Day 175: It’s come to my attention that juggling a full time job in Japan, an art practice, and a social life, is nigh untenable. Nevertheless, I’m going to figure out some way to get my groove back. Thank you all for hanging tight while I readjust and find new ways to manage my time.
Today’s piece is in line with my last series of color fields, this time working with a vaporwave color palette.
I figured Japanese temples would make fitting subject matter given vaporwave’s love of Japanese aesthetics.
Pia Camil A Pot for Latch, 2016 Participatory installation at the New Museum
For A Pot for a Latch, Camil presents a participatory sculptural installation produced specifically commissioned for the Lobby Gallery of the New Museum. Inspired by the modular display systems typically used by vendors, Camil has constructed a succession of gridwall panels of her own design, complete with built-in hooks, shelves, and other fixtures for displaying items. Composed of grids, lines, and geometric shapes, the structures form a volumetric drawing within the space of the gallery, referencing cheap commercial constructions as well as the serial patterning of paintings and sculptures made by Minimalist artists such as Sol LeWitt and Agnes Martin.
The title of the exhibition refers to the potlatch, a ceremonial gift-giving festival practiced by the Native-American peoples of the Pacific Northwest coast, for whom it continues to be a system of wealth redistribution. Camil invites the public to participate in the ongoing creation of her piece on designated days, during which visitors are encouraged to exchange their own unique items for others in the installation. The composition on the gridwall panels is thereby in flux and is repeatedly altered throughout the course of the exhibition. With A Pot for a Latch, Camil transforms the gallery space into a shop of sorts, in which the monetary value of an object is supplanted by its personal history and significance.
Visitors are invited to exchange items for those in the installation during a series of six public events.
With Keith and Allura’s approval, Lance and Lotor are bold enough to try to alter the terms of the engagement. Lance brings out his very best negotiation skills and wears his very best outfit for the occasion, and Lotor also makes sure to practice his non-seduction interactions (he’s not nearly as well-practiced in the art of social gatherings as he’d like to believe… ah well at least he’s better than Keith at it).
Alfor and Coran wholeheartedly support the idea, as do a few of the Galran generals (most especially this odd fellow named Thace) and Keith. Coran in particular is impressed that Lance, who normally simply skims through such contracts, took the time to write a beautiful alteration to each part where Allura and Lotor are mentioned together, rather than simply replacing Allura’s name with his own.
However, most of the Galrans and a surprisingly high minority of the Altean court are very much against this alteration of the betrothal’s terms. Atrow (the sleazy nobleman I mentioned in chapter 4 finally has a name!) in particular makes an eloquent argument against Lance and Lotor’s betrothal that has Lance far too flustered/perhaps a bit terrified to make a decent reply. Lotor takes note of Lance’s reaction and wonders if this is the nobleman that shaped the haunted look in his eyes.
The tide turns far too quickly for Lotor and Lance to have a shot, and the terms of the betrothal between Lotor and Allura remain tragically unaltered. Lance goes to Allura’s room that night and apologizes for having failed them, wonders out loud what Lotor thinks of him now, especially since Atrow, his terrible bastard of an ex… whatever he was, still managed to throw Lance off his game at the time he most needed to be on it.
“Oh Lance, you’ve done wonderfully, and if I had my way, Atrow would have been thrown into space by now,” Allura says, pulling him into a long hug. She then pulls the letters Zarkon had written to her out of her drawer and shows them to Lance…
“Why haven’t you shown Father these? These are proof that Zarkon approached this arranged marriage with false intent, both for you and Lotor!”
Allura sighs sadly and scans the letter with the Galra neck Pidge altered to show the hidden message within the letter: “You tell Alfor and he dies.”
Tea is an important part of Chinese tradition. As Chinese society developed and progressed, tea production has played a role in driving economic development while tea consumption has remained a practice of daily life.
The practice of tea culture can bring the spirit and wisdom of human beings to a higher orbit. Tea has an extremely close relationship to Chinese culture, and its study covers a wide field and has very rich content. It not only embodies the spirit of civilization, but also the spirit of ideological form. There can be no doubt that it has been beneficial in enhancing people’s social accomplishments and appreciation of art.
The practice of drinking tea has a long history in China. Shennong (Chinese: 神农), whose name means the Divine Farmer – and who is considered as the ancient Chinese Father of Agriculture, is honored with the discovery of tea. According to legend, one fall afternoon, Shennong decided to take a rest under a Camellia tree and boiled some water to drink. Dried leaves from the tree above floated down into the pot of boiling water and infused with the water, creating a pot of tea, marking the first ever infusion of the tea leaf. Intrigued by the delightful fragrance, Shennong took a sip and found it refreshing.Since Shennong’s discovery, tea has been grown and enjoyed throughout the world.
Chinese tea culture
Drinking tea：Tea is taken as a beverage to quench thirst.
Tasting tea: The quality of the tea is judged by the color, fragrance and flavor of the tea, the water quality and even the tea set. When tasting tea, the taster should be able to savor the tea thoroughly.
Tea art: While drinking attention is paid to environment, atmosphere, music, infusing techniques and interpersonal relationships.
The highest ambit– tea lore : Philosophy, ethics and morality are blended into tea activity. People cultivate their morality and mind, and savor life through tasting tea, thereby attaining joy of spirit.
Chinese tea lore is several hundred years, possibly even thousands of years, older than that of Japan. It is said that Chinese tea lore places an emphasis on spirit and makes light of form. Tea lore had different representations at different historical periods. Teas are also various, but all embody the tea spirit of “clearness, respect, joy and truthfulness”.
Types of tea
There are various types of tea, the main varieties of Chinese tea are classified as green tea, red tea (black tea), Wulong tea, white tea, yellow tea, and reprocessed tea.