viewpoints – Carlo Centeno

The A Collection

I’ve come across a lot of A-words lately: amazing, atomic, artificial, augmented, abstract, auspicious, audacious, accountable, admirable, apathy, appreciation, affection, accomplished, alarming, Arctic, Antarctica, abysmal, appalling, anachronism and so forth.
Like a daisy chain made of paper, these words are linked and yet each easily broken free by the slightest of tension. And while some connections may not make a whole lot of sense, there are reasons however small, that connections take place. Anxiety, lack of focus, melancholy, fear, joy, anticipation, distraction, etc. etc., the Yin-Yang of this is that the very same attributes that prompted the connections can be the same to break them.
It depends on time and place. Context is everything.

Audacious. Approx. 35-degrees on a starboard bank.

The words come from various sources, anything and everything that shapes our life experience. With this exercise, the empirical nature of each word puts aside the rational, and instead embraces sentience, that ability to feel depth of things experienced.
It’s certain that others who feel existential—rightfully so in our fractured society—may feel embarrassed yet genuine. What could be more human than to feel concern about our current state of affairs [macro] and our relationships [micro]?

Anachronism. At the stable. The Mount: Edith Wharton’s summer residence.

I’m feeling abstract [visualize Cubism Art] and yet oddly auspicious because many things in life and living are not rational. We are prone to rely more on our senses, the very emotions that can either ruin or celebrate moments in our lives.
Yes, I’d rather feel embarrassed and genuine versus being stymied with self-serving, deductive reasoning. The former brings a sense of order, the latter a chance to improve our emotional intelligence and increase a capacity to further understand each other.

Abstract: The Slave Market & Disappearing Voltaire.

Life imitates Art, or is it Art imitates Life? Similarly in marketing, it’s not what you’re getting, but what you think you are getting. Perception is everything and even more so in the here and now. It’s a refrain that frequently echoes in my thinking.

There will be no “B” collection, existential-word-dump, involving any other letter, or a character for that matter. An exercise with one letter is enough for me, and probably for you as well.

In conversations, and things written, a question posed usually prompts us to reconsider a position we hold, maybe a perspective quite different from what’s already been established in our own thinking. This collage, this tapestry-of-a-post may not mean much to anyone, but it could be provocative enough to slightly encourage another perspective. Why not?

The seasons are moving quickly and as I get older my own temporal reality is based on just how fast time seems to go by. I lean towards the empirical and the sentient qualities of the here and now to help me keep it all together.

I never thought I´d grow up so fast so far.
To know yourself is to let yourself be loved.
Do you ever get me?
Shower me with affection and I’ll return in kind.
I have no hidden motive, I am blind.
Do you ever get me?

Get Closer

It was home back in the day. Situated on 48 acres, the “cottage” contains 44 rooms.

Have you ever tried to look at something right in front of you and discern one particular detail. It could be anything: color, shape, texture, scale/size, any specific object and so forth. I’m referring to a single element that piques your attention, whether the element is large or small, plain looking or colorful, simple or complex by design.
Naumkeag offers history, a feast for your senses and options to indulge in a location that’s an antithesis to our present-day way of living. So, with an unhurried pace, walk the grounds, examine the gardens, enjoy the vistas and of course the house that was the summer home of prominent lawyer, Joseph Choate and his wife, Caroline. They referred to their residence in Stockbridge, MA as a “cottage.”
You don’t need to be a cognoscenti to appreciate landscape design, flowers, stonework, or architecture. No agenda, just a dose of quiet time in a locale that puts you in the Housatonic River Valley, a place in the Berkshires as pastoral as any you’ll find across New England.

Naumkeag is a cornucopia of details. You’re offered a buffet of elements that rightfully distract you from monitors, traffic, deadlines, meetings along with other indeterminate noises. Granted the elements–or distractions–are innocuous, there’s a realization that having these very details shrink the less important, stressful elements that occupy your mind. Well, at least in my mind.

Where’s my focus? Is it obvious to you? Can it as much be yours as it is mine?

You might say this is an exercise in discernment, a way of sharpening perceptions, a means to refocus on other details/elements that may lead you to another level of thinking. The process is still your own, but this time, you’ve given yourself the beginnings of a map that’s genuinely yours.

