Tuesday, December 1, 2015

December 1, 2015: A few recollections of Ptolemy as a baseball fan of many years



The following is the text of an e-mail I wrote today to Amanda Nichols, my season ticket liaison executive who works for the San Francisco Giants:


Did you know that I was in the stands for the last game of the 1962 World Series?  I can still see in my mind's eye the greatest villain who ever played the game, Bobby Richardson, catching McCovey's line drive.  Nobody, however, could make a relay throw from second base on a 6-4-3 double play like Bobby Richardson.

I saw the last seven innings of the 16 inning marathon pitching duel between Marichal and Warren Spahn ended by Willie's home run.

I was in Dodger Stadium the Saturday night when Drysdale hit Dick Dietz with a pitch and the umpire ruled that Dietz didn't try to get out of the way.  No one ever got angrier on the field than Dietz that night.  Drysdale held the consecutive scoreless innings record for many years after that.

I saw Ted Williams go four for five in a night game in Yankee Stadium in 1947, and I saw the home run he hit in Fenway the day before he got called up to go to Korea for his second tour of duty in 1952 (or 1951).  

When I was eight years old my dad, having driven us up to Detroit from Marion, Indiana, took me to see Hank Greenberg in Briggs Stadium.  It was 1940.  

I sat within 60 feet of Jackie Robinson and Roy Campanella (greatest athlete -and catcher - who ever played baseball) in Braves Field Boston in 1952.  

I saw Mickey Mantle strike out six times in eight at bats in the Memorial Day double header in Fenway in 1951 when Mickey was a rookie.  He was booed mercilessly by the Fenway fans.  Fans weren't nice in those days.  Joe DiMaggio slid into third on a triple that afternoon right in front of where I was sitting.  I can still see his graying temples flashing when his cap came off during the slide.

Vin Scully and I shopped in the same drug store in Brentwood in the early '70's.  He was a widower. He then married the receptionist in the office where I worked in Century City.

I never saw Bob Gibson, but Sandy Koufax is the greatest pitcher who ever lived.  There is no one in second place.

Old Giants?  I saw Johnny Mize, Whitey Lockman, Alvin Dark and Sal Maglie.  I saw Al Rosen play for Cleveland.  My memory is hazy about this, but i think I remember where I was standing listening to the broadcast when Willie made the catch in the 1951 World Series.  I remember the Chronicle headlines when Willie signed to play for $100,000 for the season, and I remember his difficulties as reported in the press with his first wife, Marguerite, a real piece of work.

Is that why we love baseball?

s/[Ptolemy]

Thursday, September 17, 2015

September 17, 2015: Funny announcement for an opening at the Loyal Gallery, Stockhjolm:


THE SWEET HEART
JIM THORELL

September 18–October 10, 2015


OPENING RECEPTION WITH THE ARTIST THURSDAY SEPTEMBER 17, 6–9 PM
Yesterday, less than 24 hours away from opening, LOYAL suddenly announced that they would not be opening Jim Thorell's The Sweet Heart as previously planned. The reason given was that The Sweet Heart need to be "redesigned" to enhance the safety of dewdripping wasps and flowers baking in the sun.

The Sweet Heart is a quintessentially psychedelic, dreamy lullaby. The range of moods is similarly diverse: from the rhythmically complex to the ridiculously energetic. This is a bit goth, too. Eloquent, aggressive, polished and yet still raw. It's got subtle hooks that getcha when you’re not looking.

I've been down there several times since painting started. What I've seen is works in ambience and glitch, works with some pretty dang abstract beats seemingly pulled together out of the sonic detritus. I've seen plenty of upbeat tropical feeling in The Sweet Heart. I’ve seen something smooth and menacing drowning anything else that’s trying to be heard over the sweet crush..

Seriously, there need to be more Terminator movies, shot on grainy 16mm, and The Sweet Heart needs to be the soundtrack. The Ramones were dry and gritted, this is wet and relaxed. What’s going on. Not a sugary snack.

If LOYAL has real reason to think these Sweet Heart's are dangerous, let us know, but otherwise Open The Sweet Heart. And anytime anyone mentions Jim Thorell, shout out "Open it" or chant "Open Our Sweet Heart.” Get amongst it.

