Who We Go-to To Learn How to Get There

July 5, 2022 By David Griesing Leave a Comment

For just about anything you can think of, somebody’s posted a YouTube video to show you how.

It’s like we’ve moved Dad on-line and then made him available to everyone. Literally.

I tuned in to one of them, Rob Kenny and his “Dad, How Do I?” tutorials, because one of you thought that I should. (Thanks, Brian!)  Dad, how do I tie a tie? Dad, how do I shave? Dad, how do I fix my running toilet?

That last one’s had 1.1 million views, so lots of us “kids” are watching.

Rob Kenny’s advice is sincere, never scrambled with snark but always accompanied by a mayonnaise of Dad jokes that make him break up a little when he tells them, pulling you into their vibe even though you can’t remember ever thinking that jokes like this were funny. They pull you into a heartland kind of conspiracy, like the “just-right porridge” did in the wandering fairy tale.

You see, Rob Kenny lost his dad when he was a kid and it made him realize that other kids had lost (or never had) their dads either, so he initially started posting his everyday advice as a kind of public service, never expecting for the hole to be as big as it was or for so many to feel that he was helping to fill it.

When Rob Kenny was having a bad week recently (and hadn’t posted his next vid when he’d planned and viewers were hoping), he got on the horn anyway, to “buy himself some time,” talking about how much he appreciated everyone’s comments on his last dollop of advice—“I’m new at being out in public like this” he explained, but your writing to me things like “Protect this man at all costs” helps me so much “because I need protection” so much–and then How Proud He Was of all the generous people who took the time to care about him back.

To him, it seemed to demonstrate their good character, even those like Joseph, who’d written (like he was some kind of tough guy): “This dude is making my eyes sweat.”

Rob Kenny’s “I am proud of you” post, which comes with an almost tearful dad-joke along with his struggles to get though Teddy Roosevelt’s “Daring Greatly” poem (from those halcyon days when our presidents were also poets) moves straight though the heart of maudlin with the sincerest of intentions.

For me, It brought some tonic to another long week (when is the last time somebody said “I’m proud of you” just for making it through?), and it got me thinking about how much we all need not only hands-on guidance but also an attaboy now and then, even when it comes at the arms-length distance of a YouTube video or an article in the New Yorker, or a self-help book that you can spend all the time that you need with.

Because the best of this kind of outreach conjures those extraordinary times when you were huddled knee-to-knee or hunched elbow-to-elbow over whatever it was, and somebody who cared enough was actually there with you showing you how.

The life-blood in these kinds of tutorials comes from memories like that.

When I was in “start-up business mode” several years back and thinking about ways to change the world for the better, I had the idea for a school, or maybe just an area in every school, where you could learn about practical things that no one else seemed to be teaching.

There were places in my high school like wood shop and the typing pool where certain crafts and skills were taught. Indeed, showing how close we were to the cusp at the time, BHS had already re-branded “home economics” as “cooking 1-2-3” so that boys wouldn’t feel too threatened to take it (and I could learn how to make pecan pie by the last class.) But there was no one there to teach me the soup-to-nuts of traveling by train or reading a roadmap, fixing a broken toaster or finding my way out of the woods if I got lost, traveling in a foreign country or changing a flat tire (although my fellow “industrial arts” students, who’d go on to become our town’s mechanics, might have helped with that last one if I’d asked).

Perhaps because “practical” was not one of the first 10 or 15 words that anyone would have used to describe me, I was drawn to this gapping void in my own experience and maybe in the educational system generally. This un-met dimension of schooling would need to have guides who could show the uninitiated how to do all of those things that had somehow fallen through the cracks of our formal educations.

I got far enough with this idea to wonder how I’d sell it to boards of education that (unfortunately) were already struggling to keep the school systems that they had already both functioning and safe. What was the “value-add” that parents and other civic-minded individuals would be willing to pay for in order to produce more fully-rounded graduates and a more capable community? That’s where the waves of my enthusiasm hit the shoals of feasibility. But I never abandoned the idea entirely.

At least intially, I returned to the need itself and where my urge to satisfy it had come from. I don’t recall wishing that my dad had taught me how to solve all of these lingering mysteries. Instead I came to realize that he’d actually given me some of the tools that I needed to solve them myself. As a businessman who was always on the road having “to figure things out,” he was a regular demonstration of how to turn conundrums into solutions. It was an internal discipline that I had in me too, however little I’d acted upon it.

So if my “problem-solving” innovation was unlikely to fly in our school systems, maybe I had my own ability to find the practical, step-by-step paths that could lead me (rewardingly) to the bottom of whatever I was most curious about. It was a revelation that tracked my other dad-like substitute, the Cub Scout manual, in which every challenge (from making a fire in the woods to creating a successful lemonade stand) began with wondering how and ended after taking one practical step after another.

In the ensuing years, I effectively brought that imagined part of schooling into my head, encouraging its problem-solving wherever curiosity took me, and thinking nothing more about it until I stumbled upon one of the most extraordinary things that I’ve ever read in New Yorker magazine.

_{This isn’t a picture of Kirk Varnedoe coaching the Giant Metrozoids, a well-named team of 8-year old boys learning the art and science of football twenty years ago. Indeed, it’s not even a picture of football players and their coach. But it might help you begin to imagine the accomplishments that a cohort like this can aim for together on a field of dreams.}

During the late 1990s, when Kirk Varnedoe was the curator of painting and sculpture at the Museum of Modern Art in New York, he volunteered to help Luke, the son of New Yorker writer Adam Gopnik, and a clutch of other City boys eager to learn the game of football on a playing field in Central Park. Since Varnedoe and Gopnik already knew one another from their full-time pursuits, on an extracurricular voyage like this one it was like Odysseus finding his Homer.

In the first 10 minutes, Gopnik realized that great teachers can “de-mystify” a painting as well as an athletic pursuit and that Varnedoe was world-class wherever he exercised his vocation. In fact, Varnedoe’s instincts as a field guide were so strong that he’d considered becoming a football coach after graduating from college, offering this post-mortem some years later on why he’d taken a more high-falutin direction.

if you’re going to spend your life coaching football, you have to be smart enough to do it well and dumb enough to think it matters.

