The GALA Committee

Still from the Fox TV show Melrose Place, 1992–99. Season 5, episode 9. Kimberly Shaw (Marcia Cross) and Matt Fielding (Doug Savant) with GALA Committee’s Chinese Take Out, 1995–97.

In 1995, the curators Julie Lazar and Tom Finkelpearl asked the artist Mel Chin to take part in “Uncommon Sense,” a group show at the Museum of Contemporary Art, Los Angeles, dedicated to exploring art that engaged the public sphere beyond the confines of the museum. At the time, Chin was already known as a Conceptual artist whose wide-ranging, community-oriented work often extended far beyond the gallery or the studio. (In the sculptural-environmental project Revival Field, begun in 1991 while Chin was in residency at the Walker Art Center, for instance, he collaborated with botanists on the design of gardens of “hyperaccumulators”—plants that are able to draw heavy metals from tainted earth, cleaning it in the process.) In response to Lazar and Finkelpearl’s request, Chin invited students and faculty from the University of Georgia and CalArts (schools where he was teaching at the time), along with additional artists and friends from across the US, to form a 102-person-strong collective that they dubbed the GALA Committee. The work that Chin and his group created over the following two years for the LA MoCA show, installed in 1997, was a blend of long-game Conceptualism, Dada-esque intervention, and whoopee cushion–style pranksterism—all played out against the highly unlikely backdrop of the wildly popular prime-time soap opera Melrose Place.

Office goals

Still from Cobra (1986)

Apparently, when Gödel was studying for the U.S. citizenship test in 1948, he found what seemed to him a fatal flaw. “The document,” Ellenberg writes, “contained a contradiction that could allow a Fascist dictatorship to take over the country in a perfectly constitutional manner.” For better or worse, the exact nature of this flaw has been lost to posterity, but Gödel was apparently so upset that he couldn’t help but talk about his concern with the judge who examined him on behalf of the Immigration and Naturalization Service, despite the advice of colleagues Albert Einstein and Oskar Morgenstern, who thought he should keep his worry to himself. Years later, in 1971, Morgenstern wrote down his memory of the exchange:

The examiner turned to Gödel and said, Now, Mr. Gödel, where do you come from?

Gödel: Where I come from? Austria.

The examiner: What kind of government did you have in Austria?

Gödel: It was a republic, but the constitution was such that it finally was changed into a dictatorship.

The examiner: Oh! This is very bad. This could not happen in this country.

Gödel: Oh, yes, I can prove it.

The examiner, Morgenstern remembered, “was intelligent enough to quickly quieten Gödel and broke off the examination at this point, greatly to our relief.”

Ellenberg’s source is a webpage at Princeton’s Institute for Advanced Study, a page that unfortunately no longer exists, but there’s an account of Gödel’s immigration exam on page 7 of the spring 2006 issue of the institute’s newsletter, and the writer Jeffrey Kegler has put together a synopsis of the documentary evidence and has shared a scan of Morgenstern’s memorandum.

‘Modal’ UIs

Gregory Kusnick said,

December 5, 2016 @ 1:09 pm

Going back to the 1960s, text editors such as TECO used regular alphabetic keys to invoke editing commands: S for search, D for delete, etc. The program was in this so-called command mode by default; to type in text, you had to enter insert mode by pressing the I key. Now your keystrokes would be interpreted as text input rather than as commands until you exited insert mode by pressing the Escape key.

By the late 1970s this so-called “modal” text-entry method had come to be regarded as bad UI design, and modeless interfaces came into vogue with the introduction of graphical displays and pointing devices such as mice. In modeless designs, alphabetic keystrokes are (almost) always interpreted as text input, and editing commands are invoked via on-screen menus or key combinations such as Ctrl+X.

As KWillets and MattF note, popup dialog boxes that force user interaction brought back the notion of UI modes in which normal text input is disabled, and alphabetic keystrokes may be reinterpreted as command shortcuts (“Press Y for Yes or N for No”). So these window types became known as modal windows in the UI design jargon of the 1980s.