Jim Thorell (b. 1981, Stockholm) holds an MFA from Valand Academy in Gothenburg, Sweden. Thorell studied at the Academy of Fine Arts, Vienna with Professor Daniel Richter, as well as Kanazawa University, Japan and the Vietnam University of Fine Arts in Hanoi. Recent exhibitions include, S2, New York (solo); Spears, Loyal, Stockholm; Lucid Memes, Carl Kostyal, Stockholm (solo); Pathétique, Union Pacific, London (solo). This is Jim Thorell’s first solo exhibition with Loyal.

LOYAL KAMMAKARGATAN 68 111 24 STOCKHOLM SWEDEN
WWW.LOYALGALLERY.COM +46 8-680 7711 

Thursday, September 3, 2015

September 3, 2015: Artist Sam Lewitt opens a show at CCA, San Francisco, on September 10, 2015

Mr and Mrs Ptolemy have owned a work by Sam Lewitt since August, 2008.  We have been pleased with the artist's progress as well as his increasing recognition in the eyes of the knowing art public.  It is no surprise to Ptolemy that Lewitt's work has at least one goal in common with the artworks described in the August 29, 2015 entry in this blog entitled "August 26, 2015: Today's sculpture has nowhere to go. They might as well try this:

CCA in its publicity writes:  To guarantee the stability of any system means to follow one basic formula: minimize friction and maximize flow.  Sam Lewitt adds weight and materiality to systems that would otherwise prefer to run smoothly and invisibly  he maximizes friction and minimizes flow.  His exhibition is calledMore Heat Than Light.

The exhibition publicity reads as follows::


"To make fire, you need friction — our ancestors discovered that long ago. More recently, thermodynamics has taught us that the hotter something gets, the more erratically it behaves and the more unreliable it becomes.

To guarantee the stability of any system, therefore, means to follow one basic formula:
minimize friction and maximize flow.


The same can be said of information itself. Contemporary capitalism rewards those who quickly adapt to any new obstacle, so what matters is to stay fluid and to stay flexible. To do that,
the many types of machines that populate our vast infrastructure
of computer networks and communication systems need to stay cool. The enemy, for all of them, is not a skilled hacker or a crafty virus — it’s heat.


Sam Lewitt sides with the enemy. His work adds weight and materiality to systems that would otherwise prefer to run smoothly and invisibly. This exhibition generates heat — it maximizes friction and minimizes flow.

On the surface, the world looks like it’s getting thinner. Look at Uber: It doesn’t own a single car but still drives millions of people around every day. What used to require entire buildings now
fits on a flat circuit board in your shirt pocket, and people aren’t buying objects but buying subscriptions to services — “it’s more flexible that way.”  Everything you need to handle your banking, traveling, exercising, entertaining, communicating, translating, and cooking seems to weigh however much your smart phone weighs — but in fact involves a matrix of energy standards, physical installations, thermal regulation, and thousands of acres of heavily guarded server farms.


Lewitt’s work turns fluidity into something a bit more viscous, sticky, corroded, and harder to run through the pipes. He muddies the waters of smooth circuitry in order to make visible that which lubricates it.

By now, you’ll have noticed that the gallery is a bit darker than it should be and perhaps a bit warmer than it should be.
The artist has redirected the building’s energy use from light to heat. On the ground are flexible heating circuits Lewitt has had fabricated, which are much larger versions of Kapton/copper composite heaters that are used to maintain and regulate highly targeted temperatures inside communication devices and flexible enough to be installed around irregular shapes and contours. The objects draw their power from long cords coming down from the gallery’s lighting track. The electricity usually used by light bulbs now runs into the sculptures and along the lines etched into their surfaces, generating heat.

Every morning we come in and turn on the lights, but all we get is heat.

In reality, nothing about the building has been changed: it circulates and consumes electricity the same way it always has.  Lewitt understands that he cannot work against his site nor can he break free from it. He has therefore not altered or broken anything within its structure. The conditions encoded into its materials and capacities are left as they are. He has only added a physical detour to its circuitry, and instead of lighting the gallery, the electricity heats it. In fact, he’s made lighting it impossible, since he designed the heaters to use up the entire capacity of our electrical circuits.
Being an exhibition space, this change is a significant one, since we rely on light to make visible what we put on display. Our very function as an art space (and any cultural capital that comes from it) depends on this simple, physical, technological, and economic act.