But of course, the underlying instincts don’t go away, they just get channeled into explaining, say, something as inscrutable as abstract expressionism to the un-convinced, which Varnedoe went on to do in the Mellon Lectures that he gave (to near unanimous acclaim) in the early 2000s at the National Gallery of Art. It was during this same span of years that also brought his de-mystifying abilities back to some 8-year old boys who wanted to explore the mysteries of football.

If your New Yorker subscription will get you over its paywall, you can read “The Last of the Metrozoids” here. You can also subscribe, “get a free tote,” and read it from “the inside” in the same place. Otherwise, you’ll have to trust in my ability to cull some of its best passages from my own torn-out copy of it and to include them here.

Gopnik sets the scene magnificently:

The boys came running from school, excited to have been wearing their Metrozoid T-shirts all day, waiting for practice. Eric and Derek and Ken, good athletes, determined and knowing and nodding brief, been-there-before nods as they chucked the ball around; Jacob and Charlie and Garrett, talking a little too quickly and uncertainly about how many downs you had and how many yards you had to go. Will and Luke and Matthew, very verbal, evangelizing for a game, please, can’t we, like, have a game with another team, right away, we’re ready; and Gabriel, just eager for a chance to get the ball and roll joyfully in the mud. I was curious to see what Kirk would do with them. ‘OK, he said, very gently…’Let’s break it down.’

After returning to basics they could easily swallow, Gopnik says: “They followed him like Israelites.”

What none of the boys knew however was how far back-to-basics they’d need to go before they actually picked up the ball and threw it around, or even learned which way to run. But Varnadoe understood that this game was less about what “you did” and more about what “you all did together.” So he continued by further bringing their enthusiasm to ground.

‘No celebrations,’ he said, arriving at the middle of the field. ‘This is a scrimmage. This is just the first step. We’re all one team. We are the Giant Metrozoids.’ He said the ridiculous name as though it were Fighting Irish…The kids stopped, subdued and puzzled. ‘Hands together,’ he said, and stretched his out, and solemnly the boys laid their hands on his, one after another. ‘One, Two, Three together!’ and all the hands sprang up. He had replaced a ritual of celebration with one of solidarity—and the boys sensed that solidarity was somehow at once more solemn and more fun than any passing victory could be.

Varnadoe also knew that what they were doing there was about more than the game. They’d all come (himself included) as one thing and by the end of their time together would leave as something else, because learning is always about transformation too, from one level of knowledge, appreciation or physicality to another. At this point, Gopnik disclosed the depth of Varnadoe’s own transformation, from a “fat and unimpressive” kid before he’d become a football player in college. About that earlier time Varnadoe said:

You were one kind of person with one kind of body and one set of possibilities, and then you worked at it and you were another. The model was so simple and so powerful that you could apply it to anything…It put your fate in your own hands.

So he endeavored to put the same kind of fate in each of the Metrozoid’s hands.

As the morning progressed, Varnadoe instilled the lesson by drilling the boys down into each step that they’d be taking on this field when they were ready.

He had them do their first play at a walk, 6 times [Gopnik reported from the sidelines], which they clowned about, slow motion when they were inclined to be ‘terrier quick,’ but he still had them do it. Then they ‘ambled through it’ [making the proceedings take on]… a courtly quality, like a seventeenth century dance.

But the boys were beginning to see how the game was a series of basic steps that they could master, and that they needed to know how to do each step slowly before they could speed it up, and certainly before they could combine it with other steps. “You break it down and then you build it back up,” is how Varnedoe put it.

Some of his teaching also involved recognizing that every boy would come to his “de-mystification” differently—some emotionally, some through reasoning, and others more viscerally, through increasing their body awareness. So when circumstances called for it, he’d take, say a kid who seemed afraid of the football, to the side for some one-on-one instruction. But instead of focusing on the kid’s occasional successes and many failures, Gopnik described Varnadoe’s ability to engage the boy’s deeper drives.

When he caught [a ball], Kirk wasn’t too encouraging; when he dropped one he wasn’t too hard. He did not make him think it was easy. He did not make him think that he had done it when he hadn’t. He made him think that he could do it if he chose.

Between the master and his chronicler, “The Last of the Metrozoids” blew me away when I first read it and still blows me away today because there is something almost supernatural about those who know how to build up the capabilities of others, are lucky enough to be captured in the act of doing so, and somewhere down the line, share those bits of magic with the rest of us.

This post was adapted from my March 20, 2022 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning, and sometimes (but not always) I post the content from one of them here. You can subscribe and not miss any by leaving your email address in the column to the right.

A Deeper Sense of Place is Like an Anchor in Turbulent Times

June 13, 2022 By David Griesing Leave a Comment

In a much quoted phrase, Rebecca Solnit said that: “Sense of place is the sixth sense, an internal compass and map made by memory and spatial perception together.”

I tried to track down where Solnit said this, but (apparently) once something that you’ve said becomes “a famous quote” it tends to live in the ether alone, untethered to its origin. But it doesn’t really matter, because so much of Solnit’s writing over the past 30 years has been about what it means to fully inhabit a particular place—like the boat above, locating itself within the present, as well as by longitude and latitude, memory and destination, under the stars and above the depths of the sea.

Solnit is a kind of wandering minstrel and storyteller who rouses her readers into awareness (and even to action—like in Hope in the Dark), by drawing on her own deep engagement with the world. As an observer of turn-of-the-century life, she has written field guides that almost anyone who has read them seems to want to follow.

These field guides embody what Solnit means by Sense of Place: a lived experience that includes the present time, memories and dreams about particular pasts and futures, along with the stories of others who share the experience of those places with you.

Why does this almost cosmic sense of geo-location matter? Maybe it’s because we’re so unmoored today, with facts themselves in flux, mobs at war with one another, and 24/7 cycles of news and social media commentary that usually gravitate towards the “unsettling” while failing to put “what’s being blared about” into any kind of meaningful context.

As it becomes harder to find perspective or comfort–a useful frame for lived experience–it’s always possible for us to sink down deeper and more nurturing roots and to gaze into more promising horizons by the conscious act of locating our living and working within the rich variables of the particular places where they unfold.