Vignette by Pierre Chareau

Coca cola

A few years later I found out “Steely Dan” was actually Donald Fagen and Walter Becker, and that their name was lifted from a William S. Burroughs novel (it’s a dildo), a discovery made while ditching seventh-grade social studies to read back issues of Rolling Stone in the public library. (I also learned that that the insect on the cover of Katy Lied was a katydid, not a praying mantis.) As an only child growing up in an unincorporated townlet in Wisconsin, there were many nights when it was just me in the chair and the Dan on the turntable and a few owls hooting in the woods. The sound of Dan music became as natural and enveloping to me to as the countryside itself. It led me to champion the songs of Becker and Fagen among the self-styled punks I later started hanging out with, provoking j’accuse-like denunciations: I was the enemy within, the guy who liked easy listening. I found disses among learned rock pedants in the magazines, too, which I began to catalog: Steely Dan was “hippie Muzak” and “Valium jazz”; their music “sounded like it was recorded in a hospital ward” and was “exemplarily well-crafted schlock”; they were a “brain without a body.” How could these people say such things about songs that were so deviant and bizarre and yet so warm and often staggeringly musical? The fact that the Dan had hits—really huge hits, actually, like “Do It Again,” and “Reelin’ in the Years,” and “Rikki Don’t Lose That Number,” and “Peg”—only made the whiff of some lurid, freaky luxury in the music seem more pronounced. You could be lyrically weird and musically oblique and still have lots of people like it. A mystery lurked at the center of it all. And the uncut essence of that mystery—the distillation of Dan music, the point beyond which the aesthetic cannot be pushed any further—is their airless, lacquered Masterwerk, Gaucho.

Like all good jokes, better before you explain it

“A Short History of The Times’s Shortest Story”

Aleksandr Hemon I’ve always found the insistent distinction between fiction and nonfiction in Anglo-American writing very annoying, indeed troubling. For one thing, it implies that nonfiction is all the stuff outside of fiction, or the other way around, the yin and yang of writing. Another problem: it marks a text in terms of its relation to “truth,” a category that is presumably self-evident and therefore stable. But narration cannot contain stable truth, because it unfolds, and it does so before the narrator in one way, and before the listener/reader in another way. Narration is creation of truth, which is to say that truth does not precede it.

In Bosnian, there are no words that are equivalent to “fiction” and “nonfiction,” or that convey the distinction between them. This is not to say that there is no truth or falsehood. Rather, the stress is on storytelling. The closest translation of nonfiction would really be “true stories.”

You declare Every Day Is for the Thief a work of fiction. Why?

Teju Cole I made a sideways move from art history into writing, and I think this, in part, is why I also find the stern distinction between fiction and nonfiction odd. It’s not at all a natural way of splitting up narrated experience, just as we don’t go around the museum looking for fictional or nonfictional paintings. Painters know that everything is a combination of what’s observed, what’s imagined, what’s overheard, and what’s been done before. Is Monet a nonfiction painter and Ingres a fiction painter? It’s the least illuminating thing we could ask about their works. Some lean more heavily on what’s seen, some more on what’s imagined, but all draw on various sources.

Pablo Enriquez

Actual persons living or dead

Tim Parks begins his piece on Dante by asking how the Divine Comedy would have fared these days, when if you ‘put real people in a work of fiction … you immediately face libel and privacy issues’ (LRB, 14 July). That reminded me of the time when in a pleasant Chester-le-Street bookshop (no longer in existence) I was offered a paperback translation of Inferno which assured me that it was a work of fiction containing no reference to actual persons living or dead. Some time later I bought Ciaran Carson’s translation of Inferno on the basis of a killer sales pitch that it was ‘the first ever version by an Irish poet’.

George Schlesinger
Durham