Lewitt makes that function more difficult for us to perform, which paradoxically makes it easier for us (and our visitors) to recognize. By integrating heating circuits into the building’s existing and available mechanisms, he has made our own physical and ideological standards of operation more sensible. He has made the abstraction of infrastructure warm to the touch.

As hyper-efficient thermal regulators, these heaters should be able to adapt to any obstacle. So Lewitt puts the resilience of the objects’ properties to the test by presenting the heaters with a different set of conditions: the circuits must now replace something they weren’t meant to replace (lights) and must heat up an area that is larger than they were meant to heat (an open-air exhibition space instead of a vacuum- sealed portable enclosure).

The results of the stress test? Well, with so many variables crowding the channels, even these ultra- thin flexible circuits just aren’t flexible enough.  They do what they can, but there is simply too much empty space around them, too many people walking by, and too much sunlight coming in. The electronic readers attached to each object reveal their internal instabilities and tell a story of precision and calculation contending with inefficiency and waste. In the end, the heaters are left functional but without a function.

“It is a contradiction of capital that it hates waste, yet produces an unprecedented amount of it.” (Lewitt)

It might be capitalism’s utopian ambition that it perfects a state of lossless homeostasis — like a thermostat. It might also be its real function to engineer crises and disruptions within its own mechanisms to ensure that its basic organizing principles remain stable. In either case, a world of self-regulating systems that are fully self- correcting and endlessly productive will only ever be a dream. Entropy will inevitably set in, steady states will slip, and energy will be wasted.

Although we live in a time when businesses advertise how well they manage logistics more than how well they handle machinery, and when power isn’t about muscle but about access to information and control over how it moves around, it’s also true that any infrastructure requires not just mobility but also stability — we need a bit of the former to stay relevant and a bit of the latter to stay reliable. We need fluid management but also a committed workforce. We need responsive software but also solid hardware. We need dynamic subjectivities but also stable materials. Friction is produced in the in-between.

“Artists,” Lewitt once wrote, “try to capture materials as they flow through the system: paint, plastic, printers, software, hammers, cameras, gestures, jpegs, words, lists, whatever.”
In this exhibition, the material components of the distribution channels themselves are capture by the thickening of their graphic and plastic characteristics. The etched lines on the copper wall pieces were generated by an optimization algorithm that measured the most efficient path for lines to be traced around a series of words — phrases lifted from that very utopia of perfect balance and self-regulation: belong anywhere, flexible control, get connected, custom profiling.  Some of the heaters are draped over old car engines in yet another confrontation between (and misuse of) thermodynamic machines.

A thermal camera records everything and provides visual documentation of the exhibition at wattis.org. It tracks and renders heat information rather than light (as would be the case for photography or video). In its online version (which for many will be the only version), this exhibition makes visible only its heat: it looks like a series of bright abstract shapes with faint body- like forms occasionally moving around them.

Let’s see what happens next. As a further test to their flexibility, the heaters will travel from the Wattis Institute in San Francisco to a rented apartment in New York and finally to the Kunsthalle Basel in Switzerland. The objects will therefore navigate a range of parameters, each with its own electrical, physical, ideological, and socio-political characteristics:  a college-affiliated American art institution (running on 120V), a private residence (open only by appointment), and a European Kunsthalle (running on 220V).
                      
Any student of art history will want to evoke an installation
that seems related: Michael Asher’s 1992 intervention at Kunsthalle Bern, where the artist dramatically altered the space
by moving every heater in the building to the foyer. Unlike Asher’s, however, Lewitt’s project isn’t “site-specific” because it isn’t shaped by its sites, but plugs into and determines them — it intervenes at the level of logistics.

What’s at stake for Lewitt is to understand what art can do within a logic that demands continual adaptation — art in the age of turbocapitalism. His installation makes a few things clear: artworks can’t stop it, they can’t exist outside of it, and they certainly can’t cause it to come crashing down. However, they can insert themselves within its gears and make it less efficient. They can cross wires, add detours, choke engines, steer its energy toward inappropriate ends, and demand that it work against itself. Art can create a logistics that runs against logistics."