Rebecca Solnit helped me to do this in a very specific way a couple of years ago. Among her many writings are a series of travel books about U.S. cities she’s been drawn to (like San Francisco and New York) and they include her insights about them along with telling points of view from others like local musicians, autobiographers, oral historians and weather experts. Each of these storylines is accompanied by detailed maps that follow each angle or interest from actual place to actual place in these cities. So before I returned to New Orleans two years ago, I took her Unfathomable City: a New Orleans Atlas (with all its maps and previews of coming attractions) with me.

Here she is, writing (with her co-author) about their intentions for this book in its opening essay:

We have mapped New Orleans and its surroundings twenty-two times, sometimes with two or more subjects [or areas of interest] per map, but we have not drained the well with these few bucketloads.

Instead we hope we have indicated how rich and various, how inexhaustible is this place, and any place, if you look at it directly and through books, conversations, maps, photographs, dreams and desires.

One of these extraordinary maps eventually brought me to New Orleans’ “cities of the dead” and, more particularly, to Holt Cemetery, which is the City’s potter’s field (or place where those who can’t afford a traditional burial, put their loved ones into the ground). I included a picture essay about my visit there in a 2019 post called A Living Rest. From her field guide, I discovered that local families have picnics at the gravesites, refreshing them with flowers, momentos and messages as they honor and continue to correspond with their family members for months and even years.

Solnit has not written a travel book about Philadelphia, but her curiosity led me to a potter’s field closer to home at a time when a disproportionate number of my neighbors were dying unvaccinated and a charitable corner of Chelten Hills Cemetery seemed to be exploding with activity every time I passed by.

In Same World Different Stories from a couple of months ago, I posted pictures from Chelten Hills potter’s field and talked about how that visit and what I took away from it deepened my appreciation of the place where I live, while at the same time it got me thinking about my own mortality and how it will be marked in the ground and on other peoples’ memories.

_{This picture shows how a Gingko’s fan-shaped leaves turn yellow just before, in a mad rush, they drop down all at once- like a loose pair of pants.}

Another sense-of-place marker for me is the Gingko tree that nestles in the armpit of a majestic Tulip next to my house.

Before we get to his sense of the extraordinary place where he currently resides (below), novelist Richard Powers wrote memorably about trees in general, and about Gingko trees in particular, in The Overstory, a book that won him the Pulitzer Prize for Fiction two years ago:

Adam looks and sees just this: a tree he has walked past three times a week for seven years. It’s the lone species of the only genus in the sole family in the single order of the solitary class remaining in a now–abandoned division that once covered the earth—a living fossil three hundred million years old that disappeared from the continent back in the Neogene….
The fruit flesh has a smell that curdles thought; the pulp kills even drug-resistant bacteria. The fan-shaped leaves with their radiating veins are said to cure the sickness of forgetting. Adam doesn’t need the cure. He remembers. He remembers. Gingko. The maidenhair tree….
Its leaves leap out sideways in the wind…. It falls from one moment to the next, the most synchronized drop of leaves that nature ever engineered. A gust of air, some last fluttered objection, and all the veined fans let go at once, releasing a flock of golden telegrams down West Fourth Street.

In this single tree, Powers conjures familiarity (“he has walked past [it] three times a week for seven years”); its deep roots in time (“back to the Neogene”); its awful and magical properties (“a smell that curdles thought” while it’s “said to cure the sickness of forgetting”); its mythical moniker (“the maidenhair tree”) and perhaps its greatest trick (“the most synchronized drop of leaves that nature ever engineered”).

I now recall all of those things when I walk under the dual archway of Tulip and Gingko on the northwest edge of my house as it marks the season’s time every year in my own particular place.

It depends on when it’s cold enough, or cold enough for long enough, or when it gets subsurface signals from the Tulip that presides over everything that lives under its massive canopy that the time has come for your leaves to fall.

How will Philadelphia’s warming, its longer “Indian Summers,” effect the great drop when it finally happens in a month or so? I want to be ready, because in most previous years, I’ve tried to stand below its rain of yellow softness, as soft as this because none of its leaves have lost their cooling moisture yet and their skin still feels supple, a light kind of velvet. They’ll blanket me (and sometimes Wally) with everything below them in a shag rug of Asian fans. Nothing else feels quite like it.

The Gingko that lives here is a time piece, but not of the 24-hour variety. It has some deeper, environmental clock in the complicated network where it lives. This time of year, I keep some of my time by it too.

_{We’re hard-wired to navigate through space and time too.}

M.R. O’Connor’s Wayfinding: the Science and Mystery of How Humans Navigate the World (2019) looks to neuroscientists, anthropologists and master navigators to understand how our ability to navigate through space and time gives us an essential part of our humanity. But before climbing the evolutionary ladder to our human ancestors, she begins by discussing the extraordinary geo-location and time-keeping abilities of migrating birds and animals.

For example, humpback whales can travel thousands of miles before returning to the inlet or estuary where they were born. Bird species like flycatchers, blackcaps and buntings appear to adjust their flight patterns to the pole star when flying at night. Honeybees may visit hundreds of far-flung flowers during their miles of daily travel but still manage to find their way back to their hives by nightfall. Some dung beetles, desert spiders and cricket frogs have been found to use stars in the Milky Way like a compass. As O’Connor recounts, nearly every insect, bird and animal that’s been tested has demonstrated the ability to orient itself to the earth’s geomagnetic fields.

Humans have retained some of these capabilities to navigate through space and time while (sadly) allowing others to atrophy, because like all capabilities they require regular use and exercise. The “wayfaring” of O’Connor’s book title comes from American psychologist James Gibson, who used the word as a kind of informal shorthand for spatial navigation. “There [is] no separation between mind and environment, between perceiving and knowing,” Gibson wrote. “Wayfinding [is] a way that we directly perceive and involves the real-time coupling of perception and movement.”

To read O’Connor’s book is to find out about the remarkable navigational abilities of tribal peoples like the Inuit of Arctic Canada, the Australian Aborigines, and the native peoples of the Marshall Islands and Hawaii who learn to navigate thousands of miles of featureless ocean without maps or modern technologies. Their skills could be our skills if we made the effort to develop them.