A benefit of these sorties is this sense of life copacetic; in spite of the routines and doldrums, there are moments that are the opposite of what ails us. In the world of art and the written word, we can see and feel just about anything. Having a sense of place, in this space and time, not in your past and where the future is not promised to any of us, the now matters. That’s it. Don’t waste it. Appreciate don’t pontificate.

The exercise of pulling a detail out and away from everything else pushes me to consider and associate with another perspective of whatever detail I look at. The reds and yellows in the tulips appear even more intense when surrounded by the middle greys in the photographs. The broadleaf in one corner of the greenhouse looks healthy, in large part because of the depth of its green color. Nothing has changed really, and neither have the proprieties of the object or the surroundings. What’s changed is the manner in which you deconstruct details.

Those with a proclivity to capture details can notice more than what meets the eye. Beyond colors, tendrils of an iron chair, the gradation of a solid color to one of a lesser though similar hue, I tend to go toward an object, experience or what have you, that’s relevant to my personal history. You might say it’s akin to a word association game, a yin-yang of opposites as well as things similar.
The associations can be personal, simple or complex, a source of light-heartedness or burdened echoes ruminating within your memory.

This is a modification of the immemorial saying, Stop and smell the roses [or tulips]. Instead, reframe your perspective: You can see the big picture, but details bring you closer to the value of the picture.

An American Artist

The Whitney Museum of American Art in NYC has a special exhibition of Edward Hopper, the American iconic painter of urban realism. The exhibit [October 19, 2022 to March 5, 2023] has a strong focus on the art he created during his years in New York City, a place he and his wife, Josephine, called home for six decades.
Art in its many forms gains additional attention when a curated exhibit or installation comes to life. This exhibit in particular, has an energy, an aura all its own, and rightfully so. It is the amalgam of place, time period, subjects & themes, and of course the painter, that creates this palpable energy.
Attending such an exhibit was made more interesting by the number of visitors who specifically chose Edward Hopper’s New York. For me the cacophony of conversations [often in a foreign language], the reactions and expressions all added to the experience. Out from the windy, brutal cold and into a cocoon of life, the next couple of hours felt theatrical.

Bare Trees

The changing seasons has a way of rebooting my perspectives on life’s moving parts. It’s also an opportunity for me to find, even create, connections that could lead me to alternate choices about work and family, problems and challenges, as well as my own professional and personal goals. The fall suggests possibilities with a palette of colors where each one suggests a sentiment to whatever I’m feeling or thinking. More often than not, I make one, perhaps 2 attachments of color to an idea, an attitude, or even a condition that’s been entrenched in a mood of some sort which I cannot correlate or let go of.
However, when the maples, birch, oaks and other trees reveal their once covered limbs, I see a “wireframe” ready for a season of open air, of white space and a period of quiet and rest. Once again, it’s a reboot of sorts given the visual clues of autumn.

From a distance these bare trees take on an innocuous albeit familiar appearance. You realize that these wireframes silhouetted against a grey forest floor or an overcast sky has the potential to stimulate your way of visualizing beyond the obvious and the rote. Late fall and bare trees are midwives to modified or new byways to thinking and feeling.

Such possibilities make bare trees special. True, this past autumn the colors were fantastic, vibrant, even spectacular, more so than years past as far as I can tell. That festival of color has its own cathartic energy. Compared to just a few weeks ago, these now dormant, quiet trees are a type of dopamine, a suitable follow-on for my busy “monkey-mind.” There’s a levity and sense of calm with bare trees that’s akin to starting anew and refreshed.
The trees are steadfast and immobile and yet there’s a fluid-like form that draws your attention. And because you can see between the branches, openings of various shapes and dimensions become apparent. That white space becomes a cocoon for imagination and emotion, of things improbable that feel possible if only in theoretical form. What can you jettison from your mind into those spaces now in front of you? There are things each of us can let go of.

Many of the trees are straight up and down although the oaks and maples have a grace manifested by the sweeping reach of higher branches. The silhouette of these branches appear as arms with a soft curve, its ends like fingers gently reaching for the sky.