Sam Lewitt (b. 1981, Los Angeles) lives and works
in New York. His work has been included in many significant exhibitions in recent years, such as
nature after nature at the Fridericianum in Kassel, Germany (2014), and the 2012 Whitney Biennial. With Richard Birkett, he curated the exhibition and Materials and Money and Crisis at MUMOK in Vienna (2013). He has also presented several solo shows at Miguel Abreu Gallery in New York (2014, 2011, 2008, 2006) and Galerie Buchholz in Berlin and Cologne (2013, 2011, 2008). Lewitt received a BFA from the School of Visual Arts and attended the Whitney Independent Study PrograminNewYork.


Sam Lewitt: More Heat Than Light is on view at CCAWattis Institute for Contemporary Arts, in San Francisco, from September 10 to November 21, 2015.

It is curated by Anthony Huberman and is co-organized with Kunsthalle Basel.
Sam Lewitt: More Heat Than Light is made possible thanks to the support of Thea Westreich & Ethan Wagner, Christopher Bass, Norah & Norman Stone, Miguel Abreu Gallery, and Galerie Buchholz. Special thanks to Scott L. Minneman and Special Methods.

The CCAWattis Institute program is generously supported by the Andy Warhol Foundation for the Visual Arts, Grants for the Arts / San Francisco Hotel Tax Fund, and the Phyllis C. Wattis Foundation; by CCA Director’s Fund contributors Patricia W. Fitzpatrick, Judy and Bill Timken, Chara Schreyer and Gordon Freund,RuthandAlanStein,RobinWrightandIan Reeves, Laura Brugger and Ross Sappenfield; and by CCA Curator’s Forum. Phyllis C. Wattis was the generous founding patron.

Saturday, August 29, 2015

August 29, 2015: Go to Istanbul to hear singing from below the diaphragm

For one of the deepest and most profound "musical" experiences I dare you to have, station yourself on a park bench about sunset on some evening in the Old City of Istanbul midway between Santa Sofia and the Sultan Ahmet (so-called Blue) Mosque and listen, with goose bumps on your goose bumps, as the competing muezzins from each mosque belt out their respective evening calls to the faithful to pray. These guys have a dynamic volume and a range over about three and a half octaves (or so it seems as one sits transfixed) that is unmatched at the Met or likely any Christian choir.  One of them calls and then the other answers, and the dialogue must go on like a roller coaster ride for ten minutes.  Think LeBron James dribbling and backing into the basket against Karl Malone.

I'm not a big supporter of Islam, but we could use a few calls to regard the Almighty in this society like the vocal arabesques of these Turk muezzins.

Wednesday, August 26, 2015

August 26, 2015: Today's sculpture has nowhere to go. They might as well try this:

I mean, gee whiz, another detour back to the1960's and Merleau-Ponty?

A new exhibition and write-up from our good friend, Frederike Nymphius, Berlin-based gallerist and curator:


NOTES ON SCULPTURE A plea for deceleration

A sketch for Krobath l Vienna

by Friederike Nymphius, Berlin 2015 for “curated by_vienna”, 10.9. - 17.10. 2015


Martin Boyce, Martin Creed, Dominik Lang, Monika Sosnowska, Katja Strunz, Tatiana Trouvé

In his essay “Notes on Sculpture” (1966) Robert Morris pointedly refer- red to the significance of autonomy and form in the context of contemporary sculpture. The artist advocated sculpture that turns the form its- elf into its theme, eliminating any painterly elements such as colours.

In addition, Morris also closely examined the circumstances of perception, referring to a publication by the French philosopher Maurice Merleau-Ponty entitled “Phenomenology of Perception”, which became a key text for the minimalists of that time. According to Merleau-Ponty, reality is not absolute but rather depends on the various and sometimes even random factors of perception, which cause constant changes to or different manifestations of reality. The ideas developed by Robert Morris are still relevant and highly topical for today’s younger generation of artists. The focus, however, has shifted from the object to the subject, from perception of the form to perception of individuals in society. These young sculptors counter the volatility and flurry of modern life with the marked physical presence of their sculptures. 

The works of Martin Boyce, Martin Creed, Dominik Lang, Monika Sosnowska, Katja Strunz and Tatiana Trouvé are deeply rooted in the pre- sent. The radical style and the bulky materiality of their works eliminates all traces of playfulness and creates situations that can only be described as physical and psychological confrontation or total refusal.