We find our extraordinary sense of place through the integrative functions of our brain’s hippocampus, which enables us to “locate ourselves” through various points of view, prior experiences, memories of traumatic and nurturing events as well as by recognizing our goals and desires. Particularly while we’re asleep, the hippocampus helps to organize where we’ve been and hope to navigate tomorrow into a meaningful and sustaining narrative. Key to these inner workings may be the time-and-space orientations that we first developed as children, with early home life exerting a disproportionate influence on how comfortably we navigate the rest of our lives. O’Connor writes:

Often the places we grow up in have an outsized influence on us. They influence how we perceive and conceptualize the world, give us metaphors to live by, and shape the purpose that drives us — they are our source of subjectivity as well as a commonality by which we can relate to and identify with others.

These formative influences give us the perspectives that we use to test all new points-of-view. They show us (or never quite manage to teach us) how to navigate romance or office politics, how to encounter a stranger or weather a global pandemic. Towards the end of her book, O’Connor gets almost poetic while discussing the navigational aptitudes that we either nurtured at an early age or can learn to nurture today from deep within the temporal lobe of our evolutionary brains and out into the big, wide world around us.

Navigating becomes a way of knowing, familiarity, and fondness. It is how you can fall in love with a mountain or a forest. Wayfinding is how we accumulate treasure maps of exquisite memories.

Building our wayfinding capabilities can enable us to deepen our sense of place and to take more satisfaction from life as well as work by becoming more alive to the places where they’re located.

_{Mist, moss and branches that are busy returning to earth in an old growth forest.}

While Richard Power’s The Overstory is about our external interactions with the natural world and our attempts to re-establish a restorative kinship with it, his new book, called Bewilderment,, is about the internal changes that need to occur in us if we’re ever to “come to our senses” and avoid an environmental catastrophe.

In this flipside of his earlier story, Powers uses his skills as a storyteller and student of science to show the impacts that the natural and social environments around us—that is, how the deep sense that each of us nurtures in the places we inhabit—can transform not only our personal well-being but also our collective ability to champion the health of the natural world for its own sake and for the sake of our interdependence with it.

To illustrate his ambition, Powers refers to a structural metaphor in a sweeping conversation he had with Ezra Klein 12 days ago in The New York Times. In the same way that “[we] shape our buildings and ever afterwards they shape us,” building our sense of place could change much that ails us today while preserving the restorative balances of our natural environments.

For example, Powers recounts how he moved, fairly recently, to one of the last places in North America unchanged by human “development,” a patch of old growth forest in the Smoky Mountains of Kentucky. He says of that journey:

[W]hen you stumble across an 1,100 or 1,200-year-old tree that’s as wide as a house and as tall as a football field, it puts a different context on your dinner table conversations with humans who are trying to [fend off aging and] escape death.

Untrammeled nature provides a time scale that’s beyond any individual’s concerns about living longer, having new conveniences or consuming one more Amazon delivery.

[W]hen I first went to the Smokies and hiked up into the old growth in the Southern Appalachians, it was like somebody threw a switch. There was some odd filter that had just been removed, and the world sounded different and smelled different. And I could see how elevated the species count was…. it’s really the first time in my life that I have lived where I live…

In his life before, Powers was always striving to be as productive as possible, “waking up every morning and getting 1,000 words that I was proud of.” But since moving East and publishing The Overstory,

my days have been entirely inverted. I wake up, I go to the window, and I look outside. Or I step out onto the deck — if I haven’t been sleeping on the deck, which I try to do as much as I can in the course of the year — and see what’s in the air, gauge the temperature and the humidity and the wind and see what season it is and ask myself, you know, what’s happening out there now at 1,700 feet or 4,000 feet or 5,000 feet.
You know, how much has it rained? How high are the rivers going to be? What’s in bloom? What’s fruiting? What animals are going to be at what elevation? And I just head out. I head out based on what the day has to offer….
I can’t really be out for more than two or three miles before my head just fills with associations and ideas and scenes and character sketches. And I usually have to rush back home to keep it all in my head long enough to get it down on paper.

For the first time in his life, Powers is sharing his sense of place with the natural world that’s around him. It’s not just a tonic for writers, it’s also a sensation that’s available wherever a sliver of nature is available to enter into a kind of kinship with everyday.

Of course for Powers, it’s not just the birds, animals, insects, trees and plants in this magical place, it’s also the people he can influence and collaborate with in his noble (or quixotic) quest for both inward and outward-facing transformation. In other words, what he’s selling is not only for those who will read and be changed by his books, it’s also to mobilize his fellow conservationists so that one day every one of us might be able to amplify the kinds of personal benefits that find Powers thriving in an old growth forest.

The largest single influence on any human being’s mode of thought is other human beings. So if you are surrounded by lots of terrified but wishful-thinking people who want to believe that somehow the cavalry is going to come at the last minute and that we don’t really have to look inwards and change our belief in where meaning comes from, that we will somehow be able to get over the finish line with all our stuff and that we’ll avert [an environmental] disaster, as we have other kinds of disasters in the past.
And that’s an almost impossible persuasion [or rose-colored mindset] to rouse yourself from if you don’t have allies. [But] I think the one hopeful thing about the present [moment] is the number of people trying to challenge that consensual understanding and break away into a new way of looking at human standing…. [I believe] there will be a threshold, as there have been for these other great social transformations that we’ve witnessed in the last couple of decades, where somehow it goes from an outsider position to absolutely mainstream and common sense.

In The Overstory and Bewilderment, we are invited to enter the “contraption” of two books that transform us while we read them. In different ways, each of them show us how enabling an external sense of place reinforces the same qualities that we use internally to organize time, space, memory and hope for the future. Powers’ genius is to argue that when the bond is strengthened like this, we’ll finally be able to start caring for the natural world as much as we’re caring for ourselves.