Late fall and bare trees are markers of change. In its most obvious forms, it means shorter days, cooler temperatures, fantastic light and shadow and a time change. The latter is likely the least wanted change this time of year. And yet the markers also remind us that still more change is to come. Some welcome winter [like me] and others can’t wait for spring.
In a personal way bare trees are anthropomorphic. They go through cycles of change just as we do with our life stages. And as in life, some of the bare trees will remain so in the months ahead. Just as some of us will, our own thoughts and feelings leaving our physical selves.
Bare trees can mirror our own life qualities season to season. Or maybe it’s the other way around; after all, trees have long existed before we arrived.

Berkshire 25

The most dedicated, most creative, most influential.

It’s fair to say that the Berkshires has a depth of culture, arts, eateries, education, health care, outdoor activities, community outreach and more, that can be as strong as other like-minded communities.
The diversity of such offerings is all-encompassing and that’s clearly reflected in this year’s Berkshire 25. This is Berkshire Magazine’s annual selection of 25 individuals who have made life here feel more special, complete and worthwhile. That may seem like an exaggeration, but that’s due to the contributions from folks like the Berkshire 25 that make the region “the most beautiful place to live.”

Joshua Sherman, MD CEO+Publisher of *Berkshire Magazine* welcomes honorees, guests, patrons & friends.

Examine the roster of recipients. Their talents, soft skills, areas of expertise and so forth are as varied and diverse as the individuals themselves.

Honoree Ms. Laura Brennan [L] with editor-in-chief, Ms. Anastasia Stanmeyer

Ms. Maud Mandel, PhD, president of Williams College [below], graciously opened her home to host the event.

Honorees on the couch: L-R, Mr. Jack Brown; Marge & Ed Bride

Rep. Smitty Pignatelli, an engaging & entertaining MC.

The cynics among us may feel that such occasions are self-serving, each designed to stroke egos or expand bragging rights. You can think that, but I believe no one that evening felt that notion at all.
At the conclusion of the event, Rep. Pignatelli mentioned that these individuals represent the best of what people can do, that such care and outreach nurtures the magnetic vitality of the Berkshires. Lightheartedly, he added that politicians like to think that they drive a lot of what’s positive. However, he quickly reinforced that a lot of what makes a community/region attractive and inviting has to do with the very people who understand what it means to be selfless.

“Switch-Tasking”

Time, energy and focus are 3 KPIs [Key Performance Indicators] for mulitasking. And likely there are other indicators, and for those, I’ll need an ombudsman to help reset my already overloaded brain. In any one of these factors, you either have it, lose it or want it. For the most part, I’d say most people want them all, or to at least hold onto whatever’s in you.

However, multitasking is not really multitasking.

Ms. Nancy Napier, Ph.D. and contributor to Psychology Today identifies it more as “switch-tasking.” For decades we’ve heard that new electronics and computers and software are supposed to help make our professional lives much easier and faster, that’s rarely the case. Many of my marketing projects are open—actually minimized—on my screen. Perhaps “minimizing” those open windows and apps is in actually diluting the strength of your project[s].
Dr. Napier points out switching between projects is counter productive. In fact, it takes a good amount of time and energy to realign your mental details jumping from one open project to another. All of this creates stress [but we already knew that].

As Dr. Napier puts it, multitasking is mentally and physically rough on anyone. The mode of working start-stop-start-stop-restart becomes a catalyst for mistakes, inefficiency and time lost. As the saying goes, “Well, there’s 30-minutes I can’t get back.”

Did you happen to notice the bee in the first photo [the sunflower]? No, well, were you multitasking….excuse me, “switch tasking?”

A Moment, Please.

What a strange, odyssey we are on. Are we in the initial stages of a pre-dystopian epoch? That’s an unnerving take on our tomorrows. I am as guilty as the next for failing to live in the moment. Thus you could–and perhaps should–interrupt my ruminating about the past while also worrying about the future.

No one can undo history and the future is not promised to any of us. So, it’s the here and now, the very present moment where we consciously or rotely go through our lives with purpose or with routine motions of day-to-day life.