Their works thus deliberately evade quick consumption and the superfici- al utilisation mechanisms of the progressively commercialised art market. Their sophisticated response to our increasingly fast-paced industrial society is to decelerate and explore the “conditio humana”. The act of decelerating thus becomes key to finding the adequate pace for humans to en- gage with themselves and their permanently accelerating environment.


curated by_vienna: TOMORROW TODAY
11 September – 17 October 2015

Tuesday, August 11, 2015

August 11, 2015: Today presents solid and rare grounds for optimism.


            First, we have the news of the acquisition by Berkshire Hathaway of Precision Castparts for $37.2bn including its debt — possibly the largest deal in Berkshire’s history.  According to the Financial Times, Precision is an unflashy business run by an unflashy management, with a dominant position in industry sectors that are not going away any time soon — short-term wobbles among its energy customers notwithstanding.”  The key, however, is the FT”s headline this morning, describing Warren Buffett’s “elephant deal” as a “$37bn bet on US manufacturing.”

            May we all shout hallelujah.

            Then we have a fascinating article today by Simon Bisson in “500 words into the future” regarding the reorganization of Google announced yesterday.  Bisson calls the new entity, Alphabet, the “singularity” company and asks Could Google's surprise reorganization be the biggest bet of all: a bet on the future?

            Bisson continues:

"If you look back at my recent list of futurist SF, you'll find one of my favourite novels. Vernor Vinge's Rainbows End is a fascinating story of a near future San Diego on the verge of a phase change in both technology and what it means to be human. It's a tale of a man relearning his world as he recovers skills and memory after a receiving an experimental Alzheimer's cure, going back to school to learn to use the technologies that infuse tomorrow's world.

"Vinge's tomorrow is a fascinating place, one infused with ubiquitous and ambient computing technologies, where wearable devices have changed the way we work and play, and where autonomous and robotic devices are reshaping our homes and cities. It's also a tomorrow that Vinge puts a decade or so away.
"Perhaps best known for his original paper on the concept of the technological singularity (the point where the future is made unpredictable by advanced technologies), Vinge has been the inspiration for many modern technologists. So it perhaps wasn't surprising to read that Google was restructuring as Alphabet, making, as Larry Page notes in his blog post, an "alpha-bet" on transformational technologies -- the very same technologies around which Vinge structures Rainbows End."

            It never occurred to me to hyphenate “alphabet.”  Once again, may we all shout hallelujah.

Thursday, August 6, 2015

August 6, 2015: What an art school in Sweden is up to

Easy to comprehend.  Please don't pretend you don't get this on first reading:

With an exhibition opening on 11 August, Index launches a six-month project dedicated to the pedagogy of Open Form, created by Oskar Hansen (1922-2005). Hansen was a Polish visionary architect, artist and urban theorist. Informed by theoretical concepts deriving from architecture, Hansen’s teaching enriched art education with issues of processuality and interaction. His work became an important reference point for visual artists who treated their practice as a form of social experimentation. The exhibition will present original materials by the architect and his collaborators, including some of his didactical apparatuses — devices used to teach basic rules of composition and to exercise perception — and film documentation of “open-air exercises” developed in the 1970s. In the next months, the project will be further developed with student groups from the Royal Institute of Art / KKH and Konstfack and within Index’ pedagogical program. The project will culminate in an international conference in November 2015.
The project is co-curated with Aleksandra Kędziorek.
With kind support by the Polish Institute in Stockholm, the Polish Presidency in the Council of Baltic Sea States, the Adam Mickiewicz Institute and the Museum of Modern Art in Warsaw.

Index
The Swedish Contemporary Art Foundation
Kungsbro Strand 19, 112 26 Stockholm, Sweden
T. +46 8 502 198 38
www.indexfoundation.se

Friday, July 24, 2015

July 24, 2015: The Tate Britain’s "Late Turner: Painting Set Free" exhibition at the DeYoung Museum, San Francisco

I was privileged to view this exhibition this morning, and I came away quite emotionally affected.