I’ve written about “sense of place” in other posts recently. Here are some links if you want to check them out for the first time or revisit them again: Technology Is Changing Us (how reliance on navigational technologies like GPS—that give us directions and destinations but no relational context—are causing us to lose, through disuse, capabilities that were once hardwired into being human); A Movie’s Gorgeous Take on Time, Place, Loss & Gain (The Dig is a story about using the history and experience of a particular place to bring what its inhabitants need most into the future that they most want); and Embodied Knowledge That’s Grounded in the Places Where We Live and Work (learning from people who are living and working on the edge of degraded environments so we also can start to embody some of the physical knowledge they have been gaining in order to survive in the years to come).

This post was adapted from my October 10, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning, and sometimes (but not always) I post the content from one of them here. You can subscribe and not miss any by leaving your email address in the column to the right.

For the Birds

January 5, 2022 By David Griesing 3 Comments

I’d be lying if I told you that the first sounds I hear when I take Wally out in the morning are bird sounds. Instead, it’s the soft roll of tires on one of the streets that crisscross my neighborhood or urban beats booming louder than seems possible behind the windows of a passing car. But especially when it’s early enough, those sound-trails tend to fade into a quiet distance before too long, and the next things I usually hear are the local birds.

This time of year it can be the urgent squawking of Canadian geese, formed in a vee directly above us, after leaving the reservoir nearby and heading north by north-east in their annual migration. Or the tittering sparrows and wrens. But it can also be our talkative crows. They live in social groupings that have been called “murders” for as long as anyone can remember. While many explanations have been given, it seems that their name originated in folklore when many animal groups were described for dramatic effect by their characteristics, like an ostentation of peacocks, a parliament of owls, a knot of frogs, or a skulk of foxes.

Crows are highly social, mate for life, protect one another (including unfamiliar crows that are looking for help), and vocalize by using upwards of 250 different calls. This last character trait may actually go some distance towards explaining why crows are called a “murder” when they start chattering. Informal English has always accused the lower classes of “murdering” the common tongue.

Until a huge tree fell from an old neighbor’s yard and onto the new one’s next door, the resident murder would roost in its canopy and converse for hours. Wally would bark back at them when he was out and I’d also say “hello” if I thought of it. I’ve come to appreciate that our crows know exactly who we are and that we’re in some kind of conversation with them too.

Since they’ve been particularly noisy this week, their chatter made me take a second look at a book I read and reviewed here this time last year: Colum McCann’s Apeirogon, a word that means an object or, in this instance a story. with an infinite number of sides. McCann’s book is about the endless conversations, memories and illuminations that characterize the Israeli-Palestinian conflict and, in particular, how those relevancies and asides add dimension to a dialogue between two real-life fathers (one Israeli, one Palestinian) who has each lost a daughter to the murderous violence and struggles to transcend his loss. In the jumble of images, fables and impressions that he assembles, McCann continuously returns to the birds who also live in this elemental place, or pass through it on their annual migrations. “Our” crows made me want to re-revisit their stories-within-stories.

For example, this is the third of “the thousand-and-one” (or endless) digressions and reflections that make up Apeirogon:

Five hundred million birds arc the sky over the hills of Beit Jala every year. They move by ancient ancestry: hoopoes, thrushes, flycatchers, warblers, cuckoos, starlings, shrikes, ruffs, northern wheatears, plovers, sunbirds, swifts, sparrows, nightjars, owls, gulls, hawks, eagles, kites, cranes, buzzards, sandpipers, pelicans, flamingos, storks, pied bushchats, griffon vultures, European rollers, Arabian babblers, bee-eaters, turtledoves, whitethroats, yellow wagtails, blackcaps, red-throated pipits, little bitterns.
It is the world’s second busiest migratory superhighway: at least four hundred different species of birds torrent through, riding different levels of sky. Long vees of honking intent. Sole travelers skimming low over the grass.
Every year a new landscape appears underneath: Israeli settlements, Palestinian apartment blocks, rooftop gardens, barracks, barriers, by-pass roads.
Some of the birds migrate at night to avoid predators, flying in their sidereal patterns, elliptic with speed, devouring their own muscles and intestines in flight. Others travel during the day to take advantage of the thermals rising from below, the warm wind lifting their wings so they can coast.
At times whole flocks block out the sun and daub shadows across Beit Jala: the fields, the steep terraces, the olive groves on the outskirts of town.
Lie down in the vineyard in the Cremian monastery at any time of day and you can see the birds overhead, traveling in their talkative lanes.
They land on trees, telegraph poles, electricity cables, water towers, even the rim of the Wall, where they are a sometime target for the young stone throwers.

You see, the birds also get caught up in the violence that inflicts this corner of the Levant, one of the birthplaces of the human world. But at the same time, they give wing to the aspirations that can also emerge from the grief of many of those who live there today.

_{Two bird masks that I bought, several years ago, from a couple of backpackers who had set up shop in an Upper-West Side parking lot, just back from Latin America and financing their return to life in NYC.}

It’a probably not “five hundred million birds” in Apeirogon‘s migrating sky anymore. While the enormous bio-diversity loss is not what preoccupies me most about birds this morning (it’s more their soaring possibility), the decline in their numbers is still alarming.

For example, in 1970 there were nearly 3 billion more birds in North America than there are today, a decline of nearly a third. It’s impossible to wrap one’s head around a number like that, easier to simply notice how many fewer birds you’re hearing or seeing wherever you are today. They’re another of our dwindling resources.

Confronted by murder on this scale, I always want to go beyond noticing and “do” something about it. But as I learned (and reported here) after listening to a couple of wildlife experts, the next time I come upon, say, a baby bird who’s out of its nest, it’s better, almost every single time, to assume that it’s fine, that mom knows exactly where it is, and that it will be happier and far less afraid without my “help.” Usually, the better lesson is to simply notice, or to double-down on what I’m already noticing about the world I’m trying to inhabit: like how much it’s worth to me knowing that the birds I’m encountering already know about good parenting and that maybe what I need to do most “in order to save them” is to understand them better and appreciate them enough.

Which is why I wanted to share with you a groundbreaking tool that, for the first time, enables us to identify the birds that are still around us by their songs and other forms of vocalizing. A bird-song identifier that’s as accurate as this one has never been generally available before.