Fly fishing for many, for me, is part of life. Time spent on the water delivers familiar notions of preparation, anticipation and the knowledge that the day is, quite frankly, a gift. With all that’s going on in the world, I would say most readers looking at this are doing much better than many others. And having the gift, a day such as being able to go fly fishing is one that should not be taken for granted. Getting to a favorite spot–whether somewhat new or all-too-familiar–jump starts my awareness for the here, for the right now. For those few important things that are usurped by the ephemeral things that entangle us, yes, we all need to live in the present moment!

So, on this Independence Day weekend, take a chance. Make the most of whatever day you have. Any one is a gift. Even when things go awry [I fell into the water moments after releasing this trout!], or not according to plan [I could’ve left the water empty handed but for the wet clothes that chilled me to the bone!] , don’t dwell on what might’ve-could’ve-should’ve happened. That’s done.

I think you’d be much better off acknowledging how far you’ve come.

And for the aspiring fly-fisher, that beautiful brown was caught and released on an an unusually cool late June, mid-morning [10:00 am?].
The details:
o I used a #16 pheasant’s tail nymph I tied with a barbless Partridge hook [unweighted];
o tied to a 5X fluoro tippet about 2-to 2 1/2 -feet in length;
o attached to a tippet ring on a 6-foot furled dacron [?] leader;
o to a 4WF fly line;
o spooled onto a Grey’s cassette reel with #20-backing
o all collaborating with a Winston Biiix 9-foot 4WT fly rod

From a Distance

……From a distance
You look like my friend
Even though we are at war.
From a distance
I just cannot comprehend
What all this fighting’s for.
From a distance
There is harmony
And it echoes through the land
And it’s the hope of hopes
It’s the love of loves
It’s the heart of every man
It’s the hope of hopes
It’s the love of loves
This is the song for every man.
God is watching us
God is watching us
God is watching us
From a distance.

Excerpt from the song, “From a Distance” by Julie Gold ©1985*
*Songwriter Julie Gold composed this song when she was working as a secretary at HBO. She wrote during her free time. The song has been covered several times by other artists such as Nanci Griffith and Bette Midler.

On a recent flight home, 2 songs came to mind. An epiphany of sorts became apparent as I looked down on Springfield, Massachusetts and Ski Sundown in New Hartford, Connecticut.

Ski Sundown in New Hartford, Connecticut

In light of the Ukraine-Russia war, it’s not a stretch to understand the effect of distance when watching something from afar. Things are not always as they seem, but up close, enough details emerge to create a clearer picture.
Most of us see what’s happening from a distance, from the safety of our screens playing out “breaking news” of the terror and the maddening reality of one country imposing its incorrigible intentions on an independent nation.

At altitude, it’s easy to “not see” the actualities of what’s coming and going at ground level. And yet what impacts me the most is how the innocents and defenders suffer and die, of how the children struggle to understand this detestation that arrived from nowhere. Modern journalism can report events as visceral and undiluted, anywhere at anytime. In that sense, we see more than what we want to.

I leave this post with the words Enjolras sang during the scene At the Barricades, from the musical, Les Miserables.

Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again.

When the beating of your heart
Echoes the beating of the drums.
There is a life about to start
When tomorrow comes.

Les Miserables by Victor Hugo
Les Miserables, the London Musical, trademarked by Cameron Macintosh Overseas.

Cold Light

I am an odd person out. I’m certain I shared this in a previous post, namely that winter, the shorter days, the snow and the cold don’t bother me the way I know it really bothers a lot of other people. However, when freezing rain, relentless winds from the north and sleet show up, doubts perk up about my relationship with winter.
My enjoyment of this season is greatly enhanced by a few other small details: no biting insects, most nasty smells are frozen in place, it’s easier to layer up to stay warm versus shedding attire to get cool. Fireplaces are invaluable for the way they comfort our weary minds and bodies.
And then there’s the light. By late October, shorter days manifest that longing for days that end at 9:30 in the evening, versus 4:15 in the afternoon. But for me on any given day, winter light can be nothing short of amazing [well, to my eyes anyway].

For those enamored with snow, it doesn’t matter how you enjoy it, just as long as you get out to enjoy it. Snowshoes. Boards. Skis [alpine and cross country]. Insulated tie-up boots [aka “moon boots”]. Building snow forts, a snowman/woman/sculpture. Tubes, sleds, and toboggans. They all generate smiles at one time or another.

