Travel

Lights on the 7 Subway Line

Some lines in the New York City subway system use diamonds and circles to differentiate between express and local, respectively. This is the case on the 7 (Flushing) line as well. However, I while most trains simply carry the appropriate sign, the trains on this line used lights instead, creating a unique effect:

As far as I know, this is only line which features these lights. The picture above illustrates the green circle representing the local train. Below is a red diamond representing the express:

I was not particularly happy with the second photo, but it does illustrate both the red light and an interesting side-effect that I observed: the reflection of these bright colored geometric lights on the windows both from other trains and within the car itself. I found myself watching the colored shapes dance, and contrast with a few of the passengers sitting in the car or rushing along the platform. Not mesmerized per se, the way a cat reacts to a light pointer, but still focused. I don’t know if anything will come of it besides this brief post.

Bleecker Street Station, New York City

Many of the stations on the New York subway system have been upgraded over the years, cleaned up and adorned with artwork and location-specific decor. The Bleecker Street Station on the Lexington Avenue line is not one of them. It’s still quite spare and run-down, the supporting columns a bit rusty. As I waited for an uptown #6 train, I took this photograph looking along the tracks and platform:

Just afterwards, I looked across to the opposite platform and saw a young woman making a similar photograph, also looking uptown. Almost as quickly, a downtown #6 pulled into the station, and as the train pulled away, she was of course gone. A typical movie cliche, but our main purpose in this little station was to catch our trains to wherever it was were going next.

ShanghaiPRIDE

This weekend is marks Pride 2009 here in San Francisco, and while the parade and other events here were huge (and occasionally over the top) as always, I found myself thinking of the much smaller, but nonetheless significant event I saw during Pride week in Shanghai on June 8.

I had the chance to attend the opening night event, which took place at a large bar in the French Concession district of Shanghai. There was a good mixture of both native Chinese and expats; of course, the attendance was a couple hundred rather than hundreds of thousands. But one must think about the significance of having an event like this in China, which is still a relatively conservative country and where gatherings of any sort can be complicated.

The open night featured screenings of two documentaries. The first was a film from Singapore entitled “Autopsy” which follows the filmmaker Loo Ziham’s dialogue with his mother about his sexuality. Following that was a documentary “Queer China”, a rather stylized look at the history of homosexuality and LGBT issues in China. The film interspersed images from traditional Chinese art and literature with historical footage from early years of the Peoples Republic, but focused primarily on relatively contemporary interviews. Those interviewed ranged from a young man who nearly committed suicide over his sexual orientation to an older man (I think he was in his 80s) discussing sexuality in rather open terms. Because of the way the room was set up, it was sometimes difficult to see the English subtitles, so I did miss some of what people were saying. One thing I was able to gather from the film was that much of the progress in terms of recognition and getting groups organized and sanctioned came under the heading of AIDS prevention – the one young woman interviewed noted the irony that AIDS was not a big issue for everyone.

In any case, it was quite interesting to see such an event in another country. And I leave wondering if Chinese can go out and take the cultural risk of participating in such an event, why does it have to remain “hidden” for people here in certain ethnic groups?

Cats of Tokyo

“He wrote me that in the suburbs of Tokyo there is a temple consecrated to cats. I wish I could convey to you the simplicity—the lack of affectation—of this couple who had come to place an inscribed wooden slat in the cat cemetery so their cat Tora would be protected. No she wasn’t dead, only run away. But on the day of her death no one would know how to pray for her, how to intercede with death so that he would call her by her right name. So they had to come there, both of them, under the rain, to perform the rite that would repair the web of time where it had been broken.”

I remembered this scene from Chris Marker’s film Sans Soleil of the temple in the suburbs of Tokyo that was dedicated to cats, and when I knew that I was in fact going to be in Tokyo for a couple of days, I decided I would find this temple. It is in fact the Gotoku-ji Temple in the Setagaya ward in the western suburbs of Tokyo.

It really was tucked away in a relatively quiet residential neighborhood, easily missed if one did not know where to find the gate. The temple grounds were very quiet, with very few visitors other than myself.


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There is a small building near the large tower in the photo above. I believe it is a side temple of sorts. Behind it is a set of shelves containing hundreds of maneki nekos, or beckoning cats, left as offerings. Indeed, Gotoku-ji claims to be the birthplace of the popular cat figurines.


