Koyaanisqatsi

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I recently saw Koyaanisqatsi for the first time.  This was initially prompted from an excellent blog post over on Verbomania, suggesting words to describe our current crisis.  I had never heard of the movie before.  In case you’re in that same jolly boat, Koyaanisqatsi is a feature-length film from 1982 with no plot and no spoken lines.  A score by Philip Glass underlies, and sometimes dominates, images of an earth beautiful in desolation (the Badlands, Monument Valley, Grand Canyon) juxtaposed with technology.  The images are fascinating and disturbing.  The title translates to something like “life out of balance” and the images of sausages being mass produced cross-cut with humans being lifted by escalators speaks volumes.  The long, slow footage of 747s on the ground was enough to make me wonder if they really can fly.

Frenetic is perhaps the word that best captures images of life in the early 1980s.  The images of Grand Central during rush hour show just how like ants we are.  On the other hand, some of the scenes of people waiting for trains show a high percentage of them reading—we have perhaps lost ground in the last four decades.  The mechanized, technologized way of life has perhaps made us something less than we could be.  There are people in the movie, but not many of them look happy.   Back when I commuted into New York I can’t think of any reason I would’ve been smiling on my way too or from work.  Crowded streets, often smelling bad.  Harried and harassed even before I reached the revolving door to my building.  I watched the movie that was a slice of my life and wondered if so much of my time commuting couldn’t have been better spent.

Of course, I did read on the bus.  On average I was able to finish about forty books more per year than I do now.  Even home owning participates in koyaanisqatsi.  It’s spring during an epidemic.  Cold, yet rainy, the grass continues to grow and there’s no sunny time off work to mow it.  It’s now May and it feels like we haven’t moved since March.  Watching Koyaanisqatsi during the pandemic was itself a haunting experience.  All those crowds.  So many people bunched so closely together.  I don’t miss the crowds.  The cross-cut images of computer chips and city layouts made me wonder just what it’s all about.  The SARS-CoV-2 reality has plunged me into a philosophical mood.  I’m hoping when the crisis is over we might strive for a better sense of balance.

Holy Grand Central

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Staring out over 42nd Street is the massive triumvirate of Mercury, Minerva, and Hercules. Once the largest group sculpture in the world, the famous facade of Grand Central Terminal is photographed daily, and the number of tourists thronging the concourse make it perhaps the sixth most visited tourist destination in the world. While visitors’ shutters clatter away, photographing the statuary and starred ceiling, I wonder how many stop to consider the religious nature of much of this New York City icon. Mercury, of legendary speed, seems an appropriate mascot for a transportation hub. Along with the remainder of the Greco-Roman gods, however, he has been pigeon-holed as “mythology” and is considered a quaint, if picturesque, archaism. How easily we forget that the religions of the classical world were serious attempts to make sense of their universe. Mercury was borrowed from Hermes, a god who had the task of being a psychopomp—a guide to the underworld. (Somehow very appropriate for the immense subterranean world of Grand Central.) In our monotheistic supersessionism, we recast other faiths as myths, forgetting their gravity.

Over on the east side the terminal passageway leads through the Graybar Building onto Lexington Avenue. The external friezes are of art deco vintage and show what appear to be angels flanking two of the entrances. My limited architectural knowledge prevents me from finding an actual description of what the figures represent, but it is safe to say the wings upon the back generally qualify a character as somewhat more than human. Graybar eventually became Western Electric and the original company is on the Fortune 500 list (again, I tread in unfamiliar and somewhat scary territory here). Angels watching over the common person? If so, perhaps we need to seek an upgrade. William Henry Vanderbilt, president of Central Railroad, once famously declared, “the public be damned,” in a moment of unexpected candor, showing where the common person stands in the Weltanschauung of the wealthy.

Back inside Grand Central, the famous celestial ceiling always draws considerable attention. Those who know the stars have noted that there is a backwards nature to the array—it does not match any actual outdoor sky. Explanations vary, but it is said to be a “God’s eye-view” of the stars. As we stand below, staring up, we gain a divine view on the celestial sphere. Many thousands of people pass through Grand Central every day. Few, I suspect, stop to consider its role as a monument to the influence religion has in the secular world. Certainly there was no religious motivation behind getting the working public to the city on time. We are the chattels of the wealthy, showing up to our jobs on time. As usual, we are unaware of the power of that which tends to carry on, unobserved. The mythologies of different peoples blend here, but perhaps the greatest myth of all is that the wealth from the gods will trickle down to the average human passing through this sacred edifice.