment  migration  philosophy  illustration  voice  turkey  public space  babel  future  wonder  animation  memory  nigeria  genesis  wealth  nostalgia  recreation  pets  metaphor  tools  heaven  monasticism  friendship  leisure  irony  multiculturalism  canada  prayer  oceana  kenya  vision  john stackhouse  news  paper  latin america  stone  afghanistan  convergence  disease  fiction  biology  glorious impossible  uk  gold  hip-hop  health  mentoring  parks  jewish  makoto fujimura  cooking  ghana  matthew crawford  visualcy