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“[S]omething crazy happened in this particular game.
In this particular game, a team won with only three players on the floor. And this was not a “metaphorical” victory or a “moral” victory: They literally won the game, 84-81, finishing the final 66 seconds by playing three-on-five. To refer to this as a David and Goliath battle devalues the impact of that cliché; it was more like a blind, one-armed David fighting Goliath without a rock. Yet there was no trick to this win and there was no deception — the team won by playing precisely how you’d expect. The crazy part is that it worked.”
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“This diyogÃ, dating to the early 1880s, was probably made to earn money for the woman who wove it. Beyond that, it’s a blanket; there’s a plethora of uses for a blanket. What use is there for The Persistence of Memory? It sits in a museum to be gawked at; it has for almost seventy years, since very shortly after it was painted. I don’t know if Dalà got any money when the Museum of Modern Art got the painting, but I sincerely doubt money’s what he had in mind when he painted it. I’ve seen various interpretations of the painting, a popular one being that it has to do with the theory of relativity (something Dalà denied). There’s a sharply limited number of ways to interpret the diyogÃ: it’s a blanket.
That is, I think, why we know DalÃ’s name and not that of the 1880s Navajo blanket-weaver: the difference between art and craft is the difference between needing to think about the work and needing to use it in order to appreciate it. “