Art And Life
Wednesday, October 31st, 2007
In The Darjeeling Limited, Jason Schwartzman plays a writer who uses moments from his real life as the basis for his short stories, then insists to his brothers that the highly recognizable characters are fictional. The Darjeeling Limited is a gem-like movie, and this aspect of the story left me with a new insight, or the beginning of an insight into the relationship between art and life.
The actions of Schwartzman’s character create a text within the text. Schwartzman co-wrote the screenplay with Wes Anderson, the film’s director. So, we have the screen-writer playing the role of a writer who fictionalizes real moments in his life. The movie isn’t about art, Schwartzman’s fiction plays a minor role in the plot, but the film is about artificiality in life. The characters keep the world at arm’s length, rarely entering into events fully, yet believing that they do.
We use and appreciate art as a construct and technique to distance ourselves from reality. When it works, this distance provides a perspective that permits us to apprehend reality more fully, or to access a part of our perspective that would otherwise be hidden from us.
The artist takes a feeling or perspective, conscious or subconscious, and transfers it to some external medium (canvas, music, sculpture, text, etc.). After watching The Darjeeling Limited I was left with a new sense of life as unconscious art, or if not art then something akin to it.
Today is Halloween. Never in my recollection have I wanted to wear a Halloween costume nor enter into the spirit of the holiday, much to the disappointment of my wife and children. As I walked to the train this morning and reflected on this and on the premise of The Darjeeling Limited I felt a strong correlation between the two and the overlay of art in life.
If we think about distancing and abstraction as a critical construct of the artistic process, all of a sudden much of what we do in life starts to seem if not artistic then representational. Two days ago I got my hair cut, for instance, and felt disquieted by the relative neatness and attractiveness of my hair afterward. I now think that I was put out by the artificial construct of a haircut. We clothe ourselves partly for warmth, but the way we clothe ourselves is to a greater or lesser degree a representation of the image we seek to project to those around us. We are wearing an abstract perspective of ourselves.
The way we speak, the way we behave, the way we move, everything but the most automatic, innate impulse bears the impression of conceptual intervention. Focus on your breathing for a moment and all of a sudden you become conscious of how fast, how deep, how measured and the pattern of your breathing changes even if it doesn’t in fact become faster, deeper, more or less measured. The observation of your breathing makes it somehow different.
But whereas good art uses distance to bring us closer to something real, affectation in life distances us without achieving this ultimate closeness. Good art lets us feel or apprehend something more directly, more pertinently. A good haircut does nothing to bring us closer to reality. In fact, it takes us more deeply into the concept of ourselves as a person with attractive hair.
I’m not suggesting that we go about wearing sacks and with long, lank locks. But I am suggesting that being aware of the artificiality we invest in a good part of our waking life may actually be a step toward living more fully in the moment rather than in our minds.

I buy coffee and a 

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what part O’Neal played in lifting that stock price in the first place. Under O’Neal’s more aggressive leadership, for instance, the company made $7 billion in 2006 using capital to trade for itself and clients, compared with $2.2 billion in 2002. The stock that recently slumped, slumped from a dramatic peak. Was O’Neal responsible for the slump but not the peak? Or was he the victim of those now in denial about whether they were getting what they asked for — a more agressive and therefore more volatile company. These are finance types, they surely know that it cuts both ways.
a conceptual framework of the world in one’s mind. This seems like a lot of work when you don’t have to do it. I’m an advocate for less denial and more reality in the cases cited above. It doesn’t help the California homeowner to deny that he or she has picked a lousy spot to live. Nor does it help the investor, employee or director of Merrill Lynch to ignore the fact that the leader they’re kicking out has been doing quite well by them up until recently. And although Bush can’t hope to salvage any political legitimacy at this point in his tenure, as a person he would do well to start admitting that, yes, even he can make mistakes.
Earlier today, I set off to school with my son as my wife ran down the street to move our car before the 8:30 street-cleaning curfew. Alas, despite her shouted pleas, when she arrived the traffic cop insisted on issuing the ticket. The traffic cop (or ticket vendor) explained that she couldn’t stop once she’d started otherwise she’d “get into trouble.” I see the exterior motive for writing tickets on street cleaning days — so that the street cleaning truck can rumble unencumbered down the curb, sweeping up all of the dirt and detritus that has accummulated in the preceding few days. But since I passed a second traffic cop also writing tickets at a shade after 8:30am, I wondered afresh whether the city might not have an ulterior motive — to collect from as many sleepy Brooklynites as possible.
It’s for this reason that I have a certain nostalgia for the idea of Cuba. I’ve never been there, but it seems that along with his willful limitation of personal and political freedoms Fidel has kept Cuba constrained in a bubble of simplicity. People have less to process. Life takes on an easier pace. People appreciate what they have all the more for what they don’t have. Now that Castro’s rein seems close to an end, and his brother Raul seems set to pick up where Fidel left off, but not exactly, we look on and wonder whether the bubble will burst.
‘Sopranos’ creator, David Chase, 