Over the summer, the Cornell Lab of Ornithology released its Merlin Bird ID app, which enables its users to identify some 400 North American birds (and counting) by the sounds that they make. According to one armchair reviewer, the app doesn’t claim to be 100% accurate, but “it comes very close.” It’s developers relied on a crowd-sourcing initiative that continues to draw upon a database of notes and recordings contributed by tens of thousands of citizen scientists through the Lab’s eBird Initiative. In what Fast Company called “a Shazam for bird songs,” the Merlin app turns a Babel of voices into one-on-one concerts that tell you exactly who’s playing a particular instrument.

I couldn’t agree more with that armchair reviewer when she wrote: “Love can’t save the environment, but when enough voters fall in love [with pieces of it like this], they can surely shift the political winds….”

We can’t fall in love with what we’re unaware of, or know almost nothing about.

_{When I was 3 or 4, I took this book with me on the first vacation I can remember, beginning with our drive from Connecticut to Florida. Along the way, I tried to match the birds I was seeing outside our car with the pictures in the book, but I still remember how hard it was to never know (except for the robins and the crows) whether I had gotten it right.}

While falling in love with birds again or for the first time are two of “the why’s” behind the Merlin app, here are some other things that are worth knowing about it.

You can find out more about the app, including where to download it for use with your smart phone, here.

You’ll need to be outside when using it. After opening the app, once you hear a bird talking or singing, choose “Sound ID” in the menu and hit the microphone button. You will immediately begin to see a “spectrogram” of sound waves scrolling across your phone screen, effectively “taking a picture” of its vocalizing. By using its algorithms to compare that picture with others in its database, the app will provide you with the bird’s identity. Clicking “This is my bird” after recording the date and their geographical location will save the sighting and share its specifics with the underlying database to improve the app’s future performance—effectively turning all app users into data gatherers and collaborators.

Using another feature in the app called the Bird ID Wizard comes at bird identification more incrementally. It asks you three questions about the bird you’re hearing (and hopefully seeing) before narrowing the likely possibilities: what size is it, what are its principal colors, and where did you see it (e.g. at a birdfeeder, on the ground, soaring or flying?). The app then provides you with a list of possible matches, which you can narrow further by using Sound ID or by taking and uploading a picture of the bird you’re seeing. The Wizard feature expands on the specifics you notice along the way to your identification and introduces you to other birds making similar sounds, adding more layers to your appreciation and to the thousand-and-one stories that you’re telling yourself about the birds around you.

Finally, if all of this listening and looking has peaked your interest even further, there is ebird, an inter-related app that feeds and utilizes the same database of bird sounds. With ebird, it’s possible to share your most unexpected sightings with an extensive community of birdwatchers as well as to track the sightings that others have had of particular birds you’ve become interested in.

This last adjunct to bird song ID reminds me that as winter approaches, neighbors of mine will be conducting their annual bird census. They ask people with birdfeeders like me whether they can observe what’s happening in my yard and whether I’ve been seeing any unusual visitors this year. These are the folks who came long before the Merlin app but are likely a part of its data gathering now. They’re invested in noticing as much as they can about the birds around here during a barren time when leaving seeds for them brings them closer, makes them more visible, and encourages them to keep us company.

Particularly as the days get shorter and colder and the overall muck of daily life starts to pull you down. it may be as good a time as any to let the wing’d updrafts and cacophony of bird sounds help to lift you up too.

This post was adapted from my October 24, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe by leaving your email address in the column to the right.

The Giving Part of Taking Other People’s Pictures

June 14, 2021 By David Griesing Leave a Comment

It’s harder than ever to maintain, and then safeguard, our zones of privacy.

I’ve been thinking about it in terms of pictures that other people take of us or that we take of them—sometimes when those other people are friends, sometimes when they’re strangers, and sometimes when its companies or authorities who are taking them for their own purposes.

In these photographs, what is the line between a fair exchange (with mutual benefits) and an unwelcomed intrusion?

What exactly are we “taking” when we take a picture of somebody?

(When shown their photographs, tribal people often complain that the camera has somehow stolen their souls.)

Is there, or should there be, a “give” as well as a “take” with photography?

Two encounters this week sharpened that last question for me.

A close colleague of mine in counseling work stopped by unannounced with some cookies to end our just concluded school year on a celebratory note. We’d been meeting with our kids on Zoom and hadn’t seen one another in person for months. She was so glad to see me that she wanted to take my picture before leaving, but I waved her gesture off. I’d stopped mowing the lawn when I saw her heading my way and felt that my sweaty appearance would have made a poor souvenir (even though she clearly felt otherwise). “What just happened?” I wondered afterwards.

My second encounter came by way of reminiscence.

Three years ago this week, I had been in New Orleans and was remembering that unbelievably rich and flavorful time, eager to go back and dig in even deeper. Part of my return trip would be taking in a “second line” street parade, because every week of the year at least one of them takes place somewhere in the City.

*_{A “second line” street parade photo by Aeisha Palmer, May 20, 2007}*

As you can imagine, these parades (which are sponsored by New Orlean’s “social aid and pleasure clubs”) are a kind of paradise for professional and amateur photographers. While following a random NOLA thread last week, I came across a story about “the etiquette of making photos” of the performers at these parades. This story also speculated about the “taking and giving” boundaries of photographing other people. For example:

Are there different rules for friends than there are for strangers?

Several years ago, Susan Sontag explored these boundaries and expectations in a series of essays for the New York Review of Books, later published in her own book, On Photography. Sontag focused on the “acquisitive” nature of cameras, how they “take something” from whoever or whatever is being photographed, a sentiment that’s similar to those tribal member fears about having their essences stolen. She wrote:

To photograph is to appropriate the thing photographed.

Sontag also commented on the vicarious nature of picture taking.

Photography has become one of the principal devices for experiencing something, [or at least] for giving the appearance of participation.

The way she saw it, we may not be marching in (or even watching) the parade, “but somehow we feel that we are” if we can capture a picture of it for savoring now and later on. Instead of “being in the moment,” we’re counting on the triggering nature of these pictures to approximate the real experience we’ve missed by “capturing enough of it” to still feel satisfied.