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This was definitely the temple from Sans Soleil, I had succeeded in finding it. And having come this far, I spent a little time to linger in this small, quiet place.

Gotoku-ji is not the only site that claims to be the birthplace of the maneki neko. In Akasuka, not far from the famed Senso-ji temple, is the Imado Shrine.

Like Gotoku-ji, the shrine was tucked away in an alley in a quiet residential neighborhood. It was quite small, but had enough space for gardens, trees and statues leading up to the main building:


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Inside on the altar is a pair of large cats:

The one on the left has spots and is the male cat, while the one on the right is the female cat, and together the lucky cats of Imado are supposed bring good fortune to couples or those seeking love. Images of the pair of cats can be found throughout the shrine:


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The wooden plaques tied below the image of the cats contain wishes left by visitors. This is a common practice at temples and shrines, but it was specifically here that I chose to leave such a wish myself. Another common practice is selecting a fortune from a box near the shrine – at the Imado temple, each fortune comes with a tiny cat figure. I did get one of these, and of course a few ceramic cats from both Imado and Gotoku-ji.

One cannot help but think a little bit about spiritual things after visiting spiritual places, and a coincidence that occurred soon after leaving Imado contributed. Heading back south towards the Senso-ji temple, I saw a small narrow park, really a stone path lined with trees, and decided to walk in that direction. About halfway, a saw a woman with an open cat carrier, and inside was a black cat with green eyes!


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Although we had almost no words in common except basic greetings and “neko”, I was able to express my appreciation of her cat, and showed photos of Luna. “Lady?”, she asked in English. I nodded. She pointed to her own cat and smiled “Boy!”

The symbol of the cat is ubiquitous in Tokyo, spiritually as well as commercially:


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In the image above, we see a shop carrying not only an impressive array of maneki neko, but some examples of Japan’s other famous feline symbol, Hello Kitty. I have approximately zero interest in Hello Kitty, but during my trip I did build up a small collection of maneki neko, of which a subset are shown below:

Included are one of the simple ceramics from Gotoku-ji, the tiny cat that came with the fortune at Imado, and a couple of black cats that I found.

Beyond the black cat in the park, I did not see very many live cats during my short visit. Apparently, this is an issue from Japanese ailurophiles as well. There are now several cat cafes around Tokyo, where for a fee one can spend an hour or so interacting with the cafe’s very friendly (and very clean) cats. I did see a cat cafe in Akiabara (an area which will be the focus of one of our next articles), but I did not have time to check it out. However, Akiabara, the center of electronics and anime in Tokyo, will itself be the topic of an upcoming article here at CatSynth.

Test Tone vol. 46, Super-Deluxe, Tokyo

Tokyo has a large electronic music and experimental music scene, and during my brief stay there I wanted to check out at least one show.  I did find the club Super-Deluxe with a calendar full of interesting shows.  On the night of June 9, it Test Tone vol. 46.

This particular program featured international guests artists.  The first act did feature a collaboration between Illinois-based Nick Hoffman and Japanese improvising artistTakahiro Kawaguchi. Unfortunately, I missed a large portion of their set while I attempted to locate the club. It seems that most streets in Tokyo are unmarked, so it’s easy to get turned around, or miss a small side street, so getting to Super Deluxe was a bit of adventure. I wish I had gotten to see more.

The second set featured New York based Object Collection. Object Collection consists of Kara Feely and Travis Just, and their multimedia pieces feature electronic music as well as video and theatre. On this night, they were performing a piece entitled “Gun Sale”. Scenes that could have been from a gun sale somewhere in the urban United States were projected on video, along with fast moving urban landscape. On top of that were Feely’s vocals and Just’s music. Musically, this was precisely the sort of experimental electronic/noise I was looking for on that night (whether or not the artists classify their own music that way is a separate issue), and I remarked in my notes “it’s the real deal”.

The third set was by Swiss computer and electronic music Andrea Valvini, performing a new piece Soleil Rouge. His music incorporates noisy and inharmonic synthesized sounds, of a digital variety (I don’t recall much of the standard filtering) and musical sound effects in complex rhythms. There a basic set of beats in the background, and then odd-meter phrases and loops layered on top of that, some appearing only for a short moment, and some disappearing. The complexity of some of the sounds hides the rhythmic structure for some of the shorter hits. I did have a chance to talk with Valvini after the performance and hear a little bit about his adventures performing in Asia, and share my own experience performing in mainland China.