Even the most ardent worshipper of other seasons can understand why winter can be a favorite. There’s a sense of solitude, even in the busiest of urban environments. Indeed most folks are rushing—as it’s often said—to get out of the cold, to get inside to warm up. And yet there are those who look to get out to be invigorated by the cold air. When it’s cold, it’s only natural that you move to stay warm: motion generates heat and heat consumes calories and the consumption of calories means soothing cups of hot coffee, hot chocolate, hot soup, hot tea among other choices awaiting your selection. Admittedly, it is bliss having such hot consumables balance out the chill at the end of a day. The yin-yang of warm & cold becomes apparent.

A cold drink can bookend a hot summer day just as a hot toddy can on a cold winter day. This radiating cocktail of hot water, lemon, honey and a bit of whiskey is also hydrating, indeed soothing since it’s a drink perfect for sipping.

Cold light, winter light, is especially sharp when it reaches across a landscape as far as you can see. The shadows are longer and details stand out like bas-relief etched into tree trunks. On ski trails, the tendrils left by carving skis add to that dimension of depth, or even height, as if lengths of dark thread randomly lie atop the snow.

Winter’s light—especially later in the day—can feel cathartic and the sun’s warmth enhances this catharsis. A cup of hot chocolate, a banana, a comfy, large Maine Adirondack chair and a pit fire are all good company.

Dark, grey afternoons…

For all the misery and inconveniences really bad weather creates, storms have a unique appeal to me. They are fascinating creations. In the most dire of circumstances the devastation they leave behind is nothing short of incomprehensible, humbling and frightening.

On the other hand, bad weather has a way of fine tuning me to a mode that captures and enables the ephemeral: in one moment, a gentle falling rain suddenly becomes heavy, rampant, even vindictive in the force and quantity of water that dowses everything.

No sooner than the rain pummels the landscape, the water is then swept away, transitioned to a drizzle that moves ahead of a foggy veil suspended just behind the now gentle shower. I think of the various weather possibilities as moods, from the bright sunny days [hope, optimism, gratitude, e.g.] to the dull grey of a threatening sky ready to let loose its worse [depression, angst, regret, e.g.]. Weather figuratively produces such an array of moods.

Dark, grey afternoons carry a weight [wind, water, ice, snow, heat et al] that can lay to waste your surroundings as well as your inner landscape. Yet when I pick up my camera or take pen and journal to hand, I remind myself that things change. Storms have their beginnings and an end. And what happens in between can—and will—wreak havoc on the most carefully laid plans and intentions.

Events, like storms, are markers in time. And having a marker delineates a “before” and “after.” What were you doing just before the storm hit? Where were you? We often have a stronger temporal sense of change whenever nature throws us the worse. Similarly, we celebrate when the change is for the better; some days are referred to as “picture-perfect…like a perfect postcard if you will.

The prologue to dark, grey afternoons can be a harbinger of bad stuff yet to arrive. Still, I look at these harbingers for what they are: a dramatic dance of fleeting light, of varied grey swatches which masks greens, yellows and blue, of movements brought on by high wind speeds and even a gentle breeze.

Weather, in all its forms, is a fulcrum on our impressions of just how good or bad our day is doing.

“Those Were the Days”

Once upon a time there was a tavern,
Where we used to raise a glass or two.
Remember how we laughed away the hours,
And think of all the great things we would do.
Those were the days my friend,
We thought they’d never end.
We’d sing and dance forever and a day.
We’d live the life we choose,
We’d fight and never lose
For we were young and sure to have our way.

Songwriters: Boris Fomin, Gene Raskin

Ever an optimist, it is possible that you’ve heard the song, Those Were the Days as sung by Ms. Mary Hopkin. It was one of the first singles produced by Apple Records and Paul McCartney in 1968. My recent postings and our current new normal [or is it our current abnormal?] made me think of this ballad. And not only about changes that have taken place, but of many things unlikely to occur in the same way as before.

We are at summer’s threshold. We’ve evolved to accept crowded places, an expectation of more time spent with family and friends and to be part of those timeless happenings and celebrations that define this time of year: graduations, picnics, time on the beach, attending ball games, concerts & performances inside and out, barbecues, pool parties and a lot more.