Of course, there are consequences on both sides to this kind of “taking.” A drive to accumulate photographic experiences can not only rob us of more direct engagement with other people and places (say, the actual smells and sounds of the parade, or the conversations we might otherwise be having with spectators and participants), it also raises questions about the boundaries that can be crossed when we’re driven by a kind of hunger to “take” more and more of them without ever realizing the impacts that we’re having by doing so. To our camera’s subjects, it can feel like violation.

As I’ve become more thoughtful about these impacts, it’s meant thinking through my picture-taking drive in advance.

What is gained and what can be lost when I’m taking somebody’s picture? What is (or should be) the etiquette around photographing others? These are questions that seem impossible to ignore since cameras are literally everywhere today, devouring what they see through their lenses. As a result, going through some Q&A with myself by way of preparation—whether I’m likely to be the photographer or the photographed—increasingly seems like a good idea.

For instance, what if strangers “who would make me a great picture” are performing in public or, even more commonly, just being themselves in a public place when I happen upon them with my camera?

My most indelible experience of the latter happened at the Damascus Gate, which leads to the “Arab Quarter” in Jerusalem’s Old City. In arcs along the honey-colored steps that sweep down to that massive archway, Palestinian women, many in traditional clothes, were gathering and talking in a highly animated fashion against the backdrop of ancient battlements, but as soon as I pointed my camera in their direction to take “my perfect shot,” they raised their hands, almost as one, and shielded their faces from me. Was that ever sobering! I didn’t know whether they were protecting their souls or simply their modesty and privacy from another invasive tourist.

In the story about picture taking at parades in New Orleans, one photographer who is drawn by their similarly incredible visuals observed:

You really have to be present and aware and know when the right time is to take a photo. Photography can be an extractive thing, exploitative, especially now when so many people have cameras.

To her, knowing when to shoot and when to refrain from picture taking is about reading the situation,

a vibe. You know when somebody wants you to take their photo, and you know when somebody doesn’t.

Another regular parade photographer elaborated on her comments:

If you carry yourself the right way . . . people putting on that parade see you know how to handle yourself and will give you a beautiful shot.

I’ve also found that performers want you to portray them in the best light and will help you “to light the scene” when you make eye contact and invite them to do so. On the other hand, they will also tell you (if you’re paying attention) when the lighting is off and you should just back off.

*_{Here’s one where I got it right, at least about “working the scene together.”}*

Because everybody wants to look their best while being photographed, the same rules usually apply when the subjects aren’t part of a performance but simply out in public, being interesting by being themselves. For the would-be photographer, it’s about initiating a conversation and establishing at least a brief connection before asking: can I take your picture? If they don’t feel “looked down upon” by your interest, they’ll often agree. But as with those “on stage,” these preliminaries can also result in: “No, I’d rather that you didn’t right now,” a phrase that’s hard to hear when “a great picture” is right there in front of you if only you could “take it.”

Whenever you know in advance that taking pictures could be uncomfortable for those being photographed, one New Orleans parade regular talked about the need to deepen his relationship with those he wants to photograph before showing up with his camera. Because he takes pictures at NOLA’s legendary funeral parades, he brings club members photos that he’s taken of the deceased on prior occasions so that colleagues and family “have a record of that person’s street style.” It’s his sign of respect at what is, after all, a time for grieving a loss as well as celebrating a life.

We go and we shoot funerals and [then] it’s not a voyeuristic thing. You’re doing what you do within the context of the community

—a community that you’ve already made yourself at least “an honorary member of” through your empathy and generosity.

Then, what you’re giving tends to balance what you’ll be taking.

_{Here’s a gentleman I’d just purchased something from at the annual flea market.}

So what about my cookie-bearing friend who showed up unannounced this week?

Should I have relaxed “my best foot forward” enough to permit one sweaty shot when she so clearly wanted a memento of our reunion after so many months apart?

Yes, probably.

But I’ve become so defensive about cameras taking my picture on every city street, whenever I ring somebody’s doorbell or face my laptop screen that sometimes it’s hard to recognize when “putting down my guard” is actually relationship building and for my own good instead of some kind of robbery.

Where zones of personal privacy are concerned, this is a tricky time to navigate either taking pictures of somebody or being captured by one.

It’s one more reason to try and rehearse my camera-related transactions before I find myself, once again, in the middle of one.

+ + +

(If you’re interested in a photo essay I posted after my last visit to New Orleans, here it is, from May, 2018. Another post, with photos taken at the Mummers Parade in January, 2019, can be found here. Taking pictures has always been a way that I recharge for work, although I’m still in the process of learning its complicated rules.)

This post was adapted from my May 30, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe by leaving your email address in the column to the right.

The Spark of Getting Out of Your Head & Into Somebody Else’s

April 18, 2021 By David Griesing Leave a Comment

There are many voices urging us to bridge the divides in our society, but not nearly as many explaining why it would be good for us too if we learned how to bridge them.

Luckily, recent research in neuroscience has been proving that Perspective Taking—or making the conscious effort to stand in the shoes of people who are different from us—activates regions in our brains that make us more innovative and creative overall. In other words, Perspective Taking is not just a one way street. It also produces reciprocal benefits for whoever’s making the effort.

I’ve talked here several times about how toxic it is to “civic friendship” when we no longer bother to understand where “those other people” are coming from or what we still might have in common with them. Democracy relies on civility and common purpose in spite of our occasional differences, and yet we rarely hesitate before writing off fellow citizens who disagree with us about immigration or climate change or voting. Without even thinking, we ask ourselves: How can they be so wrong when we’re so right?

After the last presidential election, I waded into these turgid waters with two posts. They argued in favor of so-called Blue State Americans shutting down their knee-jerk reactions, shovling their class prejudices about “rednecks” and similar demonizations to the side, and being curious enough about where Red State Americans are actually coming from to make an effort to understand them. Not to agree with, but simply to consider the different priorities that are motivating them. These posts were “Stop the Steal” Throws a Match on a Dry Forrest and Healing a Divided Country Requires Understanding Others.

Now, research is telling us about the rewards that are available when you make the effort to see your life or work from somebody else’s point of view. Whenever you encourage yourself to “stand in someone else’s shoes” out of curiosity or an acknowledgement of your biases, brain science is proving that your fields of imagination will expand, making you more creative and innovative in all of the interactions that follow.