You can find a virtually definitive review of the exhibition, organized by the Tate Gallery of London, by Richard Dorment of the London Daily Telegraph at


Dorment is not a sentimental reviewer.  He casts a cold eye on the physical infirmities that beset the artist in the last 16 years of his life, the period from which the works shown were painted.  After reading Dorment's catalog of those infirmities and the deficiencies in various of the works they must have caused, I cannot change the reaction I had when exiting the show.  Turner was already rich and famous, and he continued to paint the same subjects that he had always portrayed.  Dorment says that the last three works in the exhibition - showy, bravado pieces based on stories of Aeneas and Dido were insincere theater.  Dorment says "They are dreadfully overworked, and overcrowded to the point of incoherence. Yet Turner exhibited them at the Royal Academy in 1850, implying that these were kinds of pictures by which he wished to be judged, not those light filled washes of colour we all love, which may, after all, simply be unfinished."

Well, maybe and notwithstanding, I loved the paintings, and I came away with the same feelings I had when many years ago when I saw a show of Matisse's cut-outs done when his hands were so arthritic that he could barely hold a scissors.  I was wet-eyed after the Matisse and in awe of the sheer dedication to art and his never-give-up production in the face of great pain.  I did not well-up today, but I emerged with a strong feeling for the guts and fervor shown by Turner, this sick and pained artist, until the very end.

If you admire heroism against great odds, see the show while it's still up.  The visual delights are an extra gift.

Friday, July 3, 2015

July 3, 2015: the "Greek debt" situation

The “Greek debt” situation as of July 3, 2015:
Greece: Prime Minister Urges 'No' Vote In Referendum  -  Stratfor
July 3, 2015 | 14:46 GMT

Greece's prime minister has urged voters to reject what he called "blackmail" and vote "No" when they cast their ballots in a referendum on Greece's bailout on July 5, BBC reported July 3.  In a television address, Greek Prime Minister Alexis Tsipras said Greece's Eurozone membership is not at stake, though EU leaders have said a "No" vote could lead to Greece's exit from the monetary bloc.  Moreover, EU politicians have staunchly denied Greece's claims that a "No" vote on the referendum would strengthen Athens' position in bailout negotiations. Even if Greece and its creditors reach an agreement, 
the referendum battle has made Greece's Eurozone membership more precarious


July 3, 2015 – Marc Chandler writing for Seeking Alpha

Polls for the Greek referendum suggest a statistical tie. The polls also show the vast majority of Greeks want to remain within monetary union.  Syriza is campaigning hard to for a "no" vote to reject the official creditors demands.  Ironically, there have been several defections from its far-right junior coalition partner favoring the a "yes" vote.  Syriza officials have tried playing down the momentous nature of the referendum, suggesting that a deal will be worked out immediately following the referendum.   Varoufakis has claimed that an agreement has been reached on everything but debt relief, and that a no vote would secure this.  This does not ring true and strikes me as an effort to encourage a "no" vote, by suggesting that the implications will not be so severe.  As we have noted, the official creditors have offered debt relief in the past, predicated on Greece achieving certain austerity goals. A "no" vote will not move this higher on the agenda, though a "yes" vote which sees the current government collapse could see more details in an agreement with a new government.  While many observers are focused on the sovereign debt obligation to the ECB in late July, my concern is the current situation cannot persist that long.   Clearly on a "no" vote, at its Monday meeting the ECB cannot increase the ELA borrowings.  However, it is not clear that they can on a "yes" vote.  Greek banks were already teetering on insolvency and that ongoing deposit flight, albeit slower, and the further erosion of the economy, pushes them over the edge.  The rating agency Fitch has opined that the four largest Greek banks would have already failed if not for the ELA. The Emergency Liquidity Assistance is not to prop up insolvent banks, but to help those faced with a liquidity challenge.

PTOLEMY’S THOUGHTS ON THE GENERAL SITUATION:

1.     Adoption of the common currency is like sports:  It doesn’t make character; it reveals it.

2.     Speculation as to whether the creation of the Eurozone was wise or whether Greece should have been included in the first place is vain and irrelevant.  I think that the European elites (the wealthy and the technocrats) wanted it to enrich themselves and to increase their relative power.   Notwithstanding the gloss of certain historically minded commentators, there is no irresistible and inevitable Hegelian movement toward a unified Europe.  The creation of the Eurozone at this point appears as a power grab favoring the elites.  The Greek issues are only the latest skirmish in maintaining the privileges of the European elites – that’s what “austerity” is.  Its goal is to keep the lower classes in their place.  Syriza has that right to that extent.