And then there are the country fairs.

This unique piece of Americana born of traditions in farming and agriculture, will never be the same. To heed social distancing at these and other events is not going to happen. It’s part of our social DNA, to see a flurry of activities and to be part of the atmosphere or happenings. It’s standing in line if not for the anticipation of getting into an exhibit or performance—or something savory to eat—but to avoid losing your place in that line.

It’s a place to experience sensory overload. Merchandise of all kinds court you with such promises as having something fun-for-the-kids; of having the last mop you’ll ever need or the complete knife set that rarely needs sharpening. Then there are the culinary pieces de resistance: fried dough that could work as trash can covers, cream puffs the size of softballs or that deep-fried turkey leg that can double as a hammer in a pinch.

This year will be different for most everyone. The crowds can never be as large as before. Perhaps reservations need to be made to limit the number of visitors. Adjustments are already in place, yet still changing. We’re armed with masks, hand sanitizers and wipes and a growing awareness of our personal space and limitations. It may not be all bad, but much of what’s currently unfamiliar, even uncomfortable, will become all too familiar.

For years we’ve made a trip to one of the largest country fairs in New England, a sortie that has become part of our own tradition. On a weeknight, we head to West Springfield for “The Big E” aka, the Eastern States Exposition. My wife and I head to a favorite Polish food stand to order the inimitable Polish Plate: galumpki, pierogies, and kielbasa, all chased down by a “pint” of Dinkel Acker Pils, a German beer crafted from heavenly made hops.

And after that, it’s a walk across the grounds to burn off a few [very few] calories, only to add a bunch more when we stop for a homemade blueberry pie a la mode. All of this adds up to an entertainment feast. Certainly many things are always there, often the same vendors and merchants. But what makes each year different are the recollections of many other visits to the Big E aside from our annual beer with dinner.

It’s about our daughters coming with us during the toddler to tween years. Then came the teen years when it became apparent we were no longer cool, the two escaping with a fistful of tickets for rides and the arcade at the fair’s Midway.

It’s about people-watching, of getting lost in a crowd knowing that similar dreams and fears are as common as balloons, stuffed animals and kettle popcorn. Summer is as much about the quiet and solitude found in the woods as is the cacophony of gatherings and festivities that confirm our sentient selves and how we’re all connected.

Those were the days.

Reliant on Memory

There are days that seem to fly by, while others feel like time has come almost to a standstill. I mention this because it doesn’t seem like 7-weeks have gone by since the new coronavirus forced us into a different way of working and living.

Yet being removed almost two months from what was normal, there’s this juxtaposed sensation that it feels like forever and a day since we went about our usual routines. Time is relative, which simply means that when you’re waiting for something you want, it doesn’t come soon enough, whereas the opposite holds true for something you want nothing to do with.

I have read that the sense of smell is the strongest of our five senses in prompting a memory. It’s also—if memory serves me—the most accurate.

A quiet pause in NYC 2018. Photo credit: R.A. Centeno

Scientifically, that may hold true, but for me, sound and image are stronger drivers in resurfacing a memory. Music has a way of putting you back in a time and place with an immediacy that’s uncanny. “Wow. I remember when this song came out.” There may be some inaccuracies about say, the year or even the place, but whatever was important then, resurfaces as part of your remembering. Pieces may be foggy, but as other pieces emerge from that fog, the memory works to become a bit sharper.

There is a hint of nostalgia in all of this. I do wonder about the new normal and what it means not only for me, but for people I care about. I think retrospectively, of how moments in my past somehow provide a lift. The thoughts, the sensations, or whatever visceral vestige flows free from memory, are but markers of what has been, or what might’ve been.

Whether you sketch, photograph, perform, paint, sculpt, watercolor, write letters, fill a journal, fill a scrapbook, to be memory reliant means you need to be confident with your recollections. Doing any one of these activities, produces an invaluable form of connection. It’s why I love to write [journaling and letters] and to take photos [iPhone, various cameras] because these all help to anchor where I’ve been and to some degree, where I might be headed.

Indeed, cherished memories are important for our overall wellness, but let’s remember to do things now, to remain connected yet in touch, so that such moments become screen clips thoughtfully stored in our memory albums.