Part of it is going deeper than appearances and ferreting out information that challenges your preconceptions. For example, Niccolo Machievelli (who’s often described as a “classical realist”) wanted to discover everything he could about his opponents before he was facing off against them. 500 years ago, he wrote:

“Men judge generally more by the eye than by the hand, for everyone can see and few can feel. Every one sees what you appear to be, few really know what you are.”

A deeper understanding of others applies to more than political adversaries, of course. It can be your customers and clients, the co-worker who’s always challenging you at meetings, the regulator who suddenly shows up in the workplace, the protestor who’s in your office parking lot. The more you know about where “these other people” are coming from, the more effective you can be when interacting with them. (What “hot buttons’’ of mine are they pushing and how do I turn them off? What are our shared objectives, where is our common ground?) By asking and answering such questions, you can gain a broader perspective along with the new options that it affords.

When I was still practicing law, Fran and I co-wrote an article about perspective taking, although we didn’t call it that back then. We titled the piece: “Why Didn’t My Attorney Call Me Back (and How Do Clients Feel About That)?”

Sure, lawyers are busy—shuttling from one crisis to another—but being unresponsive to your other paying customers says loudly and clearly, “my time is more important than your time,” and it’s one of the legal profession’s most persistent complaints. On the other hand, understanding client irritation to the point of changing the way you practice makes your work more valued by others, more profitable to you, and ultimately more satisfying too because perspective taking literally “hacks” your job. Once you understand a need that you failed to appreciate before, it forces you to become more innovative and creative in meeting it, leavening other aspects of your work at the same time.

In other words, your discovery that others see your priorities differently leads you—through a more creative application of your problem solving skills—to a broader perspective on your work than you had to begin with. In a burst of discovery, you’ve realized that you’re not the only one who is right all the time.

Today, brain science is providing us with a view of the neurological processes behind Perspective Taking. While there are technical descriptions of the brain’s functional areas in the following quotation, the gist of it should still be pretty clear.

When we are trying to solve a problem, the frontoparietal attention network activates, meaning that areas at the front and the side of your brain are at work. However, when we take the perspective of another person, we engage a different network, often called the “mentalizing,” or theory-of-mind, network. This has two key components: the temporoparietal junction, located just above and behind the ear, and the dorsomedial prefrontal cortex, which lies just behind the middle of your forehead. These areas help us understand what others know, want, need or find important.
Importantly, the “mentalizing” network partially overlaps with the so-called default mode network. This term was initially chosen because researchers at Washington University in St. Louis discovered that this network became active when people took a break from active problem-solving. After years of research, we now know that this network is activated during exploration, imagination, innovation, thinking outside the box, and engaging in mental time travel by thinking back to the past or imagining possible futures. For those reasons, we often call it the “exploration” network. Thus, perspective taking engages both the mentalizing and exploration networks, perhaps because getting inside someone else’s head requires getting outside our own.

To summarize: the Attention network (or rational problem solving) plus the Mentalizing network (trying to understand others) in our brains also activates our Exploration network (thinking outside the box). Obviously, this is a richer and potentially more fruitful mix of brain power than relying upon the problem-solving function alone.

The description of brain coordination above was provided in an article called “Perspective Taking: A Brain Hack That Can Help You Make Better Decisions.” It was one of several offerings this week in the KnowledgeWharton newsletter from Penn’s Wharton School of Business. Intriguingly, the authors’ lab at Penn was “investigat[ing] what happens when we turn the [Exploration or thinking outside the box] network up or down” by improving perspective taking. Does it make people in the workforce more innovative and creative overall?

Their answer was a pretty emphatic “Yes.” .

What the Penn researchers concluded was that “practice makes perfect” when their study participants combined both perspective taking with problem solving and started appreciating the work-related benefits that follow. As neuroscientists, they might also describe their findings this way: our neural pathways become more fluid when we traverse them more frequently because of the advantages that we feel we are gaining by doing so.

In the course of their research, these neuroscientists also developed several exercises that improved the brain’s fluidity and the creativity and innovation that it unlocked.

They asked study participants to reflect on recent perspective taking and share the experience with colleagues. In a second study, they asked them to visualize future applications of perspective taking, paying attention to the details and writing them down beforehand. Other “muscle building” exercises for the brain included having more conversations with total strangers, trying out new things (like learning a new language or playing a new instrument), and reading novels that transport you into the minds of different characters.

By encouraging exercises like these, the researchers were taking advantage of the fact that:

the human brain is nature’s greatest statistical pattern learning device. This means that the more you exercise perspective taking (whether remembered, imagined or real), the more it will be reinforced. Over time, perspective taking is likely to become more automatic.

In sum, as you start to experience the value of this way of mental processing—by inviting the perspectives of others into your problem solving—you’re likely to keep repeating it.

Wishing to share their Eureka Moment more widely, the Penn researchers also developed something that they call The Nano Tool so that the rest of us can become more creative and innovative at work and outside of it. Despite the fact that its name conjures (for me, at least) a headset with beeping electrodes and matted hair, it’s actually more of “a hand-out” with additional exercises that can be used to activate more “problem-solving through perspective taking.” It’s well-worth checking out.

Finally, while perspective taking provides the kind of problem-solving boost that business school types are always eager to promote, I can easily envision some of its most transformative applications in our collective considerations of politics, race, class, religion and other social dividers. We might quickly discover that we’ll be benefiting ourselves at the same time that we’re strengthening our social bonds.

+ + +

Post-script:

Along with you I suspect, I’m finding the transition period between a hard year and what I’m hoping will be an easier one a bit of a challenge. As my mother used to say, I’m feeling “betwixt and between” or “at 6’s and 7’s.” Anyway, I saw the picture below after the devastating floods in Australia recently, and thought it seemed an apt metaphor for today, but I’m not sure why. (Maybe I’ve just taken on Wally’s perspective.) If you have any ideas about why this picture of dogs in crates being rescued seems right for these times, feel free to send them along.

This post was adapted from my March 28, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe too by leaving your email address in the column to the right.