3.     The Greeks had to be included in the Eurozone as customers and clients.  The Greeks had to accept because they needed the wealth transfers (i.e., EU funding for the Olympic Village, the sumptuous subway, the world class airport and the freeways that access the airport).  All too human, the Greeks were tired of being poor.  As of a year or so ago they boasted the highest per capita auto ownership in the world.   Sadly, will was lacking to change course on a bloated bureaucracy and a much too extravagant pension regime – dependency was endemic - or to launch industries where an Adam Smith advantage might be identified.

4.     Ptolemy has cribbed from Stratfor a brief history of how Greece got into this predicament as follows:

  “[Greece] is struggling under public debt levels of 177 percent of gross domestic product, while private domestic debt stands at about 122 percent. In 1980, those two figures were 22.6 percent and 37.4 percent respectively, and these differences are made even starker by the knowledge that the Greek economy has grown 20 percent in the intervening years. In fact, in 2008 it was 56 percent larger than in 1980, but has since shrunk back.

“Greek public debt has grown consistently since 1980. In the wake of the oil crises of the 1970s, which hurt all oil-importing countries, the Greek Socialist government turned to public debt markets as a solution to its woes. By the 1990s Greek public debt stood at 100 percent of GDP. It remained there until the turn of the century, when Greece took the decisive step of entering the eurozone. Private debt, meanwhile, was fairly stable: In 1980, it was 37.4 percent of GDP, and in 1999 the figure was still just 38.8 percent.

“Entry into the Eurozone in January 2001 changed Greece's position completely. The common currency caused Greek interest rates to fall from 10-18 percent in the 1990s to just 2-3 percent, as Greece benefitted from the market perception that being tied to the powerful German economy guaranteed Greek solvency.

“The global financial crisis brought Greece's flimsy house of cards crashing down. As in several economies in Europe, the slowdown led to a massive increase in public debt as the government stepped in to keep the economy alive through public spending. Government deficits rose to 10 percent in 2009 and then to 15 percent in 2010. Government debt likewise ballooned, with the burden increased by the fact that GDP was also shrinking swiftly. Even though the Greek case is an extreme example, the same story — private indebtedness soaring through the eurozone's first decade and ultimately being transferred into giant public debts — was a direct result of the creation of the monetary union. Similar examples can be found across the Continent, in places such as Spain, Portugal, Ireland, and Italy.”

5.     Even before the Eurozone, the Germans had to lend throughout the Eurozone without regard to whether the poorer nations could repay in order to maintain their exports and low unemployment.  The SPD has continued to be intellectually bankrupt.  The CDU’s only goal and function is to preserve the ongoing value of German pensions.  Germany operates under a tenuous alliance:  the corporations have a free hand to operate at home and abroad as they will and with a very low unit labor cost, provided they then pay generous portions of high profits into the welfare system.  The system cannot operate unless the poorer Eurozone countries are systematically exploited.

6.     Since 2002 the ascendancy of the Asian economies and “globalization” have intervened.  The stagnation and relative decrease of net worth of the European continent have been exposed.  The economic competitiveness of the poorer Eurozone nations has continued to decline.  Looking beyond past historical borrowing and repayment issues, the problem generally is the continually decreasing standard of living of large areas of Europe and the economic decline of France, Italy, Spain and Portugal.   Greece is only the most obvious symptom of this malaise.  Greece would be in decline had it never borrowed.

7.     The goals of “austerity” and re-tooling to meet the challenges of Asian and U.S. ascendancy are contradictory.  Carefully targeted austerity has aided the economy of the U.K.  This is not the venue to discuss what the lack of austerity has done to the U.S. economy.  But if a nation or region inflates, and unit labor costs increase, the privileges of the elites are put in motion and possibly jeopardized.  Europe’s class system has a big problem with that.

8.     Syriza understands that the present conflicts – when one gets past the old-fashioned notion that borrowed money ought to be repaid – are a continuation of nothing less than the class struggle that Marx first identified.  Wolfgang Schauble knows that, too, but he stays comfortably within his allegations of genetic Mediterranean profligacy.


9.      Whether Greece is ousted from the Eurozone or not, and no matter when, its economy will be suffering for years to come.  Greece was a poor country for most of its history, and it will be so again for the foreseeable future.