The sound of the clacking grew unbearable, so we turned the volume down. "Mute it." We muted it. "Turn it up; we might miss something." It's a silent movie. We won't miss anything. The sound of clacking gradually fills the room as my brother reluctantly turns up the volume. I can tell he's pressing hard on the button, jamming his thumb down in defiance or muted anger. He doesn't like for anyone to tell him what to do with the remote. But my grandmother wants the volume up, so we turn it up. We're all sitting along the edges of the tiny living room, staring at the fuzzy black-and-white images as they hazily walk across the television screen. I can hear a siren outside, barely discernable and then gone entirely. "Who's that?" my brother asks, evidently past his momentary and barely-noticeable indignation over the remote. "Uncle Arehl, and maybe his sister, Edna," my grandmother says, leaning in closer. "I think it's Edna," she says, in the tone of a doctor diagnosing a disease, as if the verdict was somehow relevant to someone who has only the vaguest idea who Arehl's sister is, or was. Uncle Arehl (I don't know precisely whose uncle he is, or for what the two initials of his name once stood) saunters slowly across a dry, patchy lawn, and the camera follows him. For some reason I'm more interested in the lawn--if it can be called that--than in the people on it. The sun in the movie is blazing, and everyone filmed looks only briefly at the camera before averting their faces once again to look at the stubbly grass. The camera pans once again and I can see an incredibly rutted path leading from the porch to the fence at the edge of the yard, broken pieces of concrete amid deep tire tracks fossilized in sun-baked mud. The fence is low, wire like a chain-link, but lower, with metal stakes holding it up instead of tubes. What is it like outside in the movie? - There are ambulances - There are police cars - not enough information - It is dry and hot.
It is dry and hot.

Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine. In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation. For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance. For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication. Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos." Sacred... How did Alexandra get interested in the artists of the European Middle Ages and Renaissance era? - reading scientific notebooks of Leonardo da Vinci - Her scholarly focus on Flemish manuscripts and their relation to landscape paintings - not enough information - through the depiction of the natural world
Her scholarly focus on Flemish manuscripts and their relation to landscape paintings

"If you can answer three questions," the dog said, "you can wear the magic shoes." Tommy looked up and down the deserted street. "Did you ... say something?" "That's right. Didn't you hear me?" It was a gruff voice, with just a trace of an English accent, and it was definitely coming out of the dog. "You're a dog." In fact it was a huge, fat bulldog, with big flaps of skin hanging off the sides of its face. From where it sat, on the front steps of the abandoned motel, it looked Tommy straight in the eye. "That's correct," the dog said. Tommy stared hard at the dusty windows of the motel office. "This is a trick, right? There's a TV camera back there and you want to make me look stupid." "No tricks, Tommy. Just three questions." "C'mon," Tommy said. He deepened his voice. "Sit up." The dog stared at him. "Roll over. Play dead." "Cut the crap, Tommy. Do you want the shoes or not?" "Let me see 'em." The dog shifted its weight to one side, revealing a battered pair of red Converse All-Stars. "Yuck," Tommy said. "Those are gross." "Maybe," the dog said, "but they're magic." "What are the questions?" "Which of the following presidents died in office? Lincoln, McKinley, F.D.R.?" "C'mon. They all did. That's the same dumb question they use when they're trying to sell you a free portrait on the telephone." "Which weighs more, a pound of feathers or a pound of lead?" "They both weigh a pound. This is stupid. Next you're going to ask me who's buried in Grant's Tomb." The dog narrowed its eyes. "Have you done this before?" "Ulysses S. Grant," Tommy said. "Lemme see the shoes." They were just his size and felt pretty good, even though they were scuffed up and the metal things were gone out of the side vents. "I don't feel any different," Tommy said. "You need the shoes to look for the treasure," the dog said. "What treasure?" "When you're wearing the shoes, you can open the doors of the motel rooms." What does Tommy probably not like? - Looking stupid - Dogs - not enough information - Treasure
Looking stupid